The Celestial Nymph Braiding Her Hair

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Item Code:	OT45
Artist:	Anup Gomay
Specifications:	Oil Painting on Canvas
Dimensions	40 inch X 64 inch

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A large size canvas rendered in oil pursuing the classical idiom of the late nineteenth century modern art that the artists like Raja Ravi Varma had pioneered synthesizing European techniques and Indian themes, from old myths or from the life around, and led it to all-times height, represents a youthful damsel possessed of celestial beauty braiding her hair, one of the postures that under the established standards of Indian art aesthetics revealed utmost beauty that a female figure is capable of revealing. The hair-braiding young maidens have been the themes of the entire early Indian art, painting or sculpture, from Ajanta murals to sculptures like those at the temples of Khajuraho, Konark, Bhoramadeva and others. There are in different museums like Mathura, Sanghol, National Museum etc, dozens of sculptures representing hair-braiding damsels, queens or courtesans, suggesting that a maiden modeled as such has been a theme of Indian art across ages and was considered a form revealing greater beauty than otherwise.

This painting, though a contemporary work, is deeply rooted into the late nineteenth and early twentieth century modern art tradition that on one hand re-explored India’s past, her myths, legends, as also the men and women around, for its themes, and on the other, resorted to European techniques : large size canvas, chemical dyes, mostly oil-colours, blended and shaded, multi-dimensionality, light and shade effects … for representing them. Raja Ravi Varma was the foremost in exploring in Indian myths his icons of supreme feminine beauty like Damayanti, Menaka, Shakuntala … as also the sets of emotional situations and figural gestures which best revealed their beauty : Damayanti feeding a goose while leaning on a column, a fawn holding Shakuntala by the end of her sari held, Menaka endeavouring to tempt sage Vishvamitra by her bewitching beauty … Obviously, Europeanized or rather global in technique in its spirit and basic thrust this modern art was essentially Indian.

It is in this contextual frame that this painting, representing the young damsel braiding her hair, can be best appreciated. Revealing rare talent in portraying beauty : its most brilliant idiom endowed with naïve freshness, the painting marks the continuity of the late nineteenth and early twentieth century art-idiom : the same gorgeous lifestyle of feudatory, rich Indianised ensemble, romantically charged landscape, the theme’s mythical aspect and the Europeanized realistic style : its large canvas and oil dyes, that the artists like Raja Ravi Varma, practised. A courtesan, elite or a queen, or one from a myth or otherwise, a name can give the represented maiden any identity, a celestial being’s, or of one from a myth or a court. Perfectly modeled and vigorously created the painting represents an absolutely different version of beauty.

A tall slender figure with gold like glistening skin the young lady is seated on a stone bench against a highly romanticized backdrop : a foggy lake further darkened by shadows of hills on the right and left falling on it and deep tumultuous clouds hovering over in the sky canopying it from all sides. Her figure, placed centrally against the two hills’ diminishing point covering the landscape almost in its entirety, dominates the canvas. She has an angularly inclining face with sharp features, a pointed nose, large eyes with reddish tint, broad forehead, small cute lips and a well defined neck. A subdued belly with elegantly cast navel, voluptuously modeled breasts and fine fingers define the anatomy of her figure. She is clad in deep red lehenga made of characteristic Banarasi silk, borders and butis across the field, brocaded in rich gold, identically woven odhini, brocaded with ‘bel-buta’ – floral creeper design, and the blouse with plain field reveals its entire lustre in elegantly brocaded bottom and neck-opening. Though inlaid with rubies, emeralds and diamonds, gold jewellery seems to be her greater love. Her necklaces, ear-ornaments, forehead pendent, bangles, all attest her love for gold.

This description by Prof. P.C. Jain and Dr. Daljeet. Prof. Jain specializes on the aesthetics of literature and is the author of numerous books on Indian art and culture. Dr. Daljeet is the curator of the Miniature Painting Gallery, National Museum, New Delhi. They have both collaborated together on a number of books.

Oil painting technique – India centric

Oil painting is the most interesting technique in art. Unlike other paintings or art forms, oil painting is a process in which colored pigments are painted on the canvas with a drying oil medium as a binder. This medium helps colors blend beautifully to create layers and also makes them appear rich and dense. Several varieties of oil are used in this painting such as sunflower oil, linseed oil, etc., and depending on the quality of the oil, a particular consistency of the paint is developed. With the use of an oil medium, the painting gets a natural sheen on the surface which appears extremely attractive. India is famous for its old tradition of making oil paintings. This art form was brought by Europeans in the 18th century and is now practiced by almost all well-known artists. Nirmal, a small tribal town in the state of Telangana is the center of traditional oil paintings in India where the local people practice it with dedication. Most Indian artists still use the traditional technique of oil painting.

Canvas of the required size is prepared

The artists use either a wood panel or canvas made from linen or cotton. Sometimes the canvas is stretched onto the wooden frame to form a solid base, or cardboard may be used. The canvas is coated with a layer of white paint or chalk mixed with animal glue. This mixture is then smoothed and dried to form a uniform, textured surface. The wooden panel is more expensive and heavier but its solidity is an advantage in making detailed paintings with ease.

Sketch is drawn on the canvas

Now the artist starts to draw the subject of the painting on the canvas using the actual charcoal or a charcoal pencil. Sometimes, he may sketch with thinned paint as well.

Oil paint is applied using paint brushes or palette knives

Now that the rough sketch is prepared, the artist is now ready to paint. Oil paint, a special paint that contains particles of pigments suspended in a drying oil (usually linseed oil), is again mixed with oil to make it thinner for applying it on the canvas. Proper consistency of the paint is maintained to avoid its breakage. The most important rule for the application of oil paint is “Fat over lean” in which the first layer of paint is thin and later, thicker layers are applied. This means that each additional layer of paint contains more oil. This results in getting a stable paint film. Traditionally, paint was applied using paint brushes but now the artists also use palette knives to create crisp strokes. To paint using this technique, the edge of the palette knife is used to create textured strokes that appear different from that of a paintbrush. Sometimes, oil paints are blended simply using fingers for getting the desired gradation.

Smaller oil paintings, with very fine detail, are relatively easier to paint than larger ones. The most attractive feature of these paintings is the natural shiny appearance that is obtained on the surface because of the use of oil paint. The blending of colors looks extremely realistic and this is the reason why oil paintings are loved by everyone throughout the world.

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