The lady portrayed here with
Vina, a musical instrument made of strings,
which associated with
Saraswati, the goddess of learning, has a legendary
origin, does not represent a
courtesan or a court musician nor her music the
means of sensual gratification. Whatever her personal identity she
represents here a sadhika, a female musician who practises music with
intrinsic dedication of a devotee more on lines of penance for spiritual
elevation. Her portrayal is close to the personification of
Todi Ragini,
which again represents the Indian cult of the deification of music.
In her simple elegant costume the sadhika has on her face the glow of a
penance doer. Her eyes are fixed in void away from all material objects. She
is essentially in meditative demeanour and yogik posture, to which her bare
feet, untied hair, paucity of ornaments, absence of all kinds of make-up and
a bare floor without a carpet and unadorned chamber aptly correspond. Before
striking the strings of her Vina she is invoking the presiding deity of
music. The position of her feet too is a posture of yoga.
With her fair complexion, proportionate figure with well defined body parts,
impressive height, prominent breast and slanting thighs, large eyes, broad
forehead, attractive features, round face and thick hair she is the model of
unique beauty. Drawn against the background of a beautifully patterned and
painted column and a huge curtain in deep magenta the figure of the sadhika
acquires greater projection and better contrasts. The painting is a
magnificent work of art and reminds of oval faces and the simple subdued
background of the Pahari medieval art.
This description by Prof. P.C. Jain and Dr. Daljeet. Prof. Jain
specializes on the aesthetics of literature and is the author of
numerous books on Indian art and culture. Dr. Daljeet is the
curator of the Miniature Painting Gallery, National Museum, New
Delhi. They have both collaborated together on a number of books.
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