According
to the textin the upper border, this painting represents Vasant (Spring)
Ragini. The passage is taken literally from verse 19 of the fifteenth- or
sixteenth-century Sangiradamodara (Music of Damodara) of Subhankara
(Waldschmidt & Waldschmidt, and describes the form of the hero in
the painting as wearing a crest of peacock feathers and as feeding a mango
sprout to a cuckoo, which clearly does not accurately describe this picture.
Here, the hero wears a golden crown and does not feed a cuckoo. He is gaily dressed in an overskirt made of peacock feathers, striped white trousers, a gold sash, and bejeweled golden ornaments. His elaborate gem-encrusted gold crown is adorned with lotus blossoms, and he wears a girdle of golden waist-bells. The hero carries in his right hand a long, stringed instrument called a vina that rests on his shoulder, while in the other hand he holds a golden pitcher with three blossoming flowers, which symbo-lize spring's annual rebirth of the natural world. Appropriately, the scene takes place in a wooded glen with flowering trees in the background and the tops of various plants and flowering shrubs in the foreground. The hero is depicted as dancing and is surrounded by three female musicians and a female attendant bearing an honorific flywhisk.
Here, the hero wears a golden crown and does not feed a cuckoo. He is gaily dressed in an overskirt made of peacock feathers, striped white trousers, a gold sash, and bejeweled golden ornaments. His elaborate gem-encrusted gold crown is adorned with lotus blossoms, and he wears a girdle of golden waist-bells. The hero carries in his right hand a long, stringed instrument called a vina that rests on his shoulder, while in the other hand he holds a golden pitcher with three blossoming flowers, which symbo-lize spring's annual rebirth of the natural world. Appropriately, the scene takes place in a wooded glen with flowering trees in the background and the tops of various plants and flowering shrubs in the foreground. The hero is depicted as dancing and is surrounded by three female musicians and a female attendant bearing an honorific flywhisk.
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One of the musicians beats a two-headed barrel drum (,rtridangam) while another
plays hand-cymbals (rdams).
The third performer claps her hands to die rhythm and apparently is singing, since. she is atypically shown with her mouth open. Stylistically, this painting is a good example of the amalgamation of Mughal naturalism and Rajput idealism and coloration.
The third performer claps her hands to die rhythm and apparently is singing, since. she is atypically shown with her mouth open. Stylistically, this painting is a good example of the amalgamation of Mughal naturalism and Rajput idealism and coloration.
As
its name indicates, Vasant Ragini is associated with springtime, which is
thought to be the most glorious and sensual season of the Indian year. The
melody is traditionally performed late at night and is characterized by a slow
tempo evoking serene ecstacy
Vasant Ragini is regarded as a wife of Dipak Raga in the Rajasthani tradition and is typically shown as a crowned hero or Krishna cele-brating the advent of spring by dancing to the joyous songs of several female musicians. Alternatively, the same figures are shown participating in the commun.il revelry and mania of the Holi festival by shooting over-size syringes filled with red-colored water.
Vasant Ragini is regarded as a wife of Dipak Raga in the Rajasthani tradition and is typically shown as a crowned hero or Krishna cele-brating the advent of spring by dancing to the joyous songs of several female musicians. Alternatively, the same figures are shown participating in the commun.il revelry and mania of the Holi festival by shooting over-size syringes filled with red-colored water.
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