Sitting in the partially covered terrace, overlooking fertile green fields and a tranquil sky, is the bride to be, looking intently at the body decoration with henna, a herbal paste. She is wearing pearls, numerous bangles and other gold studded jewellery. Anklets, hampering the henna design on the foot, are kept aside on the table. Between the wide forehead and the well-rounded chin are shapely eyes with heavy lids; a straight nose and lips that resemble petals of a rose. Heavy earrings dangle down the delicate earlobes. The transparent odhini strategically reveals, while covering one shoulder. Comfortably sitting amidst cushions, she lifts up the skirt up to the calves, to facilitate the unhindered application of henna. She puts up her foot on a small stool for the same purpose.
The woman responsible for beautifying the hands and feet of the bride to be is simply dressed in cotton attire and sports silver jewellery. She requires all the concentration and not let her hand waver, in order to achieve a perfect result. Using a peacock feather, dipping it in the bowl containing henna paste, she transfers it on to the skin, forming an attractive pattern.
The artist has used architecture i.e. pillars and niches to clearly divide the outdoor and the indoor, the brightly lit exterior and the dim brown interiors. The bride, with brilliant colored clothes is against a brown background; the maid, with dark earthen hued clothes against the light backdrop proving that the colour palette is decided with an aesthetic sense and a lot of effort.
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