Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

Kṛṣṇa Approaches Rādhā and Her Confidante in a Garden with Trees, Playful Monkeys and Glorious Blue Peacocks (1620-1640)

Kṛṣṇa Approaches Rādhā and Her Confidante in a Garden with Trees, Playful Monkeys and Glorious... 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 http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Aziatische Kunst Brill

Kṛṣṇa Approaches Rādhā and Her Confidante in a Garden with Trees, Playful Monkeys and Glorious Blue Peacocks (1620-1640)

Aziatische Kunst , Volume 48 (1): 8 – Oct 24, 2018

Loading next page...
 
/lp/brill/k-a-approaches-r-dh-and-her-confidante-in-a-garden-with-trees-playful-E0eOUs7iOx

References

References for this paper are not available at this time. We will be adding them shortly, thank you for your patience.

Publisher
Brill
Copyright
Copyright © Koninklijke Brill NV, Leiden, The Netherlands
eISSN
2543-1749
DOI
10.3868/25431749-04801011
Publisher site
See Article on Publisher Site

Abstract

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

Journal

Aziatische KunstBrill

Published: Oct 24, 2018

There are no references for this article.