An illustration from the Gita Govinda: Krishna waiting for Radha, attributed to Manaku, India, Guler, 1730

Ex-collection Dr. & Mrs. William K. Ehrenfeld, San Francisco

Indian Miniatures from the Ehrenfeld Collection, American Federation of Arts, September 1985-November 1987

D. Ehnbom, Indian Miniatures from the Ehrenfeld Collection, New York, 1985, no.91, pp.190-91

M.C. Beach, F. Fischer, B.N. Goswamy (ed.), Masters of Indian Painting 1650-1900, Vol. II, Artibus Asiae, 2011, no.1, p.642 (listed under publications)

This painting illustrates an episode from the Gita Govinda, a lyrical poem written by twelfth century poet Jayadeva, celebrating the divine love of Krishna and Radha. Three notable Gita Govinda series from the Pahari region are known. The present folio belongs to the earliest set dated to circa 1730 and attributed to the artist, Manaku. This series is probably the first time it was illustrated at the Pahari courts. The second is known as the ‘Tehri-Garhwal’ series painted in circa 1775. The third is the ‘Lambagraon’ series completed circa 1820.

The jewel-like figures placed against a flat, monochrome background, with a high horizon and a strip of blue and white sky, as seen in the present illustration, are characteristic of this series. Radha is seated on the left, in conversation with her sakhi (confidante), who has probably brought a message from Krishna, depicted seated on the right, as he waits patiently.

Painted in a bold, slightly primitive style, the series was originally attributed to Basohli. The last folio of the series bears a colophon which includes the date Vikram samvat 1787 (1730 AD), and states that the paintings were made for a patron known as the lady Malini, by the painter Manaku. It has been debated by scholars whether the date of 1730 implies that this was the year the series was commissioned or the year it was completed.

Manaku (c.1700-60), one of the most celebrated artists from the Pahari region, was a native of Guler, a small hill state. He belonged to an illustrious family of painters. He was the son of Pandit Seu and the brother of Nainsukh. Manaku is known to have worked on a few folios from a ‘Siege of Lanka’ series dated to circa 1725 in the family workshop before embarking on the Gita Govinda, a project on a much larger scale. The latter is probably the most important series of paintings he is associated with. For a list of other paintings attributed to Manaku and for further discussion on the artist, see Beach, Fischer, Goswamy 2011, pp.641-59.

The series originally consisted of approximately 150 folios. Over fifty folios are in the Lahore Museum including the final folio bearing the colophon (I.66 0862/1925). Further folios are in various other public institutions including the National Museum, New Delhi; Government Museum and Art Gallery, Chandigarh (I 28, 41, 68, 72); Museum Rietberg, Zurich (RVI 990, 2107), San Diego Museum of Art (1990:1050, 1226, the second folio formerly in the collection of Edwin Binney 3^rd). Four folios are illustrated in Goswamy & Fischer 192, no.100-4, pp.252-7. For a list of other publications which illustrate folios from this series, see Beach, Fischer, Goswamy 2011, p.642. For a folio depicting Krishna dancing with gopis on either side, which sold at auction, see Christie’s London, 11 October 1988, lot 85.