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LOVERS APPROACHING A BED-CHAMBER llustration to the Indian musical mode, Malavi Ragini Malwa, Central India, c. 1680 Victoria and Albert Museum (I.S. 66-1952)

With Plate 9, a continuation of the Ahmadnagar strand in Malwa painting. The inordinately slim and elongated women, their eyes thinly scratched as if by a thorn, resemble Ahmadnagar pictures of the early period, while the pink and mauve steps, the tilted bed, tree, pavilion and general composition closely link the picture to Plate 9 itself. Other examples from this series possess the same colours as the second strand of Malwa painting and suggest that during the seventeenth century intimate blendings of separate styles occurred. In this connection, the elephant-headed ornament, its trunk lifting on high a pair of flags, duplicates the monster clasping the pennants in Plate 3. It was out of pictures such as these that typical Malwa paintings of the eighteenth century developed.1
In subject, the picture represents another and different 'lady' of the 'musical prince', Bhairava Raga. She is now a girl strolling with her lover, urging him to delay no longer but to lead her within.

1 For reproductions of eighteenth century Malwa paintings, see I. Stchoukine, La Peinture Indicnne (Paris, 1929), pis. 7Ј and 76; The Art of India and Pakistan, pi. 92 (448); A. K. Coomaraswamy, Boston Catalogue: V, Rajput Painting, pis. 21 and 22, and Zimmer, op. cit., i, pl. C 8.