Eva and Konrad Seitz Collection (private collection)
The composition unfolds within an oval frame set against blue spandrels worked with gold arabesques, the whole enclosed in a yellow margin with a pink outer border. The scene depicts Radha emerging from her bath on the terrace of a pavilion. She crouches on a low wooden platform, naked, her long black hair cascading forward and down around her, one hand drawing the tresses through her fingers as she appears to decide whether to part them. Her posture conveys a quality of absorbed self-enclosure: the body is rendered in a pale brownish-purple outline with only the faintest interior modelling, a technique that gives her form volume without weight and an almost ethereal delicacy.
A confidante (sakhi) stands to Radha's left dressed in a lilac skirt, flesh-coloured bodice and red orhni, approaching with a gold vessel of unguent. Behind Radha, an attendant in a blue veil holds a length of cloth upright to screen her from view, facing the viewer almost full-face and looking down. Golden vessels are arranged on the terrace floor. Beyond the terrace a green landscape with gentle hills recedes to an evening sky, and at the lower foreground a glimpse of landscape extends toward the terrace steps.
Krishna is not on the terrace but below it, concealed from Radha and her women. He wears his characteristic peacock-feathered crown and a saffron robe and dupatta and looks upward with rapt, unbroken attention. The arrangement makes visually explicit the dynamic described in the Satsai verse illustrated: Radha, absorbed in her own reflection and her tumbling hair, is unaware of being watched, while Krishna gazes with an intensity the text describes in terms of enumerated beauties seen one by one.
The sakhi is painted with a slightly different touch from Radha, her cheek and neck built up with delicate stippling and her hair rendered with individual brush strokes rather than the broad sweeping line used for Radha's tresses. The overall palette is warm and muted: saffron, lilac, pale flesh tones and the olive-green of the distant hillside. Streaks of gold in the evening sky and the arabesques of the border create a luminous decorative surround that frames the intimate scene without overwhelming it. The architectural setting, with its visible steps and white marble-effect terrace, conveys a shallow but convincing sense of depth, one of the hallmarks of the mature Guler-Kangra idiom that distinguishes this series from earlier, more spatially flat Pahari work.
The Satsai verse most directly relevant to this composition describes Radha arranging her hair after bathing. A lotus-eyed girl runs one hand through her tresses, the parted strands creating a gap through which she shyly glimpses her lover. The artist departs slightly from this verse to illustrate a related set of Satsai couplets listed on the cover sheet, which describe in sequence Radha's black tika marks, her forehead, the pendant on her forehead, her face and her various ornaments as Krishna silently catalogues them while spying on her. Radha has not yet adorned herself with any of these beautifications. The result is a quiet tension between the verse's description of a fully ornamented woman and the painting's image of a woman still undressed and unadorned, caught between bath and toilette, between privacy and the gaze that transforms her into the subject of poetry.
“Krishna Observes Radha's Toilette” by the Guler artist Fattu is a unique work, part of the series of drawings illustrating the ‘Tehri-Garhwal’ Satsai of Bihari. The work accompanies a verse that speaks of the beauty of Radha, and how enchanting she looked. As the work describes the beauty of Radha and how she keeps shyly glancing at her lover Krishna through her fingers, the work is able to capture her beauty and her bashful nature very well. Thus, Fattu is able to capture the love felt by Radha and Krishna in this composition, and shows how they even sought to share private moments with each other.
