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12 Chapter 4
12 Chapter 4
12 Chapter 4
Lord Krishna has been a very popular God; his mention is there in all
forms of art. He appears constantly in the wall-paintings, sculptural forms,
miniature paintings as well as folk images. Apart from being the central
character of Hindu scriptures, He also acquired a unique place in Hindi
literature. He was the main source of inspiration for Mirabel, Surdas and
other writer-devotees. In Haryana, even folk songs and dances are
dedicated to Him. The literature written on Lord Krishna is quite
comparable with His images in the art forms of Haryana. It appears that the
literature was the base of imagination of the artists; as the illustrations that
are seen clearly indicate the impact of literature.
The literature on Lord Krishna is so vast and the Krishna Lela's so
huge in number that all aspects of these cannot be compared in a limited
space. Yet, the motive here is to compare all visual forms derived from
Haryana during the study with the specified literature. Here is given a
brief assessment of various forms of Krishna as available in the folklore
and literature in Haryana.
Etymologically, the forms in which Lord Krishna appeared in the
literature are as following:
Advent of Lord Krishna:
This form, as derived in the form of a wall-painting from a chhatri in
150
151
Bhiwani reflects baby Krishna lying on a pipal leaf and sucking his big toe.
He is shown wearing a crown and ornaments, as already shown in
(Pl.1)
following the non-narrative concept, the visual form here depicts Krishna as
a newborn.
This form corresponds to the folk song as mentioned below:
152
Similarly, the visual image as mentioned above also tallies to the text
as mentioned in the Puranic Encyclopaedia. It states that Lord Krishna, as
an incarnation of Lord Vishnu, was born on the ashtami day in the month
of Simha. After taking birth, he is believed to have revealed to Vasudeva
about his previous births and how to replace him with a girl child born at
Gokul. Subsequently, Krishna is said to have assumed the form of an
ordinary child and lay by the side of his mother.2
Vasudeva carrying newborn Krishna:
This form was noticed in a wall-painting at Kairu as already shown in
(Pl.2)
(Pl.34)
At
both places, Krishna is shown lying down, sucking his thumb. His feet
have been shown hanging out from the basket. A naag has been depicted as
an umbrella over baby Krishnas head. Motifs used in the paintings are
basket, snake, River Yamuna and lion.
These forms correspond to the folk song as mentioned here:
153
154
feet into the river. After touching the Lords feet, water receded and
Yamuna paved the way for Vasudeva so as to make his journey
comfortable.4
Nand and Yashoda carrying Lord Krishna:
This visual form has been depicted in a miniature painting at
Kurukshetra University. Here, Krishna is represented in Yashoda s lap.
Musical instruments have also been shown, probably for celebration, as
already shown in (Pl.3).
This form corresponds to the following folk song:
fcjt eSa gks jg~;h t;&t;dkj] tlksnk uSa yy.kk tk;k lSAA
Vksy+ ds Vksy+ uUn ?kj vkoSa] ukPpSa&xkoSa] <ksy ctkoSaA
ykM~Mw ckWaVSa Hkj&Hkj Fkkyh] blk lqHk fnu vk;k lSAA fcjt---eueksgu ekjS fdydkjh] eaxy xkoSa lf[k;kWa lkjhA
njlu [kkRrj HkhM+ epk jg~;h] t.kwWa [kqn dk tk;k lSAA fcjt---ckck uUn vljQh yqVkoS] egrkjh xksnh eSag BkoSA
uj ukjh lc I;kj trkoSa] ?k.kk vkuUn Nk;k lSAA fcjt------5
This folk song reflects the joyous state of mind of the people in the
Braj area. They are all congratulating Nand baba and his wife Yasodha,
155
who is carrying Krishna in her lap. They are celebrating the arrival of
Krishna by singing, dancing, distributing sweets and playing musical
instruments. In the visual depiction also, Yashoda is carrying Krishna in
her lap and in the lower section, some people are shown holding musical
instruments.
Similarly the thematic approach of the visual image as derived also
tallies to the text as found in an epic - Srimad Bhagvata Mahapurana. It
states as Lord Krishna had come to Vraja, various kinds of musical
instruments were played upon that occasion of great rejoicing.6
Hence, both the literary as well as visual forms express the mood of
celebration.
Putna Vadh:
This form has been found as a wall-painting in a haveli at Kairu; a
temple at Kaul (Pl.35) and a temple at Pabnava as already shown in (Pl.4). All
these forms reflect baby Krishna over Putna.
The form of Krishna as in the episode of killing Putna draws a
parallel with this folk song:
156
(Pl.5)
Pabnava Temple (Pl.37), baby Krishna is crawling while eating butter, while
Yashoda is trying to catch him. In a chhatri found at a haveli in Nangal
157
158
been given the shape where Yasodha, with the help of other females, is
trying to cheer up Krishna.
Maakhan-Chor:
Lord Krishna appears to be very fond of eating butter. In many of the
images, he is seen trying to get butter from the earthern pots which gopikas
are carrying on their head.
The form of baby Krishna as maakhan-chor has been viewed in some
wall-paintings, as in one temple at Kaul as already shown in
another temple in Kaul
chaupal at Girawar
(Pl.7)
and
(Pl.38)
(Pl.40)
(Pl.41)
This visual form that depicts the mysterious nature of the lord
corresponds to the following folk song:
159
gqvkA
160
161
162
the mouth of the bird. The friends and Balrama got frightened, but Krishna
stirred round and round in the birds stomach and made it vomit. Along
with Krishna, Bakasur threw up blood and died.14
Aghasur Vadh:
A miniature painting from Kurukshetra University visualizes Lord
Krishna standing on the edge of the Aghasurs mouth and trying to tear it
apart. Inside the mouth, faces of different animals are visible. This way,
Krishna killed a huge serpent, Aghasur, as already shown in (Pl.11).
This form has a reference in a book titled The Life of Krishna in
Indian Art as follows: Aghasur was a demon who was brother of Putna and
Bakasur. He was angry at Krishna, so he came to kill Him. He took the
form of a huge serpent and lay on the ground with his mouth wide open.
Krishnas friends entered the demons mouth out of curiosity; calves also
went inside his mouth. Then, five-year-old Krishna also entered in the
demons open mouth and increased his size inside, thus killing the demon
and saving the lives of his friends and calves.15
Kaliya Daman:
Lord Krishna is shown dancing over the Kaliya naag and playing
flute. Two females standing on either side of the naag are praying to the
Lord for mercy. This visual has been marked from several wall-paintings,
163
(Pl.45)
164
jumped inside the water to get it. When He came outside, He was dancing
over the Kaliya naag.
This form also tallies to the text in Granth-Kalyan ShreeKrishnank:
There was a cruel naag who lived near the bank of Kalindi river. He had
poisoned the river water. So, Krishna challenged Kaliya naag. After that,
Krishna started dancing over Kaliyas hood.17
Baal Gopal:
Lord Krishna is shown standing in tribhanga pose as an animalkeeper. A buffalo is also visible in that scene and a stick is also there as
already shown in
(Pl.13)
Balambha village.
The thematic concept of this form, i.e. showing the entanglement of
Krishna with the cattle, tallies with the following folk songs:
xWaokWa uSa ?ksjs eSa vVdkys js] U;wWa dg jg~;h ekWa fdjl.k dhAA
rUuSa js fdjl.k lc dkfy+;k crkoSaA
rwa ?kky ikVM+k Ugkys js] U;wWa dg jg~;h ekWa fdjl.k dhAA
rUuSa js fdjl.k lc ckoy+k crkoSaA
rwa lqFkjs dkiMs+ ltk ys js] U;wWa dg jg~;h ekWa fdjl.k dhAA18
165
(Pl.47)
; in a
(Pl.50)
; in a Temple at
(Pl.54)
(Pl.55) (Pl.56)
; in a
166
(Pl.60) (Pl.61)
have been
marked.
Sculptures have also been reported from many places viz.: Gujjar
Kheri and a well at Mundhal Khurd
(Pl.62)
shown in (Pl.14), haveli Taaz in Mundhal Khurd (Pl.63) (Pl.64) (Pl.65), house crown
at Behal
(Pl.66)
, a dharamshala at Karora
(Pl.68)
, a dharamshala in Rohtak
(Pl.71)
a chaupal at Ajaib
(Pl.74)
(Pl.69)
(Pl.67)
, a Temple in Rohtak
(Pl.72)
(Pl.77)
, Murthal
, a Shivalaya at Ismaila
, haveli Chuharpur
(Pl.70)
as already shown in
(Pl.79)
(Pl.78)
(Pl.75)
(Pl.73)
, Gaddi
, iron-railing at
(Pl.80)
, Rohtak
(Pl.81)
,a
(Pl.84)
and
(Pl.85)
167
cattle who are listening to this music are also depicted. The form of
Krishna as Murli-Manohar corresponds to the following folk songs:
168
169
Vastra Haran:
A few images that reflect this form of Lord Krishna have been found
in the wall-paintings. In these images, Lord Krishna is shown sitting on a
tree on the bank of River Yamuna and playing flute. On the branches of this
tree are hung the clothes of some gopikas who are shown bathing in the
water below. The images include a wall-painting in a Shivalaya of Ajaib as
already shown in (Pl.16), in a Temple of Kurukshetra, in a haveli at Kairu, in
another haveli at Pehowa, in a chaupal of Bhaini Surjan (Pl.88), in a chhatri at
Bhiwani and in a chhatri of Rewari. (Pl.89)
This form of Krishna as doing Vastra Haran corresponds to the
following folk song:
170
171
clothes and climbed on a Kadamb tree on the river bank. He asked the
gopikas to come one by one and collect their clothes.23
Goverdhan-Dharan:
Lord Krishna picked up the mount Goverdhan and used it as an
umbrella over villagers and livestock when it rained heavily and there was
no shelter. In the representation of this form, Krishna is shown lifting the
mount on His small finger and playing flute, while the people are shown
standing under the shelter.
Several wall-paintings, sculptures and miniature paintings indicate
this image. The wall-paintings include one at a Shivalaya at Ajaib
another at a Shivalaya at Farmana Khas
(Pl.91)
(Pl.90)
, at a Shivalaya at Farmana
(Pl.92)
(Pl.94)
(Pl.93)
(Pl.96)
(Pl.95)
The
and from
172
173
rescue of the Vraja people and cattle, Krishna uprooted Mount Goverdhan
and held it like umbrella on his little finger. Everyone was sheltered during
the seven days of heavy rain. Ultimately, Indra stopped the rain and the
people returned to their homes happily.25
Lord Krishna with Gopikas:
Gopikas were so influenced by Lord Krishna that they surrounded
Him whenever He played flute. At many places in the art forms of Haryana,
Lord Krishna has been shown with gopikas. In the background of some of
the pictures, clouds and two trees have been created. Lord Krishna is
shown standing between the trees and playing the flute. The wall-paintings
belonging to a Temple at Pabnava (Pl.98), to a Temple in Kurukshetra (Pl.99),
to a Mutthh in Asthal Bohar as already shown in
(Pl.19)
and a chhatri at
174
(Pl.100)
. Another
(Pl.102)
shows Lord
Krishna playing various musical instruments in raas with Radha viz; Daph,
Khartal, Manjira, Algoja, Been and Mridung. Another form captured from
a haveli at Hetampura as already shown in
(Pl.21)
(Pl.104)
,a
sculpture at Barwaa and another at Karora are also indicative of this visual
form. A folk image preserved at Hisar Agriculture University also
reflects Lord Krishna as Murli-Manohar with Radha, represented in toy
form made of brightly coloured cloth
(Pl.105)
175
I;kjh]
vVkjh]
cnu
gjh
lkM+h]
176
Krishna preaches Radha as Radha was believed to be the best amongst the
gopikas.28
Although there is not much similarity in the literature mentioned here
with the art forms, yet both point towards the divine love flowing between
Lord Krishna and Radha.
Raas-Leela:
Lord Krishna visually duplicated Himself to make pairs with the
gopikas. Raas-Leela can be specified as a dance that is performed in a
circle as a circle is visible everywhere while depicting this scene. At some
places, Krishna with Radha is shown in the middle of the circle. The wallpaintings
(Pl.110)
(Pl.113)
(Pl.111)
; those in
(Pl.112)
(Pl.22)
and another
belong to a Shivalaya at
(Pl.114)
belong to a
(Pl.117)
177
178
senses and similar was the case with other gopikas; they all left their
household chores and reached the raas mandal. Krishna duplicated
Himself, so as to make pairs with all gopikas. Then, they together
performed the raas leela.30
Maharaas:
Lord Krishna has been depicted as performing the Maharaas in a few
wall-paintings found in a Shivalaya of Farmana Khas as already shown in
(Pl.23)
, in a dera at Sultanpur
(Pl.119)
(Pl.120)
. Apart
179
180
181
182
transformed into a palace, where his wife welcomed him. Sudama spent the
rest of his life happily.34
Mathura Gaman:
Two paintings representing this were found in the form of miniature
paintings at Kurukshetra University. In both of these, a chariot is shown on
which both Lord Krishna and Lord Balrama are sitting behind Akrura
(Pl.122)
Indian Art: Lord Krishna and Lord Balrama were invited to Mathura and
regarding this, Akrura was also sent by Kansa. On the demand of Kansa,
Akrur went to Vrindavan and conveyed the message of Kansa. All the
gopikas were deeply aggrieved as they never wanted to be separated from
Lord Krishna. On the decided day, Krishna and Balrama went to Mathura
with Akrura on his chariot.35
Vatsasur Vadh:
A bull has been shown in two miniature paintings found at
Kurukshetra University; it appears to be killed by Lord Krishna. This form
is expected to be of a demon named Vatsasur as already shown in (Pl.27).
183
This form has a reference in the book The Life of Krishna in Indian
Art: Lord Krishna killed the demon Vatsasur who came in the form of a
bull. A demon came to Vrindavana, it was such a huge-shaped demon and
roared so dreadfully that a scare was spread all over the place. When it
came to attack Krishna, it was brought to death by Him.36
Arishthasur Vadh:
Arishthnemi was a demon that is represented in the form of bull. He
was believed to be killed by Lord Krishna. This has been illustrated in the
form of a miniature painting obtained from Bhagwad Gita from the library
of Kurukshetra University.
This visual form corresponds to the text as revealed in Puranic
Encyclopaedia. It says that Arishthasur, a follower of Kansa, went to
Gokul masked as an ox and terrified the people there. Krishna engaged
Himself in a battle with the ox and killed it.37
Kesi Vadh:
A panel, found in the form of a brick panel at Agroha, district Hisar,
depicts a horse whose head, neck and one of the forelegs is visible; while
the remaining part of the panel is mutilated. The horse has been represented
with sharp teeth, swollen nostrils, wide-open eyes and mouth, erect manes
184
(Pl.124)
mentioned below. This song defines the situation that emerged as the aftereffect of Kansas death.
Hkka.ktk ekj dwV ?kj tk x;k] ekrk Y;k Egkjs gkFk /qok A
csVk [kwu Hkjs rsjs dkiM+s] [kwu Hkjs gfFk;kj A
csVk ds ruSa ekj~;k fejxyk] ds taxy dk jkst
csVk [kwu Hkjs rsjs dkiM+s A
185
186
are stained with blood. She becomes upset when Krishna reveals that he
has killed Kansa, who is the killer of his seven siblings.
The visual forms of Krishna killing Kansa tallies to the text in the
Puranic Encyclopaedia. It states that Kansa, full of anger, called Krishna
to fight with him. In response to his war cry, Krishna jumped on to the
back of Kansa and killed him.40
Lord Krishna as Parthsarthi on Chariot:
Lord Krishna has been illustrated as Parthsarthi in wall-paintings of
a Temple at Pabnava
(Pl.125)
(Pl.32)
(Pl.128)
(Pl.126) (Pl.127)
(Pl.129)
In the
187
.
This form tallies to the text in Srimad Bhagwad Gita that confirms
that the universally accepted and preached Gita sermon was delivered by
Krishna to Arjuna on the war land.42
Lord Krishna in Viraat Roopa:
This visual form is indicated in a miniature painting at Krishna
Museum. Here, Krishna is depicted sitting on a lotus with 10 heads and six
hands and is showing his cosmic form to Arjuna. (Pl.130)
This form tallies to the text in Srimad Bhagwad Gita where in reality
he is shown as the manifestation of Lords wisdom, glory, energy and
strength. Krishna showed his Viraat Roopa to Arjuna while delivering the
Gita sermon.43
188
REFERENCES
1.
2.
3.
Sharma, R. (Dr.) (2005). Haryana ke lokgeeton mein bhaktibhawna (p. 182). Chandigarh: Haryana Sahitya Academy.
4.
5.
Sharma, R. (Dr.) (2005). Haryana ke lokgeeton mein bhaktibhawna (p. 184). Chandigarh: Haryana Sahitya Academy.
6.
7.
8.
9.
10.
Sharma, R. (Dr.) (2005). Haryana ke lokgeeton mein bhaktibhawna (p. 192). Chandigarh: Haryana Sahitya Academy.
11.
Ibid., p. 195.
12.
Ibid., p. 208.
13.
14.
Ibid., p.422.
189
15.
Banerjee, P. (1994). The life of Krishna in Indian art (p. 23). New
Delhi: Publication Division, Ministry of Information and
Broadcasting, Government of India.
16.
17.
18.
19.
Ibid., p. 195.
20.
21.
22.
Sharma, R. (Dr.) (2005). Haryana ke lokgeeton mein bhaktibhawna (pp. 200201). Chandigarh: Haryana Sahitya Academy.
23.
24.
25.
26.
Banerjee, P. (1994). The life of Krishna in Indian art (p. 30). New
Delhi: Publication Division, Ministry of Information and
Broadcasting, Government of India.
27.
Sharma, R. (Dr.) (2005). Haryana ke lokgeeton mein bhaktibhawna (pp. 204205). Chandigarh: Haryana Sahitya Academy.
28.
29.
190
30.
31.
32.
Banerjee, P. (1994). The life of Krishna in Indian art (p. 37). New
Delhi: Publication Division, Ministry of Information and
Broadcasting, Government of India.
33.
Sharma, R. (Dr.) (2005). Haryana ke lokgeeton mein bhaktibhawna (p. 224). Chandigarh: Haryana Sahitya Academy.
34.
35.
Banerjee, P. (1994). The life of Krishna in Indian art (p. 33). New
Delhi: Publication Division, Ministry of Information and
Broadcasting, Government of India.
36.
Ibid., p. 31.
37.
38.
Ibid.
39.
40.
41.
42.
Ibid.
43.