Ragini Snehi, wife of Bhairava raga

Kshemakaran’s Ragamala system of classification of the musical modes attributes five raginis (wives) and eight ragaputras (sons) to each of the six principal  ragas (husbands). While the visualisation of the musical modes by the poet itself is a creative endeavour, the artists took it further in adding their own sensibilities in the making of such paintings. Further to this there are multiple images by different artists in response to these poems. Hence it is difficult to interpret these paintings and their connectedness with the respective poems. 

In this Basohli painting, we find two people in conversation with each other that is indicated by their hand gestures. They stand out prominently against a greenish-black background. The man, probably a divine personage, suggested by the lotus-topped crown, is seen wearing a Mughal jama and gold-flecked paijama with sash tied round his waist. The lady wears a tight bodice and a lehenga with a transparent pearl-bedecked odni. The chamber provides an environment for the interaction of the characters and is more or less rendered in this fashion in many Basohli paintings. The interplay of subtle, bold and contrasting hues make this painting attractive.