The Indian theory of ragas is not only a class by itself but also a prime source of all musical renderings in India. The idea of associating music with painting is unique to Indian art. Indeed the transposition of modes of music into painting is the supreme achievement of the artist of the Rajasthani School.
It is said that Ragini Todi, the wife of Raga Malkounsa is a wonderful creation of the creator. She is portrayed as a lovelorn nayika (heroine) searching for her lover in every nook and corner of the forest. The deer, offering affection and understanding tenderly, is a symbolic representation as a companion to the desperate nayika. It is the most gentle among animals and suggests childlike innocence. In some contexts, it is also a symbol of auspiciousness and holiness.
The lady has a delicate face with a prominent forehead, slightly receding chin and almond shaped eyes that bespeak of her passion for her lover as well as her eagerness of waiting. Her body is young and lissome, limbs tender, the breasts full, and the hands and feet delicate. The concave curve of the urn comfortably fits into the convex of her waist. She wears a multi-pleated ghagra with a short choli and a diaphanous odhini: an attire typical of the Bundi School of Rajasthan.
Subtle details and curvilinear modulating contours of the animate figure is noticeable. Delicate drawing, clear gesture, and simple composition make up this miniature.
This description by Renu Rana.
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