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The PahariSchools oPai nti g 81 A waiting K rishna and the H esitant R adha Artist Pandit Seu had two talented sons, Manak or Manaku and Nainsukh. Their contribution in maneuvering the style of Pahari painting from the stage of Basohli to that of Kangra is immense. Their sons, in turn, represent the glorious period of Kangra. This painting is categorised in the Guler–Kangra phase, wherein, experimentation for change had already been initiated. Gita Govinda is Manaku’s most outstanding set of works. As mentioned earlier, composed by Jayadeva, Gita Govinda begins with the description of how Radha and Krishna fall in love on the banks of river Yamuna. A delightful description of spring follows and the poet describes the sports of Krishna with other gopis. Ignored by Krishna, heartbroken Radha sulks in a bower as her friend, sakhi, describes how Krishna continues to wander with the pretty cowherd girls. After sometime, Krishna feels remorseful and starts looking for Radha, and on not finding her, laments for her. The messenger, now, goes to Radha and tells her of the longing of Krishna for her. Ultimately, she persuades her to meet him and what follows is the mystic union. Though the characters are divine and enact the play at a philosophical plane, where Radha is a devotee or soul, and Krishna, the cosmic power, in whom she is to be drowned. The love sport played here is rather human. In this painting, Radha is shown feeling shy and hesitant as she approaches the forested area, while Krishna is seen eagerly waiting for her. The source to the artist’s imagination is the inscription on the reverse of the painting, which is translated as follows. “Radha! Sakhis have come to know the secret that your soul is intent on the warfare of love. Now, abandon your shyness, let your girdle tinkle merrily and go ahead to meet your beloved. Radha! Lead yourself with some favoured maid; grasp her hands with your fingers that are soft and smooth as love’s arrows. March and let the jingle of your bangles proclaim your approach to your loved one.” This beautiful song of Jayadeva may always rest upon the lips of the devotees of Krishna. Ultimately Radha accepts the advice of her companions and Jayadeva, thus, describes the following. “Then, she, no more delaying, entered straight; her step a little faltered, but her face shone with unutterable love; the music of her bangles passed the entrance; shame which had lingered in her downcast eyes, departed shamed…” Reprint 2026-27