Krishna with Gopikas

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Much as in the Christian art of Medieval Europe, it is woman the Mother, the Madonna suckling a babe who has been painted with reverence, in the Indian Diaspora it is woman the beloved who has been painted with love and passion. The female friends of Krishna with their warm sensuous faces, eyes filled with passion, and delicate sensitive fingers, represent not the beauty of a particular woman, but the beauty of entire womanhood. In fact, she is there as the incarnation of all the beauty of the world and as a representative of the charm of her sex.

In the embrace of Krishna, the gopis, maddened with desire, found refuge; in their love dalliance with him who was the master in all the sixty-four arts of love, the gopis felt a thrill indescribable; and in making love with him in that climatic moment of release, in that one binding moment, they felt that joy and fulfillment which could not but be an aspect of the divine. Through their experience, thus, the erotic the carnal and the profane became but an aspect of the sublime, the spiritual and the divine.This cumulative myth sustained one basic point: for women, Krishna was a personal god, always accessible and unfailingly responsive. He was a god specially made for women. In the popular psyche, Krishna and Radha became the universal symbol for the lover and the beloved. Krishna was the ideal hero, and Radha the ideal heroine.