Dr M.S.

Randhawa, the author of this

beautiful book on the Kangra Paintings on
Love, hardly needs an introduction to the
scholarly world. He has to his credit more
than thirty books in English, Hindi and
Punjabi on such diverse subjects as social
and scientific problems, art and culture.
He combines in himself the critical acu¬
men of a scientist (which he is by aca¬
demic training) with sensitive aesthetic
feelings. It is both rare and laudable that in
the midst of his multifarious duties in his
official career as a member of the Indian
Civil Service he could find time to pursue
his studies on art, literature and aesthet¬
ics. His books on these subjects—to men¬
tion a few— The Kangra Valley Paintings,
The Krishna Legend, The Basoh/i Paint¬
ings, The Kangra Paintings of the
Bhagavata Purana, and the present
volume—reveal his deep love and knowl¬
edge of Indian miniatures and the related
literature. He explains the significance of
the paintings with scholarly detachment
and artistic sensitiveness.

This important book on the Kangra Paint¬

ings on Love brings together for the first
time a significant series of paintings on the
theme of love—the Nayaka-Nayikas and
the Baramasa as portrayed on traditional
lines by the Hindi poets, like Keshav Das,
Bihari Lai and others. This provides also
for the first time a free English translation
of Keshav Das’s Rasikapriya which in¬
spired the artists of this series.

These paintings, expressed in lyrical lines

and charming colours, are remarkable for
their romantic beauty, restraint and ten¬
derness. The landscape, the countryside,
the rivers, the trees and flowers, the birds
and cattle—all delineated with poetic
sympathy—enhance their compositional
quality.

continued on second flap

Price: Rs. 400/-

 Digitized by the Internet Archive
in 2018 with funding from
Public.Resource.Org

https://archive.org/details/kangrapaintingsoOOrand
KANGRA PAINTINGS ON LOVE
The Joy of Rains
 KANGRA
PAINTINGS
ON LOVE

M.S. RANDHAWA

PUBLICATIONS DIVISION
MINISTRY OF INFORMATION AND BROADCASTING
GOVERNMENT OF INDIA
First Edition 1962
First Reprint January 1994 (Magha 1915)

© NATIONAL MUSEUM, NEW DELHI

Reprinted with the kind permission of the

NATIONAL MUSEUM, NEW DELHI

ISBN: 81-230-0050-2

Colour plates 26: Monochrome 89

Layout & Book Design: J. Bhattacharjee

Price Rs, 400/-

PUBLISHED BY THE DIRECTOR PUBLICATIONS DIVISION

MINISTRY OF INFORMATION AND BROADCASTING
GOVERNMENT OF INDIA
PATIALA HOUSE NEW DELHI-110001

SALES EMPORIA.: PUBLICATIONS DIVISION

SUPER BAZAR CONNAUGHT CIRCUS NEW DELHI-110001

COMMERCE HOUSE CURRIMBHOY ROAD BALLARD PIER

- BOM BAY-400038

8 ESPLANADE EAST CALCUTTA-700069

L.L.A. AUDITORIUM 736-ANNA SALAI MADRAS-600002

BIHAR STATE COOPERATIVE BANK BUILDING ASHOKA RAJPATH

PATNA-800004

PRESS ROAD THIRUVANANTHAPURAM-695001

10-B STATION ROAD LUCKNOW-226019

STATE ARCHAEOLOGICAL MUSEUM BUILDING PUBLIC GARDENS

HYDERABAD-500004

Printed at Mehta Offset Works, New Delhi-110 028.

 To
IQBAL
When one writes about Woman, one must steep one’s pen in
the colours of the rainbow, and scatterthe dustfrom butterflies’
wings on the page. With every movement of one’s hand a
pearl must fall.

Diderot
Sur/es femmes
 FOREWORD

It is not surprising that the finest expression of art centre round the basic facts of life, for what is more familiar and
yet mysterious than birth, life and death ? From immemorial times, man has sought to understand their meaning, and
when logical terms fail to explain them, has resorted to their embodiment in music and dance, poetry and painting,
sculpture and architecture.

A special characteristic of Indian art has been the fusion of the material and the spiritual in all artistic endeavour.
Contrary to popular belief, the ascetic ideal has moulded only certain marginal groups in India. The vast majority have
sought a life in which the secular and the religious have influenced one another, and made spiritual realisation concrete,
and mundane experiences religious. In the words of the Vaishnava poet, the beloved has become divine, and Divinity
has become the beloved.
•

The Kangra paintings on love, represented in this volume, are true to this basic tradition of India. They deal with love
in all its fulness and yet there is always in the background a sense of unrevealed spiritual truths. The portraits are of
full-blooded men and women who delight in passionate love, but there is always a glimpse of the unearthly, even in
the midst of their physical ecstasy.

The Kangra paintings grew out of the courtly art of the Mughals, but underwent a radical change in the lovely valleys
under the shadow of the Himalayas. In a setting, where life was unsophisticated, and men and women lived much
closer to nature, the highly sophisticated art of the royal courts gained a new softness, delicacy, and human feeling.

The Kangra Paintings on Z.oi/eis the second of five monographs, in which Dr M. S. Randhawa proposes to cover the
best paintings of the Kangra school, including many which are preserved in the National Museum itself.

The first monograph, on the Bhagavata Purana, has already won many admirers, and the second will add to the delight
and joy of many more readers in India and abroad. Dr Randhawa has earned our gratitude for the love and care with
which he is editing and publishing this series on behalf of the National Museum, New Delhi.

New Delhi Humayun Kabir

17th July, 1961 Union Minister for Scientific Research and Cultural Affairs
'
 PREFACE

In July 1958,1 suggested to Mr Humayun Kabir, Union Minister for Scientific Research and Cultural Affairs, that the
National Museum should bring out a series of monographs on Indian painting, in which the master works of Indian
painters may be published for the education, enlightenment and pleasure of art lovers. It was also felt that a publication
programme of this nature would provide an opportunity for publishing the best paintings in the collection of the National
Museum. I proposed that the study of the Kangra paintings under this series be entrusted to me. This suggestion was
accepted by Mr Kabir, and accordingly a programme of publication was drawn up in consultation with Dr K. N. Puri,
Assistant Director, National Museum, and Mr C. Sivaramamurti, Keeper, National Museum. I agreed to deal with
Kangra painting in five monographs so as to cover the best paintings of the Kangra School. The first monograph,
Kangra Paintings of the Bhagavata Purana, has just been published, and the present monograph on the Srihgara
paintings is the second in the series.

The term 'Kangra Paintings’ which has been adopted as the title of this book has been used in the broader sense. It
refers not only to the art of painting which developed in the Kangra Valley at Guler, and Nurpur and Tira-Sujanpur,
and Alampur and Nadaun — the places connected with Maharaja Sansar Chand — but also includes paintings done
in similar style in Garhwal, Chamba, Jammu, Mandi, Suket, Bilaspur, Baghal and other Hill States in the Western
Himalayas. No doubtthe paintings from all these States have certain individual characteristics, but they have the same
spirit, which gives a particular character and flavour to Kangra art and distinguishes it from its Mughal predecessor.
Moreover, if the choice of paintings had been confined to the paintings from the States of Kangra and Guler only, which
constitute the Kangra style strictu sensu, it would not have been possible to illustrate the various situations described
in the Rasikapriya.

In this book, I have given major findings of recent research on Kangra paintings, which are generally accepted by
scholars who are interested in this subject. No doubt, there are differences of opinion on details, but these, I felt, are
so insignificant that they are best left alone. Otherwise, the book would have acquired a controversial air, which is best
avoided in a work of art, particularly in this one, which deals with the theme of love.

This book mainly deals with the Rasikapriya of Keshav Das, though there is a reference to the works of some other
Hindi poets and rhetoricians also. It is for the first time that a free translation of the text of the Rasikapriya has been
provided. What impresses one is the manner and thoroughness with which the Hindi poets have analysed the feelings
of woman towards man in particular situations and circumstances. What intimate knowledge of the passions of the
body and soul is revealed in this analysis ? It still holds good even in the modern world with changed environment,
and most women, even of the present age, fall in one category or the other of the Nayikas described by Keshav Das.
Mixed with an intellectual urge for analysis and codification was a preference for enumeration. This was perhaps very
necessary in an age when printing presses were not known, and reliance was largely on memory for recital of poetry.
The Rasikapriya was written for the enjoyment of princes and the aristocracy in the late 16th century. As the writers
were men; naturally they made woman the subject of their study and paid much less attention to their own sex. Possibly
woman is also much more interesting than man, and it is her study and inspiration, which is the source of most of the
literatures of the world.

In the 18th century, the text of the Rasikapriya was selected by artists for purposes of illustration for the delectation
of their royal patrons, the Rajas of the Hill States of the Punjab. For the enjoyment of a work of art, it is necessary not
only to know the name of the artist who produced it, but also what the people were like, for whom it was created, and
what their feelings, mode of thought and way of looking at the world were. This art blossomed under the inspiration
of Vaishnavism which was the religion of the Hindus, and thus we find that Kangra painting is not a sudden
development, but is the culmination of a spiritual and literary revival. It was a puritanical society with a strict moral code,
particularly in regard to sex, and women were kept in seclusion by the practice of purdah. The inference drawn that
this art, the central theme of which is love, developed under such conditions as an escape cannot be regarded as far¬
fetched.
In the task of translating the text from the Rasikapriya, I received great help from my friend and colleague S. D.
Bhambri, an eminent Hindi scholar. In fact the main burden of translation work was on his shoulders, and in spite of
heavy official work, he cheerfully assisted me. I had an invaluable helper in Prem Nath, who also prepared the index.
P. Banerjee and Krishan Kumar read the proofs. D. N. Paliwal was also of great help in the translation of some of the
Hindi texts. This translation will be of value not only in the study of Kangra paintings, but will also unlock the secrets
of the Rajasthani paintings, a large series of which are based on the themes from the Rasikapriya. I also express my
gratitude to Calcutta University for permission to quote from the works of Dineshchandra Sen, of which they hold
copyright.

The layout and book design have been prepared by J. Bhattacharjee, and the cover design by N. S. Bisht. Fram
Poonawala of Commercial Art Engravers (Private) Ltd. prepared excellent blocks of the paintings, and G. U. Mehta,
Managing Director and S. M. Desai of Vakil & Sons (Private) Ltd. took personal interest in its printing and production.
V. P. Agnihotri, Under Secretary of the Ministry of Scientific Research and Cultural Affairs, gave unstinted support to
this project which saved administrative delays. Above all, W. G. Archer, the most eminent scholar of Indian Painting,
has been my constant friend and guide, and grudged nothing from his marvellous store of learning and knowledge of
Kangra paintings. I have benefited greatly from his friendly criticism and the numerous suggestions, which he gave.

I also express my sincere gratitude for the hard work put in by my Personal Assistants, S. Vishwanathan, Satya Paul
and L. Rajagopaian, in typing the manuscript as a labour of love. I further express my gratitude to Mr Humayun Kabir,
Minister for Scientific Research and Cultural Affairs, Government of India, and Dr Grace Morley, Director, National
Museum, for the personal interest they have taken in this publication.

The most difficult task in producing this book was the collection of paintings from the Museums and Art Galleries in
different cities of India as well as from the collections of private collectors. Most of the paintings have never been
reproduced before, and are new material for study of Kangra art. What an effort it was to explore these collections
can hardly be described ! It meant travel of thousands of miles over a period of ten years to the remotest places from
Chamba, Jammu, Mandi, Bilaspur, Arki, Haripur-Guler and Lambagraon in the Punjab Himalayas to the cities of
Lucknow, Allahabad, Varanasi, Patna, Calcutta and Bombay. What was much more difficult was to induce the private
collectors to show their paintings and ultimately to part with them for reproduction. This no doubt made me conscious
of the trust they all reposed in me by parting with their paintings for months, which they had never even shown to anyone
but the trusted members of their families. I express my gratitude to the officers in charge of the National Museum, New
Delhi; Bharat Kala Bhavan, Varanasi; Municipal Museum, Allahabad; State Museum, Lucknow; Punjab Museum,
Patiala; Indian Museum, Calcutta; Asutosh Museum of Indian Art, University of Calcutta, Calcutta and Dogra Art
Gallery, Jammu, for the loan of their paintings. Apart from the museums in India some of the museums in England
and the U.S.A. also cooperated. I express my thanks to the Directors of the Victoria and Albert Museum and the British
Museum, London; the Museum of Fine Arts, Boston, and the Cleveland Museum of Art, Cleveland, Ohio, for allowing
the use of photographs of some of the masterpieces of Kangra paintings in their collections. The finest Kangra
paintings are in the collection of Raja Dhruv Dev Chand of Lambagraon, who is a descendant of Maharaja Sansar
Chand. I am deeply indebted to him for the loan of several of his paintings. On a visit to Jammu in April, 1960, one
of the pleasant surprises was to see a collection of masterpieces from Guler in the palace of Yuvraj Karan Singh. On
a request made, he not only gave on loan one of his finest paintings for reproduction, but freely permitted photographing
of his collections out of which quite a number have been used in the introductory chapters of this book. I also express
my gratitude to Seth Kasturbhai Lalbhai of Ahmedabad, Shrimati Sumati Morarjee and Shri Jagmohandas K. Modi
of Bombay, and Seth Gopi Krishna Kanoria of Calcutta, for the loan of their paintings for reproduction.

The last painting to be collected was ‘Tryst in the Forest’ (Plate XVIII). I happened to pay a visit to Varanasi in
December, 1960. When my work was over, I thought of meeting Miss Alice Boner, an artist and scholar, who has been
living at Assi Ghat in Varanasi for many years. Next morning, I was taken to her lovely home overlooking the Ganga
by Anand Krishen. While waiting for her in her study, admiring the sculptures, and the sight of boats plying in the river,
my eye wandered to a painting hanging on the wall. On close examination, it turned out to be a Kangra masterpiece.’
On a request made to Miss Boner, she agreed to give it for reproduction.

Thus ended my quest for paintings for this book. It was relatively successful in the sense that nearly all the Kanqra
masterpieces from museums as well as private collections were obtained on loan. The difficulty arose only in reqard
to private collections. Fortunately most of the collectors, with a few exceptions, happened to be enlightened persons
who were conscious of the fact that paintings are not merely precious and rare commodities meant to be cornered
and concealed. They also realised that paintings reproduced in books live for a longer period. I also reminded some
of them of many Kangra masterpieces, which cornered in this manner, have perished, eaten up by white ants or
became casualties of weather, and this was indeed a national loss.

If you want to enjoy these paintings, sweep your mind clean of all preconceived notions and prejudices. Unlike the
classical art of the West, it is not realistic art whose object was to copy Nature or to produce an illusion of natural effect.
The object of this art was not realistic portrayal of human beings, nor the study of human anatomy. Its aim and object
was to capture the essence of human joy and sorrow. That is why it has a peculiar technique of its own. A characteristic
which these paintings share with the art of Iran is that there are no cast shadows, and the colours are pure and
luminous. Above all, it is an art of the line, and the line is lyrical. It is an art, as Laurence Binyon remarks, “like a song
that sings itself.” There is joy not only in the faces of the lovers but in their every gesture. There is joy in the atmosphere
itself, in the singing birds and in the faces of the servant girls and companions, who watch the progress of the love
of the pair, often portrayed as Radha and Krishna. Running through these paintings is a lively sense of drama. As you
see them again and again, these miniatures grow upon you and seem to possess you. They no doubt represent the
finestexpression of the spirit of man. As they are sincere expressions of human feelings with what spontaneous delight
we respond to them !

With the march of time countries change, and nations rise and fall. Nations, which once controlled the destinies of
others, stand humbled. Kings and dynasties tumble down and presidents and politicians, who are repositories of
power, are lost and forgotten in the mists of time. Men, who were strutting about, drunk with power, sink into oblivion
and turn into dust. The din of politics, the tumults of wars and revolutions die and are forgotten. It is the truths of science
and fragrance of art which long survive the material conditions of life. Of the arts of mankind, Kangra paintings on the
theme of srihgara have undoubtedly an abiding place in the world’s inheritance of beauty, and they will continue to
delight people for they deal with the eternal theme of human love. As the Japanese poet says :

“What does never change,

Since the days of the gods,
Is the way how a river runs :
What does never change
Since the days of the gods,
Is the way how love flows.”

7, Tinmurti Lane, New Delhi M.S. Randhawa

April 15, 1961
■
 CONTENTS

page

List of Illustrations xiv

Chapter 1 Kangra Paintings on Love (Srihgara) 1

Chapter II Background of the Paintings—Hindi Love Literature: 7

The Rasikapriya of Kesha v Das

Chapter III The Moods of Lovers and Their Meeting Places 20

(Dampati Cheshta Varnana)

Chapter IV External Indications of Emotions of Love (Hava) 25

Chapter V The Eight Heroines (Ashta Nayika) 35

Chapter VI Love in Separation (Vipralambha) 54

Chapter VII Love in Separation (Mana) 58

Chapter VIII Love in Separation (Pravasa) 65

Chapter IX Love in Union (Sarhyoga) 84

Chapter X The Twelve Months (Baramasa) 93

Colour Plates and Notes 103

Birds, Insects, Trees, Shrubs and Climbers mentioned In Sanskrit 155

and Hindi Literature

References and Notes 159

Bibliography 165

Index 167
XIV

page

1 Love divine, Guler, collection of Yuvraj Karan Singh,Jammu. 2

2 Companionship of love (Detail of Plate V), Guler, Municipal Museum, 3

Allahabad.

3 Deep intimacy of love (Detail of Plate XIX), Guler, Bharat Kala 4

TEXT Bhavan, Varanasi.

FIGURES 4 Security of love (Detail of Plate XXIII), State Museum, Lucknow 5

5 Joy of being together {Detail of Plate XXV),Guler, Kasturbhai 6

Lalbhai collection, Ahmedabad.

6 Manifested love in union (Prakasa Sarhyoga), Garhwal, National Museum, 8

New Delhi.

7 Manifested love in separation (Prakasa Viyoga), Guler, Punjab Museum, 9

Patiala.

8 Detail of Fig. 7 10

9 Adorned with diverse beauties, the chitrini is fond of music, Guler, 11

collection of Yuvraj Karan Singh, Jammu.

10 A fawn ensnared from the forest, Guler, collection of Yuvraj Karan Singh, 12
Jammu.

11 The newly wedded, Guler, Punjab Museum, Patiala. 13

12 Mugdha Nayika (The artless), Kangra, Kasturbhai Lalbhai collection, 14

Ahmedabad.

13 Mugdha Navayauvana (in fresh youth), Guler, Punjab Museum, Patiala. 15

14 One who has stepped into blooming youth, Guler, Private collection, 16
Chamba.

15 The timid bride, Guler, Victoria and Albert Museum, London. 17

16 Parakiya Nayika (One who loves a person other than her lord), Guler, 18
Punjab Museum, Patiala.

17 Yearnings of love, Guler, Punjab Museum, Patiala. 20

18 Love longings, Kangra, collection of Raja Dhruv Dev Chand of 21

Lambagraon.

19 Radha’s manifested desire, Garhwal, Archaeological Museum, Gwalior. 22

20 Lovers in a lily pool, Kangra, Bharat Kala Bhavan, Varanasi. 23

21 Lovers meeting in a situation of fear, Kangra, Punjab Museum, Patiala. 24

22 Radha and Krishna exchange clothes, Kangra, collection of Raja Dhruv 26

Dev Chand of Lambagraon.
 XV

page

23 Radha’s lila-hava, (Radhaputs on Krishna’s clothes), Kangra, 27

Bharat Kala Bhavan, Varanasi.

24 Krishna’s voluptuous gracefulness, Kangra, Lahore Museum, Lahore. 28

25 Krishna’s Lalita-hava, Kangra, collection of Raja Dhruv Dev Chand 29

of Lambagraon.

26 On hearing the peal of thunder the lady leapt like lightning to the bosom of 30
her lover, Guler, collection of Yuvraj Karan Singh, Jammu.

27 Flutter of delight, Guler, private collection, Calcutta. 31

28 Lady’s message of love, Guler, collection of Yuvraj Karan Singh, Jammu. 32

29 Radha’s hysterical delight, Kangra, Archaeological Museum, Gwalior. 33

30 Krishna’s message of love, Guler, Punjab Museum, Patiala. 34

31 The loyally loved, Kangra, Punjab Museum, Patiala. 35

32 Utka Nayika (Yearning for the beloved), Nurpur, Indian Museum, Calcutta. 36

33 The anxious heroine, Guler, British Museum, London. 37

34 The lady’s vigil, Kangra, collection of Raja Dhruv Dev Chand of Lambagraon. 38

35 Waiting for the lover, Kangra, collection of Rajindar Singhi, Calcutta. 39

36 The expectant heroine, Guler, Museum of Fine Arts, Boston. 40

37 Love longings (RaginiKamodini), Guler, Archaeological Museum, Gwalior. 41

38 The meeting of lovers, Garhwal, Indian Museum, Calcutta. 42

39 Vasakasajja Nayika, Kangra, Indian Museum, Calcutta. 43

40 Lover's quarrel, Guler, Punjab Museum, Patiala. 44

41 The offended heroine, Chamba, Bharat Kala Bhavan, Varanasi. 45

42 The lady in grief, collection of Yuvraj Karan Singh, Jammu. 46

43 ProshitapreyasiNayika, Arki, collection of Raja Rajindar Singh of 47

Baghal (Arki), Simla Hills.

44 Vipralabdha Nayika, Arki, collection of Raja Rajindar Singh of Baghal 48

(Arki), Simla Hills.

45 The neglected, Garhwal, Prince of Wales Museum of Western India, Bombay. 49

46 Abhisarika Nayika, Kangra, collection of Smt Sumati Morarjee, Bombay. 50

47 The lady goes to meet her lover in a dark night, Kasturbhai Lalbhai 51
collection, Ahmedabad.

48 The forward, Guler, Victoria and Albert Museum, London. 52

XVI

page

49 A glimpse of the beloved, Kangra, Whittemore collection, Cleveland 55

Museum of Art, Cleveland, Ohio, U.S.A.

50 Lady bathing, Guler, Bharat Kala Bhavan, Varanasi. 56

51 Detail of Fig. 49. 57

52 The obstinacy of Radha, Kangra, collection of Maharaja Manvindra 59

Shah of Garhwal.

53 Detail of Fig. 52. 60

54 The obdurate, Guler, Victoria and Albert Museum, London. 61

55 Krishna offering a garland of flowers to Radha, Guler, Archaeological 63

Museum, Gwalior.

56 Longings of love, Guler, collection of Yuvraj Karan Singh, Jammu. 66

57 The love-lorn lady, Guler, Bharat Kala Bhavan, Varanasi. 68

58 Yearnings of love, Guler, Punjab Museum, Patiala. 69

59 VirahiniNayika, Kangra, Museum of Fine Arts, Boston. 70

60 Lady in distress, Guler, collection of Yuvraj Karan Singh, Jammu. 71

61 The love-lorn lady, Guler, Punjab Museum, Patiala. 72

62 The utter desolation of virahini, Kangra, Kasturbhai Lalbhai collection, 73

Ahmedabad.

63 ‘Give me the news of my dear one, Oh cloud!’, Guler, Punjab Museum, Patiala. 74

64 Thoughts of the lover, Guler, Atma Ram Kanoria collection, Calcutta. 75

65 Grief on separation from the lover, Guler, collection of Yuvraj 76

Karan Singh, Jammu.

66 Lady in distress, Guler, collection of Yuvraj Karan Singh, Jammu. 77

67 Remembrance of past union, Guler, private collection, Chamba. 78

68 Lady in swoon, Kangra, Punjab Museum, Patiala. 79

69 Detail of Fig. 68. 80

70 Radha in swoon—Illustration to the Karuna-bharana, Kangra, Indian

Museum, Calcutta. 81

71 Detail of Fig. 70. 82

72 Krishna combing Radha’s hair, Guler, Dogra Art Gallery, Jammu. 84

73 Hari and Radha are making obeisance to spring, Kangra, Asutosh 85

Museum of Indian Art, University of Calcutta, Calcutta.

74 Sheltering from rain, Kangra, Municipal Museum, Allahabad. 86

 xvii

page

75 Joy of being together, Guler, collection of Yuvraj Karan Singh, Jammu. 87

76 How delightful the ciouds!Gu\er, Indian Museum, Calcutta. 88

77 Admiring the flight of cranes, Guler, collection of Yuvraj Karan Singh, Jammu. 89

78 Radha and Krishna on a swing, Kangra, Municipal Museum, Allahabad. 90

79 The couch of love, Guler, collection of Yuvraj Karan Singh, Jammu. 91

80 The month of Baisakha, Kangra, collection of Raja Dhruv Dev Chand of 97

Lambagraon.

81 The month ofjyeshtha, Kangra, collection of Raja Dhruv Dev Chand of 97

Lambagraon.

82 The month ofAshadha, Kangra, collection of Raja Dhruv Dev Chand of 98

Lambagraon.

83 The month of Bhadon, Kangra, collection of Raja Dhruv Dev Chand 98

of Lambagraon.

84 The month ofAsoja (Asvina), Guler, signed by Artist Chhaju, private 99

collection, Chamba.

85 The month of Asvina, Kangra, collection of Raja Dhruv Dev Chand 99

of Lambagraon.

86 The month ofKarttika, Kangra, collection of Raja Dhruv Dev Chand 100
of Lambagraon.

87 The month of Pausha, Kangra, collection of Raja Dhruv Dev Chand 100
of Lambagraon.

88 The month of Magha, Kangra, collection of Raja Dhruv Dev Chand 101
of Lambagraon.

89 The month of Phaiguna, Kangra, collection of Raja Dhruv Dev Chand 101
of Lambagraon.
xviii

The Joy of Rains Frontispiece

1. The Lotus Lady (PadminiNayika) 104-105

II. The Young Bride (Navodha Nayika) 106-107

III. The Experienced Heroine (Praudha Nayika) 108-109

IV. The Devoted Heroine (Praudha-dhira Nayika) 110-111

PLATES5 V. Lovers by the Lily Pool (Radha’s Heia-hava) 112-113

VI. Waiting for the Lover (Utka Nayika) 114-115

VII. The Forward (Abhisarika Nayika) 116-117

VIII. The Lady in Moonlight (Suktabhisarika Nayika) 118-119

IX. Radha’s Coiffure 120-121

X. Toilet of Radha 122-123

XI. The Meeting of Eyes 124-125

XII. Martini Nayika 126-127

XIII. The Obdurate Lady (ManiniNayika) 128-129

XIV. Augury of the Crow (VirahiniNayika) 130-131

XV. Lady on a Swing 132-133

XVI. Admiring the Rain Clouds 134-135

XVII. Sheltering from Rain 136-137

XVIII. Tryst in the Forest 138-139

XIX. Love in Moonlight 140-141

XX. Love in a Garden Pavilion 142-143

XXI. The Month of Chaitra 144-145

XXII. The Month of Sravana 146-147

XXIII. The Month of Bhadon 148-149

XXIV. The Month of Margasirsha (Agahana) 150-151

XXV. The Month of Pausha 152-153

 Kangra Paintings
on Love
Nayaka-Nayika-Bheda
and
Baramasa
 CHAPTER I

KANGRA PAINTINGS ON LOVE

Srihgara

I n the middle of the 18th century A.D. when the plains

of Northern India were convulsed by the invasion of
Damayanti, and Keshav Das’s Rasikapriyaand Kavipriya
were translated into paintings of exquisite beauty.
Nadir Shah (1739), followed by the incursions of Ahmad
Shah Abdali, a strange event took place in the Punjab The first European to see the famous collection of the
hills, viz. the birth of the Kangra School of Painting at paintings of Maharaja Sansar Chand was Moorcroft
Haripur-Guler under the patronage of Raja Govardhan (1820), an English traveller, a veterinary surgeon by
Chand (1744-1773), a prince with a refined taste and a profession, who halted at Alampurand Tira-Sujanpuras
passion for paintings. He gave asylum to refugee artists a guest of Maharaja Sansar Chand, while on his way to
trained in the Mughal style of painting. In the inspiring Yarkand, where his mission was the purchase of ponies.
environment ofthe Punjab Himalayas with their beautiful
green hills, wave-like terraced paddy fields and rivulets The real discovery of the Kangra School of Painting we
fed with the glacial waters of the snow-covered owe to Dr A.K. Coomaraswamy, who paid a visit to
Dhauladhar, the Mughal style with its sensitive naturalism Amritsar and Kangra in 1910, and obtained a large
blossomed into the Kangra style. Instead of painting collection of these paintings from the Amritsar dealer,
flattering portraits of their masters and hunting scenes, Radha Krishna Bharany. Coomaraswamy’s first essay
the artists adopted themes from the love-poetry of in the Burlington Magazine of 1910 on ‘Pahari Drawings’
Jayadeva, Bihari and Keshav Das, who wrote ecstatically opened a new chapter in Indian art history. Hitherto the
of the love of Radha and Krishna. Thus developed a products of the Kangra School were confused by
school of painting with a new spirit, whose artistic works European writers with Mughal miniatures, and it was
are suffused with romantic love and ZVraM mysticism. Coomaraswamy who recognised the Hindu painting of
Northern India as a distinct entity in his great work Rajput
Prakash Chand (ruled 1773-1790), the successor of Painting (1916) in which he described some specimens
Govardhan Chand, also continued the patronage ofthe of paintings from Rajasthan and the Punjab and Jammu
artists, and there are a number of beautiful paintings in hills. He not merely pointed out the significance of
which his wives and children are shown. There must be objects described in their historical context, but also as
a number of other paintings also, including some on the expression of ideas. His writings are characterized
love-poetry, which were painted under his patronage. by simplicity combined with intensity of thought, sincerity,
He was, however, a spendthrift, and in a few years he expressiveness and aesthetic purity. As Eric Gill
became bankrupt. At this juncture rose a patron in the observes, “No other writer has written the truth in
adjoining State of Kangra—Sansar Chand II (1775- matters of art and life, and religion and piety with such
1823) who attracted a number of talented artists from the wisdom and understanding”. In hiseariy writings we find
court ofGuler, even when he was barely 20 years of age. sensuous joy wedded to sacredness, and he explained
He was the most renowned Raja in the Kangra Valley, in a delightful manner how love which begins in the
and was a most generous patron of the art of painting. adoration of physical beauty develops into divine love,
It was under his patronage that Jayadeva’s Sanskrit which is the essence ofthe teaching of Vaishnavism. To
love-poem, the Gita Govinda, Bihari’s Satsaiyya, the the Western mind, which had been regarding sex as sin,
Bhagavata Purana, the romantic tale of Nata and on account of the Christian doctrine of original sin, and
2 KANGRA PAINTINGS ON LOVE

love of man for woman as love profane, as

distinct from ‘love divine’, this interpretation
must have come as a fresh breeze. He also
revealed that human cultures in all their
apparent diversity, are but the dialects of one
and the same language of the spirit. All over
the world, men are moved by similar emotions,
and of these the most powerful is the affinity
between the sexes, which finds expression in
love.

Here it would be pertinent to refer to the work

of the British orientalists who unlocked the
beauty of the Sanskrit and Hindi classics to the
Westerners as well as to the English educated
Indians. They provided the foundation on which
literature on the study of paintings has been
built, and Coomaraswamy, in his Rajput
Painting, has freely drawn on these sources.
In fact, we all build upon thefoundation provided
by the work of our predecessors, and no
person, however gifted, rises spontaneously
into intellectual splendour without the
parentage of antecedent thought. Of these
orientalists, Sir William Jones (1792) and Sir
Edwin Arnold (1875) translated into English
Jayadeva’s Gita Govinda. F. Pincott (1897)
translated Kavi Lallu Lai’s Hindi version of the
Bhagavata Purana, known as Prema Sagar.
Sir George Grierson (1889) compiled
information of great value on the Hindi poets, Fig. 1. Love divine
in the book entitled The Modern Vernacular Literature of printed in limited editions, and hence were accessible
Hindustan anti also published material on the theme of only to a few scholars. Archer’s monograph Kangra
Srihgara, including the Nayaka-Nayikatheme based on Painting popularized the Kangra School in the West as
a translation of Jaswant Singh’s Bhasha Bhushana well as in India. However, his collection of essays on
along with an anthology of Bihari Lai’s poetry. Indian Painting in the Punjab HiHs\s very important in the
sense that it was the first attempt to analyse styles and
Coomaraswamy’S works inspired a number of scholars to relate them to various centres of painting in the Punjab
toundertake the study of Kangra Painting. O.C. Gangoly hills. Though he had not visited the Kangra Valley, from
(1926) published a portfolio of paintings from the Punjab study of styles alone, by his uncanny insight, he traced
Hills as well as Rajasthan in his Masterpieces of Rajput the paintings to the places where they were painted. By
Painting. He was followed by N.C. Mehta (1926), who in on-the-spot studies of various collections still in the
h is Studies in Indian Painting, reprod uced a few exq u i si te Valley, I was able to confirm most of his findings. On
specimens of Kangra paintings of the Gita Govinda, account of his background of research in tribal cultures
which he erroneously ascribed to the Tehri-Garhwal of India, he introduced the scientific method in the study
School. In 1930, J.C. French undertook his famous tour of paintings, and developed a distinct technique, which
of the Punjab Himalayas and discovered a number of apart from aesthetic appreciation of the paintings, deals
collections of paintings. Then followed a lull of about with dating, provenance and study of material and social
twenty-two years. environment in which the painting developed. In addition,
he probed deeper into these paintings, and pointed out
An event of major importance in the research and study the subconscious urges, which made the artists paint in
of Kangra Painting was the publication of two important the manner in which they did. The pointed cypresses,
books by W.G. Archer in 1952, viz. Indian Painting in the the swaying leaves of plantains, the spouts of ewers
Punjab Hills, followed by a monograph on Kangra Painting juxtaposed with vessels with yonf\\V,e mouths, the play
with ten reproductions in colour. Most books on Kangra of lightning in the clouds, the twining creepers clasping
paintings, published so far, had been enormously costly, the trunks of trees, and the pairs of love-birds were
 SRINGARA

reminded here that the soul of sweet delight

can never be defiled.”1

Kangra painting glorified refinement, restraint,

and divinity of beauty. Every art is a language.
What the words cannot express is sometimes
conveyed in painting through space enclosed
in line and dabbed in colours. Kangra painting
is an art both of line and colour. A vigorous
rhythmical line is the basis of this art. It is also
an art of colour, and the artists revelled in the
use of pure blues, yellows, reds and greens.
These jewel-like miniatures were executed
with such care and skill that the passage of
time has not dimmed their glowing colours.
Being portfolio paintings, not meant to be
displayed on walls, they are kept packed in
pieces of cloth, and are brought out on rare
occasions to be enjoyed in seclusion. This
practice, no doubt, has helped in the
preservation of their bright colour, which
appears as fresh today as when they were
painted a century and a half ago. It is an art
flooded with sunlight and colour, charged with
spiritual feeling, and is still strongly felt, and
kindles deep emotion in the beholder. While
Chinese paintings express the beauty of the
mist and the mountains, the lake and the river,
the willow and the cherry and the flight of birds,
Kangra art is the language of human love. In a
rich vocabulary of line and colour, the Kangra
paintings express the emotions and the beauty
of the people.

Above all, these paintings are the visual record

Fig. 2. Companionship of love of a culture, the warm sensuous humanism of
surely poetic symbols of the sex urge, the most Vaishnavism, which found expression in poetry
fundamental of urges, which through the renewal of the and ultimately in paintings ofutmostdelicacy and beauty.
rhythm of generations perpetuates the species. Above These paintings are really fossils of a culture, which,
all, Archer is a critic whose poetical prose is suffused when studied and interpreted, tell us more about the
with feelings of love, and his commentaries on these historical past than the records of travellers, or the dull
paintings, characterized by aesthetic purity and joyous cataloguing of facts by the so-called historians and
archivists. They mirror their age and humanity and the
abandon, havedelighted many who have kinshipofspirit
ideals which inspired them. Vaishnavism which kindled
with him.
the creative enthusiasm of the age preached the religion
of love. The love they had in view was not the parental
The paintings of Nayaka-Nayikas, Baramasaand related
love of the father for his children, but the love of husband
themes are remarkable for their romantic beauty,
for his wife, love of a kind most intimate, ecstatic and
tenderness, unrestrained frankness, and complete
passionate. In the Kangra Valley it inspired an art which
avoidance of sentimentality. As Coomaraswamy
reached the heights of joyous aesthetic harmony, which
remarks, “Rarely has any other art combined so little fear
its Mughal predecessor failed to achieve. Kangra artists
with so much tenderness, so much delight with such
dealt with the eternal theme of human love expressed in
complete renunciation. If the Chinese have taught us
the legend of Radha and Krishna. Whenever lovers are
best how to understand the life of Nature manifest in
shown, whether in Nayaka-Nayikaor Baramasapictures,
water and in mountains, Indian art at least can teach us
they are usually in the form of Radha and Krishna who
how not to misunderstand desire, for we are constantly
4 KANGRA PAINTINGS ON LOVE

are the ideal lovers. These are universal

feelings which are shared by human beings all
over the world. In their paintings of Nayaka-
Nayikas, the Kangra artists pass on these
feelings to us, and these are so powerfully
conveyed that we are infected by them and
also experience them. In this sense, Kangra
art reaches the definition of Tolstoy.2

Kangra art exulted in feminine beauty. The

type of female beauty shown in these paintings
is based not on any particular model, but on
scores of women whom the artists saw in their
daily life. Models for the chin, the mouth, the
eye, the forehead and coiffure were provided
by many women, and the artists distilled the
essence of female beauty in these paintings.
Thus the formulae of female beauty which we
see in these paintings represent a vision,
realized through the contemplation of a
thousand beauties, transformed and gilded by
the magicof imagination. While most European
artists painted from models, e.g. Rubens used
his wife as a model, Correggio his sister, and
Titian his daughter, there were a few like
Raphael who used the method of Kangra
artists. “As beauty is rare among women, I
make use of a certain ideal, which is of my own
creation. However that may be, I must tell you
that in order to paint one beauty, I must see
several,”3 wrote Raphael to Baldassare
Castiglione.

Apart from female beauty, there is also a

loving interest in landscape, the countryside,
Fig. 3. Deep intimacy of love
the rivers, trees, birds, cattle and flowers
which we see in these paintings. It is a sacred art in the in a spiritual sense, as the love of Radha for Krishna.
sense that it is inspired, and is a proof of the spiritual Otherwise the love norm of Hindu society is that of
exaltation of the Vaishnava age. No doubt, associative conjugal fidelity, as of Rama and Sita, and Nala and
memory plays an important part in the appreciation of Damayanti. Loyalty is a major force making for unity in
art. Liking an art is more a question of understanding. life. It gives point and flavour, and above all meaning to
Where, however, the sentiments shown in paintings are a life or culture. Love comes to the Hindus, as to the
universal, they make an immediate appeal even to ancient Greeks, after marriage. When the term lover is
people who are far away in space and time from the used in poetry, it is often synonymous with the ‘husband’.
persons who painted them. To an understanding The conception of Hindu love is not liaison but married
Westerner, not familiar with India or the life of the love, a love which is the fruit of long association in the
Hindus, these paintings have a sense of mystery and a cares and responsibilities of home and children. Even in
quaint charm. It is like reading poetry in a foreign present-day India, pre-marital chastity is preserved and
language, in which the unfamiliarwords contain a poetry post-marital fidelity is honoured and widely prevalent,
of theirown apart from the poetic meaning of them. The particularly among people not touched by modern
very otherworldliness of these paintings has a charm of education and cinemas.
its own. What enhances their charm is their theme,
which is the unwearying tale of human love. Love is regarded as profound natural tenderness and
solicitude, a serene joy based upon service and interflow
Love which the Hindi poets have extolled is the love of between persons. It presumes perfect entente between
husband and wife. When parakiya love is extolled, it is the souls of the man and woman. It is a gift of self to the
 5

moment of realisation is expressed in Indian

poetry, under the symbol of the speech of
Radha, the leader of the gopis, with Krishna, the
Divine Cowherd. And Krishna is the Lord—the
ascetic, for whom all earthly beauty is a vain
thing, and Radha thedancinggirl, isthemistress
of every art that charms the senses.”4

Thus love which begins in the adoration of

physical beauty develops into divine love, and
all distinctions of sacred and profane disappear.
Ultimately in the union of Radha and Krishna is
symbolized the union of the soul with God.
When the poet Vidyapati says, “At any word of
dalliance tightly she shuts her eyes, for she has
caught a glimpse of the great sea of Love,” he
describes the union of finite with infinite. Thus
love which begins with the adoration of physical
beauty, results in the attainment of Absolute
Beauty, which is God, Who is also the Trinity of
the True, the Good, and the Beautiful.

From adoration of physical beauty the seeker

passes on to the love of beauty in Nature. He
seeks joy in watching the beauty of mountains,
sunrise and sunsets, rain and thunder, and
seeks his friends among flowers, birds, and
animals, in rocks and water. Thus in the
enjoyment of life and Nature he seeks
identification of the self with the creative spirit.
Fig. 4. Security of love Thus love extends its circle, becomes infinite,
other in which ego breaks down, and a new being and finds satisfaction in union with Nature.
composed of two in one, like Ardhanarisvara, is produced. Plato, the Greek philosopher, had a similar experience
When the sentiment of love takes possession of body in his quest for absolute beauty. Thus says Plato, “He
and soul of the persons in love, it results in intense who has been instructed thus far in the science of Love,
companionship and deep intimacy. Such a love is always and has been led to see beautiful things in their due order
sacred and never profane. When it is profane, it is not and rank, when he comes toward the end of his discipline,
love, but only lust, a craving for physical satisfaction. will suddenly catch sight of a wondrous thing, beautiful
One loves not by body alone. It is when body and mind with the Absolute Beauty;—and this, Socrates, is the
are entirely engrossed in another person, that one loses aim and end of all those earlier labours—he will see a
consciousness of self, and reaches a joyous state of Beauty Eternal, not growing or decaying, not waxing or
selflessness and absorption in higher self. Thus in its waning; nor will it be fair here and foul there, nor
inner rhythm and vibration, it is very close to the ecstasies depending on time or circumstance or place, as if fair to
of divine love. Discussing the theme of love, says some and foul to others: nor shall Beauty appear to him
Coomaraswamy, “Whatever place is held in the heart of in the likeness of a face or hand, nor embodied in any
Europe by the love of Dante for his Lady Beatrice, of sort of form whatever...whether of heaven or of earth;
Paolo for Francesca, of DeirdreforNaoisi, is held in India but Beauty absolute, separate, simple, and everlasting;
by the love stories of Rama and Sita, of Padmavati and which lending of its virtue to all beautiful things that we
Ratan Sen, and the love of Radha: in the absolute self- see born to decay, itself suffers neither increase nor
surrender of the human soul in her to the Divine in diminution, nor any other change. When a man
Krishna is summed up all love. In this consecration of proceeding onwards from terrestrial things by the right
humanity there is no place for the distinction—always way of loving, once comes to sight of that Beauty, he is
foreign to Indian thought—of sacred and profane. But not far from his goal. And this is the right way wherein he
when in love the finite is brought into presence of the should go or be guided in his love; he should begin by
infinite, when the consciousness of inner and outer is loving earthly things for the sake of the absolute
destroyed in the ecstasy of union with one beloved, the loveliness, ascending to that as it were by degrees or
6 KANGRA PAINTINGS ON LOVE

steps, from the first to the second, and thence

to all fair forms; and from fair forms to fair
conduct, and from fairconducttofair principles,
until from fair principles he finally arrives at the
ultimate principle of all, and learns what
Absolute Beauty is. This life, my dear Socrates,
said Diotima, if any life at all is worth living, is
the life that a man should live, in the
contemplation of Absolute Beauty.”5

When the seeker in his quest for beauty is in

harmony with the spirit of Nature, he sees
beauty everywhere and life becomes a pure
rapture. The veil which hangs between Nature
and consciousness is dense and opaque in the
case of insensitive people. For the poet, the
mystic and the artist it becomes transparent.
Through feeling develops a medium of
communication which gives an experience of
supreme joy which is incommunicable in
language, in the same manner as a dumb
person cannot convey the pleasure of eating
sugar. Love overflows and gilds the vision and
one sees beauty everywhere. There is no
more any restlessness and disturbing interplay
but only the steady currents of adaptation and
sympathy. Truth, Goodness and Beauty are
the three attributes of the Supreme Being.
Science is the quest after Truth, religion is the
quest for Goodness, and art is the quest for
Beauty. While science attempts to extract
Truth from Nature, art abstracts Beauty.
Fig. 5. Joy of being together
Goodness is in itself a type of Beauty, a
harmony of conduct resulting from good actions. Rhythm, life. In the art of living, which is the highest art, the ideals
harmony, and balance are not only the fundamental of Truth, Goodness and Beauty coincide, and science,
principles of the arts of music, painting, architecture, and art and religion are harmonized into a unity of a higher
gardening, but also of religion, which is the art of inner order.
 CHAPTER II

BACKGROUND OF THE PAINTINGS

Hindi Love Literature: The Rasikapriya o\ Keshav Das

1. CLASSIFICATION OF NA YAKAS NAYIKAS entitled the Sur Sagar. Giving his opinion about the

M ost of the paintings reproduced in this book bear

excerpts in Devanagari script from the poetry of
poetry of Sur Das, Grierson writes, “Regarding Sur
Das’s place in literature, I can only add that he justly
holds a high one. He excelled in all styles. He could, if
Keshav Das, Bahadur, Sur Das and Bihari Lai. Keshav occasion required, be more obscure than the Sphinx and
Das (fl. 1580-1601) was the court poet of Raja Madhukar in the next verse be as clear as a ray of light. Other poets
Shah of Orchha, whose son, Indrajit, gave him a jagiroft may have equalled him in some particular quality, but he
twenty-one villages in recognition of his talent. His combined the best qualities of all.”6 Plate XX illustrates
important works are the Vigyan Gita, the Rasikapriya one of the poems of Sur Das, and is a rare example
and the Kavipriya. The Rasikapriya was probably issued indeed. It isfrom the collection of the Raja of Lambagraon,
in 1591. He wrote the Kavipriya in honour of Rai Parbln, and was painted by one of the artists of Maharaja Sansar
the celebrated courtesan of Orchha whom he loved. The Chand.
Kangra paintings of the Baramasa series are inscribed
with texts from the Kavipriya while most of the Nayaka- These poets were keen observers of human nature, and
Nayika paintings illustrate texts from the Rasikapriya their classification of ‘Woman’ according to age,
which seems to have been a favourite with the Kangra experience, physical and mental traits, situations, moods
painters. Most of the Nayaka-Nayika paintings bear and sentiments is remarkable indeed.
inscriptions on the reverse side, but there are some
which have no inscriptions, but illustrate various situations The Rasikapriya is a Hindi treatise in verse on rhetoric
described in the chapters of the Rasikapriya. These are and literary analysis. Written in a vivid musical style, it
the ones which have been given imaginary titles by has genuine poetic quality. Its theme is love, but it is not
some authors. The majority of the Krishna paintings the anaemic love of the clasping-of-hands variety of the
which do not belong to the Bhagavata Purana, the Gita Northerners of the misty temperate zone, but the full-
Govinda and the Satsaiyya series are in fact illustrations blooded passion of the sunny monsoon lands. Apart
of the Rasikapriya. from love, the subject of these poems is religion, a
religion which is sincere and passionate. The nayaka
Bihari lal (fl. 1650) was called the ‘mine of and nayika in Keshav Das’s texts are Krishna and
commentators’. He was the author of seven hundred Radha, the ideal lovers, and the situations described
show the relationship of the Soul and God.
verses. “Each verse is a perfectly polished jewel;
designedly made as artificial as possible and capable of
The poems in the Rasikapriya are miracles of
a double meaning.” Plate IX illustrates one of Bihari's
compactness, and in a few words neat little pictures are
dohas and there is a whole series on this theme in the
painted, coloured with the richness and sweetness of a
collection of the Maharaja of Tehri-Garhwal, out of which
lyrical language. In dohas, in a couple of lines, vivid
some paintings are in the N.C. Mehta collection as well
pictures are drawn. On account of their compactness,
as in the Bharat Kala Bhavan, Varanasi. Sur Das (fl.
colourfulness and vividness, the dohas of the Hindi
1550) translated the Bhagavata Purana into verse in
poets are particularly suitable as themes for miniature
Vraja Bhasha. He collected his poems into a compilation
painting.
8 KANGRA PAINTINGS ON LOVE

The earliest illustrations of the Rasikapriya are

in Mughal style, and were possibly prepared for
presentation to Raja Birbal. Akbar having heard
the fame of the hetaira Rai Parbin summoned
her to his court. Raja Indrajit refused to allow
her to go, and thereupon Akbar fined him
heavily. This led to a visit by Keshav Das to the
Mughal court to intercede on behalf of his
patron, and by display of his poetic talent he
won over Birbal, who got the fine remitted. Rai
Parbin, nevertheless, had to appear before
Akbar, and after giving a sample of her learning
was allowed to depart. The illustrated
Rasikapriya, of which two leaves in the collection
of the Metropolitan Museum of Art were
described by Coomaraswamy, was dated circa
A.D. 1600 by him. Soon after the Rasikapriya
became a favourite text with the Rajasthani
painters, and later on also with the painters in
Kangra style. In fact, it is Hindi Srihgara poetry,
the poetry of passion which provides the key to
Kangra painting, and most of the Kangra
miniatures are really love poems dressed in the
form of line and colour.

No great work of art can have vitality unless it

is based on experience. The Kangra painters
who have so charmingly visualized the poetry
of Keshav Das in line and colour, were
themselves keen observers of human beings,
and must have had a rich background of
experience; otherwise they could not have
produced work of such a vital nature. They
have shown in the paintings all the stages in the
life of a woman, from girlhood to early married
life, and middle-aged maturity to old age. The
pangs of separation, the unhappiness which
jealousy creates, and the joys of reunion are all
Fig. 6. Manifested love in union (Prakasa Sarhyoga)
shown in a vivid manner. These love paintings
of the Kangra Valley which portray human feelings in erotic), hasya(Vr\e comic), karuna(\he elegiac), vira (the
such a remarkable manner were painted by some of the heroic), raudra (the terrific), bhayanaka (the terrible),
best minds of India, and represent a high achievement bibhatsa{the satiric), santa (the quietistic) and adbhuta
of the human spirit. (the sensational).

The structure of the Rasikapriya is as follows: In an Sringara

opening verse a precise definition of a particular nayaka
or nayika, or an emotional situation is given, followed by Sringara refers to love as represented in literature.
one or two illustrations. Besides the speeches of the Keshav Das classifies srihgara as sarhyoga (love in
hero and heroine, the confidantes of the heroine also union) and viyoga{love in separation). Love in union he
intervene with their advice, and other words are spoken sub-classifies as prachchhanna sarhyoga (secret love in
by the poet himself, who introduces his own name in union), and prakasa sarhyoga (manifested love in union).
every verse.
Prachchhanna Sarhyoga
(Secret Love in Union)
THE RASAS (Flavours)
Illustration

Keshav Das in the opening chapter of the Rasikapriya “Krishna and Radha in the grove are drinking the honey
describes the nine rasas or flavours: srihgara (the of each other’s beauty; their low murmurings magnify
 THE RAS/KAPR/YA 9

spot between her brows, and moved not his

eyes that were filled with the sight, as though
it were Rama gazing upon Sita (solely), adored
by her lord’s commands and seated in the fire
of sacrifice.” (Fig. 6).

Now Keshav Das defines secret and

manifested love in separation:

Prachchhanna Viyoga
(Secret Love in Separation)

“O sakhi!\here was a time when a mere threat

of Krishna to leave me would pierce my ears
like ants. These same ears have heard of his
departure but still endure. The eyes, that could
not bear his absence for a moment, now see
Vraja without him. Now, how can I trust this
faithless body which is still shamelessly alive
in separation?”

Prakasa Viyoga
(Manifested Love in Separation)

“O sakhi/save me from this tormenting moon

and the fragrant breeze. Throw away these
flowers, camphor and the sandal-paste; their
sight is painful now. To a fish dying without
water, milk is of little avail. Do you now
understand my condition? The pain of burning
can be soothed only by the fire which caused
it.” (Fig. 7).

CLASSIFICATION OF NAYAKAS

Fig. 7. Manifested love in separation (Prakasa Viyoga) Keshav Das now gives a definition of nayaka,
the arts of love, and create desire for forbidden dalliance; followed by a classification oft nayika. He defines
Krishna is beautifully adorned with jewels, making the a rtayaka or hero as a man who is young, expert in the
hearts to beat in great wonder. As he swings his jet black art of love, emotional, proud, selfless, generous,
locks, it appears like the Sun holding Saturn in his lap.” handsome, rich and refined in taste and culture. Then he
classifies ^ayaAasinto four categories: anukuia(s\ocere
Prakasa Sam yoga and devoted), dakshina (he who loves all his wives
(Manifested Love in Union) equally), satha (unkind and false), and dhrishta
Manifested Love in Union is as follows: “That is
(shameless).
Manifested Love in Union, and likewise Manifested Love
in Separation,” says Keshav Das, “which everyone ArtukOta Nayaka
comes to realize through (the reflection of) his own
picture (in a mirror).” He who is honest in word, deed and thought, loves his
wife and does not care for other women is an Anukuia
Illustration Nayaka who is the best of men.

“Once upon a time Krishna and Radha, seated on a Dakshina Nayaka

chauki, were drenched in the dew of mutual passion, and
in delight he beheld in a mirror the radiance of the He who loves all women equally including his wife or
woman’s face; Krishna was gazing at the scarlet beauty wives is called Dakshina Nayaka.
10 KANGRA PAINTINGS ON LOVE

Satha Nay aka

He who says sweet words, but is false at heart,

and is not afraid of sinning is Satha Nayaka.

Dhrishta Nayaka.

He who does not care for abuse and even

beating, and if even seen committing a wrong
does not admit his fault is Dhrishta Nayaka

CLASSIFICATION OF NAYIKAS

Now follows a classification of nayikas or

heroines according to kind into four: Padmini
(the lotus), Chitrini (variegated), Sahkhini
(conch-like), Hastini(elephant-like).

Fig. 8. Detail of Fig. 7

The nayikas are further classified into svakiya
(one’s own), parakiya (another’s), and samanya slim, free from anger, and with no great fondness for
(anybody’s), according to their relationship and response love-sports. Bashful, intelligent, cheerful, clean and soft-
to men. Svakiya \s one who loves her own lord; parakiya skinned, she loves clean and beautiful clothes. She has
who loves one who is not her own lord; and samanyais a golden complexion.
one who is impartial. Then follows the classification of
nayikas according to their age and experience. The Illustration
svakiya nayikas are classified into mugdha (the artless),
madhya (adolescent), and praudha (mature), who are “Shedding flowers from her smile, she is sensitive to
further sub-classified according to their expertness in tender emotions and knows well the art of love. She is to
the art of love. Parakiya nayikas are further classified be preferred to all Pannagis, Nagis, Asurisand Surfs. All
into Odhaand anudha. There are three ways in which the the affection which the people of Vraja bestow on her is
lover may see the beloved, i.e. in person, in a picture, or in fact too meagre. Thousands of fond desires hover
in a dream. Then follows an account of external indications round her like bees. Such indeed is Radha, that unique
of emotions and stimuli which awaken erotic feelings. divine champakabud fashioned by the Creator.” (Plate
After this the Eight Nayikas are described. 0-

The sakhis or companions of nayikas are also described ii. Chitrini

in detail. They are usually wetnurses, female servants,
wives of barbers, gardeners, betelsellers or goldsmiths, ChitrinI is adorned with diverse beauties and
sannyasinis or the beggar women-. The functions of the accomplishments. She is fond of dancing, music and
sakhis are: giving advice, coaxing, cajoling, helping the poetry. Tremulous-eyed, steadfast in mind, delighting in
lady in her toilet, arranging the meeting of lovers and love-sports and possessing a sweet-smelling mouth,
carrying messages. The meeting places of lovers are she is fond of perfumes and her lover’s portrait (Fig. 9).
given as the house of a sakhi, a vacant or neglected
house, fairs and festivals. Illustration

A. TYPES OF NAYIKAS One of her friends thus addresses the Chitrini Nayika
while she is looking at her husband’s portrait:
According to Keshav Das, women are classified into
fourtypes: the Lotus (Padmini), the Variegated (Chitrini), “The picture speaks not, nor listens when spoken to. Nor
the Conch-like (Sahkhini)and Elephant-like (Hastini). does it return the gaze if looked at. It does not sing nor
dance nor play the flute. It has none of those pleasing
i. Padmini talents to entertain us. It does not relish amorous sports,
nor does it embrace you even when seen after long
Padm/n/"\s a beautiful nayika, emitting the fragrance of separation. It is unwise to dote on this portrait when it has
a lotus from her body, modest, affectionate and generous, none of his gifts.”
 THE RASIKAPRIYA 11

iv. Hastini

HAST/Nihas thick fingers, a fat face and large

feet. Her lower lip and eyebrows are thick and
her voice is raucous. Her gait is heavy, her
mind infirm. Her tawny hair is of a bitter odour.
The hairs on her person are thick, sharp and
pointed.

Illustration

“It is surprising how that stupid nayaka finds

delight in the nayika’sstinking body. Her hair,
long and pointed, would pierce holes in his
body like thorns. When she opens her mouth to
speak, her words jar on the ears. A person who
hankers after her is like a bee who leaves
fragrant lotus-beds to sit on the temple of a
rutting elephant. He is like the king who
renounces the earth and his glory, and resorts
to evil deeds.

B. CLASSIFICATION OF NAYIKAS
ACCORDING TO AGE

From this Keshav Das proceeds to another

fourfold classification of nayikas according to
age: up to sixteen (baia), from sixteen to thirty
(taruni), from thirty to fifty-five (praudha), and
over fifty-five (vriddha).

C. MAIN CLASSIFICATION OF NAYIKAS

Keshav Das’s main classification is threefold

and distinguishes nayikas as: one's own
(svakiya), another’s (parakiya), and anybody’s
(samanya).
Fig. 9. Adorned with diverse beauties, the chitrini is fond of music
I. Classification of Svakiya Nayika
iii. Sahkhini

In-tempered, and clever, sahkhinihas a luxuriant growth SvAKiYA is devoted to her spouse. Balanced in pleasure
of hair, likes red garments and pinches hard when and pain, she is true in thought, deed and speech.
excited. She is impatient, shameless and unhesitating.
According to age and experience svakiya is again
Illustration divided into three types: the artless (mugdha) (Fig. 12),
“A camel would never go to a grove where bananas the adolescent (madhya), and the mature (praudha).
grow. At the sight of such a place an expression of
disgust covers his face, as clouds darken the sky. He i. Mugdha or Navodha
has no liking forfragrant wreaths of champakab\ossoms.
He shuns the path leading to lotus-beds. He neverfeeds Mugdha or navodha is again divided into Navaia-vadhu
on sweet smelling clove-vines nor on the tender iavaii. If (the newly wedded), Navayauvana (in fresh youth),
fed on dates and grapes, he dies. He only delights in Navaia-anahga (the newly excited), and Lajja-praya
eating his favourite thorny bushes.”7 (the bashful).
12 KANGRA PAINTINGS ON LOVE

a. Navaia-vadhu(Jhe newly wedded)

The old and the learned say that tender in

years, this nayika grows gradually, and her
brilliance increases day by day (Fig. 11).

Illustration

“She excels even ‘Mohan-mantra 'A in the art of

bewitching. Who knows how far she will go in
learning this art? The growth of her bosom is
so rapid that no bodice will be able to check it.
The radiance of her eyes increases day by
day. O sakhi, where will this golden grace end,
growing as it is perpetually?”

b. Navayauvana (In fresh youth)

Na vayauvana is the nayika, who, leaving her

childhood behind, has stepped into warm¬
blooming youth.

Illustration

At the sight of her husband the nayika's

eyebrows get agitated (Fig. 13). It appears
from herfigure as if the hips have been robbing
the waist for a long time. Her words are few Fig. 10. A fawn ensnared from the forest
and her eyes downcast. Her gait is no longer Illustration
girlishly playful. Let her hold her soul in patience, but for
a day, for she will soon be united to him—the herald of “He persisted in his protests but I didn’t respond. He fell
her youth—who has already entered into her heart and
at my feet, but I hid myself in my cloak. He invited me to
driving her childhood out, has enthroned himself there.”
his bosom with open arms, but I didn’t give up my
modesty. At last he lifted up my head with his hand
c. Navaia-ananga (The newly excited)
pressing against my chin so that our gaze met and I eyed
Na VALA-ananga is one who plays, speaks, and laughs him fondly—Fie at my modesty which could not hold it
sportively as children do and wins her husband with her own and resist his overtures.”
dalliance.
Now Keshav Das deals with three other situations
Illustration regarding Mugdha-Nayikas, the passionate Mugdha
sayana, who is like a sleeping volcano, and can be
“The young Navaia-ananga addressed the impassioned roused to an extraordinary pitch of passion, the cold and
bridegroom on the wedding night: frigid mugdha-suratawho does not respond to love-play,
and the mugdha'smana, or obstinacy, and how it can be
“Oh my darling, desist from excessive haste and
conquered.
eagerness. Pray don’t tug at the hem of my cloak. Look,
the parrot has gone to sleep in its cage but its mate has
Mugdha-sayana
not. The lamp burns and sees us furtively—put it out, for
you shall see my face even without it. Run up and boltthe
Mugdha-$ayana Nayika is hesitant to set foot on her
door you see in front. My eagerness for what you desire
husband’s couch. If persuaded to do so, she creates
is no less, but first do my bidding and give me solitude.”
untold bliss.
The nayika’s shy suggestion and her dalliance thus
enhances his pleasure a hundredfold.
Illustration

d. Lajja-praya {The bashful)

“The nayaka went down on his knees to entreat the
This nayika takes to erotic play with shyness and nayika who at last set her foot on his couch with fear
timidity and thus enhances the desire of her husband. lurking in her heart. Decorating, as it were, the buds
 THE RASIKAPRIYA 13

Fig. 11. The newly wedded

strewn over the couch, she somehow went to sleep. Illustration

Gathering courage, the nayaka touched the nayika’s
mouth with his, and was instantly thrown into ecstasies. “Feigning anger the mugdhasWs dumb. Her lord comes
This roused the nayika from her slumber who in a single and speaks to her but receives no reply. The nayika
breath released the entire fragrance of her being." silently continues writing with her nails on sand. The
nayaka’s intelligence comes to his rescue, and looking
Mugdha-surata at his palm with curiosity and earnestness he says: The
Creator has carved two lines in my palm—one long and
Mugdha-surata\s averse to erotic sports, and prefers the other short. But who can tell which of these represents
a restful night instead. If she is deluded into yielding by my age?’ The nayika cou\6 not bear the cruel words and
force or cunning all pleasure is lost. clinging to him breathlessly exclaimed: 'Ah, let me see
my love!”
Illustration
ii. Madhya (the adolescent)
This verse is a plaint by one of the mugdha’s friends
which describes the nayaka'sguWe and trickery which he Madhya is classified into ArOdhayauvana, Pragaibha-
employed to seduce the nay/kawho at the end of the vachana, PradurbhOta-manobhava, and Surata vichitra.
misdeed looks like a crumpled jasmine-garland or an
injured lotus-stalk. The verse also expresses the a. ArOdhayauvana
perplexity and remorse of the nayaka after the deed is
done. Arudhayauvana\s one who has stepped into blooming
youth (Fig. 14).
Mugdha's Mana (Obstinacy)
Illustration
Though this nayikais foreign to the sentiment of mana,
it can be expelled by the exercise of some ingenious “The nayika’s brow is like the moon, her shapely eye¬
threat, such as one we generally practise on credulous, brows like a bow. Her tremulous, bewitching eyes are
gullible people. like the sharp arrows of Kamadeva. Her breath has the
14 KANGRA PAINTINGS ON LOVE

fragrance of a lotus bud. Her teeth are like

pearls and her laughter flashes like lightning.
Her belly is shaped like a betel-leaf, her feet like
lotuses, and her gait graceful like a swan’s.
Such a cow-girl resembling a goddess with a
golden complexion have I seen, O Gopal!”

b. Pragalbha-vachana

Pragalbha-vachana is one who cleverly scolds

her husband with her words and thus irritates
him.

Illustration

The nayika says sarcastically to the unfaithful

nayaka:
“You are indeed very magnanimous, and noble
are your ways. How chaste were those eyes
whose colour still lingers in yours! I know all that
comes into your mind, and what those greedy
sirens desire of you. Wherever you go, groves
and gardens grow, and you are a creator of
happiness and giver of delight to your
paramours. But desist from stirring out today.
You have been deluded by false friends, and I
am bent upon saving you from them.”

c. Pradurbhuta-manobhava

Pradurbhuta-manobhava is one who is as if

ornamented by the lore of Kamadeva which
pervades her body and mind.

Illustration

“Today I saw the daughter of a milkman—a Fig. 12. Mugdha Nayika (The artless)
rare gem among cow-girls. Seeing the comeliness other
the fourteen types of bahi-rati and antara-rati are
radiant face, all other beautiful objects sink into
practised by us. And then comes viparita-rati which
nothingness, and one looks at her as if spellbound. In
destroys all charm of modesty, so that ornaments get
return fora single upward movement of hereyes, I would
displaced and tresses become dishevelled. Necklaces
fain give away the entire wealth of the three worlds. The
snap and all adornments vanish. Such, indeed, is
God of Love has well selected Krishna—the source of
genuine passion which proclaims itself aloud and hearing
erotic sciences—to be her lord.”
which birds themselves begin to warble.”

d. Surata-vichitra
Now Keshav Das gives a classification of bahi-rati or
preliminaries of love-play, and of antara-rati or union.
The amorous nature of this nayika comprises strange
According to him there are seven types each of bahi-rati
elements, and presents formidable difficulties for poets
and antara-rati.
to describe it. Yet it is ever pleasing.

#3/7/Va//(Preliminaries of love-play)
Illustration

Embracing, kissing, gentle fondling, pressing, making

The nayikaVnus relates her experiences to her confidante:
marks by nails and teeth and sucking of lips are known
“Our delight is enhanced by soft subdued laughter and
as seven preliminaries of love making.
dalliance. Fond looks and whispers are so pleasing. All
 THE RASIKAPRIYA 15

ANOTHER CLASSIFICATION OF
MADHYA (THE ADOLESCENT)

Keshav das now gives another threefold

classification of madhya according to the
manner in which she addresses her husband.

Madhya is of three types : Dhira, Adhira and

Dhiradhira. Dhira speaks in an oblique manner,
adhira speaks harsh words and dhiradhira
scolds her husband.

a. Dhira (The firm)

Dh'ira— The nayika is trembling with anger,

but out of modesty she conceals her emotion
from the sakhi, and attributes her trembling to
other reasons.

“SAKHi, you told me that my lord’s face

resembled a lotus, but I discover that it is like
the moon, for look! as he proceeded to enter my
heart, my bosom began to shiver violently, and
it appeared as if it were affected by some
unknown chill. My eye-lotuses stood as if carved
Fig. 13. Mugdha Navayauvana (In fresh youth) in stone or shaped in a mould.”

b. Adhira (The fickle)

Antara-rati{Postures in union)
Nayika, scoldingly to nayaka :
Seven intimate postures in union are : standing, lateral,
“Your body is like your father’s (i.e. worn out and lean
face-to-face, face-to-back, facing downward, facing
with age), your valour is like Balavira (who got most of his
upward, and lying on the back.
strength from intoxicants), your face resembles your
sister’s (according to some, an inauspicious thing). Your
The passion for classification, which the Hindi poets and conduct is barren like a desert, devoid as it is of all
rhetoricians have, is truely remarkable. Now Keshav goodness. Your mind is as infirm as the winds. Your
Das gives a classification of the toilet of a fashionable lustre is as unstrained as stagnant water. Like the
woman of his age. He classifies the toilet and make-up glowing skies you distribute your radiance in every
of a young lady into sixteen types. home.”

Sola Srihgara (Sixteen types of adornments) c. Dhiradhira

Bathing, putting on clean and beautiful clothes, applying Nayika to unfaithful nayaka :
mahavar lac dye) to the feet, dressing hair, using
“You are noble, and noble must have been your gurus.
five ahgaragas (vermilion on the parting of the hair,
But it is queer that you are exhibiting such an emotion for
painting sandal-paste mark on the forehead, a mole on
anotherwoman. Whatdid you getas reward in exchange
the cheek, saffron on the body, and henna on the
for your jewel of a heart which you gave away to her?
palms), wearing ornaments and flowers, cleaning teeth
“Is it now possible for you to mingle your gaze with mine?
and chewing betel and cardamom, rubbing missi (a
“Don’t blame me for I am only depending on hearsay,
fragrant paste) on the teeth, reddening the lips, and
and on what you have been telling my friends.”
painting eye-lashes with collyrium, are the sixteen
adornments fora woman. “Oh Radha, adorn yourperson
iii. Praudha (The mature)
with these srihgaras, smile softly, talk sweetly, walk
gently, and look charming. And with all these live a
Praudha\sclassified into Samasta-rasa-kovida, Vichitra-
chaste married life.”
vibhrama, Akramita, and Labdha-pati.
16 KANGRA PAINTINGS ON LOVE

a. Samasta-rasa-kovida

The Nayika, who provides to her lover whatever

pleasure he seeks in her, is called samasta-
rasa-kovida praudha, orexpert in the art of love.

Illustration

“O gopal, I saw a cow-girl of peerless beauty

comparable only to gold, who shone brilliantly in
her dress. Was she the personification of Rati
or was she a flash of lightning disguised as a
woman? It is hard to determine whether she
was some divine nymph who fled from the
domain of hertribe, or some novel grace sent by
Sarasvatl. I believe, however, that she must
have been the incarnate accomplishment of the
means of all pleasure, and the best specimen of
Kamadeva’s craftsmanship.”

b. Vichitra-vibhrama

Vichitra-vibhrama is she whose best

messenger is her exquisite charm which wins
her lover.

Illustration

“Her slow and graceful gait feeds the creeping

delight of his heart. Her tremulous eyebrows
and soft silken laughter and perfumed limbs
have clasped him firmly. The gaze from the
corners of her eyes has'fatally’ wounded
Krishna. Her looks are the arrows of Kamadeva,
and the nayaka, being unaware of that, fell a
prey to them, like the ignorant bee, which
ardently sucking honey from the flower is caught
at nightfall when the petals close upon her.” Fig. 14. One who has stepped into blooming youth

Illustration
c. Akramita

Akramita is one who by means of all the device of “Gopal, there sits today the comely daughter of
speech, thought, and deed endeavours to win her lover Vrishabhanu. This charming bride of yours was created
and succeeds. by Kamadeva in the manner Brahma created Sarasvati.
Having seen her, who can think of another? Beauty—
Sakhi to nayika : having adorned herself—has today approached the
personification of Srihgara.”
“For your sake the poor lad sings, dances, and plays on
his flute and adorns himself. He doesn’t even think of any Praudha-dhira
other damsel. Still he doesn’t succeed in capturing your
heart. You should thank your stars that he is so devoted Praudha-dh/ra is one who with all her obedience does
to you. Do you now long for the simple-hearted boy to service but occasionally shows disregard and hides
come and kiss your feet?” herself.

d. Labdha-pati
Illustration
Labdha-pati is one whose authority is supreme, and the
entire family of her husband listens to her respectfully Seeing Krishna approach her, she gets up to receive
and praises her. him and offers him a good seat. She herself washes his
THE RASIKAPRIYA 17

Fig. 15. The timid bride

18 KANGRA PAINTINGS ON LOVE

Fig. 16. Parakiya Nayika (One who loves a person other than her lord)

feet and brings a new vessel to offer him a drink. She Praudha-adhira
places delicious food before him and takes up the fan. At
this he catches her arm and beseeches her to give him Praudha-adhira \s one who longs to meet her husband,
a smile first, but she suddenly turns her face and stands but speaks dry words though she is herself as sweet as
quietly (Plate IV). sugarcane juice. Holding him guilty she honours him not,
though he honours her.
Praudha-dhira-akritigupta
The nayika, suspicious of the nayaka s fidelity, scolds
him thus:
Sakhi to nayika :
“Why do you lift your gaze only when looked at, laugh “Your mind is polluted with dirt and sin. Give up your
only when tickled, speak only when spoken to; for sweet utterances and desistfrom laughing. Don’ttrouble
otherwise you are always cold and unresponsive? And me any more with your nice words and amorous play at
why do you weep when he approaches you with his night—I have had enough of them all.”
protestations of love and offers you his affectionate lap?
You don't even eat anything unless compelled to: it Seeing the nayaka’s eyes dimmed with passion, she
appears as if it were your first day in the house of your says:
in-laws. Who taught you this novel lesson to win Mohan? “Look, your dull eyes are preparing to close—only to
Mind your welfare and listen to what is beneficial and gleam in otherwomen’s presence. You are still the same
what will make you comfortable. Your conduct has false faithless rake that you were yesterday, although you
propriety, and does not become your natural self. You took a thousand oaths then.”
insult your dear ones when they honour you.
II. Classification of Parakiya Nayikas

“Now look, don’t try to suppress your laughter, let it Parakiyas are of two types—udha and anudha. They
gently flow!” are perplexing types for both the wise and the foolish.
 THE RASIKAPRIYA 19

A parakiya\s one who is fond of being the sweetheart Anudha betrays her secrets to none, while udha confides
of celebrities. Udha is married and anudha'xs unmarried. in her sakh/s.
Their respective traits are thus described by the poet:
Udha relates to her friend her experiences in the city of
Udha her lord:

“Decorating the assembly of her friends with her

“The womenfolk slandered me and smiled at me and not
presence, she is as if dwelling in their eyes.When
a soul spared me. I looked stupidly on all sides with eyes
questioned about them she wilfully speaks false
tremulous as a chakori’s; and with everybody’s finger
philosophic words about the weakness of flesh, the guilt
pointing at me, I was made as if the moon of the second
of her husband and the woes of separation, but laughs
lunar night.”9
in her sleeve. Why, nobody even noticed her when
suddenly catching sight of him she slipped away!”
There is an amusing picture from Guler in which a
AnOdha parakiya nayika of udha variety is shown. A pandit is
reading a PuranaXo an audience of villagers. The elders
On the day Radha’s father promised her hand to Hari, are seated on one side, and women opposite. Radha is
the blessed Radha was sitting in the midst of the ladies sitting in front of the pandit and the scarf of her husband
of Vraja absorbed in a game of chaupad. Suddenly Ayana is tied to her dupatta showing that they are
hearing the voice of Hari, who had come there on a false husband and wife. Krishna comes and joins the assembly.
pretext, she was seized by a strong emotion and her On seeing Krishna, Radha forgets all about her marital
heart throbbed, and without anybody noticing her, she ties, and veiling her face from her husband glances
flung the arrow of her glance in the direction from which furtively at Krishna10 (Fig. 16).
the voice came.
 CHAPTER III

THE MOODS OF LOVERS AND THEIR

MEETING PLACES
DampatJ Cheshta Varnana

In Chapter V of the Rasikapriya, Keshav Das

describes the moods of lovers and the places
and situations in which they meet. How the
nayakaand the nayikabehave when they are in
love, and how they reveal their desire, though
outwardly concealing it, is thus described by
Keshav Das:

SECRET DESIRE OF RADHA

Rad ha’s Chesta (Prachchhanna)

Sometimes she scratches the ear, sometimes

yawns and stretches the limbs (Figs. 17 and
18). She also laughs and talks to her sakhi, thus
attracting the attention of her lover and displaying
her graces. By these clever artifices she
expresses her love to him.

SECRET DESIRE OF KRISHNA

Krishna’s Cheshta (Prakasa)

“Absent-mindedly you stand before the mirror

tidying your turban. Who is she in whose love
you are lost so entirely and at whose feet you
want to throw yourself? Sometimes you snap
your fingers, and sometimes you scratch your
ear. Why are you yawning and stretching your
limbs as if in fever? Who is she for whom you are
giving your pearl necklace to me, and why are
you singing incoherently? Oh Krishna, tell me
what is wrong with you today?”

Keshav das describes the places and situations

in which lovers meet.
Fig. 17. Yearnings of love
 DAMPATl CHESHJA VARNANA 21

MEETING AT THE HOUSE OF

A CONFIDANTE
(Sahe/i Ghar Milan)

Sakhisays to Krishna:

“O Krishna, keep her as pupils of your eyes, or

as you hold your flute between the lips, or your
garland of wild flowers between your arms, or
the sandal-paste painted on your arms. Keep
close, as you keep your garland of wild flowers,
this sweet-voiced girl, whom I have somehow
led to this house. Keep in your heart this maiden,
who resembles a goddess; and take delight
from the fragrance of her champaka-Wke limbs.”

MEETING AT A FOSTER-MOTHER’S
HOUSE
(Dhai Ghar Milan)

The cow-boys and cow-girls played and laughed

and told each other stories and riddles in the
foster-mother’s house till late in the night, and
the light of the sinking moon had grown dim.
Overpowered by sleep, they gradually
proceeded homewards. Seeing dark clouds
rising on all sides in the sky, Krishna also rose
to depart, when the kind foster-mother thus
spoke: “Where will you go, dear child, in the
darkness at the dead of night? Go and sleep,
sharing half of Radha’s bed.”

MEETING IN AN EMPTY HOUSE

(Sunya Ghar Milan)
Fig. 18. Love longings

The house of a female servant, friend, and foster- Radha was alone in a picture gallery. Looking at a
mother, an empty house, and the forest are the places picture, she felt happy and began to dance. The jingle of
where the first meetings of lovers are arranged. They her anklets, the rhythmical movements of her feet, and
also meet in a situation of fear, on an excuse of an her singing were delightful. At that moment Krishna
invitation to meals, or sickness, or at a festival. appeared, and at the sight of him Radha’s appearance
became indescribable. Struggling between modesty
MEETING AT A FEMALE and passion, her lotus-like eyes had the semblance of a
SERVANT’S HOUSE water-laden cloud.
(Da si Ghar Milan)

Disguised as a girl, Krishna fearlessly joined the Vraja MEETING ON A JOURNEY AT NIGHT
maidens in their sports at night. Cleverly he managed to (Nisa Milan)
play with Radha, who gleamed like lightning, looked like
a creeper of love or a love-noose, and threw his arms Once a group of cow-boys and cow-girls went to Gokula.
around her back. Running around and hiding with her in Night fell as they were returning, and clouds covered the
the game of hide-and-seek, he satisfied his heart’s sky. It was so dark that they could hardly see each other.
desire and played innumerable tricks of love. Thus in the On such a night, “Dear sakhi, Krishna made the most of
courtyard of the Dasi’s house did Krishna convert the it; he did with freedom what he chose, and relieved
game of hide-and-seek into the game of love. himself of the pain of separation.”
22 KANGRA PAINTINGS ON LOVE

Fig. 19. Radha's manifested desire

 DAM PA Ti CHESHTA VARNANA 23

MEETING IN A SITUATION OF see the house and encountered

FEAR Krishna. Seeing the handsome Krishna,
(Atibhaya Milan) she ran back, but he, taking courage,
caught her by her snake-like tress.
The house of Vrishabhanu, Radha’s Taking her into his lap, he caressed her
father, caught fire. People of Vraja ran and did what he liked. And, then, having
to the scene and climbed on the walls taken off her nose-ring, he rubbed her
all round. There was noise and face with saffron to conceal the marks
confusion everywhere. Taking of his passionate love and let her go.
advantage of such a situation, Krishna
went into the house, put the maina and MEETING IN THE FOREST
the parrot out, and roused the women (Vana Vihara Milan)
of the household who rushed out. Radha
he roused last of all, and kissed her Says Krishna to a gopi whom he met
eyes, chin and cheeks. Her body in the forest:
resembling a garland of champaka
clung to his bosom (Fig. 21). “You had promised yesterday to give
me curds. Give them to me now.
MEETING AT A FESTIVAL
(Utsava Milan) Spread your garment and then your
waist-band to fill them with curds but let
To celebrate the birthday of Balarama, me go.
the beauties of Vraja, with limbs of gold,
gathered in the house of Nanda to keep I will allow you to go, if you persuade
vigil for the night. There was such a Radha to discard her shyness.”
crowd that not a corner of the house
was left unoccupied. The women sang “Mind your words, lest someone else
and danced and played on musical should hear them.
instruments, thus producing a stream Don't you know whose daughter
of delight. she is?
I know she is Vrishabhanu's daughter;
In this situation, Radha slept in the bed but I know not whom you serve.”
of Krishna: he came and laid himself
there, as if it was the night of his MEETING AT WATER SPORTS
Fig. 20. Lovers in a lily pooi
honeymoon. (Jala Vihara Milan)
Illustration 1
MEETING ON AN EXCUSE OF ILLNESS
(Vyadhi miss Milan) Radha and Krishna stand on the bank of Manasarovara,
clasping each other’s hands. Krishna is wearing a turban,
Having diagnosed the cause of the disease, offerings of Radha is wearing pearls, and flower garlands are
gifts were made to placate the evil stars. Medicines were adorning both. They are draped in white, and their limbs
given but the disease showed no sign of abatement. are painted with sandal-paste, it appears as if Vishnu,
Offerings to the fire were made according to command accompanied by Lakshmi, has emerged from the ocean
of the scriptures, but the pain was not cured. of milk (Fig. 20).

“Hurry up, O Krishna ! You have been called, the Illustration 2

condition of Radha is precarious. The pain of which you
cured her last time has recurred.” Every day in the summer months, cow-boys and cow¬
girls play in the water of the Yamuna. Cow-girls are on
MEETING ON THE PRETEXT OF AN INVITATION one side of the river, and Krishna with a crowd of cow¬
(Nimantrana miss Milan) boys is on the other. The two groups of lovers dive into
the water like fish, and having met each other under
YaSoda invited Radha to supper at her house. Having water, they emerge on their own side of the river. In this
adorned herface, Yasoda took her to the dining parlour. manner, they satisfy their longings with craft, apparently
Afterthe meals, chewing a betel, Radha went upstairs to remaining away from each other.
24 KANGRA PAINTINGS ON LOVE

Fig. 21. Lovers meeting in a situation of fear

 CHAPTER IV

EXTERNAL INDICATIONS OF EMOTIONS

OF LOVE
Hava

T he manifestation of a mental state through the face,

eyes and speech is said to be bhava. Bhavasare of
Sattvika bhavasare the eight involuntary expressions
of emotions, viz. stupor, trembling, speechlessness,
five types: vibhava, anubhava, sthayi, sattvika and pallor, tearfulness, perspiration, thrill and fainting.
vyabhichari. A stimulus which awakens the erotic flavour
is called an excitant (vibhava). Excitants are of two V YABH/CHARibhava is an accessory emotion that goes
kinds, essential (aiarhbana), which sustain love, and
along with any one of the underlying emotions (sthayi
uddipanawYwch cause excitement. The flavour (rasa) is
bhava), which form the foundations of nine flavours.
absolutely dependent on an essential excitant which is
These accessory emotions are thirty-three in number,
material and necessary to it. The hero or the heroine is
viz. self-disparagement (nirveda), apprehension or
the essential or the material ingredient of the flavour,
anticipation of evil (sahka), arrogance (garva), painful
without which the flavour cannot be created. The other
reflection (chinta), distraction (moha), despondency
excitants are those which enhance the flavour: sakhis,
(vishada), depression (dainya), envy (asuya), death
moonlight, clouds, lightning, rainbow, flowers, perfume,
(mrityu), intoxication (mada), indolence (aiasya),
drinks, ornaments, beautiful clothes, a decorated bed,
weariness (srama), derangement (unmada), dissembling
colours, dance, music, painting, the /roe/'ssong, and the
(akritigopana), unsteadiness (chapaiata), dementedness
humming of bees. Uddipana is caused by looking at (apasmara), alarm (bhaya), debility (giam), shame (vrida),
one’s beloved, conversing with her, embracing, kissing, stupor (jadata), joy (harsha), equanimity (dhrti), resolve
touching and pressing her, and by wounding her body (mati), flurry (avega), longing (utkantha), drowsiness
with teeth and nails. The gesture or movement that gives (nidra), dreaming (svapna), awaking (bodha), sternness
rise to a flavour is called an ensuant (anubhava). Of (ugrata), impatience of opposition (amarsha), debate
these, the swaying of the body, the motion of the (vitarka), sickness (vyadhi) and recollection (smrti).
eyebrows, and side-glances are important.
EXTERNAL INDICATIONS OF LOVE (HAVA)
An underlying emotion or underlying sentiment (sthayi
bhava)\s the ultimate ground-basis of a poetic work, and The ‘external indications of emotion’ in a hero and a
is the permanent condition, which, running through the heroine occasioned by love in union are called hava, and
other conditions like the thread of a garland, is not are of thirteen kinds. Liia-hava is the enjoyment of
overpowered by them but only reinforced. The underlying amorous caresses by the lovers. In viiasa-hava, ‘flutter
emotions are of eight kinds, e.g. love or desire (rati), of delight’, the eyes of the heroine shine with happiness.
mirth (hasa), sorrow (soka). anger (krodha), magnanimity When the hero’s charm is displayed through his smart
(utsaha), fear (bhaya), dispraise (ninda), and surprise dress and decorations, it is called iaiita-hava, or
(vismaya). The underlying emotions produce the ‘voluptuous gracefulness’. The wearing of simple clothes
corresponding flavours or psychic conditions in the and a few ornaments by a woman confident of her
reader. personal charm is considered to be an indication of love,
26 KANGRA PAINTINGS ON LOVE

heroine by signs or by a riddle, it is called

bodha-hava or bodhaka-hava, e.g. a lover
presents a withered lotus to the lady to indicate
the condition of his heart. Affected repulse of
endearments, where the heroine, though
enraptured by endearments, displays the
reverse is called kuttamita-hava. Mada-hava\s
arrogance arising from love. When the heroine
or hero is not able to speak on account of
bashfulness, it is called vikrita-hava. The love
of Krishna and Radha produces the various
forms of hava ; their sports, dalliance, sweet
intoxication and amorous playfulness manifest
kilakin chita, mottayita, kuttamita, and bod ha.

Now Keshav Das describes thirteen kinds of

hava which the love of Radha and Krishna
produces. There are a whole series of paintings
on the havas'm Rajasthani art and also some in
Kangra art.

WANTONNESS (HELA HAVA)

Love in its ripeness makes them forget

bashfulness as well as the people around;
Krishna and Radha are indeed bewitching in
this Heia.

Radha’s Heia-hava

Attracting him with her looks, then capturing

him by means of the wondrous noose of her
eyebrows, she met him in solitude in the moonlit
night, with a smile on her face and fragrance
around her. She then enslaved him by making
him drink the wine of her lips. Thus, with ease,
the daughter of Vrishabhanu won Hari in the
forest (Plate V).

Fig. 22. Rad ha and Krishna exchange clothes Krishna’s Heia-hava

and is called vichchhiti-hava. Flustered at the arrival of

Radha s heart overflowed with delight to see the Rasa-
her lover, the heroine wears her ornaments at the wrong
//7a ground in bloom in the forest, where she was drawn
places and this is called vibhrama-hava. Sometimes the
by the notes of Krishna’s flute. Kissing her with ardour
emotions of anger, joy, desire and fear are strangely
and pressing her in his arms, the artful Krishna won the
mixed, and the resulting ‘hysterical delight’ is called
heart of Vrishabhanu’s daughter, as if in sport.
kiiakihchita-hava. Sometimes the heroine yawns, or
stretches her limbs on hearing her loved one talked of in
SPORT (LlLA-HAVA)
praise. These mute involuntary expressions of affection
are called mottayita-hava. When the heroine pretends
to be indifferent to the arrival of her lover, making a show When the lovers imitate each other’s manners, Liia-
of angerand uttering unpleasantwordsthough herheart hava is created (Figs. 22 and 23).
is full of love, the display of emotion is called bibboka-
hava. When the heroine under the influence of love Radha’s Liia-hava
forgets her modesty, her wantonness is called heia-
hava. When a hero communicates his feelings to the Radha imitates and learns Krishna’s ways of falling at
 HAVA 27

her feet unmindful of insults, his offering the

betel-leaf and eating it himself with dalliance,
his confused glance wandering on all sides,
his being startled atthe sound of the rustling of
dry leaves, and his going from one bower to
another with closed eyes.

Krishna’s LHa-hava

Krishna imitates Radha peeping from the

attic window and running to the roof-top to
catch a glance, her ridiculing the conduct of
the cow-boys, her prayers in meditation of
Krishna, her engrossment in the joy of looking
at the portrait of her lover and hugging it, her
going from the house to the courtyard and
from the courtyard back to the house, and thus
spending the whole day.

Exchange of clothes is another mode of lovers’

LHa-hava. Radha is wearing Krishna’s crown
of peacock feathers and garland of white
flowers, while Krishna is wearing a ghaghra
and is draped in dupatta{Fig. 22). In another
painting the lovers are sitting in dalliance on a
carpet of leaves, and Krishna has placed his
garland on Radha’s neck and his crown on her
head (Fig. 23).

VOLUPTUOUS GRACEFULNESS
(LALITA-HAVA)

Speech, laughter, winsome looks and gait are

the creators of Lalita-hava.

Rad ha's Lalita-hava

Fig. 23. Radha's LHa-hava (Radha puts on Krishna's clothes)

Going with her Sarasvati-likesakhi, the tender is being quenched, as handsome Krishna, dark as the
and pure-hearted Radha appears like Lakshmi carrying cloud, wearing cloud-like garments, emerges from the
a beautiful lotus. The sound of her ringing anklets is deep forest into Vraja.”
throwing the terrified swans off their feet. The load of her
heavy tresses, her heavy hips and her hesitation are ARROGANCE (MADA-HAVA)
bending her tender waist. Her soft words, low laughter, Arrogance arising from love is Mada-hava.
amorous glances and ambling gait have won the heart
of young Krishna.
Radha’s Mada-hava

Krishna's Lalita-hava
“Revelling in her dalliance the proud Radha had drunk
“The fluttering hem of his yellow garment resembles the heavily the wine of her beauty and pride, when young
lightning; the shining crown of peacock feather is Krishna, fairer than Kamadeva, came to propitiate her.
enhancing his beauty like the rainbow. He sings in low The poor lad took oath after oath, laughed, and fell at her
tones and plays upon the flute. His approach creates the feet till his heart sank in dejection. Then, suddenly, dark
illusion of the advent of clouds, which makes the clouds arose, seeing which Radha leapt like lightning to
peacocks dance. Look, sakht, the fire of chataka’sheart the bosom of Krishna ” (Fig. 26).
28 KANGRA PAINTINGS ON LOVE

round her neck. She put the anklets on her

wrists and the bracelets on her feet. She forgot
to cover her bodice with her mantle, painted her
beautiful cheeks with collyrium and her eyes
with red foot-paint. Thus bedecking herself,
Radha hastened to have a glimpse of Krishna,
the ornament of Vraja.

Krishna’s Vibhrama-hava

Krishna, whose body is covered with sandal-

paste, is playing. The sight of Radha infatuates
his mind, and, forgetful of the betel-leaf which
has fallen from his hand, he starts chewing the
lotus-leaf which he is holding in the other hand.
Seeing this, the gopisburs\ into laughter. Out of
bashfulness he has now concealed the beauty
of his eye-lashes by closing his eyes.

BASHFULNESS (VIKRITA-HA VA)

At the time of meeting, modesty holds back the

tongue and thus creates Vikrita-hava.

Radha’s Vikrita-hava

“You are not giving up bashfulness, and my

words of advice irritate you; but a time will come
when you will burn your bashfulness in the heat
of your love. Having plunged into the ocean of
love how will you depend on the help of others?
It is the great desire of all your sakhis that you
may greet your lover smilingly. How long will you
thus remain passive like a picture?”.

Krishna’s Vikrita-hava

Fig. 24. Krishna's voluptuous gracefulness RadhA accused Krishna of fickleness,

reprimanded him and hit him with a lotus, her
Krishna’s Mada-hava
love for him drying up with anger. Cooling down, she
"No charming woman can win him now. He knows the gave him wise advice which he accepted with joy. She
fickleness of lightning, he listens not to the protestations presented him with perfumed gifts which he pressed to
of Rati’s love; he knows too the waning lustre of the digit his heart. Despite all this, Krishna did not say anything,
of the moon. Leave alone others, even the fair Lakshmi nor did he raise his head.
cannot propitiate him, maddened as he is by his love for
Radha who alone is enthroned in his heart.” FLUTTER OF DELIGHT
(ViLASA-HA VA)
FLUSTER (VIBHRAMA-HAVA)
Where, through hurry arising from delight, the beloved When in play, speech, laughter, looks and deportment,
one wears ornaments in the wrong way, and when the reserve is discarded, a flutter of delight is created (Fig.
sight of the lover delights the body and the mind, 27).
Vibhrama-hava is said to be created.
Radha’s Vitasa-hava
Radha’s Vibhrama-hava

Radha on hearing the news of the arrival of Krishna put “O sakhi, the radiant tiiaka on your forehead delights
the necklace round her waist, and the jingling girdle him; the constant dalliance of your eye brows produces
 HAVA 29

different impulses in his mind; your eyes

expressive of thought and hesitation are
tremulous, and the glitter of your teeth
bewilders his mind. Your soft laughter and
sweet breath have effortlessly enslaved the
heart of Krishna. Indeed your charming face
has taken a hundred vows to capture the body
and heart of Krishna."

Krishna's VHasa-hava

“Those who have not seen your beautiful eyes

are longing to see them. They, who have seen
them once, do not wish to see anything else.
These eyes are dear as life to mortals, gods,
nagas, and to pahchakanya, Ahalya, Tara,
Kunti, Mandodari and Draupadi. They dwell in
the hearts of the most devout wives. All your
limbs too are infinitely beautiful, whose parallel
Brahma has not been able to create. O Krishna,
your eyes can shatter the pride of beauty, the
vanity of Kamadeva, and the vows of steadfast
women.”

HYSTERICAL DELIGHT (KILAKINCHITA-

HAVA)

When emotions of desire, pride, anger, joy

and alarm are aroused simultaneously,
KHakihchita-hava\s manifested.

Radha’s KHakinchita-hava

“Seeing whom do you laugh and exult? And

seeing whom do you frown in anger? Why do Fig. 25. Krishna's LaHta-hava
you sometimes become forgetful of your
modesty, and sometimes hide yourface with the hem of AFFECTATION OF INDIFFERENCE (BIBBOKA-
your garment? For whose welfare are you offering HAVA)
prayers? Your queer ways make me sick.You were
never like this before. May you not lose your wits!” (Fig. When the pride of beauty and love causes feigned insult
29). and respect is not shown to the beloved on his arrival, but
on the contrary anger is displayed, Bibboka-hava
Krishna’s Kiiakihchita-hava becomes manifest.

“Which is the damsel in Gokula who has diverted your Radha’s Bibboka-hava
eyes from all others exclusively towards her? Like a
khanjana bird sporting in the creepers, your eyes are Aware of Krishna’s approach, Radha lay down feigning
playful. But why are you irritated when spoken to, and sleep. Not wanting to rouse her, Krishna’s sat silently by
desirous when left alone? Why do you sometimes lurk her side. Taking courage, he touched her leg which
timidly and sometimes look spirited? What love potion caused the hair of her body to stand up on end. When he
have you taken that all beauty other than that of the proceeded to unlace the cord of her ghaghra Radha got
beloved is distasteful to you like poison?” up startled, and—though recognizing him—upbraided
him in annoyance like this: “O ill-bred cow-boy, you
30 KANGRA PAINTINGS ON LOVE

Radha’s Vichchhiti-hava

“These ornaments which you like are in fact

useless as compared with the grace and beauty
of your person. Krishna’s eyes thirst for the
loveliness of your limbs, which being your real
ornaments, you can never put off. Perfumes
spread their sweetness all round, but can the
natural fragrance of a perfume be separated
from it? Ornaments cannot decorate you, O
Radha, it is you who decorate them.”

Krishna’s Vichchhiti-hava

“You have refused to accept betel-leaf and to

decorate yourturban. You have changed your
lovely clothes, and have thrown away your
pearl necklace and the garland of wild flowers.
You have disfigured the sandal paint on your
limbs; and yourgaze you have withdrawn from
the world around. But who can destroy the
natural majesty and fragrance of your limbs?”

MUTE INVOLUNTARY EXPRESSION OF

AFFECTION (MOTTA Y/TA-HA VA)

When unhesitant dalliance and sportive love,

producing Sattvika-bhava, are restrained by
wisdom’s might, Mottayita-hava becomes
manifest.

Radha’s Mottayita-hava

Wearing a beautiful robe, Krishna is sporting,

where Radha, prettierthen Rati, sits. Suddenly
Fig. 26. On hearing the peal of thunder the iady leapt like lightning to the bosom of
noticing on the back of Krishna the red marks
her lover
of sindura(which had been imprinted from her
graze the cows the whole day, how dare you approach bosom by an embrace on an earlier occasion), Radha,
another woman’s bed at night?” on account of the nearness of her mother, concealed her
emotion by putting powdered camphor into her eyes,
Krishna’s Bibboka-hava smelling a lotus, and wrapping her mantle around her
body. (The emotions concealed are tearfulness by the
Once Krishna said these words to a gopiout of fun: use of camphor, tremulousness by smelling a lotus, and
“Given up by your father, how can you nurse feelings of horripilation and pallor by wearing a mantle.)
love for me?”
Krishna’s Mottayita-hava
This brought a flood of tears into the eyes of the gopi.
Krishna, greatly touched, embraced her, but leaning Invited to Vrishabhanu’s house, Krishna, Balavira and
against him, she sobbed till midnight. many other cow-boys were sitting together after lunch
with the host; and Krishna was making betel-leaves and
SIMPLICITY IN DRESS (VICHCHHITI-HAVA) eating them. With the sudden appearance of Radha,
peeping through the window, Krishna was infatuated
When the beauty of ornaments is disregarded, Vichchhiti- and he staggered and fell down. The confusion and
hava is aroused.
 HAVA 31

noise that followed startled Krishna from the

swoon. He hesitated a while, then understood
and exclaimed hurriedly: “The arecanut in the
betel-leaf choked me.”

AFFECTED REPULSE OF
ENDEARMENTS (KUJTAMITA-HA VA)

Simulated quarrels in the midst of love-sport

create Kuttamita-hava and add to the joy of
love.

Radha’s Kuttamita-hava

Simulating anger and with obstinacy she

walked away, having turned her back on him.
He leapt and held her again, although she
struggled hard to free herself from his hold. He
now pricked her flesh with his nails and teeth,
and fondled her bosom, treating her worse
than an enemy and transgressing all limits.

"Now he sits by her side giving her

betel-leaves to eat.
Perverse are the ways of love, O
sakhi"

Krishna's Kuttamita-hava

Seeing Krishna, Radha kept quiet and would

not utter a word, or only say harsh things. All
his requests and oaths would not make her
look into his face. He entreated her timidly but
in vain; he fell at her feet only to be repulsed.

"But look now, Radha’s face is in his lap,

which he is decorating.
The lore of love is queer." Fig. 27. Flutter of delight

MESSAGE THROUGH A SYMBOL (BODHAKA- (The stranger was a messenger from love-sick Krishna,
HAVA) whose plight the faded lotus symbolized. Krishna’s
longing for a meeting was conveyed by the messenger
falling at Radha’s feet. Radha secretly responded and
When the deep meaning of a lover’s sentiment conveyed
indicated, by the wiping of sandal paint, and the
in symbols or riddles is understood by the beloved, it is
application of black paint, that she would come out to
said to be Bodhaka-hava^1 (Figs. 28 and 29).
meet her lover when the moon had gone down, and the
night was dark).
Radha’s Bodhaka-hava

Krishna’s Bodhaka-hava
The wise Radha was sitting in the midst of the assembly
of her female companions, when a newly wedded cow¬
Sitting in the company of his friends and shedding his
girl holding a faded lotus in her hand entered and fell at
lustre around, Krishna was like the full moon surrounded
Radha’s feet. Radha sprinkled sandal water on the lotus,
by fascinated chakoras. A stranger entered, offered him
offered her betel-leaf, wiped the sandal paint from her
a dripping lotus filled with fresh water, which he poured
cheeks, put black paint in her eyes, and bade her good¬
out by inverting the lotus. Krishna looked at it thoughtfully,
bye.
32 KANGRA PAINTINGS ON LOVE

Fig. 28. Lady's message of love

 HAVA

WF\
aft

Fig. 29. Rad ha's hysterical delight

34 KANGRA PAINTINGS ON LOVE

arranged its petals into a bud, and returned itto

the stranger.

(The stranger was Radha’s messenger. The

lotus filled with water signified the advent of the
rainy season, which now stood between the
lovers, and the drops told the story of the
beloved’s tears. The turning of the lotus into a
bud gave the promise of meeting at night when
lotuses close into buds).

Fig. 30. Krishna's message of love

 CHAPTER V

THE EIGHT HEROINES

Ashta Nayika

A fter describing the nayikas according to

personality, character and moods, as
.

discussed in Chapter II, Keshav Das further

classifies them into the following eight types:
Svadhinapatika, Utka, Vasakasajja,
Abhisandhita, Khandita, Proshitapresyasi,
Vipralabdha, and Abhisarika. This classification
is based on moods and situation.

S VADHiNAPA T/KA.Jb e loyallyloved.Herhusband

is subject to her will.

Utka, Utka la, Utkanthita or Virahot kanthita: t-'' V*

v V
:

V ‘S
She who yearns. She expects and yearns for
her lover or husband. ■4

Vasakasajja: The expectant with a bed

prepared. She expects her lover or husband to f
return from a journey, and waits with the bed
prepared. JS

Abhisandhita or kalahantaritA: The estran¬

ged by a quarrel. She repulses her husband
when he seeks to soften her pride, and repents
when it is already too late.

Khandita: The sinned against. She whose Fig. 31. The loyally loved
husband has spent the night away from home
with another woman, and reproaches him bitterly when Abhisarika: The forward. She goes out to seek her
he returns in the morning. lover.

Proshitapatika or proshitapreyasi: She whose Sometimes the following three types are added by some
husband is abroad. He appoints a time of return; the day rhetoricians:12
has come, but he has not yet returned.
PravatsyatpatikA: She who anticipates separation.

Vipralabdha: The neglected. She who keeps an She learns that her husband is about to go away on a
appointment, but night passes without her lover coming. journey at dawn.
36 KANGRA PAINTINGS ON LOVE

AGAMAPATIKA: She whose II UTKA NAYIKA

husband is on the way home.
Her happiness is increased by Utka is she whose anxiety is
the news that her husband is on roused greatly at her lover’s
his way back from a far country. inability to keep his appointment
with her at the promised hour
AgatapatikA: She whose (Figs. 32-35).
husband has returned. He
comes back from a journey and Nayika’s monologue:
immediately seeks his wife.
“Is it some business at home
I. SVADHINAPATIKA which detains him or the
NAYiKA company of his friends, or is it
some auspicious day of his
SvadhJnapatika is one whose fasting?
virtues herhusbandadmiresand
to whom he is bound in love and Was it a quarrel with some
is perpetually a companion. He person or the dawning of divine
is not henpecked, for such an wisdom which keeps him away
idea is alien to Hindu thought, from me?
and aggressiveness is never
associated with Hindu women Is he in pain, or is it some
most of whom are modest, treachery that keeps him from
graceful and affectionate and meeting me, or the impeding
respect their husbands, waters, orthe terrifying darkness
conditioned as they are by of the night?
centuries of submission and Or does he test my fidelity?
obedience. O my poor heart, you will never
know the cause of his delay!”
Sakhi to Rad ha:
Rad ha to sakhi
“O rAdhai Krishna is the life-
giver of Vraja and a darling of "Is it his forgetfulness or has he
Brahma; and goddesses, lost the road? Is he afraid of the
demon-women, Surya and elements, or has he met some
Lakshmi are never tired of acquaintance on the way, or has
singing his praises. And you, some fairface enticed him? Dear
only a mean little cow-girl, have sakhi, pray see if he has come,
yourfeet cleaned by him and he, or is still on the way, or not yet
the Lord of the Universe, is started from his place. This
constantly clinging to you like unending separation from
your shadow ” (Fig. 31). Nandakumara!”

He takes care of your pettiest Utka Nayika is usually

affairs, and protects you like represented standing or sitting
betel-leaves kept in the basket upon a bed of leaves or flowers.
and resides in you as the image The Utka shown in a picture
dwells in the mirror. He runs from Guler standing on a bed of
after the chariot of your desires leaves at the trysting place is
like the water of the Ganga, Fig. 32. Utka Nayika (Yearning for the beloved) very beautiful. Her slender
which followed in meandering motion the chariot of willowy figure reclining against the trunk of the tree is an
Bhagiratha. Your words are like scriptures to him. It is, embodiment of feminine grace (Fig. 33). The Utka in a
therefore, absurd to try to dissuade him from doing all painting from Kangra is standing on a bed of leaves
this even for the sake of saving him from calumny.” covered with jasmine flowers. She has adorned the
trunk of the tree also with garlands of jasmine. A pair of
 ASHTA NAYIKA

Fig. 33. The anxious heroine

38 KANGRA PAINTINGS ON LOVE

Fig. 34. The lady's vigil

 ASHTA NAYIKA 39

Fig. 35. Waiting for the lover

40 KANGRA PAINTINGS ON LOVE

Fig. 36. The expectant heroine

 ASHJA NAYIKA 41

Fig. 37. Love longings (RaginiKamodini)

42 KANGRA PAINTINGS ON LOVE

Fig. 38. The meeting of lovers

 ASHTA NA YIKA 43

love birds in the crown of the tree

heightens her loneliness. The heavy
dark clouds on the village are lit up by
a flash of lightning. The heroine who is
like a dryad of some enchanted forest
eagerly awaits the arrival of her lover
(Fig. 34). Sometimes the Utka\s shown
seated on a bed of leaves in a clump of
trees. A deer is drinking water from the
stream, while another is sniffing at the - --
wind. The silence of the night is .
portrayed vividly (Fig. 35). The - " —=*“j r

inscription on the back of the painting,

translated, reads as below:
si m\ Ql:

There she sits waiting for her

lover,
i|
Her fair body is like the white
£s
sandal tree,
Her garments like the blue clove-
vine fluttering round her fair soft
limbs,
And her lustre glows like that of a
burning lamp.
Excited with thoughts of her lord
She is startled by every sound of
rustling leaves,
Or of birds and animals drinking
the scented breeze.
Thus like a newly caged bird, she
moves restlessly in her leafy nook.

III. VASAKASAJJA NAYIKA

Vasakasajja is she, who, desirous of

union with lover, stands at the doorstep
waiting for him.

“Uttering sweet words to her sakhi

and relating to her with eagerness her
heart’s desire, she is casting the spell
Fig. 39. Vasakasajja Nayika
of her soft smiles, dreamy eyes and
perfumed limbs. An incarnation or Rati as it were, she is all feelings of modesty and restraint have left her and she
asfairas a tulasiplant. Thus the beautiful girl, resembling passionately embraces him, while a servant girl looks
Kanta, adorns her bower.” on, embarrassed and amused (Fig. 38).

Vasakasajja Nayika is represented in paintings in IV. ABHISANDHITA NAYIKA

different manners. Sometimes she is shown standing at
the doorway of her bed-room expecting her lover’s Abhisandhita\s she who is estranged by a quarrel. She
arrival (Fig. 36). There is an expression of eager desire is one who disregards her lover’s devotion to her, but in
in her face. She is also shown seated on a bed with his absence, is full of remorse at her mistake, and the fire
garlands strewn, and lighted candles beside it (Fig. 39). of separation burns her all the more. The lovers have
quarrelled. The yellow-clad Krishna, with a peacock
When the lovers are united, Vasakasajja Nayika becomes feather on his turban, is about to leave. There is intense
Agatapatika. The lover has returned home after long sorrow and gloom on the face of Radha who has been
offended at some remarks of Krishna. He has tried to
absence from a perilous journey. Overwhelmed by joy,
44 KANGRA PAINTINGS ON LOVE

soften her anger, but she does not relent,

and in herangerhas repulsed him. When he
turns his back and is about to depart, she is
sorry for her harsh conduct. Radha’sfingers
are gracefully drawn and black tresses of
her hairare visible from under hertransparent
dupatta. The curves of her delicate body,
her pencilled eyebrows and her mood of
resentment and sorrow are eloquently
portrayed in this painting (Fig. 40).

Radha soliloquizes:

“How foolish of me not to have responded

to him when he spoke to me repeatedly! I
was adamant and would not yield to him
when he came and fell at my feet. And now
my limbs seem to be dissolving like butter
with excitement. Woe to me, my
helplessness defies all cures! Shutting out
all feeling of love, I was obstinate to him
without whom I have not the power to live!
How unlucky that when he tried to propitiate
me, I didn’t acquiesce; and this gives to my
soul the bitterest mortification and
repentance.”

Thus says nayika to sakhi:

“SakhI when he fell at my feet, I turned my

eyes away from him. I took my lessons from
the God of Anger, and I didn’t act upon your
advice. And, now, all joys have turned into
woes. Sandal-paste, the rays of the moon,
breezes from the Yamuna’s bank, and
lotuses all burn my body. Since I reversed
the sacred code of justice, all good things
have reversed their effect upon me.”

V. KHANDITA NAYIKA

Khanditms the sinned against. She is one Fig. 40. Lover's quarrel
whose lover, having promised to come at
night, does not come and turns up at her house the next amorous excitement. They look bewitched, but still they
morning after spending the night with another woman. bewitch me. Are they burning in the flames of separation
from me, or in the fire of some other woman’s love?”
The nayika knows that the nayaka’s eyes are red
because he kept awake the whole night in the house of In the pictures of the Khandita Nayika the lover is shown
some woman. But she questions him adroitly because of entering the courtyard of nayika’shouse, abashed with
the presence of her sakhis before whom she doesn’t a sense of guilt on his face, and the angry and offended
want to raise a serious dispute.
nayika is upbraiding him (Fig. 41).

“Mohan, slightly different from what they were before, VI. PROSHITAPREYASI NAYIKA
your eyes seem as if coloured with rna/war paint. Tell Proshitapreyasi' is one whose husband has gone
me on oath if they are so red on account of anger or with away from her for some period on some business, and
 ASHTA NAYIKA 45

Fig. 41. The offended heroine

46 KANGRA PAINTINGS ON LOVE

Fig. 42. The lady in grief

 ASHTA NA YIKA 47

has not returned on the appointed day.

Hence she is sad and worried, and is not
consoled, though her companion tries to
comfort her (Fig. 43).

Thus says sakhiXo nayika:“Ho\N delightful

is this auspicious day of your lord's
return—perhaps it is the fruit of many
virtuous deeds done in the past! This day
has as if unexpectedly arrived, for who
could say that he wouldn’t have had to stay
away for some more days? But why don’t
you smile as you speak on this exceedingly
charming day which does not seem to thrill
you? Your obstinacy is indeed hard as
wood, and no fire of separation could burn
it.”

VII. VIPRALABDHA NAYIKA

Vipralabdha is the disappointed heroine,

who has waited in vain for her lover the
whole night through.The vipralabdha is
shown standing under a tree at the edge of
a bed of leaves, tearing off her ornaments in
disgust and flinging them on the ground.
The empty space in the background
symbolises the loneliness of the lady, her
frustration and deep distress (Fig. 44). It is
th u s that th e nayika 'sfee I i ngs a re descri bed
by her confidante:

“Flowers are like arrows, fragrance

becomes ill-odour, pleasant bowers
like fiery furnaces,

Gardens are like the wild woods, Ah Kesava,

the moon rays burn her body as though
with fever,

Love like a tiger holds her heart, no watch of

the night brings any gladness,
Fig. 43. Proshitapreyasi Nayika

Songs have the sound of abuse, pan has the Kamabhisarika \s one who accosts her lover with lustful
taste of poison, every jewel burns like a passion.
firebrand.” There is yet another threefold classification:

VIII. ABHISARIKA NAYIKA SvAKiYA-ABHiSARiKA is she, who, with her limbs decorated
with ornaments, out of excessive modesty, goesoutwith
Abh/sar/ka is the forward. She is one who goes out to unsteady steps in the company of wedded women.
meet her lover from love, pride or desire (Plate VII).
Parak/ya-abh/sar/ka walks coyly on the road, and thus
Abhisarika \s of three types illumines the company of her friends, kinswomen and
Premabisarikawho accosts her lover with affection and other women.
feeling of love.
Garvabhisarika is one who accosts her lover with pride Samanya-abhisarika: With a bewildered mind but
and vanity. possessing courage, with her body clad in blue garments
48 KANGRA PAINTINGS ON LOVE

and limbs beautified by paints, perfumes

and ornaments, she goes out at twilight and
on festivals at midnight with herfriends, and
holding flower covered branches in her
hand, looks on all sides, smiles, and wins
the hearts of men with her gracefulness.

An abhisarika has gone out to meet her

lover, and the following conversation takes
place between them:

Nayaka:“\ou have enslaved me, dear, by

coming here even though not called.”
Nayika: “But, Ghanasyama, clouds came
and brought me here.”
Nayaka:"\ can’t even see your body in this
darkness. I wonder how you found the
way.”
Nayika:“Lightning showed me the path.”
Nayaka:uB\A your feet must have been hurt
on the uneven path covered with mud and
thorns.”
Nayika: “The elephant of courage which I
was riding was very comfortable indeed.”
Nayaka:“How did you dare come absolutely
alone in this dark and horrible night?”
Nayika: “Your love was my companion.”

Sakhi to nayakaou seeing the nayika who

has come out to meet him:

“The longing in her eyes, the art of her

speech, and the fairness of her limbs cannot
remain hidden nor can the majesty of her
gait. A chitrinicow-girl is with her, and her
matchless form betrays her mind. Her
delightful yearnings—sublime like the moon
—are soaring high as if on the palanquins of
your fawn-like eyes. Discard your anxiety
and take yourdrinkand meal peacefully; for
it is the same charming cow-girl whom you
saw yesterday.” Fig. 44. Vipralabdha Nayika

A sakh/\s telling another how the nayika crossed the

“Herfine garments are perfumed with sandal; necklaces wood at night to meet her lover:
are decorating her bosom, and her flower-ornaments
are as if the repository of all bliss. I would gladly sacrifice “Serpents were coiling round her legs and their heads
crores of Ratis to have a glimpse of her. She is playing were being crushed beneath her feet; and evil spirits
upon her vina, and fawns and swans are gambolling ranging abroad, could be seen in all directions. She
round her, and she looks like Sarasvati. Forgetting the didn’t notice the torrential rain, nor the terrifying thunder
darkness and the pain of separation, her eyes, fond like of dark clouds, nor the screaming of cicadas amidst the
those of a chakoraaxe beaming with joy. The captivating roaring of the storm. She didn’t know when herornaments
beauty of this pair of moons is bewildering her rivals and fell off one by one. Defying the ditches and brambles that
sweeping them off their feet. Their yellow sparkle is tried to stand in her way, she went on. The goblin-wives
fading them as if they were lotuses confronting the themselves wondered and are asking her, ‘Wherefrom
moon.” have you learnt his yoga-like abhisara?Oh Abhisarika,
how marvellous this trysting!’ ” (Fig. 46).
ASHTA NAYIKA 49

Fig. 45. The neglected

50 KANGRA PAINTINGS ON LOVE

Fig. 46. Abhisarika Nayika

 ASHTA NA YIKA

- ' lllP
NHnMM
’; r-*%
I ~,j?3wHMHB|flMfij
f . ■

Fig. 47. The lady goes to meet her lover in a dark night
52 KANGRA PAINTINGS ON LOVE

Fig. 48. The forward

 ASHTA NAY/KA 53

A sdkhitries to dissuade a nayikawho, burning with According to the Kama-sutra, desire in the heart of a
passion, is ready to dart forth to meet her lord in spite of woman waxes and wanes with the moon. When the full
impediments: moon spreads its magical radiance over the landscape
in the Kangra Valley, the valley gets transformed into a
“0 foolish girl, don’t you know that many aged cowherds fairyland. Underthe magicof moonlight, harsh details of
are sitting on the way, and that scores of assemblies are the landscape fade, a voluptuous repose descends on
in progress? Streets are overcrowded with playful urchins Nature, and the crowns of the mango, pipal and pine
who will win any girl’s heart. Many women are going this trees melt into the mountains, appearing like lovers
way and that, and they, though hiding their faces in their united. In the light of the moon the lovers go out in search
veils, can recognize the very shadow of others. Displaying of each other. In a Kangra painting, a lady is shown going
your moon-like face, where are you hastening? Are in in search of her lover. There is a full moon in the sky filling
your right mind?” the atmosphere with its silvery beams. The pale light of
the moon, cool and phosphorescent, is painted with
There is yet another classification of Abhisarika: remarkable skill. The lady is suklabhisarika who goes
out to seek her lover. The drapery of the woman and her
Sandhyabhisarika, who visits her beloved in the evening delicate features are suffused with mellow light (Plate
twilight. VIII).
Krishnabhisarika, who does so on dark nights (Fig. 47).
Suk/abhisar/ka, who does so on bright moonlit nights.
Divabhisarika, who does so by day.
 CHAPTER VI

LOVE IN SEPARATION
Vipralambha

PURVANURAGA Love lay waking in my heart,

K eshav Das defines Vipralambha Srihgara, as the

sentiment aroused by the separation of lovers. The
Her voice was ringing in my ears;
I would have gone, my feet refused to move.
The bonds of hope constrain me yet;
sentiment of love in separation is determined by four Love is a tide, says Vidyapati.”13
conditions:
THEREare a numberof paintings illustrating pOrvanuraga
Purvanuraga: the beginning of love.
in the Nayaka-Nayika as well as Ragamata series.
Meeting at the village well or bathing ghat is a familiar
Mana: separation on account of coldness or obstinacy.
theme. Krishna has a glimpse of the charm of Radha
when she hasjustfinished herbath, and is busy with her
Pra VASA: separation of lovers in different places or
coiffure (Plate IX). There are a number of paintings
countries. (As on the departure of Krishna from
representing the nayika at her bath. In some of the
Vrindavana to Mathura.)
pictures showing bathing scenes, which are the most
charming products of the Kangra School, the lover is not
Karuna: death.
shown, and the lady alone is depicted after her bath on
a terrace (Plate X).
Purvanuraga\s the beginning of love and the awakening
of desire for union. The beloved may be seen in a dream,
The poet thus describes the beauty of Radha at her
in a picture or in real life. As the gopissai\d to Krishna,
bath:
‘Love is born in the eyes, is fed by gazing, and is sealed
into an entity through courtship and love-taiks’. Love in
“Once on a time the daughter of Vrishabhanu rose from
India is always love at first sight, as of Hir and Ranjha,
her bed and came out on the terrace to bathe, O sakhi\
and Sohni and Mahival, on the pattern of Dante and
Beatrice. The meeting of the eyes may take place at the
Her body shone through the shimmering bodice like the
village well when the thirsty wayfarer asks for water, at
reflection of the moon in the waters of the Yamuna.
the bathing ghata\. a festival, or at a religious gathering.
The long locks hanging from her head in lovely wise
The sentiments of love at first sight are described with
curled back upon her breasts,
utmost charm in the sparkling love poems of Vidyapati,
who thus describes the purvanuraga of Krishna for
Whereat the river spake, There has come some
Radha:
serpent to worship Siva in the shape of the fair moon’s
image'.”14
Krishna: “Why did that moon-face cross my path?
Whose sidelong glance is all too keen:
There are a number of paintings of bathing beauties in
An ill day that for me!
which the artists fully avail themselves of the opportunity
My thoughts were set upon her breasts,
 VIPRALAMBHA 55

the courtyard of the house. While

she is flitting across the courtyard,
her dupatta slips from her head.
She looks up and sees her lover,
their eyes meet, and her sweet
glance shows her innermostthought
(Plate XI). A glimpse may be had of
the beloved while occupied with her
household work. Radha is in the
kitchen stirring a pot on the fire
while Krishna is talking to her
confidante on the terrace. In some
of the pictures showing cooking
scenes, while Radha is busy in the
kitchen, Krishna is shown standing
secretly near a window watching
her beauty spellbound.

“The Sweetheart’s bosom came

forth, and all her body shone with
beauty—as if to watch the stirring of
the lentils, that her garments hid.”15

In Chapter VIII of the Rasikapriya,

Keshav Das thus defines
purvanuraga: “When the lovers
deprived of the sight of each other’s
comely form, which produces love,
suffer pain, purvanuraga becomes
manifest.”

Radha’s Secret Purvanuraga

Na YiKA to SAKHi: “Don’t show me

flowers, which, without Krishna, give
pain like thorns. Take away the
garland which looks like a serpent.
Don’t shake the chamar nor the
fan, because the perfumed air only
makes me mad. Don’tapply sandal-
paste, because it only causes fever.
Fig. 49. A glimpse of the beloved
Keep saffron away, for it seems to
of displaying feminine charm. A woman, seated on a kindle fire within me. Don’t give betel-leaves to me for
chauki, her bust projecting, and arms raised, is wringing they taste like poison. You must be mad not to heed my
her wet hair (Fig. 50). The poet compares the stream of requests.”
water pouring from her hair to a dark cloud scattering
strings of pearls. Sometimes a swan is shown drinking Radha’s Manifested Purvanuraga
the falling drops of water.
Na yika toSAKHf: “Since the day I somehow looked at the
In another painting Radha has finished her bath, and object of my desire, my mind hasfallen into a state which
seated on a chaukiis looking into a mirror attended by cannot be described. If you talk about me or my condition
her maidens. Krishna, taking full advantage of the to others I shall be laughed at. Knowing you as my
opportunity, is looking from a window (Fig. 49). The lover wellwisher I have come to ask you for the remedy. How
may have an opportunity of seeing the charm of the shall I meet him; and, without meeting him, how shall I
beloved when she is playing with a yo-yo, and is crossing live? There is love in my eyes, but fear in my heart.”
56 KANGRA PAINTINGS ON LOVE

Fig. 50. Lady bathing

 VIPRALAMBHA 57

Fig. 51. Detail of Fig. 49

Krishna’s Secret Purvanuraga Krishna’s Manifested Purvanuraga

Na yaka to sakhL “Once Radha was sitting with her Na yaka TO sakh/: “Ever since Radha united her gaze
mother in the company of her friends. Passing by, I saw with mine, and drew my eyes to her, enslaving them with
her, and she gave me an indescribable look expressive her laughter and her raised eyebrows, the sight of other
of her love. Since that day the talk of all other women women gives me no pleasure. They stifle longings and
sounds like crude prattle. My mind has wandered every¬ cause pain, as the chakorf, in separation from moonlight,
where, but it has not seen another such beauty.” swallows live embers.”
 CHAPTER VII

LOVE IN SEPARATION
Mana

ana is separation of lovers on account of jealousy, and the one in her hand which she was about to offer him
obduracy, pride, impropriety of speech or conduct, remained where they were, and tears rolled down her
or coldness. Mana may be slight (laghu), moderate eyes.
(madhyama), or heavy (guru). Mystically interpreted,
Mana is the intrusion of ego which stands between the Nayaka’s Guru Mana
union of the soul and God. Vidyapati, Keshav Das and
Bihari Lai have all described the Manaoi Radha in their When the nayika speaks words that transgress the
works. In Krishna Avatara, Guru Govind Singh has given bounds of propriety, Guru Mana is aroused in the mind
a very moving account of the Manaoft Radha. There are of the nayaka.
a number of paintings of ManiniNayikas in Kangra art,
which are mostly illustrations of the poetry of Keshav Krishna’s Secret Guru Mana
Das and Bihari. Out of these, there are reproduced in this
book, viz. Plate XIII and Figs. 52 and 54. Radha : “O Krishna, you are false to your vows and your
loves are now being disclosed. Come and see this love-
Keshav das defines Mana as the sentiment of pride, letter which has been found in your turban. Though
which is aroused by the fullness of love, and which written on ordinary paper, it is like a blazing furnace to
heightens its glory. me. This is the road to infamy. Only God knows how
many such roads you have traversed ! Why do you
GURU MANA compel me, by your conduct, to utter words bitter as
poison?"
On seeing the evidence of another woman’s presence
To this Krishna replied laughingly : “To me these words
or on hearing her name, Guru Mana becomes manifest.
sound sweet.”

Rad ha ’s Secret Guru Mana

Krishna’s Manifested Guru Mana
“Forgetting his quarrel with Radha, Krishna met her
and revelled in the enchantment of her beauty, love and Sakhi to nayika : “If you have a complaint against your
laughter. On seeing nail-marks on his person beneath dear one, you should speak of it only in private to him;
his garment, she turned her gaze away, and her eyes it would be wrong to disclose his guilts publicly. If his
drooped like a lotus flower at the sight of the moon.” eyes stray in undesirable directions, you may try to
(Nail-marks resemble the crescent moon). restrain them, but not to prick them with a knife.
Remember, he is the same Syama, separation from
Radha’s Manifested Guru Mana whom can kindle such a fire in the hearts of women that
a solution of camphor will have to be sprayed to cool it.
Radha asked Krishna to narrate stories to her. While he You should speak as propriety demands, and not speak
was doing that, the name of another woman escaped his harshly to one who has abandoned everything for the
lips unawares. On hearing it, the betel-leaf in her mouth sake of your love.”
 MAN A 59

Fig. 52. The obstinacy of Rad ha

LAG HU MANA a kanera bud is white within, though red

without.”
When the nayika herself sees the nayaka looking at Sakhi: “Is there a witness who can be asked to verify
anotherwoman, orhears from her sakhio\ such conduct this accusation?”
of the nayaka, Laghu Mana is manifested. Nayika: “I would need no witness, for I have seen things
myself.”
Rad ha’s secret Laghu Mana
When the nayika does not act according to the nayaka's
“O Krishna, the wisdom of your beloved one and the bidding, Laghu Mana becomes manifest in his mind.
purity of her innocence remain locked up in her mind. I
cannot say if she is feeling proud or insulted. Who can Krishna’s Secret Laghu Mana
know whether she is pained or amused, fascinated or
furious? Her replies are neither refusal nor affirmation, “I don’t know what you will do in future. Already you have
and her composure alternates with impulsiveness—she caused such pain by not doing your beloved’s bidding.
changes like the shadow of shifting clouds.” Out of modesty you avoided expression of your affection
and thus caused injury to love. You did not hold him in
Radha’s Manifested Laghu Mana your arms, nor did you amuse him with the novelty of
your speech, nor indeed did you gaze at him as if filling
Sakhi: “Even the pretence of annoyance with the dear your eyes with his appearance. Why have you turned
one is unworthy, and such indifference is indeed your mind away from him?”
unimaginable.”
Radha’s Manifested Laghu Mana
Nayika: “Who is dear, if he is himself indifferent ?”
Sakhi: “Only yesterday he was sending his messages “What wrong have I done to you that you do not speak
of solicitude through me.” to me as you used to do in the past? How would I know
Nayika: “Why did you not come yesterday, if you profess what is hidden in your heart unless I hear of it? Strange
goodness ?” is your appetite, for you do not know how to cool the
Sakhi: “Today I offer to act as a truce-maker.” boiling milk before drinking it, nor let the grapes ripen on
Nayika: “It seems you will only cause a breach, for I am the vine before tasting them. Rightly are you called
disillusioned by the deeds of Krishna, who like Kunjavihari!”
60 KANGRA PAINTINGS ON LOVE

(Kunjavihari also means a monkey. The reference is to

nayaka’spremature desire for the nayika who is still too
young for love, and to his monkey-like impulsiveness to
taste unripe fruit. His iaghu mana has been caused by
the nayika’s refusal to make love).

MADHYAMA MANA

When the nayika sees the nayaka talking to another

woman, Madhyama Mana is aroused .

Radha’s Secret Madhyama Mana

Nayika: “ Say, where did you spend the whole night ?”

Nayaka: “In waiting for you.”
Nayika: “What are these marks on your body ?”
Nayaka: “These are scratches made by thorns during
my wanderings in the forest.”
Nayika: “Why these red eyes ?”
Nayaka: “Because of having burnt in the fire of your
separation.”

Seeing her winning grace, the nayaka embraced her.

Radha’s Manifested Madhyama Mana

Na YtKA to the other woman : “Have you come to indulge

in your prattle as you do so immodestly in his presence?
I cannot say what I wanted to say, for I do not wish to
narrate unabashedly my secret shame. If Krishna has Fig. 53. Detail of Fig. 52
been so shameless, I cannot tread in his footsteps.”
RECONCILIATION OF LOVERS
When the high-minded nayika o,a.wx\o\ be brought round
by the nayaka, who, having failed, gives up the attempt, Women have an insatiable need for love and tenderness,
Madhyama Mana is aroused in his mind. and reconciliation follows when the hero says sweet
words, or gives her a gift, or expresses regret at his
Krishna’s Secret Madhyama Mana conduct and gives an assurance of loyalty and love to
the beloved. Sometimes sakhis are won over by the
SakhI to nayika-. “I tried to dissuade you from showing nayaka and they prevail upon the nayika to relent.
pride to Krishna, and you refused to listen to his solicitous Sometimes out of desire for pleasure, the nayakafaWs at
words. O lotus-faced one, now look at your faded face in the feet of the nayika and thus wins her over. When this
the mirror. All your sakhisha6 given advice to you in the happens the tactful nayakadoes not mention her Mana,
interest of your welfare, but you never listened. I know and instead talks of other matters.
that one day you would have to send me to Krishna to
propitiate him.” In re-union the lovers give up their pride in six ways,
namely, Sama (gentle advice), Dana (gift), Bheda
Krishna’s Manifested Madhyama Mana (dissension), PAa/73ft'(fallingatfeet), L/pe/rs/7a(neglect),
and Prasahga-vidhvamsa (change of topic).
SakhJ to nayika : “O high-minded girl, you should come
round if besought with respect. If you would not, you Gentle Advice
would be left only with your pride, for the lover would Sama-upaya of Rad ha
become disgusted with you. He would also talk slightingly
of you in the presence of other women. I had advised you Na yaka to nayika:" One who hopes for joy, should not
to be reconciled when he was begging you to forgive be given pain. One who has been accepted as your own
him, for otherwise you would have to go a-begging to should not be made the object of annoyance. You and I
seek reconciliation with him.” are one entity—two bodies with one soul. Pride is the
 MANA 61

Fig. 54. The obdurate

root of disaffection, and should not, therefore, be thought can be compared to the sweetest and loveliest of lips.
of even in a dream.” They have all qualities except fragrance. And having
heard of and now seen your bosom, which resembles
Sama-upayao\ Krishna the Malaya mountain, covered by curling tresses which
are like the snakes on mountains, they long to become
Na yika to nayaka : “People are talking against us, fragrant by a touch of your bosom. Will you just wear
because of your conduct; otherwise they would not do them round your neck?"
that. Why follow a tiresome and thorny track ? When
people will raise an accusing finger at you, our love will Sakh!, presenting to nayika a necklace of ivory beads
pine away like the tender sprout of regmacreeper. You sent as a gift by nayaka. “When this ivory was a part of
must, therefore, act wisely, for you and I are indeed the wild elephant’s tusk, it had rent living creatures and
inseparable.” inanimate objects alike. Since that time it is being
tortured by fate in many ways; it has been pierced with
Gift holes and tied up in a string. To wash away its sins, this
necklace has now thought of a pilgrimage to your
Where a gift is accepted out of greed and pride is given bosom, the seat of holiness.”
up, a harlot’s characteristics are manifested.
Dana-upaya of Rad ha
Dana-upaya of Krishna
Radha came smilingly to Krishna and sang to him a tale
Sakhi, carrying nayaka's gift of a garland of ‘bandhu- of love. She then asked him to explain to herthe meaning
jiva’ flowers, tonayika: “ Look at the soft spotless petals of some of the sequences of the story: the simultaneous
of these flowers as if newly created by Brahma. These partaking by the lovers of the nectar of each other’s
red flowers are dear to the Sun, their lord. Their redness mouths, and of other parts of the body which in
62 KANGRA PAINTINGS ON LOVE

consequence suffered amorous injuries by nails and high-minded lady, till your lover came and fell at your
teeth. Enclosing him in an embrace, she also asked him, feet?”
on an oath, what mode of embracing the lovers in the tale
had adopted. Thus did Radha herself make up her Nayika falls at the feet of nayaka to propitiate him only
quarrel with her lover today. out of love. Such a solicitation is not made out of lust or
from a sense of guilt, because that would mean violation
Dissension of rasa.
Bheda-upaya of Radha
Pranati-upaya of Krishna
Sakhi, who has been won over by nayaka, to nayika:
“The nurse and the servant, out of self-interest, are Sakhi to nayaka : “Water can do without the fish, but the
hesitating to give you counsel; but destiny has so bound fish can live only in water. For the sake of her, without
me to you that I cannot help but give you my advice. whom previously nothing appeared tasteful, you should
Please speak gently lest your harsh words should pierce do what would please her. You used to fall at my feet to
the soft heart of Krishna.” get united to her; and now, why don’t you raise her to
your bosom when she is at your feet? Is there anyone
Bheda-upaya of Krishna who would even dream of barring the door against the
approaching Lakshmi? Pray, take my advice.”
SakhI, who has been won over by nayika, to Krishna :
“Having been told by someone that you were angry with Neglect
her, Radha has been straining her mind to device some Upeksha-upaya of Radha
means of reconciliation without becoming a laughing
stock, but her thinking has been of no avail. The poor girl SAKHi to nayika .“This is not the flash of lightning but of
is between two fires : your anger and the taunts of weapons. This is not the sound of peacocks, but of the
jealous women. I ask you now if she should come to bards singing praises of heroes. It is not the thunder of
propitiate you.” clouds but of the war-drums. The sun has as if covered
his face out of fear. O damsel with a moon-like face,
Falling at Feet hasten to your friend Krishna, who is the destroyer of
Pranati-upaya of Radha (Out of love) enemies, for these clouds, which are the warriors of the
Demon of Darkness, are coursing on the horses of high
Na YtKA TO SAKHi: “All of them are saying about me that
winds in search of the moon."
even when Krishna came and held my feet and thus
demonstrated his love for me, I did not look straight at
Upeksha-upaya of Krishna
him. They are as if making a stream of calumny flow
against me. I ask you with all humility to say whether,
Sakhi' to na yaka-. “Look at the conduct of this shameless
when Krishna came to propitiate me, I insulted him or
bumble bee who, in the company of his spouse, goes to
merely displayed my self-respect.”
woo maiati. He admires day and night the colours of
ketaki;\v\ his heart resides chame/ianti in his eyes nalini.
Pranati-upaya of Radha (Out of lust)
He drinks the juice from madhavi, and tastes the sevati
Sakh'i to nayika . “If you wouldn’t speak yourself, you
simultaneously with the champa
should respond when spoken to. Why must you let me
wear out my heart with unresponded talking. Krishna, for “Why are you feeling ashamed like a person with a guilty
whose sake all the young women of Vraja would give mind, for I have to say more yet.”
their soul, has knelt at your feet. Give up your obstinacy
and press him to your heart. How long will you remain Change of Topic
stiff, and continue looking at the sky arrogantly ? Each Prasahga-Vidhvarhsa-upaya of Radha
day has become unbearably long like two days because
of this estrangement; but your thinking is till perverse.” Sakhi' to nayika-. “O sakhi, these are not peacocks but
the servants of Kamadeva who roam about and give the
Pranati-upaya of Radha (Out of guilt) warning that if any love-lorn maiden shows obstinacy,
She would incur the displeasure of the God of Love.
“You spent the whole day in utter dejection and mental These thundering clouds are in fact his drum-beaters
pain. When night fell, your sakh/s pleaded with you till heralding the joys of love. You may get angry again in the
midnight. The counsel of the friends as well as of your morning; but you should call Krishna now and tell him
nurse was of no avail. Why did you not come round, O about these announcements of the God of Love.”
 MANA 63

Fig. 55. Krishna offering a garland of flowers to Radha

64 KANGRA PAINTINGS ON LOVE

Prasa rig a- Vidhvamsa-upaya of Krishna buzzing of bees; at the sight of flashing lightning, radiant
limbs, a decorated bed and a beautiful garden; by the
SakhItonayaka : “You have tutored your parrot so well smell of saffron, camphor and flowers.
that he is not talking to his mate. He is instead teaching
the lore of love to Sarikaand has secretly increased his Thus do the lovers take away each other’s pride and
love fourfold; so has his pride increased too. His poor enhance their love.
hesitant mate is pining away. She cannot tell her tale of
woetoanyone. Her body burns in anguish. Inspiteofthis T he beloved should notdisplay excessive pride for, if the
shameless arrogance, the parrot is unreconciled. Now lover becomes indifferent, he would be lost to the
go and settle their quarrel which has small reason.” beloved.

(The pining mate and the danger to her life cause fear Pride may be shown occasionally, but notfrequently, so
and take away the nayaka’s pride). that mutual regard grows.

Pride can be easily dispelled by clever words, by proper According to the tradition of Mana, there can be no love
time and place, by sweet words, sweet music, beautiful without fear, nor any fear without love.
sights, and sweet fragrance.
The nayika becomes indifferent to the nayaka because
WiTHOUt pleading for either side, the pride of the lovers of his conceit, vice, loss of wealth, harsh words, living in
gets broken and their hearts swell for union at the sound
a far-off place, greed and unpleasant deeds.
of thundering clouds, shouting of peacocks and the
 CHAPTER VIII

LOVE IN SEPARATION
Pravasa

ravasa is the separation of lovers in different months of March and April the mangoes flower, koe/s
places or countries, and is the third phase of viraha. shout day and night, but these only add to her anguish.
It is exemplified in the departure of Krishna from In spring while other women are happy with their
Vrindavana to Mathura, when the gop/s became husbands, the lonely wife, tormented by her loneliness,
extremely anxious and sent him messages of their love¬ thus gives vent to her fellings:
sickness. Mystically interpreted, pravasa corresponds
to what the Christian mystics of Europe call the Dark List, the koe/s sing!
Night of the Soul. The feeling of desolation and grief of In the mango grove,
a woman separated from her husband is universal. Grief I, my raiment not yet unbound.
of a Japanese virahini nayika is thus described in a Have to sleep alone.
famous Japanese poem, ‘CrowsatTwilight’in Ritaihaku:
In the month of May, mango blossoms ripen into green
"Athwart the yellow clouds of sunset, seeking their fruits but she is unhappy. In June the mangoes fully ripen
nests under the city wall, on the boughs of trees but they bring her no joy. In the
The crows fly homeward. Caw! Caw! they cry among months of July and August rain falls day and night, and
the branches. her tears also fall like rain. The nights of September and
At her loom sits weaving silk brocade, one like the October lighted by the moon are so bright that one can
Lady of Shinsen: see even the bottom of the lotus-filled lake, but to her
Their voices come to her through the window with its they look dark and dismal. She asks the rivers, clouds,
curtains misty-blue. and birds and beasts of the forest to be witnesses to her
She stays the shuttle; grieving, she thinks of her far- sorrow, and to carry the message of her grief-filled heart
distant lord: to her lover. It is thus that her desolation is describe'd in
In the lonely, empty room, her tears fall like rain.”16 a folk-song from Kangra:
If the bodice is torn it can be mended
In folk-songs and ballads from the Kangra Valley there If the sky bursts, how can you sew it?
are vivid descriptions of the distress of the lonely wife
separated from her husband. Her tresses, so lovingly While the poets of the West have written about the love
scented and combed with sandal-combs, are now of man for woman, it is the poets of the East who have
dishevelled. She no longer paints the beauty spot on her sung of the love of woman for man. Vidyapati thus
forehead, and feels no joy in wearing ornaments. Her describes the state of Radha in separation from Krishna
clothes are shabby and coarse. She has forgotten her who has gone to Mathura from Gokula:
pets, the chakoras, peacocks and geese. Even Nature
is in sympathy with her in her sorrow, and as she weeps, Radha:
mountains and rivers share her grief, and trees too drop “Now Madhava has gone to Mathura town,
their leaves as a token of sympathy. For her, it seems, (Who can have stolen the jewel of Gokula?)
as if time has stood still, and the long nights of winter Gokula resounds with the noise c5f weeping,
months tarry and hesitate as if unwilling to depart. In the See how the waves are swollen with tears!
66 KANGRA PAINTINGS ON LOVE

Empty the temple, empty the lover,

Empty each airt, empty all!
How can I go to Yamuna’s bank?
How can I look on the booths and groves?
How can I look on the place and live,
Where he smothered my friends with
flowers?”17

Autumn rains give happiness to lovers who

are together. They enjoy the rumble of the
cloudsand the play of lightning. Even birdsand
animals are happy but not Radha. Vidyapati
thus describes her feelings:

Radha:
“There is no limit to my woe, my dear!
O heavy rains of autumn tide,
My house is empty!
Impenetrable clouds are thundering
unceasingly,
And all the world is full of rain:
Kanta is a stone, and Love is cruel,
A rain of arrows pierces me.
A hundred flashes blind my eyes,
The peacock dances in an ecstasy:
The happy frogs but croak and croak,
My heart is bursting.
Utter darkness, night impenetrable,
Unbroken line of lightning;
Vidyapati says: How may you pass
The day and night alone?”18

Seeing the condition of Radha, her confidante

arrives at Mathura, and thus describes her
grief of Krishna:

Dutika:
“Madhava, O moon-face,
Never can you have known the sting of
separation!
Hearing you are departed to another
land, she wastes away:
O wretched Rai, bereft of wit by force of
love!
Refusing even buds of flowers, she lies
exhausted on the ground
The calling of the /roe/fills her with fear, Fig. 56. Longings of love
Her tears have washed the beauty-spots away, most touching. The lover has gone on a journey and in
Her wasted arms let slip their ornaments. his absence his beloved suffers from the pangs of
With hanging head Radha regards her throat, separation. To her, though surrounded by her sakh/s,
Now are herfingers raw with writing on the ground: the house looks empty, and she feels desolate. The
Says Vidyapati: Recollecting all his ways, Kangra artists have poignantly portrayed in their paintings
And taking count of them, she fainted.”19 of virahini nayikas the pathos which lies in the silent
depths of a woman’s heart in all its tragic intensity.
From among the creations of the Kangra School it is the Lonely women standing on the sills of door-frames
paintings of love-lorn women, virahini nayikas, which are wistfully looking at clouds and lightning, clasping smooth
 PRA VASA 67

trunks of plantains, holding the branch of a tree, carrying bring infamy to her name as you have done to your own.
fans and cooling the fever of love in a moonlit night, or For days on end, you may have to go without seeing her,
escaping a storm and hurrying inside rooms are all love¬ seeing whom for a whole day does not satiate you. See
sick women. Solitary women with pets like black-bucks, that you do not burn yourself in your eagerness to drink
parrots, chakorasand pigeons are also love-lorn women, hot milk; you must let it cool.
the male animals and birds being the symbols of the
absent lover. A nayika watches pensively the amorous Krishna’s Longing (Manifested)
sports of a pair of pigeons. This painting is a representation
of smarana, the remembrance of past union (Fig. 67). A Sakh/ to another sakh/: “Is there any wellwisher of his,
number of these paintings are illustrations of situations who would ask him which way he is drifting? Quite
from Chapter VIII of the Rasikapriya. Keshav Das thus naturally are the ill-famed women of Gokula slandering
describes the ten states of love in separation: the chaste ones; such has been his conduct! Look, how
he is staring at us and asks who I am, as if he does not
TEN STATES OF LOVE IN SEPARATION know one who only yesterday was delivering to him the
(Dasa Dasas) message from his beloved.”

The desire for union springs from seeing the beloved Anxiety (Chinta)
one and hearing him. When the desire to meet him is not
fulfilled, ten conditions result therefrom, namely, longing The feeling of chintacomes when the lover thinks of how
(abhilasha), anxiety (chinta), reminiscence (smriti), the to meet the beloved one, and having met, how to win her.
recalling of the qualities of the beloved one (guna-
kathana), agitation (udvega), delirium (praiapa), sickness Radha’s Anxiety (Secret)
(vyadhi), stupor (jadata), derangement (unmada), and
death (marana). Nayika to herself : “How shall I make him my slave,
seeing whom I lose control over my own self (body) ?”
Longing (Abhilasha)
Radha’s Anxiety (Manifested)
When eyes, speech and minds are united, bodies also
wish to unite. Such, indeed, is abhilasha! Sakh/ to nayaka :“Since she saw you, her mental state
has been like the cross-moves in a game of chess-the
Radha’s Longing (Secret) kings being love and fear, the queens being reason and
hesitation; the bishops being separation and dalliance,
Sakh/ to nayika: “Your wisdom and discernment are
the knights being the glances of her eyes; the rooks her
waning; the radiance of your limbs has gone although it
desires, and the pawns the sixteen ways of
should have increased day by day. The anguish of your
ornamentation. There is fierce pressure from both sides.
heart which you conceal is being betrayed by your face.
Let us see which side comes out victorious.”
You have forgotten your joys and hunger and sleep.
Your heart’s desires are looking for a prop. It seems as
Krishna’s Anxiety (Secret)
if you have lost something; your inner being seems to be
aflame, and in your restlessness you are straying here
Na yaka to himself: “When will she, whose body is the
and there."
abode of all fragrance, rid my mind of fear with playfulness
of her arched eyebrows? When will the auspicious day
Radha’s Longing (Manifested)
of love dawn, when my gaze will follow her closely? Will
it ever happen, Oh my God, that she would pour the
Na yika to sakh! : “Seeing him once may arouse an
perrfume of musk and camphor into my heart with her
insatiable longing to see him always; this will fill all my
winsome glances? When shall I see her standing like a
days with pain. Instead, I shall see him in my heart (or
picture beside the lamp in all her glory and speaking to
imagining), and seeing him thus in secret shall see him
me smilingly?”
more and more, and yet not let him see my physical
appearance. You are coaxing me with empty promises
Krishna’s Anxiety (Manifested)
to let me see him; I know your promises cannot help.”

Na yaka to sakh! : “Ah ! If only it could happen that

Krishna’s Longing (Secret)
someone suggest to Radha’s mother to arrange a
Sakh/ tonayaka . “I beg of you not to confide in others svyarhvara ceremonyforhermarriage; herfatherinvites
and share your secret thoghts with them, nor thus to the cow-boys, resembling young gods; she then puts the
68 KANGRA PAINTINGS ON LOVE

if searching within herself for some lost thing,

like a person dazed by too much reading and in
quest of deep knowledge. Who should devise
a diversion for her, or play on the vina, for her
mind is lost in her own thoughts?”

Radha’s Reminiscence (Manifested)

SakhItonayika : “It is no use being so much

infatuated by love for him. Your union with him
will come about if I will it. You would gain
nothingfromyourcontinued silence, as thatwill
not bring to you the sweetness of his love.
Eschewing both drink and food, how will you
live? If the fear of discovery of your present
state does not frighten you, does it not inspire
shame in you or arouse your modesty?”

Krishna’s Reminiscence (Secret)

SakhI to nayaka : “I smeared your body with

camphor-paste mixed with sandal, but that was
burnt by its heat and acquired the colour of your
skin. Seeing that bower covered with auspicious
flowers, your thoughts turned elsewhere. You
look as if lost, and move away even though
accosted. Your mind is in confusion; I know it is
being rocked as if it were in the swing of your
beloved’s garland.”

Krishna’s Reminiscence (Manifested)

One sakhi to another :“Garrc\en\s and perfumes

are like poison to him; the bed bites him like
fleas. Sandal and moonlight no longer delight
his mind; camphor and the moon torment him.
He does not fancy betel-leaves nor likes any
drink. All amusements he has abandoned.
Which damsel of high caste from Gokula has
Fig. 57. The love-lorn lady brought this state upon Krishna?”
bridegroom’s garland round my neck; and the bride’s
father gives you away to us as the bride’s maid !” Recalling the Qualities of the Beloved (Guna
Kathana)
Reminiscence (Smriti)
Where mental attributes and bodily charm are
Smr/tida$a is the state in which nothing else attracts remembered and described in love’s longing, Guna
the mind, all business is forgotten, and longing for union Kathana Dasa is manifested.
is ever-present.
Radha’s Praise of Krishna (Secret)
Radha’s Reminiscence (Secret)
Na yika to herself: “The beauty of Krishna is perfect,
One sakhlto another: “Her anguish has increased so while the moon is disfigured by a dark spot. His limbs
much, thats he does not like talk, nor play, nor laugh, nor always look fresh, while the champaka\ea\es fade away
likes the sight of anything. She does not listen to well- if touched. His hands are soft and perfumed, but the
meaning words, nor does she heed them—her mind is lotus-stalk is thorny, his eyes are large and beautiful,but
so deeply infatuated by someone’s love ! She looks as Kamadeva is blind and his arrows are shot at random!”
 PR A VASA 69

Radha’s Praise of Krishna (Open)

Na yika to sakhi : “What pleases the heart

more, the khahjana bird or the eyes of my
beloved one? Which is sweeter, nectar or his
juicy lips? What is more radiant, the
pomegranate or his teeth? Which is more
pleasant to look at, the moon or his moon-like
face? Whose form is more bewitching,
Kamadeva’s or his? Which is more soft, the
lotus or his lotus-like feet? What is dearer, my
life or the picture of my dear one?”

Krishna’s Praise of Radha (Secret)

Nayaka to himself: “I cannot compare her

face with the moon, because Radha is far
more beautiful, nor can I compare it with the
lotus because bumble bees harass the lotus.
Pomegranate, sriphala, corals, gold (which
suffer a thousand indignities by being sold in
the market): chakava, pigeon, elephant, snake,
tiger, koel, parrot (which are impure and filthy)
cannot be worthy objects of comparison with
herteeth, bosom, lips, complexion, eyes, neck,
gait, tresses, waist, voice and nose. Her limbs
are, indeed, peerless and their comparison
can be only with themselves.”

Krishna’s Praise of Radha (Open)

Na yaka to sakhi : “Radha’s beauty has

Fig. 58. Yearnings of love
bewitched my eyes. Decorated with thick
saffron paste, she is as if engulfed with my love. The Radha’s Agitation (Manifested)
colour of my skin has as if been transferred to her blue
Sakhi to nayaka / “Yesterday, on seeing you, she ran
garments. Smelling a lotus, she stands yonder, as if
away out of bashfulness; today she is on the verge of
inhaling the fragrance (love) of my heart.”
dying, not being able to see you. During day time, she is
as if submerged in poison; at night she burns in moonlight.
Agitation (Udvega)
She shifts from the bed to the ground and from the
ground back to the bed in the agony of love. You may
UdvegadaSa is that state wherein things, which normally
send an ornament from your body, seeing which she
give delight, begin to cause pain.
may have some relief.”
Radha’s Agitation (Secret)
Krishna’s Agitation (Secret)
Na yika to herself: “This moon is in fact the source of Sakhi tonay/ka / “He is as indifferent to the swans, as
poison; that is why Rahu could not devour it all at once, the clouds are to them; he heeds not the clouds, as the
and the holy Agastya having swallowed it while drinking swans do not care to drink water from them. He does not
up the ocean, could not digest it. Brahma, the Creator, delight in the sight of the moon even as the lotuses do
foolishly gave the name of sudhadhara (one who not; he does not care to touch lotus flowers just as the
possesses nectar) to the moon, and of vishadhara(or\e moon avoids touching them. He no longer takes his
who possesses poison) to Seshanaga. What shall one usual stroll between the pool and the garden, nor does
say of the sun who has given it a position of equal he frequent the lovers’tryst where tala and tamalaXrees
importance (by sharing its light with it)?” grow. How strange are those girls who, hearing of such
70 KANGRA PAINTINGS ON LOVE

Fig. 59. Virahini Nayika

 PR A VASA

Fig. 60. Lady in distress

72 KANGRA PAINTINGS ON LOVE

Fig. 61. The love-lorn lady

 PRA VASA

Fig. 62. The utter desolation of virah ini

74 KANGRA PAINTINGS ON LOVE

Fig. 63. 'Give me the news of my dear one, Oh cloud!'

 PRA VASA 75

Fig. 64. Thoughts of the lover

76 KANGRA PAINTINGS ON LOVE

Fig. 65. Grief on separation from the lover

 PRA VASA 77

Fig. 66. Lady in distress

78 KANGRA PAINTINGS ON LOVE

Fig. 67. Remembrance of past union

 PRA VASA

Fig. 68. Lady in swoon

80 KANGRA PAINTINGS ON LOVE

a condition of their beloved ones, can manage to live eyes are brimming again and again with tears. She
even for a moment!” complained of Krishna’s harsh words saying that they
had added to her pain. Now there is no playfulness for
Krishna’s Agitation (Manifested) her, nor laughter, frolic, friendliness, or enmity. She has
as if no dealings with anyone, nor relationship, nor even
Sakhi to nayika: “His eyes brim with tears in a nodding acquaintance.”
remembrance of you; seeing the tama/airees his whole
body shivers. He wanders in silence, sometimes to your Nayika’s Delirium (Manifested)
garden and sometimes to the pool as if he has lost his
way. If you wish to see him, why don’t you go? I would Na y/kA to sakhi: “While I was playing with my friends,
not go with you to show him in this condition. Only now Krishna approached secretly from behind. I did not see
have you felt the desire to see him, when nothing him, when the immodest one held me from the back. I
pleases him.” was stricken with shame, my heart burned with such
anger as I have never felt before. I suffer this anguish
Delirium (Praiapa) on account of (the folly of) my eyes.

PralApa da$A is created when the lover’s mind wanders Krishna’s Delirium (Secret)
like a bumble bee, and, along with the body, suffers
intense torment, and when the lover talks always of the One sakhi to another: “Struck by her beauty, Krishna
beloved one. persistently questioned me on oath about her: Who was
she that hid her face in her blue garment, and, leaning on
Nayika’s Delirium (Secret) the door, concealed herself behind you, and later having
seen me ran inside and was heard talking laughingly
One sakhito another describing nayika’s condition: “Her from within?”

Fig. 69. Detail of Fig. 68

 PRA VASA 81

Fig. 70. Radha in swoon—Illustration to the Karuna-bharana

Krishna’s Delirium (Manifested) the more from remedies adopted to relieve her love
anguish. Breathing heavily, she is as if without
Na yaka to sakhi: “Who is she and on what purpose has consciousness; it appears as though she has been
she come to your house, treading on the lotuses of her caught by the demon of love.”
admirers’ eyes; whose winsome laughter is like sunshine;
whose fragrance is like camphor; whose dark tresses Radha’s frenzy (Manifested)
plaited with white pearls and red thread, look like the
confluence of three rivers, the white Gariga, the dark Sakhi to nayaka : “She stares as if startled; her heart
Yamuna and the red Sarasvati, in which my longings like beats heavily and seeing her own shadow she loses
hermits take the holy dip; whose eyes look charmed by herself in thought. Her answers are irrelevant to the
someone’s love and desirous of seeing their object of questions asked of her; in separation she has become
love; whose eyebrows are beautifully arched, and budding an altogether changed person. Someone’s evil eye has
breasts stand on tiptoe?” caught her, or a touch of insanity has affected her, or an
evil spell has been cast on her. Thus deranged, she is
Frenzy (Unmada Dasa) now indifferent to her veil, her garments and her
ornaments.”
Unmada da$a (frenzy) is that in which the lover sits
engrossed in thought, then rises and walks away, keeps Krishna’s Frenzy (Secret)
staring at the beloved one’s face and weeps and laughs
profusely. One sakhi to another: “Sometimes he talks subtly and
sometimes casually, sometimes of mundane and
Radha’s frenzy (Secret) sometimes of metaphysical matters. Sometimes he
weeps and sometimes sings and dances immodestly.
SakhI to nayaka : “Heranguish has so increased in your
His mind has lost its balance, and his body is without any
separation that she has lost her wits. Her hairs are
animation. Has he been affected by a woman’s love, or
dishevelled and are dangling in confusion on her back.
a touch of insanity, or has some evil one deprived him of
With difficulty can she manage to stand or look round.
his wits?”
She sinks into thoughts on seeing others, and burns all
82 KANGRA PAINTINGS ON LOVE

Krishna’s Frenzy (Manifested) effect of love, or of an evil spirit, for you are constantly
raving about each other? Such a situation would shake
Sakh! toradha: “With tearful eyes and dazed mind he anyone’s wisdom. Have you outwitted him or has he
gazes all around, then stares fixedly, and then walks outwitted you?”
away hurriedly. He keeps brooding with agitated mind
and fever in his body. Sometimes he weeps and Krishna’s Sickness (Manifested)
sometimes laughs. Fear-stricken and agitated in my
mind, I have come to tell you of his condition. He is One sakhi to another: “There his body burns with
talking so incoherently that I fear lest the secret of his fever, nor do the remedies adopted to relieve her of
love for you may not be disclosed.” anguish prove any good. There, his heavy breathing as
if makes you fly, and here her profuse weeping gives you
Sickness (Vyadhi) a bath of tears. The mystery of the love of Krishna and
Radha is not understood, for something has happened
Vyadhi da$a is that in which the colour of the body to them both at the same time.”
assumes pallor, breathing becomes heavy, eyes shed
profuse tears and the mind’s anguish is very great (Fig. In vyadhi the body is wasted by the fever of love. There
68). is a very touching picture of this stage of love in a series
illustrating the drama Karuna-bharanaby the artist of the
Radha’s Sickness (Secret) Bhagavata Puranaseries in which Krishna is shown on
a visit to Kurukshetra on the occasion of a solar eclipse
Sakhi tonayika“W% has given up his flute and here you and is meeting Nanda and Yasoda in their camp. After
have been struck dumb. Neither of you hears nor embracing Nanda he is proceeding towards Yasoda,
understands anything when spoken to. He does not eat and Radha, who has learntthe news of his arrival, faints.
the betel-leaf, and you have given up even water. Is itthe Gopisare bowing in deep veneration, and even the cows

Fig. 71. Detail of Fig. 70

 PRAVASA 83

and calves are greeting Krishna with theirfaces uplifted, she is united to her lord, all distance between you and
Radha who has fainted is shown in a corner being her will be removed."
attended by the other gopis (Figs. 70 and 71).
Krishna’s Stupor (Secret)
Stupor (Jadata)
One sakhi to another. “His body is getting colder and
Jadata da$a (stupor) is that state in which all colder; all remedies have been thought of and tried.
consciousness is lost and the sensation given by pleasure Whatever you may do to his body it gives him no
and pain is the same. sensation of pleasure or pain. He hears and understands
nothing. Whom shall we consult now; who shall know his
Radha’s Stupor (Secret) disease now? No ones knows if this is the result of yoga
or the outcome of separation.”
One sakhi to another: “Suitable remedies have a
cooling effect on feverish bodies, but here, in spite of Krishna’s Stupor (Manifested)
such remedies, her body is pining away. Any other
remedy may worsen her condition. You can see how she Sakhi to nayika.- “He has cast his garments away; he
is fading away! What shall we do then? To whom shall lives on air and has withdrawn his senses from external
we go? How shall she live, and how shall we live without objects and his mind is as if in supreme contemplation
her?” (samadhi). Do not malign him but wait till he wins glory
through his penance, which he is doing for your sake, O
Radha’s Stupor (Manifested) lady! If you cannot grant boons, you can at least give him
the gift of life.”
Sakhi to nayaka: “First she met you in person, then
through the help of her friends, then through the medium Death of Lovers (Marana Dasa)
of letters. Finding this dissatisfying, she met you in her
imagination, as a poor person dreams of gold. You Marana dasa occurs in the fullness of love, when
should now go and meet her, lest the inevitable should separation from the beloved one continues and union is
befall her; for if in the supreme contemplation of love, not brought about with guile or force.
 CHAPTER IX

LOVE IN UNION
Samyoga

W hen two lovers, mutually enamoured,

are engaged in looking at each other, or
'T ll-' ■'

touching each other, it is called ‘Love in Union’

(Samyoga or Sarhbhoga)There are numerous
illustrations of phases of love in union, ranging
from lovers seated together to love scenes of
utmost intimacy. Such love scenes are seen in
illustrations of the Gita Govinda, the Rasikapriya,
the Satsaiyya, the romance of Nala-Damayanti,
as well as in the Siva Parvati paintings. Plates
XVI to XX illustrate various themes relating to
love in union. Very beautiful are these love
scenes with the lovers happy together; the
piquant upturn of the lady’s face as she looks at
her lover, who in turn glances at her with tender
affection. These happy couples, intensely
interested in one another and admiring each
other with such warmth are eloquent symbols of
love, that noble emotion which uplifts humanity
from the animal level, and in whose glow we see
the birth of true poetry, painting as well as
religion. Like the Japanese artists of the
Tokugawa regime, the Vaishnava mystics did
not distinguish between sensuosness and
spirituality. One leads into the other, and we see
at once the spiritual in the sensuous.

The divine love of Radha and Krishna is depicted

in a painting from Guler, where they are shown
seated on a lotus as Vishnu and Lakshmi.
Krishna holding a flute is looking at Radha with
longing. His plume of peacock feathers, his
garland of wild flowers, and the hem of his
yellow pitambara are fluttering in the air. His
beauty, like the radiance of the full moon,
illumines the bank of the lotus-studded lake. On
Fig. 72. Krishna combing Radha's hair
the bank are adoring groups of cow-girls and
 SAM YOG A 85

Fig. 73. Hari and Rad ha are making obeisance to spring

86 KANGRA PAINTINGS ON LOVE

Fig. 74. Sheltering from rain

 SAMYOGA 87

Fig. 75. Joy of being together

88 KANGRA PAINTINGS ON LOVE

r
«

:--~asam^ssirssss&atessrjKrac- sasawstess: iC&K^^ascs&naeaEgadpBjhfted

irtUffti i ;hi«i»» -wi i iB»iiwiai^ifeiiiii ..

Fig. 76. How delightful the clouds!

 SAM YOGA 89

Fig. 77. Admiring the flight of cranes

90 KANGRA PAINTINGS ON LOVE

Fig. 78. Radha and Krishna on a swing

 SAMYOGA

Fig. 79. The couch of love

92 KANGRA PAINTINGS ON LOVE

cow-boys with their offerings. The picture is suffused painting from Guler given as frontispiece. The sinuous
with love, and is an excellent example of love in union flashes of lightning in the dark clouds, the white cranes
(Fig. 1). and music create a mood of joy which we can sense in
the faces of the lovers. Cattle grazing on the village
In Fig. 72 Krishna is combing Radha’s hair, and she is common, villagers crossing the river on inflated skins,
looking at his face reflected in the mirror of the ring water-mills in a corner, and hamlets concealed among
(arasi) on her finger, for she does not want to lose sight bamboos, mangoes and plantains remind us of the lower
of the face of her lover even for a moment. Combing of hills of the Kangra Valley. Mystical affinity between the
each other’s hair is a favourite love-play in India. The life of Nature and the life of man, between the beauty of
pigeons on the shades of windows, and pointed cypresses love, and the beauty of clouds and flying birds finds
among the globose crowns of mangoes provide an eloquent expression in this painting. Plate XVII and Fig.
appropriate atmosphere for this interesting painting 74 represent the same theme, viz. Radha and Krishna
showing love in union. sheltering from rain under a dark blanket. Here the
sudden onset of rain has provided a pretext to the lovers
A delightful painting depicting love in union in spring
for being together. A pair of cow-boys hiding in the hollow
shows a tryst by the river bank. In a shady nook is a bed
bole of a tree, cow-girls hurrying towards the village, and
of leaves covered with jasmines. The stream that winds
cranes flying away in panic indicate the intensity of the
along the bower, courts the shore with waves of love.
Flowering creepers are clinging passionately to the storm.
trunks of trees, and sprays of blossoms are dangling in
Fig. 76 is a delightful drawing showing lovers’ happiness
the air. On the branches of the trees are pairs of love¬
on the advent of rains. An atmosphere is created by the
birds. Krishna’s bright yellow clothes are like lightnings
activity which is going on in the rooms below the pavilion:
flashing on the body, which is blue like a mass of water¬
laden clouds. The peacock feathers crowning his head a lady is decorating her forehead; and another one is
put the colours of the rainbow to shame. His eyes are like emptying stale water from a flask. On the shade above
two pure lotus petals, and on his forehead is the mark of the window is a restless peacock, about to fly away. His
sandal-paste. Here two hearts are beating in unison, and mate is shouting on the roof of the pavilion. On the edge
this is the course of love. In the enchanting lovers’ nest of the bed is lying a flower-garland. The lovers are
Hari and Radha are making obeisance to the auspicious admiring the flight of cranes in the dark rolling clouds.
Vasanta (Spring) (Fig. 73).
There is a feeling of joy on the face of the lady. The
Hindus, like the Japanese, are lovers of the moon. They
The following poem is inscribed on the painting: compare the beautiful face of a woman to the moon. On
moonlit nights lovers go out in search of each other.
In a beautiful bower laden with flowers on the bank
Special festivals are celebrated on the night of the full
of Kalindi
moon in each month, and moon-viewing is a favourite
Resounding with joyful cries of peacocks
pastime. Like the Japanese, they also admire the friendly
And the pleasing rumble of water-laden clouds
light of the moon filtering through the crowns of trees.
Krishna kisses the sweet lips of Radha.
The special favourites of the ancient Hindus were
All homage to the Gardener of the Forest
Moonlight Gardens with dark trees and fragrant white
The Flute Player Divine!
flowers like champaka, mogra, gardenias and jasmines.
Love-birds sitting in pairs, creepers clasping the trees, They admired the sweet solitude of these gardens, filled
the swirling current of the river hugging the bank are the with the fragrance of flowers, which floats in the air like
poetic symbols by which the artist creates an atmosphere an invisible dryad, and intoxicates the senses. The most
of love, and how effectively he uses them in the painting! delightful paintings of lovers admiring the moon are in
the ‘Nata-DamayantiDrawings’ published by Eastman,
Paintings illustrating love in union during the rains are in some of which the lovers are shown rapturously
numerous. The onset of the monsoon with dark rolling hailing the moon rising over the mountains. Kangra
clouds, the play of lightning, the flight of egrets and saras paintings of love in moonlight reproduced here are
cranes against slate blue clouds, and the shouting of Plates VIII and XIX, and Fig. 79. In Fig. 79 the lovers are
peacocks have a strange fascination forthe Indian mind. seated on a bed of leaves, the couch of love. The half
The Hindi poets have sung of the joy of rains, and the moon in the sky has spread charm over the landscape.
Kangra artists have given expression to that joy in their The dark trees are tenderly clasped by the madhavi
paintings. The frontispiece, Plates XVI, XVII and XVIII, creeper, and its blossoms are gently swaying over the
and Figs. 74-77 illustrate the joy of rains. How tender, lovers. On the lovely face of the lady is the glow of
soft, warm in tone and atmosphere are these paintings! hundred flowers in bloom. There is love in her eyes, and
Here are forms which are poems, and colours that are joy in her heart.
melodies. The most delicate and poetic of these is the
 CHAPTER X

THE TWELVE MONTHS

Baramasa

T he pageant of the seasons, with the warmth of

spring following the cold of winter, and the heat of
one Abdal Hassan, a native of Baghdad attributed to
A.D. 1399, in which apart from instructions on food,
summer fading into the chill of autumn with its russet medicines, baths, and frequency of sexual intercourse,
tints has delighted mankind forages. Representations of there are illustrations of the seasons, represented in the
the seasons and months are frequent themes in the following manner:
classical and medieval art of the West. “In the archaic
and classical art of Greece, the Seasons are usually Spring: A youth in an orange robe and white turban
shown in full figures and participate in some mythological seated under a tree playing a flute. In the centre of the
scene; in early Roman art they appear as isolated picture is a peach tree in bloom.
figures and in late Roman art as isolated busts.”20 Early
representations of the seasons were all female. Male Summer: A young man in a pale orange robe stepping
representations developed in the 2nd century A.D. and forward to draw a bow, and aiming at a flying bird. In the
were most frequently reproduced in the 3rd century, top right corner is the hot sun with golden rays. Fruit¬
especially on coins, sarcophagi and mosaics. Then bearing orange and apple trees are also depicted.
developed pictorial rustic calendars showing agricultural,
civil and religious activities. In the 4th century A.D. Autumn: A youth in a pale robe holding a gold cup filled
developed the 'active' season with one or more figures with wine kneels in the centre of the picture. Trees have
engaged on work associated with the season. Another rust-red leaves.
manner of depicting the seasons was to place them in
the four corners of concentric images of the universe as Winter: An indoor scene, a man sitting in a bed propped
in Hrabanus Maurusas De Universe, a codex written at against an orange cushion warming his hands over a
Monte Cassino in Italy in A.D. 1023. In Tacuinum brazier.
pictures of the seasons from Italy, spring is shown as
women picking flowers and making wreaths, summer by There is a mood of sadness about Autumn and joyful ness
reaping corn, autumn by a vintage scene, and winter as in the Spring and Summer pictures.
an old man warming himself at an open fire. The number
of pictorial representations of the ‘Labours of the Months’ It is doubtful if the Islamic paintings of the 14th century
in the Middle Ages of Europe is very great, and a fixed from Baghdad had any influence on Indian painting. The
iconography was evolved for each month. From the 14th earliest known Indian painting of the months included in
to 16th centuries, a number of miniatures depicting the the set of illustrations of the love legend of Laur-Chanda
twelve months were produced in France. are from Central India. These are in the Punjab Museum,
Patiala, and in the Central Museum, Lahore. They
Rice has shown that in the 13th and 14th centuries, the closely resemble the Chaurapanchasika series of
representation of the seasons and months was borrowed paintings which Archer has ascribed to the Mandu-
from Western models in Islamic art. He has described a Malwa School and has dated A.D. 1550. They, however,
manuscriptfrom the Bodleian Library, Oxford, known as bear no resemblance to the paintings from Baghdad.
the Kitab ai-buihan (Book of Well-being) illustrated by
94 KANGRA PAINTINGS ON LOVE

THE SIX SEASONS there are interesting descriptions of the months. In

Punjabi folk-song also Baramasa is a favourite theme.
T he earliest account of the seasons in Sanskrit literature
is found the Ritusarhhara of the poet Kalidasa, a poem The twelve months of the year, Baramasa, provided a
written in six cantos answering to the six Indian seasons, delightful theme to the Hindi poets, and their descriptions
Summer, Rain, Autumn, Early Winter, Winterand Spring. are still read with joy. An account of the twelve months
It is not merely a description of the seasons, but is much is given by Keshav Das in the tenth chapter of the
more an account of the feelings awakened by the Kavipriya, and he describes the life of the people in
changing seasons in lovers, given in a warm sensuous different seasons, their ceremonies and rituals. In
style in rich harmonious splendourof sound and language. describing how the nayika should prevail upon the
He gives vivid descriptions of beauty in Nature, of mango nayaka not to leave her and proceed on a journey, he
trees in bloom, the charming patasas appearing like gives an account of the months, mentioning the delights
lighted torches, the fragrance of the ketakiin the rains, of the Spring months, Chaitraand Baisakha, the heat of
the warm southern wind, the murmur of wild bees, the Jyeshtha and Ashadha, the showers of Sravana and
distant cry of the demoiselle crane, the love-calls of the Bhadon, Asvina when the sky is clear, the bright
koei in mango groves, the fields of paddy with their Karttika, the pleasant Agahanawhen demoiselle cranes
fringes adorned by herds of deer, loveliness of lakes and shout joyfully, the chilly Pausha, the pleasant Magha
rivers, the wild beauty of the forests, and the grandeur of when the four quarters are perfumed with sandal and
the mountains. His voluptuous descriptions of the comphor, and the delightful Phalguna, the month of love.
reactions of the lovers to the changing scenery are Baramasa has been a favourite theme with the Pahari
suffused with love. During the heat of the summer, painters. The Kangra painters have rendered in colour
women with rounded hips, whose grace is enhanced by and line the word pictures of Keshav Das. There is a set
soft white silk, and breasts cooled by the fragrant of twelve paintings, dating from the reign of Maharaja
sandal-paste, soothe the senses of their lovers. In the Sansar Chand, in the collection ofthe Raja of Lambagraon
rainy season women with long glossy black hair reaching in which the Baramasa of Keshav Das is illustrated.22
their hips, with ears decorated with fragrant blossoms, They do not bear the name of any artist. Out of these,
and lips moist with wine, fill their lovers’ mind with Plates XXI, XXII and XXIV have been reproduced in this
longing. In autumn the beams of the moon burn the book. Plate XXI illustrates the spring month of Chaitra,
delicate limbs of the lovely maiden pining in separation Plate XXII, the month of Sravana, Plate XXIII, the month
from her lover. In early winter the young lovers, their of Bhadon and Plate XXIV, the month of Agahana. The
mouths fragrant with the perfume of wine, sleep twined landscape and buildings shown in these paintings remind
in each other’s arms steeped in the luscious flavour of us of the towns of Tira-Sijanpur, Alampur and the
love. In the long winter nights the young lovers are countryside along the river Beas. These paintings may
ruthless in the sports of love, and late in the night the be dated a 1790, the period when Sansar Chand was at
young wives with tired limbs tread their way to their the peak of his glory. In these paintings we have a
rooms. In the morning the youthful wife, with a lovely graphic account of the twelve months of the year. In
slender waist, deep navel, and ample hips is about to each, a human couple in the form of Radha and Krishna
leave the bed and is loosely binding her hair in which the is shown in the foreground, their dresses varying
chaplet of flowers is fading. In spring, the young women according to the month. The landscape in the background
are attuned to love’s instinct, yawning, their limbs relax, illustrates the vegetation, and the reactions of animal
and their bodies, dissolving in amorous languor, snuggle, and human life to the changes in temperature. A similar
beside their lovers. Seeing the mango trees in bloom, set of drawings is in the collection of the Bharat Kala
the passerby away from his beloved feels the pangs of Bhavan, Varanasi. The iconography of Kangra Baramasa
separation and sobs. paintings is more or less faithfully copied in another set
of paintings in an inferior style in the collection ofthe Raja
BARAMASA of Suket, which were possibly painted at Suket about
1830. Plate XXV, illustrating the month of Pausha
Baramasa has been the favourite theme in religious and (December), is from another set of twelve paintings
secular poetry of the Punjab and in the ballads of East possibly executed by a Guler artist for a Sikh patron.
Bengal.21 The earliest Baramasa is by Guru Nanak
(1469-1538) in which there are vivid descriptions of the There is a set of Baramasa paintings in the Bhuri Singh
beauty of Nature apart from remembrance of God. Guru Museum, Chamba, painted during the rule of Raja
Arjan’s (1581-1606) Baramasa in the Guru Granth is Charat Singh about 1830. There is another series in the
remarkable for its mystic flavour. In the poetry of Bulhesha Kasturbhai Lalbhai collection, Ahmedabad, possibly
(A.D. 1680-1752), the well-known Sufi mystic poet, painted at Siba druing the rule of Raja Gobind Singh (c
 BARAM AS A 95

1820-30), in which two fortresses are seen on both sides and first half of April. According to prevailing temperature,
of a river, very reminiscent of the fortresses of Dada and the year can be divided into four seasons, spring,
Siba on the Beas. There is a painting of the month of summer, autumn and winter, which can be compared to
Asoja\Nh'\cY\ bears an inscription from the Kavipriyaand the four parts of the day, the dawn, noon, sunset, and the
also the signatures ofthe artist Chhaju (Fig. 84). ChhajO night. Spring corresponds to the dawn, summer to the
was the grandson of Nainsukh, and son of Kama, the noon, autumn to sunset, and winter to the night. They
artist who it seems migrated from Kangra to Chamba. also correspond to the four stages in the life of man,
Paintings of Maghaand Karttika\a the collection of the childhood, youth, middle age and old age.
Bharat Kala Bhavan, Varanasi, are in the same style and
are the work of Chhaju. The description of the months given by Keshav Das
apply to Northern India, where there is severe cold in
In the Sanskrit and Hindi literature of “The Twelve winter which contrasts with the heat of summer, and not
Months”, we find complete harmony of man and his to Southern India, which has a tropical climate. In some
environment. There is no grumbling againstthe elements, cases the descriptions of the months are poetic
and no complaints against the weather. Each season is idealization of these times of year rather than realistic or
to be enjoyed. When it is hot, the joy of wearing light factual accounts.
muslin clothes and bathing in cold water compensate for
the heat. When it is cold, the lovers enjoy the pleasure Chaitra
of snuggling in warm blankets and sitting near the fire¬
side (Plate XXV). It is, however, the spring and the rains The month of Chaitra is heralded by the cooing of doves
which are the real seasons of love in Northern India. and the yellow flowers of sarson, which wave like a sea
of gold. The sisam trees get covered with pale green
The emotions of lovers are eloquently portrayed in the silk-like leaves. Men and women wear saffron clothes
paintings in which the poetry is given visual form. and harmonize with Nature.

The recurring theme of the Baramasa poems is that of The lover and his beloved are seated on a terrace with
love in union, orof love in separation. The lovers whoare the background of flowering shrubs in which birds of
together are happy, while those who are separated in many kinds are warbling music. The lady is asking her
account of travel or otherwise suffer the torment of lover not to go on travels in the month of Chaitra (Plate
separation. In paintings where a human couple is shown, XXI). The month of Chaitra is thus described by Keshav
the prevailing sentiment is that of love in union. Standing Das:
on terraces, admiring clouds and lightning or snuggling
in pavilions in gardens, they proclaim the joys of samyoga Lovely creepers are in bloom
(love in union). The cooling showers of rain, the sailing blossoming trees are young once more,
clouds, the play of lightning in the clouds, the rainbow And streams and lakes are full of flowers.
decorating the sky, and the autumn moon, all these are Women, aglow with passion
excitants of love. To the woman who is separated from and dressed in their best,
her lover, these are no more pleasing; the moon beams Abandon themselves to sports of love.
burn her body, and even the rain showers give her no The parrot, the mainaanti the koei
comfort. are singing songs of love.
Why think of going away, why spoil this joy
Now let us follow the caravan of the seasons through in the month of Chaitra, my love?
the twelve months of the year in Northern India. The
Hindu year is divided into six seasons, each season
consisting of two months. Summer scorches the Baisakha
countryside in the months of May and June. Then follow
the rains from July to middle of September. When the In the month of Baisakha trees produce new leaves,
skies have cleared in the month of October, autumn, pipaiXrees get covered with coppery leaves, and appear
with its beautiful cloud-effects and golden sunsets begins, most charming. When the slanting rays of the evening
and the nights sparkle with moonlight. From November sun strike the young leaves of the pipai, they appear like
to the first half of December is the early winter, the a cloud of fire. In damp places myriads of fire-flies are
Hemanta, when the climate becomes cool and bracing. seen twinkling like stars, and weaving aerial dances in
From the latter half of December to early February is the fragile rhythms of flickering gold. Dry leaves of trees fly
winter, the Sisira, when there is biting cold, fields are about, and weird bonfires are seen under mahuaXrees.
covered with frost, and snow falls in the Himalayas. The air is heavy with the fragrance of nim and sirisha
Vasanta, the spring, comprises the months of March flowers, and the quiet of the night is disturbed by the
96 KANGRA PAINTINGS ON LOVE

rattling noise of sirishapods. The rusted young leaves of are fatigued and lie languidly in their caves. The whole
mahuas are tipped with gold in the rays of the morning firmament is aglow with the dazzling radiation of the sun.
sun. Gu/mohurs are flushing into vivid scarlet, and it is The lakes which were filled with pink and white lotuses
getting warm. a month ago are drying. Thirsty buffaloes are wallowing
in mud with their tongues protruding. Forest fires cause
The kachnar trees, which in winter appeared so havoc among the denizens of the forest. Oppressed by
unattractive with leafless branches, produce a rich harvest heat elephants rend the air with their trumpeting, and
of pink, white and purple-mauve blossoms and for full cobras leave their holes. Wayfarers seek the hospitable
one month add colour and charm to the landscape. The shade of mango groves, and quench their thirst from the
delicate blossoms of kachnartrees fill one’s heart with piayo. The lovely lady draped in blue stands on the
bliss and soothe the eyes. Then follows the semat, the terrace, with palms of her hands dyed red with henna,
silk-cotton trree. The gaunt limbs of the semal are conversing with her lover, prevailing upon him not to
decorated with cup-like scarlet flowers, and the tree leave her. The golden yellow racemes of provide
reminds one of the goddess Lakshmi, with numerous a delightful contrast with the blue drapery of the lady
arms, holding scarlet lamps in the palms of her (Fig. 81). Keshav Das thus describes the hot month of
outstretched hands.23 The sombre mango groves Jyeshtha:
suddenly begin to pulsate with life, and produce pale
yellow blossoms in profusion. These are the sharp Air, Water, Sky, Earth and Fire
arrows with which the god of love enflames the hearts of These elements become one, a burning fire.
maidens to love. Attracted by the fragrance of mango Weary feels the wayfarer,
blossoms koe/scome to the mango gardens, which are and tame is the wild elephant
filled with the pleasant echoes of their calls. By the seeing the dried up pond.
middle of Baisakha, Spring is in its prime. Who is not
filled with yearning thoughts of love when the air swoons The cobra nestles in his trunk,
with the scent of mango blossoms, and is filled with the and the tiger slumbers in his shade.
hum of bees intoxicated with honey. All creatures of earth and water
are feeble and know no rest.
The nayakaand nayikaare seated on a terrace aginst That is why the wise enjoin,
the background of a hill. Nearby is hamlet, and farmers do not leave home in Jyeshtha.
are busy harvesting wheat (Fig. 80). The painting
illustrates the following poem of Keshav Das: Ashadha

The earth and heavens are full of fragrance; Hot winds blow and scorch the vegetation. Dust devils
The scented breeze blows softly, are seen whirling into brown spirals linking the earth with
laden with the nectar of flowers. the heavens, and sucking leaves and dust into their
There is beauty everywhere, bodies. The fierce rays of the sun beat mercilessly on the
Sweet perfume fills the air. coppery earth, and the atmosphere is filled with stifling
This erotic fragrance, this season of wistful love dust. All the men, birds, and beasts seek shelter in
has maddened the sporting bees shade. Even the wandering ascetics give up their travels.
And fills the forlorn heart The lady wearing a transparent muslin dupatta, the
with longings for the home, palms of her hands dyed with henna, is imploring her
I pray thee who has made me so happy lover not to leave her alone in such a hot month. In the
to abide here, this month of Baisakha. foreground is a fountain shooting up jets of water, and in
For I know from experience, my love! the background is a temple with a group of ascetics
In separation the shafts of Kama are hard to bear. resting, while a man is pulling water out of a well (Fig.
82). The painting illustrates the following poem of Keshav
Das:
Jyeshtha
Faster and faster the whirlwinds blow,
The hot sun scorches the landscape. The sky is coppery, like the crazy thoughts of one away from home.
and the air is full of dust. Peacocks sit like statues amidst The wandering ascetics move out no more,
the trees and pray for rain. Oblivious of the presence of The birds would not leave their nests,
peahens, who follow them in the shade of the trees, they and Narayana and Lakshmi, too, have gone to
hide burning heads below their tails. The hot dry wind rest.
blowing over sand-dunes produces mirages of rivers Why think of going, my love,
and lakes attracting herds of deer for miles. Even tigers when none in Ashadha leaves his home ?
 BARAMASA 97

Fig. 80. The month of Baisakha Fig. 81. The month of Jyeshtha

Sravana give birth to iridescent bubbles on the placid waters of

the village pond, which, after their momentary glamour,
After the parching heat of June, clouds appear in the merge into the water of the pond. On the leaves of the
sky, and provide joy to the farmers anxiously waiting for lotuses tremulous pearls of water dance restlessly.
the rain, as well as to the lovers in search of coolness.
Like a mighty army the clouds march with drum-like The sound of the approaching rain-shower and the sight
thundering. On the sight of the purple clouds and on of the rolling clouds fill the hearts of lovers with bliss.
hearing the sound of thunder, peacocks shout with joy, Rain-charged clouds bend down to kiss the towering
and spread their rainbow-coloured tail-feathers into rocks, and streams gush down their slopes. Throngs of
gorgeous fans. Life wakes and shines, and the forest peacocks begin to dance with joy. The lovers seated on
seems to show its glee in flowering kadambaswhlch are a chaukiou a terrace are watching the play of lightning
covered with yellow ball-like flowers. The opening sheath (Plate XXII).
of ketaki blossom is like a smile put on to greet the
reviving breath of rain. The graceful creepers vie with the The painting illustrates the following poem of Keshav
arms of lovely women. Das on the month of Sravana:

Rain-clouds drench the earth and the thirsty brown The streams look so lovely,
earth suddenly gets covered with a carpet of green as they rush to meet the sea.
grass. Velvet mites, the scarlet birbahutis, and brides of The creepers enchant the eye,
the heroes, make the earth look like a pretty woman embracing young trees lovingly.
decked with sparkling gems. The rain patters on the The lightning flashes restlessly,
leaves of the mangoes, and exquisite music flows from as she sports with rolling clouds.
the crowns of the mango trees. Crowds of children and The peacocks with their shrill cries
women wander in the groves in search of ripe-golden announce the mating of earth and sky.
mangoes filled with nectar-like juice, which drop from the All lover meet in this month of Sravana,
branches. Rice fields shine like mirrors. The rain-drops why forsake me then, my love?
98 KANGRA PAINTINGS ON LOVE

Fig. 82. The month ofAshadha Fig. 83. The month of Bhadon

Bhadon the artist’s joy in the tracing of his lines just for their own
sake; yet this is fused with the joy that overflows and
Clouds rumble ceaselessly, and in the dark night water radiates from the whole design. Many a Western artist
drips continuously from the leaves of trees and creepers would try to express that joy merely through the faces of
shaken by the powerful wind. The bees have forgotten lovers. Here every line is eloquent! Is there anything in
all about honey and the fragrance of flowers, and are the art of the world so like a song that sings itself?”24
hiding themselves in heaps. Rivers are swollen with
turbid water, in whose mighty current large trees uprooted The moist air of Bhadon is drenched with the fragrance
from the banks are tossed about like straw. of jasmines, and the Queen of the Night, and mehndi
exhales delicate fragrance. The white flowers of gardenia
Bhadon is the month of lovers, amorous and passionate. are studded over the hedges like stars in the dark blue
In the cool and fragrant breeze of Bhadon, lovers who sky. The golden glowing champaka buds are pouring
are parted, feel unhappy and long for each other. Brides their fragrance in the air. Women decorate their trees-
away from their husbands feel sad. Lovers who are knots with the white champaka, “the moon hanging by
united watch the dark rolling clouds and the flashes of the mountain”, and wear bracelets of jasmine round their
lightning. On hearing the deafening peals of thunder, the wrists.
amorous lady was startled, and embraced her lover.
Cleaving the dark clouds with their golden legs are flights The lady standing on a terrace is pointing towards the
of white cranes who provide a thrill to the lovers drunk falling rain and is imploring her lover to stay with her in
with joy of the rainy season (frontispiece). What Laurence the delightful month of Bhadon (Fig. 83). This painting
Binyon says about a similar Kangra drawing very aptly illustrates the following poem of Keshav Das:
applies here: “The gesture of the lovers as they watch
the flight of herons over the lake, the movement of the The purple clouds are gathering, the thunder rolls
attendant maids who play music to them—every form and rain pours in torrents.
and movement in the design melts naturally into the The wind blows fiercely, the cicadas chirp,
spontaneous rhythm that controls the whole. You feel the lions roar, and elephants fell the trees.
 BARAMASA 99

Fig. 84. The month ofAsoja (Asvina) Fig. 85. The month of Asvina

The day is dark like the night, blossoms dangling in clusters, seen against the blue
and one’s own home is the best. Himalayan sky, lighted by the rays of the setting sun,
Pray leave me not in the month of Bhadon, appears like a cloud of fire. “I am the rose-cloud of
for sepration pains like poison. pleasure floating in the dream of the Autumn”, says the
padam. The leaves of the oaks are rich brown, and the
Asvina (Asoja) maples and chestnuts with their golden-brown leaves
The rains have ended. The atmosphere is freed of dust stand out conspicuously among the other trees of the
and haze, the sky is deep blue, and the air is cool in forest.
Asvina. The autumn has come beauteous as a newly-
AdviNA is the month of religious ceremonies, when the
wedded bride, with face of full-blown lotuses and robe of
ripening paddy. The wind comes trembling through the spirits of the departed ancestors are propitiated. The
nayakais consoling the nayika who is feeling sad at the
burdened paddy-stalks, making a flowery ripple of the
lotus-covered lake. White blossoms of silver grass wave thought of his impending departure on travels. In the
gracefully in the air along the banks of rivers. In the blue background are a lotus lake and a temple. The buildings
sky float pure white rainless cumulus clouds, like cotton¬ on the hillock to the left are very reminiscent of Tira-
wool scattered by the bow of a wool carder. Glorious Sujanpur (Fig. 85). In a painting of Asojairom Chamba
sunsets are seen, and the earth appears like a fairy by the artist Chhaju, Brahmin priests are shown
worshipping in front of a temple, and in a courtyard the
wrapped in pink and russet drapery. The autumn¬
heroine is imploring the hero to stay with her (Fig. 84).
flowering kachnarand the kovidaraXrees, are laden with
Both the paintings illustrate the following poem of Keshav
thousands of pink purple flowers which invite myriads of
bees. The white blossoms of jasmine showing through Das:
the garniture of dark green leaves, rival the dazzling The spirits of the ancestors come, propitiate them,
teeth of smiling maidens. The past rushes to my brain ! my love !
Householders worship the Durgas nine,
In the Kangra Valley the padam, the carmine cherry, is for success in life and salvation beyond.
a never-to-be-forgotten sight. The padam with its carmine The kings accompanied by the pandits,
100 KANGRA PAINTINGS ON LOVE

Fig. 86. The month of Karttika Fig. 87. The month ofPausha

set out on tour to see their lands. as if illumined by a million lamps

The skies are clear, the lotuses in bloom, The days and nights are full of joy,
the nights are illuminated by the moon. and couples are gambling
Lord Vishnu and His consort Lakshmi, The walls and courtyards in every home
are lost in their dance celestial. are gay with paintings of the gods.
In the month of Asvina, the season of love, The Universe is pervaded with celestial light,
why leave the home, why make me sad? all men and women are gay with love.
This is the month for earning merit
Karttika by alms-giving, worship of God and sacred
baths
In the month of Karttika the autumn moon shines with Therefore, I implore you, my love,
unusual brilliance and the souls of the lovers are filled go not from home in Karttika.
with its radiance. Happy are the lovers who are together
on the full moon night of October. Diwali, the Festival of Agahana
Lamps, is celebrated. Millions of earthen lamps are
lighted in all the towns and villages. T he month of Agahana announces the arrival of winter.
The days have shortened and the nights have lengthened.
The lovers are seated on a terrace. In the background The sky is clear blue and there is a nip in the air. Beasts
is a river in which people are bathing. The sky is clear and afraid of the approaching winter are seeking nooks and
the rising sun is shown behind a hill (Fig. 86). The corners to hide themselves. Women are preparing for
painting illustrates the month of Karttika as described the winter, and buy new calico prints and card cotton for
below by Keshav Das: making quilts.The month of Agahana is shown in a
delightful painting of the Kangra Baramasa series in the
Woods and gardens, rivers and lakes, form of lovers standing on a terrace by the lake side. A
the earth itself and heavens above flight of cranes soaring upwards is shown in the sky
All are clear and shining bright,
 BAR AM AS A 101

Fig. 88. The month ofMagha Fig. 89. The month ofPhaiguna

(Plate XXIV). The painting illustrates the following poem blows from the mountains and men and cattle seek
of Keshav Das: warmth on the roofs of houses. Kachnar trees have
shed their leaves, and their bare branches appear “like
Of all the months to God Agahana is most dear. the naked swarthy gopikas of Vrindavanam, whose
This is the month for happiness, and salvation of clothes and jewels the Cloud-God has stolen in a divine
the soul. mischief.”
The river banks are covered with flowers
And joyous notes of swans fill the air. As the sun rises life quickens, and the villagers draped
The days are neither cold nor hot, in blankets sit in sheltered sunny nooks of the courtyards
how lucky to be together my love! of their houses and on roof-tops. The air is like
Do not therefore leave me alone champagne, bracing and invigorating. Draped in woollens
in Agahana, this lovely month of the year. the lovers are seated on a terrace. The snow-covered
Dhauladharisshown inthe background. In the courtyard
Pausha of a house, a man is receiving vigorous massage (Fig.
87). The painting illustrates the following poem of Keshav
“Enveloped by the mists of the month of Pausha, Das:
stained by dew, even on full moon nights the moon has
no lustre. Its frozen disk is dim like a mirror tarnished by Anything cold in the month of Pausha,
the breath. With its rays scarcely penetrating the fog, the food, water, house, or dress,
sun, long after it has risen, continues to resemble the Is liked by none anywhere.
moon.” Penetratingly cold is the surface of the lake and Cold are the earth and the sky,
the river. “The wild elephant, though tormented by and the rich and poor all alike
extreme thirst, withdraws its trunk suddenly, on coming Want sunshine, massage, betel, fire,
in contact with the cold water. The water-fowl standing company of women, and warm clothes.
on the banks dare not enter the pond.Their cries can be The days are short and nights are dark and long,
heard, but they cannot be seen in the fog.” Cold wind and this is the month for love.
102 KANGRA PAINTINGS ON LOVE

Do not quarrel and turn away from me, yellow blossoms of Vasanta are seen in profusion, and
and leave me not this month of Pausha. their pouting corollas are strangely significant of the
Spring season. The pollen of flowers floats like a canopy
Magha toying with the southern breeze. Along the water-courses
thousands of gentians with turquoise blue flowers provide
The cold yields to slight warmth in the month of Magha. a delightful frame to the fields of green wheat. In some
The lady with hands folded implores her lover to stay at of the fields blue flowers of linseed are mixed with yellow
home.In the background is a grove with numerous birds blossoms of sarsonproviding a delightful colourcontrast.
perching on the branches. Music is being played in the
courtyard of a house (Fig. 88). Keshav Das thus describes Swings are put up on the blossom-covered branches of
the month of Magha: trees in which bees are humming, enjoying the fragrance
of the flowers. The Spring is in full bloom and great is love
Forests and gardens echo the notes sweet and joy. The water lily has found life and raised itself
of peacock, pigeon, koeland papiha majestically. Jasmines open their buds and fill the air
Endless is the humming of bees with their perfume. The sky is clear blue like the
The air is scented with musk, camphor, and sandal Manasarovara lake, and the sun and the moon are its
Music is heard all through the night, giant blossoms. Nature is quickened with a new birth and
and all celebrate Vasanta even inanimate things seem to feel a thrill. Pangs of love
Do not leave the home in the month of Magha are born, and everything, everywhere looks for a mate.
If you love me at all, my darling.
The lover puts his left arm on the shoulders of the young
Phalguna lady, and looks at her fondly. The lady is clad in thin
transparent muslin, and the palms of her hands are dyed
In the month of Pha/gunaihere is warmth in the air, and red with henna. She is asking her lover to remain with her
lovers feel drowsy with amorous langour. Even days and in the month of phalguna. Near the terrace is a tree laden
nights have partaken of the colourfulness of Phalguna. with flowers. In the background is a crowd of revellers
Phalguna is the month of love, and the lovers long for playing Holi. A man with a drum leads the procession.
Phalguna as the dark night longs for the full moon. Men are throwing gulal, the red powder, on each other,
while a woman standing on a terrace is sprinkling
The twisted palasa trees, unworthy of notice in winter, coloured water with a syringe overthe men. It is thus that
shed their trifoliate leaves, arfd their twisted limbs get the month of Phalguna is represented in a Baramasa
covered with dark-brown buds. As if touched by a magic Kangra painting (Fig. 89).
wand, the buds open suddenly, and the trees are ablaze
with flame-like orange-scarlet blossom. Clad in the Keshav das describes the month of Phalguna as below:
dazzling scarlet robe of palasa flowers, the earth looks
like a young bride. All restraint gone
The rich and poor mix together
In the Kangra Valley, the fields and hedges are dotted and make merry.
with snow-white blossom of kainth, the wild pear. A Speech is free
small, unsightly, bushy tree a few days ago, in the last and there is no sense of shame.
week of February, the wild pear flowers before the Young men and women in every home
leaves unfurl, and becomes a dome of white blossoms. play Holi, smearing each other with gulal
“I am the white song of creation”, says the kainth. By the and fragrance of scented powders fills the air.
middle of March the young leaves open, fledging every Why leave me alone, my love
tree with pale green silk, which provide garniture for in Phalguna, the month for merry-making
cluster of silver white blossoms. In hedge-rows, the
COLOUR PLATES AND NOTES
104

PLATE I

THE LOTUS LADY

Padmini Nayika

Guler, c. 1800, size : 10x16.7 cm., Punjab Museum, Patiala

Classical romantic literature of the Hindus divides women into four types, and of these the Padmini, the Lotus, is the
best of all. Malik Muhammad Jayasi in his Padma vat ihus sums up the character of the Padmini" The best kind of
woman. She has the odour of lotus, thus attracting bees. She is not very tall or very short, very lean or very stout. She
has four things long (hair, fingers, eyes and neck), four light (teeth, breasts, forehead and navel), and four thin
(nose,loins, waist and thighs). Her face is like the moon. Her gait that of a swan. Her food is milk, and she is fond of
betel and flowers. She has sixteen-sixteenths of all graces."

The lady, shown in the painting plucking plum blossoms, answers all qualifications required of a Padmini Nayika. In
the full bloom of her youth and beauty, slender-waisted, with shapely breasts, well-proportioned shoulders, slender
delicate hands and arms, moon-like face, dark expressive eyes, eyebrows like the bow of Kama and jet black hair,
she is the Lady Lotus.
106

PLATE II

THE YOUNG BRIDE

Navodha Nayika

Kangra, c. 1810, size : 12.5x16.7 cm., Bharat Kala Bhavan, Varanasi

Navodha Nayika\s the young bride. In this picture, a navodhals shown being led into the bridal chamber, where her
lord is anxiously awaiting her arrival. On her face is an expression of delight and hesitancy; she is on the threshold
of married life and a strange experience awaits her. The young lady has bowed her head, and her face is partly veiled.
The submissive grace of the navodha seen in this picture is so typical of countless Indian brides, particularly in the
rural area, which has yet escaped modern education. Coomaraswamy’s words might well describe this painting: “This
picture is of most delicate and romantic loveliness and purity. There is a haunting charm in the gentle shyness of the
bride as she is led by a friend to the bridal chamber. We may almost feel the wild beating of her heart and feel the
tremulous touch of her red-stained fingers... The white marble building glistens in the moonlight. The whole picture
bears the spell of that strange serenity and recollectedness, that so distinguish the old life of India.”

Vidyapati thus describes Radha as Navodha Nayika:

With soft persuasion all the maidens

Led her to her lover’s side,
A fawn ensnared from the forest
Panting hard.25
' T.1
108

PLATE III

THE EXPERIENCED HEROINE

Praudha Nayika

Kangra, c. 1825, size : 15.3 x 21.5 cm., Collection of Raja Dhruv Dev Chand of Lambagraon

This painting illustrates Praudha Nayika, the mature and experienced heroine, the symbol of happy and harmonious
married life.26 The lovers are lying in close embrace, relaxed, satisfied and happy. The heroine’s face with its
expression of contented joy, her languor, and care-free abandonment to the impulse of love is symbolic of her maturity.
She is the praudha, the experienced nayika, mature in her experience of love.

The inscription on the painting reads:

QjqZHt 3tfrT ifa 4', I

RTt Tt, T?t Rlt Tit 3FT II

Laptani ati prem saun, dai ura uraja utariga

Ghari ek Ion chhutehuh par, rahi lagi si ahga

Passionately she embraces her lover

Pressing him to her heaving full bosom;
The grip loosens, but still
She appears to cling to him.
 'mam

i | s;7”-7ri7-;-'V'iC'rgn-;rrr<r.r'^-y»rcr;'

i- * ’■ •

Hag! h n
-• ..v,-*r-.
W; ■' •- — f*-*#**-v *■*#*
%Pl5fjW
-

..-•, • ■
110

PLATE IV

THE DEVOTED HEROINE

Praudha-dhira Nayika

Guler, c. 1790, size : 15 x 21 cm., National Museum, New Delhi

The painting from Guler illustrates the sweet, submissive, and affectionate Hindu wife, entirely dedicated to her
husband. Her humility, grace and sweetness and mind enriched by suffering are eloquently shown in this painting.
She is the Praudha-dhira Nayika. The incription on the back gives the following poem from the Rasikapriyacft Keshav
Das :

vWt sfhr
3TT^cI fe$ ^
STFnt 3TRH slil I
4Hl H<2lR
I
fsRI ^RIT? ^
H qFTRc5 I
TFt ^
if eft H ctfl h1 11

Avata dekhi liye uthi age hvai

Kesava apanau asan dinau,
Apahi pani pakhari bhale jala
Pani kau bhajan lyai navinau,
Bira banae ke age dhare jabi
Hi kara komal bijana linau,
Banha gahi haryen sai kahyo hansi
Main to itau aparadha na kinau.

Seeing her lover come

She gets up and offers her seat to him.
She brings water and washes his feet;
Then offers betel, and picks up a fan to cool him.
Overwhelmed, he clutches her delicate hand
Saying, “Dear! does my offence need so much punishment ?”
112

PLATE V

LOVERS BY THE LILY POOL

Radha’s He/a-hava

Guler, c. 1820, size : 17.5 x 22.8 cm., Municipal Museum, Allahabad

This is a delightful painting showing Radha’s Hela-hava. It is a moonlit night of autumn, and the lovers are meeting
near a lotus pool. The reflection of the orb of the moon in the pool, and the trees covered by flowering creepers create
an enchanting scene, which provides appropriate background to the romance of Radha and Krishna. Radha met
Krishna in solitude in the moonlit night, with a smile on her face and fragrance around her. She then enslaved him
by making him drink the wine of her lips. The method of continuous narration is followed, and the picture is in two parts:
in the foreground is shown a love scene, and in the background the lovers are walking away with the hand of each
on the other’s shoulder. Krishna is with his favourite gopi, Radha. Radha with her beautiful moon-like face appears
enchanting in the loveliness of her fresh youth. The dark Krishna and fair Radha, in close embrace, appear like the
dark cloud, mated with a flash of lightning. The picture in the background is particularly enchanting; the lovers walking
with the hand of one on the shoulder of the other symbolize companionship and deep intimacy. They are looking at
each other fascinated and remind us of the lines of Vidyapati:

Her partridge-eyes beholding Krishna’s moon-fair-face

Were drinking draughts of dew:
Each on the other gazing, spread abroad the taste of bliss.
114

PLATE VI

WAITING FOR THE LOVER

Utka Nayika

Guler, c. 1765, size : 17.8 x 24 cm., Kasturbhai Lalbhai Collection, Ahmedabad

The lady shown is the Expectant Heroine, Utka Nayika, whose anxiety is roused greatly at her lover’s inability to keep
his appointment with her at the promised hour. She waits at the trysting place, and to relieve her anxiety occupies
herself in decorating the trees with garlands of jasmine near the place of the expected meeting. In the stillness of the
dark night, so admirably shown in this painting, one can almost hear the thumping of her excited heart. The deep blue
sky is like a rich purple mass of collyrium. In the narrow horizon at the top is the star-spangled sky decorated by the
pale orb of the moon.
116

PLATE VII

THE FORWARD
Abhisarika Nayika

Kangra, c. 1830, size : 14.6 x 20.9 cm., Shrimati Sumati Morarjee Collection, Bombay

Abhisarikais one who goes out to meet her lover. The one shown in this painting is a Krishnabhisarika, the nayikawho
goes out in a pitch dark night to meet her lover. The lover is shown on the left hand in a lighted room. The heroine is
determinedly going forward ignoring rain and thunder. She has almost trodden on a cobra, who is hissing in anger.
In the raging storm her blue dupatta is blown off her head. Her path is occasionally lighted by the flashes of lightning.
Lightning is personified in Sanskrit poetry as the wife of the cloud, and has sympathy with the lady going for the
assignation. The treatment of clouds and lightning is unique in this painting, almost modern in its simplicity.
118

PLATE VIII

THE LADY IN MOONLIGHT

Suklabhisarika Nayika

Guler, c. 1820, size : 17.2 x 21.1 cm., Jagmohandas K. Modi Collection, Bombay

The lady shown is Suklabhisarika, the one who goes out to meet her lover on a moonlit night. The moon has grown
pale with shame at the lovelier brightness of the lady’s face. The chakoras have forgotten the moon and are looking
at the lovely face of the heroine, and are fascinated. Radhaas Sukiabhisarika\s\hus described by Guru Govind Singh
in Dasam Granth, “Radhika went out in the moonlight in the light of the white soft moon, white everywhere, wearing
a white robe to meet her Lord. She thus concealed herself in the white and roamed as the light itself in search of Him.”
The painting bears the following inscription:

tJl'bl Tfcr if fcs41cil

q+jRqi ^ ^ l

% TTtecJ Tl<?5f ^ II
Tf if 'sRhr ^if ^Itrt R^ifl

i[ ^ ^ II

Chhaki prema nema men chhabili chhaila

Chhaila ki basuriya ke chhalan chhali gai,
Gahire gulaban ke gahire garOr gare
Gori ki gandha gail Gokul gali gai
Dara men darina hun men dipat divari dari
Dant ki damak duti damini dali gai,
Chausari chaveli charu chanchal chakoran se
Chandani men chandramukhi chaunkat chali gai.

The beautiful nayika rapt in love

Hears the call of the flute of her lover and goes out to meet him.
She is lovelier than the rose,
And her fragrance fills the streets of Gokul as she goes.
Her beauty shames the lighted lamps,
And the sparkle of her teeth dims the flash of lightning.
The moon-faced nayika with eyes more restless than the chakora’s
Moves on through the moonlit night.
120

PLATE IX

RADHA’S coiffure
Kangra, c. 1790, size : 13.8 x 19.6 cm., Bharat Kala Bhavan, Varanasi

Radha is arranging her coiffure after a bath in the Yamuna. Smiling shyly, displaying her charms, she is busy with her
toilet. This enchanting painting is out of a series illustrating the Satsaiyyao\ Bihari, possibly painted by Manak, the
Kangra artist who painted the famous series of the Gita Govinda paintings. The painting illustrates a poem of Bihari
given below:

Kar sameti kuch bhuj ulati, khain sis-patu tari,

Kakau man bandhai na yeh jura-bandhan-hari.

Her arms thrown back, the end of her sari on her shoulder,
The lovely damsel tying her hair, whose heart will she not twist into knots!
122

PLATE X

TOILET OF RADHA
Guler, c. 1785, size : 13.4 x 19.3 cm.. Collection of Gopi Krishna Kanoria, Calcutta

This painting shows the toilet of Radha. In the background are three blossoming shrubs, symbol of the blooming youth
of the lady. Two maid-servants are holding a white sheet of cloth to screen her, and another is wiping her wet feet with
a towel. At the back is another, holding bottles of scented oil. In front are scattered ewers with long spouts, which Archer
would interpret as symbols of her ardent desire and love-longings. The lady’s face is charming, her dark, expressive
eyes, pencilled eyebrows, delicate nose, and wealth of long gloosy black hair, providing a frame for her lovely breasts
which remind one of the following poem of Vidyapati:

“A joyous day this day for me !

I saw my love when she was bathing,
A stream of water pouring from her hair,—
The clouds were showering strings of pearls !

Wiping her face intentifly,

As though she cleansed a golden mirror,—

Discovering both her breasts,

Where had been set inverted golden cups,

She let her zone fall free:

That was the bound of my desire, says Vidyapati.”27
124

PLATE XI

THE MEETING OF EYES

Guler, c. 1810, size : 15 x 20.3 cm., Collection of Raja Dhruv Dev Chand of Lambagraon

The lover is looking from a window in a marble pavilion, when the lady surrounded by her female companions is
crossing the courtyard. While with one hand she is holding the dupattawY\\ch has slipped from her head, with the other
she is playing with the chakri. As she looks up, theireyes meet, and desire for union is awakened. Birds are symbolically
introduced to create the atmosphere of love; a pair of ducks are in the foreground, and on the wall behind the lady are
two pigeons making love. The inscription on the painting is given below:

I TT^TfcT TJ? ^
'rot Tft i
% ■jit

ii
WT c^f

^ Mr t,
imi

Manda musukati hai sakati guru lokani pai

Chitai trasi si vana harini jyon jala kaun,
Bhonh ki machani yuga nainana ki nachani Nath
Kuch ki uchani pai halani moti mala kaun.
Afichal chalan tyon hi bhuja ki lachan charu
Kantha ki muran uchhaaran karatal kaun,
Sakhin kaun terati manoja mana gherati hai,
Chakrin ferati ae herati hai lala kaun.

A smile plays on her lips.

The eyes dance, the brows move, the neck swings,
The breasts heave supporting the pearl necklace.
One hand keeps the yo-yo in play;
the other is busy lifting the slipping fold of the sari.
She calls out to her companions thus trying to
attract the attention of her lover.
And she plays with the yo-yo,
while stealing glances at her lover.
126

PLATE XII

MANINI NAYIKA
Kangra, c. 1800, size : 15.7 x 20 cm., National Museum, New Delhi

Another phase of ‘Love in Separation’ is determined by Mana, which implies coldness, stubbornness, pride or caprice.
Marta may be slight, moderate, or heavy. While slight maria may be overcome by coaxing and cajoling by the
companion of the lady, the heavy mana is only overcome when the lover humbles himself, and falls at the feet of the
lady. This is a phase which comes in the love life of most lovers. Plates XII and XIII represent ManiniNayikas.

In this painting the lover is shown in the pavilion sitting in front of a fountain surrounded by two lamps. The companions
of the lady are coaxing and cajoling herto relent, and one in extreme humility is even touching herfeet. The inscription
on the painting is as below:

f?T3TFft t 3^TRt ^Rt TF&

il^l 'lisl 'N' T 't' I

father 11
^ftcT TFRT ^ Wtcf
frtrra 11
distil rft fcKel f^^TT f°iyRT
^^t tI

Samajha siyani ten ayani hota ghari ghari

Nahin nahin kahata nenka na aghata hai,
Kai hai gharavasa kahyo man syama syama mila
Bichhure ten amarbeta sou murajhata hai.
Janata na hara jita manata na paratita
Kaun rasarita varon bolat risat hai,
Unako to virahi ki vidha vithurata bali
Tu to itarata ita rata bita jata hai.

Oh wise sakhi, why be so indifferent; why be adamant?

You know not where victory lies, not heed my advice.
How should I speak to you, when every word, I say, irritates you?
He is pining in separation, and you are drunk with pride !
Even the amar beta dries up in separation.
Go to Syama; the night is passing swiftly.
128

PLATE XIII

THE OBDURATE LADY

Manini Nayika
Kangra, c. 1800, size : 15.2 x 22.3 cm., National Museum, New Delhi

This is an instance of extreme obduracy, known as GuruMana. It is a delightful night with dark clouds in the sky lighted
by flashes of lightning. The lover who is shown in the form of Krishna in the chamber below has sent a garland and
flowers to the lady. The Manini refuses not only the direct prayers of the lover, but also the messages of love sent
through a messenger. She has thrown the garland and the flowers on the ground, and is seated with bent back, hanging
head and averted face. A girl companion is pointing towards the dark cloud, while the one in front is coaxing and cajoling
her. The girl messenger below is reporting the failure of all efforts to persuade the lady to meet him. The painting
illustrates the following poem by Keshav Das, which is inscribed on the back:

chfan

RrI r# rriri irfr <*>i<Rh1

'rlRlRl Roi4! 51^1 f^fti 3RRRT I
Mjfo. Sl<l Tf% HlR HlR 5>l4T hk
?rfr *M>t^kfd RrRro rRt w n
Rr^ ^ ^ TrfcT
^TRftr Rvf fRl 7M I
ir h tr "5^ ijRf ^tRrt

Sikhai hari sakhi darpai hari kadambani

Damini dikhai hari disi adharat ki,
Jhuki jhuki hari Rati mari mari haryo mar
Hari jhakajhorati trividha gati bat ki.
Dai niradai dai bahi aisi kahe mati
Jarati ju rain dina daha aise gata ki,
Kaise hu na manai haun bulai hari kesorai
Boli hari kokila bulai hari chataki.

All the persuasion of the sakhis has failed

to reconcile her to her lover.
The dark clouds too could not frighten her,
And lightning flashed in vain to show the
way in the gloom of the night.
The fragrant breeze, the cooing of the /roe/and the chataki,
And even the efforts of Kama, the God of Love,
and his consort, Rati, have failed.
She burns day and night in the fire of separation,
But cruel Providence would not have pity on her.
130

PLATE XIV

AUGURY OF THE CROW

Kangra, c. 1800, size : 14.8 x 21.5 cm., Collection of Raja Dhruv Dev Chand of Lambagraon

The nayika shown in this painting is Vasakasajja, one, who desirous of union with her lord, stands at the doorstep
waiting for him. She is asking the crow perching on the pomegranate bush to fly away.28 Her daughters are on the
terrace looking for their returning father. The love-lit eyes, heaving breasts peeping out of the pesvaj, and extended
arms convey her feelings of joyous expectancy. The straight and pointed cypress, and the minarets represent her
ardent desire. This lovely painting from the collection of the Raja of Lambagraon was apparently executed by one of
the master artists of Maharaja Sansar Chand at Alampur. In the distance across the river is shown the palace at Tira
perched on a mountain top.
132

PLATE XV

LADY ON A SWING
Kangra, c. 1790, size : 14.3 x 21.5 cm., National Museum, New Delhi

In the stuffy heat of the rainy season following spells of rain, it is a delight to sway in a swing. In the 18th century France
swing were invented, for the skirts were too long, and the swings swept up the skirts in the breeze to the delight of
the beaus below. In the paintings of Fragonard such scenes are commonly shown. In India, however, a swing was
a genuine necessity for cooling the body, particularly in an age when electric fans were not known. In this painting,
the lady, attended by her servants and companions, is enjoying the swing.
134

PLATE XVI

ADMIRING THE RAIN CLOUDS

Guler, c. 1810, size : 14.1 x 17.5 cm., Kasturbhai Lalbhai Collection, Ahmedabad

The rainy season has a special appeal for lovers in India. The white cranes, silhouetted againstthe background of dark
clouds, are an unforgettable sight. The music of flowing water and the patter of rain-drops have a strange fascination.
In this painting, the lady is pointing towards the skein of saras cranes cleaving the dark clouds with their golden legs.
The beautiful sight of the cranes, and the cool breeze, which heralds rain, have raised ardent desire in her. She is
restless and is desirous of entering the adjoining bed-chamber, and at the same time she also lingers a while not to
miss the beauty of the sight of the white cranes providing such a heavenly contrast to the krishna-b\ue clouds. This
is a good illustration of samyoga, love in union.

The doha on the painting is as below:

Tratn
i
w ^aftr ii

Chhinaka chalat thathakat chhinaka, bhuja pritam gala dara,

Chadhata ata dekhati ghata, bijju chhata si nara.

With her arm around her lover’s neck,

She watches the dark gathering clouds from the top of the house,
Restless and shining like a streak of lightning,
Sometimes she moves on, and then stops suddenly.
136

PLATE XVII

SHELTERING FROM RAIN

Kangra, c. 1800, size : 14.6 x 20.4 cm., Punjab Museum, Patiala

One of the most delightful paintings by the master-artist of the paintings of the Bhagavata Purana series, it shows
‘Love in Union’. Krishna was grazing cows along with the cowherd boys and gopis when it started raining suddenly.
They all took shelter under a pair of trees. While a cowherd boy protected himself from rain with a lotus-leaf, another
one hid among the trunks. Krishna and his favourite gopi sheltered beneath a common black shawl. The cows are
providing a cover to the lovers. A liana is embracing the tamala tree in its coils, and the trees themselves are locked
in embrace. On the crown of a tree, a peacock, the lover of the cloud, is shouting exultantly. In a corner is a skein of
snow-white sarascranes soaring into the sky. On the left are two gopis carrying pitchers. What the one to the extreme
left is saying to the other is expressed in the following poem of the poet Bahadur:

fdd dT<le5dl fi^St cfTe? I

<rlMK ■hRcII Rmd cX-HI, ft1? ^ j|[ f-Fd C3|C5d II

Mallika charu chubhi chita champaka,

nagalata mill tala tamalana.
Sagara saun sarita sigari lalana,
basa prem ke hvai nija lalana.
Kajara se ghana men chapala
Chahun ora nachi rachi chanchal chalana,
Bala tumhen bali jaihon Bahadur,
aji milau chali kahe Gupalana.

The jasmine is entwined with the champaka,

The nagalata is embracing the tamala;
The rivers are rushing madly to mate with the ocean,
And young women overcome with
passion are seeking their lovers.
The restless lightning is dancing in the dark clouds.
May you also be blessed with love, Oh sakhi!
138

PLATE XVIII

TRYST IN THE FOREST

Kangra, c. 1800, size: 14.2 x 20.3 cm., Collection of Miss Alice Boner, Varanasi

Radha and Krishna met at the tryst on the outskirts of the village. As they stood on the bed of leaves, there was a flash
of lightning in the dark cloud, and it started drizzling. Krishna raised his dark blanket to protect Radha from rain. This
is a painting of rare beauty expressive of the tenderness of love.
140

PLATE XIX

LOVE IN MOONLIGHT
Guler, c. 1820, size : 16.5 x 21.3 cm., Bharat Kala Bhavan, Varanasi

The autumn moon shines with unusual brilliance and the souls of the lovers are filled with its radiance. Happy are the
lovers who are together on the full moon night of Karttika. The lovers are intoxicated with joy, their red-streaked eyes,
brimming with passion. The saA/7/swatch their sports from a cornerof the garden. Immersed deep in the ocean of rasa,
they gaze at each other ardently, and sit with arms round each other’s neck in the pavilion in the garden, colouring
it a glossy brown with the lustre of their figures, which, melting in ecstasies, can hardly bear the weight of their
necklaces, rings and the sandal-paint. The eyes of Radha, dripping with love, become cool when they gaze at the Lord,
and then they begin to look like a pair of golden lotus-buds sparkling with pale lustre beneath the surface of the water.
At the sight of Krishna, and the moon of Vraja, they unfold their petals in unspeakable glory.

This is a painting in which love in union is shown against a background of architectural splendour. The marble pavilion,
the lover’s nest, is studded with precious stones. The sky is beautifully jewelled by the moon and below it are the sakhis
talking about the course of love of Radha and Krishna. Radha is a dream of feminine beauty, her dark, expressive eyes,
coy expression, and projecting breasts bursting out of the choli, with their beauty enhanced by the necklace of pearls
and diamonds. This is a painting of timeless beauty eloquently depicting the joy of love in union.29

The painting bears an inscription in Gurmukhi on the top. Possibly, it was painted by a Guler artist for a Sikh patron.
The poem is as below:

Swayia

Bhookhan bheda swar sabhey ariga

Aure bhant kiyo kuchh bana
Chandan ki kanchuki kuch upar
Kesarband teu rang thana.
Sri Ghanasyama sujan piya
Raske chaske kuchh bheda na jana
Ho tirchhi dehsi lalna tab
Kanchuki kholat lal lajana.

Radha decorated herself with a variety of ornaments,

Dressed in a unique manner,
And covered her breasts with a saffron-colour bodice,
fragrant with sandal.
Sri Krishna in joyous abandon was immersed
in the ocean of pleasure.
The beloved averted her face, bent aside,
And Krishna boldly unlaced her bodice.
142

PLATE XX

LOVE IN A GARDEN PAVILION

Kangra, c. 1810, size : 20 x 25.4 cm., Collection of Raja Dhruv Dev Chand of Lambagraon

This is a rare example of an illustration of a poem of SOr Das by a Kangra artist. How the artist loved the poem is evident
from the inscription on the back of the painting where letters are inscribed on white clouds surrounded by a haze of
gold. The sun has risen in the east, and Radha and Krishna come out of the pavilion in the garden after spending the
night together. Radha clad in a blue sari is holding Krishna’s hand—an expression of deep intimacy. Hers is a face
of exquisite sensibility, with a beautiful chin, delicate lips, shapely nose, and languorous eyes. The lovers are looking
at each other enraptured.

The marble pavilion, studded with precious stones, is surrounded by a grove of trees on which pairs of love-birds are
warbling music. In the foreground is a lotus lake with half-opened lotus flowers and buds. In a corner, a chakva\s flying
to his mate after the night-long separation. This exquisite painting from the collection of the Raja of Lambagraon was
painted by one of Maharaja Sansar Chand’s most accomplished artists. The inscription is reproduced below:

•fwl 'I'M rf 'NkR? ^4IHI W I “IW -l4li ?RH f4fe fTOT II

WET fH 4k W. 3tK?T f^Tft I II

f4f4*r ^ sttoi ^i -spjii

Kunja bhavan ten nikase bhorahin syama syama khare.

Jalada navin taruna damini mili baras nisa ughare.
Gaur syama tana nila pita pata aras chitahi dhare,
Sramajal bunda kahun kahun udagana badara men nikare.
Prempravah chhuti janu sarita tuti mala gare,
Kajara adharata bola nainan rahga anga jhila bhare.
Bhushana vividha hute matavare aras umagi dhare,
Sobha atihi viloka sura Prabhu nahin jata tare.

The day has dawned, and Krishna and Radha come out
of the garden pavilion in which the night was spent.
Radha is wearing a blue sari; Krishna is in his yellow pitambara.
They are relaxed and suffused with the fulfilment of love.
Their garlands are broken;
Beads of sweat shine on Krishna’a limbs like stars
peeping through the clouds;
The collyrium in Radha’s eyes has trickled to the lips,
And the vermilion on her lips has spread to the eyes;
The ornaments on her person are displaced in their
joyous abandon,
It looks as though a mighty cloud
And impetuous lightning have come to rest after
their night-long play.
144

PLATE XXI

THE MONTH OF CHAITRA

Kangra, c. 1790, size : 14.5 x 20.3 cm., Collection of Raja Dhruv Dev Chand of Lambagraon

Plates XXI,XXII, and XXIV are from the famous Baramasaseries of paintings, originally in the collection of Maharaja
Sansar Chand. In this painting, the lovers are seated on a terrace, and in the background are flowering shrubs and
trees in which birds of many kinds are warbling music. The lady is describing the charm of Chaitra (March-April), and
exhorting her husband to remain at home.

The painting illustrates the following poem of Keshav Das from the Kavipriya:

3TST 4r1 c<J|H

wm-
xfT<3t <r4ftl=bl tfRr>d rK d<?d I
TTW ^ TR TR3T II

=hl*tfH, I
^ TTT% II
^ i
3TT^, -g fwt ^cl II* II

Phuli latika lalita taruni tara phule taruvara,

Phuli sarita saras subhaga phule sab saravara.
Phuli kamini, kamarupakari kantani pGjahin,
Suka saro kula kalita, phuli kokila kala kujahin,
Kahi Kesava aise phGla mahi phulahi sGlana laie,
Piya apu chalan ki ka chali su chittana Chaita chalaie.

Lovely creepers are in bloom, blossoming

trees are young once more,
And streams and lakes are full of flowers.
Women, aglow with passion, dressed in their best,
Abandon themselves to sports of love.
The parrot, the mainland the koelare singing songs of love.
Why think of going away, why spoil this joy
in the month of Chaitra, my love ?
146

PLATE XXII

THE MONTH OF &RAVANA ■

Kangra, c. 1790, size : 14.5 x 20.3 cm., Collection of Raja Dhruv Dev Chand of Lambagraon

This is a delightful illustration of the rainy month of Sravana. The lovers are seated on a chaukiand the lady is pointing
towards the flash of lightning in the cloud. On a rounded hillock a peacock is shouting with joy, hailing the clouds, and
in the background is a flight of white sarascranes soaring into the sky. A mountain stream is winding sinuously through
the hillocks. In a corner is Alampur with the garden palace of Sansar Chand.

The inscription on the painting from the Kavipriya of Keshav Das is as below:

3TST ■Hieei cki[i

TtftcTT ffaR 4ft I

fafaTcffiT Wild rTFT TFT clWr II
fan nMtfi fafaffa Rtf i
nn rtr Srfe ^fa rrr farr 4th ii
ftfn wr wfln Rtf rr nr fal wrr i
ffarrr rrtRft Rtf Rtf wt TffaR nftf thrr imn

Kesava sarita sakal milat sagar man mohain,

Lalita lata lapatat taruna tana taravar sohain.
Chita chapla mili megha chapala chamakat chahun oran,
Man bhavana kahan bhenti bhumi kujata misa moran.
Ihi riti raman ramanin kahun raman ura lagai ramavan,
Piya gaman karan ki ko kahai gaman suniya nahin Savan.

The streams look so lovely as they rush to meet the sea.

The creepers enchant the eye embracing young trees lovingly.
The lightning flashes restlessly as she sports with rolling clouds.
The peacocks with their shrill cries announce
the mating of earth and sky.
All lovers meet in this month of Savan.
why forsake me then, my love ?
’F'^rT^
148

PLATE XXIII

THE MONTH OF BHADON

Guler, c. 1810, size : 15 x 22.3 cm., State Museum, Lucknow

Different series of Baramasa paintings exist, and this picture, from another series by a Guler artist, illustrates the rainy
month of Bhadon (August-September). The lovers are seated in a balcony of a house in a garden watching a flight
of cranes. On hearing the thunder-clap following a flash of lightning the lady embraces her lover.

Keshav Das thus describes the month of Bhadon:

'ER stTt rR IhhT^Pi h^R> I

*RpT RKRf tS^R? 11
*M>kTO 'HjRti RRRTfR I
ftR RIR R^R fR II
f^ftr Rpr Rfct rr, g aM stffeir i
fRJR fspvH fRT 'RRT R «llsy, 11^ II

Ghoratghan chahun ora ghosh nirghoshani mandahin,

Dharadhar dhari dharani musal dharani jal chhandahin.
Jhilligan jhahkar pavan jhuki jhuki jhakajhorat,
Sinh bagh gunjarat punj kunjartaru torat.
Nishi din visesh nihesh mati jat su olo odie,
Des piyushar vides vish Bhadon bhavan na chhodiye.

The purple clouds are gathering, the thunder

rolls and rain pours in torrents.
The wind blows fiercely, the cicadas chirp,
the lions roar, and elephants fell the trees.
The day is dark like the night, and
one’s own home is the best.
Pray leave me not in the month of Bhadon
for separation pains like poison.
150

PLATE XXIV

THE MONTH OF MARGASlRSHA (AGAHANA)

Kangra, c. 1790, size : 14.5 x 20.3 cm., Collection of Raja Dhruv Dev Chand of Lambagraon

The painting illustrates the early winter month of Agahana (November-December), when the sky is clear and swans
migrate from the mountains to the plains. The lovers are standing on a terrace overlooking a lake in which water-birds
are disporting. A hamlet nestles on the top of a hill reminding one of the Kangra Valley and its charming villages. In
the sky is a flight of swans soaring into the sky. The painting illustrates the following poem of Keshav Das:

3TST cKlfn
^RT-

HTTR if 3R HRl TR I
RfTR HRIRft R W if II
HRR RfRT TRR5 TfR TJT I
RR RfeR 4>ei^PH ^ ^ II
fRl TR HR HTfcT H HR, RR RR R? RjJ I

Masan men Hari amisa kahat yasan sab koi,

Svaratha parmarathani det bharath men doi.
Kesava sarita sakal kool phoole sugandh gur,
kujit kal kalahams kalit kalahamsani ke sur.
Din param naram sit na garam, karam karam yah pai ritu,
Kari prannath pardes kahan Maragsir marag na chitu.

Of all the months to God Agahana is most dear.

This is the month for happiness and salvation of the soul.
The river banks are covered with flowers
And joyous notes of swans fill the air.
The days are neither cold nor hot,
How lucky to be together my love !
Do not, therefore, leave me alone in Agahana,
this lovely month of the year.
152

PLATE XXV

THE MONTH OF PAUSHA

Guler, c. 1830, size : 15.3 x 22 cm., Kasturbhai Lalbhai Collection, Ahmedabad

This painting is from a series illustrating the Baramasa of Keshav Das, describing the twelve months. The month
illustrated is Pausha (December), when it is intensely cold in the hills of the Punjab. The lovers are snuggling in a
common blanket, with a brazier in front of them. Sitting in companionship, and looking into each other’s eyes, the lovers
are enraptured, and remind us of a song from Annam.

It is late at night
As we talk gently,
Sitting by one another,
Life is as beautiful as night.30

The inscription on the painting is in Gurmukhi script. The cypresses alternating with mangoes is a convention of Guler
artists. It seems that this painting is from a series prepared for a Sikh patron by a Guler artist. The inscription is as
below:

du[-l
wm-
3T5R tftacs 3H<Hcb I
ii
rfa, cllUli, flH-1, mm, ^ Rff I
tr tr fqff ii
f^T TTFft if I
^ f^RTft fq^TTST Tjq it II

Sital jala, thala, basan, asan sital anarochaka,

Keshavadas akas avani sital asumochaka.
Tel, tula, tamor, tapan, tapan, nava nari,
Raja rarika sab chhodi, karat inhin adhikari.
Laghu divasa diha rajani raman hota dusah dukh rus men,
Yah mana, krama, bachana vichari piya
pantha na bujhiya Pus men.

This is the month of Pausha when none likes

cold food, light clothes and chilly places.
The skies and the earth breath cold.
In this month everyone, whether rich or poor,
wants to have six things : oil massage, warm
clothes, betel, sunshine, company of young
women and a warm hearth.
The days are short and the nights long,
And this is the season for love. Do not turn
away; that would be most painful.
Stay (at home) and be with me.31
 BIRDS, INSECTS, TREES, SHRUBS AND CLIMBERS
MENTIONED IN SANSKRIT AND HINDI LITERATURE
BIRDS
CHAKORAj A/ectoris graeca, a Himalayan partridge, the lover of the moon, said to feed on the rays of the moon.
CHAKRAVAKA : Casarca ferruginea, a variety of duck, also called chakava (surkhab). Legend relates that pairs of
these birds are souls of two sinning lovers who are said to sleep apart at night, and call endlessly to one another,
“Chakava, may I come?”, “No, Chakavi”.
CHATAKA : Cucu/us melanoleucas, a type of swallow said to drink only rain drops as they fall from clouds.
CROW : Corvus sp/endens, messenger of separated lovers; also a scavenger who eats leavings and filth.
GARUDA : A mythical bird with parrot’s head, human body and clawed feet, the vehicle of Vishnu, and enemy of
serpents.
HAMSA : Phoenicopterus ruber, the flamingo, and also the goose, Anser indicus.
KHANJANA : Motacilla maderaspatensis, the wag-tail, symbol of restlessness, and also of eyes of the beloved.
KOEL : Eudynamis sco/opaceus, a dark bird commonly found in mango gardens during the flowering and fruiting
periods. Its cry is kuhu, kuhu, kuhu, rising in scale with each successive call, and its parichama-no\e is the dominant
of Nature’s chorus.
KOONJA : Anthropoides virgo, the demoiselle crane.
KRAUNCHA : Numenius arquata, curlew.
MAINA : Acridotheres tristis, a cage bird, is a good mimic.
NILAKANTHA : Coracias bengha/ensis, roller or blue jay, sacred to Vishnu.
PAPIHA : Hierococcyx varius, commonly known as the hawk-cuckoo, or the brain-fever bird—its cry is 'Pi
kahan’,—‘Where is my love ?’
PARROT : Psittacula eupatria, a pet bird said to overhear conversation of lovers, and to repeat it in awkward
circumstances.
PEACOCK : Ravo cristatus, male is said to be lover of the clouds, delights in rain.
SARAS : Antigone antigone, the slate-coloured saras crane, said to pair for life, and hence a symbol of devoted love.

INSECTS AND MITES

ANT : Camponotus compressus, the common black ant, symbol of industry and patience, called Pipiiika\n Sanskrit.
BHRAMARA : Bumble bees, Xytocopa aestuans in the plains, and Bombus orienta/is in the hills. Lovers of flowers,
symbol of the male.
BIRBAHUTI : Trombidium gigas, Indragopaka (Sanskrit), the velvet mite of scarlet-colour. They appear in large
numbers in early rains.
JAGNU: Lamprophorustenebrosus,and Lucio/agorhami, light producing insects belonging to the familiyLampyridae.
LAKSHA : Lacciferiacca. the lac insect.
MADHU MAKSHIKA : Honey-bees, of which Apis indica \s docile, and Apis dorsata is ferocious, nesting in the open
on high trees and arches.
PATANGA : Applicable to many species of flying insects attracted to light.
156 KANGRA PAINTINGS ON LOVE

TREES, SHRUBS AND CLIMBERS

AGURU : Aquilaria agaiiocha, a large evergreen tree with fragrant heart-wood.
AMALTAS : Cassia fistula, a small hardy tree with pendulous racemes of large bright yellow flowers in April and May.
ARJUNA : Terminaiia arjuna, a large shady tree.
ASOKA : Saraca indica, a herald of spring, has scarlet crimson bunches of flowers in early March. Said to flower on
the touch of a beautiful woman’s feet.
AT IM U KT A : Jasminum sp.
BANDH0KA : PentapetesPhoenicia (or Leucas iinifoiia)
BETEL : Piper betie, pan, tambdia, a climber, leaves used for chewing.
BIMBA : Momordica coccinia, a climber with bright red fruit.
CHAMPAKA : Micheiia champaka, a large tree commonly grown in temples, with light yellow fragrant flowers.
DEVADARU : Cedrus deodara, the Himalayan cedar.
GANDHARAJA : Gardenia fiorida, a shrub with highly fragrant white flowers.
GUNJA : Abrusprecatorius, seeds used as jeweller’s weights.
GUL MOHUR : Deionixregia, an umbrella-like tree with pinnate feathery leaves. It bears scarlet flowers in May.
HONEY-APPLE : Aegie marmeious, bei, sriphaia, ‘Bengal quince’, a large round fruit.
JASMINE : Several varieties are mentioned, as chameii, Arabian jasmine, Jdsminum sambac; champaka, Micheiia
champaka; maiati, clover-scented jasmine, Aganosma caryophyiiata (or perhaps F. grandifiorum)\ kunda Indian
jasmine, Jasminumpubescens.
JUJUBE : Zizyphusjujuba, beri, small round fruits, favourites of boys.
KACHNAR : Bauhinia variegata, a medium sized ornamental tree with drooping branches. It produces a rich harvest
of mauve or white blossoms in February-March.
KADAMBA : Anthocephaius indicus—ball-like flowers in rains, favourite of Krishna.
KANDALI : Aneiiema nudifiorum, an annual herb with blue purple flowers in the rainy season.
KARNIKARA : Pterospermum acerifoiium, a large tree with broad leaves.
KASA : Saccharum spontaneum, a tall grass.
KESARA : Crocus sativa, safflower, a herald of spring.
KETAKI : Pandanus ordoratissimus, screw-pine— a highly fragrant plant with spinous sword-like pointed leaves.
KIMSUKA : Butea frondosa. Paiasa, Dhak—tree with beautiful crimson-red flowers, a herald of spring.
KOVIDARA : Bauhinia purpurea, a small tree bearing pink flowers in November.
KUMUDA : Nymphaea escuienta, a water lily with white flowers opening at night time, and closing during the day.
KUNDA : Jasminum pubescens, a jasmine.
KURABAKA : Lawsonia alba, also called mehendee, crushed leaves used for dyeing palms of hands.
KUTAJA : Wrightia zeyianica, a small tree with white flowers.
LAVANGA-VINE : Limonia scandens, iavahga-iata—a herald of spring.
LODHRA : Sympiocos racemosa, pollen used as face powder in ancient India.
LOTUS and WATER-LILY : Many varieties are mentioned, as aravinda and kamaia which are day-flowering, and
kubaiaya and kumudini, which flower at night. Ne/umbium speciosum is the common lotus. Utpaia (Sk.) is the blue
water lily, Nymphaea coeruiea.
MADHAVI : Hiptage madhabiota, a scandent shrubby climber, herald of spring, and lover of the mango tree.
MAHUA : Bassia iatifoiia, a common shade tree in Central India. An alcoholic beverage is distilled from its flowers.
MALATl Jasminum grandifiorum, a twining shrub with fragrant white flowers.
MANDARA : Erythrina indica, small tree with red flowers in leafless condition in early March.
MANGO : Mangifera indica, tender shoots and herald of spring, flowers in early March in North India—called chuta
in Sanskrit.
NAGA-KESARA : Mesua ferrea, a forest tree of Eastern India with white flowers with yellow interior.
NARIKELA : Cocos nucifera, the cocoanut palm.
NAVAMALLIKA : Jasminum arborescens, a shrubby jasmine.
NIM : Azadirachta indica, a shady tree flowering in March-April.
PADAM : Prunus cerasioides, wild cherry found in the temperate Himalayas at altitudes from 3,000 to 6,000 feet.
PARIJATAKA : Nyctanthes arbortristis, drops its flowers early in the morning.
PATALA : Bignonia suaveoiens, trumpet-flower, herald of spring.
PIPAL : Ficus re/igiosa, a large tree with glossy, dark-green, poplar-like leaves.
PITAL : A yellow flower not identified.
PLANTAIN : Musa paradisiaca, kaiia—smooth straight stem, symbol of female beauty.
 TREES, SHRUBS AND CUMBERS 157

PRIYANGU : Panicum italicum, a shrub flowering in August.

PUNNAGA : Calophyllum inophyllum, a tree with glabrous leaves, and fragrant white flowers.
SALA : Shorea robusta, a tall timber tree, one of the trees associated with the birth of the Buddha.
SAPTACHCHHADA : Alstonia scho/aris, a handsome tree.
SANDAL: Santa/umalbum, a small evergreen tree growing in Mysore, its heart-wood is fragrant. Sandal paste is used
in summer for cooling the body.
SARJA (Sk.) : Shorea robusta, Sata, a large timber tree.
SARSON : Brassica campestris, an oilseed plant with golden yellow flowers.
SEMAL : Bombax matabaricum, silk-cotton tree.
SALMALI: Salmalia matabarica, silk-cotton tree —beautiful cup-like red flowers in early March.
SIRISHA : Atbizzia tebeck, fragrant flowers in early rain.
S[SAM : Datbergia sissoo, a deciduous tree with hard wood, principally found in sub-Himalayan areas of North India.
TALA : Borassus flabelliformis, palmyra—round purple fruits, symbol of female charm.
TAM ALA : Garcinia xanthochymus, or Cinnamomum tamata, straight stem, dark fragrant leaves, symbol of Krishna.
VAKULA : Mimusops etengi, moutsari, a dwarf tree, bears highly fragrant flowers during rains.
Y0THIKA : Jasminum auricutatum, a jasmine with fragrant white flowers tinged with purple.
 REFERENCES AND NOTES
i. NOGUCHI, Y. The Spirit of Japanese Poetry, p. 84.
1. COOMARASWAMY, Rajput Painting, p. 42.
2. TOLSTOY thus defines true art: “There is one indubitable indication distinguishing real art from its counterfeit, namely, the infectiousness of art.
If a man, without exercising effort and without altering his standpoint, on reading, hearing, or seeing another man’s work, experiences a mental
condition which unites him with that man and with other people who also partake of that work of art, then the object evoking that condition is a
work of art.”
“If a man is infected by the author’s codition of soul, if he feels this emotion and this union with others, then the object which has effected this is
art; but if there be no such infection, if there be not this union with the author and with others who are moved by the same work—then it is not
art. And not only is infection a sure sign of art, but the degree of infectiousness is also the sole measure of excellence in art.”
TOLSTOY, What is Art? pp. 132, 133.
3. STANLEY, The Beauty of Woman, p. 119.
4. Quoted by B.S. Mathur in Homage to Coomaraswamy, Vol. II, p. 110.
5. PLATO, Symposium, c. 370 B.C., translated by Robert Bridges in The Spirit of Man, 1916.
6. GRIERSON, The Modern Vernacular Literature of Hindustan, p. 24.
7. The idea is that the unaesthetic Nayaka has a weakness for the crude Sahkhini. Here the banana trees, Champaka buds, lotus buds, dates and
grapes are symbolic of the refined Padmini, Sahkhini being her exact anti-thesis.
8. A spell named ‘Heart-winning’, capable of rendering the three worlds obedient.
9. It is customary in India to look at the crescent of the moon on the second lunar night.
10. Coomaraswamy, in Rajput Painting, pp. 45-46, mentions a Pahari drawing ofasimilartype inscribed with the following verse of Kali Das, a Hindi
poet, who flourished about 1700 A.D.
“She sits by her husband's side and hears the recital,
her veil and his scarf are knotted together, her eyes cast down,
she never behaves amiss in the eyes of other people!
O Kali Das! then comes Govinda to pay a visit, and the beauty
intoxicate with desires, devours him in her longing,—
The shape of that hardy lover remains before her,
she flashes a moment’s glance throught her veil,—
Go to how is the woman’s heart taken up with the new sage,
while the garrulous purohitmumbles Puranas. ”
The behaviour of Radha reminds one of the famous Punjabi folk song:
"With the edge of her veil she fanned out the earthen lamp
With the twinkle of her eye she beckoned me.”
11. There are a number of paintings showing Krishna carrying a lotus to Radha. When it is a withered lotus, it shows his sadness, and when it is full¬
blown it shows his joyful heart. Possibly the time of meeting is also indicated, night by a lotus bud, and day by an open flower.
12. The last three categories are according to the poet Sardar given in the Satsaiyya of Bihari by'Griersonm pp. 36 and 37.
13. VIDYAPATI, Bahgiya Padav/i, Trans, by Coomaraswamy and Sen, p. 6.
14. Coomaraswamy, Catalogue of Indian Collection in the Museum of Fine Arts, Boston, PartV, p.163.
15. Ibid., p. 203
16. Quoted by Blyth in Zen in English Literature.
17. VIDYAPATI, Bahgiya Padava/i, Trans, by Coomaraswamy and Sen, p.122.
18. tbid.,pA2Q
19. Ibid., p.116
20. RICE, The Seasons and the Labours of the Months in Islamic Art, Ars Orientalis, Vol. I, pp.2,3,8 and 13.
21. An account of twelve months or Baramasa is often found in the ballads of East Bengal. The description of the twelve months in the ballad of Dewana
Madina is full of thrilling pathos. The most delightful account of the months is however in the ballad of Santi. Santi was married as a child, and
when she comes of age an attractive young man comes to her village and tempts her. The flirtation continues overtwelve months, but Santi remains
firm. Ultimately he turns out to the husband of Santi. The delightful translation below is by Dineshchandra Sen.
160 REFERENCES AND NOTES

Santi

(1)

“Sweet October has come, sweet is the milk in unripe amanrice. My mind is restless, O Santi, as I behold
thy youthful charms.”

“Calm thy restless heart and quiet thy soul, O lad, tomorrow at dawn shall I go to yonder landing-p1/?^ all
alone and meet you there.”

“Neither am I a physician, lad, nor versed in the sacred lore; a simple village girl, daughter of Guno of the
Baniya caste am I . If indeed you suffer from a malady, how can I cure it ?”

(2)

“You are filling your pitcher, girl, go on doing so. But know that I am in charge of the tank and guard it here.”

“False! It is the virtuous king who has dug the tank and made its landing -ghat of stone for public use. I, the
girl Santi, am filling my pitcher from the tank. I do not believe thee and care not for any guard.”

“You have deceived me, O Santi, all these days of November by your glib tongue. My hopes have even more
remained unfulfilled. Behold with new charms on the landscape, November has made its appearance."

(3)
“In this sweet November thou lookest like a silvery streak of moon-beams; O, do not vanish away, but allow
me, a stranger, to be revived by a sight of thee."

“Night is coming. I must take care that my mother-in-law may sleep in comfort. Know me, O youth, to be the
darling of my husband. I hold a stranger like you in the light of a father or brother.”

“This month, too, thou hast deceived me by your glib tongue. Behold the change on the fair face of Nature,
announcing the advent of December.”

(4)
“It is December now and hear my vow. I will enter your sleeping room late in the night and get by stealth what
I cannot get as a gift.”

“A hundred candles will I keep burning in my room to-night, at the gate our elephant, Gajamati, will keep
watch.”

“I will blow out all your hundred candles, and the elephant Gajamati will I kill at your gate by the force of my
arms.”

“I will cover my bracelets with the edge of my sari lest they jingle, and, sword in hand, shall I keep watch
all night. If, at the end of night, the thief is caught, this is my vow that I shall sacrifice him at the altar of the
goddess Chandi.”

“This month too, Santi, you have deceived me with your glib tongue. With a change in the landscape has
January made its appearance.”

(5)
“It is January. Look dear one, the sari you wear is too short. Spread its flowing end as far as you can and
receive the humble present of betels and nuts that I have brought for you.”

“Take away these presents, I do not want them, lad. You have an elder sister at your house, present these
to her, if you like.”

"Cruel words hast thou spoken, O Santi. The presents I mean for you, and you wish them to be given to my
sister! You cause pain to my heart by saying so. Nowfor all these days of January you have played cunningly
with me, deferring hopes from day to day. Behold, February shows itself with all its new and beauteous
colours in Nature.”

(6)

“It is February. The nights are long. If on such a night a guest comes to your door what will you do to receive
him?”

“A couch and sofa will be spread for him in the outer room; soft pillows will be given to make his sleep easy
and sound. He will have fine rice and pulses for his meals, and blanket will be given him to make the wintry
night warm.”
 KANGRA PAINTINGS ON LOVE 161

‘You have beguiled me, dear girl, with your glib tongue this month also. My hopes remain unfulfilled ever
more. Behold the approach of March, bringing an array of fresh charms to the landscape around."

(7)
“It is March. The heat is scorching. Thy beauteous and youthful figure, O Santi, burns my heart with a desire,
which I know not how to allay.”

“A bad mother gave birth to you, wicked youth, and your father was a wretched eunuch. If there is heat in
your body, why not jump down into yonder river and cool your body’s heat therein.”

“This month is also gone, O Santi. You have deceived me by your glib tongue and withheld the fulfilment of
my hopes. On the fair face of Nature have bloomed forth the new beauties announcing April.”

(8)

“It is April now. Like the sweet layer of cream over milk to your lovely youth, OSanti! but what purpose does
it serve, if like a miser, you guard your treasure from others.”

“My youth is not a water-melon to be cut to pieces for distribution at dinner. Nor is it the milk of a woman’s
breast for feeding her babe.”

“O cunning one, this month is also gone and you have beguiled me by your glib tongue. I pine with unfulfilled
hopes. Behold the new charm of the landscape, indicating the approach of May.”

(9)
“It is May. The mangoes are ripe in yonder grove; plenty of these fruits, besides jacks and black-berries, have
I brought as my humble present for you.”

“Keep these aside, lad, I do not want them. Go home and present them to your sister.”

“Cruel are your words, O Santi, these presents are made to you and you cause pain to my heart by your
refusal. This month has also gone and my hopes are evermore deferred. Look at the change of landscape,
announcing June."

(10)

“It is June, O Santi, behold the flood in rivers. Near Kanchanpur in the swelling stream has your husband
been drowned on his way home.”

“False! Had my husband died in the swelling stream near Kanchanpur, the chignon on my head would have
been unloose of itself. The pearl-necklace on my breast would have been unstrung, the shell-bracelets in
my hands, known by their pet names, Rama and Lakshmana would have been broken and the brightness
of the red sign of luck on my forehead would have slowly faded away. I believe in these signs and not in your
reports, O false lad.”

“This month, also, hast thou beguiled me by thy glib tongue. My hopes are unfulfilled and I am joyless. Behold,
on all sides, July's advent is proclaimed by a change in the landscape.”

(11)

“It is July. The muddy knee-deep water is seen everywhere. When passing from one house to another
through this watery path, you will be served with some gentle strokes from my stick of twigs as punishment.”

“Beat me as hard as you can with your stick, O lad. Kill me and float my body in the river. But know, still I
will not go to a stranger’s house.”

“This month, also, hast thou beguiled me by your glib tongue, and my hopes remain unrealised. Behold,
Nature wears a new apparel at the advent of August.”

(12)

“It is August. The rivers are full. I will give you a boat rowed by sixteen men for playing race in this pleasing
season."

“Give your boat to your sister or to your mother, or to those who care for your presents, I do not value them.”

“This month, too, you have beguiled me by your cunning words. Nature now has changed her scenes and
announces September.”

(13)

It is September. In every house the divine mother Durga is worshipped.

“Look at me closely, O Santi, I am here, thy own dear husband, returned home after long days. Don’t you
know me dear?”
162 REFERENCES AND NOTES

Santi bowed her head down at these words. “Swear by God” she said“and speak the truth.”

“Which is your native city? What is your name, O youth? And who are your parents?”

“I am a native of Bahatia. There I own a house of my own. My father is a Kalpataru and my mother’ name
is Ganesvari. I married you, O Santi, years ago, on the fifteenth of an October. The pet name by which I am
called, is Killan Sadagar.”

“If really art thou the dear one of my heart, be pleased to stay here a while. I will return instantly after enquiring
of my parents if your account is true.”

(14)

“O, my old father, and O, my dear mother, what are you busy with, at this moment? Will you tell me to whom
you have given me, your daughter?"

“You have passed your twelfth year, and now stand on threshold of youth. Is it the inclination, natural to your
age, that makes you discover a husband at the gate?”

With a lamp in hand and a tokaon his head, the old man walks in slow pace to see if really the son-in-law
has come.

“It is he, O Santi, no doubt, it is he. Go, receive him. He, the jewel of your heart, has been found at last. Now
open the chest, containing your dresses and ornaments. Find out your hair-comb of mica and articles of
toilet.”

6anti divided her hair into two lovely rows and made a chignon, over which the spread garlands of champa
and ps/zz/flowers. She put a tiara on her head and wore the chandanahara and a waist-belt of the moon-
pattern. From her neck hung a lovely necklace. She wore armlets on her arms and bracelets on her wrist.
Anklets jingled on her feet and a string of the largest pearls she wore on her breast. Her eyes she beautified
with black kajatdye, and to finish all, she put, on her forehead, the red mark of luck.

See how bright and lovely she looks to-night, as she softly treads the ground to go to the nuptial room to
receive the husband of her heart.

—Eastern Bengal Ballads, Vol II: Part-1, pp. 123-128

22. The Hindu months and their English equivalents are :-

Chaitra, March-April; Baisakha, April-May;
Jyeshtha, May-June; Ashadha, June-July;
Sravana, July-August; Bhadon, August-September;
Asvina (Asoja), September-October; Karttika, October-November;
Agahana, November-December; Pausha, December-January;
Magha, January-February; Phaiguna, February-March.
23. Sanskrit poets had a number of women and tree legends. It was said that the asokaflowered when its roots were pressed by the feet of a lovely
woman, the kurabaka when embraced by her, the priyahguby contact with her, the vaAriz/awhen sprayed with a mouthful of wine, the mandara
by her soft caressing words, the champka by her winsome smile, the mango by her balmy breath, and the karnikara by her dance.
24. Laurence Binyon, The Spirit of Man in Asian Art, p. 141.
25. VIDYAPATI, Bahgiya Padavali, Trans, by Coomaraswamy and Sen, p.60.
26. This painting from the collection of the Raja of Lambagraon is an early 19th century example of Kangra art in its last phase at Tira-Sujanpur, and
was possibly painted under the patronage of Aniruddha Chand. The nayaka resembles Aniruddha Chand.Patrons of paintings were often
accepted as models by the Kangra artists, and shown as heroes.
27. VIDYAPATI, Bahgiya Padavali, Trans, by Coomaraswamy and Sen, p. 12.
28. A crow is the symbol of separated lovers. When a crow is cawing on the cornice of a house, the wife separated from her husband, asks him to
fly away and to bring the news of her dear one. A crow cawing is regarded as an omen of a guest ariving.
29. The linear cypresses alternating with mangoes shown in this paintings is a convention of the Guler artists. It bears an inscription in
Gurmukhi script on the top. It was most likely executed by a Guler artist for a Sikh patron, probably Maharaja Sher Singh, son of Maharaja Ranjit
Singh, who was very fond of Kangra hills, and had even married a hill woman.
30. POWYS MATHERS, Love Songs of Asia, p. 63.
31. The Hindi Sringara literature both in Sanskrit and Hindi has its roots in Bharata’s Natyasastra, a treatise on dramaturgy. Poetry, music, and dance
were necessary components of Hindu drama, and as such the book also deals with poetics, music and the language of gesture. According to
Manomohan Ghosh, the available text of the Natyasastra existed in the second century A. D., while the tradition which it recorded may go back
to a period as early as 100 B.C. It is composed mainly in verse in the form of a dialogue between Bharata and some ancient sages. Apart from
Sanskrit, the Natyasastra also gives examples of Prakrit verses. It is the earliest writing on poetics, contains discussions on figures of speech
(.aiamkara), mentions ten qualities and faults of a composition and describes 58 varieties of metre. In relation to ars amatoria it mentions the
Kamatantraand the Kamasastra, but there is no reference to Vatsyayana’s KamasOtra, which was composed much later.
The Natyasastra expounds the doctrine of sentiment or rasa, and emotional states or bhavas. It further describes the emotions of women or havas,
followed by a classification often stages of a woman’s love. Then the eight-fold classification of nayikasis given. Female messengers, their qualities
and functions, and the meeting places of lovers are mentioned, followed by an account of mana, and the methods adopted to overcome it.
 KANGRA PAINTINGS ON LOVE 163

This elaborate classification of man and woman according to moods, sentiments, and situations was developed mainly as an aid to dramatic art.
After describing the emotions and emotional states, the Natyasastra mentions the facial expressions and gestures appropriate to the particular
situations which the actors and actresses should practise. Ghosh observes, “The Natyasastra seems to be the first in recognizing the two-fold
importance of psychology in connexion with the production of a play. Its classification of heroes and heroines according to their typical mental
and emotional states proves its admission of the importance of psychology on the creative side of the dramatic art; for with the complete knowledge
of all possible reactions of different objects and incidents upon such heroes and heroines, the play-wright as well as actors and actresses could
attain the greatest possible success in characterisation. On the critical side also the importance of psychology was discovered by the Hindu
theorists almost simultaneously. It was realised that no strictly objective standard of beauty ever existed, and the enjoyment of a theatrical
production consisted of peculiar reactions which the art of the play-wright as well as that of the actors could successfully evoke in spectators of
different types, it is on this assumption that the theory of sentiments and states has been elaborated by the author of the Natyasastra."

It would be seen that the entire theme of nayika-bheda as elaborated by Keshav Das is already present in the Natyasastra. There is elaboration
in respect of certain features, e.g. the classification of nayakas and /ray/Assas given in Chapter II of this book. The main contribution of Keshav
Das, however, is in the examples which he has given to illustrate the various heroes, heroines, situations, and sentiments. In these examples
the nayaka is Krishna, and the nayika isRadha, while sakhisintervene to reconciliate, to remove misunderstanding, and ultimately bring them
together. While in the Natyasastra classification of man and his mental and physical traits, and moods is more elaborate, as it was necessary
forthe purposes of drama, In the RasikapriyaVee emphasis was mainly on woman, who is certainly more interesting and more complex than man.
The theme of Nayika-bheda was developed forthe instruction of prince and nobles in the art of love, and also for propagating the new religion
of bhakti'NW\cV\ emerged in the form of Radha-Krishna cult.
 BIBLIOGRAPHY
ARCHER,W.G. Kangra Painting, London 1952.
—Indian Painting in the Punjab Hills, London 1952.
— The Loves of Krishna, London 1957.
—Indian Painting, London 1957.
—Indian Miniatures, New York 1960.
ASHTA, D. P. The Poetry of the Dasam Cranth, New Delhi 1959.
BINYON, Laurence. The Spirit of Man in Asian Art, Cambridge, Massachusetts 1935.
BLYTH, R. H. Zen in English Literature, Tokyo 1942.
COOMARASWAMY, A. K. Indian Drawings, London 1910-12.
—Rajput Painting, 2 Vols., Oxford 1916.
—Catalogue of the Indian Collections in the Museum of Fine Arts, Boston 1926.
—‘The Eight Nayikas, Journal of Indian Art and Industry , Vol. 16, No. 128, 1914.
—‘Two Leaves from a Seventeenth Century Manuscript of the Rasikapriya (Metropolitan Museum Studies—Vol. Ill, pt. I — Dec., 1930).
EASTMAN, A.C. The Nala DamayantiDrawings, Museum of Fine Arts, Boston 1959.
FRENCH, J.C. Himalayan Art, London 1931.
GANGOLY, O.C. Masterpieces of Rajput Painting, Calcutta 1926.
GRIERSON, G.A. The Modern Vernacular Literature of Hindustan, Calcutta 1889.
GHOSH, M. The Natyasastra, Calcutta 1951.
KALIDASA The Ritusamhara, edited by L. S. Fansikar, Bombay 1900.
KESHAV DAS Kavipriya, with commentary by L. N. Chaturvedi, Allahabad 1952.
—Rasikapriya, with commentary by Visvanathprasad Misra, Varanasi, Sarhvat 2015.
KHANDALAVALA, K. PahariMiniature Painting, Bombay 1958.
MATHERS, E. POWYS (Trans.) Love Songs of Asia, London 1944.
MEHTA, N. C. Studies in Indian Painting, Bombay 1926.
NOGUCHI, Y. The Sprit of Japanese Poetry, London 1914.
PADAM, P. S. PunjabiBaramahen(in Punjabi), Patiala 1959.
PLATO Symposium, c. 370 B.C., translated by Robert Bridges in ' The Spirit of Man,' London 1916.
RANDHAWA, M. S. *Kangra paintings illustrating the life of Shiva and Parvati. Roopa-Lekha,Vol. 24, 1953.
— *Cuier, the Birthplace of Kangra Art, Marg, Vol. VI, No. 4,1953.
—‘Sujanpur Tira, the Cradle of Kangra Art, Marg, Vol. VII, No. 3, 1953.
—* Kangra Valley School of Painting, Art & Letters, 28 : 1-9, 1954.
—‘Moonlightin Kangra Paintings, March of India, March-April, 1954.
— Kangra Valley Painting, New Delhi 1954.
— ‘Kangra Paintings on Love, Studio, Sept., 1954.
—* Some Nurpur Paintings, Marg, Vol. VIII. no. 3, June, 1955.
—* Kangra Artists, Art and Letters, 29 : 1-9, 1955.
—* Paintings from Natagrah, Lalit Kala Nos. 1-2, 1956.
— The Krishna Legend, Lalit Kala Akademi, New Delhi 1956.
—*A Journey to Basoh/i, Roopa-Lekha, Vol. XXVIII, 1958.
—*Kangra Ragamata Paintings, Roopa-Lekha, Vol. XXIX, 1958.
—* Some inscribed Pahari paintings with names of artists, Roopa-Lekha, Vol. XXX, No. 1, 1959.
—* Was Manak, the painter of Gita Govinda paintings, a Garhwal Artist? Roopa-Lekha, Vol. XXXI, No.1, 1960.
— ‘Painting from Mankot, Lalit Kala , No. 6, 1959.
— BasohliPaintings, Publications Division, Ministry of Information and Broadcasting, Government of India, New Delhi 1959.
— Kangra Paintings of the Bhagavata Purana, National Museum, New Delhi 1960.
REIFF, R. Indian miniatures, the Rajput Painters, Tokyo, Rutland and Vermont, 1959.
RICE, D.S. ‘The Seasons and the labors of Months in Islamic Ad, Ars Orientalis, Vol. I, 1954.
SEN, D. Eastern Bengal Ballads, Vol. II, Part I, Calcutta 1926.
SINGAM, S. D. R. Homage to Ananda Coomaraswamy, Vol. II, Kuantan, Malaya 1952.
STANLEY LOUIS The Beauty of Woman, London 1955.
TOLSTOY, L. N. The Kingdom of God is Within You, What is Art ? What is Religion ?New York 1899.
VIDYAPATI Bahgiya Padavali— Songs of the Love of Radha and Krishna : translated into English by A. K. Coomaraswamy and Arun Sen, London
1915.
Note: Publications marked with asterisks are papers and others are books.
 INDEX
Antara-rati, 15 mada, 27, 28;
Archer, W.G., 2,123, 93 vibhrama, 28;
Ardhanarisvara, 5 vikrita, 26, 28;
Arnold, Sir Edwin, 2 vitasa, 28, 29;
Ashta Nayika (the Eight Heroines), see under 'Nay/kas' kitakihchita, 29;
bibboka, 29, 30;
Baramasa (the Twelve Months), 3, 93-102 vichchhiti, 30;
Chaitra, 95,144-45; mottayita, 30, 31;
Baisakha, 95, 97; kuttamita, 31;
Jyeshtha, 96, 97; bodhaka, 31,34
Ashadha, 96-98; Hemanta, 95
Sravana, 97, 146-47; Hirand Ranjha, 54
Bhadon, 98-99, 148-49;
Asvina, 99-100; Jayadeva, 1
Karttika, 100; Jayasi, Malik Muhammad, 104
Agahana, 100-101,150-51; Jones, Sir William, 2
Pausha, 101-102, 152-53;
Mag ha, 102; Kangra Painting, style of, 1-6
Phatguna, 102; Karuna, 54
Bahadur, 7, 136 Kavipriya, 1,7, 133, 94, 95, 144
Bhagavata Purana, 1,2,7 Keshav Das, vi, 1,7,8,58,94,95,96,97,98,99,100,101,102,110,126,
Bhasha BhOshana, 2 144, 148, 150 (also refer to pages shown under
Bhavas, 25-26 Rasikapriya)
Bihari, 1,2, 7, 58,120
Binyon, Laurence, 98 Lady Beatrice, 5, 54
Lallu Lai, Kavi, 2
Castiglione, Baldassare, 4 Laur-Chanda, 93
Chaurapahchasika paintings, 93 Love in Separation, 54-83
Chinese Painting, 3 Love in Union, 84-92
Coomaraswamy, A.K., 1,2, 3, 5, 106
Correggio, 4 Mana, 54, 58-64
guru, 58;
DampatiCheshta Varnana (moods of lovers, etc.), 20-24 taghu, 59-60;
Dante, 5, 54 madhyama, 60
Dasam Granth, 119 Meeting places of lovers (and situations), 20-24
Deirdre, 5 Mehta, N.C., 2, 7
Moorcroft, 1
Eastman, A.C., 92
East Bengal Ballads, 94, 159-162 Nat a and Damayanti 1,4, 84
Naoisi, 5
Fragonard, 132 Nayakas, classification of, 9-10
Francesca, 5 anukuta, 9;
French, J.C., 2 dakshina, 9;
satha, 10;
Gangoly, O.C., 2 dhrishta, 10;
Gill, Eric, 1 Nayikas, classification of, 10-19;
Gita Govinda, 1,2, 7, 84 padmini, 10,104-105;
Govind Singh, Guru, 58, 119 chitrini, 10;
Grierson, Sir George, 2, 7 sahkhini, 10, 11;
Guru Arjan, 94 ha stint, 10, 11;
Guru Granth, 94 svakiya, 10, 11;
Guru Nanak, 94 parakiya, 10,11;
samanya, 10,11;
Hassan, Abdal, 93 mugdha, 10,11-14;
Hava (external indications of love), 25-34 madhya, 10, 11-14;
heta, 26,112-13; praudha, 10, 11, 15-18, 108-109;
tita, 25, 26; udha, 10,19;
tatita, 25, 27; anudha, 10,19;
168 KANGRA PAINTINGS ON LOVE

ba/a, 11; Pravasa, 65-83; ten states of love in separation (dasa

taruni, 11; dasas), 67-83; longing, 67; reminiscence, 68;
vriddha, 11; mentioning qualities of the beloved, 68, 69;
nava/a-vadhu, 11, 12,106-107; agitation, 69, 80; delirium, 80, 81; frenzy, 81,82;
navayauvana, 11, 12; sickness, 82, 83; stupor, 83; death, 83
navata-ananga, 11,12; Prema Sagar, 2
lajja-praya, 11,12; Purvanuraga, 54-57
mugdha-sayana, 12;
mugdha-surata, 13; Ragama/a, 54
arOdhayauvana, 13,14; Rai Parbin, 7, 8
praga/bha- vachana, 14; Raphael, 4
pradurbhuta-manobhava, 14; Rasas, 8
surata-vichitra, 14; Ratan Sen, 5
dhira, 15; Rasikapriya, 7-19, 67, 84, 110
adhira, 15; Reconciliation of lovers, 60-64
dhira dhira, 15; Rice, D.S., 93
vichitra-vibhrama, 16; Ritusarhhara, 94
akramita, 16; Rubens, 4
tabdha-pati, 16;
praudha-dhira, 16,18, 110, 118; Sarhyoga (union), 84-92
praudha-dhira-akritigupta, 18; Sansar Chand, Maharaja, 1 7, 94
praudha-adhira, 18; Satsaiyya, 1, 7, 84
ashta nayika, 35-53; Snngara, 1-6, 8-9
svadhinapatika, 35, 36; sola sringara, 15
utka, 35, 36,43, 114, 115; Sur Das, 7
vasakasajja, 35, 43; SOr Sagar, 7
abhisandhita, 35, 43,44;
khandita, 35,44; Titian, 4
proshitapreyasi, 35,44-47; Tolstoy, 4
vipralabdha, 35,47;
abhisarika, 35,47-53,116-17; Vidyapati, 5, 58, 112,122
sukiabhisarika, 118-19; Vigyan Gita, 1
martini, 126-29 Vipralambha (love in separation), 54-83;
Padmavat, 104 Purvanuraga, 54-57;
Padmavati, 5 Mana, 58-64;
Parakiya love, 4 Pravasa, 65-83
Pincott, F., 2
Plato, 5 Yarkand, 1
Prakash Chand, 1
These paintings were deeply influenced
by the warm sensuousness of the
Vaishnava movement which preached the
religion of love and devotion. The love
which the Hindi poets have extolled is not
parehtal love, but the love between wife
and husband—as passionate yet selfless
a love as that of Radha for Krishna. The
love of Radha for Krishna is the ideal love
and this feeling has inspired the common
people in their conjugal relationship. It is
for this reason that whenever lovers are
shown in the Nayaka-Nayika and
Baramasa pictures, they are depicted as
Radha and Krishna with a deep symbol¬
ism of the soul’s yearning for union with
the Eternal and Absolute.

Dr Randhawa has given a lucid exposition

of this delicate theme which is sure to
stimulate further writing on the subject by
other scholars. His style is simple and
elegant.

ISBN: 81-230-0050-2
 -
'-mmru ."^.f
■

mmm
vr&r*fymirr

§t%®

s*w*;

PUBLICATIONS DIVISION
MINISTRY OF INFORMATION & BROADCASTING
GOVERNMENT OF INDIA