This delightful Rasa Painting is a ‘sequel’ of sorts to Mumbiram’s “Hirkani reunited with her Baby” masterpiece.
No account of Hirkani’s brave climb down the steep incline of the impregnable fortress Raigad perched on a mountain top mentions anything about Hirkani’s other family members. Here is a phantasical account of the rasa artist seen in Hirkani’s world climbing up a ladder with a paint brush dripping with paint. He has entered Hirkani’s world to paint its amazing peace and beauty for Hirkani and her baby and everybody else forever and ever.
It’s a starry fullmoon night. Hirkani is cleaning the rice corns by picking out little stones that inevitably enter. She is watching her little baby play with the birds that are attracted to the little corns of grain. There is the ubiquitous Tulasi plant perched in its Vrindavan pedestal. A curvaceous cow with horns and a hump, along with her calf, are watching intently what is indeed a blissful sight of Vatsalya and Sakhya rasas. The wooden horse on wheels is the baby’s toy inspiring it to horsemanship. The white dove hovering above the artist is relishing the deft brushwork and the magnificent peacock under the ladder is lusting after the puddles of paint formed from the dripping brush.
Only an artist who has experienced such serene moonlit starry nights with his friend could have conjured the colourful ambiance seen here with such ease and candor. And you, beloved reader, can appreciate this delectable rasa masterpiece because you have also experienced something reminiscent in some lifetime in your soul’s beginning-less journey going back all the way to its origin in Goloka Vrindavan.
Rasa Art springs out of interactions between the Muses, the Artist and the Admirers.
It thrives on rasa exchanges between all three of them. This masterpiece is an eloquent example of that tenet of Rasa theory.