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the picture and the pair of cows in the foreground, on the left, act as diagonal foils to the whole composition. In the background, in the distance, is a lotus lake with pavilions and gardens with cypress trees. The treatment of the trees and the foliage in the foreground and on the banks of the lotus lake is conventional and commonplace. Composed in a geometrical vignette, the whole scene is laid out on the marble terrace with pavilions and artificial garden in the background.
5. LADY PLAYING WITH 'GAIND':
The figure is composed in harmony with the shape of the arch. She is engrossed in the play. The rotating play-balls synchonize with the movements of the lifted hands. The lines of the scarf, the petticoat and the accentuated curve of the thin waist lead to the appex of the composition and give a sense of conti
nued movement. The execution is bold and summary. 6. LADY WITH A PEACOCK:
“Mayoor-priyā”. The figure of the lady in a dancing posture with her raised right hand holding a mango blossom and the peacock to pluck it, are composed in a decorative oval shape. The flowing skirt joined with the fullsleeved blouse, the stylistically drawn curved hair-line from the forehead to the neck-line and the lotus eye are all typical of the Moghul traditions of miniature
painting. 7. LADY WITH A VEENĀ AND MRIGA (BLACK BUCK):
Representation of Rāgini Todi ? The lady is playing on a Veenā and the black buck is listening to the strains of music with rapt attention. The composition,
stylisation and the treatment are as in the figure 5. 8. POMEGRANATE:
The tree is decoratively treated. An adaptation of a Persian motif, it is frequently used to decorate the walls and the ceilings of buildings in Rajasthan. The perfection of freehand drawing in blues and reds is remarkable.
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