An Illustration to the Gita Govinda: Krishna Adorns his beloved Radha

The illustration depicts Krishna tenderly trying a jeweled girdle around the waist of his beloved Radha as they both gaze longingly at each other after their tryst on the banks of the Yamuna.

M. S. Randhawa, Kangra Paintings of the Gita Govinda, New Delhi, 1963, fig. 13, p. 49

Very good overall condition. Minor losses to pigment in areas of foliage above as seen in catalogue illustration. Slight abrasions to pigment in blue sky area on upper left and green ground on lower left as viewed in catalogue illustration. The while cloud on upper left has experienced loss to pigment. Inscription in Devanangari on verso. Exhibited in a 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 carpet of flowers beneath the conjoined trees on the serene riverbank create the perfect setting for the Divine Union of Radha and Kishna. The artist skillfully captures the tenderness of the moment as Krishna gently helps his beloved with her accouterments as she prepares to depart from their tryst. 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; Important Indian Paintings from the Gloria Katz and Willard Huyck Collection, Sotheby's New York, March 22, 2002, lot 52; and Sotheby's, New York, 16 September 2010, lot 85.