When Ishwari retired from the Calcutta Art School, he went, with his son, to work for P.C. Manuk in Patna and painted it.
The simple yet extraordinary painting by the last painter of the "Patna Kalam", Ishwari Prasad, depicts an odd room with a wide balcony where a young lady rests on pillows, holding a white lotus in her right hand. She wears a saffron saree and is adorned with jewels, suggesting that she is the wife of a court official or minister. The white lotus symbolises grace, beauty, and purity of mind, body and soul, giving the artwork a delicate feminine touch. Beside her bed, an intricately designed case with a red handkerchief is kept along with a kettle. The little brownish fawn by the side of her bed suggests that it is domesticated by her and acts as her companion. This indicates the coexistence of humans with wildlife in harmony. The irony lies in the fact that the woman nurtures nature, whereas the male counterpart, the King, hunts and sheds blood, killing the innocent creations of nature. The somber color range is influenced by the European prints and watercolors. The soft strokes of watercolor, with cool tones of blue from the sky visible through the window and greyish hues of the ground, provide a soothing effect to the soul of the viewer. Prasad culminates European and Mughal styles, evident in the artwork. Inspired from Patna paintings, he also perfectly contours the facial features of the woman. With most probability, he painted the artwork directly with the brush through a technique called "Kajli syahi".
Overall, the artwork offers a refreshing perspective on Indian styles of painting, enhancing and adding to the rich art and culture of India.
This painting is a remarkable example of company style paintings, prevalent in the twentieth century. Painted with a pastel and warm colour palette, this painting aptly captures the divine feminine essence.
