by Ranjha. From the Nala Damayanti series
Kangra School. Late 18th century AD
Lord Indra' female messenger has left Damayanti's palace, when suddenly Nala reveals himself. With the sudden appears ofa man in the ladies palace, there is a flutter of whispers, a sense of awe. Even the ducks at the fountain are ruffled. Damayanti ia flustered. She suddenly gets up and holds on to the pillar to steady herself. With feminine modesty, ao essential for medieval India, she gazes at the floor. In her bewilderment, she offers Nala her seat. But he tells her that he is merely an emissary from the four Gods. He is there to propose on their behalf and to plead their cause. The maids are struck by his handsomeness and demure.
This is one of the most realistic miniatures of the series as one can hear the whispers, the discomfort, the awe struck in each character of the painting. Damayanti is the epitome of feminine grace and beauty. Despite its formal symmetry, the painting is alive with details and woth realism. Like Fattu, Ranjha has captured the nuisances of love in all its fleeting moments.
There cannot be a better set of painters and paintings than this on the theme of love. Love is carried from the profane to the sublime.
This is one of the most realistic miniatures of the series as one can hear the whispers, the discomfort, the awe struck in each character of the painting. Damayanti is the epitome of feminine grace and beauty. Despite its formal symmetry, the painting is alive with details and woth realism. Like Fattu, Ranjha has captured the nuisances of love in all its fleeting moments.
There cannot be a better set of painters and paintings than this on the theme of love. Love is carried from the profane to the sublime.
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