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Synopsis The concept of visualisation of music through painting has deep roots in traditional Indian miniature painting. Popularly referred to as Ragamala paintings, they depict Raga-Raginis in the form of deities or Nayaka and Nayikas. Musical modes of Hindustani classical music were classified according to gender in medieval India and were called Ragas and Raginis. The depiction of Ragas and Raginis through paintings received impetus from prayer formulas or Dhyanas given in ancient Sanskrit, Hindi or dialect verses. These were given on top of the paintings. Given the name Ragamala, which literally means "a garland of Ragas", they constitute a confluence of music, painting and poetry. The author has given her own interpretation of such paintings. She has depicted select Ragas in a pictorial form according to descriptions given in ancient musical canons. In addition to composing the entire iconography using her imagery while adhering to their standard form, she has incorporated certain musical phrases characteristic the given Ragas. These paintings serve as an example for the principle of assimilation of fine arts. The primary element of these paintings is virtual space in which music acts as the secondary element. Instead of giving the Sanskrit verses on top of the paintings, the author has given them separately owing to space constraints. Since the verses are a description of the iconography shown in the painting, they have also been given in the text describing the paintings. Greater emphasis has been given on the assimilation of the musical phrases within the framework of the paintings. Care has been taken to strictly follow the standard iconographies. Thus, they are of great value for the study of fine arts.