Page 151 - Eye of the beholder

The painting is replete with metaphors of blossoming love through allusion to nature. The fresh yellow and white blossoming flowers near the swing signifies the love bursting forth while the stream of water is indicative of their joyous emotions in being together in the monsoon. The sakhi in front is pushing the swing, on which the divine lovers are seated. Of the group of four behind her, two of them are carrying morchal, and simultaneously perhaps discussing among themselves as evident from their glances, postures and gestures if they will get an opportunity to swing with Krishna in the same intimate manner. Their faces have been beautifully rendered with large round eyes, arched brows, full sensuous red lips and jet black flowing luxuriant hair. Their bodies are equally adorned with judicious choice of pearl jewellery around their neck, the nose baali, large elaborate ear rings, the head ornament and the bangles. All their hands are hennaed.
Radha’s face has been modeled with modulation of subtle shadows particularly seen under the eyes and chin and the neck. Her jewellery is elaborate studded with emeralds and rubies together with the pearls. She wears a brown block printed ghagra, red bandhini odhini and a golden yellow choli. A covert eroticism is evident in her choli revealing her breast partly with Krishna firmly holding on to her shoulder and her arm on his. Both the forms are ensconced within a heart shape halo that has radiating golden light indicated by very fine gold lines. It is a masterpiece of utmost fine delicacy particularly in the rendering of every detail from facial features to jewellery to sartorial attire. There is a dupatta hanging from his shoulders, and he is wearing a golden yellow coloured ‘dhoti’. The blue complexion of his body has been highlighted. There is an elaborate decorative turban crowning his head, with a rich pearl ornamented sirpanch adorned by peacock feathers. A beautiful grey feather with oval pearls is inserted in the middle of the turban and loops of pearls hang down on the back reaching up to his neck. Around his neck are pearl strands and he also wears pearl earring studded with ruby as it is red in colour. Krishna’s arm is magnificently bejeweled with wrist bracelets, bangles and armlets ornamented with pearls. Apparently pearls were favoured perhaps they were available in abundance or perhaps it offered the artist the opportunity of effectively using the white pigment in a versatile way. The character of the swing is an ordinary plank tied with ropes to the branch of a tree. Radha sitting on his lap is wearing traditional butti decorated ghangra in brown and a yellow choli. Her head is covered with a transparent odhini. Her choli provocatively cuts across her breast, as she lifts her arms to hold on to the rope of the swing.
Since the miniature is dated to the middle of nineteenth century, European influence is apparent in the romantic idyllic setting that is rendered with perspectival space, taking the eye into the background which has the representation of the city of Vrindavan perhaps. There is a sense of scale in the relationship of the figures to the tree as well as the middle ground group to the background. The colours are fresh and charming making it an exquisite work from this period in terms of its finesse, subtlety of accessories and the judicious choice of colours in the sartorial attire. There is also considerable shading in the delineation of the grass, in terms of light and shade that also enhances the depth of the pictorial space.
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