Here is an astonishing painting, which traces events from the exile of Rama, through Sita’s abduction, to the building of the bridge to Lanka.

Moving from the top-right and towards the left, Rama, Lakshmana and Sita move through the wilderness, as they begin their period of exile.

Here, they meet Rama’s devotee, Sutiksana, the sage Sarabhanga.

And below, their communion with the sage Agastya is depicted.

Although this folio illustrating the Rama Katha appears in the Uttarakanda, the artists have depicted stories from the Aranyakanda, Kishkindhakanda, Sundarakanda and Lankakanda.

All of these stories are being relayed by Kaka Bhushundi (depicted at upper-right), who narrates the Manas to Garuda.

Continuing with the story of exile, as narrated in the Aranyakanda..

The top-left of the folio is devoted to Rama’s “purification” of the Dandaka forest, purging it of its inhabitant rakshasas (demons).

And below this, Rama kills Viradha, who, upon death, assumes his true form as a gandharva (a class of celestial beings who are musicians and singers) grateful to be freed from his accursed life.

At the centre-left, near the mountainous terrain,

their encounter with Surpanakha is depicted. Notice the attention to detail in the disfiguration of Surpanakha’s face, by Lakshmana.

And to the extreme-right, Rama, is shown, anticipating the future course of events.

The artist presents a survey of its major events, seen from a high vantage point on the remainder of the page.

As part of Rama’s plan..

He “hides” Sita for safekeeping in a sacred fire and conjures up “chhaya Sita,” a replica of Sita, to take her place in the unsavoury events that will follow.

At the centre of the folio, the artists depict the rakshasa Maricha..

Maricha, disguised as a golden deer in a little garden, tempting Sita, after being persuaded by Ravana.

Below right, Ravana kidnaps “chhaya Sita” and kills the vulture Jatayu.

However, the story of Jatayu, doesn’t end with Ravana slaying the demigod..

Below this is an interesting vignette of Jatayu blessed by Rama and granted sarupya moksha, and we see Jatayu taking the form of Vishnu himself.

To the left of this, Rama meets Narada, however, there's a mistake! Sita is also depicted seated beside Rama. As per the story, Sita is not supposed to be here, as Rama previously hid Sita in a fire, while predicting these events. The conjured “chhaya Sita” is abducted by Ravana, but the artists mistakenly paint her here.

The narrative of kidnapping “chhaya Sita", brings us to the end of the Aranyakanda.

Following this, we proceed to see anecdotes from the Kishkindakanda.

As Rama and Lakshmana continue their search for Sita,

They forge alliances with the army of monkeys and bears.

This section also includes the killing of Bali, and the meeting of the vulture Sampati that takes place near the bend of the “river” – which is actually shorthand for the Sea of Lanka.

Hanuman leaps over the ocean, which is depicted as a little stream. The monkeys and bears build the setu (bridge) and cross over to Lanka at bottom-right, and near this, Rama sets up his temporary abode at Mount Subel. Above, Angada goes as an emissary to Ravana’s court.

Concluding these stories from the Lankakanda, a relatively modern flag appears amidst the monkeys and the bears in the painting. The artist works in a Jaipuri idiom, and interestingly has also depicted the flag of Jaipur State in the hands of one of the marching monkeys at the bottom, next to the bears.

This singular painting, reveals a plethora of stories.

Would you like to explore more?