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拍品專文
A solitary girl with a veena across her shoulder stands in a forest landscape. She is surrounded by wild animals, including a black buck and three roe deer, two rabbits and two tigers, which she has charmed with her music.
An inscription in takri on the upper border reads: Ragini Gujari of Dipak.
A ragamala is a collection of ragas or ‘melody modes’ which Indians regard as the essential basis of music. A raga is a selection of notes – in Northern India, from the scale of twenty-two – combined in certain characteristic progressions. The ragas or groups of notes are personified as six handsome men, each of whom has five ‘wives’ or raginis. Raginis are closely related musically to their own raga, but certain notes are omitted and the progressions and emphasis differ. Ragas and raginis are also associated with specific moods, times of day and seasons. A full ragamala series like this in the Rajasthani Tradition would have consisted of thirty-six illustrations.
When depicting a musical melody in a painting, artists gradually evolved three main systems or iconographies which evoked the different musical modes. The present ragamala illustration conforms with the so-called Kshemakarna's System, a system used in the Punjab Hills in Pahari Ragamalas. According to this text, which was written around AD 1570, the musical mode Gujara Ragini is a 'beautiful women with gazelles' (v.58).
The painting can be assigned to Kulu and dated between 1760 to 1790. Distinctive stylistic features of this phase of painting at Kulu in the second half of the 18th century are the facial treatment with thin, plucked arched eyebrows, small patterning on dress fabrics and curved horizons with white cloud lines.
An inscription in takri on the upper border reads: Ragini Gujari of Dipak.
A ragamala is a collection of ragas or ‘melody modes’ which Indians regard as the essential basis of music. A raga is a selection of notes – in Northern India, from the scale of twenty-two – combined in certain characteristic progressions. The ragas or groups of notes are personified as six handsome men, each of whom has five ‘wives’ or raginis. Raginis are closely related musically to their own raga, but certain notes are omitted and the progressions and emphasis differ. Ragas and raginis are also associated with specific moods, times of day and seasons. A full ragamala series like this in the Rajasthani Tradition would have consisted of thirty-six illustrations.
When depicting a musical melody in a painting, artists gradually evolved three main systems or iconographies which evoked the different musical modes. The present ragamala illustration conforms with the so-called Kshemakarna's System, a system used in the Punjab Hills in Pahari Ragamalas. According to this text, which was written around AD 1570, the musical mode Gujara Ragini is a 'beautiful women with gazelles' (v.58).
The painting can be assigned to Kulu and dated between 1760 to 1790. Distinctive stylistic features of this phase of painting at Kulu in the second half of the 18th century are the facial treatment with thin, plucked arched eyebrows, small patterning on dress fabrics and curved horizons with white cloud lines.