The picture represents a style of painting which is thought to have grown up at Nahan, the capital of Sirmur, after its neighbour, Garhwal, had been overrun by Gurkhas in 1804.  Garhwal artists probably sought asylum at the Sirmur court and there developed a distinctive offshoot of the Garhwal manner.

[Illustration]

PLATE 39

The Triumph of Radha

Kishangarh, Rajasthan, c. 1770
C.K.  Kanoria collection, Calcutta

During the eighteenth century, Radha was often regarded as Krishna’s permanent consort and was accorded divine honours—­the present picture illustrating her final apotheosis.  Seated together, their heads surrounded by haloes, the two lovers display their courtly charms.  Krishna has now the mannered luxury of a high-born prince and Radha, no longer the simple cowgirl, is the very embodiment of aristocratic loveliness.  As the lovers sit together, their forms offset by a carpet of lotus petals, Krishna attempts to put betel-nut in Radha’s mouth—­the gesture subtly indicating their loving intimacy.

SOURCES

Frontispiece.  By courtesy of Victoria and Albert Museum, London, and of Messrs Faber and Faber.

1, 2.  Hendley, Memorials of the Jeypore Exhibition, IV, the Razm Namah.

5.  By courtesy of State Museum, Lucknow and of Mr. M.M.  Nagar.

6, 12, 20, 28.  Archeological Survey of India, New Delhi.

10, 19, 30, 33, 34.  Victoria and Albert Museum, London.

18.  Stchoukine, La Peinture Indienne.

22, 26, 31, 38.  Messrs. A.C.  Cooper Ltd, London.

23, 24.  By courtesy of the Prince of Wales Museum, Bombay and of Dr. Moti Chandra.

25. Journal of Indian Art, Vol.  XVI, 116.

27.  By courtesy of Mr. M.S.  Randhawa, I.C.S.

39.  By courtesy of Mr. Gopi Krishna Kanoria.

3, 4, 7-9, 11, 13-17, 21, 29, 32, 35-37.  Author’s photographs.