The generous use of gold to highlight distinct elements of the painting, the stylistic floral pattern of the floor where the gathering is seated and in particular the winged apsaras in the foreground entertaining the gathering indicate a strong Deccani influence. Scholars including S.C. Welch, J. Seyller and J. Losty have commented extensively about the impact of Decccani artists in Rajasthan and Pahari ateliers from the seventeenth century onwards, and this is clearly seen in the present painting.
For another example of Deccani influence in a Ragamala folio from the Stuart Cary Welch Collection, Part Two, see Sotheby’s London, 31 May 2011, lot 15.
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