Here, the hero wears a golden crown and does not feed a cuckoo. He is gaily dressed in an overskirt made of peacock feathers, striped white trousers, a gold sash, and bejeweled golden ornaments. His elaborate gem-encrusted gold crown is adorned with lotus blossoms, and he wears a girdle of golden waist-bells. The hero carries in his right hand a long, stringed instrument called a vina that rests on his shoulder, while in the other hand he holds a golden pitcher with three blossoming flowers, which symbo-lize spring's annual rebirth of the natural world. Appropriately, the scene takes place in a wooded glen with flowering trees in the background and the tops of various plants and flowering shrubs in the foreground. The hero is depicted as dancing and is surrounded by three female musicians and a female attendant bearing an honorific flywhisk.
The third performer claps her hands to die rhythm and apparently is singing, since. she is atypically shown with her mouth open. Stylistically, this painting is a good example of the amalgamation of Mughal naturalism and Rajput idealism and coloration.
Vasant Ragini is regarded as a wife of Dipak Raga in the Rajasthani tradition and is typically shown as a crowned hero or Krishna cele-brating the advent of spring by dancing to the joyous songs of several female musicians. Alternatively, the same figures are shown participating in the commun.il revelry and mania of the Holi festival by shooting over-size syringes filled with red-colored water.