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Indian painting has a very long tradition and history in Indian art. The earliest Indian paintings were the rock paintings of pre-historic times, the petroglyphs as found in places like Bhimbetka, some of them from before 5500 BC. India's Buddhist literature is replete with examples of texts which describe palaces of kings and the aristocratic class embellished with paintings, but the paintings of the Ajanta Caves are the most significant of the few survivals.<br/><br/> Smaller scale painting in manuscripts was probably also practised in this period, though the earliest survivals are from the medieval period. Mughal painting represented a fusion of the Persian miniature with older Indian traditions, and from the 17th century its style was diffused across Indian princely courts of all religions, each developing a local style. Company paintings were made for British clients under the British raj, which from the 19th century also introduced art schools along Western lines, leading to modern Indian painting, which is increasingly returning to its Indian routes.<br/><br/> Indian paintings provide an aesthetic continuum that extends from the early civilization to the present day. From being essentially religious in purpose in the beginning, Indian painting has evolved over the years to become a fusion of various cultures and traditions.
Indian painting has a very long tradition and history in Indian art. The earliest Indian paintings were the rock paintings of pre-historic times, the petroglyphs as found in places like Bhimbetka, some of them from before 5500 BC. India's Buddhist literature is replete with examples of texts which describe palaces of kings and the aristocratic class embellished with paintings, but the paintings of the Ajanta Caves are the most significant of the few survivals.<br/><br/> Smaller scale painting in manuscripts was probably also practised in this period, though the earliest survivals are from the medieval period. Mughal painting represented a fusion of the Persian miniature with older Indian traditions, and from the 17th century its style was diffused across Indian princely courts of all religions, each developing a local style. Company paintings were made for British clients under the British raj, which from the 19th century also introduced art schools along Western lines, leading to modern Indian painting, which is increasingly returning to its Indian routes.<br/><br/> Indian paintings provide an aesthetic continuum that extends from the early civilization to the present day. From being essentially religious in purpose in the beginning, Indian painting has evolved over the years to become a fusion of various cultures and traditions.
The Gita Govinda is a work composed by the 12th-century poet, Jayadeva, who was born in Kenduli Sasan near Puri in Orissa. It describes the relationship between Krishna and the gopis (female cow herders) of Vrindavana, and in particular one gopi named Radha. This work has been of great importance in the development of the bhakti traditions of Hinduism.<br/><br/> The Gita Govinda is organized into twelve chapters. Each chapter is further sub-divided into twenty four divisions called Prabandhas. The prabandhas contain couplets grouped into eights, called Ashtapadis. The text also elaborates the eight moods of Heroine, the Ashta Nayika in its verses, which over the years has been an inspiration for many compositions and choreographic works in Indian classical dance.
Radha, also called Radhika, Radharani and Radhikarani, is the childhood friend and lover of Krishna in the Bhagavata Purana, and the Gita Govinda of the Vaishnava traditions of Hinduism. Radha is almost always depicted alongside Krishna and features prominently within the theology of today's Gaudiya Vaishnava sect, which regards Radha as the original Goddess or Shakti. Radha is also the principal object of worship in the Nimbarka Sampradaya, as Nimbarka, the founder of the tradition, declared that Radha and Krishna together constitute the absolute truth. Radha's relationship with Krishna is given in further detail within texts such as the Brahma Vaivarta Purana, Garga Samhita and Brihad Gautamiya tantra. Radha is one of the most important incarnations of the Goddess Lakshmi.
Radha, also called Radhika, Radharani and Radhikarani, is the childhood friend and lover of Krishna in the Bhagavata Purana, and the Gita Govinda of the Vaishnava traditions of Hinduism. Radha is almost always depicted alongside Krishna and features prominently within the theology of today's Gaudiya Vaishnava sect, which regards Radha as the original Goddess or Shakti. Radha is also the principal object of worship in the Nimbarka Sampradaya, as Nimbarka, the founder of the tradition, declared that Radha and Krishna together constitute the absolute truth. Radha's relationship with Krishna is given in further detail within texts such as the Brahma Vaivarta Purana, Garga Samhita and Brihad Gautamiya tantra. Radha is one of the most important incarnations of the Goddess Lakshmi.
In the upper part of the painting an intermediary companion of Radha visits Krishna (blue) to tell him of Radha's longing for him and desire to be reunited. In the lower part of the painting a flask of rosewater is poured onto Radha to cool the burning pain of her separation from Krishna.<br/><br/> The text describes the scene and has been translated as: 'Hearing her moan with the burning pin of separation, I emptied a whole flask of rosewater onto her, but the flames of parting vaporised the rose water in mid air, and not a drop fell on her' (Radha's companion and internmediary reporting to Krishna).