Radha and Krishna in the boat of love

Radha and Krishna in the boat of love is a classic artwork of Kishengarh School of miniature paintings by Nihal Chand from Rajasthan. Kishengarh Scool of paintings flourished under the patronage of Raja Sawant Singh who was a great devotee of Lord Krishna. During his reign, Nihal Chand painted mostly on the theme of Radha and Krishna where Raja Sawant Singh visualised himself as Krishna and Bnai Thani, a poetess of his court, as Radha. One of the most peculiar features of Kishengarh School of miniature paintings is the pointed nose and chins, also witnessed in this painting. Another unique feature of Indian paintings at that time was that multiple timelines were depicted in the same painting and therefore one can see Radha and Krishna appear more than once in this painting as well. The artwork is divided into three horizontal parts, where the middle panel shows Radha and Krishna in a boat along with other Gopis. The water looks calm and serene with lotuses around and some ducks swimming at a farther distance while the boat sails peacefully. This might depict the happiness of life when one is in love. In the background, palaces can be seen with grey and orange sky with hints of yellow. One can also see the sun behind the mountains with its rays which might convey that it is either dusk or dawn. Apart from the sun there are three other elements that might depict the occurrence of either a sunrise or a sunset, the first one being the lotuses; they seem to be stooping which might depict that they are either rising from their sleep or are falling into slumber. Another possible hint towards this hypothesis is the ducks which can either be starting their day or going back to their abode after the daybreak. The final element is the water and stillness of the water indicates that it is daybreak, as the surface remains calm at dawn. The final panel of the painting is the foreground where the couple is seen standing surrounded by dense foliage in solitude. Unlike the middle panel, there is no one in this scene to intervene in their serenity, while Lord Krishna holds a garland in his hand which could be the depiction of affection and love between them. The middle and final panels are seamlessly blended, with the water from the upper section flowing into the lower one, appearing to guide the viewer toward the foliage and suggesting a journey by boat toward that destination.