Rāgmālā paintings are a distinctive genre of Indian miniature art that visually interpret the musical modes of the Rāgmālā, or ‘Garland of Ragas,’ often accompanied by short poetic verses. This art form flourished during the 16th and 17th centuries under royal patronage across various Indian regions. Originating in Rajasthan, it later permeated several Indian schools of art, including the Deccan, Mughal, and Rajput traditions.
Rāgmālā paintings draw inspiration from Indian classical music, capturing the moods and sentiments of rāgas and rāginis. Each composition narrates a story—with finely detailed backdrops and expressive figures, these paintings embody the emotions of musical notes, reflecting their inherent moods, timings, and seasons through intricate imagery and symbolism. The six principal ragas depicted in the Rāgmālā—Bhairava, Deepak, Sri, Malkaunsa, Megha, and Hindola—are associated with the six seasons of the year: Greeshma(summer), Varsha(monsoon), Sharad(autumn), Hemant(early winter), Sheet(winter), and Vasant(spring).
A central theme in many Rāgmālā paintings is the depiction of the Ashtanayika—the eight heroines representing different emotional states in relation to their lover, as outlined in Bharata Muni's ancient treatise, theNatya Shastra.
These emotional states are: Vasakasajja (The One Dressed for Union), Virahotkanthita (The One Distressed by Separation), Svadhinabhartruka (The One Having Her Husband in Subjection), Kalahantarita (The One Separated by Quarrel), Khandita (The One Enraged by Her Lover), Vipralabdha (The One Deceived by Her Lover), Proshitabhartruka (The One with a Sojourning Husband) and Abhisarika (The One Who Goes to Meet Her Lover). These archetypes have been extensively portrayed in Indian art, literature, and classical dance forms, serving as a rich source of inspiration for artists and performers alike.
In Rāgmālā paintings, the Ashtanayika are often depicted in settings that reflect the mood and time associated with the corresponding raga. For instance, a painting illustrating the Megha raga, associated with the monsoon season, might portray a heroine longing for her absent lover amid dark rain clouds, symbolizing her Virahotkanthita state. Similarly, the depiction of the Abhisarika nayika might show her traversing a stormy night, reflecting the intensity and urgency of the raga's melody.
Through the use of color, composition, and symbolic motifs, Rāgmālā paintings and the depiction of the Ashtanayika exemplify the intricate interplay between music, poetry, and visual art in Indian culture. They offer a window into the depths of human relationships, interpreted through the lens of classical Indian aesthetics.
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