Love is the weaver that knits an alike texture in the eyes of both Radha and Krishna and with alike strength coils the passion within, but as always the coy maid Radha is hesitant and the stubborn Krishna would not let her go. She has supported herself on her right arm but that is not actually required. Krishna has a well decked bosom, wide and broad, and here Radha can secure her most precious treasure, her own bosom and the rubies of lips upon those of Krishna. A huge bolster placed behind Radha obstructs her from receding. Arrested in Krishna's arms she has but one course left and it leads to Krishna's bosom.

This class painting, a representative form of medieval Kishangarh art style, represents Radha and Krishna making love on a palatial terrace during a bright night. Kishangarh dynasty were great devotees of Krishna. They even attired as did the legendary Krishna. Hence, there came in prevalence a feudal form of Radha and Krishna in Kishangarh art. Sometimes Kishangarh rajas were painted as Krishna and sometimes Krishna, or even Radha as here, came to be painted as feudal lords. After Radha was deified, in votive art her regal representations came to prevail, but as per the Radha Krishna legend she was Krishna's companion only till he was a cowherd of Vraja. Krishna, though he has his peacock feather crest, has been additionally crowned and bejewelled as a raja. A richly embroidered large carpet, number of bolsters, elegantly parapetted terrace and the entire atmosphere is more like a palace rather than the banks of river Yamuna, meadows around or a grove or bower in forest, the more usual aspects of the Krishna legend.

Radha has come on the terrace to meet Krishna, but as usual she is now hesitant, may be, because the moon was intentively looking at them. Krishna, however, is unwilling to spare her. Holding her left hand he drags her to his bosom. With his right hand he is pushing her from behind. Radha's passion is nontheless strong but how could she allow her garments to go off her person on a terrace open from all sides. She is unable to raise both, her eyes and her hand which placed on the floor is supporting her entire figure. Large heavy eyes with prominent eye-lashes, broad forehead, fine features and protruding breasts define Radha's beauty and vigorous youth. The artist has omitted all kind of paraphernalia most judiciously so that the figures of Radha and Krishna remained in greater focus. He has as skilfully discovered tender tones of deep colours partly by discovering their eye-soothing effects and partly by using a pale mauve tinted background against which each colour has its own tonal depth and its own drama.

This description by Prof. P.C. Jain and Dr Daljeet. Prof. Jain specializes on the aesthetics of ancient Indian literature. Dr Daljeet is the chief curator of the Visual Arts Gallery at the National Museum of India, New Delhi. They have both collaborated on numerous books on Indian art and culture.

---

Delivered by to all international destinations within 3 to 5 days, fully insured.

---

Of Related Interest:

Ideals of Love and Beauty

Eyes are Oceans with Unfathomable Depths

In That Heaven Where Faces are Flowers and Eyes Fragrance

Love Games of Radha and Krishna

Krishna the Divine Lover in Indian Art