In the Gita Govinda, Jayadeva shifts from the advaita position of the Bhagavata to a dvaita perspective, portraying two entities deeply in love with each other: Radha and Krishna. As the Gita Govinda unfolds, we are introduced to a dense forest under a cloudy sky, enveloped in darkness with the Tamala tree's black leaves casting shadows. However, this forest setting is not merely a physical location but serves as a reflection of Krishna's state of mind—a mind fraught with uncertainty, searching for direction in the labyrinth of life, devoid of the guiding light of knowledge, and struggling to navigate the complexities of existence akin to the challenges of samsara.

The Chandogya Upanishad depicts a moment before creation when the divine, in its solitary state of perfection devoid of love, beauty, and passion, yearned to expand and exclaimed, "May I be many, may I grow forth." In line with this, the Krishna tradition, particularly, views the creation of the world as an expression of divine lila or 'spontaneous activity.’

In this metaphorical representation, Radha emerges as a beacon of hope amidst Krishna's existential turmoil, summoned by Nand. Radiant like the golden hue of the champa flower, she appears suddenly, akin to lightning, and takes Krishna's hand, leading him through the dark forest.

The opening verse of the Gita Govinda sets the background for the development of their love:

meghair meduram ambaram vanabhuvah gyiams tamila- drummair
naktamn bhirur ayam ttvam eva tad imam radhe grham prapaya
 ittham nandanidesatas calitayoh pratyadhvakufijadru-
 mam radhimidhavayor jayanti yamunakule rahahkelayah.

"Thick clouds swell in the sky, Tamala-tree shadows blacken forest lands, The night frightens him. Radha, you take him home!" Radha and Krsna Left Nanda's presence and made their way under trees in forest thickets on the path Until their passions triumphed in secret On the Jamna riverbank.

Radha's presence symbolises the sensuality of Prakriti, the material world, offering illumination and enlightenment to the seeking soul, represented by Krishna. Through her guidance, Radha brings light to the path of the questing purusha, aiding in his journey towards self-discovery and spiritual fulfilment.

Here, there is no discreet turning away from the emotional traumas and physical love making of the incarnate god. ‘Can one depict God in a body, enjoying his body?’ it asks of Hinduism’s incarnational theology … ‘God endowed with the capacity to love … to make love with his creatures? God, heartbroken and begging for the love of a woman, who has the power to refuse him?’

Both Radha and Krishna experience the anguish of separation, each bearing the weight of longing for the other. Krishna's love for Radha burns with intensity, mirroring her own fervent affection for him. By delving into the depths of this passionate emotion, marked by both separation and eventual reunion, the Gita Govinda evokes the profound aesthetic experience of erotic love, Shringara-rasa.

Moreover, Radha's presence in the Gita Govinda significantly contributes to the aesthetic portrayal of Krishna's shringara rasa, highlighting her pivotal role in shaping the narrative's emotional depth and richness. Radha transcends her previous portrayal as a generic gopi, emerging as the focal point of our gaze. Through her depiction, Krishna undergoes a transformation from a divine being, as seen in the Bhagavata, to a nayaka, or romantic hero. This evolution imbues the romantic sentiment within the Gita Govinda with a unique blend of sensuality and spirituality, intertwining earthly desires with divine devotion in a seamless manner. Radha's character serves as the catalyst for this shift, elevating the narrative to new heights where the boundaries between the sensual and the sacred blur, enriching the emotional tapestry of the text.

In viewing the Gita Govinda as a magnificent romantic poem celebrating the profound love shared between Radha and Krishna, we are compelled to acknowledge human love as an intrinsic reality, devoid of the need for metaphorical or allegorical interpretations.

The brilliance of Krishna Shringara lies in its ability to transcend the complex metaphysical concepts of Indian philosophy and translate them into the tangible experiences of the human body. In this poetry, distinctions between the "erotic" and the "spiritual" lose their significance as the lover approaches their beloved.

By embracing the authenticity of Radha's character, we are compelled to embrace Shringara rasa as a tangible and legitimate aspect of existence, free from relegation to the realms of illusion or symbolism. The love shared between Radha and Krishna transcends the realm of mere individual passion, evolving into a foundational principle of the universe.

Here, the intricacies of divine and human interaction are depicted not as abstract philosophical concepts but as visceral sensations experienced within the glands and organs of the human body. This approach brings a sense of immediacy and intimacy to the exploration of love and spirituality, bridging the gap between the metaphysical and the embodied experience

Their love extends beyond the confines of romantic intimacy to encompass cosmic expanses, where the drama of their affection unfolds not within ordinary time but within the sacred. This transformation elevates the text from a mere exploration of sensuality to a profound spirituality, wherein Radha's persona emerges as the gateway to celebrating and venerating Krishna.

Parallelly, Radha's deliberation symbolises the inner conflict faced by devotees torn between societal norms and their yearning for divine union, echoing the universal theme of the divine patiently awaiting human reconciliation. This depiction emphasises that Radha's Shringara, also remains incomplete without Krishna's presence, reflecting the concept that Prakriti, cannot achieve fulfilment without Purusha.

Therefore, in the observation of this Kangra Painting we will begin with Radha.

From across the serene river Yamuna we see a vibrant daytime landscape of Vrindavan's forests in its vivid depiction of spring. The image draws us into the various groves adorned with intricate details of plants and trees. Bursting with colourful flowers and alive with the chirping of birds, while the river gently flows, its tranquil waters marked by a white line delineating its banks. The allure portrayed in the forest emanates from the concept of "madhu" (sweet), which transforms into "madhurya" (sweetness) that encompasses the whole forest and all the creatures within it.

As the dense foliage gives way to a clearing in the top right corner, we find Radha, dressed in yellow, sitting with her friend- sakhi. Her hesitant gaze reveals her internal struggle as she weighs the decision to meet Krishna, knowing his penchant for dalliances with other women.

The rustle of a leaf or flap of a wing

Makes him eager turn his head

To look at the path, to see if you’ve come,

As he prepares your bed.

By the Yamuna, where the wind wafts winsome,

there in the woods, Krishna rests,

There where once his restless hands

caressed cowherdesses’ curvaceous breasts.

Looking as lovely as Love himself,

he’s gone to the haven of erotic delight;

Dear damsel, follow him, the lord of your heart.

Don’t hesitate! Go tonight!

By the Yamuna, where the wind wafts winsome,

there in the woods, Krishna rests,

There where once his restless hands

caressed cowherdesses’ curvaceous breasts.

As the sakhi conveys Krishna's state to Radha, we become conscious of her dynamic presence both in this moment and within the narrative as a whole. Among the myriad facets of the Gita Govinda, three stand out as paramount in shaping the dynamics of shringara rasa: the humanization of Krishna, the emergence and prominence of Radha as the preeminent nayika (heroine), and the significant role played by the sakhi, the friend or love messenger. Each of these features is intricately linked to the persona of Radha, whose presence is central to the emotional and narrative intricacies of the text. Radha and Krishna each inhabit their distinct aesthetic realms, yet it is the sakhi who serves as the link bridging the two.

Amidst the natural splendour of this forest in Vrindavan, emerges Krishna, standing out with his resplendent yellow attire adorned with golden ornaments. His distinctive peacock-feathered crown is embellished with gems and his blue skin reflecting the river and sky alike. He appears multiple times across the painting, depicted in various poses, reflecting different moments in time, each expressing his eager anticipation to reunite with his beloved.

Krishna here embodies the virahini nayika, the lovelorn heroine. Separated from his beloved, he feels intense longing, yearning, and emotional turmoil. The poses we find him in here mimic ones seen before adopted by the virahini nayikas of nayika-bheda paintings.  It becomes evident that even the formidable Krishna is susceptible to the tumult of love's despair. As a mortal deeply enamoured with Radha, Krishna grapples with the agony of Radha's silence, unable to bear it. His relentless pursuit of love's fulfilment becomes his destined ritual within this celebration of love. In this portrayal, Krishna emerges as a profoundly human figure, experiencing the complexities of love and yearning just like any mortal being.

God becomes man so that man can become God. The divine descends to human form so that humanity may ascend to divinity. This is the essence of Krishna’s viraha. His certainty in love breeds longing. Surdas beautifully encapsulates Krishna's experience of separation, where he finds himself lost in contemplation. Sometimes beneath a tree's shelter in the grove, sometimes standing upright, Krishna is intermittently aware of his mortal form. Amidst his musings on the virtues of his beloved, he absentmindedly lets slip his crown, then his flute, and now his yellow waistcloth.

Easing away from the comforts of home,

into the woods, he came;

There on the ground, he tosses and turns,

moaning aloud your name;

In your absence, my friend,

festooned with forest flowers,

he woefully awaits you.

Krishna is simultaneously both immanent and transcendent, a unity that cannot be fully comprehended by embodied beings. Immanence asserts that divinity permeates the world, affirming its presence within the confines of human understanding and societal constructs. This perspective acknowledges that God is intricately interwoven into the fabric of existence, accessible through human experiences and interactions. In contrast, transcendence suggests that God exists beyond the limitations of human comprehension and societal norms. This view denies the notion that divinity can be fully contained within the world or understood through conventional means. Instead, it posits that God transcends human understanding, existing beyond the confines of the physical realm.

Which is why in the dvaitic traditions Krishna retains an enigmatic nature, embodying both difference and non-difference. He is predominantly human yet inherently divine. In the Gita Govinda, he epitomises humanity by being deeply in love with Radha. Krishna affirms devotion and duality, yet simultaneously offers a path without outright rejection. This duality is encapsulated in the concepts of jiva-atman-param-atman and atman-brahman. While Krishna remains imminent through devotion and duality, he is ultimately transcendent, present everywhere, hinting at the underlying unity of all existence.

In Shringara, who is the lover and who is the beloved? There are only lovers and beloveds. And in the end, there is only love.

Gazing at her ornaments, toying with what is true,

“I am Krishna,” she declares, pretending she is you;

Radha woefully awaits you, Lord Krishna,

in her hideaway.

The sakhi’s message resonates not only with Krishna but also with us, as Jayadeva emphatically asserts in, sri jayadeva bhanitam idam...sakhi vacanam pathaniyam i.e,  "This is spoken by Sri Jayadeva...These words of the sakhi are to be recited."

Jayadeva's directive implies that to truly immerse ourselves in the poignant melody of his composition, we must heed the sakhi's words. Elevating the sakhi beyond a mere observer to a participant whose insights propel us into a deeper understanding and appreciation of shringara rasa. The sakhi's significance is not merely as a literary device but as an indispensable persona within the intricate dynamics of love, both within the narrative and in our own celebration of it. By identifying with the sakhi, we transcend the role of passive spectators and instead elevate the celebration and realisation of love to sublime aesthetic heights.

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