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RAJPUT PAINTING
RAJPUT PAINTING
BEING AN ACCOUNT OF THE HINDU PAINTINGS OF

RAJASTHAN AND THE PANJAB HIMALAYAS

FROM THE SIXTEENTH TO THE NINETEENTH CENTURY
DESCRIBED IN THEIR RELATION TO CONTEMPORARY THOUGHT
WITH TEXTS AND TRANSLATIONS
BY

ANANDA COOMARASWAMY
D.SC. LONDON ; FELLOW OF UNIVERSITY COLLEGE, LONDON ; HON. CORRESPONDENT ARCHAEOLOGICAL
'

AUTHOR OF MEDIAEVAL SINHALESE ART

SURVEY OF INDIA ;
'

'INDIAN DRAWINGS' AND 'THE ARTS AND CRAFTS OF INDIA AND CEYLON

VOLUME II. PLATES

HUMPHREY MILFORD
OXFORD UNIVERSITY PRESS
LONDON EDINBURGH GLASGOW NEW YORK TORONTO
MELBOURNE BOMBAY MADRAS CALCUTTA
1916
 PRINTED IN ENGLAND
AT THE OXFORD UNIVERSITY PRESS
 LIST OF PLATES
SCHOOL OF RAJASTHAN
I. Madhu-madhavl Ragini.
II. Gaura-(mallara) Ragini.

Ill A. Malkausa Raga.

IIIb. Vasanta Ragini.
IV. Gaurakari (= Gaura-mallara) Ragini.
V. Asavari Ragini.
VI. Khambavati Ragini.
VII. The gracious manifestation of Devi.

VIII. Clouds, lightning, rain, and circling cranes.

IX. Rasa Lila: head of ^ri Krishna.

X. Rasa Lila: two Musicians.

XI. Sri Krishna with the flute.

XII A. Ragini, perhaps belonging to Megha-mallara.

X 1 1 B. Tori Ragini.
XIII A. Ragini, probably Gaurl.

XIII B. Ragini, perhaps belonging to Dipak,

XIV. Installation of the image of Sri Natha-ji.

XV A. ^ri Natha-ji with Radha.

XV B. ^ri Natha-ji with Radha.
XVI. The Salvation of the King of Elephants.

XVII A. Cows and kings.

MUGHAL BASED ON RAJPUT

XVII B. Ragini, possibly Gujarl.

XVIII A. Lalita hava.

XVIII B. Kakubha Ragini.

XIX. Women bathing.

XX. Haram Scene.

SCHOOL OF JAMMU
XXI. The Siege of Larjka.

XXII. The Siege of Larjka.

XXIII. The Siege of Larjka.

XXIV. The Siege of Larjka.
XXV. The Siege of Larjka.

XXVI A, Durga slaying an Asura.

 LIST OF PLATES
XXVI B. Utka Nayaka.
XXVII A. Virahim.

XXVII B. Abhisarika Nayaka.

XXVIII A. Gaja Laksmi.
XXVIII B. Deer fip^htingf.

XXIX. Krishna rises to welcome Sudama.

XXX. Dalliance of Radha and Krishna.
XXXI. Sri Krishna with the flute.

A. A-iv i 1 A. iN.au.ua ojicrb uclci ikj jii iviibxiiia.

XXXII B. A Lady's Toilet.

XXXIII. The Points of the Horse.

XXXIV A. Portrait of a Dogra Rajput prince.

XXXIV B. Portrait of a Dogra Rajput prince.

XXXV A. Darbar of a Dogra Rajput prince.

XXXV B. Caricatures of Hindu saints.

SCHOOL OF KAr)GRA
XXXVI. Mahabharata ; the unveiling of Draupadi.

XXXVII A. Mahabharata ; the unveiling of Draupadi.

XXXVII B. The Death of Bhisma.

XXXVIII. Gita Govinda ; the sports of Krishna.

XXXIX. Gita Govinda ; Krishna supposed false.

XL. Sri Krishna with the flute.

XLI. The Bonds of Love.

XLII A. Bhils hunting deer at night.

XLII B. Ramayana : Laksmana returned from hunting.

XLIII. Sri Krishna with Radha.

XLIVa. ^ri Krishna awaiting Radha.
XLIVb. Vaikuntha Sabha, dancing Apsarases.
XLV. Sri Krishna milking.
XLVI. Wives of the Mathura Brahmans offering milk to Krishna.
XLVII. ^ri Krishna following Radha.
XLVIIIa. The Pet Deer.
XLVIIIb. Utka Nayaka.
XLIXa. The Quelling of Kaliya.
XLIXb. The Stealing of Clothes.

La. The Manifestation of Siva.

Lb. Siva and Durga.
LI. The Divine Herdsman.
LII. The Divine Cowherd.
 LIST OF PLATES vii

LIII. The Quelling of Kaliya.

LIVa. The Quelling of Kaliya.

LIVb. Ras-lila, chorus,

LV. ^rl Krishna with the flute.

LVI. Radha cooking.

LVII. Wives of the Mathura Brahmans taking food to Sri Krishna,

LVIII. Sheltering from the rain,

LIXa. ^ri Krishna with the flute.

LIX B. Radha forsaken.

LX. Ramayana : Laksmana removing a thorn from Rama's foot.

LXI. The Hermitage of Valmiki.

LXII. Svayamvara of Damayanti.

LXIII. The Marriage of Parvati.
LXIV. Mahadeva (^iva) and Parvati.
LXV. Mahadeva (^iva) and Parvati.
LXVI. The Birth of Gaijga.

LXVII. The Evening Dance of Siva.

LXVIII. Durga s battle with Mahisasura.

LXIX. Kali or Rudrani as the Power of Death.

LXXa. Virahinl.
LXXb. The Bride.
LXXI a. The Pet Deer.

LXXIb. The Storm.

LXXII A. Purva Raga : Radha s toilet.

LXXIIb. Purva Raga : Radha's toilet.

LXXIII A. Abhisarika Nayaka.

LXXIIIb. Abhisarika Nayaka.

LXXIVa. Manini.
LXXIVb. The Timid Bride.

LXXV A. Jewellers at Work.

SIKH SCHOOL
LXXV B. Kabir.

LXXVI. A Sikh assembly.

ALLIED ARTS
LXXVII A. Playing-card.

LXXVIIb. Playing-card.

LXXVII c. Radha and Krishna.

LXXVII D. Tonsure of Mahavira.
LXXVII E. Sri Krishna with the flute.
 PLATE I

Raginl Madhu-madhavi. An Abhisarika Nayaka seeks

her beloved on a night of storm and rain. Superscription
Hindola 5. Rajastham, mid- 1 6th century. Size of the original.
Collection of the author (23 Raginis). Vol. i,
pp. 12, 67.
 PLATE II

TTfwt (wn:)

RaginT Gaura-(mallara). A woman of blue complexion,

standing on a grassy between two flowering trees, dancing,
hill

and singing to the vina, while two peacocks are attracted by

the music ;
heavy clouds, rain, and lightning in the sky. Super-
scription Megha-malldra 3. Rajasthani, mid- 1 6th century. Size of
original. Collection of the author (23 Raginis). Vol. i, pp. 12, 67.
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PLATE III
 PLATE IV

Gaurakari (= Gaura-mallara)Ragini, The Ragim

seated on a lotvis throne, on a grassy hill, and singing to a vind ;

a peacock dancing to the music, and a deer listening. Chorus of

drum and cymbals. In the background, plantain, palm, and other
trees, and a stormy sky with clouds and lightning, and flying cranes.
In the foreground, water with rose lotus. Rajasthani, middle or
late 1 6th century. Size of original. Collection of the author.
Vol. i,
pp. 13, 67.
 ;

PLATE V

Asavari Ragini. The Ragini seated on a carpet beneath

a sandal-tree, at the foot of a grassy hill, surmounted by a tower
chorus of bin (or nagasard) and sdraygl. Many cobras are
attracted by the music cumulus clouds in the sky, with silver
;
'

lining '
; the foreground water, with rose lotus. Rajastham, early
1 7th century. Size of original. Collection of the author. Vol. i,

p. 67.
PLATE V
 PLATE VI

WRfft TrfW
Khambavatl Ragini. Represented as a Brahma Piijd:
Brahma and four-armed, holding the Vedas,
seated, four-headed
a rosary, and spoon to feed the sacrificial fire with ghl: before
him a woman worshipping, accompanied by a cauri-bearer in ;

the foreground, chorus of tambura and drum. Above the palace,

cumulus clouds with silver lining
'
Rajastham, early 1 7th century.
'.

Size of original. Collection of the author. Vol. i, pp. 66, 67.

PLATE VI
 PLATE VII

The gracious manifestation of Devi. The goddess on

a lotus seat [padmdsana), beneath a canopy and a tree, holding
attributes, and worshipped by a Brahman with folded hands
{anjalihasta). The picture represents the realfzation of a dhydna
mantram or laksanam. Rajastham, lyth-iSth century (Jaipur).
Size of original 15x10 in. Collection of the author (vol. ix,

f. 39). Vol. i,
pp. 13, 40.
PLATE VII
 PLATE VIII

Clouds, lightning, rain, and circling cranes. An

excerpt from the wall-paintings of the Old Palace at Bikaner,
copied by a modern painter on a wooden panel. Rajasthani,
1 7th century. Size of the panel 44 x 7^ in. Collection of the
author. Vol. i,
pp. 13, 14.
r L A T E V I I I
 PLATE IX
^ WW
Rasa Lila : head of 6ri Krishna. Coloured cartoon for
Radha and Krishna dancing (see also Plate x
large picture of
and Indian Drawings ii, Plate ii). Rajastham (Jaipur), i8th
century. Size of original 26X i8 in. Collection of the author.
Vol. i, p. 14.
 PLATE X
Rasa Lila: two Musicians. A
and saraygi
singer
player, forming part of the chorus to a dance of Radha and Krishna
(see also Plate ix and Indian Drawings ii, Plate ii). Rajasthani
(Jaipur), 1 8th century. Size of original 28| x 20 in. Collection of
the author. Vol. i, p. 14.
PLATE X

. /

I
 PLATE XI
^ ina!i ^^tvr:, or "^^pfttrr^

Sn Krishna with the flute. Krishna stands with crossed

feet beneath a kadaniba tree, attended by two gopis, one with
a fly-whisk, the other offering a lotus flower cows and water
:

in the foreground. Painting on paper mounted on cloth. Rajas-

tham (Jaipur), late i8th century. The former owner writes to me :

'
While packing them I came across an inscription in Devnagari
on the back of the left lower end corner of each, which is most
probably the date of their creation "Samvata 1856 Magh Shukla 5",
and the name of the picture are written very clearly as the Phaga-
lila. Hence it means that these paintings were for the first time
used at the Basant-utsava some no years ago' (more exactly,
A. D. 1799). The second picture referred to represents Holi
festivities. Both are in the collection of the Maharaja of Cossim-
bazar. Size of original ca. 5 ft. x 2 ft. 9 in. Vol. i, p. 14.
PLATE XI
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PLATE XVIII
 PLATE XIX
Women bathing. Three girls bathing on the bank of
a river or lake, overlooked by a youth hidden in the trees.
Behind, sandy hills and a country cart partly concealed by a
cactus hedge. Rajasthani with some Mughal influence, pro-
bably Jaipur or Delhi, 17th century. Size of original. Bodleian
MS. Ouseley Additional 166, f. 35. Vol. i, p. 15.
PLATE XIX
 PLATE XX
Haram scene. A moonlit terrace, a lady partly nude,
holding a garland of flowers, two attendants, the one
with
massaging her right hand, the other offering a cup of wine. Mixed
Rajput and Mughal, 17th century. Size of the original. Bodleian
MS. Ouseley Additional 171, f. 15. Vol. i, p. 15.
PL'ATE XX
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PLATE XXII
 PLATE XXIII

The Siege of Larjka : A^oka grove. Ravana

Sita in the
A^oka grove, where she is
with two attendants visits Sita in the
guarded by three raksasis, in order to persuade her to become
his queen. Forming the right-hand half of a picture in the same
series as Plates xxi, xxii, Pahari (Jammu), 17th century. Size
of the original portion 23IX14 in. Collection of the author.
Vol. i,
pp. 16, 60.
PLATE XXIII
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PLATE XXV
 PLATE XXVI
A

Durga slaying an Asura. Durga, the rajasic form of

Devi, eighteen-armed, with numerous weapons, seated on a lotus
throne {padmdsana) on the side of a high mountain, destroys the
demon with a fiery bomb. In the original the dark mountain
stands out more clearly on the general background of lurid red.
Pahari (Jammu), 17th century. Size of original 5I x 7 in. Collec-
tion of the author. Vol. i, pp. 18, 57, 58.

PLATE XXVI
B

Utka Nayaka. The heroine awaits the coming of her lover

at the place of tryst in a lonely grove. See also Plate xlviii b.

PaharT (Jammu), 17th century. Size of original 8 x 6| in. Collec-

tion of the author. Vol. i, pp. 18, 44, 45.
PLATE XXVI
 : . :

PLATE XXVII
A

Virahini. The heroine suffers the

fire of love in the absence

of her lord. She

on a couch spread with lotus leaves; she
lies

is attended by two sakhis, of whom one fans her and offers a lotus
flower, the other offers a lotus garland and a cup of sandal paste,
but she is not cooled nor soothed. Compare the following lines
by Vidyapati
The fire of sundering from herself devours her body in its

flames . .

To-day or to-morrow she is like to die.

Such burning love she bears !

Refreshing water, lotus leaves upon her bed,

Or oynement of sandal paste.
Each and all are flames of fire ...
All night she wends and wakes.

Paharl (Jammu), 17th century. Size of the original io|x6|in.

Collection of the author. Vol. i,
pp. 50, 51.

PLATE XXVII
B

Abhisarika Nayaka. The Nayaka has reached her lover's

house, through a night of rain and storm, and he lifts his hands in
amazement at Kesava Dasa gives the
her courage. following
dialogue of Premabhisarika and Nayaka
'
(He.) Thou hast bought me for a price, thou hast come unasked,
I know thy love.
(She.) Ah, Ghana^yama (Dark-cloud, a name of Krishna), the
cloud-wreath's {ghana-mdla) calling led me hither.
(He.) Lo, there must be danger, where even thy body cannot be
seen (so black is the night) ! How mightest thou see the road ?
(She.) The lightning, O Kesava, made it plain.
(He.) Up hill and down dale, and through the mud, have not the
thorns hurt thy feet ?

(She.) Courage like an elephant's gave me great comfort.

(He.) The night is very fearsome ;and thou all alone !

(She.) Nay, Lord of my Life, my companion was love.'

Paharl (Jammu), 17th century. Size of original 8|xi2 in.

Collection of the author. Vol. i, pp. 17, 18, 43-5.

PLATE XXVII
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PLATE XXXIV
 PLATE XXXV
A
Darbar of a Dogra Rajput prince. The prince seated,
with one attendant, facing his courtiers and retainers. Pahan
(Jammu), i8th century. Size of original yfxii^in. Collection
William Rothenstein, Vol. i, pp. i8, 74.

PLATE XXXV
B
Caricatures of Hindu saints. The names, from right to
left, inscribed in TakrI characters, read : Prem Das, Gharib Das
(fl. 17th century), Tulasi Das (fl. 1600), Kesur Sirjgh, Raj Sirjgh,
Ram Sirjgh, Pahari (Jammu), i8th century. Reduced. Lahore
Museum. Vol, i, p. 18.
PLATE XXXV
>
X
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 PLATE XXXVII
A

Mahabharata ; the unveiling of Draupadi. The back-

ground occupied by the darbar of Dhrtarastra ; in the foreground
on the right the five Pandavas in grief, and on the left Duh^asana
unveiling Draupadi. Pahan (early Karjgra), late I7th-early i8th
century, perhaps by the same hand as Plate xxxvi. Reduced.
Lahore Museum. Vol. i, pp. 8, 21, 61, 62.

PLATE XXXVII
B

The death of BhTsma. Bhisma reclines upon the bed of

arrows, surrounded by the seven Rishis, including Narada with the
vma Krishna, four-handed, with mace, conch, and lotus Yudhis-
;
;

thira, and the other Pandavas and Duryodhana. Bhisma, the ;

venerable uncle of Pandu and Dhrtarastra, and instructor of the

Pandavas and Kauravas alike, fought on the side of the latter in
the Great War. On the tenth day the aged hero grew weary of the
slaughter, and desired to meet his own fate. At last he fell, wounded
by many arrows. When he fell from his car the hearts of all fell
with him. That foremost of all bowmen, that mighty-armed
'

hero, fell down, like an uprooted standard of Indra, shaking the

earth as he fell. Pierced all over with arrows, his body touched

not the ground. At that moment a divine nature took possession

of that great bowman lying on a bed of arrows.' The sun was
then in the southern an inauspicious time for death.
solstice,
Wounded as he was, Bhisma resolved
to hold his life until the sun
should reach the north so, having recourse to that Yoga which
;
'

is taught in the great Upanisads, he remained quiet, expectant of

his hour Subsequently Bhisma, in response to the inquiries

',

of Yudhisthira, instructed him in the Four Branches of Knowledge

at great length. The story says that when Yudhisthira came to
BhTsma, he lay stretched on his arrowy bed, resembling in
'

splendour the evening sun like unto a fire that is about to

'
;
'

go out'. When at last the sun turned towards the north, Bhisma
gave up his life-breaths in the midst of those great-hearted men^
:
'

it was a marvellous thing to see.' Pahan (i^), 17th century (?).

Size of original. Collection of the author. Vol. i,
pp. 8, 21, 61, 62.
PLATE XXXVII

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PLATE XXXIX
 PLATE XL
^ w#vt: or

Sri Krishna with the flute. Krishna, holding the flute

and the flower of a rose lotus, beneath a kadamba tree, and two
gopis offering betel and milk. The Jamuna in the foreground.
Pahari (early Kar|gra), early i8th century. Size of original.
Collection of the author. Vol. i,
p. 32.
PLATE XL
 '

PLATE XLI
The bonds of love. Radha seeking to disentangle the
string of a whirligig fromRadha's bracelets. The following is

from the corresponding Hindi text:

'
Hari came forward twisting the string of a whirligig, and I with
all my braids unbound :

The whirligig he cast upon my body, and gave a jerk of its

silken string about my bracelets :

I bent to set the bracelets free, He lifted my chin and asked,

" Are you freed ?"

I made reply,
" By the word of God, heart is entangled with heart, and even
though knot be loosed, the cord holds fast."

Pahari (early Karjgra), early i8th century. Size of original.

Collection of the author. Vol. i, pp. 21, 52, 53.
PLATE XLI
 I

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PLATE X LI I
 PLATE XLIII

^ri Krishna with Radha. Krishna with the flute, hand

in hand with Radha, who offers him a rose chorus of two
;

musicians, one clapping time, the other with a tambura. In the

foreground a peacock, and water with rose lotus. Paharl (early
Karjgra), 1 7th- 1 8th century. Size of original 7 x 6| in. Vol. i,

pp. 22, 32, 47 n. I.

PLATE XLI I I
 PLATE XLIV
A
^ri Krishna awaiting Radha. Krishna reclining, in a
palace, holding a garland of white flowers, attended by two maids,
and in an attitude of expectation. Remark the transparent muslin
robe, as in Plate i. Pahari (early Kaijgra), I7th-i8th century.
Size of original. Collection of the author. Vol. i, p. 22.

PLATE XLIV
B

Vaikuntha Sabha. Apsarasas dancing before Vishnu in

the palace of Vaikuntha. Two dancers, and chorus of three
with drums and cymbals. Portion of a larger picture, inscribed
Vaikuntha sabha in Takri characters. Pahari (early Karjgra),
1 7th-i 8th century. Size of whole picture i if x 8 in., portion repro-
duced 4I X 5f in. Collection William Rothenstein. Vol. p. 22. i,
 V
PLATE X L I
 PLATE XLV

6ri Krishna milking. Sri Krishna is disguised as a gopi,

wearing a dark dupatta, and is milking a white cow, standing
back to the spectator; on the right Radha, standing, with the
calf. Pahan (early Kaijgra), I7th-i8th century. Collection of
the author. Size of original. Vol. i, pp. 8, 22, 34.
PLATE XLV
 PLATE XLVI

Wives of the Mathura Brahmans offering milk to

Krishna. Krishna is seated with Balarama and other g-opas and
the cows, under a tree beside the Jamuna, and three gopls, or
more probably the wives of the Mathura Brahmans (as on
Plate Lvii) are offering milk in leaf cups. PaharT (early Karjgra),
I7th-i8th century. Size of original. Collection of the author
(vol. ix. f. 35). Vol. i,
pp. 33, 34, and see also Pis. lvii and lix, a.
PLATE XLVI
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PLATE XLIX
 PLATE L
A

The manifestation of Siva. Siva or Kau^iki appears as

a tamasic emanation of the rajasic Durga, for the destruction of
the astiras Kumbha and Ni^umbha, in response to the prayers of the
dcvas. Durga is seated centrally, eight-handed, bearing the attri-

butes arrow, pestle, spear, discus, bow, plough,bell, and conch, and

two fires are burning below KauSiki stands to her proper right
:

above the suppliant devas, while to her left are Cunda and Munda,
the servants of Kumbha and Ni^umbha. The figures loom against
a background of white Himalayas, with deodars and a single palm ;

foreground of water with rose lotus, Sanskrit inscription. Pahari

(early Kar)gra or Mandi), i8th century. Size of original yf x lof in.

Collection of the author (vol. iii, f 32). Vol. i, pp. 8, 58.

PLATE L
B

Siva and Durga. Siva as yogi, clad in deer skin, bearing

banner {dhvaja) terminated by a trident {trisuld) Durga riding :

upon her tiger, eight-armed, bearing the attributes sword, mace,

skull-cup, axe, a weapon not identified, a trisiila, and bow. Back-
ground of dark Himalayas, suggestive of the northern wall of the
Karjgra valley. Pahari (Karjgra), late i8th century. Size of
original 6^ x 1 1 in. Collection of the author (vol. iii, f 33). Vol. i,

PP- 8, 57-
 PLATE LI

TheDivine Herdsman: Cowdust. Krishna returning

with the cows to Brindaban, accompanied by other gopas making
music, and welcomed by the gopis, some of whom have brought
water from Yamuna ghat, and others looking from the balcony
windows. Father Nand above, irt the central compartment of the
darddari, Ya^oda with Balarama in the yard. The moment repre-
sented is the Hour of Cowdust [go-dhuli bera), when the cows are
brought in from grazing. Vdyavya, or the wind that is mixed with
the dust that is raised by the cows, is held so pure as to be classed
amongst the seven substitutes for bathing, if unavoidable circum-
stances prevent the use of water in our picture there shines
:

a like transfiguration of every-day experience. Pahari (Karjgra),

late 1 8th century. Size of original. Collection of the author.
Vol. i,
pp. 24, 30.
 PLATE LII

The Divine Cowherd: Cowdust. Krishna returning

with the cows to Brindaban, another version of the same subject
as reproduced on Plate li, and possibly by the same hand. An
unfinished drawing, partly coloured. Pahari (Karjgra), late i8th
century. Size of original. Collection of the author. Vol. i,

pp. 4, 24, 30.

PLATE L I I
 *

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PLATE LI V
 PLATE LV
^ ^^Hnc or "^iij^Hmm

Sri Krishna with the flute. Krishna stands on a lotus

throne, attended by gopis ; gopas and cows are also present, one of
the gopas drinking from the Jamuna in the foreground sunset
;

sky with cumulus clouds seen through the trees. Pahan (Kaqgra),
late 1 8th century. Size of original. Collection of the author.
Vol. i,
p. 32.
 PLATE LVI

Radha cooking. Radha in the kitchen, aided by a maid

who is slicing vegetables ; Krishna overlooking from a balcony

window. Pahari (Kai]gra),
1 8th century. Size of original. Lahore
Museum. Vol.
i, p. 48. (For another picture of an Indian kitchen,
see Vidydpati, translated by Coomaraswamy and Sen, Plate facing

P- 95-)
PLATE LV I
i

1
 PLATE LVII

Wives of the Mathura Brahmans taking food to Sri

Krishna. The three divisions of the picture represent a con-
tinuous from the village to the grove where the
procession
herdsmen are seated those who have arrived are offering betel
;

and milk Krishna holds the flute and a rose lotus. The lower
;

left-hand corner shows the Mathurani whose husband would not

allow her to go the man is binding her arms, while the plate of
;

food which was prepared is on the ground before her but she set ;

her mind upon Krishna, and died, reaching him before even the
first of her friends.
Compare the description of the Prema Sagara (following the
Bhdgavata Purdnd) :

'
They all, being pleased (by the request of Krishna's messen-
gers), taking and filling severally golden dishes with food of six
flavours, rose up and hastened, and were hindered by no
obstruction.
'
The husband of one Mathura woman did not allow her to go ;

then she, meditating on Krishna, abandoned the body, and before

all the others went and united with him, as water goes and unites

with water;and afterwards all, proceeding on, came where ^ri

Krishna Chand, with the cowherd lads, with his hand on the
shoulder of a companion, in thrice-bent beauty, stood with the
flower of a lotus in his hand.'

Pahari (Karjgra), i8th century. Size of original. Collection

of the author. Vol. i, p. 33. Cf. Plate xlvi.
PLATE LV I I
 PLATE LVIII

Sheltering from the rain. Radha and Krishna in love-talk

beneath a common cloak, the other ^-opas dind gopts seeking shelter
as they may; heavy rain, lightning, and birds. It may be re-
marked how closely this and other Rajput representations of storm
and rain reflect the old classic descriptions, such as the following,
from the J dtakamdld of Arya Sura :

'In all parts of the sky there appeared rain-clouds. . . . They

were hanging low, and laden with rain the soft, deep sound of ;

approaching thunder was heard from them flashes of lightning ;

adorned their huge and dark-blue summits, and they overspread

the sky, approaching nearer and nearer as if to embrace each other
with heads and arms. The rumbling noise of the thunderclaps
. . .

now resounded on every hand, making the peacocks to utter cries

of joy and to dance and pose as if they would praise the clouds. . . .

Then the clouds let loose the streams of rain, falling like pearls
freed from their shells. The dust was laid, and a pungent savour
(of earth) was spread abroad by the wind that followed with the
thunder-shower. And it was as if the slender figure of Lightning,
. . .

illumining the sky again and again with her golden yellow showings
of light, exhibited her dances and rejoiced in the music of the
'

cloudy orchestra !

The Hindi text actually quoted on the picture reads :

'
Crying of
peahens, calling of yokels, shrill crickets screaming, not a step can
I take!'

Pahari (Katjgra), late i8th century. Size of original. Col-

lection of the author. Vol. i, p. 54.
LA T E LV I I I
 PLATE LIX
A
^ or ihwm
Sri Krishna with the flute. He is attended by -opzs

offering betel and plying the fly-whisk ;

^opas and cows are also
present. Pahari (Kar)gra), second half i8th century. Size of the
fragment 4I x 7I in. Collection of the author.

PLATE LIX
B

Radha forsaken. Radha, overcome with pride, has asked

him to take her upon his back he makes as ; if to do so, but
vanishes just when she seeks to mount. Forest to the right, the
Jamuna across the foreground. The Prema Sdgara, following
the Bhdgavata Purdna, reads :

'
Sri Radhika JT, feeling excessive delight with Hari, and
thinking her lover in her power, fancying herself greater than all,

and conceit in her heart, said, " O beloved one ! now I may go no
farther, set your shoulder and bear me along." On
me upon
hearing Krishna Chand, the destroyer of pride and
this, !ri

knower of secrets, smiled and seated himself, and said, " Pray come
and get on to my shoulder". But when she had stretched forth
her hand, and was about to ascend, Sri Krishna vanished. As her
hands were outstretched, so with extended hands she remained
standing just as, for pride, the lightning may be divided from the
;

cloud, or the moonlight, taking offence at the moon may linger

behind and the radiance of her fair form, emerging and spreading
:

over the earth, gave out such beauty as though she stood on
a ground of beautiful gold. A stream of tears was flowing from
her eyes and she could not drive away even those bees near her
;

face, who, attracted by the sweet savour, kept coming again and
again to settle upon it and heaving great sighs for her separation,
;

she stood alone in the forest, so that all beasts and birds and trees
and climbing plants hearing the sound of her sobs, were crying too.

The So saying, he
picture bears an inscription as follows :
'

spake to the dear one, "Come on to my shoulder", and then

disappeared and she, left lacking, suffered torment'
;

Drawing
in red (the white lines represent portions of darker
under-drawing recently touched out). Pahan (Kaijgra), second
half 1 8th century. Size of original 8|xii|in. Collection of
the author (vol. ix, f. 37). Vol. i, p. 35.
PLATE L I X
 PLATE LX
TTTRIW II ^^Tr
Ramayana : Laksmana removing a thorn from
Rama's foot. Rama reclines, supported by Sita, while Laksmana
extracts the thorn. A monkey is fanning Rama with a lotus leaf,

and other monkeys are fetching water or themselves drinking.

The photograph does not show clearly the Himalayan peaks at
the upper left-hand corner, nor the faded Gurmukhl inscription on
the margin. Pahari (Kaqgra), late i8th century. Size of original.
Lahore Museum. Vol. i,
pp. 59, 60, 71.
PLATE L X
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PLATE LXIII
 PLATE LXIV

Mahadeva (Siva) and Parvati. Both are eating the

intoxicating fruit of the Datura. Siva has a white complexion,
and golden brown hair ; he is marked
three-eyed, his throat is

with a blue spot (the trace of the poison swallowed at the Churning
of the Ocean) he wears the crescent moon upon his hair, and
;

a snake about his neck, and with one arm he embraces Parvati.
She wears a patchwork dupatta. The figures are here drawn
on an exceptionally large scale. It seems possible that some
indirect European influence may be reflected in the head of ^iva.
Pahari (Karjgra), late i8th century. Size of original. Collection
of the author. Vol. i, p. 55.
 PLATE LXV

Mahadeva (Siva) The wanderers have

and Parvati.
made their camp and Mahadeva watches the sleeping
for the night,
Parvati, stretched on the tiger-skin, her head supported by his
knee Nandi in the foreground to the right, the trident, banner,
; ;

drum, and bowl of the Great Yogi. In the background a lotus

lake, and to the left wild creatures in their caves. Mahadeva
wears the crescent moon, and his serpent-garland is winding along
his arm. The moment is a little later than that described in the

8th Canto of the Ktimdra-Samdkava.

The twilight glow is fading far

And stains the west with blood-red light . , .

The womb of night envelops slow

The world with darkness vast and black . . .

Moon-fingers move the black, black hair

Of night into its proper place.
Who shuts her eyes, the lilies fair.

As he sets kisses on her face.

Kumdra-Sambhava of Kalidasa. A. W. Ryder.

Parvati falls asleep while ^iva is yet speaking.

Pahari (Garhwal, attributed to Mola Rama), late i8th-early

19th century. Size of original. Collection of the author. Vol. i,

P- 54-
 V

PLATE LX
 PLATE LXVI

The birth of Garjga. Mahadeva (^iva) with Parvati,

seated before ayog-fs fire, encamped with Ganesa and Karttikeya,
and Nandi. Beneath the projecting rock, and not seeing the god
whom he would propitiate, stands Bhagiratha, his hand covered
by a go-miikha, while he counts his beads, repeating prayers.
Before him lie two Datura flowers offered to the unseen god ;

these are plucked from the bush that grows on the rock. In
response to the prayer of the devotee, the Ganges falls in a single
stream from Siva's head, where it had been lost since it fell from
heaven. Pahari (Kaijgra), second half i8th century. Collection
of the author. Size of original. Vol. i,
p. 56.
PLATE LXVI
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PLATE LX V I 1 1
i

PLATE LXIX

KalT or Rudrani as the Power

of Death. Devi, in
the tdmasic form of Kali, four-armed, three-eyed, aged and terrible,
has slain a king, whose garments are laid on the river's bank, and
while she devours the last fragments of his flesh, she pours the
water of purification on the bones jackals are seeking for what
;

may be left from the feast. In the middle distance there is seen
a ^aiva shrine containing a Lirjgam.
This work may be compared with Plate xlv, as representing
Pahari art at its best in both cases. The former work expresses
a primarily poetic mysticism, characteristic of Vaisnava devotion ;

the present example is intellectual rather than devotional, and

reflects more austere and philosophic aspects of ^aiva
the
mythology. In both cases the two divergent aspects of the
Brahman, the pairs of opposites. Being and Becoming, Purusa
and Prakrti are represented. With deep psychologic insight, the
symbols of Being and Becoming are represented as respectively

male and female in the former work as Krishna and Radha
here as Mahadeva and ^akti. Here the silent Lirjgam within
the shrine is Eternal Rest Kali as the essential principle
:

of impermanence, whom even kings may not avoid, is Eternal

Work.
The picture may illustrate a definite episode in Sakta legend,
but as this has not been identified, the inner significance is alone
discussed.

Pahari (Kaggra), second half i8th century. Size of original.

Collection of the author. Vol. i, pp. 8, 57, 58.
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PLATE LXXIII
A

Abhisarika Nayaka. The abhisdrika goes through storm

and danger to meet The path is beset with serpents,
her lover.
the rain is pouring down, and the Hghtning flashes. The repre-
sentation of deodars (to the left) is most unusual, the only other
instance be found on Plate la.
will Pahari (Karjgra but the
deodars indicate an acquaintance with the scenery of the inner
hills), late i8th century. Size of original, 7|x ii| in. Collection
of the author. Vol. i,
pp. 43-5.

PLATE LXXIII
B
Abhisarika Nayaka. The abhisarika goes through the
dark night to meet her lover at the appointed place of tryst;
Krishna awaits her, seated by a bed of leaves, in a dark grove.
The following lines are a translation of the Hindi text in-
scribed on each of the above pictures, a and b.

'
Leaden and lowering and heavy laden clouds dight in a robe
of black
dark collyrium seen on thy eyes,
All o'erspread with one dark hue
a deep black bodice on thy

body gleaming serpent drenching rain
Lovely the jet-black silken robe, and all thy gear is seemly the
black braid beauteous on thy back let fall,
At such a time, in such a guise, faring to meet thy Krishna
to-day hast thou finished hastily (or neglected), thy house-
*
hold labours !

Pahari (Karjgra), late i8th century. Size of original 5I x 8| in.

Collection of the author. Vol. i,

pp. 43-5.
PLATE LX X I 1 I
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<
 PLATE LXXV
A

A group of jewellers at work. Signed Ramadeyd lekhe

sunayar, Goldsmiths, drawn by Ramadeya
' Paharl (Kar)gra),
early 19th century. Reduced. Lahore Museum. Vol. i, p. 74.

PLATE LXXV
B

KabTr. The great teacher is represented to be instructing

a group of Hindu and Musalman ascetics. Sikh, late i8th century.
Size of original 6| x 9I in. Collection of the author. Vol. i, p. 74.
PLATE L X XV
 PLATE LXXVI
A Sikh assembly. A darbar of Sikh elders, Sikh, i8th
century. Size of original. Collection of the author (vol. ix, f. 2).

Vol. i, pp. 25, 74.

PLATE LXXVI
 PLATE LXXVII
A
Playing-card ; with figure of a royal horseman, attended by
foot- soldiers. Rajasthan. Collection of the author. Size of
original. Vol. i, p. 80.

PLATE LXXVII
B
Playing-card ; with representation of Krishna slaying
Sai]khasura (cf. Text-fig. 5). Rajasthan. Size of original.
Collection of the author. Vol. i,
pp. 37, -.8, 80.

PLATE LXXVII
C

Radha and Krishna. Copper-gilt relief, showing Krishna,

four-armed, with flute, discus and lotus, his crown similar to those
seen in Rajput paintings ; Radha's arm about his waist. Garuda
at his feet in an attitude of worship. Nepal, I5th-i6th century.
Size of original. Collection of the author. Vol. i, p. 80.

PLATE LXXVII
D

Tonsure of Mahavira. Mahavira to the left, plucking out

his hair on becoming an ascetic Sakra to the right, four-armed,
;

receiving the worldly robes and offering spiritual garments.

Gujarat, 15th century. Size of original. Collection of the author.
(See also Noles on Jaina Art, 'Journal of Indian Art', July,
1914). Vol, i, pp. I, 3, 12 n. 4.

PLATE LXXVII
E
^ IT^ ^^^T or ^^QjaftiT^

Sri Krishna with the flute. Krishna playing the flute, with
attendant gopls and cows. Garuda is represented at his feet in an
attitude of adoration. Brass, Hindustan, about 13th century.
Size of original. Collection of the author. Vol. i, p. 80.
PLATE LXXVI I
\