Rathore | 145

CHAPTER 5

DEPICTION OF ABHISARIKA IN PRACTICE

AND HER PICTORIAL VALUES

 Rathore | 146

O Madhava, how shall I tell you of my terror?

I could not describe my coming here
if I had a million tongues.
When I left my room and saw the darkness I trembled:
I could not see the path,
there were snakes that writhed round my ankles!
I was alone, a woman; the night was so dark,
the forest so dense and gloomy, and I had so far to go.
The rain was pouring down --
which path should I take?
My feet were muddy
and burning where thorns had scratched them.
But I had the hope of seeing you, none of it mattered,
and now my terror seems far away. . . .
When the sound of your flute reaches my ears
it compels me to leave my home, my friends,
it draws me into the dark toward you.
I no longer count the pain of coming here,
says Govinda-dasa (Dimock, Edward, and Levertov 21)
 Rathore | 147

CHAPTER 5

DEPICTION OF ABHISARIKA IN PRACTICE AND HER

PICTORIAL VALUES

A woman, who due to love or infatuation is attracted to her lover and gives

up modesty for going out to meet him, is called Abhisarika, a heroine secretly moving

to her lover (Ghosh 469).

hita tain kai mada madana tain piya son milai ju jaai

so kahiye Abhisarika barani trividhi banaayi

(Coomaraswamy 25)

The Abhisarika Nayika, a prehistoric image of love in Sanskrit poetics has

been copiously represented and portrayed in modern-day expressions as a practical

Nayika who is aware of what she is doing. She is a woman who comes to the decision

of changing her state of separation. Her name originates from the Sanskrit verb

meaning to go towards, the one who decides to go forward for her love. She is the

most beautiful woman category defined as the lady who herself wish to meet her lover

goes out or calls him:

(Rahi 53)

The Abhisarika appears in various art forms as an image of contravention in a

beautiful way, always journeying walking through the forest as her devotion and

commitment is steady and unwavering. Her actions classified in classical language as:

- - -

(Rahi, Pahari Miniature 53)

 Rathore | 148

The Abhisarika is the most striking that remained an immense preferred and

desired one from all the nayikas that has been described in poetic works or the ancient

literatures. The artists whether poet, painter, sculptor, writer, dancer or any other has

been able to express her in their own medium. Keshavadasa and other known and

unknown poets and writers build up this particular theme Abhisarika and to expand

the context, they gave another several twists to her. In poems and tales she is

mentioned walking across the lonely and scary places to meet her lover and spend

whole night with him. In music she admirably develops with notes and words of

expression and in dance with various posture, gesture and movement, she articulates

the expression of breaking the social tradition and customs that prevent her from the

union. She is continuously wandering in this manner through the ages and artists

through their art are just continuing her aroma in their own ways.

The text that speaks of Abhisarika provides a number of abundant narratives

and miscellaneous interpretations. And creates a world where each and every element

is found in profusion and abundance but synchronizing form, which sometimes seems

like a chaos. There are several viewpoints of inflowing into paintings where even a

single constituent can open out parallel narratives and stories within the stories come

forward, as if a hundreds of tales are interlinked together. Painter actually plays the

role of a story teller in a painting who with his surprising imagination and its

implication into various forms and their version provides numerous narratives with a

deep meaning poured into each element that gives the resonance of harmony. The

artists appear as if they were very much aware of the textual descriptions and the

iconographies of Abhisarika. Few of the artworks looks as if do not belong to the text

thematically, the painter might have decided to go beyond that is referred in

literatures, to create something of his own. As if he would have found anything left
 Rathore | 149

unsaid by the poet that he decided to portray in his own manner. She has been

illustrated with full of pictorial possibilities and thus looks dramatic and spectacular.

And described as a single minded determined nayika who does not even notice what

comes in her dangerous path and this attitude of her became the subject of

conversation among those who felt and viewed her continuing her journey. She

fabulously dressed and ornamented, surprise her beloved by her audacious and desire.

To depict her audacity artist expertly illustrated her sometimes tricking her parents or

family members by giving false excuses to them for going out to meet her lover.

She has been discussed and portrayed as sturdy unwavering lady with firm and

determined mind, her promises steadfast and love unshakable. She has so strong belief

that no hazard can discourage or frighten her and thus setting off for a pre-decided

destination she daringly crosses all the dangers of the night unafraid of the risks,

leaving modesty and pride behind for love, desire or passion, uncaring of the society

and people. She is smashed or highly distressed with the feeling of love and keen

desire of union. Passionate with the intention and overwhelming wish of meeting with

her beloved, she goes out of her home and undertakes risky passages during day,

dusk, dark or moonlit night when the darkness turns tempestuous. She moves through

the fearsome forest braving all its risks and is not discouraged by anything, neither the

raging storm, the mystifying hours of darkness, nor the spirits, goblins, evil souls,

snakes, witches, ghosts or wild animals that stops her trail. These creatures of the

night are expressed by the poets and writers dramatic and vivacious with prospect,

rejoicing in her every step. Artists composed a wonderful surrounding to illustrate her

with foggy and hazy swirling clouds with intermittent blinking flashes of lightning,

her dress radiating in the darkness, her skirt sometimes shown lifted with one hand to

make speedy walk on the wet night easily and sometimes caught in the thorns of
 Rathore | 150

bushes. Her jewelleries falls off her body as she rushes and the snakes met in her path

are sometimes smashed under her feet. Very interesting placement of the ogress

entwining around the tree trunk most of the time or hanging and lurking behind the

rocks staring at the nayika can also be seen in the abhisarika illustrations. The clouds

and lightning in few paintings, looks unique because of the fresh in their simplicity of

formation. The writers and poets gave the description of flares of lightning in the dark

clouds and same was illustrated by the painters very cleverly whenever they painted

abhisarika. And thus it is believed that lightning has sympathy with the lady going to

meet her love and thus it throws light to show her way just to support her.

There are some places mentioned by Vishvanath and Keshavadasa in their

literatures where Abhisarika meets her lover like fields, large wells in which there are

steps to descend and bathe, funeral places and cemeteries, forests, temples, the house

of a female messenger, riversides, lonely houses far from the city or town, and so on

(Bahadur xxv). Thus literatures help the artists to imagine and portray the nayika at

suitable places. A very common depiction of this nayika is of a girl trying to remove a

thorn from the sole of her foot. In poetries she also appears blaming her noise making

anklets and bangles, and for this reason removing them while walking, as their sound

reveals her wanderings to snooping society and for this few painters painted her

adorning very few jewellery that do not makes sound. The need for silence and

secrecy of the journey is due to several factors which are also mentioned in the texts.

Traditionally, a woman is believed to be the reserved shy partner, whose roaming out

alone is considered unwise and audacious. And in the case of Radha or the lady

similar to her who is married to the other man and loves someone else, she has to

undergo the criticism and condemnation of people over this extra marital relationship.

Therefore, depending on her maturity and experience of life, the Abhisarika goes
 Rathore | 151

through two contradictory notions. One is her innate hesitation to confront the society

and its boorish system or regulations and the other is the overpowering love that

makes her fearless and compels her to believe that there is no need to hide her

feelings.

Abhisarika can be seen best painted in Pahari paintings. Abhisarika who

represents the aroused nayika appears most frequently in Kangra art. The Kangra

artist uses the well knit phrases written for her to portray a love- driven nayika who is

rushing against all probabilities to meet her nayaka in very beautiful manner. She has

been depicted with her common and renowned characteristic of wearing the dark

coloured dupatta or a veil generally blue, revealing deeper levels of her love.

Beautifully ornamented she walks with elegance, sometimes shown turning and

looking back for a moment at the snake or something else, but do not get frightened

by it. The chirping crickets and glittery lightning in the clouds complete the

threatening darkness of the night complementing the abhisarika in her audacious

journey. In number of paintings she comes into sight as a pale figure that is painted in

such a manner that she appears diminishing the dimness of a stormy, demon-infested

night and glowing to draw the attraction of the spectator. In other few paintings she

could appear calm and serene as the moonlight through which she journeys, resolves

her task. Of course the outer landscape she passes through is a metaphor of the inner,

the flimsy and fast beating heart of the nayika.

In a song sung by Telugu poet saint of India Annamacharya, Abhisarika

Nayika giving reason or excuse of taking risk to reach at the nayakas place after

facing many hurdles says that:

 Rathore | 152

When out of my desperation

I tried to stay back

My passion crept on me

Like the row of ants (Roy 148).

She (Abhisarika) is sharing her condition with the nayaka that I decided to

return back when got nervous and horrified of scary pathway but couldnt stop myself

because of your love which was crawling in my whole body and it was a feeling as if

the ants contact with someones body rousing the voracious and imperishable

excitement.

Vaishnava poet of Hinduism Vidyapati Thakur writes about his Nayikas

(Radhas) Abhisara as:

Grainier than a royal olifant, more graceful than the swan,

She goes to keep her tryst: Her glorious body far surpasses any golden bud,

Or flawless flash of lightening.

Radhas love is young, No obstacles can stay her:

She has started all alone, Reckless of any path.

She casts the rings and bracelets from her hands,

And leaves them all along the road.

The jeweled anklets from her feet

She flings afar and hurries on: The night is very thick and black,

But Love lights up the gloom.

The way is fraught with dangers

Which loves weapon overcomes (Thakura 63-64)

 Rathore | 153

^^Loku dh rqyuk esa vf/kd lqanj og viuh jkg pyrh pyh tkrh gS

mldk pednkj ;'kLoh ru fdlh Hkh lqugjh dyh ;k fctyh ds =qfV

jfgr ned ls dgha c<+dj gS

jk/kk dk izse ;qok ,oa r:.k gS] dksbZ ck/kk mls jksd ugha ldrh%

og vdsys gh 'kq:vkr djrh gS vkSj pyrh pyh tkrh gS

og vdsys gh fudy iM+h gS fcuk fdlh Hk; ds jkLrs dh ijokg djs

og gkFkks ls NYys ,oa daxu rFkk iSjks ls iktsc lM+d fdukjs NksM+
nwj nkSM+h

pyh tkrh gS D;wdh jk=h va/ksjh vkSj Hk;kog gSA

fdUrq I;kj ml va/kdkj dks izdkf'kr dj nsxk ,slk mls fo'okl jgrk gS

Hkys gh jkLrk [krjksa ls Hkkjk gks fdUrq I;kj ,d ,slk 'kL= gS tks ml ij

dkcw j[krk gSA** (Thakur, songs of the love 63-64)

Rathore | 154
 Rathore | 155

CATEGORIZATION OF ABHISARIKA AND HER PICTORIAL

VALUES

(A) According to her Behaviour

A woman who knows how and when to do abhisaran or convergence, can

only play the role of Abhisarika. A classification of different kinds of women who

goes out to meet their lovers has been given by Keshavadasa. Hence classifications of

abhisarika was provided artists variety of situations to work upon. She is divided into

three categories i.e. Svakiya Abhisarika Nayika, Parakiya Abhisarika Nayika and

Samanya Abhisarika Nayika according to her Behaviour and the Response to Love:

Svakiya Abhisarika Nayika: She is the one who walks shyly along with her

friends, to her meeting place with hesitating steps. Her behavior towards her

lover remains constant in heart, thoughts, deed and one who spends her time

serving her partner passing through every circumstance sincerely. In sviya

nayikas case, poet was to emphasize a womans modesty, as Mughal poet

Rahim does in the couplet saying that:

A shadow of a glance hovers at the corner of her eye.

When she moves you cant even hear her anklets (Busch 267- 309)

Parakiya or Anya Abhisarika Nayika- She is married but is in love with

another man. She walks hesitantly with her reliable friends or maid servants.
 Rathore | 156

Parakiya Abhisarika Nayika

Figure XXXII
Parakiya Abhisarika Nayika, Rasamanjari, Basohli, Pahari, A.D. 1695,
Collection-Dogra Art Gallery, Jammu

She is Praudha Nayika who willingly possesses courage to take risk for her

love more than the other abhisarika type. Here nayika seems to be in a kind of

attitude as she is portrayed with the right hand raised and head turning back in the

gesture of conveying some words

to her sakhi. It appears as if her

sakhi is arguing her and warning

her of nights dangers and

abhisarika is turning back

haughtily, saying that when one is Detail of Figure XXXII

eager, even the clouds are like the sun, nights as day, darkness as light, the forest as a

home (B. N. Goswamy). Her facial expressions reflect her confidence and
 Rathore | 157

assurance of her doing. The figures are squat, faces fleshy and heavy modeled with

double chin, straight long nose and very small red line for the lip rendering.

Tonal variation can be find in all the three figures in the scene as main nayika

who is abhisarika here is of bright glowing colour than the skin tone of her

companion, whereas the nayaka is

blue bodied similar to that of

Krishna because blue colour gives

the character equal to the supreme

god. Both the female figures are

draped and adorned in similar dress

and jewelries which suggests their

equal status. There is ring worn by

the nayika in toe finger, bichhiya

which is clearly visible or may be

artist intentionally painted it and

displayed it by lifting her lower Detail of Figure XXXII

garment up. And this is the only difference between the two ladies which suggests

that our main nayika who is abhisarika here is married because in Hindu tradition this

is a compulsory ornament to be worn by married ones only. And thus the whole scene

reveals the mystery of this nayika. She is married and having extra marital

relationship. And to meet her partner she is moving out in the dark night hiding from

the social. The figure of another lady has been given equal dominance in the scene by

the artist is in the gesture of persuading nayika not to step out in stormy and rainy

night. But the nayika is portrayed here boldly, fearlessly and purposefully stepping
 Rathore | 158

ahead towards the cluster of trees artfully lowered at left, where lover is illustrated

waiting in the forest.

Scene of a dark night with heavy clouds and lightning depicted in zigzag way

bears the golden ochre colour with terrible sparkling to signify the frightful

thunderbolt. Rain can also be observed here in pearl like white dotted strings hanging

down from the clouds.

Snake like flashes of

lightning at the top and

clouds themselves are

clearly visible which are

acting like the obstacles on

her path as if are trying to

threaten her.

This painting shows richness in its foliage

types with trees in greater variety and of different

colours. The trees with red flowers very much

resembles Borass (Rhododendron arboretum)

commonly found in the Western Himalayas.

Flowering trees appear in varieties, some are of

mangoes, Asoka trees and weeping willows in

diminutive sizes. Some of the symbolic

representations of trees have broad leaves which take

an oval form and bend slightly at the top (C. Singh,

A review of Basohli style in Indian Painting). This is a Details of Figure XXXII

 Rathore | 159

very common style of Basohli tradition to imply a crowded forest by introducing few

trees together one behind the other creating an atmosphere of lush greenery. And the

outer forest or the architectural building, both are actually generating suitable

background rather than surpassing the main scene because artist cleverly painted the

trees and the pavilion at corner ends of the picture, whereas central position is given

to the characters of the scene. The surging land surface is established to relieve the

solid colour patches of moss green trimmed grass. Again red and yellow have been

given prominence.

Typical Basohli style bold red border with the architectural canopies and

turrets lay on top to the border.

Here the architecture is of

developed style having double

storey with intricate elements

designed in different colours like

green, yellow, crimson and orange

against white giving impression of

marble building. The door is left

half opened or half closed to give

viewer the hint of puzzlement and

confusion of nayikas mind, the

condition of going out or not. One

careful observation of the artist can

be find here under white canopy Detail of Figure XXXII

projecting out of the building, that there is no raindrop, which is very obvious, but he

could have not left the space blank if not done the painting vigilantly and watchfully.
 Rathore | 160

Samanya or Sadharana Abhisarika Nayika - She belongs to any man for a

price but is well versed in arts and courteous, a courtesan who usually unites

with the hero for self betterment with her charm.

Samanya Abhisarika Nayika

Figure XXXIII
Samanya Abhisarika Nayika, Rasamanjari, Basohli, Pahari, A.D. 1695,
Collection-Dogra Art Gallery, Jammu

Basohli element of treating the subject with a moving innocence and

tenderness and the compositions carefully planned is clearly visible here. The figures

are not looking to the viewer but instead, in profile looking each other. Attention is

focused on the confrontation between them.

And this kind of supercharged images has been worked out to put across the

vital mood of the literatures and poetries and to go with artistic aesthetic intensity of

the painters imagination.

 Rathore | 161

The nayika here stands against bright mustard yellow background that

suggests the noon time with bright sunlight outside. She is wearing Mughal style

costume with striped payjaami the lower garment covering legs fully and long upper

garment, transparent and

opened below waist. This

full sleeved dress peshwaz

can easily be seen in Mughal

paintings. But she is adorned

with the ring in toe finger,

bichhiya, which is not found

in Mughal custom. Raising

her right hand in gesture of

giving some indication, she

is gazing at the nayaka with

those languid whispering

eyes. A golden veil is

thrown elegantly across one

shoulder of hers, much in the Detail of Figure XXXIII

manner of some aristocratic noble lady. But her feet are bare that suggests two things,

one is that she might not belong to upper class and second that she being an

Abhisarika, running in hasten forgot to wear her slippers. Her jewellery with beetle

wing cases hangings, imitates the luster of emeralds. Her pearl like white dotted

ornaments are skillfully painted by dropping thick white pigment from the brush in

round shape.
 Rathore | 162

The nayaka is seated in a verdant forest sort of garden filled with green leaves

laden rug well knit together

which is painted flat and frontal

in the scene as it is a very

common element that can be

noticed in paintings of early and

mid 17th century, the flatness and

frontality of the bowers and other

props used there. It gives a feel

of the lovers love nest where

nayaka is illustrated seated

against a tree, so trickily painted

like a plump bolster pillow Detail of Figure XXXIII

behind him. Few ornaments kept in front of him suggests that jewels like shown here

of precious stones and pearls were kind of symbol of gift for the lady. These were the

ways that Vatsyayana too described in which lover used to express his desire and

persuade her by offering her expensive gifts like jewels and all that turns the mind of

lady towards her lover.

The trees and shrubs of appealing shapes are filled in with rich shades of

colours that are contributing in creating the romantic atmosphere. Vegetation at the

distance are actually creating the space, first because of their positioning that are

slight sloping and second the overlapping figure of nayaka that appears in front and

cluster of trees behind. Even the tonal value of only green colour has been used to

produce variety in trees. The shapes of leaves are quite animated yet have a sense of

naturalism manner as can be noticed in banana and Asoka trees. Flanking the nayaka
 Rathore | 163

on either side raises thin and elongated cypress act like guard looking in all sides for

the precautions. The horizon is shown high with few patches of blue and white here

and there in a thin band above. Artist had crafted the natural ground of green patches

of grass in up and down shape with such few strokes that an illusion of uneven sliding

surface diminishes the flatness of the picture.

The white marbled

architecture and the costumes here

suggest a familiarity with Mughal

fashions and even in such details as

the use of shading. The Mughal

influence was responsible for the

enhancement and sophistication

found in the palette of Basohli

paintings but the figures and

costumes only have touch of

Mughal and the other elements of

composition like the motifs used or

stylization in Basohli paintings

have nothing to do in common with

Mughal painting. The whole

compositional setting of human

figures, treatment of vegetation and

application of strong primary Detail of Figure XXXIII

colours enhances the picturesque charm admiring each other.

 Rathore | 164

(B) According to her Age and Experience

Mugdha Abhisarika (Innocent) - She is immature, inexpert and introverted in

expressing her love. Further speaking of Mugdha in general Keshavadasa says

that even in a dream she finds no pleasure in entering into amorous dalliance,

and that mostly she does not show any arrogance, and even if she should, her

arrogance can be removed like that of a childs by frightening her (Bahadur,

The Rasikapriya xxi).

Mugdha Abhisarika Nayika

Figure XXXIV
Mugdha Abhisarika Nayika, Jammu area or Mankot, Punjab Hills, about 173040, Opaque
watercolor on paper-18.6 x 28.6 cm, Given to the MFA in 1917

In Bhanudattas Rasamanjari, To shy nayika, Sakhi says that:

nwrh fo|qrnqikxrk lgtjh jkf=% lgLFkkf;uh

nSoKks fnjkfr Lousu pyn% izLFkkuosyka jkqHkke~ A

 Rathore | 165

ckpa eazxfydha ruksfr frfejLrksekssfi f>fYyjostkZrkss;a

nf;rkfHklkjle;ks eqX/ks foeqap =ike~ A

Sakhi says to nayika that my friend, lightning has brought invitation for you to meet

your lover and night like a companion will direct you. The cloud through its thunder

foresees the auspicious moment of your departure. The dimness of the night is

delivering blessings through the chirping of the crickets. All are guiding and

supporting you for your tryst. Give up your nervousness and shyness as this is the

proper time to go out and meet your beloved (Randhawa and Bhambri xx).

She is portrayed here young who has entered into adolescence and left her

girlhood behind, seems inexpert and bashful in love and unable to express her feelings

as is hiding her face into the

veil. And thus she is not

responsive of how she is to

react to love. Figures and other

supporting elements in this

composition are perfectly

collected and placed in the

scene, whether human forms,

architecture, nature, utensils

and rugs, bolsters or bed etc. Detail of Figure XXXIV

Very interestingly artist placed snake near nayikas foot to reflect her daring of

overlooking the hurdles of any kind, whether dark horrifying or the snake beneath her

legs.
 Rathore | 166

Here in the painting, nayika has reached her lovers place and her nayaka

seems to be surprised to find her at the tryst in rainy and stormy night. He lifts his

hands in wonder and admiration at her courage. The movement of the figures is slow

whether of nayaka or nayika, but they look more dignified. This painting has a crisp

of various architectural ornamentation like the brick architecture painted behind,

decorated pillars and

the designs of carpet

and bedspread

having bold motif

pattern which tells

that the pleasing

decorative quality Detail of Figure XXXIV

was of great interest. Niche and glass wares laden with fruit basket are also painted to

show how tradition continued in this period. Two distinct features, the milder colour

scheme of the painting and the more refined facial types of nayaka and nayika,

displays more deeper understanding of artist in executing the painting.

Dark colour is used to depict night in place of warm colour, which appears

cooler than the

original Basohli

palette. The

formation of

whirl clouds

above at the left Detail of Figure XXXIV

corner of the painting contrasts with the anxiety and restlessness of nayikas heart. In

the same way orange is less intense than bright red. The colour palette of the time is
 Rathore | 167

more radiant and warm with a continuous stress on the purity of colour tones. The

human figures are imbued with more dignified movements which are very much

realistic. Basohli paintings of this particular period show more developed artistic

sense.

All these features are knitted here that gives a brilliant impression. The nayaka

and nayika also looks very

pleasing in their appearance,

yet their large eyes and a

lock of curly hair beside the

nayakas ear with receding

forehead and yellow mark of

tilak on it are strong

descendant treatments of

Basohli tradition (C. Singh,

Centres of Pahari Painting

51). Magnificent Mughal

style turban and full sleeved

upper garment jama with

patka in front, all bear a Detail of Figure XXXIV

resemblance to the thundering clouds above as the colour palette is same. May be

painter used various tones of grays intentionally to echo the rumbling of their desires

and intentions.

Depiction of nayika in fact is so beautiful that portrayed in elegantly shying

yet presentable and expressive gesture, she appears typical Indian lady. This particular
 Rathore | 168

scene is restricted to the depiction of bed chamber because it is scene not only of

lovers regular meeting, but of their

mood of union. Even the use of red

colour that dominates the picture has

been used by the artist to show the

blaze in the lovers heart for the

union. Both the lovers seems that they

want to come close but there is some

hesitation in them and this twofold

situation of their minds is depicted

symbolically through half closed door

which is giving space to enter but not

entirely. Here mood has been created

by the artist as he tried to portray

more and more subtle feelings and

avoided the eroticism. Detail of Figure XXXIV

 Rathore | 169

Another Mugdha Abhisarika Nayika

Figure XXXV
Mugdha Abhisarika Nayika (Titled as Meeting of lovers in rain) Based on Bhumidatas
Rasamanjari, Basohli, Pahari, circa A.D. 1695, Collection- National Museum, New Delhi

The above picture is of Mugdha Abhisarika who is quite similar to the figure

XXXIV of Mugdha of Jammu region from Bhumidatas Rasamanjari. Common

features are the space division through interior of pavilion with nayaka seated on a

bed and nayika standing at the open area to show her arrival. Very small area has been

given to the sky above in both the paintings. Both the nayakas are wearing turbans on

their head of different styles. Full sleeved printed jama, the upper garment and

vertical striped payzami in both the paintings appear Mughal in character. Though

their settings appear similar at first glance, both are very much different to each other.

The architecture is totally dissimilar which suggest the regional variation. Even the
 Rathore | 170

figures are totally distinct in every sense, whether body formation, costumes,

jewelleries, posture, or the age that has been displayed in both the pictures. Nayaka

and nayika appear quite mature here in Basohli picture as compared to the Jammu

one, where both look very young as if they have just entered into the adolescence. The

gesture and seated posture of man in Basohli painting is very confident as if he

Detail of Figure XXXV (Basohli) Detail of Figure XXXIV (Jammu)

expected nayikas arrival, whereas Jammu nayaka is about to stand in admiration and

wonder of nayikas dare to come and meet him. It suggests quite immature or a

reaction of very young boy who was not expecting this audacious step taken by her.

Both the nayakas are clad in Mughal attire, but the man in Basohli painting looks

much closer to a Mughal king because of his long turban covering his head

completely, the necklace he is wearing with a pendant at the centre probably has some

nail of some animal or bird.

 Rathore | 171

Nayika in the Jammu painting is clearly very young in the way she is standing

holding the veil hiding her face. Even her expressions are very bashful which suggests

her juvenile and amateurish appearance in expressing her love. She is so shy seeing

her lover that whether

its raining and she is

getting wet, she is not

concerned. She is not

even getting a feeling

that she is standing on

snake. To its contrast,

Basohli nayika appear

self-assured and

poised as her standing

Detail of Figure XXXV Detail of Figure XXXIV
pose with the lower (Basohli) (Jammu)

garment held up to the knee shows her boldness and also that she has not came first

time to meet a man, in fact she is open to express the troubles she faced at her journey

and about how she reached to his place in such a heavy rain.

The rendering of figures in both the scenes are absolutely diverse. Figures of

Basohli and their postures whether seated or standing, are not as sophisticated and

refined as of the Jammu one. Though the artists drawing skill and use of line in the

Basohli painting is of good quality, figures in coloured painting are much beautiful

and elegant aesthetically. It appears that Basohli School of painting is entirely

different from other Pahari school in technique, colours, features of men and women

(Kumar 59), which is clear from these two paintings of Pahari style but from different

areas.
 Rathore | 172

The architectural setting is also different in both the scenes. Emphasis on

ornate building structure can be noticed in the painting here and very simple yet

elegant canopy and pillars can be seen in the Jammu one. Basohli features like pearl

like dotted rain, ornate pillars and bed covers, decorated walls with niches on it, small

band for horizon above and are clearly visible in both the scenes. An oblong format is

preferred, with the picture space usually set down by architectural detail, which

overlaps the red border of the picture. Raindrops are painted very clearly to the

exterior space covering each portion like the little space between horizon and pavilion

has also been filled with the rain drops.

Detail of Figure XXXV Detail of Figure XXXIV

(Basohli) (Jammu)
 Rathore | 173

Another Mugdha Abhisarika Nayika

Figure XXXVI

Mugdha Abhisarika Nayika, Rasamanjari, Basohli, Pahari, A.D.

1695, Collection-Dogra Art Gallery, Jammu

Mugdha abhisarika nayika in this painting is seated in resting position, posed

in a composed manner and listening to her

companion which suggests that she is probably

Ativishrabdha navodha nayika who has full

faith on her lover because her gesture of hand

placed on the bolster behind gives a hint of her

confidence on her love. The peculiar sloping

forehead and very large eyes are especially the

characteristics of the portraits of the Basohli Detail of Figure XXXVI

style. This painting having idyllic surrounding gives the hint of princely environment

that is manifest in the details of heavy jewellery and dress as well as imposing the
 Rathore | 174

architecture and other helping elements like a curtain folded upward stylistically

painted behind and the red bordered beautifully patterned carpet out of flora and fauna

motifs.

The peculiar character of the architecture, with turrets, paneled doors, latticed

windows and plinths ending in protruding edges, pillars and niches with glass wares,

designed with a decorative simplicity. The architecture is over laden with decorative

designs in different

colours. Designs of

bold and endless

variety give an

impression of inlay

work. The canopy

of the building in

this painting

intrudes into the

border which is

very interesting

typical Basohli Detail of Figure XXXVI

element. This painting can be marked by striking blazing colors, red borders, bold

lines and rich symbols. The painting is painted in the primary colors of red, blue and

yellow and silver or grayish is used as well as golden or ochre yellow has been used.

Preference to the strong tonalities is given to the painting by introducing

complimentary tones and pleasant effects given to create ambiance.

 Rathore | 175

The youthful and lively figures of young girls are so neatly arranged and set

out prominently in the pavilion that in spite of their heavy ornaments and rich heavy

attires or the decorated architectural details, the main and internal feeling of the scene

doesnt loses its aroma. This is the scene before going out for the meeting. The

gesture of the maid

who is talking and

pointing outside is

probably advising

her not to go out as

there is heavy rain,

but the nayika is

pretending as if she Detail of Figure XXXVI

does not afraid of such obstacles. She is listening but seems as if ignoring her friends

words or advice and this suggests nayikas attitude of courage.

The waves of the scalloped clouds shown with an intense sense of colour

pattern make an appropriate fringe to the scene like a rolled over curtain of a theater.

Detail of Figure XXXVI

 Rathore | 176

Madhya Abhisarika (Adolescent) to a certain extent she is skillful in love.

Vishvanatha gave a description on her: At the time of lovemaking that lustful

woman, whose passion was aroused, showed such uncommon ingenuity, that

many a time her tamed pigeons, imitating her cries of ecstasy, seemed as if they

were her disciples (Bahadur, The Rasikapriya xxii). Keshavadasa too described

in Rasikapriya: seven kinds of lovemaking in thought and action, and roles of

the lovers; in which bashfulness is forgotten, clothes and ornaments lie

scattered, hearing the shouts of ecstasy of which even the birds begin to shout-

that indeed is true lovemaking, all else is mere observance (Bahadur, The

Rasikapriya xxii).

Madhya Abhisarika Nayika

Figure XXXVII
Madhya Abhisarika Nayika, Rasamanjari, Basohli, Pahari, A.D. 1695,
Collection-Dogra Art Gallery, Jammu
 Rathore | 177

Hkhrkfl uSo HkwtxkRifFk en~HkqtL;

laxs iqu% defi dEieqjhdjksfi A

vEHkks/kj/ofufHkj{kqfHkrkfl rfUo!

e}kfp lkfpoknukfl fdekpjkfe AA

O my slender beauty, why this trembling, you, whom even the snakes could not

frighten on the way, now tremble at the mere touch of my arm. The thundering clouds

could not shake you, and yet you turn your face away at a mere word of love. What

am I to do? Bhanudattas Rasamanjari (Randhawa and Bhambri, Bashohli Paintings

91)

Bhanudatta in the Rasamanjari with the style of the language applied tinges of

sensation and expressions that hold the reader confined with a sensitive imagery of

the romantic heroine in various situations and moods. Artists of the Basohli atelier

converted the sensitive poetry of the Rasamanjari into visually evocative paintings.

And the Basohli Rasamanjari

nayikas stand out as earthy,

robust, self- assured woman and

capture the viewers attention.

The composition is very simple Detail of Figure XXXVII

as Basohli paintings consists of rectangular frame with a beautiful ornate architecture

in square form. Primary colours have been used very boldly and juxtaposed patches in

the form of blocks of solid contrasting colours and various decorative elements that

provide an extraordinary vigor charisma to the paintings. Here, a beautiful elegant

lady is portrayed by the artist in vigorous manner who seems daring, self-assured and

forward in actions, the one who generously display her obsession through few
 Rathore | 178

gestures and facial expressions. The faces of the figures are characterized by the

receding foreheads and large expressive eyes, shaped like lotus petals.

The couple is placed on the characteristic carpet, having broad border and bold

flora and fauna motifs. Both the figures are seated with door opened behind which is

suggesting their courage and confidence. In producing the illustrations, the artists

made Krishna the

central figure to

celebrate him as

the most skilled

lover just to put

him in a variety

of romantic and

poetic situations.

As a result Detail of Figure XXXVII

Krishna was portrayed in a number of highly conflicting roles- as husband, rake,

seducer, paramour and gallant (Archer). Basohli paintings of this period suggest that

blue bodied nayaka was popular amongst the artists. Similarly the nayaka in this

picture forms a bold blue patch that makes a pleasing contrast. He appears more as a

symbol than similar to Krishna, conveying the feeling of divinity in a precise manner

as it is the subject of secular romantic poetry. They are bejeweled from head to toe

and generally placed against the strong primary colours like red, ochre yellow or blue,

but here use of flat white reflects tranquility and serenity of the couples heart. As

Madhya Nayika is the one who reacts to her husbands love, here too with the raised

hand nayaka is probably persuading the nayika to come close and her gesture also
 Rathore | 179

suggests the clear indication of endorsement. She seems as if is partly experienced in

love and possesses desire and shyness in equal measures.

The palette of the painting glows with strong colours. Artist has successfully

brought a forceful effect with a few colours against a plain bold dark background to

bring the mood of night that contrasts with the spiraling clouds and the strokes of

bright lightning which looks

like the cobra at the ground.

The sky is illustrated with

blue white clouds floating

over the dark background.

The snake painted against

black background is actually

symbolic because it is

associated with Abhisarika

strongly according to the

literatures. The artist has not

left even a single element Detail of Figure XXXVII

untouched in the painting. He alone without any forest or ruthless atmosphere at the

background explaining the hazardous journey of the nayika, as it is mentioned in

literatures that whenever Abhisarika goes out in dark night, cobras stop her way but

she crosses the path and reaches the tryst of her lover without any fear. Daring the

hazards of rain, thunder and lightning she has reached the pavilion of her beloved. Her

unafraid fearless face suggests that she either didnt notice that snake or noticed but

did not scared of it. The courage which inspired her during the dangerous journey is

no more when she meets her lover. The terror of the nayikas passage is behind her
 Rathore | 180

and she is now with her lover, but despite all, she shudders at the lovers touch.

Nayaka is surprised of her coyness and bashfulness when she already sits in front of

him. The contradictory approach of the young lady marked on the one hand by over

powering perils and on the other by shyness, has enthralled innumerable Indian poets

and painters. Also as mentioned on the back of the folio in Sanskrit, the lover

expresses his wonder and gratitude for her courage.

The picture was intended to stress the nayikas charm fused by the artist

illustrated into a single harmony. Snakes ripples also imitate the young curves and

trailing body of the lady if watched closely. There is sophistication in emotions and

their expressions but overall representation is crude. On the whole, this picture

presents a folkish adaptation of archetypal standard tradition of the Basohli style.

Few lines suggest the same:

Lying on their bed the two embrace

The girl is lovely as a cobra

A snake shines like lightning in the stream

Your body is soft and lustrous as a snake (Garhwal Painting)

 Rathore | 181

Another Madhya Abhisarika Nayika

Figure XXXVIII
Madhya Abhisarika Nayika, From Rasamanjari of Bhanudatta series, Mewar,
Rajasthan, ca. 1630, Collection- University of Michigan Museum of Art, Ann
Arbor, U.S.

The text written on the top of the painting in black against the yellow ground

suggests and indicates that she is Madhya Abhisarika. The association between the

verse and the picture is established at primary level of composition by the placement

of the couple and the inclusion of the smaller elements within the picture. The artist is

capable to portray the literary essence or the real meaning of the verse.
 Rathore | 182

The painting is absolutely different in characteristics and features from that of

Pahari. The style is bold, forceful and dramatic with flat backgrounds of brilliant

colours against which the figures

stand out prominently. Bold lines,

emotionally charged faces, rustic

features, robust figures and basic

bright colours like brilliant red, green,

bright-blue colours have been

profusely used. The strong vigour and

intensity of colour point to a local

folk tradition. The arrangement of Detail of Figure XXXVIII

nayaka and nayika figures as well as features are simple like long noses, oval shaped

faces, and fish-like staring eyes. The figures appear to have been cast in a stage

performance with concise and expressive gestures indistinctly demonstrating the

tradition of puppetry and drama. The female has been drawn relatively smaller than

the male. The nayaka is in typical Mewar attire like loose fitting garment,

embroidered patka and turban and the nayika

is in loose long skirt, choli and transparent

odhni.

The flowers are drawn on an ornate

tree and Prof. Goetz finds them in

conventionalized manner, over- elaborate,

rather crude execution, petty and neurasthenic

in style. Also W.G. Archer saw them as a style Detail of Figure XXXVIII

of virile intensity, characterized by glowing passionate colour, deft rhythm and robust
 Rathore | 183

simplification (Mathur 28). The painting is lacking in the higher technical excellence

and finishing but its glowing colours, attractive stylization and decorative yet simple

rendering catches the attention.

Painting is divided into two sections and the artist beautifully illustrated two

storey architectural building with prominent leading stairways to the lower left of the

painting, which are ascending to the pavilion of the nayaka at upper portion. And

additional details like a

niche with jar, full

blossomed flowers and

other vegetation etc,

are the elements that

are expressing the

feelings. Use of bright

yellow signifies sunny Detail of Figure XXXVIII

day, the exterior scene with Mewari style tree placed at the centre. The two plants

around it appear as if are enjoying the mood of the day that contrasts the mood of

couple above. Both flowering plants leaning slightly in opposite directions are

suggesting the lovers hesitating in getting close. A pair of snakes is also illustrated ,

one emerging for an analogous architectural canopy like structure and another on the

stairs above separated from the one below. The stylistic props used, by and large, help

create the suitable visual outline and subtle gradations. Like here, suggestions of

obstacles in getting paired are made through the elements like plants and snakes.

Painting shows the inventiveness of the artist in its composition. There is a prescribed

visual structural scheme, almost like a fix formula, a stage like setting with a staircase
 Rathore | 184

and opened door, a pavilion and two figures standing in almost similar postures with

the theatrical gesticulation.

Artist placed the lovers in a typical Mewari architectural setting. The upper

portion of the painting contains pavilion and the bed chamber that has a blue bed

Detail of Figure XXXVIII

sheet on bed against the hot red background which strengthens the impression of the

chamber of love. It is symbolic of the act of love to follow. Nayakas conceited pose

and starry eyes with raised eyebrows, on the other hand, are expressive of combat.

The conversation between the two is indicated through their posture and gesture.

Interesting is the courage of nayaka while holding nayikas wrist tightly. Seated cross

legged he is trying to pull her to himself and she is finding ways to oppose and refuse

his willing advances. Her resistance does not appears real as her left hand is saying

something else, giving impression of her shyness, which is actually giving consent to

the nayaka. There is animation everywhere, in grabbing the hands of the partner, the

wavy clouds, the two black cobras etc. In fact the fertile flowering plant behind the

nayika is suggesting the romantic overtures about to get successful.

 Rathore | 185

Another Madhya Abhisarika Nayika

Figure XXXIX
Madhya Abhisarika Nayika, From Rasamanjari of Bhanudatta, (Illustration from a rare series of
Maratha Rasamanjari)

The above painting titled as Madhya Abhisarika Nayika is of Maratha and

Deccan style as the Maratha school of art was developed in the 18 th century which

was the derivative of Deccan painting (Bhatia, Khanna, and Sharma 79). The painter

did extremely well in reflecting the concept of Ardharishwara. Couple due to their

unparallel love, achieved the place of the better half in each others bodies. The

costumes and ornaments are important in Maratha paintings which are clearly painted

by the artist.

Here Nayika is clad in saree worn in Maratha style taking the lower portion of

second end at back between the legs tucked inside the waistline. She can be kept in
 Rathore | 186

the category of madhya as the the anchal is over the head. Whereas in case of

praudha, the mature one who does not shows her bashfulness or hesitation after being

close to her beloved, often takes anchal over the head. Here odhni of nayika

fascinates the nayaka which is sliding from her head and she followed by repeated

efforts holding it by her

delicate fingers. The role

of odhni can be witness

in many scenes where

either the odhni itself is

slipping or nayika to

seduce her lover makes

it slip again and again.

These types of

illustrations disclose the

intelligence of nayikas

about their knowledge of Detail of Figure XXXIX

attracting and mesmerizing the lover and the skill of controlling men. Poets and then

painters used it in so striking manner that the whole scene moves around like a drama

in front of the audiences eyes.

Other features of the painting look like of folk type, such as stout and sturdy

figures and their facial features which resemble with that of Malwa School. The

costume of nayaka is completely Maratha type with heavy turban, big moustache and

the jama below. The ornament of the lady, especially the nose ring is of Maratha type.

Here one new thing can be noticed at the foreheads of both nayaka and nayika, a paste

of yellow sandal wood and a red mark applied over it horizontally. One interesting
 Rathore | 187

thing is the reddening of lips which is common in Maratha figures. They used to apply

some type of cosmetic for the colour or betel for the purpose. Revealing and

decorating the breasts appears common which actually arouse and provoke the

passionate feeling of the partner,

while he uncovers them. Besides

wearing colourful garments and

adorning with the jewelleries, one

may observe such additional

beautifying methods to attract each

other. Here in the painting, nayika

is intentionally seated in such a

position that her hands are

controlling the veil from falling Detail of Figure XXXIX

and her torso stretches which arouses and tightens her breasts and thus nayaka looses

his control and grasps them. Both are lost in each others eyes. Artist expressed

impressively the whole scene through the gestures of the hands and fingers quite

impressively.

The nature at the background of the painting is playing an important role in

stimulating the feeling and helping to touch the level of poetic relish. To depict the

day scene, sky is painted in grayish blue colour, with the additional use of white

colour mixed in it and the patches of white colour are left to specify the clouds in post

rainy days. The artist lacks in maintaining the space division as background is

completely painted with cobalt blue leaving the little portion which has been

delineated below with grass on it that gives a hint of ground. Even the architectural

setting does not appear of second storey from where only broad sky is visible. The
 Rathore | 188

landscape is painted with blossomed trees and other plants and flowers to create a

look of forest and the orchard which is required from time unforgettable in history of

love and passion by the love- sick hearts and paramours for the secret meeting. A pair

of bird seated upon the tree is also giving a hint of feeling affection for each other and

they are too coloured in same

combination of red and yellow

winged as of the couples dress

seated under canopy. Ripe

mangoes are used as an analogy

for a womans full breasts (Pande

22). And thus mango blossoms in

the picture have been a significant

erotic symbol in paintings as well

as poetry. In erotic paintings like

the above, such elements are

comprised because they are Detail of Figure XXXIX

favorable to lovemaking scenes. Flowers are symbol of romance which is witnessed

here blooming on plants as expression of the romantic temperament on account of

their aesthetic value and sweet smell. The flowers are generally shown at places to

match the colour of the garment of the main character to make his or her spouse

happy by offering, but here very interestingly flower has been filled in with three

colours i.e. hot red- the colour of nayakas upper garment, yellow- nayikas lower

garment and transparent mauvish pink- nayikas veil. All shades beautifully and very

cleverly knitted together to form one flower like the couple embracing each other so

tightly to become one.

 Rathore | 189

Praglabdha or Praudha Abhisarika is a woman who is mature in the art of

love. Vishvanatha and Keshavadasa described her by saying that she helps

Kamadeva in winning the three worlds completely by various sidelong glances

of her body. But she want to win the heart of Krishna and seize his attention

through the contractions of her playful eyebrows, her tender walk, and the

splendour of her limbs (Bahadur, The Rasikapriya xxiii).

Praudha Abhisarika Nayika

Figure XL
Praudha Abhisarika Nayika, Rasamanjari, Basohli, Pahari, A.D. 1695, Collection-Dogra
Art Gallery, Jammu

^^LQqjnqjlhtHkkjHkaxqjkaxh fdLy;dkseydkfUruk insu

dFk; dFke lgsr xUrqe ;fn u fu'kklq euksjFkks j;% L;kr~**

(Rahi, Pahari Miniature 175)
 Rathore | 190

A striking composition has been given by artist who cautiously interweaved

the numerous elements into a single picture like the royal chamber ornated in typical

Basohli style. Almost all colours like yellow, orange, red and green have been used

for the architecture. One can notice the prominence of white at the background wall of

interior enhances the composition. In Early Rasamanjari series floral and geometrical

patterns in stylized manner can frequently be seen. For example, the projected

canopies, the pillars

placed aside, niches

with fruit basket and

glass with pot,

bordered carpet,

orange exterior wall

with door and

makara (crocodile)

head at the corner of

plinth below the Detail of Figure XL

pavilion. Thus the over-elaborated architectural rudiments suggest the royalty.

The picture has a characteristic Basohli red border on to which the steeples

and other architectural settings can be seen overlapping it as if coming out of the

scene. Even the blue

and white sky at the

top follows the same

tradition and clouds

put out of sight Detail of Figure XL

behind the architecture gives a clue of attempt to bring perspective in the picture.
 Rathore | 191

Essential character for the interpretation of Abhisarika like the rain drops created in

dotted sequence of lines against dark night scene outside and lightning swaying like

snakes in the sky above is noticed.

The three ladies standing wearing colorful attire are reflecting out of the plain

white background. White pearl like dots and fragments of beetle wings are applied by

the artist to represent jewellery. Nayika has been depicted as Praudha Abhisarika with

all necessary things. Her grown-up is shown by the confident and relaxed standing

attitude and calm

expressions. Door

is shown half

opened, which

reflects her state

of mind that

contrasts with the

swirling of clouds

at top. Use of red Detail of Figure XL

colour reflects her aroused passion and lust for lovemaking. Here standing glance of

the lady, heavy jewellery, big red bolster placed behind and the way she is carrying

her odhni in front covering her lower garment, gives a hint of her being the main

nayika. The gestures and standing position with breast bulged of other two indicates

there class. Skin tonal value too differs between nayika and maidens, much bright and

golden tint can be closely observed in nayikas body colour to give her noble look.

Here in the painting main nayika is well dressed and bejeweled wonderfully which

means that she is about to run on her journey. Literature and verses about this

particular Nayika mentions that, How could the nayika who is burdened with the
 Rathore | 192

weight of her swelling bosom, bear to go out in the night to meet her sweetheart,

unless it were with the help of the chariot of her longings (Randhawa and Bhambri,

Bashohli Paintings 92)? And this is the reason artist had tried to show the

composition of nayika with her sakhis discussing or planning to make path clear for

her way. With the depiction of dark cloudy night and golden blinking lightning in

horrifying manner painter dismay the lady who is about to go out for Abhisaran.
 Rathore | 193

Another Praudha Abhisarika Nayika

Figure XLI
Praudha Abhisarika Nayika, From the Rasamanjari of Bhanudatta (Illustration from
a rare series of Maratha Rasamanjari)

For Indians, beauty is a sensitivity that at once clicks the mind of man and

strokes the triads of his heart and thus posture, gesture, walk and way of a womans

respond enchants the attention. This charisma and manner can be seen in the picture

but the other features of painting like background, architectural setting, environment

including plants and trees etc are of folk type. The artists of Maratha miniatures have

gone through the essence of the painting but it seems as if other than the main

characters, artist did formality in completing the painting by just filling colours with

quick bold strokes. No detailing has been done infact whatever the decorative part like

flora, fauna, architectural details as pillars, latices and design on bedcovers etc have
 Rathore | 194

not been taken seriously or may be painter deliberately did this to bring folk idiom to

the painting.

For the self- decoration to look attractive human being uses his imagination to

present themselves in more improved and striking ways because attraction plays the

essential role in growing

the affection. One can

find numerous paintings

of lovers decorating

their beloved. In this

illustration both the

figures have admirably

used all necessary

jewelries adorned at

various body parts like Detail of Figure XLI

necklaces- one for the neck and the other hanging over the chest, earrings, armlets,

bracelets, pearl studded girdles and anklets etc. The nayaka is adorned with Maratha

style turban and having moustache too in same fashion. Turban is quite attractive

embellished with white beads and golden threads. Few specialties of Maratha ladies

can be seen in the painting wearing a nose-ring at the center of the nose, heavy

anklets, earrings and bangles studded with pearls or other precious stones. Besides

wearing ornaments, other additional beautifying things can also be seen that are used

by both man and woman to attract the partner like yellow sandal wood paste marked

at the forehead and here too they have used it, in fact the nayaka had applied paste on

the chest and arms too. Over the sandal paste, there is circular red mark which is often

seen on Maratha men. Reddening of lips with the betel, palms and feet with alta is
 Rathore | 195

clearly visible here which are used to catch the attention of lover. Revealing the

breasts was also important to encourage and excite the ardent feeling of the lover,

while he uncover them and for this the maids of nayika decorate her breasts, sanitize

her hair and apply aromatic henna that play significant role in fascinating the partner

at the time of making love.

Here in painting, Praudha Nayika is revealed fully nude which demonstrates

her as audacious and shameless. Both nayaka and nayika in this painting are clothless

but adorned with all other attires like the ornaments and specially the turban of

nayaka which reflects

that they both belong to

some royal aristocratic

family. Shortage of

time can be seen

somewhere, especially

when the passion of

nayaka is aroused and

without wasting much

time he removed her

clothes quickly. Here in Detail of Figure XLI

the picture too, nayikas boldness is actually illustrated by the confident gaze of her

into nayakas eyes. Her complete nakedness and intimacy of lips about to kiss is not

defenselessness as her hands suggest her in self-protective gesture. She is somewhere

not allowing him to touch her breast whereas with her left hand holding his erected

penis too, could be in protecting way and can be in the manner of requesting him not

to hasten.
 Rathore | 196

Here pulsating red, yellow and mixture of both i.e. orange colour are

prominent to imitate their excitement, desire and lust during the intercourse. The

assignment of bolster is also

interesting reflecting there

unawareness of anything else but

they are placed for the comfort

and to attain more satisfactory

level. The amalgamation of bright

prominent shades of reds and the

position of main characters in the Detail of Figure XLI

picture catches the attention of viewer. They focus on the confrontation between

them, heightening the arousing anxiety and the mood of zeal sensibility which

extracts the actual aesthetic response.

The environment is darkened to illustrate

night scene as the sky is naturally and obviously

filled in with dark grey with full blossomed lotuses

like their love at heights. Colours in the sky the light

and dark blues are shown merging and mingling in

each other representing the lovers. As greenery

soothes the senses, painter illustrated rich shrubs and

flowers in the surrounding to create a look of garden Detail of Figure XLI

which is sought essential for or around the place of meeting. According to (Agarwal

327) few scenes were prohibited like downfall of a King, a national calamity,

bathing, eating, and killing an animal but kissing and embracing scenes were not

banned, which shows the advanced and mature approach on the part of society.
 Rathore | 197

(C) According to her Meeting Time Abhisarika has been categorized as

Jyotsnabhisarika, Divabhisarika, Tamobhisarika (Rahi, Pahari Miniature 176).

Jyotsnabhisarika or Suklabhisarika Nayika

Figure XLII
Suklabhisarika Nayika, Quest for the Lover in Moonlight, Bihari
Sat Sai, Kangra, Himachal Pradesh

Kangra Suklabhisarika from Bihari Sat Sai, is clothed in white to vague her

existence. This painting is an illustration of the doha of Bihari in which he describes

the beauty of nayika who goes out on a bright moonlit night to meet her lover.
 Rathore | 198

^^tqorh tksUgk eSa feyh xbZ

uSudk uk gksrh y[kkbZ

lkS/ksZ dsu MkWjsu yxh

vyh pyh lax tkbZ**

(Black Peacock- Indian art and Vedic philosophy)

The verse says that Suklabhisarika wearing a white costume is shining so

much like the moonlight that

she is not even visible and

overlooked when seen with

the white moon. Shown at

the top left of the picture

here, nayika is going out in

the moonlight followed by

her sakhi. The lady is shown

with her shadow for which

the direction of moon above

her is perfectly placed. The

nayika portrayed here seems

quite simple and somber yet

she appears sumptuous and

opulent, which makes artist

skillful. She appears

Detail of Figure XLII

sensuous with a large bosom, raised breasts, thin waist like a tigress, etc. The

jewellery included precious necklaces of multiple strings, armlets, bangles, ornate

 Rathore | 199

headgear, earrings and a big nose ring that is illustrated projecting out because she is

in full profile face with her right side appearing.

Generally in Hindu tradition, nose ring is worn by a lady to her left which is

not evident here. Artist has felt essential to paint it half visible, just to give the viewer

an idea about her status. All the ornaments are of plain golden colour which is

absolutely opposite and different from those of Basohli that had white dotted pearl

like jewellery with no gold. With a very few pigments used hereby, artist extracted the

essence of mood and emotions of a love pining woman which unlike the other

Abhisarika discussed in literatures and portrayed in bulk appears tranquil walking

elegantly in moon light. Soft green and pale blue colours are used for her costume and

in contrast, the same palette is used by the painter to fill in the background with green

grassy land below and bluish at top for the sky. The middle white tone goes with the

veil of the lady and small round and bright full moon with her glowing face. The way

she draped herself and carrying her clothes including the transparent veil from the

front holding with the right hand in royal fashion gives the hint of her class. Her body

is beautiful sensual, slender, refined, introverted and stylized, that evoke a tender

eroticism, providing a new canon of feminine beauty. There is delicacy in drawing

which is noticeable in the features of nayika having nose almost in line with the

forehead, the long eyes, narrow and sharp chin and hair treated as flat mass. Emphasis

is given on the graceful flowing rhythmic lines and beautiful female forms. The soft

treatment of palette is the characteristic of Kangra style. The style of the paintings

were of poetical types known for the most charming paintings and one of the greatest

style in Indian art which is clearly noticeable. The artist gave visual expression to the

poetry with the help of rhythmic lines and glowing colours.

 Rathore | 200

With using minimal use of props and flat background, painter successfully

brought charisma in the whole scene and cleverly centralizing the nayika trapped the

attraction of the spectator on her. The maiden at the corner is half portrayed which is

providing a perspective and viewpoint to the picture. From the oval cutout, she

emerges in very ordinary dress having checked pattern in the lower garment and pink

odhni covering full body. She is looking behind that suggest her attentiveness and

deliberation for her

lady because she

seems sure of the

nayikas present

condition and state

of lost in the

thoughts of her

lover. The maid

chases her only due

to sweet fragrance

of her and wanders

as if brightness of Detail of Figure XLII

the light itself is going away to seek out nayikas beloved.

 Rathore | 201

Another Suklabhisarika Nayika

Figure XLIII
Suklabhisarika Nayika, the lady in moonlight, Guler-Pahari Style in
Kangra Region, Collection- Jagmohan das K. Modi, Bombay

Another Suklabhisarika, from Guler Pahari School also appears in oval frame

but with a whole lot of various beautiful props. The full moon here in the sky is filling

the ambiance with its silvery beams. The painter too filled in the sky that gloomy

colour to create mood and this insipid light of the breezy moon is painted with

remarkable skill.
 Rathore | 202

The moon seems grown pale with shame at the lovelier brightness of the

ladys face. The chakoras

seated below have forgotten

the moon and are looking at

the moon like lovely face of

the heroine, and are confused

of how two moons are visible.

The real aestheticism of

Radha as Suklabhisarika is

thus described by Guru

Govind Singh in Dasam

Granth, Radhika went out in

the moonlight in the light of

the white soft moon, white

everywhere, wearing a white Detail of Figure XLIII

robe to meet her lord. She thus concealed herself in the white and roamed as the light

itself in search of him (Kangra Paintings).

This painting captures a delicate and decisive moment in the progression of

the beautiful nayika engrossed in love. Nayika portrayed here seems similar to the

very passionate and provoking description of the body of nayika by Kalidasa in

Malavikagnimitra which is well knitted in the realm of poetic fancy:

She has large eyes with a face having the glow of moon of sharad season

has both hands drooping on her shoulders

breasts set close and rising, sides of body wellbuilt and smooth
 Rathore | 203

waist worthy to be held in closed fists

broad and heavy hips

feet having beautiful long fingers

appearing as if made by the creator in consultation with a dance artist.

(Bhatnagar, Shringar - The Ras Raj: A Classical Indian View 70)

She is lovelier and aromatic than the flower, and her fragrance fills the

environment as she goes. With her beauty and graceful elegant hand gesture in

wander and appealing

deep tender eyes, she

appears to stride,

challenging the moon

itself. The eyes of moon

faced nayika looks more

restless than the chakora,

whose gaze moves on

through the moonlit

night, as if searching her

lover. And as she walks,

her finely tightening

bosoms, decked with a

tight costume tied at the Detail of Figure XLIII

front with a golden border adorned with the fragrant sandal paste, began to shudder.

The drapery of the woman and her stance are submerged with soft and rich light as

she is clad in an apparel of excellent texture and cloudy shades. The whole

surrounding, the landscape and the architectural building behind get transformed into
 Rathore | 204

a fairy land in the Kangra valley and it is unclear whether this magical radiance is due

to natural moon light or the glowing face of the nayika. This time artist of Guler

painted the lady in complete white attire which is different from that of Kangra one

above but her attitude, gesture and posture, much appear in the manner of the high

born lady who gazes at her rendezvous with lazy eyes as if trying to locate something.

One could designate her as the principal figure in the painting. Behind her, at far left

of the picture, her maiden stands, head raised, pert look in the eyes.

The architecture at the back and uneven ground is creating perspective. It is an

incandescent evocative picture that smells of the presence of passion, longing and

desire of union, in the air. Each and every element of the scene is serving to enhance

the mood and the

details that are

given like pair of

birds and lotus

pond below, trees

blossomed behind

and glittering sky

above, all crisply

executed, charges

the viewers mind. Detail of Figure XLIII

Magical soft moonlight fades the harsh details of landscape and spreads relaxation to

the atmosphere. The blossoming trees appearing like lovers united and melt into each

other. The pond below contains white lotuses that also stare at the beauty of nayika.

The foliage is bent at the top and clusters to form bunch of leaves.
 Rathore | 205

An attempt is made to depict the scene of Kangra valley, a hilly region and

steam at the background

with the reflection of

moon in a naturalistic

manner. A pair of bird in

front of the nayika also

reminds her of her

absent partner. Each and

every component in the

picture seems looking

intently to the ladys

charisma. Decorative

buds and full blown

Detail of Figure XLIII

lotuses are strewn in water below, while a fading sap green background gives the hint

of patchy hilly area.

 Rathore | 206

Divabhisarika- She goes out in the day light, wears any clothes and pretends to

go to draw water or perform her daily chores but actually she goes to meet her

beloved.

Divabhisarika Nayika

Figure XLIV
Divabhisarika Nayika, Rasamanjari, Basohli, Pahari, Nurpur, A.D. 1695,
Collection- Dogra Art Gallery, Jammu

Keshavadasa described numerous places and occasions where lovers meet

like the homes of a servant or companion, or other lonely house, other places like

forests or other forlorn places unseen by others (Bahadur, The Rasikapriya xxv). And

here too as the name suggests Divabhisarika Nayika who is generally praudha and

boldly takes step to move out by giving some false reasons to their family and friends

to meet at their pre-decided trysts and make them fool.

 Rathore | 207

In the painting nayika is centralized in complete self-belief and confidence

against a faded pale yellow background. She is overlooking the things other than her

lovers place and thus the painter applied dull background to suggest disregarded

surrounding and give highlight to her image and the nayakas place only. She is

beautifully dressed in splendid

gold coloured peshwaz, a tight

fitting pyjami with the pattern

of small buti on it in contrast

of plain upper garment and a

golden transparent veil worn

elegantly across her shoulders

which recommends her status

of high-born lady. The

manner she carries her

costumes, heavy jewelleries

and her body, she appears

mature and well-bred woman.

She is adorned with the pearl Detail of Figure XLIV

ornaments studded with beetle wing like cases that looks like the precious gems, a

specialty of Basohli jewels. All Basohli features of woman can be seen here in the

nayika with receding face, long nose, petal shaped large eyes, small red lips and

opened hair. Swollen bosoms suggest her passion and lust that arose due to the feeling

of union. She is wearing ornament in toe finger which means that she is married

woman. In Indian traditional and cultural society it is very difficult for a married

woman to leave home for some other man, but boldness appears in her attitude and
 Rathore | 208

gesticulation. Else she would have hidden her face through veil but this daring stance

can be something else too, like instead of boldness it can be her trick of behaving

normal so that nobody can doubt her. Whatever it is but artist characterized her very

smartly and cleverly.

On the other side nayaka stands in the woods is proportionately shorter than

the nayika to propose the distance in the picture and diminish its flatness. Because of

this it appears as

if he is standing

far away from the

ladys residence.

He is holding

lotus flower in his

hand which is

very commonly

seen in Basohli

Rasamanjari. In Detail of Figure XLIV

front of him is a short figure of Kamadeva, who is rarely seen in miniature paintings.

But here artist found his presence so important that instead of showing him

symbolically, he gave him significant space in front of nayaka stretching his bow of

love and lust with his arrow towards the nayika. Similarly in the painting, nayikas

raised hand suggests her conversation with nayaka but her gaze does not match with

that. It means either she is murmuring herself or preparing dialogues on the way for

her meet or may be this is the action just to make people fool of her reason of going

out.
 Rathore | 209

The blue flat colour is applied by the painter to fill in the band above which is

the horizon and very minute dotted stars are placed surrounding a moon at top. This is

not painted as night scene, in fact its a day. But the artist through the help of a misty

horizon above with moon

and stars probably want

to suggest the feeling of

the nayaka, who is

pleading the sun to set

and dimness to take place

with the starry night and

full moon for its

luminosity to create

mood during union. Trees

also overshadowing the

sky at the top right corner Detail of Figure XLIV

and rising and falling land painted at the background diminish the flat pictorial space.

The artist not only focused on the above section but also showed richness in its

flowering tree types with foliage in greater variety and of different colours appearing

either lively, fully developed or in tiny sizes. Greenery helps in creating soothing

surrounding for the meeting. The lush green shrubberies beautify the background and

it is not overshadowing the main scene, in fact, fulfilling the demand of the

composition. The densely grown trees that bear dark or light green leaves of various

sizes and some having drooping leaves in bunches, or of mango with broad leaves,

others in circular shape like palash etc create a look of woods or the grove which is

sought from time immemorable in history of love by the lovers for secret meeting.
 Rathore | 210

Three fourth of the scene is covered by the architectural setting to give it

importance as Basohli

paintings gave emphasis on

both architecture and nature.

Like Basohli borders, this

painting has strong red border

on to which the architectural

components overlap. The

architectural setting is again

same followed by the artist as

others did for Basohli

buildings, double storey haveli

with towers, half opened door,

ornated canopies, trellis

windows and plinths

projecting out in monstrous Detail of Figure XLIV

shapes. Use of primary colours like red, orange, green and blue have been used to fill

the components of the building with designs in contrasting colours. In the whole

composition lot of Mughal elements have been introduced hereby like the white wall

reflecting the marble look, the creepers and fauna motifs as the designs on the

building sections to give the impression of inlay work and the central position of the

nayika, which is in Mughal garment from top to the bottom. The exterior wall is

painted white and decorated in Mughal fashion pattern on it of foliage. In the minor

details, while scrutinizing the painting some continuity of Mughal style under Basohli

influence have been observed.

 Rathore | 211

Another Divabhisarika Nayika

Figure XLV
Divabhisarika Nayika, From Rasamanjari of Bhanudatta (Illustration from a rare series of
Maratha Rasamanjari)

The above painting is from Maratha Rasamanjari series and thus have

Deccani offshoot as Maharashtra was adjacent to Deccan, Malwa and Tanjore. Use of

yellow and blue is common in Maratha

paintings with folk features not in proportion.

The face modeling and eyes are similar to

those of Malwa. For Abhisarika, first time the

scene is available containing a large number

of human figures in a single piece. Typical Detail of Figure XLV

Maratha type figures are available with four men in total and twelve women. A clear

variation amongst people on basis of their class can be seen here. The man at the

center is nayaka because he is grasping the lady tightly who is Abhisarika. He is

different from other three who are playing individual instruments.

 Rathore | 212

The three playing instruments or musicians are clad in

colourful long jama, Maratha turban and shoes. One thing common

in all men is long black moustache and sandalwood paste applied on

forehead, neck, chest and

arms but the nayaka is

dressed in yellow dhoti

and a mauve angavastra

at the shoulders and is Detail of Figure XLV

bare feet.

Whole scene is dominated by ladies clad in plain saree with broad golden

borders of zari, tied and tucked in Maharashtran fashion. They are adorned with all

necessary

jewelleries but a

big nose ring

that is projecting

from the other

side is a main

characteristic of Detail of Figure XLV

Maratha jewellery. All of the ladies are portrayed in different postures and interesting

hand gestures. This is actually a close observation of the artist who must have noticed

group of ladies going somewhere and their doings. As they all are going for

performing some religious activity or ritual, few of them appear gossiping, while

others are shown holding the corner of their anchal taken forth with the help of thumb

and two fingers. It looks very attractive, giving an essence of Indian tradition making

it a side veil covering face from that particular side.

 Rathore | 213

Saree has a fabulous scope of revealing or hiding the body to its minimum or

maximum, which depends on

wearers character, her temperament

and demand of the situation. And here

too, the nayikas anchal slips from

her breasts while the nayaka grasps

them and the same saree changes

from elegantly worn garment to the

tempting attire arousing erotic mood.

Her expressions and body language

displays her unawareness of nayakas

presence and his audacious stroke in

front of all.

The background with

landscape is not properly maintained

and is thus quite dry. Depiction of

morpankhi shrubs and blossomed

flowers done in casual manner just to

fill the remaining space and suggest

the garden scene. Hint of perspective

is not there as background is flat and

seems dehydrated with the heat as sun

above is hurling his rays in ferocious Details of Figure XLV

way. Artist had drawn the facial features of sun and his pointed rays in a folk idiom

that appears vicious. The use of orange colour between blue sky with white clouds
 Rathore | 214

above and the dull green land below occupies much space which is giving very hot

scorching impression of a bright sunny day. White birds proportionately big in size

are also illustrated sitting on the branches of foliage but a pair of bird sitting behind

the standing couple on plant is creating the mood of excitement and thirst of union

that contrasts the feelings of the couple. Almost half of the space is used to describe

the scene and such kind of format of paintings can also be seen in Nagpur school. The

illustrated manuscript does not give any indication of its creation but its colour

scheme, form, patterns and other characteristics goes with that of last phase of Deccan

school i.e. around 18th century.

The architecture to the

left of the picture is flat and

possesses two dimensions. Only

the proceeding stairways

diminish the flatness. To the

interior, where ladies sits facing

the holy place, appears

auspicious pots placed one above

the other with a large sized pot or

kalash kept in the middle flanked

by chowkis for the sacred act.

The whole building is decorated

with the bandanwal to the Detail of Figure XLV

entrances. One can trace the smell of holiness to the left corner and to its opposite

Abhisarika taking the advantage of the ceremony at the centre.

 Rathore | 215

Krishnabhisarika or Tamobhisarika goes in the darkness of the night, wears

black, blue and red clothes, holding a blue lotus scented with kasturi.

Krishnabhisarika Nayika

Figure XLVI
Krishnabhisarika Nayika (a), Rasamanjari, Mewar, Rajasthan, second quarter of
the 17th century, the style of Sahibdin
 Rathore | 216

Another Krishnabhisarika Nayika

Figure XLVII
Krishnabhisarika Nayika (b), Folio from Rasikapriya series, Mewar, Rajasthan, c. 1640-50,
the style of Sahibdin, Opaque watercolor and gold on paper-19.2 17 cm, Collection-Alvin
O. Bellak
 Rathore | 217

Keshavadasa in his Rasikapriya described Abhisarika as:

^^mj>r mjx pir pjuu Qu] ns[kr fofo/k fuflpjfnfl pkfj ds

xufr u ykxr ewlyk/kj lqur u] f>Yyhxu&?kks"k ty/kkjh ds

tkufr u Hkw"ku fxjr] iV QkVr u] daVd vVdh mj mjt mtkfj ds

iszruh dh iwaNs ukfj dkSu iS rS lh[;ks ;g] tksx dSlks lk: vfHklk:

vfHklkj** (Sharma 63)

The same verse of Keshavadasa were followed and also written by the artists

on yellow band

of the paintings

which describes

the Abhisarika

Nayika. But they

gave title of Detail of Figure XLVI & Detail of Figure XLVII

Krishnabhisarika to both these nayikas. Here, Witches asks Abhisarika that "how and

where she learnt this meditating way of travelling and paying no attention to those

ferocious creatures that were coming and disturbing throughout the journey"

(Sharma, Kangra 63).

Pictorially everything is interweaved together, so that each element looks like

an integral part of the whole composition the human figures, the Iranate rocks, the

finely stylized trees, the stormy sky with snake like golden lightning at top, the foliage

and seasonal fauna in both. The rendering of the creatures placed all around reflects

much carefully executed in each and every component whether the expressions or

facial features of nayaka, nayika or the horrible beings and the landscape behind.
 Rathore | 218

Both the paintings are done in same style from the same region and time

period under the patronage of Sahibdin. Thus the colour palette and the composition

are similar. The paintings have

figures with special form of

nose, round face, fish type eyes

in the facial depiction and short

statured females in choli with

floral and transparent

embroidery, black phundke and

threads on arms. Both the

nayikas are beautifully adorned Detail of Figure XLVI Detail of Figure XLVII

in soothing combination of yellow and Prussian blue that is highlighted with pearl like

white dotted jewelleries.

Here nayaka

also have been

shown in costumes

of Akbari- jama and

embroidered pataka

and pugrees (head-

dress) effect of

Jahangir and
Detail of Figure XLVI Detail of Figure XLVII
Shahjahans period (Vasishtha 28). The painter renders the nayaka in both the scenes

with the elegance and imagination, who looks like Krishna because of the blue body

which was favourable during Sahibdins reign.

 Rathore | 219

Artist arranged the figures in such a manner that a distance is felt between the

nayaka and nayika to create remoteness. Both are shown waiting in their bower at the

top left corner, and the nayika rushing diagonally across from him at bottom right.

The painter of both the illustration seems very much aware of the textual

recommendations, the iconography of the Abhisarika Nayika and especially

Krishnabhisarika and thus these paintings are subtle in many ways. The artist worked

on each detail with great care and interest. Especially in illuminating radiant body of

the nayika in the middle

of the dark atmosphere.

All along her clothes

were snatched by the

thorns of bushes and

ornaments falling from

her body as she moves

along. Abhisarika in

both the paintings looks

daring and her

gesticulation reflects of Detail of Figure XLVI Detail of Figure XLVII

not even noticing what comes in her hazardous path. The placement of the snake

wrapped around her feet in both the pictures in her trail or near her ankle are about to

bite.

Positions of the ogresses who are shown entwining themselves around the

lower branch of the tree are almost indistinguishable from each other. In the beautiful

representation of Krishnabhisarika (b), one of ogress seems pointing out towards the
 Rathore | 220

lady in very strange

indication as if

throwing admiring

comment. Seeing the

stance of the nayika,

the witches speak to

each other, the poet

says, and wonder

what kind of yoga it Detail of Figure XLVI Detail of Figure XLVII

is that the nayika is practicing for nothing appears to shake her concentration

(Goswamy and Bhatia 128).

Mughal style looking demons with serrated eyelids, witches naked to the waist

standing behind

plants or peculiar

rock forms pointing

to a Deccani

provenance. Wild,

ferocious animated

creatures have been

skillfully created
Detail of Figure XLVI Detail of Figure XLVII
behind the rocks by

the painter which appears as if they are waiting for the nayika. Fantastic creatures of

this type originated in Central Asian manuscripts, which were copied in Persia and

served as models for Islamic court ateliers (Steven 66).

 Rathore | 221

Artist painted a yogi like

character at top right for unknown

reasons may be to give a hint of

yogic meditation that appears in

the nayika who is walking with

such a concentration that the

fearsome objects become Detail of Figure XLVI Detail of Figure XLVII

invisible to her.

In both the paintings thunder roars in the stormy sky complete and

complement the dramatic situation imposed here by the artist. The rainy clouds

painted in both the scenes

at top add the hopeless

feeling of separation and

in contrast lightning

supports symbolically the

joy of reunion. In painting Detail of Figure XLVI

(b), the white dotted

raindrops suggest heavy

rain against the dark sky

while in painting (a), sky

appears thundering but not

rainy. This type of very Detail of Figure XLVII

literal illustration of all the elements listed in the accompanying verse is typical of the

way Sahibdin and his studio approached the illustration of Rasikapriya (Dehejia 79).
 Rathore | 222

Few components in both the scenes appear different which can be noticed at

very first sight. In Krishnabhisarika Nayika (b), the tiger seems to be calmly sleeping

whereas in Krishnabhisarika Nayika (a), roaring ferocious tiger has been shown.

Detail of Figure XLVI Detail of Figure XLVII

 Rathore | 223

Another Krishnabhisarika Nayika

Figure XLVIII
Krishnabhisarika Nayika, Pahari, family workshop of Golu of Nurpur;
last quarter of 18th century

The Abhisarika is passing through a dark and dense forest in the night unafraid of the

storm that has built up in the skies above. With her mind occupied by thoughts of her

lover, she continues her voyage daringly. Again snakes are painted by the artist trying
 Rathore | 224

to prevent her from proceeding further but here in the picture she ignorantly kept her

feet over the cobra as if she has not even noticed its presence. On observing the

painting closely, a red bodied snake appears as if

in the quest of love like the nayika burning in the

desire of lust. The dark cobra has been painted in

the same position of looking upside as if nayaka Detail of Figure XLVIII

waits for the nayika fixing his eyes on the way. All these are contrasting figures used

for depicting the nayika in symbolic manner by the artist.

The work done in this painting is delicate, and fine in many ways. One notices

the uncommonly executed tall

slim and elegant figure of the

nayika, robust and well endowed,

with a fleshy face and elongated

eyes; contrasting the arbitrary

scaling of trees, judging from the

grove introduced at the very

bottom of the painting. Her dress

is in dainty mauve and gold with

a blue dupatta, shines in the

night, and the subtle gradations

of dark in the forest. The face Detail of Figure XLVIII

turned back and lower garment lifted with one hand to make walking on this wet night

easier, is all worked out with much care. Witch is the only fierce creature that strikes

the nayika for a moment.

 Rathore | 225

Each detail has been worked out by the artist with great care; the nayikas

body perfectly lit in the midst of the surrounding darkness, the placing of the snakes

in the path or around her anklet and the situating of the ogress who entwines her

around the branch of a tree citation for

ogress, all virtually indistinguishable.

Nayika is looking with so ease and

fearlessly at the furious wicked witch

that the textual prescriptions, the

iconographies of the Abhisarika, all that

are mentioned in literatures comes alive

in front of the viewer. Witch herself is

amusingly painted with twisting and Detail of Figure XLVIII

bendy body who is trying to fuse her with that of the tree trunk and its branches. This

fusion is not because of the form but also due to the colour used by the painter.

The formation of

clouds seems truly

threatening with dark and

moisture weighed down.

These forks of lightning

flashing through them are Detail of Figure XLVIII

painted in very unusual manner because generally artist used to paint them in form of

whirly lines. These forms at the top of the picture are not only clouds but the symbolic

representation of nayikas situation before meeting the lover.

 Rathore | 226

Another Krishnabhisarika Nayika

Figure XLIX
Krishnabhisarika Nayika, Kangra, Pahari, late 18th century, Collection- Ross-
Coomaraswamy, Museum of Fine Arts, Boston

Abhisarika walks in a wooded area set with the deodars (to the left), which is

very unusual element that indicates an acquaintance with the scenery of inner hilly

area. She is moving in the night through dangers to meet her

lover when rain is pouring down visible here clearly in form

of white droplets at the dark hazy background with the

lightning flashes in the sky. Even the wavy contours of the

golden lightning above appear scary.

Details of Figure XLIX

 Rathore | 227

The picture depicts the verdant greenery which is a vital essence in Kangra

paintings. Style is quite close to the naturalism and more attention has been paid

towards detailing of every small element of the scene. Use of several shades and fresh

hues of colours catches attention of the spectator towards depiction of flora of Kangra

Detail of Figure XLIX

region. The path is beset with serpents at her feet raising their heads intently to look at

the courage of a woman. Artist rendered the snakes faces so ferocious that their

hissing tongue is also visible clearly. The nayika has worn the golden anklet in her left

leg and another pair has fallen behind, as she was in hurry. But she was too focused

and active in reaching the place of her lover that she did not noticed her jewel. This

composition is so beautifully plotted by the artist that aesthetically each element is

speaking out its existence and importance.

Guler artists used to paint their subject matter by planning the scene to be

painted and these qualities were brought to Kangra School of painting by them

(Kanjilal 41). This is the reason that here too in this Kangra painting form and figures

have fine senses of beauty, clarity and maturity, artistic and poetic sensibilities all

together which reveal the power of observation of the artist. His brush strokes divulge

his deftness and spontaneity which is clear from the clouds above, trees embracing

each other snakes staring at the nayika and the moment she turned back to watch the

excitement of nature.
 Rathore | 228

Nayika is depicted with very refined and soft facial features. The beauty and

elegance of her body, the manner she turns back with sophistication is another abiding

love of Kangra artist. Her body

is drawn with rhythmic curved

lines possessing a look of

innocent sensuality. It is

actually an embodiment or

magic of nayika not the

femininity. She is completely

adorned with all the jewels like

maang tika, nose ring, bangles,

anklets, finger and toe rings

etc and dressed in traditional

Indian style of garment with

lehenga, choli and transparent

jaalidar odhni. Use of gloomy

colour can be noticed at very Detail of Figure XLIX

first glance to the above in lightning and in the costume of Abhisarika, where stripes

and checked patterns are done in golden colour. Certain texture has been tried to

render in the picture like in trees, the raindrops, snakes bodies, and drapery of nayika

which has a charm and softness of Kangra style. The way Abhisarika turns to look

behind it appears as if some strange sound tried to stop her approach. She is flanked

by cluster of trees and the one behind her look are actually the two trees embracing

each other with their branches. Adorned and bedecked she looks back only

momentarily at them.
 Rathore | 229

Artist illustrated the two trees prominently and so skillfully that one looks like

male and another

blossomed one like a

female clasped in an

adoring manner. It seems

as if the artist played

here with the forms of

trees. Trees can be count

as two only because

there trunk is split into

two; otherwise they are

Detail of Figure XLIX

one from the top. It looks as if each limb in the form of its branches are moving closer

to the other and entering into a gentle embrace arousing nayikas desire; one of them

appear lighter in skin than the other as nayika gleaming like lightning and the nayaka,

dark as cloud.

As Kangra paintings are known for the lyrical amalgamation of form and use

of colours, here in this picture artists skill is clear in delivering all the characteristics

blended in perfect manner. The snakes represent the dangers she must brave in order

to satisfy her desires, while the stormy weather and the embracing trees represent her

passionate nature. This is a beautiful composition by the painter who tried to bring in

the emotions of fear and obsession all together in a single scene. The spectator gets

overwhelmed with the beautiful primary colour palette, rhythmic figures and

arrangement of other elements whether important or not but done so skillfully that

each appears significant. This intricate beauty overshadows the lack of perspective

which has not been given weight but it is not looking inappropriate.
 Rathore | 230

Another Krishnabhisarika Nayika

Figure L
Krishnabhisarika Nayika, Folio from a Nayak-Nayika series, Kotah,
Rajasthan, c.1750, Size: 27 x 16 cm, Collection- Rao Madho Singh
Museum Trust, City Palace, Kota

This painting shows nayika rushing to meet her lover, even though the dark

hazy night appears terrifying in the upper portion of the picture where dark colours

are used by the artist to fill in the sky and strokes that looks very much overwrought.
 Rathore | 231

The dramatic night skies are common feature of Kotah- Bundi paintings. The scene is

set in the middle of a grove lush with vegetation, with a small stream flowing aside,

which is very much alike of Umed Ganj palace, situated eight miles east of Kotah

(Chaitanya 115). There is a beautiful play of light and shade brought about by the

contrast of dark sky with white pavilion and various colour tones used to paint the

foliage which is very close to nature. The stems and leaves are boldly stylized and

each leaf is picked out vividly and its contours precisely drawn with the flora

appearing as if they belong to a past geological epoch (Chaitanya, Arts of India 115).

The transformation of naturalism in the treatment of foliage and trees is actually from

Mughal paintings.

Verses of Vidyapati (Vaishnava poet of Hinduism) fits to the nayika portrayed

here which says that:

Day by day her breasts grew great

Her hips increased, her middle waned,

Madana now enlarged her eyes

All of her childhood fled in fear.

Breasts that are jujubes first, and then like oranges,

Daily the sting of love increasing them (N. Singh 67)

The nayika has a distinctive figure with large lustrous eyes representing a

vision to the place where her nayaka resides in a world full of intensity and passion,

completely free from sentimentality. This illustration is executed meticulously with

delicate line drawing and fine brush work. The hurried movement of the heroine is

shown by the sway of her orange lehenga. Artist painted the nayika so beautiful that

her body is radiating light in the whole lower part of the composition. Her bosoms
 Rathore | 232

appear swollen by remembering the nayaka and his touch of the feeling of

togetherness. One very interesting point is that she is clad in lehenga and choli but

odhni is missing either she left her veil in hurry or is holding with left hand. But in

every poems or texts it is mentioned that her odhni is found either being caught in

bushes or frayed by

the thorns. Here also

if seen carefully odhni

can be found in her

left hand in folded

manner just to make

walk easy or

comfortable. Artist

could have tried to

illustrate his

Abhisarika in his own

way. Although she

has not concealed her

face, she appears Detail of Figure L

bashful and not shameless. She is different from others because they are usually

portrayed hiding their face or not, but at least covers their head with odhni.

Stylistically Bundi and Kotah are similar but there are few differences like the women

of Kotah neither shown wearing the translucent chunnis, nor keep their hair open, as

do the Bundi women (Rajputana Paintings). She is adorned with all usual ornaments

including some very interesting and unusual jewel covering her foot which usually
 Rathore | 233

appears on hands as hathphul but not on legs. The whole scene is filled with lyrical

elements and artistic proficiency in showing nayika with thorough study and scrutiny.

As Kota was formed by the Mughal Emperor Jahangir, the element like

nayakas pavilion painted

at top corner of the

picture seems Mughal

architectural building.

Very exciting is the aerial

view of the scene, an

attempt to introduce new

dimensions to the art.

Complete scene appears

as if seen from distance

as the platform of upper

open air terrace is almost

fully visible.
Detail of Figure L

Since both nayaka and nayika are passionate, they are painted in hot colors of

red, orange and yellow. The posture of nayaka keeping his left hand near the heart

gives the idea of his worry about the journey of his beloved who is on the way and

clouds in terrifying state in the sky. It appears as if he is praying or requesting to the

clouds to calm down for few more minutes. Artist keenly observed the nature and

environment of the region Kotah and illustrated in the same approach.

 Rathore | 234

Another Krishnabhisarika Nayika

Figure LI
Krishnabhisarika Nayika (a), Kangra, Pahari, 1850, Size: 27 x 16 cm,
Collection-Victoria and Albert Museum, London
 Rathore | 235

Another Krishnabhisarika Nayika

Figure LII
Krishnabhisarika Nayika (b), Attribution to Mola Ram of Garhwal was made by a
descendant of the artist, Balak Ram Sah, circa 1800, 24.6 x 16.2 cm, Opaque
watercolour and gold on paper, Collection- Ross-Coomaraswamy at MFA
 Rathore | 236

Another Krishnabhisarika Nayika

Figure LIII
Krishnabhisarika Nayika (c), Nurpur, Himachal Pradesh, circa 1760, Opaque
watercolor, gold, and ink on paper, Sheet: 25.08 x 18.73 cm, Gift of the Michael J.
Connell Foundation, Collection- The Los Angeles County Museum, U.S
 Rathore | 237

The Pahari School developed and flourished during 17th-19th centuries

stretching from Basohli, Mankot, Nurpur, Chamba, Kangra, Guler, Mandi, and

Garhwal regions. Each creating stark variations within the genre, ranging from bold

intense Basohli Painting, originating from Basohli in Jammu and Kashmir, to the

delicate and lyrical Kangra paintings, which became synonymous to the style before

other schools of paintings developed, which reached its pinnacle with paintings of

Radha and Krishna, inspired by Jayadevs Gita Govinda (Pahari Painting). The

three paintings which look almost similar to each other of Krishnahisarika Nayika

from three different regions of Pahari School are: Krishnahisarika Nayika (a) from

Kangra, Krishnahisarika Nayika (b) from Garhwal, Krishnahisarika Nayika (c) from

Nurpur. Here in the three Krishnabhisarikas painted by the artists of three different

regions few common features are found such as the setting of scene with a beautiful

lady moving forward in dark forest lifting her lower garment i.e. lehenga all alone

through the cluster of trees and few flowers blossoming here and there just to balance

or compliment her beauty but other than that whole picture is horrific. Three of them

are dressed in a bright orangered lehenga and dark blue transparent odhni covering

their heads. And each is beautifully ornamented walking with elegance, turning and

looking back for a moment at the snake, but not giving the expressions of terrifying

from them. A small water stream is also illustrated below which is found common in

Kangra as well as Garhwal painting but not in Nurpur.

Ananda Coomaraswamy remarks about Kangra nayika that:

The heroines eyes are large as any lotus flower, her tresses fall in

heavy plaits, her breasts are firm and high, her thighs are full and

smooth, her hands like rosy flowers, her gait as dignified as any
 Rathore | 238

elephants and her demeanour demuse. (Kangra Arts Promotion

Society (KAPS))

Krishnabhisarika Nayika (a) from Kangra is full of rhythm and lively. She is

completely jeweled and

her full heavy face with

bold fish like eyes and

small lips are typical

Kangra idiom. Her face

is well modeled and

shaded so judiciously

that it possesses almost

porcelain-like delicacy

(Kangra Arts Promotion

Society (KAPS)). The

painter successfully

depicted the female

figure through gaze and Detail of Figure LI

facial expressions with linear beauty and use of fine lines that add rhythm and

smoothness to the dramatic situation.

She is very elegantly lifting her bright red lower garment just to walk

contentedly. Absolutely transparent dark blue odhni with golden border and butis on

whole is illuminating her bodice. Blue veil is also a commonly found feature

whenever Abhisarika is painted to get merge in darkness of the night. She has been
 Rathore | 239

complimented with blossoming fauna bowed down like her or in her ovation as she is

daringly crossing the jungle in dark furious night.

Colourful flowers and buds on different creepers are very symbolic. They are

representing the drooping pattern of her odhni all together. The noisy water stream

painted below in white grayish colour has been skillfully shown flowing in rhythmic

movement. The birds seated

on the trees have added life

and charm to the whole

atmosphere. Similarly, the

colour scheme of the

painting has been toned

down in such a way that it

looks soft, fresh, luminous

and cheerful. Through the

painting artist presented a

pure melody of flowing

lines and bright colours. A

sense of space, harmony and

poetic sentiment can be felt

through the free-hand

movement of sensitive lines. Detail of Figure LI

Feeble lightning above in the sky echoes the ladys beauty. As Coomaraswamy

speaks, vigorous archaic cut in the bases of its language (Jeratha 89), Kangra

features of delicate curvatures highlighting the body lines and brilliant use of colours

can be noticed in the painting.

 Rathore | 240

Krishnahisarika Nayika (b) is attributed to the artist Mola Ram who initiated

for the Garhwal branch of the Kangra School of painting. Special features of the

Garhwal School can be

observed like fully

developed bosoms, thin

waist, soft twisted and

well shaped force, thin eye

brows drawn with delicate

line drawing and definite

nose bridge with a well

proportioned thin nose.

The nayika here is a Detail of Figure LII

fusion of confidence and boldness and the conceptualization of ideal beauty and

romance. She walks between two groups of trees and looks down over her shoulder

with head turned back to watch the snake that is coiled around the base of a tree at the

right. Another snake appears at her feet which is not seen by the nayika in hasten and

is about to be trampled under her feet.

Above there is a multi-forked bolt of lightning which is again Pahari

characteristic followed by the

artists to create dramatic

effect in the painting. It is a Detail of Figure LII

blend of poetry and passion, an incarnation of the Indian artists attitude towards love.

In texts it is mentioned that she blames her anklets and bangles making noise, and

thus removes them. And thus artist painted her golden anklet placed near her feet to

show that she removed it intentionally or which has apparently just fallen off.
 Rathore | 241

Krishnabhisarika Nayika (c) is from Nurpur and she is also turning back but it

do not appear that she is

watching the snake in fact

is trying to chase some

noise which she heard

coming from the other

side. The expressions of

alertness can be seen in

her eyes and raised

eyebrows of hearing

some suspicious sound. Detail of Figure LIII

Again one anklet is fallen behind her feet. A cobra coming out of tree trunk hole and

another trying to horrify her, all are the common features of all the three

Krishnabhisarika nayikas. The specific element of the painting is the direction of

nayikas gaze and the golden juti in her foot, wherein other two paintings nayikas

were bare foot. Another noticeable point is the lehenga of the nayika which is again

red in colour but having golden butis on it. The portion which she is lifting up from

her right side is plain because it may be the reverse portion of the garment that does

not have motifs. On her lower garment an ornament is hanging which is unclear but it

could be the jewel like maang tika left hung to her lehenga in hurry. Artist kept all

such minute details into his mind while painting the picture.

The rain, storm and lightning depicted in the paintings of Abhisarika indicate

the climax of lust and desire. In a similar way, the two snakes too signify varied

functions: danger and love. The snake moving to its mate also enacts the girl

proceeding to the tryst.

 Rathore | 242

Another Krishnabhisarika Nayika

Figure LIV
Krishnabhisarika Nayika, Leaf from Rasikapriya series, Bikaner, Rajasthan,
last quarter of 17th century, Sheet: 23 x 16.5 cm

The Abhisarika, whom the painter envisions here, has been followed by

Keshavdasas text. The romantic context and the dramatic pictorial possibilities of a

lovely woman moving through a dense forest in the night is the poets creation in his

thoughts and executed into a language, which later on imagined by the painter.
 Rathore | 243

The twist that Keshavdasa provided to the well-worn situation, casting Radha

as the nayika. The scene is divided into two sections. The nayika here is not one of the

two women who stand

against a dark, almost

black background below.

These are the other ladies

who are gossiping about

Abhisarikas wonderful

mental state, with

admiration and some

jealousy. They also

mistrust about what form

of yoga or meditation she

practices that nothing is

seen or heard by her Details of Figure LIV

rather she is more concentrated on what her heart wants and mind fixed on. The

heroine is placed above at the top far into the distance where she meets furious

creatures or night witches, and the bibhatsa scene of evil spirits chewing on human

flesh but ignore them. They flank the nayika on either side, standing frozen with

amazement at the golden luster of her body. All the figures are drawn in profile.

Mughal effect is clearly visible in the portrayal of faces of ladies. The demon like

creatures were resembling to those from Persian paintings. Here in the painting,

figures are characterize in Bikaneri style having half opened eyes, lips tightly closed,

small chin, very thin wrists and high breasts but small in size.
 Rathore | 244

Another Krishnabhisarika Nayika

Figure LV
Krishnabhisarika Nayika, Region Unknown, C. 1750, 43.6 x 30 cm, Konstnr:
Christie's Images, Collection-Lgg till i Mitt galleri

Krishnabhisarika of 17th century is found from an online websites collection

and its artist or region is unknown. The whole picture and each of its elements appear
 Rathore | 245

very strange and unusual. The architectural building shining at the distance, depiction

of two winged female forms at the top right of the painting, animals looking here and

there and landscape full of trees of one single type etc are atypical and are not seen all

together in a painting of Abhisarika.

Nayika here seems to be very similar to the romantic female of Kishangarh

style portrayed in extraordinarily charming natural background. She appear very close

to Nihalchands

Bani Thani in her

characteristics;

having receding

forehead, pointed

nose, and sharp

exaggerated chin with long wag tailed eyes,

bow like arched eyebrows, small thin red

lips bulging out and well shaped, elongated

soft face and slim flexible creeper like tall

body with long conch neck that enhance the

aesthetic beauty. Nayikas long black curly Detail of Figure LV

hair also flows down to her shoulder like that of Bani Thanis to her waist and a

strand of hair revealing from her transparent veil coming to her cheek is specially

found in Kishangarh style only. Positions of hands are also same with ladys right

hand holding the edge of her odhni elegantly with red paste or alta applied to the long

tapering fingers and palm. Secondly the time period of both the paintings is exactly

same i.e. C. 1750 which suggests that there is somehow similarity within the two.
 Rathore | 246

Only dissimilarity that makes them different is the positioning of ladys left

hand which is holding two lotus buds in Bani Thani portraiture and Krishnabhisarika

holding end of her odhni. Even the colour palette looks same in rendering Nayikas

clad in orange kanchuki worn high and lehenga below revealing thin deer like waist in

between. Use of golden colour for the borders and butis printed on the garments

specially the transparent odhni which looks like the crystal clear sky having glittery

stars and moon like face in between.

This particular nayika is absolutely different in attitude to those

Krishnabhisarika Nayikas

which are discussed above in

the chapter. Here nayika looks

more tending towards standing

making pose like Bani Thani

and not like other Abhisarika

Nayikas who are portrayed

running in hurry. Only single

component that makes her Detail of Figure LV

similar to other Abhisarika, is the snakes mashed under her feet and one of her jewel

fallen behind.

Four companions depicted by the artist looks like the maid servants from their

horizontal striped lower garment, lehengas and plain transparent simple odhni

covering their heads. But one strange thing has been observed that the feets of the

ladies standing behind the main nayika appears reversed (going backward). Churel or

witches are suppose to have a toes in the back and heel in the front (Churel). Other
 Rathore | 247

than this very few points suggest that these women are mysterious in character and

resembles to the female

ghosts, like the drawing

of their hands and facial

expressions. Eyes of

drunkenness gaze and

casually drawn detailing

of the fingers hints the

negligence of artist

towards drawing the

maids and focusing only

on main nayika but when

all other components are

done with great care and Detail of Figure LV

minute details, than the artist did this purposefully and it is not his recklessness.

One more component that makes this painting interesting is to note that when

artist could have paid time in making pair of lioness with all minute details like furred

hair at the neck, galloping tongue, eyes staring and suggesting the direction; rabbit

Detail of Figure LV
 Rathore | 248

couple looking into each others eyes and scene of hunt with a rabbit like creature in

the mouth of unidentified dog and jackal like animal, so he could have efficiently

render the maidens standing behind nayika.

Details of Figure LV

Besides this the artist had tried to represent a lush forest and indicate the

distance by a diagonal placement of components at three different portions of picture

with women at the ground, animals in the middle section and architectural building at

the top. These elements create vastness in the miniature to introduce perspective in the

painting. A golden Fort towering amongst verdant trees signifies that it is the palace

of nayaka, the place where our nayika has to reach. At the first glance it seems that

the building in the painting has character of Fort of Rajasthan.

Original Photograph of City Palace Udaipur Detail of Figure LV

 Rathore | 249

Very interestingly found, is the painting titled Ibrahim Adham of Balkh

Served by Angels done in Mughal style having similar angels that are painted in

Krishnabhisarika Nayika with similar facial features, angarakha style long jama worn

over heavy pleated

lehenga, golden

butis all over their

dress, turban on

head and pointed

wings of Western

style holding similar

objects in offering Figure LVI

Ibrahim Adham of Balkh Served by Angels Leaf from the Read Mughal
stance. The human
Album Mughal, probably Oudh, third quarter of the 18th century,
Attributed to Mir Kalan Khan, Purchased by Pierpont Morgan, 1911
and animal figures

intermingling with the foliage or with linear interlaces and particularly the drawing of

variety of animals with real or imaginary, suggest acquaintance with the art of

Western Europe (Nersessian, Der, and Agemian 124. The scene also suggests the

impact of Mughal and Western influence as in the brown colour hair and the hairline

starting from the forehead.

Details of Figure LVI

 Rathore | 250

Another Krishnabhisarika Nayika

Figure LVII
Radha goes to Krishna's house at night- Series Title: Connoisseur's Delight,
Rasikapriya, Region-?, Artist: Purkhu, ca. 1805, Edwin Binney 3rd Collection;
Collection-The San Diego Museum of Art

This particular painting is titled as Radha going out to Krishnas house at

night which suggests the abhisaran of Radha to meet Krishna at night. Region of

this painting is not mentioned but as artist Purkhu made it, whos works are best
 Rathore | 251

described as journalistic (Guy, John, and Britschgi 176) and the manner illustration is

fitted into the oval border, it could belong to Kangra region.

Nayika here is going for her meeting in dark night wearing black garments so

as to mingle into the dim environment, yet blaze like the flame because of her beauty

as well as the fire of lust and passion inside her

body before meeting the nayaka. Her dark odhnis

darkness is not capable to hide the intensity of her

bright face. Multiple meanings can be found in Details of Figure LVII

the picture. The leaves of banana tree painted at the top corner is enveloped in dark

sky and is bending like our abhisarikas body in blushing manner thinking of fading

into darkness, but fails. Nayaka looking outside is probably staring at the night

requesting to stay for long. And therefore sense of synchronization can be felt in the

whole compositional setting. It provides the set been prepared for the love drama of

Radha and Krishna presenting a pure harmonization of graceful lines and gleaming

colors against grayish pale architectural setting and darkness of the night. One can

easily sense the breathing space, serenity and poetic emotions out of the scene.
 Rathore | 252

The whole composition is divided into three major sections which allow

visualizers eyes to move around and then return back to nayika only. First portion is

almost the middle one, where Radha, the nayika is bashfully entering Krishnas

house. Second is just above it

where nayaka is waiting for

her on a well prepared bed in

his compartment. Third

segment is given equal space

into the scene where group of

ladies are busy in

conversation. The place

appears adjacent, in fact

extended portion of Krishnas

pavilion. And artist providing

two entry gates to the palace

smartly fulfilled the demand

of scene just to give a clue,

that Radha instead of going Detail of Figure LVII

through the gate where she has to face many people inside, is entering through

another gate so as to hide herself from the society. And these are the characteristics of

Abhisarika Nayika which fits to the picture perfectly.

Picture of abhisarika and especially Krishnabhisarika nayika placed amongst

whole lot of creatures, demonesses and animals etc are found in large number but

with other woman in such figure are rarely depicted. Without any fearsome character,
 Rathore | 253

snake, blinking flashes of lightning and horrifying passage etc., painter effectively

developed the sense of complexity in nayikas journey.

This scene could be seen another way too. Radha being part of the group

chatting at the corner would have probably come out finding them busy or could have

acted to sleep with the one still sleeping on the bed at lower portion. And getting

chance of moving out would have left the door open in hurry and noiselessly entering

her beloveds place.

 Rathore | 254

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