Radha and KrishnaKishangarh School,1750 AD.
Once developed by Nihal Chand, the stereotype image became the hallmark of the Kishangarh School. From prince to pauper, from princess to maids, they all had the same face, dress, ornaments. This is called 'stylization' in art. There are no individual portraits as in Mughal paintings. There are ad infinitum depiction of ideal beauty. Like the Bundi School, the Kishangarh miniatures are also known for their depiction of romantic scenes.
As here, the nayak and nayika are Krishna and Radha. In this painting Krishna offers a beetle leaf (pan) to Radha. Both sit coyly, in the warmth of each others company. Interestingly, Krishna wears a Mughal dress instead of his usual yellow dhoti (pitambar dhoti). He looks more like a Mughal prince than a God.
Radha is in all the finery of a Rajput princess. This painting clearly depicts the influence of the Mughal court on the courts of Rajputana.
The serenity, tranquility, the poise of the figures, the beauty of the moment takes us to another worldly leve: the soul and the God have become equals. Where it is the God who presents an offering to the soul, to His soulmate--Radha. The equation has changed.
As here, the nayak and nayika are Krishna and Radha. In this painting Krishna offers a beetle leaf (pan) to Radha. Both sit coyly, in the warmth of each others company. Interestingly, Krishna wears a Mughal dress instead of his usual yellow dhoti (pitambar dhoti). He looks more like a Mughal prince than a God.
Radha is in all the finery of a Rajput princess. This painting clearly depicts the influence of the Mughal court on the courts of Rajputana.
The serenity, tranquility, the poise of the figures, the beauty of the moment takes us to another worldly leve: the soul and the God have become equals. Where it is the God who presents an offering to the soul, to His soulmate--Radha. The equation has changed.
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