Page 166 - Eye of the beholder

The marble structure of the pavilion is heavily ornamented with colourful inlay designs including the the the parapet on top In the the the foreground is a a a a a fountain from which the the the water flows out through a a a a delicate sprinkler On either side of it it are the the the flower beds Between the the the princess and the the fountain are placed a a a a a a a a a variety of of containers of of different shapes including the the candle stands each holding two candles There is a a a a a a certain delicacy in in in in fin the handling of lines which are very fine powerful and and rhythmic the the the crisp forms of architecture as as well as as the the the flowing rhythms in in in the the the decorative intricate designs on on the the marble or or well polished stuccoed walls Since the the work belongs to mid 18th century there is is a a a a a a possibility that it it could have been executed by Nihal Chand the the artist in service of of Raja Sawant Singh The brush work of of the artist was particularly decorative his subtle colouring the the the firm drawing and the the the marvelous groupings which the the the painter achieved lifted the the the Rajasthani painting from the the the princely vainglory of of the the the middle of of 18th century to an an ecstatic art of of the the most sensitive kind The spell of of Nihal Chand continued in in in Kishangarh till the the 19th century The painting is is damaged in in in in certain parts but nevertheless is is a a a a a a a beautiful piece of elegant figurative composition that is is as as interesting as as it it is is decoratively detailed A poetic and elegantly beautiful painting from the the same school of Kishangarh has the the representation of of “Radha and Krishna” who are seated in an an open terrace surrounded by the thick grove of of banana plantation In the the middle ground is the the river in full flow flow filled with white lotus flowers and populated by the the the the charming swans with the the the the fortified white walls of the the the the palace which enclose the the the the whole scene with forests beyond It is is dated 1860 establishing the continuity of tradition initiated by Nihal Chand in in in the the representation of the the two endearing and and adorable protagonists sitting love locked on a a a a a a a a a terrace with an an an an equally romantic idyllic Arcadian landscape setting Combining effectively the the conventions of of Rajasthani miniature tradition with the the illusion of of space derived from the the Mughal ateliers the the painting formatted horizontally provides for for compositional space which allows horizontal areas to represent a a a a a a a a a a a a greater part of nature as as as well as as as architecture Despite the the the the the the fact that the the the the the the eye is is led into the the the the the the depth of the the the the the the picture plane the the the the the the two protagonists in in the the the the the the foreground are rendered majestically life size attracting attention immediately as the the focus of the the painting It is a a a a a a a charming intimate moment captured with the the romantic lovers lost in in in in in each other gaze They sit with their arms around each other and a a a a a a a a a a a circular halo composed of grey central area surrounded by a a a a a a a a rim of of orange behind that encompasses both their heads The idea of of halo may have been the Mughal influence indirectly derived from western painting tradition The carpet on on which they are seated is is in in a a a a a a a a combination of greenish blue and cadmium yellow heavily decorated with floral design Around the the periphery of the the carpet are placed white lotus flowers similar to those growing in in in the the water The blue of o Krishna’s skin is is pale and set off with the the lively yellow of his his dhoti that has a a a a a a a a a a golden border With floral mala around his his neck as as as well as as as the long pearl strands with pendants of rubies in each Krishna’s majesty is is is further enhanced by his erect posture and and the languorous garment that gracefully flows around his his neck and and taken over his his right arm arm bordered heavily in in in gold Radha sitting in in in close proximity to him him and with her arms around him him wears a a a a a a a a a a a a a similar coloured ghagra as the dhoti of Krishna and a a a a a a a a a a a a a diaphanous transparent odhini which appears colourless is heavily picked out in in white printed dots Her ornaments are frugal with just the the elaborate pearl pearl pearl head ornament a a a a a a a a a a a pearl pearl pearl nose ring standing out and and and the the pearl pearl pearl strands around her her neck lost in in in in the intimate embrace The charming lock of hair kissing her her cheek enhances the the the love moment Both of them rest on the the the large heavy green and yellow textile covered bolster Immediately behind them is the the the the red wooden painted parapet of the the the the terrace and beyond the the the the thick grove of of of banana plantations The close knit leaves of of of the the plants have the the allusion of of of nature as a a a a a a a a a a a a metaphor for the the intimacy of the the love locked couple 160