Early Indian paintings are often divided into multiple registers in which successive episodes of a story are related. Above, Krishna holds his hand in a gesture of exposition while Radha gazes on in erotic expectation. Below, an open garlanded bower anticipates their tryst and alludes to the sexual tension generated by Krishna’s seduction of Radha, described in the associated passage of the Gita Govinda. This work, while based on earlier paintings by the artist Sahibdin, was probably produced in Manohar’s workshop. It is characterized by a bolder but perhaps less refined style.
Inscription: Inscribed above with Hindi paraphrase text of the 23rd Canto; numbered 23.
Cynthia Hazen Polsky , New York (until 1985; donated to MMA)
Princeton University Art Museum. "Indian Paintings from the Polsky Collections," May 8, 1982–June 18, 1982.
New York. The Metropolitan Museum of Art. "Indian Paintings," 1994–95.
New York. The Metropolitan Museum of Art. "Paintings from Mewar," 1998.
New York. The Metropolitan Museum of Art. "Painting at Mewar," May 17, 2004–October 5, 2004.
New York. Asia Society. "In the Realm of Gods and Kings: Arts of India, Selections from the Polsky Collections and The Metropolitan Museum of Art," September 14, 2004–December 10, 2004.
New York. The Metropolitan Museum of Art. "Painting at Mewar," July 10, 2007–November 19, 2007.
New York. The Metropolitan Museum of Art. "Lyrical Visions: Paintings from North India," December 3, 2011–May 28, 2011.