Page 146 - Eye of the beholder

An illustrated folio to Rasikapriya in Sadhus’ collection comes from Nasli Heeramanek and Alice collection The latter were prolific collectors of Indian Miniatures and had a a a a a a a a substantial collection of of some of of the best works from this Indian tradition It belongs perhaps to the the Rajasthani kalam evident from the the typology of faces developed and particularly the the long fish shaped eyes in this region from 17th to the the 19th century The representation is of a a a a a a a Virahini nayika the the one pining for her lover who has failed to keep the the tryst with with her her She is lost in in her her reverie remembering the happy times she had spent with with him and and appears morose and and unhappy The sakhi seated in in front of her is trying to reason with her her on on on his non arrival and soothing her her ego with kind words but it it seems to fall on on on deaf ears The Sringara rasa or unique aesthetic experience of love both in in union and separation was privileged by Keshav Das in his Rasikapriya through representation of the nayikas The nayika is is seated on a a a a a a a a a a a spacious four legged chair with a a a a a a a a a a a back rest rest and is is resting against a a a a a a large bolster orange in in in colour with floral motifs in in in indigo Her seated posture is such that she has one leg bent at the the the the knee and and and resting on on the the the the chair and and and the the the the other hanging down and and and resting on on the the ground Her Her hands and and and feet are hennaed Her Her right hand hand rests on on the the knee of the the folded leg and and the the left hand on on a a a a a a pillow covered with a a a a a a black cloth Placed next to her on on the the the left side on the the the ground are the the the fan a a a a a a a a a a a a a paandaani and and an an an an an an ornamental flask to to hold intoxicant liquid This was the preparation by her her if his his visit had materialized The heroine is is is is dressed in in a a a a a a a sophisticated subtle grey full length gown of diaphanous cotton as it flows luxuriantly around her her A golden brown odhini covers her her head The jewellery is very specific limited to a a a pearl necklace and the piece in in her her hair In front of her her sits a a a a a sakhi who is is dressed in in bluish grey gown and and and and odhini and and and and adorned with jewellery as the the nose baali the the head ornament wrist band and and and and finger rings The attendant behind her wears a a a a a subtle yellow yellow gown with yellow yellow ochre bands on her odhini Her jewellery too is is limited to to a a a a a a a a a nose baali head ornament and and a a a a a a a a a large wrist band An attendant behind her her her holds a a a a a a a morchal in in in her her her left hand and and is fanning her her her While the right hand holds a a a a a a tray with perfumed bottles Though she is is being fanned it it is is not the external heat that is making her her her feel warm rather the the the fire of passion burning within her her her in in in in the the the anticipation of of her meeting the the lover The large red curtain shielding the the landscape beyond is metaphor of of the colour of of love and passion The pavilion behind her is constructed of of white marble with delicate inlay work It has a a a a a a a a a parapet that is inlaid with coloured stones in in in in yellow green having the representation of of flowers and leaves The corners of of the parapet have small ornamental turrets The setting appears to be an an open terrace with marble flooring and surrounded by a a a a a a a a a parapet The The sky is is realistically rendered in in blue with sketchy lined white clouds The The landscape beyond comprises of of two species of of trees rendered as round and the the the other pointed may be the the the cypress The nayikas represented by the the the artists from the the the Rasikapriya serve as as as metaphors of the the the soul In its long and arduous journey the the soul meets many difficulties It is these hardships encountered by the the the atman in in its aspiration to become one with the the the Brahman that these nayikas who in in love are either united or or separated It is a a a a a a a unique philosophy that informs Indian miniature tradition particularly of the Rajput school 140