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Indian palace architecture of this period featured enclosures within enclosures. In a palace, the visitor moves from public areas to progressively more private and enclosed areas, the most enclosed being the most exclusive. Rajasthani architecture also incorporates controlled encounters with nature within interior courtyards that contrast with the unattended nature found outside. Many ragamala<\/em> paintings are set within such courtyards.<\/strong><\/p>\n<\/div><\/div>\n\n\n\nIn theVilaval Ragini, <\/em>depth is also shown by the addition of receding lines to simulate edges moving away from the viewer. In the Sarang Raga<\/em>, the section behind the feet of the younger ascetic is a floor raised as if being looked down upon. The absence of this floor makes the figure float or pivot precariously.<\/p>\n\n\n\nIn many ragamala<\/em> paintings the figures are disproportionately large in comparison with the buildings. To show them in proportion would lessen their importance and make them appear insignificant. In the Sarang Ragini<\/em>, this problem was solved by painting the first floor of the building at a realistic size, whereas the upper floors are reduced as if seen at a distance.<\/p>\n\n\n\n