The Loves of Krishna in Indian Painting and Poetry by W. G. Archer
page 136 of 215 (63%)
page 136 of 215 (63%)
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style maintained its fierce intensity but there was now a gradual rounding
of faces and figures, leading to a slight softening of the former brusque vigour. Devotion to Krishna does not seem to have bulked quite so largely in the minds of later Basohli rulers, although the cult itself may well have continued to exert a strong emotional appeal. In 1730, a Basohli princess, the lady Manaku, commissioned a set of illustrations to the _Gita Govinda_ and Krishna's power to enchant not only the male but also the female mind was once again demonstrated.[102] This series of illustrations is in some ways a turning point in Indian painting for not only was it to serve as a model and inspiration to later artists but its production brings to a close the most creative phase in Basohli art. After 1730, painting continued to be practised there but no longer with the same fervour. Basohli artists seem to have carried the style to other states--to Guler, Jammu, Chamba, Kulu, Nurpur and Bilaspur--but it is not until 1770 that the Krishna theme again comes into prominence. In about this year, artists from Guler migrated to the distant Garhwal, a large and straggling state at the far south of the Punjab Hills, taking with them a style of exquisite naturalism which had gradually reached maturity under the Guler ruler, Raja Govardhan Singh.[103] During his reign, a family of Kashmiri Brahmans skilled in the Mughal technique had joined his court and had there absorbed a new romantic outlook. On at least three occasions they had illustrated scenes from the _Bhagavata Purana_--Nanda celebrating Krishna's birth,[104] Krishna rescuing Nanda from the python which had started to devour his foot,[105] and finally the game of blind man's bluff[106]--but their chief subject had been the tender enchantments of courtly love. Ladies were portrayed longing for their lovers. The greatest emphasis was placed on elegance of pose. Fierce distortions were gradually discarded and the whole purpose of painting was to dwell on exquisite figures and to suggest a rapt |
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