In this painting there is Shri Vallabhacharya and shrinathji divine darshan (vision) hugging together at Govardhan Hill which is called as pratham milan (first meeting). It is called a turning point in the creation of the worship of Shrinathji and formalization of the Pushtimarg path. The view of Shri Giriraj (Govardhan Hill) in the background is not plain backdrop, rather it is regarded as God Almighty, just an extension of the body of Krishna.
The first appearance of the shrinathji and the scene when saddu pandey (devotee of shrinathji) had a cow which used to pour milk everyday on shroinathji is depicted at the back.
The pose of Shrinathji, his hand raised, and in a gesture of embracing Vallabhacharya, reminds the reader of the act of raising Mount Govardhan to save the villagers of Vrindavan.
On the right side the temple is presented where shrnathji moved out of his idol to meet shri Vallabhacharyaji.
The beautiful background that has been filled with trees and various scenery that represents Vrindavan is full of natural beauty and even the nature is involved in the lila (divine play).
Paintings like this are used for worship, education, and ritual storytelling. In temples and homes, they serve as aids to meditation and convey key moments in the lives of saints and deities.
This specific painting would be ideal for Vaishnavite shrines, Pushtimarg followers, or collectors of spiritual art.
Dimensions: 3 by 4 feet (w*l)
Type: Watercolor and Real gold leaf work on board
Maria
Quod si ita se habeat, non possit beatam praestare vitam sapientia. Idemne, quod iucunde? Cur iustitia laudatur? Iam contemni non poteris.
Stuart
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Magnus
Quod autem in homine praestantissimum atque optimum est, id deseruit. Apud ceteros autem philosophos, qui quaesivit aliquid, tacet; Sedulo, inquam, faciam. Naturales divitias dixit parabiles esse, quod parvo esset natura contenta. Suo enim quisque studio maxime ducitur.