In medieval poetic tradition the month of Asadha has been visualised as one with the arrival of which arrive the season of rains and with it the earth has some respite against parching heat and satiated it bursts with sweet fragrance. It is perhaps for such reasons that Vedic Samhitas name Asadha as Madhu-masa, the month of honey. The literary tradition visualises it as the month when faster and faster blow strong whirlwinds in tune with the wild thoughts that rock the mind of someone away from home. Torrential rains, flooding rivers and cyclonic winds render it almost impossible even for ascetics and mendicants to move and compel them to stay at one place. The season that the month of Asadha initiates compels birds not to leave their nests, and even Lord Vishnu along with Shri or Lakshmi, his consort, chooses to retire to Kshirasagara and rest. With these and many more examples the beloved wife argues her loved lord as to why think of leaving her alone and go away when even Shrutis – entire body of ancient literature received by one generation from the other as heard, and Gathas – sung and narrated and thus passing on from one generation to other, forbid it.
The folio represents the beloved wife dissuading her husband, a Lord Krishna-like attired prince, not to go away from her when like a dreadful serpent the lightening strikes the sky and showers cover the entire earth. While with one of her hands she is holding her odhani – scarf, with the other she is gesticulating her dissent. With her eyes fixed into those of her lord she is pressing on him to change his mind. In a hut towards the top of the folio an ascetic is engaged in yogic exercise and besides him are seated two courtiers come to pay him homage – the symbolic representation of ascetics and recluses staying at one place during the season of rains. Peacocks and other birds are anxious for union, the pond is full, lotuses get ready to bloom, and washed in showers trees and plants acquire new lustre. A lovelorn damsel, desperate in love, leaves her home in search of her lord. In the marble pavilion, created in mid-water towards the bottom, symbolic of the Vishnu’s abode – Baikuntha, in Kshirasagara, there reclines, though not modeled in accordance to set standards, the figure of Lord Vishnu with Lakshmi engaged in massaging his feet.
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.
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