1)         “Bundi Fort & Palace, Bundi, Rajasthan”

            Since I have extensively photographed the Bundi Palace, I thought I would take all of you through the palace.  It is almost a visual tour of the palace and its art treasures.

            The Chauhans, known as Hadas, started building the Taragarh Palace in 1345 AD.  Eventually the palace was built as a seven story structure.  Nestled in the sharp valley of the Aravalli hills, the palace and the Bundi town are protected naturally by the hills.  The Hadas began their ascent into history from this palace.  Like the rules of Chittor, they too were a force to reckon with.  The Hadas also fought with Akbar the Great and forced him to enter into a treaty with them.  But having joined the Mughal forces, eventually the Hadas declined as a political force.  Their descendents, the Kota kingdom outpaced Bundi as a centre of political power.  What the Hadas have left, is a treasure trove of one of the finest school’s of miniature paintings: the Bundi Kalam.  We will go through this palace and discover the world of Bundi Kalam.


Bundi Fort & Palace: Badal Mahal 


Bundi Fort & Palace: Chaurasi Khambon Ki Chhatri

 Bundi Fort & Palace: Taragarh

2)         “Hathi Pol” The Elephant Gate. Bundi Palace.

            According to Rudyard Kipling, the Bundi Palace looks as though it is “the work of goblins rather than of men”.  The palace seems to grow out of the hillside it stands on.

            The Hathi Pol is the main entrance to the palace which was built by Rao Raja Ratan Singh (ruled 1607 – 1631 A.D).  The gate was built in 1620.

            The symbol of the elephant is very aptly chosen: the elephant is the symbol of physical strength, of wisdom – as it symbolizes Lord Ganesh – the lord of wisdom; it is also a symbol of wealth – as Goddess Laxmi, the goddess of wealth, is flanked by two elephants.  Thus the gate introduces the Hadas and their Kingdom as powerful, wise and wealthy.

            The gate leads to the inner courtyard which would have been open to the public at large.  In the Mughal style, it is called ‘the Diwan-e-aam’ -- the court for the common man.  Under the canopy one can barely see the royal throne where the Bundi Raja would have sat for his public audience.

            Though a monarchial system of government, the relationship between the ruler and the ruled was a close one.  According to the feudal tradition, the subject owed loyalty to the Raja.

            The Bundi Palace reflects the artistic, the architectural, the political, the economic glory of its time – 17th century A.D.
Hathi Pol

3)         “The back side of the Main Gate of Bundi Palace”

            It is said that this back side of the main gate was gifted by Emperor Jahangir to Rao Ratan Singh Hada.  He had a close relationship with Emperor Jahangir. For, when Prince Shah Jahan had revolted against Emperor Jahangir, Rao Ratan Singh sided with the Emperor and fought against Shah Jahan at Burhanpur.  Subsequently, Emperor Jahangir not only gave large tracts of land to Bundi, but also fabricated Bundi and created Kota as an independent principality.

            The back side of the gate is made of marble.  Marble was introduced as a building material in the Sultanate Period around late 13th century.  Of, it reached its zenith in the Taj Mahal.  Unlike granite, marble is a soft stone which can be carved easily.  Hence, the intricate design, the lattice work.

            This gate beautifully combines elements of Hindu and Islamic architecture.  While the arch is part of Islamic architecture, the ‘lotus buds’ are part of Hindu imaginary.  On both sides of the arch are blossoming lotus, again part of Hindu symbolism.  The synthesis of the two great civilizations is the hallmark of our Indian civilization.

The back side of the Main Gate of Bundi Palace

4)         “The Diwan-e-Aam".  Bundi Palace.

            Right in front of the main gate is the Diwan-e-Aam or the Peoples’ Court.  Under the Mughal influence, the Rajput Rajas followed the Mughal tradition of having two courts: the Diwan-e-Aam, the Peoples’s Court, and the Diwan-e-Khas, the Special Court or the Court of the Chosen Few.  The Diwan-e-Aam is where the courtiers, the people lined up in the morning and the public transactions of the court was carried out:  petitions were heard, ambassadors were received, grants were given, etc.  The people were given a chance to see the Raja and to interact with him.  Diwan-e-Aam, being a public place, was generally a large building facing a large courtyard.  However, the Bundi Diwan-e-Aam does not have a very large courtyard, as in the Red Fort in Delhi or in the Agra Fort from where the Mughal Emperors ruled.  The small size of the building reveals the modest size of the Bundi Kingdom.  It also shows the close relationship between the ruler and the ruled.

            In its heydays, this building would have been chock-o-block full with aristocratic courters, the common man, the servants, the soldiers, the elephants, the camels, the horses all jostling for space.  The Raja of Bundi, in his fine royal jewellery and silken or cotton clothes would have sat on the throne in the balcony overlooking his people.  This building was the heart of the Bundi Kingdom, the soul of its political system.

            Unlike Diwan-e-Aam, the Diwan-e-Khas was a private hall where the Raja would consult his chosen courtiers, with whom he would deliberate over state matters.  The Diwan-e-Khas was generally a more well decorated hall than the Diwan-e-Aam.

            Politics always was two faced, the public and the Rajas.
The Diwan-e-Aam

5)         “Chitrasala-  The Hall of the Paintings".  Bundi Palace.

            The Chitrasala is not only the highpoint of the Bundi Palace, but is also one of the few parts of the building which is open to the public.  The rest of the palace is locked.

            This Chitrasala is in the Umaid Palace.  It was made by Rao Raja Umaid Singh (ruled between 1749 - 1770 and again from 1773 - 1804).

            Ancient Indian literature does not mention the existence of Chitrasalas in the royal palaces. But this one is a living example of it.

            The entire structure consists of four galleries around a courtyard.  Every inch of the wall is covered with paintings.  The collection of paintings is amazing as the subject matter ranges from images of Hindu Gods and Goddesses to drunken women, from Ragamala paintings (paintings depicting musical modes or ragas) to Barahmasa paintings (paintings portraying the twelve months of the year), from court scenes to hunting scenes.  All the paintings in the top row are down in greenish blue combination.  The paintings in the bottom are done in maroon and white combination.  The colour contrast livens up the room.  The cool bluish green balances the hot maroon and white colours.  The sunlight filtering through the roof adds a magical aura of the Chitrasala.

            While standing in this hall one can imagine the Rajasthani music hauntingly playing in far away corner of the palace, the beautiful Rajasthani women in their colourful costumes milling about the galleries; one can hear the jingles of their bangles and their anklets; their laughter reverberates throughout the Chitrasala.  The painted women and Rajas come alive as one wanders through the galleries. 



Chitrasala-  The Hall of the Paintings


6)         " The Ceiling of the Queens Chamber Raasleela" Bundi Palace.
From the monotonous color scheme of the Chitrashala,  the pallet of the Rani's bedroom is like moving from a gray foggy day to bright sunshine.  The colour scheme is varied, brilliant and impressionistic. The artist here can compete with the colorful canvases of Renoir.
The subject matter continue to be the stories from the Purans. In the center we see the Raslila, the divine dance performed with the 'gopis' at night. But here Lord Krishna and Radha don't dance in the center of the circle.  They are conspicuously missing. Instead a lotus blooms in all its glory. Interestingly the dance is depicted in a blazing red background.  The dark colors of the night are also missing. Raslila is a dance symbolising the joy of pure love and compassion.  We meet divinity only after we are free of all the restrictions of the society and of our ego and if our own constructed world. Liberation is like a joyous dance where one loses oneself in the infinite universe. The soul mingles with the infinite consciousness.  The soul and the divinity become an eternal pairs like dance partners turning and twisting in synchronised movement.  The color red is color of passion, of love, of life.
When one has reached the blissful world of the divine dance, where is the need for dark colours











7) ”Meeting of the Rajas” Chitrashala. Bundi Palace.
            Chitrashala does not just contain paintings of gods and goddesses as we have been seeing. It contains paintings depicting the royal functions and royal past – times.
            Today it is impossible for us to imagine that each Principality was a sovereign nation in its own right. India was studded with large number of principalities. With warring states, it was imperative for the Rajas to meet, to negotiate, to resolve their ”International problems”.
            Here we see two Rajas discussing their regional problems. Both the Rajas are accompanied by their respective courtiers. They are being looked after the servants. To dispell the heat, two servants are busy fanning the guests and the host.
            Interestingly, the painter has shown the importance of the figures by their large or miniscule size. Thus, the Rajas are robust and huge; the courtiers shorter in size. The lad sitting in the foreground with a shield could be the crown prince. He is being trained in the art of governance and diplomacy.
            The artist has depicted the ambience of the court life beautifully.

Meeting of the Rajas


8) ‘’The Female Guard’’ Chitrashala. Bundi Palace.
            One of the finest paintings of the Bundi School. It shows the characteristic qualities of the School. Young and voluptuous women, with see through ‘Odhani’, flared ‘ghaghara’, with tightly braided hair. Women have sharp features and big eyes and a wavy hair near the ear. Bejeweled, and eternally young.
            This painting is said to depict a ‘’Female Guard’’, but I have my doubts. Although Kautilya in his Arthashastra says that the king should be protected by female guards, but there is no such mention in medieval Indian literature.
            Since the woman holds both roses and a rifle, I take it as a depiction of a woman’s personality; She is both beautiful, sensitive, soft as a rose. Yet, she is strong willed, dynamic and full of confidence. She is graceful yet powerful. She is embodiment of compassion, yet destroyer of evil. She is Shakti.
The Female Guard

9) “Devi and Lord Shiva”   Chitrashala.  Bundi Palace.

            One of the most unusual, yet intriguing paintings of Chitrasala.  The painter has intentionally fused the elephant and the bull in such a manner that the face and the trunk of the elephant unites with the face of the bull.  This is called “trick of the eye” in painting.

            The painting is intriguing as it is claimed that Goddess Annapurna is giving food to Lord Shiva and his family.  But then, she is not offering food, but flowers.  If she is Goddess Annapurna (the goddess of food), then who is the figure in the back of the elephant?  Is he Bhairav, as he appears to be a warrior for he carries the mace?  Or is it a painting of the Raja and Rani of Bundi offering flowers to Lord Shiva and His family?

            If it is the first set of interpretation, then it depicts Nature offering its bounty to the divine power.  It it is the last interpretation, then it is a political statement.  The Diving Couple is blessing the royal couple.  Either way it is a painting of peach, harmony and compassion.  It is a masterpiece.

10)      ‘’Lord Krishna Lifts Mount Goverdhan”. Chitrashala. Bundi Palace.
            According to Bhagwat Puran, Lord Krishna convinced the people of Gokul not to worship Lord Indra, but to worship Mount Goverdhan. For it is the mountain which fulfils the need of the people. Enraged for being ignored, Lord Indra sent torrential rains. In order to protect the people, Lord Krishna lifted the Mount Goverdhan on his little finger. Seeing such a miracle, Lord Indra surrendered to Lord Krishna.
            This story is works at three levels. Historically it shows the fusion of Aryan and indigenous cultures. The Vedic gods are subordinated to the local deity. In modern terms, the story emphasises conservation of the environment, for Nature fulfils our needs. Politically, it prescribes the role of a leader – to provide protection to the masses.
            Narratively, the painting is interesting. At the top of the painting one finds Lord Indra on his elephant amongst the dark clouds. Yet the same figure pays obedience at the feet of Lord Krishna. The Indian artist is a master of multiple narrations.

Lord Krishna Lifts Mount Goverdhan

11)      ‘’Radha Swims towards Lord Krishna” Chitrashala. Bundi Palace
            This is another intriguing painting in the Chitrashala. It seems to depict a scene which has not been narrated in the Bhagwat Puran.
            In the foreground, we see a prince smoking a ”hukka” and having a conversation with a mendicant. A dead dog lies nearby. In the middle ground, we see Radha swimming across the river with the help of an inverted earthen pot. In the background, Lord Krishna sits under a tree merrily playing on his flute. But besides him are weapons like bows and a shield.
            This painting seems to be full of meaning. Those who associate with Holy persons, they realise the Higher Consciousness or divinity. They cross the river of life like Radha, who is the symbol of a soul in search of God. But we achieve peace and tranquillity only when we abandon violence – the abandoned weapons. Those who neglect the spiritual path die a dog’s death.
            The painter has subtly left a deep philosophical message in an apparently love story of Radha crossing the river to keep the tryst with destiny.

Radha Swims towards Lord Krishna

12)      ”Gajendra Rescued by Lord Vishnu”. Chitrashal. Bundi Palace.
            According to Vishnu Puran, once Gajendra, the king of the Elephants was bathing in a lake when suddenly a crocodile caught him by his leg. Both fought with each other. Unable to release himself from the crocodile’s jaws, Gajendra plucked a few lotus and prayed to Lord Vishnu. Hearing his prayers, Lord Vishnu swooped down on his vehicle, Garud, struck the crocodile with his disk, the Sudarshan Chakra, and rescued Gajendra.
            Here the artist has added his own touches to the story. Gajendra is not alone in the lake; he is accompanied by another elephant, most likely a female elephant. Thus the couple is enjoying themselves in the lake full of lotus. There are lotus on Gajendra’s back. This hints at the fun and frolic the couple was having in the lake. A man can be seen offering prayers to Lord Vishnu. Is he just a devotee, or the patron of this painting, or even Gajendra’s soul pleading for mercy. Curiously the crocodile looks more like a fox on the run, rather than an actual crocodile. Apparently the artist is unaware of the appearance of a crocodile. Even Garud, who is supposed to be an eagle looks like a huge parrot in the sky! Whenever we are in trouble, we pray to our Gods. They rush to our rescue. The relationship between the Gods and us is eternal. We must pray for our liberation from Maya, for our ‘’Moksha’’.


13)      ‘’Vastraharan’’ or ‘’Lord Krishna Steals the Clothes of the Gopis’’ Chitrashala. Bundi Palace.
            Rajputs, being the martial caste, are generally worshippers of ‘Shakti’ – of the Feminine Divine. But under the influence of the Bhakti Cult, they became devotees of Lord Krishna. Bundi Palace is, thus, full of paintings of legends of Lord Krishna and of Shakti Cult.
            Here we see an episode from Bhagwata Puran: Once when gopis were taking a bath in the Yammuna River, Lord Krishna stole their clothes. He climbed the Kadamba tree and played his flute. A few gopis begged him to return their clothes, others were too shy to come out of the river.
            Taking this story literally, any have criticised Lord Krishna as being a voyeurist. But there is great symbolism here. We all live and sport in the river of life. We all construct our own sense of reality – our reality consists of our ego, our attachments, our prejudices. This is an artificial reality, much like the clothes we wear. But there is a higher reality, a higher consciousness. When we approach that spiritual world, we must discard our artificial construct. But without our ego and attachment and prejudices, we are ‘naked’. But naked we must go before our God. The painting is about the spiritual relationship between God and us. It is a comment on our involvement with the world of Maya – illusions.
            Chitrashala is a world of sacred and secular paintings. It is a microcosm of our world. As relevant today as it was in the bye gone age.

Vastraharan’’ or ‘’Lord Krishna Steals the Clothes of the Gopis

14)      "A Lesbian Ladies" Chitrashala. Bundi Palace.
Contrary to popular belief today same sex relationship was openly accepted in Hindu civilization.  Kama Sutra, the ancient treatise on sex, contains two chapters on it. Since Kama or sex was one of the four goals of life, it was neither a taboo subject, nor a subject to be deprecated. Like heterosexuality, homosexuality was accepted in the society. Hindu mythology also refers to homosexual relationships as in the story of Lord Harihar.
Zannana dodhi was familiar with lesbianism. This relationship has been depicted both in Bundi School and in Jodhpur School of miniature painting.
Here we see two ladies in a garden embracing each other. Of course, detractors may claim this scene to be an innocuous hug between two friends.  But one of the ladies carries a garland. Garland is a sign of respect, of love and affection. Moreover, the taller lady looks down on the shorter one in a 'romantic' posture. The meaning of this painting would be obvious.
To the liberal Hindu mind to publicly display eroticism was not unusual.  One was merely telling the people about one of the goals of life. This is proven by the erotic images adorning our temples. Today we may frown and disapprove of same sex relationship.  But ancient and medieval India were more liberal about it than we are. For us it is an offence;  for them it was part of life.



15) "Lady with a Yoyo" Chitrashala.  Bundi Palace.
Another source of entertainment was the Yoyo: a round cylindrical object on a string which would go up and down when unwound.  It not only entertained,  but also symbolised the vagaries of fortune. The life of women in the Zannana dodhi was as unpredictable as the movement of the Yoyo. So was the fortune of Bundi as uncertain as a Yoyo.
Here the Bundi artist has portrayed the lady in a Mughal costume. Being courtiers at the Mughal court, the Bundi princess followed the Mughal fashion. She wears a transparent jama and duptta and a churidar pajamas. During the medieval period, the Hindu and the Muslim cultured intermingled to produce the Ganga-Yammuna 'tehzeeb'--an assimilation of two great cultures and traditions. Unity in diversity is the hallmark of Indian civilization.




16) "A Rani Listening to Music". Chitrashala. Bundi Palace.
The Rani sits erect against a bolster, enjoying her Hukka and the music. Her erect posture tells us that she is in command of the Zannana dodhi. She is full of confidence and dynamism.  She is no sulking, weeping maid. She is the one who enjoys hunting, playing polo,  and hawking. She is the queen.
Looking at these paintings another world of the inner courtyard emerges. A world of powerful women. No wonder Bundi produced the Hada Rani: according to legend, the Raja of Bundi had run away from the battlefield on the pretext that he loved the Rani too much and could not bear the separation. It is said the Rani had her head sent to him on a gold platter with the instructions that he should carry her head into the battlefield.  Such was the sacrifice of such bold queens. The painter has beautifully captured their robust personality. 


A Rani Listening to Music

17) "Princess Watching Flying Pigeons" Chitrashala.  Bundi Palace. 
Besides 'Chaupad', music and dance, Pigeon flying was another source of entertainment for the Princesses.  It is the evening hour and the Pigeons have come back to roost.  The Princess eagerly looks at them while enjoying her 'huqqa' and her music. The two maids on the left are in animated conversation, as though the one standing behind is saying something to the maid in her front.
Pigeons were also kept in order to send messages to one's lover or husband who was far away. Perhaps the Pigeon has not come back with the reply to the princess' message.  Hence the eagerness in the princess' expression.  The concern of the maids is also palpable.  There is a hint of pathos and romanticism too in this painting.  Pathos as the princess is waiting for the reply. Her plighted is also aggravated by the two Pigeons--symbolic of lovers--at her feet. The two 'pans' and two cucumber like objects seem to have Freudian meanings.
Bundi School is world famous for its "lush romanticism". The Bundi artists have subtly captured the women's world.


Princess Watching Flying Pigeons

18) "A Princess Being Led to Her Chamber" Chitrashala.  Bundi Palace.
Drinking amongst the royal women was not unknown.  From ancient to medieval period drinking by women is well described in literature.  The tradition contunued in Bundi as well.
After a night dance performance,  having had one too many pegs, we see the Pricess being led to her chamber by two maids. The night is fresh, the dancer continues her performance,  but the Princess must retire.
Whether this drinking is caused by the boredom of the harem or by the joy of life is a debatable question.  Such paintings merely tell us about the life-style of the royalty without moralising about it.

A Princess Being Led to Her Chamber

 
19) " Women gossiping when King arrives." Chitrashala.  Bundi Palace. 
The Zannana dodhi was full of gossip and interesting conversation.  This painting depicts two women thoroughly engrossed in conversation.  Perhaps they are discussing the Prince or the Raja who has just arrived on the scene at the far right. It is a hot summer day when the maids are fanning the ladies. The musicians are busy playing their instruments.  One of the musicians has turned to see the arrival of a man in the Ladies Palace. But the ladies don't notice his entry. They are lost in their conversation. A maid has brought the food to be laid out on the 'dastarkhan' which is laid out between the ladies. Perhaps they are waiting for the Prince to join them for a lunch.
This painting again depicts the leisurely hours as they roll bye in the Zannana dodhi.  Men, music and food are great company to have.




20) "Ladies Playing Chaupad" Chitrashala. Bundi Palace.
Since time immemorial games have been part of our existence. Whether they be little clay carts of the Indus Valley or the 'Chaupad' of ancient India. Chaupad is the predecessor of Chess. Chess too was invented by us.
Here we see the women of the Zannana dodhi playing Chaupad. The women are entertained by the women singing and playing the Tanpoora. A maid has arrived on the left side carrying some food items. A maid turns and inquires about the contents. On the right side while a maid uses the flywhisk, the one holding the fan is not using it.  Perhaps the hot summer afternoon has turned into a pleasant evening. 
On a lush green background you have music and games. Life is tranquil and comfortable.  All is well

Ladies Playing Chaupad


21) "A Woman Stretching her Hands". Chitrashala.  Bundi Palace. 
The Bundi artist caught woman in every nuances. She sings, she dances, she waits for her lover, she adorns herself, she stretches her body, she plays with her friends,  she gets drunk.
The image of a woman stretching herself has erotic connotations in India. It reveals the inner sexual desires of a woman. It portrays the need of the woman to be satisfied. Here the artist has beautifully conveyed the longing of the woman by contrasting her with pairs of parrots and  pigeons--both symbols of loving couples. By placing a small child in the painting,  the artist also tells us that the woman is a married one. The mirror is a symbol of her vanity--her sense of beauty and conceit. Waiting for her husband to return, her youth is being wasted.
Such paintings had semi-erotic themes. As the woman stretches herself, her blouse rises upward, revealing the lower part of her breast. Such paintings were meant to arouse the viewer.  In Indian art eroticism is not a taboo subject. Since 'Kama' (sex) is one of the four goals of life, according to the Hindu philosophy,  eroticism was an accepted theme in Indian art. The bye gone age did not frown on eroticism as we do today. Instead of condemning it, it was accepted as a natural phenomenon. The liberal spirit has pervaded our thinking, our culture. We have become more puritanical in our thinking.
A Woman Stretching her Hands

22)   "A Rani Getting Ready for her Tryst with the King" Chitrashala.  Bundi Palace.
Another intimate scene of the Zannana dodhi.  A Rani getting dressed for a tryst with the Raja. Her maids have gathered around her, offering different things to her for her make up. Indian women were fond of makeup and jewellery.  They would deck up for a meeting with the lover. "Solah Sringar" or sixteen different makeups have been described in Indian literature. Here we see the tray laid out with different kits and bottles, and boxes. A women who is well adorned is considered auspicious.  Hence the importance of Shringar--makeup.
It is the rainy season--shown by the dark clouds in the background;  the white Cranes and the peacock are flying--symbols of the various desires of the Rani. Interestingly,  despite the rainy season, the maids are fanning her with a big fan. Obviously she is so full of desire that she is almost feverish. Most surprisingly, the artist has depicted a eunuch at the door, on the left side of the painting.  Since men were not allowed in the ladies' palace, only a eunuch could be a go-between, between the royal palace and the ladies' palace. May be he has arrived with a message from the Raja.
Although today the third gender is a neglected community,  in ancient and medieval society they were readily accepted. Our mythology also has many third gender characters such as Arjun as Brahanalla. It is only the British who had categorised them as a "criminal tribe". A liberal democracy should restore, protect and promote their fundamental rights.




A Rani Getting Ready for her Tryst with the King


23) "Women Depicting Ragani Todi" Chitrashala.  Bundi Palace. 
Another unique feature of miniature painting is its depiction of Ragas and Raganis or musical composition.  No where has this been done in any other art movement or School. 
Musicians and artists worked together in the same court. The artist tried to capture the mood of a Raga or Ragani. These paintings are called "Ragamala" paintings. Here we see Ragani Todi. The Ragani has a sense of loneliness, of pathos. Thus, the painter depicts a lone woman playing a string instrument: a Sitar or a Veena. Her playing has attracted the deers or antelopes from the forest. The deer or the antelope also symbolise the missing lover. In her pangs of separation,  the lady plays a sad melody. The Ragamala paintings also reflect the lives of the women of the Zannana dodhi.  Miniature Paintings Of Bundi.



24) "Month of Vaishakha (April-May). Barahmasa Painting"  Chitrashala. Bundi Palace. 
The summer has just begun. The Rani was hoping that the Raja, who had gone away for a long time, would come back. But only his camel has come to have a drink at the trough. The Raja is shown sitting under a tree, while the Rani and the women of the Zannana dodhi look at the camel with anticipation. 
Although the summer has started to set in, there is lush greenery all around. Since Bundi happens to be in a fertile part of Rajasthan such greenery is natural. But the huge fan carried by the maid, the transparent dress made out of "malmal" or cotton tells the viewer that summer is here. Interestingly,  the painter has depicted a Persian Wheel--a mechanical device to uplift water from a well. This reveals the irrigation technology which was available at that time. The setting also tells us about the architecture,  the gardens and about the life style of the royal ladies. The endless waiting goes on.
Similarly family as a unit is important.  Women are the anchor of family. Hence, the desire to protect the family. For, without family, society does not exist. Politically, it is essential for the leaders to ensure safety and security of the society and the state. Thus, this painting of month of Chaitra has socio-political message as well. It is as relevant today as it was in 19th century Bundi.




Month of Vaishakha (April-May). Barahmasa Painting





25)   "Women Bathing in open Courtyard”  Chitrashala. Bundi Palace. 
All over the world women have captivated the artist. The nude female image is a popular theme in world art.  Here we see a woman at her bath. While she bathes, a Raja looks at her from a palace balcony. The meaning of such painting is unclear. Is it a depiction of a voyeurist Raja? If so then, why is it being publicly displayed? Such paintings should then be confined the the Raja's bedroom. 
Keshavadas in his book Rasapriyaka describes such incidents when Radha is taking a bath and Krishan ji suddenly arrives. Radha is so lost in the thoughts of Krishan ji that she doesn't notice his presence.  Or she is startled by his sudden arrival that she tries to cover herself with an odhani as in this painting.  Or while she bathes, a Sakhi shows a mirror to Radha. It is in the mirror that Radha suddenly sees Krishna's reflection.
Radha is a symbol of the human soul. At times we are so lost that we don't notice the divinity around us. At times we are embarrassed by our having lost our ego and identity--we are 'naked' in the spiritual sense. At times, we imagine ourself to be with the divine.
These paintings may appear to capture a woman's life in the Zannana dodhi.  They may appear to be erotic in their contents.  But there are philosophical messages coded in these paintings.  Hence, the public display.



Women Bathing in open Courtyard