Although two inscriptions identify the melody as “Gunakari (upper border) or “Gunakali” (reverse), the imagery of a heroine “spreading flower petals on a bed” is one of the iconographies prescribed in poetic inscriptions on paintings labeled as Gormalar Ragini (Klaus Ebeling, Ragamala Painting, 1973). Gormalar Ragini incorporates multiple iconographies and several variant names, such as Gundakari, Gorkali, Gaund, Gauda, and Gaur. (For example, see a Golmalar Ragini envisioned as a heroine with two peacocks in the Art Gallery of New South Wales, Sydney, 103.2021.) In contrast, Gunakali/Gunakari Ragini typically features a heroine arranging flowers in two vases. (For example, see a Gunakali Ragini in the Victoria and Albert Museum, London, IS.43-1953.). Mislabeling Gormalar Raginis as Gunakali or Gunakari Raginis is commonplace, according to Ebeling.
Gormalar Ragini is the second wife of Megha Raga in the predominant ragamala (garland of melodies) classification system generally known as the Rajasthani system. As personified in paintings, it is typically an evening expression evoking a heroine’s anticipation of her lover’s visit. Here, a heroine prepares a bed with flower blossoms under an awning on a palace terrace.
A Dipak Raga from the same dispersed series is in the San Diego Museum of Art (1990.791). It has an inscription stating that it was painted by Nur Muhammad in 1695 as gift for Diwali. Nur Muhammad was in the atelier of Maharana Anup Singh of Bikaner (r. 1669–1698).
