topics: |  art | india | poetry | sanskrit | erotica | picture-book | large

the kAngra school of miniature paintings and text illustration flourished
mid-18th c. to early 19th, in the mountain foothills of himAchal, from
basohli, guler, kAngra to kulu.  the style migrated in the early 1700s from
kashmir where mughal miniature art had been in vogue.  the primary patrons
were dalip singh of guler (r.1695-1741), amrit pal of basohli (1757-1776),
sansar chand of Kangra (r.1766-1823), and others.  the latter was a staunch
vaishNava and supported many themes related to krishNa.

thus, illustrations executed to accompany jayadeva's gIta-govinda, the most
famous lyric on the rAdhA-krishNa lIlA, was a popular theme in the kAngrA
school.  

 
	rAdhA and krishNa talking in a bower by the Jamuna, while a sakhi
	attends.  painting ca. 1730 Basohli school. 
	from Govt Museum, Chandigarh


i picked up this book at the lalit kala akademi bookshop in the 1990s, and
it has been a source of great pleasure.  it is a large-format (coffee
table) book.  the colour prints use an older technology and are not very
bright, but the paper and printing is good.  there is a selection of
paintings in large pages, along with both the Sanskrit text and a gloss.

Randhawa was an ICS officer with a fascination for Indian art history,
and wrote widely on various styles of paintings sponsored at the courts of
different princes in the himalayan foothill regions.

Excerpts

opening line:
	meghairmeduramambaraM vanabhuvaH shyamastamAladrumair-
	naktaM bhirurayaM tvameva tadimaM radhe! grihaM prApaya |
	itthaM nandanideshatashchalitayoH pratyadhvakunjadrumaM
	rAdhAmAdhavayorjayanti yamunAkule rahaH kelaya ||

मेघैर्मेदुरमम्बरं वनभुवः श्यामाः तमालद्रुमैः
नक्तंभीरुरयं त्वमेव तदिमं राधे गृहं प्रापय।
इत्थं नन्दनिदेशतः चलितयोः प्रत्यध्वकुञ्जद्रुमं
राधामाधवयोर्जयन्ति यमुनाकूले रहः केलयः ॥



gloss:
	hè raadhe= oh, Raadha;
	ambaram+meghaiH+ meduram = sky, with clouds, thick with;
	vana+bhuvaH= wood, areas [lands]; shyaamaaH= are blackened;
	tamaala+ drumaiH = with Tamaala, trees;
	naktam [ca + abhivartate]= night [is also drawing nigh];
	bhiiruH+ayam= [naively] timorous, that one [Krishna is];
	tat= thereby; tvam + eva= you, alone;
	imam+gR^iham+praapaya= him, to home, see he reaches [lead him forth];
	ittham + nanda+ nideshitaH= this way, by Nanda, she who is instructed
	      [Raadha];
	chalitayoH= while both are on the go [to home]; raadhaa+
	maadhavayoH = of both Raadha, Maadhava;
	yamunaa+kuule= on Yamuna, banks of;
	prati= each, at each and every;
	adhva= on pathway;
	kunja+drumam= in arbour, at tree;
	rahaH+kelayaH= sequestered, [Gr. erös, or epithymia, or philia not
		just love] plays of passion [that are the happenstances,
		bechanced events];
	jayanti= won over, fructified [transcendentally exquisite.]

[background:  Radha, who is married, is somewhat older to the boy Krishna,
whom she is being asked to protect in this verse].
meduram: has a meaning also of "soft", cotton-like

the sky is covered with soft clouds, these woods are dark and
night is coming.  take this boy [Krishna] home, for he is scared.
such were the instructions of nanda [to Radha] by which the two walked
along the greenery by the yamuna, and the plays of passion won them over.
]

translation by Barbara Stoler-Miller:
	clouds thicken the sky.
	tamAla trees darken the forest.
	the night frightens him.
	rAdha, you take him home!"
	they leave at nanda's order,
	passing trees in thickets on the way,
	until secret passions of rAdha and mAdhava
	triumph on the jumna riverbank.

dashAvatArastotram

this is one of the most famous songs in the gIta-govindam and is chanted
daily at jagannath temple and in millions of households. 

aSTa padi -1 dasha avataara kiirti dhavalam
[aSTa padi: the songs; these have eight-footed stanzas, with a repeatable
	stanza (refrain) at their end.]

pralayapayodhijale dhr^itavaanasi vedam | vihitavahitracharitramakhedam ||
keshavaadhr^itamiinashariira jayajagadiishahare || 1-1

	pra+laya = completely, commingled [deluged];
	payodhi = oceans;  jale = in waters; 
	dhr^itavaan+asi = upheld, you are;
	vedam = Veda-s; 
	vihita = make do [improvising]; vahitra = [like a] ship; 
	charitram = legendary; 
	a+khedam = not, with weariness [indefatigably]; 
	dhr^ita+miina+shariira = on donning, fish's, body; 
	jaya =hail to thee
	jagat+iisha = worlds, the Almighty of; 
	hare = oh, hari; 

kshitirativipulatare tavatiShThatipr^ishhThe | dharaNidharaNakiNachakragariShThe ||
keshava dhr^itakacChaparuupa jayajagadiishahare || 1-2

	dhr^ita+kacChapa+ruupa = assumed, tortoise, form; 
	ati+vipula+tare = very, wide, much in degree [widest]; 
	dharaNi+dharaNa = earth, by bearing weight [or by bearing the weight
		of Mt. Manthara, when Milky Ocean was churned]; 
	kiNa = tumid, puffed up; 
	chakra+tava = circular shell of tortoise, of yours; 
	gariShThe + pr^iShThe = on its heightened, back; 
	kshitiH+tiShThati = earth, is waiting/abiding

vasati dashanashikhare dharaNiitavalagnaa | shashini kala~Nkakaleva nimagnaa ||
keshava dhr^itasuukararuupa jayajagadiishahare || 1-3

	dhr^ita+suukara+ruupa = on assuming, wild boar's, form;
	tava+dashana+shikhare = your, fang's, top; 
	lagnaa+dharaNii = became stuck, earth; 
	shashini+ nimagnaa = in moon, embedded;
	kalaN^ka+kala+iva = blemish's, streak, like; vasati = is lodged;


tava karakamalavare nakhamadbhutashr^i~Ngam | dalitahiraNyakashiputanubhr^i~Ngam ||
keshava dhr^itanarahariruupa jayajagadiishahare || 1-4

	dhr^ita+nara+hari+ruupa= on assuming, man, lion, form of;
	tava+kara+kamala+vare= in your, hand, [called] lotus, the best;
	dalita+ hiraNya kashipu + tanu = lacerated, Hiranyakashyapa's, body;
	bhr^iN^gam= [which is like a] honeybee; 
	adbhuta+shr^iN^gam + nakham+[bhaati]= wondrous, tip, of nail 
		[thus those nails shine forth];

chhalayasi vikramaNe balimadbhutavaamana | padanakhaniirajanitajanapaavana ||
keshava dhr^itavaamanaruupa jayajagadiishahare || 1-5

	chhalayasi - vikramaNe - balim - adbhuta - vaamana - pada - nakha -
	niira - janita - jana - paavana - keshava - dhr^ita - vaamana - ruupa
	jaya jagadiisha hare

kshatriyarudhiramaye jagadapagatapaapam | snapayasi payasi shamitabhavataapam |
keshava dhr^itabhr^ighupatiruupa jayajagadiishahare || 1-6

	dhr^ita+bhr^ighu+pati+ruupa= on assuming, sage Bhrigu's legatee
	[Parashu Rama] saver, saviour's, mien; kshatriya+ rudhira+ maye=
	Kshatriya, blood of, filled with; payasi= in waters [pools of blood
	waters]; jagat= world [people]; shamita+bhava+taapam= ceased,
	worldly, torridity; apagata+paapam= swerved off, sin is; snapayasi=
	you make them to bathe [in blood pools of kings];

vitarasi dikshu raNe dikpatikamaniiyam | dashamukhamaulibalim ramaNiiyam ||
keshava dhr^itaraamashariira jayajagadiishahare || 1-7

	dhr^ita+raama+shariira= on assuming, Rama's, body; dikshu= in all
	directions, ten of them; dik+pati= direction, presiding deity of;
	kamaniiyam= desired by [those deities]; ramaNiiyam= heart-pleasing
	[act of]; dasha+mukha= ten, faced demon, octahedron rAvaNa's; mauli=
	heads; balim= sacrifice; raNe= in war; vitarasi = generously giving;

vahasi vapuSivishadevasanam jaladaabham | halahatibhiitimilitayamunaabham ||
keshava dhr^itahaladhararuupa jayajagadiishahare || 1-8

	dhr^ita= on assuming; hala+dhara+ ruupa = plough, wielder, form of;
	vishade+vapuShi= on whitish, body; jala+da+abham= water, giver
	[cloud,] in shine with; hala+hati+bhiiti+milita= by plough, hit,
	fear, blent with; yamuna + aabham = River Yamuna, in shine;
	vasanam+vahasi= raiemnt, you bear [you are clad in];

nindati yaGYavidherahaha shrutijaatam | sadayahr^idayadarshitapashughaatam ||
keshava dhr^itabuddhashariira jayajagadiishahare || 1-9

	dhr^ita+buddha+shariira= on assuming, Buddha's, body;
	sa+daya+hr^idaya= with, kindness, in heart; darshita= shown [taught
	by scriptures]; pashu+ghaatam= animal, killing; yaj~na+vidheH= in
	Vedic-rituals, methods of; shruti+jaatam= scriptural words,
	collection of; nindati= fault-finding; a ha ha= aha, aha, aha
	[expression of surprise];

mlecChanivahanidhane kalayasikaravaalam | dhuumaketumiva kimapikaraalam ||
keshava dhr^itakalkishariira jayajagadiishahare || 1-10

	dhr^ita+kalki+shariira = on assuming, Kalki, body of;
	mlecCha+nivaha+nidhane = fractious, groups of race, in eliminating;
	dhuumaketum+iva = as with a comet, as with  [or, dhuuma_+ketu = smoke,
		as symbol; Kalki wields a sword and its golden handle is
		compared to burning fire, and bloodstained blade with red smoke]; 
	karavaalam+kalayasi = sword, you are brandishing; 
	karaalam+kim+api = dreadful [deeds of yours,] why, even [tell about
		them, unimaginable to detail	them]; 

vedaanuddharate jagannivahate bhuugolamudbibhrate
daityam daarayate balim chhalayate kshatrakshayam kur.hvate |
paulastyam jayate halam kalayate kaaruNyamaatanvate
mlechchhaanmuurchchhayate dashaakr^itikr^ite kr^ishhNaaya tubhyam namaH || 1-5

	vedaan+ uddharate = Veda-s, one who revives;
	jagat+ nivahate = world, one who bears up;
	bhuu+ golam+ ut+ bibhrate = eath, globe of, up, lifted to support;
	daityam+ daarayate = demon [Hiranya kashyapa,] one who slashed;
	balim+ cChalayate = Bali, one who deluded;
	kshatra+ kshayam+ kurvate = Kshatriya-s, annihilation, one who does;
	paulastyam+ jayate = Pulasya's legatee, rAvaNa, one who conquers;
	halam+ kalayate = plough, one who wields;
	kaaruNyam+ aatanvate = pity [non-violence,] one who fosters;
	mlecChaan+ muurcChayate = fractious races, one makes them to swoon
	_	[mangler of];
	dasha+ akR^iti+ kR^ite = ten, semblances, one who puts on;
	kR^iShNaaya+ tubhyam+ namaH = [such is] Krishna, for your reverence.

	The reviver of Vedas as a fish, bearer of this earth as tortoise,
	uplifter and supporter of earth as wild boar, slasher of
	Hiranyakashyapa as lion-man, deluder of Bali as dwarf-boy,
	annihilator of Kshatriya-s as Parashu Rama, conqueror of rAvaNa, the
	legatee of Paulastya, as Rama, wielder of plough as Bala Rama,
	fosterer of non-violence as Buddha, mangler of fractious races as
	Kalki, and as you alone can put on ten semblances, thus oh, Krishna,
	my reverences are unto you... [1-5]


sanjukta panigrAhi's odissi performance of dashAvatAr stotra
with vocals by the unparalleled raghunath panigrahi. 

the love-play of rAdhA and kriShNa

a friend brings rAdhA news of kriShnA's carousal with the gopis

Canto I

lalitalavangalatAparishIlanakomalamalayasamIre
madhukaranikarakarambitakokilakUjitakunjakuTire ||

   gloss
	lalita : tender, comely;  lavanga-latA : clove creepers vine ;
	parishIlana :  touch ; 	komala : gentle ;
	malaya : southerly (from the malay mountains) ; samIr : breeze ; 
	madhukara : bee (maker of honey) ;  nikara : swarm ;
	karambita : inter-mixed with ;   kokila : cuckoo;  
	kUjita : song-filled; kunja : glade;  kuTir : hut, bower;


	the clove creepers sway in the tender sandalwood breeze on this
	birdsong morning, lively with the hum of the bees.

...


chandanacharchitanIlakalevarapItavasanavanamAlI
kelichalanmaNikuNdalamaNditagaNdayugasmitashAlI
haririha mugdhavadhunikare vilAsini vilasati kelipare
					[verse 1:38-39]
	Yellow silk and wildflower garlands lie on dark sandaloiled skin.
 	Jewel earrings dangling in play ornament his smiling cheeks.
	Hari revels here as the crowd of charming girls
	Revel in seducing him to loveplay.


pInapayodharabhArabhareNa hariM parirabhya sarAgam
gopabadhuranugAyati kAchidudanchitapanchamarAgam

	One cowherdess with heavy breasts embraces Hari lovingly
	And celebrates him in a melody of love.


krishNa doing up rAdhA's hair

Other cantos

[chapter 7, prabandha 14 : krishNa plays with the gopis] 

hariparirambhaNabalitavikArA
kuchakalashopari taralitahArA. [2]

हरिपरिरम्भणवलितविकारा।
कुचकलशोपरि तरलितहारा ॥२॥

	She is visibly excited by embracing Hari;
	Her necklaces tremble on full, hard breasts.

vipulapulakapr.thuvepathubhaMgA
shvasitanimIlitaviksadanMgA.  [6]

विपुलपुलकपृथुवेपथुभंगा।
श्वसितनिमीलितविकसदनंगा ॥६॥

	Her body writhes with tingling flesh and trembling,
	The ghost of Love expands inside with her sighing.

12:5
priyaparirambhaNarabhasavalitamiva pulakitamatiduravapam
madurasi kuchakalashaM viniveshya sheShaya manasijatApam

Throbbing breasts aching for loving embrace are hard to touch.
Rest these vessels on my chest! Quench love's burning fire!   [bsm]


kriShNa painting the breasts of rAdhA

mArAMke ratikelisaMkularaNArambhe tayA sAhasa-
	prAyaM kAntajayAy kiMchidupari prArambhi yatsambhrmAt
niShpandA jaghansthalI shithilitA dorvallirutkampitaM
	vakShi mIlitamkShi pouruSharasaH strINAM kutaH sidhyati.

Displaying her passion
In loveplay as the battle began,
She launched a bold offensive
Above him
And triumphed over him.
Her hips were still,
Her vine-like arm was slack,
Her chest was heaving,
Her eyes were closed.
Why does a mood of manly force
Succeed for women in love?  [bsm]

Other links

there are thousands of links dealing with the gIta govinda and kangra
paintings.  Here is a small selection of useful sites. 

kangra paintings:
  * Govt Museum and Art gallery, Chandigarh
	m.s. randhawa was at one point associated with this important museum
	for Kangra art
  * http://www.goloka.com/docs/gita_govinda/gita_govinda_14.html
	brilliantly scanned images
  * http://nickyskye.blogspot.in/2012/07/himalayan-foothills-17th-and-18th.html
	larger, but less bright images
  * http://www.drikpanchang.com/gallery/gallery-krishna.html
	another selection of interesting kangra art
  * http://www.artsceneindia.com/2011_05_01_archive.html
	a 3-day course on kangra art appreciation from 2011

gIta govinda text with english interpretations: 
  * giirvaani
	a fantastic site with detailed aNvaya (breakup + gloss) and english
	translations for the entire work; a labour of love by 
	Desiraju Hanumanta Rao.  
  * http://prramamurthy1931.blogspot.in/2012/04/gita-govindam-chapter-7.html
	also text with english


Gitagovinda in performance: 
  * https://www.youtube.com/watch?v=4oQQyJeOnSM 
	sanjukta panigrahi is one of the most expressive dancers
	of the gItagovinda.  she is trained in the odissi tradition, which
	has its roots in the jagannath temple of Puri, where jayadeva may
	have composed the poem. here she performs the dashAvatArastotram the
	vocals are almost certainly by her husband raghunath pANigrAhi.
  * https://www.youtube.com/watch?v=TCPGWmjoik0&list=PLUSRfoOcUe4ZpaqhZ7gzdTcktg8HTmgwg
	raghunath pANigrAhi sings six songs from the gITagovindam in the
	jagannath temple style.  
  * https://www.youtube.com/watch?v=G9pkBJ2f1sE
	caranatic style rendering of dashAvatArastotram