by Devidas, Basohli School
1695 AD.
Like Keshavdas' Rasikpriya, Bhanudatta's Rasamanjari also classified the Nayika ( the heroine ) into different categories. Here is the one, who although is married, but awaits for her lover to come to her. Devidas, the famous Basohli painter, has cleaverly designed the composition. He has divided the painting into two chambers: in the right one, the cleaver Nayika has made sure her mother-in-law sleeps while she herself awaits for her love. The mother-in-law's room is plain, the Nayika's room is decorated with fragrant garlands, wine bottles and drinking cups. Having adorned herself, she lies on the bed waiting. Her anxiety is well expressed by turning her body into different directions.
Devidas has made the 'primitive' or 'folkish' Basohli painting more sophisticated. Although he continues to use flat colour backgrounds, his colour scheme is more complex, his detailing more intricate. But his composition continues to be a simple one.
Bhanudatta's Rasamanjari is part of Indian literature on "Kama" (love or sex). Since sex was one of the four goals of life, along with 'arth' ( wealth), dharam (religious duties) and 'moksha' ( liberation of the soul, much was written about sex in ancient and medieval India. Bhanudatta followed the trend. Infidelity seems to be an accepted norm in the society of the time.
Devidas has made the 'primitive' or 'folkish' Basohli painting more sophisticated. Although he continues to use flat colour backgrounds, his colour scheme is more complex, his detailing more intricate. But his composition continues to be a simple one.
Bhanudatta's Rasamanjari is part of Indian literature on "Kama" (love or sex). Since sex was one of the four goals of life, along with 'arth' ( wealth), dharam (religious duties) and 'moksha' ( liberation of the soul, much was written about sex in ancient and medieval India. Bhanudatta followed the trend. Infidelity seems to be an accepted norm in the society of the time.
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