This painting titled Ravana Shows Sita the Counterfeit Head of Rama, dated to 1725 CE by artist Manaku is one of the most prominent examples of Pahari paintings in the Guler tradition. It depicts an important scene from the Ramayana. After Rama’s wife, Sita had been abducted by Ravana, she was imprisoned in the Ashoka grove while Rama and his allies had started their search to rescue her. With time, Ravana became increasingly desperate because Sita had refused all his advances. He then devised a plan; he presents a counterfeit severed head of Rama and a bow to Sita to convince her that Rama has been killed in battle, thereby hoping her grief and hopelessness will finally force her into submission. In some versions of the Ramayana, the illusion is created by a demon skilled in deception. Sita is initially devastated, but the illusion eventually fades, revealing Ravana’s deceit.
This painting focuses on the psychological violence inflicted upon Sita. In the painting, Ravana is depicted near the palace surrounded by his asuras. His body is dark and adorned with jewels and royal garments. He is not depicted as monstrous. He is shown as a royal figure with a calm expression. This depiction is common in most version of the Ramayana. He is evil, powerful and spiritually corrupted but a just king to his subjects. His main flaw lies in his misuse of knowledge and power. Sita is shown beneath a tree. Her pale clothing and complexion along with her withdrawn posture portray her vulnerability and grief. The counterfeit head of Rama is carried towards her by one of the asuras.
The high golden walls depict a sort of hierarchy and symbolic imprisonment. Colours have been used masterfully by Manaku. The sky painted in orangish-red colour can be symbolic of the psychological manipulation, the impending doom and grief. Rather than the blue hues which portray naturalism, the sky in this painting depicts the emotional atmosphere. The forest and trees around Sita are depicted in green symbolizing her endurance and truth. Overall, this painting explores the themes of grief, manipulation, fear and moral resilience.
What strikes me about this painting is how still it is. No swords. No flames. Just a garden, a woman, a demon king, and a severed head that isn't even real. Manaku came from that brilliant Guler workshop in the early 18th century, when the hill state was the real centre of Pahari painting, before Kangra took over. He and his father Pandit Seu and his brother Nainsukh were inventing a new visual language. You can see it here: the gold leaf on Ravana's crown, the careful rendering of the trees, the way the architecture becomes a gilded cage. It's all so beautiful, and that beauty makes the cruelty worse.
