In the picture, Radha and Krishna are again united. Krishna has drawn Radha to him and is caressing her cheek while friends of Radha gossip in the courtyard. As in Plate [25], the artist has preferred a house to the forest—the sharp thrust of the angular walls exactly expressing the fierceness of the lovers' desires.
PLATE 28
Krishna awaiting Radha
Illustration to the Rasika Priya of Keshav Das
Bundi (Rajasthan), c. 1700
National Museum, New Delhi
Following the Sanskrit practice of discussing poetic taste, Keshav Das produced in 1592 a Hindi manual of poetics. In this book, poems on love were analysed with special reference to Krishna—Krishna himself sustaining the role of nayaka or ideal lover. During the seventeenth century, illustrated versions of the manual were produced—poems appearing at the top of the picture and the subjects being illustrated beneath. The present picture treats Radha as the nayika or ideal mistress and shows her about to visit Krishna, She is, at first, seated on a bed but a little later, is leaning against a pillar as a maid or friend induces her to descend. In the left-hand bottom corner, Krishna sits quietly waiting. The bower is hung with garlands and floored with lotus petals while lightning twisting in the sky and torches flickering in the courtyard suggest the storm of love. The figures with their neat line and eager faces are typical of Bundi painting after it had broken free from the parent style of Udaipur.