Radha Krishna

$40
Item Code: BC17
Specifications:
Batik Painting On Cotton
Dimensions 2.5 ft x 3.8 ft
Handmade
Handmade
Free delivery
Free delivery
Fully insured
Fully insured
100% Made in India
100% Made in India
Fair trade
Fair trade
Radha Krishna on a swing

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.

The intimate and playful themes that run through Krishna's love for Radha and the festival nature of his dalliance with the gopis portray a vision of the divine that is approachable, warm, irresistible, blissful, and intoxicating. Krishna moves in a realm of love and lovemaking that invites (indeed demands) a total, impassioned response. All those who enter this realm are freed from bondage to the ordinary and customary, freed to behave imaginatively and spontaneously. The erotic aspect of this other world is not degrading but life-affirming. Erotic dalliance shuns the world of taboos and lived for the moment. It is an ovation to all that is vigorous and full of joy. The young god Krishna is an unrepentant reveller stirring all those who join with him to uncontrollable frenzy. In the world of the great lover Krishna, the gopis, as representatives of the human, expand themselves; they plumb depths and reach heights of emotion that are impossible within the humdrum world of habitual action. They leave behind the ordinary and participate in the extraordinary. Under the influence of the intoxicating and intoxicated god they lose their inhibitions and revel in playful freedom.

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