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In other pictures, a clown or jester appears, introducing a witty joking element into the scene and thus presenting Krishna's attitude to love as all-inclusive. From 1693, the year of Raja Kirpal's death, painting at Basohli concentrated mainly on portraying rulers and on illustrating ragas and raginis the poems which interpreted the moods and spirit of music.
The foundation stone of Hindu music is the RAGAS or fixed melodic scales. Each one of the six basic RAGAS has a natural correspondence with a certain hour of the day, season of the year, and a presiding deity who bestows a particular potency.
The Hindoo music of to-day is not as potent as in mythical times. The people themselves acknowledge the decline of their art, and admit that even in the last century or two it has deteriorated. As for the miracle-working Ragas, or improvised songs, the people in Bengal will say that they can probably be heard in Cashmere, while the inhabitants of Cashmere will send the inquirer back to Bengal.
The work of Sur Das was of special importance for in one of his compositions he took each of the thirty-six traditional modes of Indian music-the Ragas and Raginis but instead of celebrating them as separate 'musical characters, appended to each a love-poem about Krishna. Of these poets Bihari Lai is famous for the Sat Sai in which he celebrated Krishna's romance in seven hundred verses.
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