Acquired by Philadelphia Museum of Art in 2004 as, '125th Anniversary Acquisition. Alvin O. Bellak Collection'
The communion of Radha and Krishna is a common theme in the Vaishnavite cultural tradition. However, the painting depicted above invites the viewer to peek into an intimate setting where the two lovers are about to engage in intercourse. This might seem a departure from other divine or mundane representations of the youthful couple, but it is one of the few surviving 18th-century prints from the Nainsukh family workshop, which was commissioned to depict episodes from major scriptures of the Vaishnava and Hindu tradition into fine specimens of brushwork.
The couple here sits on a bed of leaves in a forest scape and is engaging in sensuous foreplay. Radha grabs Krishna’s hands to delay and engage in fondling at the same time. Shyam/ Krishna, meanwhile, has enchanted the mortal soul of Radha through his animated eyes. Radha, who is personified as the epitome of beauty on earth, has accepted Krishna as her celestial partner, defying the societal odds of class conventions.
The communion is set in the background of dreamy/blurry shades of deep dark greens, giving us a sense of immaculate artistic skills. As can be observed, the Kangra paintings of the 18th century draw from the extant miniature painting traditions of the time (i.e., Mughals), the fine brushwork, an admiration towards the natural world (as can be discerned in the accuracy of trees painted), and the attainment of near perfection in the drawing of human subjects. The regional rulers, however, lacked the resources to imitate the richness, textural depth, and polish of the Mughal miniatures, though the contention that these paintings carved a specific niche and altogether a new genre of artwork cannot be discounted.
The estimated time period of the work suggests it could have been made by Khushal, who is believed to have been active between the late 18th and early 19th century, and commissioned on major works such as the Gita Govind series. It is interesting to note that none of the artwork from the series portraying the divine figures has any recognisable artist signature, reflecting the selfless spirit of the artists.
This painting is quite a remarkable piece from the miniature painting tradition prevalent in the Indian subcontinent. This is due to the careful and intentional handling of paint, setting, figure, and the subject matter. Radha and Krishna's communion is a subject commonly revisited in the miniature school of art. However, the sensuality and intimacy depicted in this scene in particular is away from the usual modest and often "respectable" depictions of the couple. Despite its apparent sensuality, the painting conveys a beautiful and pure aroma of togetherness.
