Description
Specifications:
Water Color Painting on Paper
Artist: Kailash Raj
7.7 inch x 11.0 inch

This master-miniature, rendered using Indian medieval painting’s mostsublime Kangra art idiom, as it was practiced around 1810-20 at theHimalayan hill state of Kangra under the legendary art connoisseurRaja Sansara Chand whose court atelier gave to world art many timelessmasterpieces and to the entire art of India, Himalayan Hills inparticular, an art culture of soft colours, gentle feelings and uniquesimplicity endowed with power to transcend the mind from this realm toanother, without warranting it to read in between the lines ordiscover a hidden meaning – a kind of mysticism hardly seen in artever before. Barring paper and colours that are new, and of coursethat the hands that drew it are contemporary, in everything : theme,style, figures’ iconography, forms of architecture, palette, flavour,over-all spirit and mystic simplicity, the painting revives the Kangraart idiom that touched its ever greatest heights during the periodfrom around 1780 to 1820. The painting presents an imaginative extension of a romantic situation: Krishna appeasing an annoyed Radha by combing her hair, which thepoet Jaideva exploited in one of the verses in his timeless poem GitaGovinda for illustrating Krishna’s love for Radha. As the contextualverse in the Gita Govinda has it, knowing from Radha’s Sakhi thatRadha, annoyed with him for flirting with other Gopis, has not onlygiven up food and water but also every kind of adornment and hasretired to forest, Krishna searches her and to please her beginsadorning her by first combing her hair. The artist, in tune with theKangra art culture which dismissed everything sour or unpleasing, eventhat which finally led to a pleasant situation as in the Gita-Govindaverse, has transformed the forest-wandering Radha, and a Krishnawandering from grove to grove for love, into palace inmates andtimeless perpetual lovers as the tradition has always perceived Radhaand Krishna to have been. The artist seems to have given up theGita-Govinda’s contextual harshness : Radha’s annoyance and Krishna’spersuasions, and has exploited the situation for portraying, unboundto any context, one of the softest gestures expressing his love forher, egoless and beyond barriers. He has portrayed his Radha andKrishna in complete harmony, and in love beyond all questions, broadlyin a completely different frame. The painting represents Radha seated inside a marble jharokha – orielwindow, wrought with multi-coloured semi-precious stones on the backside of the palace which the rows of Saptaparnis – a tree of whichseven leaves grow as one unit, and the intercepting cypresses affirm.The jharokha is topped by a flattish dome, a characteristic feature ofmedieval Rajput architecture, and is supported on a large size lotusmotif. A loving Krishna, leaning over her figure from behind, iscombing her hair with a coloured ivory comb, while Radha, in absolutebliss, is looking into the mirror of her ring her own face, andKrishna’s, and the satisfaction revealing in his eyes and thedemeanour of his face when dressing her hair. A ring with a smallmirror fixed into it, known as ‘arsi-ring’, was exceptionally popularin medieval India, especially among upper classes. The verse in theGita Govinda portraying Krishna combing Radha’s hair abounds in rarelyricism but this lyricism multiplies many more times in theminiaturist’s diction of colours and in the strokes of his brush.Apart, the painted version breathes unique sublimity, a touch ofsoftness and a strange mysticism. This description by Prof. P.C. Jain and Dr. Daljeet. Prof. Jain specializes on the aesthetics of literature and is the author of numerous books on Indian art and culture. Dr. Daljeet is the curator of the Miniature Painting Gallery, National Museum, New Delhi. They have both collaborated together on a number of books.

Lot 77.Krishna Combing Radha’s Hair

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Specifications:
Water Color Painting on Paper
Artist: Kailash Raj
7.7 inch x 11.0 inch

This master-miniature, rendered using Indian medieval painting’s mostsublime Kangra art idiom, as it was practiced around 1810-20 at theHimalayan hill state of Kangra under the legendary art connoisseurRaja Sansara Chand whose court atelier gave to world art many timelessmasterpieces and to the entire art of India, Himalayan Hills inparticular, an art culture of soft colours, gentle feelings and uniquesimplicity endowed with power to transcend the mind from this realm toanother, without warranting it to read in between the lines ordiscover a hidden meaning – a kind of mysticism hardly seen in artever before. Barring paper and colours that are new, and of coursethat the hands that drew it are contemporary, in everything : theme,style, figures’ iconography, forms of architecture, palette, flavour,over-all spirit and mystic simplicity, the painting revives the Kangraart idiom that touched its ever greatest heights during the periodfrom around 1780 to 1820. The painting presents an imaginative extension of a romantic situation: Krishna appeasing an annoyed Radha by combing her hair, which thepoet Jaideva exploited in one of the verses in his timeless poem GitaGovinda for illustrating Krishna’s love for Radha. As the contextualverse in the Gita Govinda has it, knowing from Radha’s Sakhi thatRadha, annoyed with him for flirting with other Gopis, has not onlygiven up food and water but also every kind of adornment and hasretired to forest, Krishna searches her and to please her beginsadorning her by first combing her hair. The artist, in tune with theKangra art culture which dismissed everything sour or unpleasing, eventhat which finally led to a pleasant situation as in the Gita-Govindaverse, has transformed the forest-wandering Radha, and a Krishnawandering from grove to grove for love, into palace inmates andtimeless perpetual lovers as the tradition has always perceived Radhaand Krishna to have been. The artist seems to have given up theGita-Govinda’s contextual harshness : Radha’s annoyance and Krishna’spersuasions, and has exploited the situation for portraying, unboundto any context, one of the softest gestures expressing his love forher, egoless and beyond barriers. He has portrayed his Radha andKrishna in complete harmony, and in love beyond all questions, broadlyin a completely different frame. The painting represents Radha seated inside a marble jharokha – orielwindow, wrought with multi-coloured semi-precious stones on the backside of the palace which the rows of Saptaparnis – a tree of whichseven leaves grow as one unit, and the intercepting cypresses affirm.The jharokha is topped by a flattish dome, a characteristic feature ofmedieval Rajput architecture, and is supported on a large size lotusmotif. A loving Krishna, leaning over her figure from behind, iscombing her hair with a coloured ivory comb, while Radha, in absolutebliss, is looking into the mirror of her ring her own face, andKrishna’s, and the satisfaction revealing in his eyes and thedemeanour of his face when dressing her hair. A ring with a smallmirror fixed into it, known as ‘arsi-ring’, was exceptionally popularin medieval India, especially among upper classes. The verse in theGita Govinda portraying Krishna combing Radha’s hair abounds in rarelyricism but this lyricism multiplies many more times in theminiaturist’s diction of colours and in the strokes of his brush.Apart, the painted version breathes unique sublimity, a touch ofsoftness and a strange mysticism. This description by Prof. P.C. Jain and Dr. Daljeet. Prof. Jain specializes on the aesthetics of literature and is the author of numerous books on Indian art and culture. Dr. Daljeet is the curator of the Miniature Painting Gallery, National Museum, New Delhi. They have both collaborated together on a number of books.