 Coming down the Himalayan slopes on the banks of the river Ravi as it flows through the south of Jammu and Kashmir stands modern-day Pasoli, a sleepy town of flat-roofed houses and rising temples. Earlier known as Vishwasthali, this was once a flourishing pilgrimage and trade center. Earlier, the magnificent palace of the Pal dynasty dominated the whole landscape. It was during the reign of Raja Kirpal Pal that this small kingdom made a big impression on the cultural map of India as home of one of the major schools of miniature painting. One of the Raja's favorite works was the Rasmanjari, a long poem on romantic love written in the 15th century by Panudat of Bihar. The Raja commissioned master painter Devidas of Noorpur to illustrate the Rasmanjari. The 138 vibrant verses of the Rasmanjari explore the Sringar Ras or the flavor of love in all its nuances. Sringar is considered the king of all the Rassas. Rasmanjari has a unique place in Sanskrit Sringar poetry as it focuses on the subject of Naya Knaika Bhel or classification of heroes and heroines. According to their situation and love, there are eight main types of Naya Knaika. Such classification of lovers has its roots in Bharat Muni's Naati Shastra which is the world's oldest surviving text on all aspects of drama and stage craft. The focus in both poem and paintings is the Naya Knaika or heroine rather than the Naya Knaika or hero. Varkya Vasaksacha, Naya Knaika waits for her lover. Telling stories, she lulls her in-laws to sleep. She covers the cages of the birds and sends the maid servant out. Then, putting out the lamp with the shake of a sari, she lies quietly on the bed. Now, her lover approaches with bated breath for the sweet rites of love. Madhyaswadheen Patika, she who is devotedly loved. Few of his advances, my sweetheart pursues me. What should I do, O Sakhi? Naya Knaika, preparing for her lover. She coos like a dove for her lover, stretches her lotus-like hands. Basoli art symbolizes the spirit of Hindu-Muslim harmony. This style of painting marries the vibrant folk art of the hills based on Hindu mythology with the fine brush painting techniques of the Mughal artists. The paintings are bathed in warm and vibrant colors which are still as vivid today. The painters used to grind vegetable colors on stone slabs for even a year to achieve a single perfect pigment. Naya Knaika, whose husband is away. As Lord Krishna departs, the Naya Knaika removes her garland of lotus petals. Her armlet drops to her wrist as if to feel her pulse. This painting depicts in human form Ragh Vinod, a rag of pleasure. Mukdvasaka, the Ratipriya Naya Knaika, never tires of love-making. Proudha Bipalabdha, Hanu that's classification. This type of Naya Knaika worships the ground her Naya Knaika walks on. Samanya Abhisarika, gothersen goes out to seek Halapa. Her bosom heaves, her upper garments flutter, gold ornaments dangle, her gauge charms. There she goes, the Naya Knaika, to meet her beloved in his power. The poetry of Bhanudat and the paintings of Rasmanjari have perhaps never been surpassed in their delightful play of passion, their exploration of female sentiments and sensations, the total surrender of Radha to Krishna, or of human love to divine love.