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22. PORTRAIT OF A RAJPUT NOBLE:
A delineation full of character. The pose is formal and stiff. But there is strength and power in the brush-strokes. The decorative petal-shaped arch framing the portrait only makes it more archaic.
23. MOTHER FEEDING HER CHILD:
She is shown standing with her left leg resting on a stool, and on the right one balancing the weight of her whole body. In the background is a pomegranate tree with orange-red flowers decoratively treated. The arched gate through which the lady, the child sucking her left breast and the flowering tree, act as a foil to the entire composition. This is an excellent little charming fresco painted with all the command and surety of touch of the artist's brush. The summary treatment of the mother's face absorbed in motherly care and sentiments, the round and full breasts and the hands clasping the child with caress are the attainments of the painter's matured craftsmanship.
24. VINA VĀDINI:
The arrangement of the figure is on the same lines as in Fig. 37. There is a semblance of Moghul technique and treatment. Slight modulations of tones to give solidity and volume to the figure are visible. The flowering tree in the background is used as a good ornamental aid to throw the figure of the lady playing on a Vinā, nearer to the observer. The black buck is conspicuous by its small size vis-a-vis the tall, robust and youthful musician.
Nagaur Frescoes
Nagaur Fort. C. A.D. 17th to 18th Century. 25. LADY RINSING HER HAIR AFTER BATH:
The subject is often repeated in Rajasthani painting and sculpture. Here the lady is rinsing her hair after taking her bath in the hammam filled with translucent and scented water. The pose of the lady though a little stiff, is graceful. The disposition of the ornaments, especially the strings of white pearls
on the breasts show the roundness of forms. 26. LADY WITH A PARROT:
A favourite subject of Rajasthani painters. It is painted on one of the pilasters of the zanana hall of the palace. Such full figures of women, in various
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