The redemption of Ahilya, who was transformed from stone to human when her foot was touched by Rama

The painting depicts the moment of the redemption of Ahilya, the wife of sage Gautama, who is renowned for her beauty and virtue. The story of Ahilya finds mention in various Brahamanas and Puranas, religious scriptures of the Hindus. Many versions of the Ramayana narrate the story of the seduction of an unsuspecting Ahilya by the god Indra who disguises himself as sage Gautama, Ahilya’s husband. Sage Gautama curses Ahilya as an adultress and turns her into a stone, foretelling her release only by the hands of Rama, the prince of Ayodhya, an incarnation of the god Vishnu when he shall visit her. Thousands of years later, when Rama along with his guru Sage Vishwamitra and his younger brother Lakshmana pass through the desolate hermitage of sage Gautama, Ahilya is absolved of her misery. Upon learning about the suffering of Ahilya, Rama places his feet upon the petrified Ahilya, who is purified and redeemed.

The painting is distinguished by a delightful simplicity. An earthy charm imbues the painting. Uncomplicated by superficial details the artist visualises the narrative with unembellished straightforwardness. The background is indicated only as a stylised backdrop to the needs of the narrative. Here the artist eliminates suggestions of the earth and the sky from the visual narrative - the trees and the human figures are bathed in an effulgent rich golden yellow, which suffuses the painting with a mellow warmth. The visual frame pulsates with vibrancy of the colours used- bright oranges, reds, chocolates, blue-greys and sap greens. Bold vigorous lines delineate the forms with effortless vigour. The artist gives full play to his imagination, delighting in creating a fantastical forest setting, depicting trees with variegated decorative foliage and blossoms.

The narrative is dealt with utmost simplicity. Ahilya has just been transformed from a stone and gratefully falls at Rama’s feet who blesses her. The clearly articulated hand gestures and glances of Rama, sage Gautama and sage Vishwamitra and Ahilya compositionally weave the figures together. Large eyes fill the faces, their gazes steady and firm, the white of the eyes flashing against the darker hues of the skin. The arched eyebrows increase the intensity of the gaze. The intensity of the gazes of all the figures are softened by the small softly rendered lips, the many delicate pearl strings, and ear ornaments, armlets and in the case of the young princes the lovely lotus blossoms that they wear in their crowns.