Who painted Patamanjari Ragini of Dipak, from a Ragamala?

Patamanjari Ragini of Dipak, from a Ragamala was painted by Unknown in 1745.

Where can I see Patamanjari Ragini of Dipak, from a Ragamala?

Patamanjari Ragini of Dipak, from a Ragamala is held by Cleveland Museum of Art.

What movement is Patamanjari Ragini of Dipak, from a Ragamala?

Patamanjari Ragini of Dipak, from a Ragamala is associated with Baroque.

Artwork

Patamanjari Ragini of Dipak, from a Ragamala

Unknown , 1745

Patamanjari Ragini of Dipak, from a Ragamala is an unspecified painting by the Baroque artist Unknown. It dates from 1745 and is held in the collection of the Cleveland Museum of Art. This painting depicts a woman seated on a vivid green carpet on the terrace of an elegant residence.

About this work

Overview

This painting depicts a woman seated on a vivid green carpet on the terrace of an elegant residence. She extends a morsel toward a small, spotted gray cat that appears hesitant, its tail tightly coiled. The scene is framed by architectural niches that contain vessels, situating the encounter in an outdoor domestic setting.

Subject & Meaning

The work illustrates the ragini named Patamanjari, linked to a musical mode whose characteristic sound is likened to a cat’s meow. The interaction between the woman and the shy feline visualizes the gentle, coaxing quality of the associated melody, embodying the dialogue between human invitation and animal reticence.

Technique & Style

Executed in the Pahari painting tradition of northern India, the composition employs bright, saturated colors and delicate detailing. The artist deliberately lifts the carpet’s edge to reveal its full floral pattern, a compositional choice that balances decorative interest with narrative clarity despite a slightly artificial perspective.

History & Provenance

The piece belongs to a ragamala series, a corpus of illustrations that pair Indian musical modes with corresponding visual scenes. Such series were popular in the courts of the Pahari kingdoms during the 18th century, serving both as artistic expression and as pedagogical tools for musicians.

Context

Ragamala paintings functioned as visual analogues to the raga system, translating auditory qualities into pictorial motifs. In this case, the feline motif aligns with the mode’s purported tonal resemblance to a cat’s call, reflecting the broader Indian aesthetic principle of synesthetic correspondence between sound and image.