An Illustration to the Gita Govinda: Radha proceeds to her tryst with Krishna

The illustration depicts Radha with her confidant, en route to her tryst with Krishna in the lush forests of Vrindavana. Krishna, the Divine lover, waits in anticipation, gazing longingly in the direction of his beloved. In the distance, beyond the hillock on the left, are the silvery waters of the Yamuna with cranes ambling gracefully on its emerald banks.

M. S. Randhawa, Kangra Paintings of the Gita Govinda, New Delhi, 1963, fig. 11, p. 47

Very good overall condition. Minute abrasions to pigment on dark blue folio borders and on trees, leaves and grass at upper right portion of image. Inscription in Devanagari on verso. Exhibited in temporary frame.
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The Gita Govinda (Song of the Dark Lord) composed by the 12th century poet Jayadeva, is an evocative description of the courtship and love between Krishna and his paramour Radha. Composed as an homage to Krishna, incarnation of Vishnu the Supreme Being, the poem is meant to serve as an allegory for the soul's longing to unite with the Divine, yet the lyrical beauty and tactile eroticism of its verse also stimulates the senses. The poem examines all the nuances of love in great detail; unrestrained longing, awakened hope, disappointment, pride and anger against the unfaithful one and finally reconciliation and climactic passion, taking the reader, "... through the tempestuous process of emotional – and spiritual struggle – for grace." D. Mason, Intimate Worlds, Philadelphia, 2001, p. 192.

The largest group of these paintings was formerly in the collection of Maharaja Manvindra Shah of Tehri-Garhwal. W. G. Archer has suggested that the album, originally comprising over 140 paintings was executed by Kushala, son of Manaku, assisted by his cousin Gaudhu, son of Nainsukh, both descendants of the master artist Pandit Seu, who flourished during the reign of Sansar Chand (r.1785-1823), ruler of Kangra and an devoted Vaishnava.

The Gita Govinda paintings are remarkable for the delicacy and perfection with which they are rendered. Their fluent naturalism and mellow grace create a magical world that is imbued with an inner consciousness of the communion between nature and man at their most beautiful. As Ananda Coomaraswamy remarks, "This magic world is not unreal or fanciful, but a world of imagination and eternity, visible to all who do not refuse to see with the transfiguring eyes of love." B. N. Goswamy and E. Fischer, Pahari Masters, Zurich, 1992, p. 314.  

The present illustration gives loving pictorial rendition to Jayadeva's verse. The lush foliage and blooming creepers create the perfect setting for the lovers. With his arms entwined around a tree trunk, Krishna waits dreamily for Radha. Indeed the entire forest seems to be quivering in anticipation of their divine union. The careful observation of every element of the landscape as well as the confident rendition of the forms of Radha and Krishna certainly suggest the workshop of Nainsukh.

For other paintings from this series see Joseph M. Dye III, The Arts of India, Virginia, 2001, no. 151, p. 350; D. Mason, Intimate Worlds, Philadelphia, 2001, no. 82 & 83, pp. 192-194; W. G. Archer, Indian Paintings from the Punjab Hills, vol. II, 1972, nos. 33(i) – 33(vii); B. N. Goswamy and E. Fischer, Pahari Masters, Zurich, 1992, nos. 130 – 137, pp. 320 – 331; and Important Indian Paintings from the Gloria Katz and Willard Huyck Collection, Sotheby's New York, March 22, 2002, lot 52.