Meet Keshavdas

Orchha (Madhya Pradesh), known today for its spectacular palaces and monuments, was once the capital of the Bundela dynasty. It was also home to poet Keshavdas, who is considered one of the nine gems of Hindi literature and finds a mention in the 1901 book ‘Hindi Navratna’.  He lived from 1555-1617, and composed many works during his three-decade career at the Orchha court. Das’ popularity soared during Akbar’s reign—and his riti poetry became a “sought-after commodity” in courts across India.

In the above detail from an iconic painting from the National Museum, you can see him presenting his most famous work, ‘Rasikpriya’ (a Connoisseur's Delight) to his patron Raja Indrajit (on the right)—the brother of the Bundela rulers Ram Shah & Bir Singh Deo of Orchha.

An introduction to ‘Rasikpriya’

The ‘Rasikpriya’ is a treatise on love composed of short verses describing every situation you could find yourself in a relationship—from passion to jealousy and bitter fights, everything is covered in this manual! 

The work was so popular that it soon inspired musicians and artists across medieval India—who developed their own responses to the text. Many of these paintings are now part of prized collections in museums around the world. Here are examples from the Cleveland Museum titled ‘Krishna and Radha Avoid Embarrassment’ and ‘Rati, the Goddess of Erotic Love, Takes Aim at Krishna’:

Here’s a collage of two paintings–titled ‘Krishna and Radha’ and ‘Four Love Scenes and a Landscape’—from the Met Museum:

What was so special about the ‘Rasikpriya’? 

The text of this poem was composed in the vernacular Brajbhasha—which, unlike Sanskrit, was the language of the people. The setting of the ‘Rasikpriya’ (which features Krishna as a romantic hero) is courtly, not pastoral; the verses thus, tell of a regal, princely and humanized Krishna-Radha who feel the excitement & pain of love, just like us. 

In composing the ‘Rasikpriya’, Keshavdas transformed the writing-tradition of the time, birthing a new style of poetry known as riti. His work inspired some of the greatest artworks of the time.

Here’s a line translated by eminent art historian Prof BN Goswamy: “chhori chhori baandhi paag, aaras saun aarsi lai” (What ails you today that you keep tying and re-tying your turban?). This verse inspired a lovely painting where you can see Krishna, tying and untying his turban as Radha holds a mirror for him. The lines are spoken by their friend, the ‘Sakhi’ who is also in the painting—included in Goswamy’s ‘Spirit of Indian Painting’:

Here’s another verse you might relate to, when you’ve tried to keep your ‘crush’ a secret: “rādhikā jhaṁkī jharokhe hvai jhaṁpa sī lagī gire murjhāi bihārī. sora bhayo samujhe sakuche haruvāi kahyo hari lāgī supārī.” Translation:

Radha appears at the window of a balcony where Krishna and his friends are conversing while consuming paan. On seeing her, Krishna blushes and swoons, drawing the concern of his friends. When probed, he says he choked on the betel nut.

Patronage of art and culture has been closely linked to political power for centuries. In their creations, poets and artists celebrated the courts that employed them, and helped burnish the royal image of their kings. Amidst power tussles between the Rajput and Mughal nobles, art became a vehicle of a vassal court’s independent cultural expression and their poets became vital to its cultural economy and power.

Read more: ‘Rasikpriya’ also popularized the ashta nayikas (eight heroines) who have now become recognisable not just in art and poetry—but also popular culture. Read a guide to these eight archetypes—with accompanying paintings—over at Heritage Lab.