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this vagrant and notorious tribe. The widely spread-out skirt and the flowing and. sweeping lines of the sash balanced with the lines of the stretched arms-all these lead to the appex of the figure-the head. Schematically it is a good pictorial composite of the square and the triangle.
LADY CARRYING GARLANDS OF FLOWERS:
The heroine is walking in a majestic gate. An excellent depiction of a 'navodha, she is accompanied by her pets-two peacocks-to a tryst. The profile of the lady is immanent with feelings and desire. The peacock-motif pattern on her skirt is symbolic.
FESTIVAL OF SWING:
It is the rainy season. The black clouds are gathering in the sky. The peacocks, perched on the tree-tops are shrilling with delight. The month of Shravan has come, and the ladies are swinging on the swing. In the foreground the rivulet is gushing forth, like the youth of the ladies, from the bosom of the small hills. In the ripples of the river, the silver fish swim, like the blooming breasts of the swing girl, rhyhtmically swaying. It is a season of love and earthly paradise for the charming group of thirteen young damsels. The group of trees, growing vertically, are in dalliance with the participants of this festival of the season. The black roaming colourful clouds painted under the arches of the panel augment the movement of the whole scene. The mango, Ashoka and the plantain trees, the seasonal symbols, are painted with delight.
FESTIVAL OF SPRING:
Vasantagamana. The Mugdha ladies (ladies becoming conscious of their approaching youth) on the threshold of youth, have gathered together in a beautiful tryst enclosed by the rows of spring-time trees perched with the groups of peacocks. In the foreground is a fountain with a pavillion sheltering the youthful girls, full of lotuses and aquatic birds. In the entrance gate of this garden of delight there is an old lady guarding this secluded and private retreat. The decorative treatment and the brush-strokes employed in the trees are of peculiar interest. The painting is an excellent transcription of a Rajasthani miniature to the wall. The linear charm is superb, and the grouping of the figures in twos and threes breaks the monotony and binds the whole composition in one rhythmic whole.
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