The tale of Radha and Krishna is the most beloved story in the subcontinent of India. It was a model for male and female love in a variety of art forms, and since the sixteenth century appears prominently as a motif in North Indian paintings. The allegorical love of Radha has found expression in the great Bengali poetical works of Govinda Das, Chaitanya Mahaprabhu, and Jayadeva the author of Gita Govinda. This love was also interpreted as symbolic loving interplay between God and the human soul or as a quest for union with the divine. Radha, daughter of Vrishabhanu, was Krishna’s lover during that period of his life when he lived among the cowherds of Vrindavan. Since childhood they were close to each other – they played, they danced, they fought, they grew up together and wanted to be together forever, but the world pulled them apart. He departed to safeguard the virtues of truth, and she waited for him. He vanquished his enemies, became the king, and came to be worshipped as a lord of the Universe. She waited for him. He married Rukmini and Satyabhama, raised a family, fought the great war of Ayodhya, and she still waited. So great was Radha’s love for Krishna that even today her name is uttered whenever Krishna is referred to, and Krishna-worship is thought to be incomplete without the deification of Radha. Suradasa, in his Radha-Krishna lyrics, relates the various amorous delights of the union of Radha and Krishna in this ceremonious ‘Gandharva’ form of their wedding in front of five hundred and sixty million people of Vraj and all the gods and goddesses of heaven. The sage Vyasa refers to this as the ‘Rasa’. Age after age, this evergreen love theme has engrossed poets, painters, musicians and all Krishna devotees alike.