During the twentieth century, a certain type of Indian painting began to fascinate the West. Unlike Mughal art, it was a product of Hindu courts in Rajasthan and the Punjab Hills and unlike Mughal painting, its chief concern was with the varied phases of romance. Ladies would be shown brooding in their chambers as storm clouds mounted in the sky. A girl might be portrayed desperately fondling a plantain tree, gripping a pet falcon, the symbol of her lover, or hurrying through the rainy darkness intent only on reaching a longed-for tryst. A prince would appear lying on a terrace, his outstretched arms striving vainly to detain a calm beauty or welcoming with delight a bashful girl as she slowly advanced. In all these pictures, romantic love was treated as the highest good and physical passion was interpreted with a freshness and innocence unequalled in the world's art.
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