A miniature painting forming part of a Baramasa(Twelve Months) series. Caitra, the first month of the Indian calendar, calls to mind the blossoming Spring landscape and the exhilarating joy of man and animals. Nevertheless, it also announces the season for travelling, bringing with it the pain of separation. The painting shows a pair of lovers on a marble terrace, overlooking the blossoming Spring landscape. The sky is pale blue, and the meadow yellowish green with young blades of grass. Budding flowers, white and yellow, enliven the lush foliage. Birds fly in pairs carrying twigs or dissporting themselves in the stream. Village maidens and youths gather round the tank, exchanging greetings and pleasantery, but a traveller is shown bidding farewell to his wife and daughter. The lovers on the terrace, depicted amidst the exhilarating atmosphere of Spring, are engaged in conversation. The hero, clad in the typical attire of a Rajput nobleman, complete with sword and shield, has made himself ready to depart. The lady, however, has not given up her desparate attempt to persuade him to stay.<BR> In the eloquent words of Keshav Das(1601 A.D.):<BR> " Lovely creepers are in bloom, blossoming<BR> trees are young once more,<BR> And streams and lakes are full of flowers.<BR> Women, aglow eith passion, dressed in their best,<BR> Abandon themselves to sports of love.<BR> The parrots, the mainas, and the koel (=cuckoo)<BR> are singing songs of love.<BR> Why think of going away, why spoil this joy<BR> in the month of Caitra, my love ?" (Kavipriya. See Randhawa 1962: pl.XXI)<BR> <BR> The Baramasa verses, emphasizing the pain of a young wife's separation from her beloved, are among the favourite themes fondly dwelt on by Pahari painters. Many delightful sets of the Baramasa scenes are among the prized possessions of the Rajas of the Panjab hills (for this see Vogel 1909; Archer 1973). In our painting an extra poignant note appears to have been added to the pain of the parting lovers. The huisband's sword and shield suggests that he is going to war, which acoording to the Rajput tradition means life or death to both of them. The wife of the Rajput warrior who fell in battle, let herself be burnt to follow her husband in death.<BR> <BR> The beauty of the human figures and the gentle expression of love, depicted in perfect harmony with nature in her most colourful and happy mood, marks this painting out as one of the most aesthetically and emotively successful creations of the Pahari artists. <BR> <BR> <BR> <BR> Een knappe prins of edelman zit met zijn vrienden in een bloementuin. Hij kijkt op naar een prinses die net op een balkon verschijnt. Zij wendt haar ogen van hem af, maar was duidelijk door zijn blik getroffend. Haar houding bespiegelt de verwarrende staat van haar emotie. Dergelijke ontmoetingen worden steeds in Indiase poezie beschreven als het beginsel van een liefdesrelatie. Dat deze uitgebeelde ontmoeting gunstig zult ontwikkelen, is af te lezen in de openstaande deuren in beiden woningen, en vooral in de klaargemaakte bed in de prinses' residentie.