Raja Jagat Prakash of Sirmur (Chandra, 1971); also been referred to as Rama and Sita with Raja Jagat Prakash (Vajracharya, 2002)

This scene depicts the return of Rama and Sita from exile as narrated in the the Hindu epic, The Ramayana. A recurring theme in this image (found in many Indian works) is the idea of a divine king (chakravartin). From the time King Ashoka erected the divine pillars (axis mundi) in the third century BCE, Indian society has viewed rulers as divine kings that maintain order in their kingdoms (Mitter 14). By placing Jagat Prakash alongside Rama and Sita, the artist depicts a pious yet powerful ruler.

This scene illustrates an important episode from the Hindu epic Ramayana. In this epic tale, Rama and Sita, who lean against the red-cushioned throne, return to the capital city after spending fourteen years in exile. They are accompanied by monkeys and bears, the friends who helped them survive. Rama can be identified by the bow he carries and by the nimbus which encircles his head. Sita sits by Rama and holds a lotus flower, a symbol of creation. In front of the divine couple stands the royal priest, left hand up-raised, and the Pahari ruler of Sirmur, Raja Jagat Prakash (r. 1770-1789). The latter is dressed in a white jama and turban; he prays, hands clasped (Vajrā cā rya 180). Jagat Prakash’s larger-than-life dimensions (as evidenced by the relatively small size of Rama and Sita) exemplify the stylistic use of proportion to denote hierarchial status; he is portrayed as larger than the gods, symbolizing his divine rule.

Because of its strong local character and cultural significance, this work does not, at first, seem to have a direct connection with Romantic culture or aesthetics. The local Pahari style is evident in the bright floral patterns that adorn Rama and Sita’s canopy and throne. Additionally, the inclusion of mythological characters—gods and goddesses, monkeys and bears—resembles traditional Indian art that focused on depicting traditional mythology rather than real events. Finally, Vajrā cā rya describes Sirmur as a relatively isolated region, untouched by the aesthetics of Mughal and European conquerors (171). However, certain aspects of the image question its status as a "pure" representation of traditional Indian style. For example, the stark white color of Raja Jagat Prakash’s clothes and the niched structure of the windows (similar to niches present on the Taj Mahal) suggest a Mughal influence. As art historian Daniel Ehnbom articulates, the tendency to strictly divide the Rajput and Mughal styles may be subverted by evidence which suggests that much of Mughal art was derived from pre-Akbar, indigenous Indian artwork (Ehnbom 189). Consequently, despite the isolation of the Pahari region, the visual evidence of Mughal influence suggests a continuity and hybridity of artistic traditions among Indian regions—a fluid interchange of influences that later manifested itself in the hybridity of British and Indian artistic representations.