Krishna is seen here trying to release the upper part of Radha's anatomy from the captivity of her cumbersome garments.
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 knitting together of form and color into a coordinated harmony is the hallmark of this painting. Form and color are so blended that the effect is musical. To achieve such a harmony, the artist has used both line and color. 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! 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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