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Divine Love: Radha Krishna

Rs. 600,000
Rs. 600,000
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Details

Artform

Miniature, Rajasthan

Artist

Riyaz Uddin

Dimensions

152 x 244 cm

Medium

Hand knotted on Wool and Silk

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The Painting

The artwork captures Radha and Krishna seated gracefully in a blooming lotus pond, their forms adorned in garments fashioned from lotus petals. Their eyes meet in a silent exchange, radiating divine love and timeless companionship. The delicate detailing — a hallmark of Rajasthani miniature art — brings alive every petal, every ripple, and every glance. This visual poetry reflects the spiritual union of the mortal and the divine, where Radha-Krishna embody the eternal dance of love and devotion. Rooted in the Bhakti tradition, the painting becomes more than an artwork — it is a celebration of longing, beauty, and divine connection, rendered through the intricate lens of a centuries-old artistic legacy.

The Artform

Rajasthani painting, an exquisite style of miniature art, blossomed primarily within the independent Hindu realms of Rajasthan in western India during the span of the 16th to 19th centuries. Rooted in Western Indian manuscript illustrations, this art form underwent a transformative journey, influenced by the Mughal aesthetic in its later stages of development. Distinguished by its distinct attributes, Rajasthani painting stands apart from Mughal painting—both from the imperial studios in Delhi and the provincial courts. It boldly embraces vibrant hues, along with an abstract and stylized portrayal of the human form, complemented by ornate renditions of landscapes. Reflecting the burgeoning wave of devotional fervor within Hinduism, these miniatures predominantly narrate the enchanting tales of Lord Krishna, and his beloved companion, Radha. While also incorporating scenes from India's epic narratives, musical modes (Ragamalas), and depictions of heroines (Nayikas), the 18th century introduced courtly portraits, court scenarios, and hunting scenes into the repertoire. Distinct schools have emerged based on style, including Mewar, Bundi (and its adjacent Kotah), Kishangarh, Bikaner, Jaipur, and Marwar, and even extending beyond the boundaries of Rajasthan to encompass Malwa painting, also known as Central Indian painting.

The Artist

Born and raised in the pink city of Rajasthan, Jaipur, Riyazuddin started painting at the age of fourteen having been influenced by his father Abdul Shakoor. During his early years Riyazuddin was surrounded by architecture, and influenced by centuries of history, seeing colors which were made from natural stones and antique knowledge passed on by his father. So it is of no surprise that influence undeniably found its way in his work. Being trained under the watchful eye of his father, he grew an inclination towards the Indian school of paintings, specifically the Rajput Painting school under which he got more inclined towards the Pahari Paintings, the influence of which is visible in each brushstroke. In 1988 he started his own studio, converting western paintings of Tarot cards to Indian miniature in 1993. Which gave birth to a style which was completely juxtaposed to his earlier style of work but without any hesitation he went on to incorporate a new surreal element that has become a signature element in his work.

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