Radha, here, is depicted as willowy, serene and passionate, all in one. In fact, she appears quite contemporary due to her hair and attire. Dark bodied Radha sits in a tantalizing posture and though she is painted dark, the treatment of her limbs is exquisite and shows great feminine elegance. She is a picture of shyness and modesty, and looks at Krishna with beaming eyes as desire lingers in her downcast eyes.
Peacock feathers stand aloft his crest. He plays the flute oblivious to the world. Wearing a white lower garment, his torso is adorned with heavy necklaces. He sits in a posture where the soles of his feet touch each other. In most pictures Krishna appears in yellow garments, but the artist has used white here because it holds the crackle of dark color so well. Radha wears a white odhini over vermillion clothes to form a balance with Krishna's lower white garment. It is an example of the artistic interplay between the bright and the toned down colors. Such contrast is resorted to for giving a silhouettish effect so that the figures would stand out. The dark background gives scope to notice other details in the picture other than the radiant personality of the blue-bodied Krishna.
This description by Renu Rana.
In the popular psyche, Krishna and Radha are the universal symbol for the lover and the beloved. Krishna is the ideal hero, and Radha the ideal heroine.
On a metaphysical level, Radha's sexual passion was nothing but the intense longing of the soul for union with the Absolute. Krishna did not play the flute to seduce the gopis; this was only the melody of the divine calling on his brethren to come to their salvation. The gopis did not leave their husbands, homes and hearth, maddened by the desire for physical union with the Dark One; they were only demonstrating their resolve to sacrifice all in their search for spiritual truth. Krishna and the gopis, and Krishna and radha, did not make love under the starry autumn nights; theirs was a 'pure' love of the heart, unsullied by physical contact.
Batik is a medium that lies somewhere between art and craft, and is believed to be at least 2000 years old.
The technique of batik is a demanding one. In general, the final design must be conceived before the picture is begun. The batik artist works intimately with color; if he wishes parts of his design to be light yellow, for example, all these parts must be waxed at the same time before any subsequent dyeing. He cannot isolate one part of his design and complete it before moving on to the others as an artist in oils or watercolor may. He must create his design in stages, each of which encompasses the whole picture.
The basic process of batik is simple. It consists of permeating an area of fabric with hot wax so that the wax resists the penetration of dye.
If the cloth we begin with is white, such as bleached cotton, linen, or silk, then wherever we apply hot wax that area will remain white in the final design. After the first waxing the fabric is dipped into a dye bath whose color is the lightest tone of those to be used. When the piece has dried, we see an area of white and an area of cloth that is the color of the first dyeing. Wax is now applied to those parts in which we wish to retain the first color, and the entire fabric is immersed in the second dye bath whose color is darker in tone than the first. This process is repeated until the darkest tone required in the final design has been achieved. When the fabric, now almost wholly waxed, has dried it is placed between sheets of absorbent paper and a hot iron applied. As the sheets of paper absorb the wax they are replaced by fresh sheets until the wax is removed. At this point the final design is seen clearly for the first time.
As with painting, color is an integral part of batik. A painter uses pigment; a batik artist uses dyes. The Painter can, if he chooses, completely obliterate an undesirable color by covering it with another color. Perhaps he must wait until the unwanted color is dry, but there is no doubt about it, he has another chance, he can cover up his mistake.
In batik the correction of mistakes, in most cases, is impossible. The Painter is not limited in any way in the variety of colors he uses and juxtaposes. In batik, however, each color used is significantly changed by the proceeding color; or at least it is certainly affected by the color "underneath". The only pure color is the first one, so all other colors used are mixtures, determined largely by the first color, or the first strong color.
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