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The Hindu miniature paintings emphasize the theory of rasa, which generally means conceptualization in Indian arts about the aesthetic flavor of any visual, literary or musical work. The theory on visual arts defines that appreciators might relive some aesthetic flavor through painter’s designs. In spite of its importance, there has been little research on how the rasa aesthetics is depicted in the paintings. In order to clarify what rasa is actually depicted in the paintings, it is necessary not only to analyze the paintings but also to analyze rasa as it is expressed in the Gītagovinda (hereafter, GG), which must have inspired the subject matter of the paintings. The miniature paintings of GG in a collection at the Government museum in Udaipur could be important sources in which one can recognize how a rasa had been given images in an actual painting. Because one painting of the miniatures is painted per verse and the miniatures themselves minutely and faithfully express the contents of the poetry. In this paper, I present a new translation of the text of GG 1.32 and of two commentaries, and then try to clarify how rasa is depicted in the painting by comparing them with the actual painting of folio No. 32.

The Expression of <i>Hāsya</i> and <i>Karuṇa Rasa</i> in an Indian Miniature Painting of <i>Gītagovinda</i> 1.32