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Lot Essay
The devanagari inscription in the margin reads mugdha proshita patika 70. After a line of takri the reverse repeats the devanagari title followed by twelve lines of devanagari verse with Keshav Das’s classification of nayikas into eight types (ashta nayika).
Proshita patika, also known as proshitabhartruka ("she who waits for her husband to return") is the nayika whose beloved has gone away on a business or other venture and has not returned on the appointed day. She is usually depicted, as in the present example, seated in an attitude of despair and accompanied by an attendant who is unable to console her mistress.
This series relates the various moods and nuances of lovers, generally personified as Radha and Krishna. The Ashta-Nayika is a collective name for eight types of nayikas (or heroines) as classified by Bharata in his Sanskrit treatise on performing arts, the Natya Shastra. The eight nayikas represent eight different states (avastha) in relationship to her nayaka (or hero). As an archetype of the romantic heroine, it has long been used as theme in Indian painting, literature, sculpture as well as Indian classical dance.
A Kangra or Garhwal version of the same subject is in the Brooklyn Museum, inv. No.36.252 (Amy Poster et al., Realms of Heroism, New York, 1994, no.224, p.272).
Proshita patika, also known as proshitabhartruka ("she who waits for her husband to return") is the nayika whose beloved has gone away on a business or other venture and has not returned on the appointed day. She is usually depicted, as in the present example, seated in an attitude of despair and accompanied by an attendant who is unable to console her mistress.
This series relates the various moods and nuances of lovers, generally personified as Radha and Krishna. The Ashta-Nayika is a collective name for eight types of nayikas (or heroines) as classified by Bharata in his Sanskrit treatise on performing arts, the Natya Shastra. The eight nayikas represent eight different states (avastha) in relationship to her nayaka (or hero). As an archetype of the romantic heroine, it has long been used as theme in Indian painting, literature, sculpture as well as Indian classical dance.
A Kangra or Garhwal version of the same subject is in the Brooklyn Museum, inv. No.36.252 (Amy Poster et al., Realms of Heroism, New York, 1994, no.224, p.272).