he case of Malwa, there was the added theme of
Sanskrit love-poetry. Krishna the god was rarely celebrated and it was
rather as 'the best of lovers' that he was sometimes introduced into
pictures. In a Bundi series depicting the twelve months, courtly lovers
are shown sitting in a balcony watching a series of rustic incidents
proceeding below. The lover, however, is not an ordinary prince but
Krishna himself, his blue skin and royal halo leaving no possible doubt as
to his real identity.[83] Similarly in paintings illustrating the
character and personality of musical modes, Krishna was often introduced
as the perfect embodiment of passionate loving. None of the poems
accompanying the modes make any allusion to him. Indeed, their prime
purpose is to woo the presiding genius of the melody and suggest the
visual scene most likely to evoke its spirit. The musical mode, _Bhairava
Raga_, for example, was actually associated with Siva, yet because the
character of the music suggested furious passion the central figure of the
lover dallying with a lady was depicted as Krishna.[84] In _Hindola Raga_,
a mode connected with swinging, a similar result ensued. Swinging in
Indian sentiment was normally associated with the rains and these in turn
evoked 'memory and desire.' The character of the music was therefore
visualized as that of a young prince swinging in the rain--his very
movements symbolizing the act of love. Since Krishna, however, was the
perfect lover, nothing was easier than to portray _Hindola Raga_ as
Krishna himself. _Hindola_ might be invoked in the poem, but it was
Krishna who appeared seated on the swing.[85] An exactly similar process
occurred in the case of _Megh Mallar Raga_. This was connected with the
rainy season, yet because rain and storm were symbolic of sex, _Megh
Mallar_ was portrayed not as a separate figure, but as Krishna once again
dancing in the rain with ladies accompanying him. Even feminine modes of
music suffered the same kind of transformation. _Vasanta Ragini_, 'the
music of springtime,' was normally apostrophized as a lovely lady, yet
because springtime suggested lovers, she was shown in painting as if she
were Krishna dancing with a vase of flowers, holding a wand in his hand or
celebrating the spring fertility festival. The mode, _Pancham Ragini_, was
also feminine in character and was conceived of as a beauty enjoying her
lover's advances. The lady herself was portrayed, yet once again Krishn