The essence of the visual expression of Indian Miniaturists lies in the idea of subtle symbolism.

It expresses something that lies beyond the stated functions of lines and pigments. This was put beautifully by the Buddha when he stated, ‘The master painter disposes his colors for the sake of a picture, which cannot be seen in the colors itself.”

Expert miniature painters were skilled in unfolding the other tangible or intangible dimensions of a given object. They engendered a shift in emphasis to unifying ideas from a multiplicity of sensory experiences; to an ever-present situation from a mutable aspect.

One of the best examples of this genre is the Ragamala series of miniature paintings. The term Ragamala means a gorgeous garland of melodies. A raga stands for a melodic mode in context of Indian classical music that literally means ‘to color and convey an emotion or mood’. It is denoted as a permutation and combination of various notes or frequencies that are illustrated by melodic movements, capable of generating a pleasant sensation, emotion or mood in the minds of the listeners.

The Ragamala paintings are evocative visual creations of perceptive and emotional concepts, which depict these ragas. Artists explored in great detail the relationship governing sound and sentiment. The Ragamala art form became a dynamic and vibrant movement, under the patronage of the aristocracy. It made music and dance the core of art through color and mood.

The earliest Ragamala paintings are said to be from the Deccan. They were painted for Bijapur’s Ibrahim Adil Shah 11. He was a great authority on the art of painting, and was a fine artist himself. He encouraged artists in the royal studios to explore the relationship between sound and emotions.
Over centuries, the ragamalas were produced in a variety of styles and themes.