Step into the glorious forests of eighteenth century miniatures and discover one of the most magical love stories to have ever been painted. Created around the year 1730 by the master Pahari artist Manaku of Guler this folio depicts a scene from the Gita Govinda, a 12 th century Sanskrit love poem written by Jayadeva. The treasured piece, officially titled Radha and Krishna, has become known as ‘Radha’s Friend Describes Krishna’s Dalliance’.
The painting is vibrant and lively. The background is a striking bright yellow, representing the warmth of spring. Manaku uses the space to depict two scenes from the story. On the left Radha sits under an ornate tree listening intently to what her friend (sakhi) is saying whilst also glancing anxiously to the right. To the right the blue skinned Krishna wearing a bright orange dhoti is playfully embracing two cowherdesses (gopis). Another cowherdess presents Krishna with a bowl. Bees fly around the painting representing the intoxicating nature of springtime. The River Jumna flows calmly along the bottom of the painting in silver grey.
The magic of the painting comes from the use of beetle wing cases (sternocera). Manaku used watercolours and real gold but also painted iridescent green beetle wing cases directly onto the paper. When light shines onto the painting they create a glittery effect like emeralds, on the jewellery of Radha and Krishna.
This masterpiece was commissioned in the year 1730 by Lady Malini. After centuries of history the painting was added to the collection at the Victoria and Albert Museum in 1930. It is stored carefully in conservation to preserve the colours and shining beetle wings. However it remains a memorable piece of art that celebrates human feelings and royal artistry.
The artist Manaku, in this 1730 Gita Govinda folio, translates Jayadeva's Sanskrit verses into a very creative psychological study of viraha (longing in separation). To me, this painting feels like stepping straight into the emotional heat of a lover's heartbreak, echoing the aching confessions of a heavy heart. The way Manaku has placed a single, dense tree right in the middle of the page reflects the two emotional realities existing side by side. On one side sits Radha, beneath a dark canopy, folded into herself , while her sakhi explains whatever she witnesses with expressive, henna-dyed hands. Watching Krishna lost in the embrace of the gopis, we can almost feel the weight of Radha's silence against the noisy hovering of bees and the vibrance of the forest. The blazing yellow background brings everything together, burning with restlessness of Radha's jealousy and viraha, radiating her feverish warmth of longing and unspoken hurt, contrasted beautifully by Krishna's embrace of the gopis.
