Who painted The Approach of Krishna. Page from a Rasamanjari?

The Approach of Krishna. Page from a Rasamanjari was painted by Unknown in 1665.

Where can I see The Approach of Krishna. Page from a Rasamanjari?

The Approach of Krishna. Page from a Rasamanjari is held by Cleveland Museum of Art.

What movement is The Approach of Krishna. Page from a Rasamanjari?

The Approach of Krishna. Page from a Rasamanjari is associated with Baroque.

Artwork

The Approach of Krishna. Page from a Rasamanjari

Unknown , 1665

The Approach of Krishna. Page from a Rasamanjari is an unspecified painting by the Baroque artist Unknown. It dates from 1665 and is held in the collection of the Cleveland Museum of Art. The miniature depicts the Hindu deity Krishna advancing toward a gathering of women seated beneath a tree.

Accession no.: 1965.249
Credit line: Edward L. Whittemore Fund

About this work

Overview

The miniature depicts the Hindu deity Krishna advancing toward a gathering of women seated beneath a tree. Rendered on a single page of a illustrated manuscript, the scene is framed by bold black outlines and filled with vivid pink, blue and green pigments, while gold leaf highlights the figures’ ornaments and the sky above.

Subject & Meaning

Krishna’s approach to the women reflects a recurring theme in devotional literature, where the god’s playful interaction with his devotees symbolizes divine love and spiritual union. The women’s attentive posture and the intimate setting under the tree convey a moment of personal encounter between the divine and his followers.

Technique & Style

Executed in the Pahari miniature tradition of northern India, the painting employs delicate brushwork, soft modeling of faces, and finely rendered garments that cascade in graceful folds. Minute details, such as the individual leaves on the tree and the intricate jewelry, are emphasized with fine lines and touches of gold leaf, characteristic of the region’s refined aesthetic.

History & Provenance

The work forms part of a larger illustrated volume of love poetry, likely produced in one of the Pahari courts during the 18th century. The artist’s identity remains unknown, as the manuscript bears no signature, a common practice for courtly productions where the patron’s prestige eclipsed individual authorship.

Context

Pahari kingdoms, situated in the Himalayan foothills, cultivated a distinctive artistic style that blended local traditions with influences from Mughal court painting. Manuscripts such as this one served both devotional and literary purposes, illustrating poetic narratives that celebrated romantic and divine love.