Obviously the painting is a folio illustrating a love situation from the Jaideva’s popular poem Gita Govinda. When escorting the fearing child Krishna home from the forest on Nanda’s behest, around the bank of river Yamuna Krishna grew into a full youth and made love with Radha. Now Radha and Krishna were inseparable entities. Hence, when Krishna reached forest for celebrating the festival of Vasanta or Madanotsava – the festival of love-god Kamadeva, also known as Madana, Radha also left her household and came to the forest and laying a bed of tree-leaves in a grove of trees awaited Krishna to come and make love. However, engaged in the sport of love with other Gopis Krishna did not reach Radha. Radha learnt from a confidante how dallying with other Gopis Krishna had not come to Radha. Two days and two nights passed but Krishna did not come to Radha. Even when one of Radha’s ‘sakhis’ approached him and narrated Radha’s agony and how eagerly she was awaiting him, Krishna did not pay heed and continued as before.
Having wandered in the forest for two days and two nights in search of Krishna and scorched by the heat of passion that the love-god Kamadeva was every moment further intensifying, Radha had grown quite feeble and was unable to walk. Believing that his love was only for her Krishna’s infidelity, his dalliance with other Gopis, pained Radha and she criticized him. With her condition further worsened by renewed attacks of Kamadeva her loving ‘sakhi’ decided to go the Krishna and bring him to her. However, on her entreaty Krishna paid little heed and continuing as before asked her to bring Radha where he was. Initially Radha rejected his offer but persuaded by her Sakhi she agreed. She had hardly walked a few steps when she faltered and fell. Her sakhi rushed to Krishna for requesting him for assisting her sakhi but his reply was the same as before. After she was back Radha’s sakhi persuaded her again to collect herself and go to Krishna with her which Radha did. In the meantime Krishna had also realised his folly and Radha’s love for him and repentant as he was he received Radha at his bower. It was the day-break when she reached Krishna.
The folio represents Krishna, with magic of sensuousness in eyes as if mesmerizing her, explaining to annoyed Radha who awaited him for two nights how he failed to reach her. Though some pain still lurking in eyes Radha conciliates and extends her left hand to him. The Gita Govinda says that Krishna then made love to Radha that continued the whole day and the whole night and the love-god Kamadeva was fully appeased. The scene has been laid close to river Yamuna’s bank in the midst of trees, some bursting with colorful flowers, and others, with as colourful leaves. As in the painting the Gita Govinda contends that their bed consisted of colourful leaves of Kadamba. Over them bow from their right and left creepers laden with colourful flowers. The blue-bodied Krishna is in his usual ‘pitambara’ – yellow wear, peacock feather crested crown and the large garland of Parijat flowers besides his usual adornment. His figure has been conceived with large sensuous eyes and sharp features. Radha is clad in maroon-red lehenga and blouse and golden odhini. Her figure has been as beautifully conceived as Krishna’s.
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.
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