Krishna was physically irresistibly appealing. Ancient texts dwell at length on his exceptionally alluring countenance: a blue complexion soft like the monsoon cloud, shining locks of black hair framing a beautifully chiselled face, large lotus like eyes, wild -flower garlands around his neck, a yellow garment (pitambara) draped around his body, a crown of peacock feathers on his head, and a smile playing on his lips, it is in this manner that he is faithfully represented since the ancient times to the modern.
This is not a spiritual art where spirit and body are regarded as two separate entities. It is not gloomy, cold and forbidding, but is an art which is a happy blend of the sensuous and the spiritual. The spirituality is not chilled by an asceticism which is disdainful of female loveliness and the delights of love. In fact, its spirituality very much based on flesh and blood. It is an art which glorifies female beauty and revels in the loveliness of the female form.
The intimate and playful themes that run through Krishna's love for Radha portray a vision of the divine that is approachable, warm, irresistible, blissful, and intoxicating. Krishna moves in a realm of love and lovemaking that invites (indeed demands) a total, impassioned response. All those who enter this realm are freed from bondage to the ordinary and customary, freed to behave imaginatively and spontaneously. The erotic aspect of this other world is not degrading but life-affirming. Erotic dalliance shuns the world of taboos and lived for the moment. It is an ovation to all that is vigorous and full of joy. The young god Krishna is an unrepentant reveller stirring all those who join with him to uncontrollable frenzy. In the world of the great lover Krishna, the gopis (of whom Radha was one), as representatives of the human, expand themselves; they plumb depths and reach heights of emotion that are impossible within the humdrum world of habitual action. They leave behind the ordinary and participate in the extraordinary. Under the influence of the intoxicating and intoxicated god they lose their inhibitions and revel in playful freedom.
The knitting together of form and color into a coordinated harmony is the hallmark of this art. Form and color are so blended that the effect is musical. To achieve such a harmony, the artist uses both line and color in these paintings. The line which he uses is the musical rhythmical line, which express both movement and mass, representing the flow and ardor of impassioned love. The type of line which Blake admired, and regarded as the golden rule of art is this: " The more distinct, sharp, and wiry the bounding line, the more perfect the work of art, and the less keen and sharp, the greater is evidence of weak imagination." And what a rhythm these dancing lines create, a pure limpid harmony! That is why these pictures are so comforting and so soothing like the concertos of Bach and Mozart. This line is effectively supplemented by colors-the blues, yellows, greens, and reds, the pure colors of earth and minerals, which shine like jewels.
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