This is a Jaipur School painting of Radha and Krishna. Both stand on stylized lotuses with decorated cows on either side. Krishna is the god of compassion, tenderness, and love, and is one of the most popular and widely revered among Indian divinities. Radha is Krishna’s most prominent wife, and her selfless love of Krishna is considered a model to devotees.
By the sixteenth century, Vaishvanism in the cults of Rama and Krishna had become popular in many parts of western, northern and central India, as part of the Bhakti movement that had swept the entire Indian subcontinent. Krishna had a special appeal. He was not only worshipped as God but also as an ideal lover. The notion of ‘love’ was cherished as a religious theme, where a delightful synthesis of sensuousness and mysticism was perceived. Krishna was perceived as the creator from whom all creation was a sportive emanation, and Radha, the human soul who offered herself to God.
The size of this painting is 7.25 x 9 inches. With the frame, it measures 10.5 x 12.5 inches.
About the Jaipur School of Painting
It is generally believed that the Jaipur School of Painting (sometimes called the Amber School) began in the State of Amber, which had the closest relations with the Mughal Emperors. Amber was the capital until Sawai Jai Singh (1699–1743), an influential ruler, who established a new capital city Jaipur in 1727, and shifted from Amber (hence the two names of the school). Jaipur School of paintings thrived under his reign and emerged as a well-defined independent school. The Jaipur School, largely due to Jaipur’s friendly alliances with the Mughals, remained rooted in the Mughal style, though the artists pushed the boundaries to include
tales from Hindu epics and the escapades of Lord Krishna. It was only in the eighteenth century, under the aspiration of Sawai Pratap Singh (1779–1803) that the predominant Mughal influence receded and a Jaipur style with reformulated aesthetics, which was a blend of Mughal and indigenous stylistic features, emerged. The Jaipur School falls under the umbrella term of the Dhundar School of painting, which includes the Jaipur, Alwar and Ajmer Schools).
By the sixteenth century, Vaishvanism in the cults of Rama and Krishna had become popular in many parts of western, northern and central India, as part of the Bhakti movement that had swept the entire Indian subcontinent. Krishna had a special appeal. He was not only worshipped as God but also as an ideal lover. The notion of ‘love’ was cherished as a religious theme, where a delightful synthesis of sensuousness and mysticism was perceived. Krishna was perceived as the creator from whom all creation was a sportive emanation, and Radha, the human soul who offered herself to God.
The size of this painting is 7.25 x 9 inches. With the frame, it measures 10.5 x 12.5 inches.
About the Jaipur School of Painting
It is generally believed that the Jaipur School of Painting (sometimes called the Amber School) began in the State of Amber, which had the closest relations with the Mughal Emperors. Amber was the capital until Sawai Jai Singh (1699–1743), an influential ruler, who established a new capital city Jaipur in 1727, and shifted from Amber (hence the two names of the school). Jaipur School of paintings thrived under his reign and emerged as a well-defined independent school. The Jaipur School, largely due to Jaipur’s friendly alliances with the Mughals, remained rooted in the Mughal style, though the artists pushed the boundaries to include
tales from Hindu epics and the escapades of Lord Krishna. It was only in the eighteenth century, under the aspiration of Sawai Pratap Singh (1779–1803) that the predominant Mughal influence receded and a Jaipur style with reformulated aesthetics, which was a blend of Mughal and indigenous stylistic features, emerged. The Jaipur School falls under the umbrella term of the Dhundar School of painting, which includes the Jaipur, Alwar and Ajmer Schools).
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