Forsaken

António Xavier Trindade’s Forsaken represents a westernised 20th century interpretation of the rejected lover with roots in the Subcontinent and Persian literary traditions. The inspiration for this work seems to come from Nayika, a character popularized by the 16th and 17th century Hindu poets representing a category of women in love, which was readily appropriated by Rajput painters. In the past, this painting was often referred to as Betrayed in the Trindade household, due to the sense of melancholy and rejection created around its main character.
The sitter wears a blue sari with narrow gold border, a colour believed to be associated with disappointment. The sari is worn with a contrasting light blue choli, with big dots and deep neckline. Her long black locks are tied in a loose bun. On her left hand, one can see a design which appears to be a mehndi. She is shown wearing traditional gold bangles on her wrist, double chains around her neck and drop earrings with a stone which could be diamonds. She is lying on the floor by the side of a bed covered with rich gold-coloured quilt. In the background there is a lamp with fading flame that symbolises the long wait for her lover. The lamp is also a metaphor for her burning heart while her long dark tresses represent the long black night of separation.
The emotional impact and cultural relevance of Trindade’s pining lover attract as much attention today as they did in the1920s.
References: Shihandi, Marcella, et al, António Xavier Trindade: An Indian Painter from Portuguese Goa (exhibition catalogue), Georgia Museum of Art, University of Georgia, 1996; Tavares, Cristina Azevedo et al, António Xavier Trindade: Um Pintor de Goa (exhibition catalogue), Lisbon, Fundação Oriente, 2005; Gracias, Fátima, Faces of Colonial India: The Work of Goan Artist António Xavier Trindade (1870-1935), Panjim, Goa, Fundação Oriente, 2014.