Leave My Dress Alone O Krishna! (The Game of Love Begins)

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Leave my dress alone,
Dear love,
No wealth of passion
Is hidden by its knot.
Only today I heard
Of passionate joy
And do not know as yet
What joy it means.
Wherever I can
I shall search and search.
I shall ask my friends
If I have it in my home.
For once, O Madhava,
Listen to my words:
Aided by friends,
I shall look for this joy
And when I find it, bring it to you

                                                 -------Vidyapati
(circa 14th century)

Krishna here wants to introduce Radha to the joys of erotic love. But Radha is reluctant, though only playfully so. Her left hand is occupied with the pitcher of water she holds trucked under her, but the right still manages to deprive Krishna of his flute. Krishna impatient, and as if intoxicated with love, makes it clear that he will not take no for an answer and will definitely make love to her.

Such an episode is the first step in the intense love-making sessions Radha and Krishna indulge in. The heroine not wanting to yield easily makes a feeble protest even though her eyes and indeed her complete body stance betray the intense passion inflaming her body. Verily thus the artist has adorned her in a red sari, red being the color of passion. Often such 'beginnings' would culminate in no-holds barred rapturous moments of love. The same poet elaborates on such a happening:

In joyous words he spoke
Of the beauty of my face.
Thrilled, my body
Glowed and glowed.
My eyes that watched love spring
Were wet with joy.
In dream tonight
I met the king of honey...
He seized the end of my dress,
The strings broke loose
With all the weight of love.
My hands leapt to my breasts
But the petals of lotus could not hide
The mountains of gold.

('Mountains of gold' being the breasts, and 'petals of lotus,' being her hands)

This scroll painting has made in Orissa on pure Tussar silk.

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Of Related Interest:

Stealthily Krishna Attempts to Relieve Radha of her Lower Garment(Pahari School) (Miniature Painting)

Mastering the Ancient Technique: Exploring the Meticulous Creation of Pattachitra Paintings

The traditional Pattachitra is a scroll painting that is done on cloth. This is revealed in the name; Pattachitra is a Sanskrit term made from two words i.e. Patta meaning cloth and Chitra meaning picture. The main subject of this painting is portraying Hindu mythological narratives, scenes from religious texts, and folktales. Pattachitra paintings are especially practiced in eastern Indian states such as West Bengal and Odisha, and also in some parts of Bangladesh. This art form is closely related to Shri Jagannath and the tradition of the Vaishnava sect. It is believed that Pattachitra art originated in the 11th century and the people of Odisha practice it even today without any discrepancy. Bengalis use these scroll paintings for ritual purposes (as a visual device) during the performance of a song or Aarti.

Pattachitra paintings are characterized by creative and traditional motifs/designs, decorative borders, and bright colorful applications. The outline of the figure and motifs are bold and sharp. Some common shapes and motifs seen in these paintings are trees, flowers, leaves, elephants, and other creatures. The artists of Odisha and Bengal still use the traditional method of painting which gives a unique look to it altogether.

1. Canvas is prepared

The process of painting a Pattachitra begins by preparing the canvas (patta). Generally, cotton cloth is used for making the canvas. The local artists dip the cotton cloth in a mixture of tamarind seeds and water for a few days. The cloth is then taken out and dried in the sun. Now natural gum is applied over it to stick another layer of cotton cloth on it. Thus a thick layer of cotton cloth is formed. This layered cotton is sun-dried and a paste of chalk powder, tamarind, and gum is applied on both sides. The surface of the cloth is then rubbed with two different stones for smoothening and it is again dried. This process gives the cloth a leathery finish and it is now ready to be painted.

2. Natural colors are made using traditional method

The painters prepare and use vegetable and mineral colors for application in the painting. White color is made from conch shells, black is made by burning coconut shells, Hingula is used for red color, Ramaraja for blue, and Haritala for yellow.

3. Colors are filled in

The artist now makes a double-lined border on all four sides of the canvas. The local artists are so expert in painting that they do not draw figures and motifs with pencil but directly draw them with a brush. The paint brushes that the painters use are made of the hair of domestic animals, a bunch of which is tied to the end of a bamboo stick. The figures are now painted with natural colors using the indigenous brushes. The outline is thickened with black color.

4. Painting is given a finishing

Finally, the painting is varnished/glazed to protect it from any damage and to get a glossy shine on the surface.

The making of a Pattachitra is laborious work and therefore, one painting may sometimes take over a month to complete. Due to their classical look, these paintings are admired by people from all over the world. The artistic skills used in Pattachitra are passed down from one generation to another and thus are preserved to date.