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拍品專文
Inscriptions:
'Vihagado saji ragini 24' [Ragini behag]
The Sirohi school of painting blossomed during the second half of the 17th century under the patronage of Akheyraj II (r.1620-73) and his grandson, Bairisal (r.1676-97). In particular, it seems that Ragamala painting was of special interest. Most of the Sirohi paintings known today are from Ragamala sets and relate closely to scenes painted on the walls of the Sirohi palace, likely commissioned by Akheyraj II.
Usually called Desvarari, Behag (Vihagado saji) refers to a musical mode which became extinct sometime in the 17th or 18th century. To keep up-to-date, the name was changed in several schools to that of a popular local raga whilst retaining the iconography (C. Ebeling, Ragamala Painting, Basel, 1973, p.86). The raised arms of the heroine here are a clue to the scene although the mirror is a purely Sirohi addition. For a very similar Bheag Ragini see Ebeling, op.cit., C31, p.87.
'Vihagado saji ragini 24' [Ragini behag]
The Sirohi school of painting blossomed during the second half of the 17th century under the patronage of Akheyraj II (r.1620-73) and his grandson, Bairisal (r.1676-97). In particular, it seems that Ragamala painting was of special interest. Most of the Sirohi paintings known today are from Ragamala sets and relate closely to scenes painted on the walls of the Sirohi palace, likely commissioned by Akheyraj II.
Usually called Desvarari, Behag (Vihagado saji) refers to a musical mode which became extinct sometime in the 17th or 18th century. To keep up-to-date, the name was changed in several schools to that of a popular local raga whilst retaining the iconography (C. Ebeling, Ragamala Painting, Basel, 1973, p.86). The raised arms of the heroine here are a clue to the scene although the mirror is a purely Sirohi addition. For a very similar Bheag Ragini see Ebeling, op.cit., C31, p.87.