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Mirjam Westra K R S NA APPROACHES RāDHā AND HER CONFIDANTE IN A . . . GARDEN WITH TREES, PLAYFuL MONKEYS AND GLORIOuS BLu E PEACOCKS (1620-1640) Love, both human and divine, is a major theme in poetic and literary work in India. Of the nine main rasa (sentiments) that form the basis of Indian aesthetics, śrngāra (erotic love) is regarded as the most important. There are two main kinds of śr ngāra, of which the first is sam yoga – love . . in union – and the other viraha bhakti – love in separation. The latter has been an endless source of inspiration for art and literature. Keshavdas (Keśavadāsa) is one of the foremost poets who composed works that merged love poetry and analyses of the passion of love. One of the Rijksmuseum’s folios depicts Krsna approaching Rādhā and . . . her confidante in a garden (fig. 1). The miniature painting belongs to an illustrated manuscript of the Rasikapriyā (‘The Lover’s Breviary’), the most famous work by the poet Keshavdas. The Rasikapriyā is well described by Bahadur, who translated the versified poem in 1972: ‘Rasikapriyā is a panegyric of love and a mine of entertainment. Above
Aziatische Kunst – Brill
Published: Oct 24, 2018
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