(Transcriber's note: The page images used to prepare this text did not include the illustrations). One and the same lyrical tradition is the common inheritance of all Hindustan; it finds expression now in poetry, now in music, and now in painting. Hence it is that the schools of painting, though they are local, illustrate all the ideas of the Vaishnava poets as directly as the songs themselves. Amongst Rajput paintings it would perhaps be possible to find an appropriate illustration to every line of Vidyapati, or of any other Vaishnava singer; not that Vidyapati was known to the western painters, but their and his experience was the same. Just as the Vaishnava songs are word-painted miniatures, rather than narative, so with the Rajasthani and still more with the Pahari Rajput paintings; these are likewise musical delineations of brief moments of the soul's history. It is hoped that the reproductions given here will help to actualise the meaning of Vidyapati's words, for those who are unfamiliar with the Vaishnava tradition. The key to each picture is given in the quoted text, to which the following notes are supplementary: Facing page 3: Jaipur painting of the 18th century, very brilliant in sunset colourings, representing a girl returning from a Shaiva shrine. The original in the collection of Mr. N. Blount, Calcutta. Facing page 19: A Pahari (Kangra) painting of the early XIXth century, representing a girl bathing. The original in the collection of Dr. Ananda Coomaraswamy. Facing page 27: A Pahari (Kangra?) painting, of the earlier part of the XVIIIth century, representing Krishna with his flute, beneath a kadamba tree, and beside him are two milk-maids with offerings of curd and betel. The original in the collection of Dr. Ananda Coomaraswamy. Facing page 33: This is the only one of our eleven illustrations which is not absolutely appropriate to the text. It is taken from an MS of Kesava Dasa's Rasikapriya, and represents the 'Clandestine Meeting' (Pracchanna samyoga). It is, however, Mughal in style, notwithstanding its Hindu subject; and while in a general way it illustrates the quoted text, its sentiment is more secular and realistic, and a further objection appears in the fact that the text implies a night and indoor environment. The original in the collection of Dr. Ananda Coomaraswamy. Facing page 43: A Pahari (Kangra) painting of the late XVIIIth century, representing a dutika leading Radha (or any heroine) across a starlit courtyard to her lover's house. Original in the collection of Babu Gogonendronath Tagore. Facing page 63: A Pahari (Jammu district) painting of the XVIIth or XVIIIth century, representing an Abhisarika. Part of a picture, the whole of which is given in 'The Journal of Indian Art,' No. 128, figure 16. Original in the collection of Dr. Ananda Coomaraswamy. Facing page 71: A Pahari (Kangra) painting of the late XVIIIth century representing Krishna and Radha seated on a bed of plaintain leaves in a flowery grove. Original in the collection of Dr. Ananda Coomaraswamy. Facing page 77: A Pahari (Kangra) painting of the early XIXth century representing the Manini denying Krishna's prayers. Original in the collection of Dr. Ananda Coomaraswamy. Facing page 95: A Pahari (Kangra) painting of the early XIXth century representing a woman cooking. Original in the collection of Dr. Ananda Coomaraswamy. Facing page 115: Part of a Pahari (Jammu district) painting representing Radha (or any heroine) suffering from the pangs of viraha. Lotus leaves are spread on the bed, one sakhi is fanning the patient, and another brings her water in a jade cup; yet her body is scorched as though by fire. Original in the collection of Dr. Ananda Coomaraswamy. Facing page 151: Part of a Pahari (Kangra) painting of late XVIIIth century, representing the Vasakasayya Nayika, she who welcomes her beloved on his return from abroad. For the whole picture see 'Journal of Indian Art,' No. 128, figure 13. Original in the collection of Dr. Ananda Coomaraswamy. The dates suggested are only approximate. Most of the reproductions are a little smaller than the originals. |