The drapes are pulled aside to reveal an elegantly, appointed bedchamber, but no one is there. Many ragamala <\/em>paintings express longing by placing figures in separate compartments or sections of the painting. Here, our heroine is outside, and the empty bedchamber alludes to the absence of her beloved.<\/strong><\/p>\n<\/div><\/div>\n\n\n\n

Painted around 1680 by an artist in Bundi or Raghogarh – small kingdoms in what is now the Indian state of Rajasthan – the painting shows a courtly setting in which a woman sits and paints an image of her beloved. Dhanasri Ragini <\/em>is often indicated by a woman making a portrait of her beloved. Although female artists were not typically depicted, the subject was not implausible. Most court artists were highly trained men who worked as a part of a workshop, producing commissions for royal patrons. Often a family of artists would work for a ruling family exclusively.<\/p>\n\n\n\n

The painting also provides a rare glimpse at how artists at that time worked. The drawing lines, visible on the heroine\u2019s painting, are continuous and confident rather than sketchy and hesitant because artists had years of experience repeating the same subjects. Opaque watercolor paint was applied in thin transparent layers with a small brush over the line drawing. It was essential to paint thin layers and allow each to dry in between layers to achieve a luminous effect. It often took a team of artists to complete a work of art. An apprentice may grind the pigment and an upper level artist would add the delicate finishing touches. Fine details in gold (made from pulverized gold foil mixed with water) were applied last. The surface on which one painted was created of layers of paper, glued together to provide a stiff cardboard-like support. This prevented warping, which can be problematic in watercolor painting.<\/p>\n\n\n\n