Radha and Krishna

It’s not that whatever we did in 1966 is an ideal to which we should all aspire, but it was something.  The devotees were closely linked to whatever Swamiji wanted and that was also true of course of the artists.  Those 1966 paintings have become the foundation of a tradition.  They are spiritual.

Most of the original artwork was painted by Jadurani.  She wasn’t the first artist – there was Haridas (Harvey Cohen) and Jagannath (James Green).  But she was the first to take it up full time. 

Even in the beginning, her pictures weren’t as crude as the ones I have done.  We were introduced to Radha and Krishna as forms right from the beginning when we saw James Green’s painting of Radha and Krishna.  I also found a picture of Radha and Krishna in a copy of Narada Bhakti Sutra.  Swamiji approved it.  As I have been trying to go back to 26 Second Avenue, I have, for the first time in my life, dared to paint Radha and Krishna in a serious way.  I drew Radha and Krishna and was afraid it might be blasphemy, or like the Godless impersonal versions in the Delhi airport where Visnu forms have no face.  “Modern Art.”  But I want to draw the Supreme Lord in affection as a tiny son draws his father – not so good, but with love.  Best if a viewer smiles, knows I felt love, but couldn’t execute it for lack of expertise.

Once I had a moment alone with Prabhupada at the Ananda Ashram.  I took out Narada Bhakti Sutra and asked, “Swamiji, is this painting of Radha and Krishna all right?”  He looked at it and said, “Yes.”  I went out and made a dozen copies for the devotees.

Prabhupada was private.  We couldn’t understand his mind.  He was often silent.  There were barriers we couldn’t cross.  It created a gap.  When I asked him if this painting was all right, he simply said, “Yes.”  That was all.  Then he was silent, as he often was.