Raga Rama from a Ragamala series

In the Indian Classical musical system, a raga is distinguished as a distinct melodic structure, a musical motif, which is believed to have the ability to affect the mood and emotions of the audience. Ragamalas are visual renditions of individual ragas, premised on belief that the contemplation of a raga has a visual imagery unique to its ‘sound form’ that can be accordingly picturised in the form of a person, as well as associated with the sound of the specific animal or the sound of some human or natural activity.

Rama Raga belongs to the family of Dipak Raga and is the third son or raagputra of the Raga. Described as radiant and charming with lotus-like eyes, Rama Raga is portrayed as a warrior carrying a bow and arrow.

In an exquisitely rendered and brilliantly coloured garden under the canopy of lush emerald green trees, the personification of Raga Rama is depicted as holding a bow and arrow in one hand and a flower in his other hand, in a manner of a courtly aesthete. Emphasizing his courtly mannerisms, a woman companion in front of him offers him a paan (betel leaf), while his other companion tugs at his diaphanous stole.

The painter delights in the baroque bouquets of flowers rendered in dazzling rich jewel-like colours, as they jostle with each other in a burst of exuberance. The lush mango tree is embraced by a flowering kadamba tree, and little flowering shrubs intertwine its trunk. Sprigs of delicately rendered blossoms sprinkle among young plantains, and on the left an overladen pomegranate shrub erupts in a cascade of luscious fruits.

A marvelous spontaneity of line contrasts with the controlled formality of the composition. The decorative detail of the foliage, use of the lavish and generous doses of gold in the costumes, in the abundant jewellery, even in the arrows in the quiver that Rama wears on his shoulder, or his sandals, or the effulgent sun that burns in a brilliant flash of gold show the influence of Deccani painting.

The style of the attire and jewellery, however betray the influence of the Marathas. The colour scheme of plain green background with the pink sprigs, and the squarish heads of the figures with pink tips in the white of the eyes show possible influences of the Raghogarh miniature style, which was under Maratha domination in the 18th century.