Chapter-3

FORMS OF KRISHNA

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“Krishnastu Bhagwanswayam” ,1 Krishna, who is understood as the

ninth of the ten incarnations of Mahavishnu,2 is not just a manifestation, but

himself appears as a divine Lord.3

The myth behind the fact that Lord Vishnu incarnated himself as

Krishna goes like this: Thousands of years ago, Devaki, the dear sister of

Kansa, got married to his friend Vasudeva. After their marriage, Ugarsen’s

son Kansa (who was earlier destroyed by Lord Vishnu when he was daitya

Kalanemi4), was taking Devaki and Vasudeva to their home on his chariot.

At that time, a divine announcement (aakashvaani) was heard, stating that

Kansa would be killed by the eight child of Devaki. Kansa at once took out

his sword to slay Devaki, but Vasudeva stopped him from doing so by

promising to hand over every child born to Devaki.5 Kansa put them in

secret confinement. On the other hand, keeping his promise, Vasudeva

handed over every child born to them to Kansa. As led by great god Vishnu,

the six infants who were killed by Kansa were actually six princes of the

demon Hiranya- Kasipu. The seventh conception of Devaki, through a

divine miracle, got transferred into the womb of Rohini, the other wife of

Vasudeva residing in Gokula. The sudden disappearance of Devaki’s

seventh pregnancy was taken for a miscarriage. Then, Lord Vishnu entered

into the womb of Devaki as her eighth child.6

On the ashtami day in the month of August-September, Krishna was

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born as incarnation of Vishnu. He desired Vasudeva to take him to his friend

Nanda Baba and Yashoda of Gokula and replace him with their daughter. At

midnight found the guards of the prison fast asleep. Vasudeva put newborn

Krishna in a basket and took him to Gokula. On their way, River Yamuna

changed its course for him to proceed and a naag served as an umbrella to

shelter Krishna from the heavy rain. The doors of Yashoda’s house were

open. Vasudeva exchanged the kids and returned with a newborn girl. When

he reached the prison, the guards woke with the child’s crying and informed

Kansa. Kansa proceeded to kill the infant but she slipped out of his hands

and ascended towards the sky, telling Kansa that his killer had taken birth on

Earth.7

It was thus that Lord Krishna appeared on the earth some 5,000

years ago. He is believed to have lived for 125 years and remained exactly

like a human being, but his activities were unparalleled.8 Krishna is

considered as the God of the household, the God of family life. He is human

to the very core, he acts likes a man. As a child, he is a real child, full of

enthusiasm, playfulness and fun, growing up into boyhood, into manhood,

he exercises the same human fascination over the hearts of men, women and

children.9 He, on the other hand, is also considered as the supreme

personality of Godhead, because he is all attractive.10 However, the mystery

whether Krishna was a god or a human being still remains unsolved. At

every step taken in an attempt to unfold this mystery, a new and unexplored

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dimension gets attached to it. Krishna, being the most attractive and popular

character in Indian myths and legends, has been a source of perennial

inspiration to art and literature.11

This God is one of the most primeval, yet ever-youthful. His eyes are

like the petals of a blooming lotus flower. His head is decorated with a

peacock feather. Lord Krishna appears as a blue complexioned God

adorned with many jewels and holding a flute. Lord Krishna has been

considered as a rare combination as He was a warrior, manipulator, saviour,

motivator, nature lover, dancer and musician, etc. He taught us about Karma

and Dharma through Bhagwad Gita at Kurukshetra in Haryana; while on

the other side, He appeared as a mischievous boy, lover, cowherd, trickster,

playful youngster and even adulterer in Indian literature and art.

At several places in Haryana, Lord Krishna has been depicted in

various forms. The life stories of Krishna are known the world over. These

include His acts of mischief, of bravery, killing of various demons, His role

in the battle of Mahabharata, delivering the gospel of Bhagwad Gita, of

being a divine charioteer for Arjuna. According to Indian literature, Lord

Krishna is popularly known by 108 names. Out of these, few forms of

Krishna are found in Haryana.

All the forms or life stories of Lord Krishna can be categorized into

two stages of His life viz; one being Baal Krishna as in Bhagwata Purana,

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and the other one is Vasudeva Krishna as in Mahabharata. In the first stage

as observed in the Bhagwata Purana; Lord Krishna appeared as a

miraculous child who is always holding a flute; loved by the gopikas and

full of beauty, joy, pleasure and grandeur. On the whole, He is a romantic

and mischievous character. Quite contrasting is the second stage of His life,

where He was a real Hero; here the Lord is hardly shown with flute. He is

observed here as a diplomat, statesman, warrior, strategist, manipulator,

philosopher and, above all, a God.12

Lord Krishna has been depicted during this study in various forms

showing mostly the exploits of His childhood as Advent of Lord Krishna,

Vasudeva carrying newly born Lord Krishna, Nand and Yashoda carrying

Lord Krishna, Putna Vadh, Baal Leela (that shows Lord Krishna as a child

with Yashoda), Nat Leela, Makhan-Chor, Lord Krishna writing alphabets

on a takhti, and His adolescence as Vaidh Leela, Bakasur Vadh, Aghasur

Vadh, Kaliya Daman, Baal Gopal, Murli Manohar, Vastra Haran,

Goverdhan Dharan; Lord Krishna descending from the sky; Lord Krishna

with gopikas; Lord Krishna attending the gopikas and other people; Lord

Krishna with Radha; Raas-Leela, Maharaas; Lord Krishna with Rukmani;

Lord Krishna with Sudama; Mathura Gaman, Vatsasur Vadh, Arishthasur

Vadh, Kansa Vadh; Lord Krishna as Jagannath; Portrait of Lord Krishna;,

Lord Krishna in the Court Scene; Ekanamsha, Kesi Vadh; Lord Krishna

watching a wrestling scene; Lord Krishna wearing Vanamala; Lord

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Krishna as Parthsarthi on Chariot; Arjuna looking at Lord Krishna in

Vishnu form; Lord Krishna delivering Gita sermon; and Lord Krishna in

Viraat Rupa.

Advent of Lord Krishna: There is a remarkable illustration in the form of a

wall-painting in a chhatri at Bhiwani town. In this picture, Lord Krishna is

seen as a baby resting on a Pipal leaf. He is shown sucking His big toe; and

even at this moment, He is adorned with jewels. (Pl.1)

Vasudeva Carrying Newly Born Krishna: This illustration has been

observed in form of a wall-painting at a Nauhra at Kairu, district Bhiwani.

This Nauhra belonged to Lala Sham Lal and was built around 90 years ago.

The present wall-painting appeared in the form of a vertical panel on the

southern wall of the Nauhra. This form is of Vasudeva carrying newly born

Krishna in a basket through inundated River Yamuna to reach Gokul.

Probably he is taking the newborn to Nand Baba and Yashoda; so as to take

Him to a safe place away from Kansa.

This painting is depicted in vibrant colours; the border of the painting

is also decorated. Infant Krishna is painted in blue, the basket in which He

is being carried is coloured yellow. Krishna is shown sucking the thumb of

His right hand. His left foot is touching Vasudeva’s hand outside the basket,

while His right foot is folded and is visible on the other side of the basket.

The upper garment of Vasudeva is of red colour, a blue-coloured belt is tied

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around his waist and the lower garment is shown in yellow colour. He is

also shown wearing a green-coloured odhni and white jewellery. Above the

basket, a naag has been indicated, that is probably there to save the little

Krishna from rain. (Pl.2)

Another such illustration has been captured from Krishna Museum,

Kurukshetra, in the form of a miniature painting made inside Bhagwad Gita.

The present illustration is divided into five sections; the upper left part is

depicting Devaki, mother of Krishna, probably sitting inside the jail. The

lower left part is representing two dwarpals; they are guarding the parents of

Krishna. The main central part is indicating the flow of river Yamuna and

Vasudeva, father of Krishna. The feet of Vasudeva are shown touching the

river, which signifies that he is crossing the river while carrying the child

over his head in a basket. Lord as a child is covered with a yellow garment.

On the upper right side of the painting, a representation of a lion and a snake

is shown. The lower part depicts Yashoda with a newborn baby. The figure

of a lion is shown very conspicuously as it indicates the vahana of Goddess

Durga and the baby is identified as Durga herself. The depiction of snake is

notified as Balrama.

Nand and Yashoda Carrying Lord Krishna: This form is a miniature

painting taken from the Bhagwad Gita at the library of Kurukshetra

University. In this painting, Yashoda is carrying Lord Krishna in her lap

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and Nand baba is shown sitting in the front, facing her. On the bottom part,

four musicians are playing music; they are probably celebrating the coming

up of Lord Krishna. (Pl.3)

Putna Vadh: The killing of the demon Putna by Lord Krishna as an infant

is visible in three art forms, especially in wall-paintings, of Haryana. At a

Haveli of Kairu, district Bhiwani, Putna vadh has been shown. It is a

miniature style painting created in the bracket of the haveli. In it, infant

Krishna is shown over Putna, who is lying down on the floor. The usage of

blue, green and yellow colours is seen. The strange thing is that below the

brackets, there is a strip on which is written- Hare Krishna Hare Krishna

Krishan Krishan Hare Hare. The other places where such sequence has

been indicated are Kaul and Pabnava, district Kaithal. In Venu Madhav

Temple at Kaul, where images are found of smaller size, Putna Vadh has

been noticed along with the depiction of Jagan Nath in one panel. Putna has

been shown lying down horizontally and baby Krishna is standing over her

and sucking her breasts. The miniature style painting with dull colours is

visible here. At Baanke Bihari Temple at Pabnava, Putna Vadh has been

indicated in the first panel of the lower side of the southern wall. The

colours used in this painting are orange, green, yellow, blue and red. This

scene is shown in a block; the borders of which are decorated with floral

pattern. (Pl.4)

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Baal Leela – Lord Krishna as a Child with Yashoda: Being a

mischievous child, Krishna used to tease His mother Yashoda. This form;

the Lord as a child with Yashoda, has been captured in around seven related

instances from the art forms, particularly in the wall-paintings of Haryana.

On the Northern wall of Baanke Bihari Temple at Pabnava, district

Kailthal, two such images have been found. On the upper side of this wall,

Yashoda is shown churning milk and Lord Krishna as a baby is sitting

before her and eating butter. Yashoda is sitting on a pidhi while child

Krishna is sitting on the floor. The usage of red, blue and yellow colours is

seen. In a block down to this representation, the image shown is of Yashoda,

who is trying to catch baby Krishna while He is shown crawling.

In a haveli of Barwaa, district Bhiwani, an image of Yashoda carrying

Baal Gopal in her lap was seen. On the western wall in another haveli at

Nangal Sirohi, district Mahendragarh, three panels are illustrated. In the

first panel, Yashoda is shown churning milk and child Krishna is seen tied

to the ponding vessel and is juxtaposed between the two trees in the

courtyard of their house. A chhatri at Kanina, district Mahendragarh,

displays young Krishna with mother Yashoda and a daasi. Another chhatri

at Rewari, situated at Solarahi Sarovar, also contained a painting; labeled as

Doodh Manthan Leela; that shows the scene of mother Yashoda churning

milk and the Lord as a child standing near her. Two other women are also

seen standing in the scene. (Pl.5)

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Another painting here is labeled as Roothe Hue Krishna ko Yashoda

Mana Rahi Hai. Here, child Krishna seems resentful and His mother is

trying to cheer Him up, while the other women here are playing musical

instruments. This form has also been illustrated in the form of a miniature

painting derived from Bhagwad Gita that is preserved at the library of

Kurukshetra University. Here, Lord Krishna has been depicted with

Yashoda being attended by maids. On the whole, four female figurines are

shown along with Yashoda and Lord Krishna. Orange, yellow, blue, green,

pink and white colours are mainly reflected in this painting.

Nat Leela: At a chhatri in Rewari, a very uncommon scene is illustrated,

that is titled Nat Leela Krishna Ki. In it, Lord Krishna is performing Nat

Leela and gopikas are looking at Him. A rope is tied with poles on both the

sides and Lord Krishna is walking on the rope while holding a stick. Five

gopikas are looking at Him; two of them pointing towards Him. The colours

of the painting are blue, green and brown. (Pl.6)

Maakhan-Chor: This form, being one of the most popular of all, also has

its mention in some of the folk songs. It has been visible in the form of wall-

paintings at about six places in Haryana. In a temple named Venu Madhav

at Kaul, district Kaithal, two such representations are found. In a depiction

of maakhan-chor, Lord Krishna has been represented in the centre of two

gopikas. He is touching the pots held by them. The other panel of this

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temple contains the image of Lord Krishna as maakhan-chor; it reflects

Him bent on one side, holding and trying to eat the butter and a gopika is

coming from behind to catch Him. In both paintings, the colours used are

red, yellow, green and blue. (Pl.7)

In a Shivalaya at Farmana Khas, district Rohtak, Lord Krishna has

been depicted as maakhan-chor in the centre of two gopikas. The illustration

of Lord is bigger than both of them. He has been shown touching the

earthern pots that are kept on the heads of the gopikas and they are trying to

catch Him. One gopika is trying to catch His flute, while the second one is

holding His garment. The figures are ornamented and instead of line work,

filled up colours are visible .The colours are mainly yellow ochre, green, red

and brown. At a chaupal in Girawar, district Rohtak, an image of Lord

Krishna as maakhan-chor was seen. In this image, the Lord is playing flute,

standing in tribhanga pose. He is shown with four arms; two of them

engaged in playing the flute and the other two touching the pots of gopikas

standing on either side. Bright red, yellow ochre, green, blue and black

colours are used.

Inside a well at Bharaan, district Rohtak, this scene of makhan-chor

has been depicted like many places of Haryana but here the folk Haryanvi

style has been highlighted here. This scene indicates the mischievous nature

of the Lord. The short garment of the Lord here attests that the artist tried to

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depict Him a simple rustic as a Haryanvi villager. The stick in Lord’s hand

arouses the feel as if He is an animal-keeper. The colours used in this

painting are blue, red and yellow ochre. Mainly line work is seen here and

the colour-filled spaces are very less in this painting. Both figures have been

shown wearing ornaments, the clothes are designed in a simple pattern.

Mor-mukut is also there on the head of the Lord. One other place where this

scene has been highlighted is a chhatri at Bhiwani.

Lord Krishna as a Child Writing Alphabets on a Takhti: This

uncommon representation is a sculptural form that is now preserved at

National Museum, New Delhi. In it child Krishna has been represented

seated on the floor and is writing alphabets in Brahmi script on a takhti; the

head of the child is mutilated; he is shown wearing merely anklets. The child

is pointing the four line of letters, probably vowels, written on a takti, with

his right finger and is holding takhti in his left hand. The floor on which he

is sitting symbolizes floral pattern, swastika and padma; these symbols are

auspicious to Lord Vishnu.

Lord Krishna has been shown holding a takhti in His hands along

with four other students, who are sitting in a row on the carpet. Their Guru

is shown sitting on an asan. This rare depiction has been found in the form

of miniature painting collected from Bhagwad Gita preserved in the library

of Kurukshetra University. (Pl.8)

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Vaidh Leela: Alike Nat Leela, this is also a rare depiction that is found at

the same place, i.e., inside a chhatri in Rewari. In it, Lord Krishna has been

illustrated as Vaidh ji; he is shown giving some instructions to Radha while

checking her pulse. In this painting, seven images are visible, but none of

these resembles any other in size or proportion. (Pl.9)

Bakasur Vadh: This episode has been visualized in a wall-painting at a

chhatri in Rewari, which reflects Lord Krishna killing Bakasur. A daasi

has been shown standing behind Him. Lord Krishna is looking in the front

and colours used in the painting are white, green and blue. (Pl.10)

Aghasur Vadh: This episode of Aghasur Vadh has been illustrated in the

form of a miniature painting obtained from Bhagwad Gita from the library

of Kurukshetra University. Lord Krishna has been shown killing the demon

Aghasur, which is in the shape of a huge serpent. (Pl.11)

Kaliya Daman: This image has been found in seven wall-paintings at

various places in Haryana. At a Shivalaya at Ajaib in Rohtak district, the

presence of four arms of Lord Krishna is there in this painting; this

exceptional attribute is the specialty of this place. Besides this, Lord is

standing by keeping one foot on the naag’s body and the other on its head.

Naag, on the other hand, is made very simply and roughly. Two nagins are

shown on the either side, praying to Lord Krishna. The clothes are

decorated with dots, line work and semi filled colours; the colours used here

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are red, green, blue and black. Another Shivalaya at Sampla, district Rohtak,

depicted the same representation. In this painting, Lord Krishna is shown

dancing over the Kaliya naag and playing flute. Lord Krishna’s moustaches

and large eyes are prevailing in this picture. The flute here is also not

straight, from one side it is bent in both directions. Sky blue body colour and

yellow, green and red are the colours of the garments. The naag is shown in

black and grey colour, lying in the water. The style of the turban and big

headgear is unique in this picture. (Pl.12)

At a chaupal in Bhaini Surjan, district Rohtak, an image of Lord

Krishna depicts the scene of Kaliya Daman. As the name suggests, the Lord

is killing Kaliya naag. Lord is standing over the naag, holding a weapon in

His right hand and the tail of the naag in left hand. Two female figures

arising from the either side of that naag are praying to Lord Krishna for

mercy. The headgear of the Lord looks very different, and a halo is also

shown behind his head. The colours used in this image are yellow ochre,

red, blue and green. Another chaupal at Girawar, district Rohtak, also has a

similar representation; the exceptional thing of this representation is the

spiral shape of the naag and the use of red colour in the painting, which

probably indicates blood. Lord Krishna is playing flute and standing over

the naag; the colours used in the painting are yellow ochre, black, blue,

green and red.

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A chaupal of Ladwa in district Hisar represents the Lord holding the

tail of Kaliya naag with one hand and playing the flute with the other. This

image is done with line work. The colours used in this image are yellow

ochre, blue and white; the naag is shown in black colour. A chhatri at

Bhiwani also indicates the same form of Lord Krishna. Along with wall-

paintings, this episode has been represented in the sculptural form as well. A

sculpture denoting this form has been notified from Gujjar Kheri village in

district Sonepat, where an upper vertical stone panel depicts the Lord in the

scene representing Kaliya Daman, in which Kaliya naag has been shown

standing before the Lord with folded hands.

A miniature form of Kaliya Daman has been derived from an

illustrated manuscript named Bhagwad Gita preserved at the library of

Kurukshetra University. Lord Krishna has been shown playing the flute

over the naag. Two female figures seen on either side of the naag are

praying to the Lord for mercy.

Baal-Gopal: A chaupal at Balambha in district Rohtak displayed an image

of Lord Krishna as a Baal-Gopal. The image of Lord Krishna is there on

the top floor. Lord is shown here as an animal-keeper as a buffalo is also

visible in that scene and a stick is also there. Lord Krishna is standing in

tribhanga pose, wearing a turban, a necklace, anklets and a pair of jutis.

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Moustaches are also shown. Usage of blue, red, yellow ochre and grey

colour is there. This image reflects folk art form. (Pl.13)

Murli-Manohar: This form of Lord Krishna is most common and widely

created. It has been represented everywhere in wall-paintings and

sculptures, miniature paintings and folk images. Twenty-two such wall

paintings have been derived from various parts of Haryana. All of these

contain varied features and styles; at some places Lord Krishna has been

depicted with a local Haryanvi touch, while at some places, Rajasthani

influence gets visible. Four Shivalayas contain the image of Lord Krishna

as in Murli-Manohar pose.

At a Shivalaya in Sampla, district Rohtak; one such image is quite

interesting. In it, Lord Krishna is coloured in blue. He is standing in

tribhanga pose and His clothes are of red, green and yellow colour. A unique

feature of this painting is that the flute here is not straight as usual, but bent

like the handle of a stick from one side. Folk Haryanvi touch is also there in

the painting. At another Shivalaya in Ismaila, district Rohtak; the image of

Murli Manohar has been seen. Lord Krishna with moustaches is shown

here, standing in tribhanga pose; the halo behind His head is made up of

green leaves. Line work is there in folk-art style; a tilak on the forehead is

also visible. The jewellery is shown in the form of line; particularly in the

arms, three lines are there, with a round shape visible in the centre of the

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middle line. Neck is also filled up with eight lines that give the impression

of jewellery. Simplicity is also there in the clothes; diagonal lines are

observed in these. The colours applied in the painting are yellow ochre, red,

green and blue.

Another Shivalaya at Farmana Badshahpur in district Rohtak

represented the image of Lord Krishna as Murli-Manohar; in it the Lord is

shown sitting on a stone sculpture and playing the flute while facing the

viewers. His head is bent towards one side and one foot is touching the

ground, while the other is on the stone sculpture. He is shown wearing a

turban; ornaments and tilak are shown with black lines. On the other hand,

Radha is illustrated sitting on a stone sculpture, facing the Lord. She is

wearing a sharara, a Muslim dress; her nose ring is exceptionally big. She is

pointing her finger towards the Lord, as if saying something. Red, green,

yellow ochre, brown and black colours are emphasized in the painting.

Another Shivalaya containing this image is at Saiman village in district

Rohtak. In it, Lord Krishna is sitting between two gopikas. Red, green and

yellow ochre colours are used in it.

Like Shivalayas, Lord Krishna has been depicted as Murli-Manohar

in Temples also. Radhey Shyam Temple in Rohtak town contained this

image. In it, the Lord is shown standing in tribhanga pose. The exceptional

thing found here is that the on the left hand of the Lord, a stick is seen

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hanging. Big eyes and moustaches, khadau in feet and a different type of

turban are the other unique features of this image. An animal figure is also

observed near the main figure. The colours used in this are yellow ochre,

orange, black and white. Venu Madhav Temple at Kaul in district Kaithal

also contained wall-paintings in the form of panels. One panel of this

Temple contained the image of Lord Krishna as Murli-Manohar. In it, the

Lord is standing in tribhanga pose and playing the flute. Two gopikas are

standing beside Him; one offering Him butter and other bowing her head.

Lakshmi Narayan Temple at Kaul in district Kaithal had the image of

Lord Krishna as Murli-Manohar. On the Western wall of Baanke Bihari

Temple at Pabnava in district Kaithal, two images depict Lord Krishna as

Murli-Manohar. The Lord is shown standing here in tribhanga pose. The

colours used in these paintings are red, green, blue, yellow ochre and white.

In a temple at Satora, district Kurukshetra, this image has been found. Lord

Krishna’s costume has been shaded in orange colour. Two gopikas are

standing with the Lord in this painting.

A single image of Lord Krishna as Murli-Manohar was noticed at a

dera at Sultanpur, district Hisar. Here, Lord Krishna is shown wearing a

choga and odhani. Side-pose face is shown and the colours used are yellow

ochre, red and black.

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Further, the havelis of Haryana also indicate some forms of Lord

Krishna as Murli-Manohar. Two havelis at Bhaini Chandrapal, district

Rohtak had these forms. On the outer façade of one haveli, these life-sized

pictures were there. Lord Krishna is shown standing in tribhanga pose on a

lotus and playing the flute, a white halo behind His head. The Lord is shown

wearing ornaments and a garland. On the other hand, Radha is shown

wearing lehnga and odhani and some ornaments, a white-coloured halo is

shown here too. She is also carrying a flower in her hand. The colours used

in these paintings are ochre yellow, Indian red, blue, green and white, at the

boundaries of the pictures; besides a floral pattern.

Behind these two pictures, the artist has successfully shown the

landscape in perspective. The other haveli of this place has three figures; in

the middle is Lord Krishna, with a flying figure on either side. Lord

Krishna is standing in tribhanga pose, wearing a headgear and khadau. He is

playing the flute. The colours used here are yellow ochre, orange, maroon

and brown. The decoration of its surroundings is done with flowers and

other patterns. A haveli at Barwa in district Bhiwani also depicts the image

of Lord Krishna as Murli-Manohar. Here, the Lord is shown wearing a

gherdar choga. The images are large; red, blue and green colours are used

here. At another haveli in Nangal Sirohi, district Mahendragarh, Lord

Krishna is shown playing the flute with two gopikas. In one portion of the

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Dhauli Haveli of Pehowa, district Kurukshetra, an image of Lord Krishna

has been represented in Murli-Manohar pose.

The subsequent category of chaupal has three images, depicting Lord

Krishna as Murli-Manohar. One of these chaupals is located at Farmana

Badshahpur in district Rohtak. In this painting, the Lord is standing and

playing the flute in the middle of two gopikas. Combination of blue, green

and yellow ochre colours and white-coloured designs on clothes, jewellery

and flute are other features of this painting. Another chaupal that had two

such images was located at Ladwa, district Hisar. In one painting, which is

in side pose, the Lord is playing the flute and holding a stick. A strange

thing here is that Radha is shown ornamented, holding a fan in one hand and

a flower in other, while the Lord is depicted as a simple village lad without

any ornaments. On another wall, a somewhat similar picture is there: Lord

Krishna is standing with Radha in tribhanga pose. But the view of this

image is frontal. A stick is visible with the Lord and He is playing the flute.

This image is clearer than the former one and in this image, both are

standing a bit closer. Yellow ochre, blue, green and red colours are used in

these pictures. One similarity in both the pictures is that the Lord has

removed His juti from one foot for standing in tribhanga pose.

A chhatri noticed in Bhiwani town contained wall-paintings depicting

the theme Lord Krishna as Murli-Manohar. This form was also

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acknowledged from a chhatri at Bairawas, district Mahendragarh. Two

chhatris in Rewari town also reflected these forms. One of the chhatris here

shows the Lord as standing in tribhanga pose and playing the flute. A cow is

also shown near him. The main image is in miniature style. This painting is

brightly coloured in red, yellow, green, blue and white; outlining is done

with brown. The paintings are in an extremely good condition and give us

the idea of that time of artists and their creative skills. In another chhatri of

Rewari town, one painting is labeled as Krishna ne Bansi Bajai. In this

painting, the Lord is shown standing on a a decorated mat and playing the

flute. Three gopikas standing around Him are offering sweets to Him.

This form of Lord Krishna as Murli-Manohar has been found in

abundance. A large number of sculptures have also been derived depicting

this form. One of the stone panel sculptures has been derived from Gujjar

Kheri, district Sonepat. This depicts Lord Krishna playing flute. The hair

has been back combed and a jewel is also seen on the top, which is the

specific feature of this sculpture. One very uncommon thing about the

representation of Lord Krishna in the form of Murli-Manohar is that some

forms have been found over wells. This depiction has been notified from a

well at Mundhal Khurd, district Bhiwani, as well as at Banda Heri, district

Hisar.(Pl.14) At Mundhal Khurd, the somewhat mutilated image shows Lord

Krishna standing in tribhanga pose and playing flute along with two cows.

Over His head is a small umbrella-type structure and behind His head is a

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halo. The other well at Banda Heri represents the same form of Lord

Krishna, but the halo is not seen in this image.

Three stone sculptures are also found from village Mundhal Khurd;

all these three sculptures are created outside different houses in the form of

taaj (crown) of that village. The first one shows Lord Krishna standing in

tribhanga pose and playing flute. The flute is broken, but the folds of the

garment, crown of the head, bracelet in the wrist and a garland around the

neck are the main features of this sculpture. The second sculpture represents

Lord Krishna in blue colour, standing in tribhanga pose and playing flute.

The unique thing of this sculpture is a round structure over His head and a

garland around His neck. The third sculpture of this village also depicts

Lord Krishna as Murli-Manohar in tribhanga pose. The sculpture chiseled

here also has two cows on either side of Lord Krishna.

Crown of a haveli at Behl in district Bhiwani also contained the form

of Lord Krishna as Murli-Manohar. The architecture here is quite different;

Lord Krishna has also been depicted as wearing a long choga-type garment

and two cows are also seen. Lord Krishna here is standing straight and not

in tribhanga pose. A dharamshala at Karora, district Kaithal, also has this

form of Lord Krishna outside it. Crown, jewellery and tribhanga pose is

particularly visible in this curved corner sculpture. The crown of a house in

Rohtak also depicts the form of Lord Krishna as Murli-Manohar. Another

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place in Rohtak town containing this image is a dharamshala. Here, the

image is human-sized; a halo is also there behind the head. The making of

this image is very detailed; jewellery, including bracelet, anklet, a crown

over the head and a garland are various features of this sculpture.

Durga Bhawan Temple in Rohtak also contains this form of Lord

Krishna. This form has been made in a bracket above the main gate of the

temple. Behind this sculpture is a part of painted mural, on that a nature

scene has been illustrated and a halo is also visible in painted form. Lord

Krishna is playing flute in the middle of two cows and two calves. This

image is in polished form and made comparatively much colourful; the cows

made are in elongated form. A similar depiction of Lord Krishna playing

the flute with two cows and two calves has also been notified from two other

places. One of them is Murthal, district Sonepat. Yellow garment, crown,

garland are the features of this sculpture. The other one is at Gosaihera,

district Jind. The unique feature here is the presence of an umbrella over

Lord Krishna’s head.

The form of Lord Krishna as Murli-Manohar has been represented

outside a Shivalaya at Sampla, district Rohtak. The blue-coloured Lord

wearing a mor-mukut and yellow garment is visible; exactly behind Him a

cow is shown. Two images of Lord Krishna as Murli-Manohar have been

found from village Ismaila, district Rohtak. One of them depicts Lord

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Krishna in blue colour; the crown, bracelet and flute are all coloured in

golden. The other image is made inside a bracket in relief form, no jewellery

and no colour is visible. The crown of a chaupal at Ajaib in district Rohtak

carries an image of Lord Krishna as Murli-Manohar. In this sculpture, Lord

is shown standing, taking a little support of a cow that is behind Him and He

is being sheltered by a naag. The blue colour of the Lord, a halo, garland,

bracelet and a crown are the visible features of this sculpture.

A haveli at Bhaini Chandra Pal in district Rohtak also displayed this

form of Lord Krishna. Here, Lord Krishna is standing over a structure of

lotus flower. A decorated halo, a bajuband, a bracelet and a flower garland

are various other attributes of this sculpture. Another mention is of a village

named Gaddi Kheri, district Rohtak. Here, the form of Lord Krishna as

Murli-Manohar in tribhanga pose has been carved out in relief. On the other

side parallel to this sculpture, an image of Radha has also been depicted.

Both images have big crowns and some jewellery. A dera at Sultanpur in

district Hisar is yet another place where an image of Lord Krishna playing

flute is made in stone. The two cows here in this sculpture are standing

parallel to the Lord and looking at Him. Another image of Lord Krishna

playing flute has been found outside a haveli of village Chuharpur, district

Jind. This image has been created on both sides of the front wall outside the

haveli. An umbrella-type structure and a pedestal are the main visible

features of this sculpture.

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One image of Lord Krishna playing flute created in iron metal is

located in a railing at Beri, district Jhajjar. In this sculpture, Lord Krishna

is made in small size and the main image is bordered by some design

pattern. Four images of Lord Krishna as Murli-Manohar have been carved

out in relief in wooden form. All of these forms are carved in the two-sided

door panels. Two of them were in Bhaini Chandra Pal, district Rohtak. Both

these images have been found in two havelis facing each other. These forms

also represent Lord Krishna standing in tribhanga pose and playing flute,

but there is a lot of difference in their formation. One of them reflects a halo

and a mor-pankh over the head. The base of the other door sculpture is

heavily decorated with floral and other patterns. The third door panel is

located at Hetampura, district Bhiwani. The mor-pankh over the head of

Lord Krishna, who is standing in tribhanga pose and playing flute, is the

highlighting feature of this sculpture. The outside border of the door is

heavily carved with floral pattern.(Pl.15) The last such image has been

obtained from Taragarh, district Kaithal. The two-sided door has been

coloured in blue. The form of Lord Krishna in tribhanga pose while playing

flute has been carved on the upper portion.

An image of Lord Krishna created in concrete cement was found in

Rohtak town. A very clear depiction of Lord Krishna has been noticed, He

is shown standing in tribhanga pose, playing flute and behind His head a

halo is also highlighted. The sculpture is coloured in white; and along with

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the main image, two pillars and lentil is also visible. On both sides of this

form, “Om” is written in devnagiri script. Two images of Lord Krishna

have been found in the form of a lentil sculpture. One of these was at a

house in Sampla, district Rohtak. This depicts Lord Krishna as Murli-

Manohar standing in tribhanga pose. Exactly behind Lord Krishna, a cow

is shown standing. A mor-pankh is also visible in this sculpture over the

head of the Lord as well as the cow. The other image was found outside a

house at Ramayana, district Hisar. Here also, Lord Krishna is shown

standing near a cow and playing flute.

The form of Murli-Manohar could also be seen in a miniature

painting of an illustrated manuscript, Bhagwad Gita from Krishna Museum,

Kurukshetra. In this painting, Lord Krishna is shown standing in tribhanga

pose and playing flute; two gopikas are shown on the left side of the picture.

They are listening to the melodious music of the flute. The background

space is filled with the impression of nature; a tree is depicted just at the

back of the Lord. Another miniature painting reflecting this pose was found

from the library of Kurukshetra University in Bhagwad Gita. In this

representation, Lord Krishna has been shown playing flute while sitting on

a wall under a tree. Some gopikas and a cow are standing near Him,

listening to the melodious music.

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The form of Murli-Manohar has also been depicted in folk images.

The two places where this form was found, are Mirzapur and Narkatari,

district Kurukshetra. These forms are been created on the background of a

Sanjhi representation. The images are made up of malleable mud; the folk

element is clearly visible in them.

Vastra-Haran: This episode of Lord Krishna’s life has been well-versed in

the Bhagwata Purana. Seven wall-paintings of Haryana region that depict

this sequence have been derived. This scene defines the mischievous

character of Lord Krishna. One such sequence has been notified from a

Shivalaya at Ajaib, district Rohtak. The episode of vastra-haran here is

depicted in the corner, so a three-sided view is found. In the middle part,

Lord Krishna is standing on the branches of a floral pattern, playing the

flute. A rare thing in the painting is that four arms of the Lord have been

created. He is playing the flute with two arms, while the other two are

shown touching the branches. On the other parts, three nude gopikas are

standing, bowing their hands in front of the Lord; they are shown

ornamented. Line work is there in the painting. (Pl.16)

At Kali Kamli Temple situated in Kurukshetra town, an image of

Lord Krishna in the episode of vastra-haran is indicated. One of the two

havelis that contained the form of Lord Krishna as doing the vastra-haran

of the gopikas was at Kairu, district Bhiwani. This small-sized painting

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contains bright colours. The other haveli that had a similar scene illustrated

was found at Pehowa, district Kurukshetra.

A chaupal also contained a similar sequence of vastra-haran by Lord

Krishna. This chaupal is located at Bhaini Surjan, district Rohtak. Lord

Krishna has been shown sitting on a tree and playing the flute. On the

branches of this tree there are hung the clothes of the gopikas, who are

shown bathing in the water. The colours used in this painting are yellow

ochre, blue, red and green. Lord Krishna in the episode of vastra-haran has

also been illustrated in two chhatris; one in Bhiwani town and the other in

Rewari town.

Goverdhan-Dharan: Like vastra-haran, Goverdhan-dharan has also been

found in seven wall-paintings of Haryana. The Shivalaya at Ajaib, district

Rohtak displayed such an image. In it, the Lord is shown carrying the mount

only on His index finger and playing the flute. Two gopikas are standing on

either side of the Lord and a preacher is touching Lord’s feet. Colours used

in this picture are red, green, yellow ochre, blue and white. Another

Shivalaya depicting this sequence is noticed at Farmana Khas, district

Rohtak. In it, Lord Krishna is illustrated carrying the mount on His small

finger of the right hand and a few gopikas and animal figures are shown

standing around; one gopika is holding the right wrist of Lord Krishna.

Grey colour is highlighted in this painting; it is used to illustrate the

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complexion of the Lord and the mount. Lemon yellow, green and red are the

others colours of this painting. The third Shivalaya displaying the scene of

Lord Krishna carrying Mount Goverdhan is at Farmana Badshahpur,

district Rohtak. This painting is made on a corner, so a three-sided view is

seen. In it, the Lord is lifting the Mount with one hand and playing the flute

with the other one. Some people as well as animals are standing in the

shelter of the mount. The dress is designed with black lines; the remaining

colours constitute red, green, grey and yellow ochre. The base of the

painting is in white colour. (Pl.17)

The Temple that contained this image is known as Kali Kamli Temple

in Kurukshetra. This form of Lord Krishna is seen on the ground floor and

first floor of the Temple. At a chaupal of Girawar village in district Rohtak,

the Lord has been shown lifting the mount with one hand and playing flute

with the other. Red, yellow ochre, green and brown colours are used here;

but the condition of the painting is not good as the plaster on the wall is

chipping off. In a chattri at Bhiwani town, the Lord is shown lifting the

mount on His small finger and playing the flute; people are shown standing

in the shelter; and four other images are shown supporting the mount with

the help of sticks. Four arms of the Lord Krishna have been represented; He

is standing in tribhanga pose.

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Lord Krishna as in the episode of Goverdhan-dharan created in a

sculptural form was found in a Shivalaya at Beri, district Jhajjar. Lord

Krishna has been shown standing in tribhanga pose and He is carrying the

mount on the little finger of His left hand. Another depiction of Lord

Krishna carrying Mount Goverdhan has been obtained from a Shivalaya at

Sampla, district Rohtak. In this image, Lord Krishna is shown holding the

mount on the finger of His left hand and flute in His right hand. Lord

Krishna has been coloured in blue. Under the shelter of the mount are a

human being, a monkey, a cow and a peacock.

This form of Lord Krishna has also been derived from Krishna

Museum, Kurukshetra, in Bhagwad Gita in a miniature form. This episode

of lifting the mount is simplified here to much extent. The mount that is

lifted by the Lord is coloured in tones of pink and mauve. In the central part,

the Lord is illustrated sheltering the people from rain. People are standing

under that mount on the either sides of the Lord; on the lower part calves are

also picturised. The other miniature painting depicting the episode of

Goverdhan-dharan has been seen in Bhagwad Gita preserved at the library

of Kurukshetra University. Like the above-mentioned miniature painting,

this one is also in a simplified format. The mount here is also painted in pink

and mauve shades. The people and calves are sheltered under the mount,

which is carried by the Lord.

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Lord Krishna Descending from the Sky: In this miniature painting,

derived from Bhagwad Gita at the library of Kurukshetra University,

gopikas are looking at the sky, where Lord Krishna is shown with stretched

hands as if He is descending from the sky to embrace them. This uncommon

representation is coloured in yellow, orange, blue, pink, green and white.

(Pl.18)

Lord Krishna with Gopikas: Lord Krishna was so liked by the gopikas

that they can be seen along with Lord at many places. This form of the Lord

where He is shown only with gopikas has been captured from five places in

Haryana. These include a Temple at Pabnava, district Kaithal, that is

recognized as Baanke-Bihari temple. The other Temple is Kali Kamli

Temple at Kurukshetra. Two such images are found in this Temple; one on

the ground floor and the other on the first floor. Red, green, yellow ochre,

blue, brown and black colours have been applied in these paintings.

At Asthal Bohar Mutth in Rohtak, one panel depicts the Lord with

two gopikas. On the background of this picture, clouds and two trees have

been created. The Lord is standing between the trees and playing the flute.

One gopika, who is standing on the right of the Lord, is holding a fan, while

the other one is holding probably some musical instrument. Lord Krishna

has been illustrated in the front pose. The folds in the garments are

highlighted with lines only; usage of pearl in the jewellery is there. The

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colours used in this painting are yellow ochre, jogiya, pink, grey and

green.(Pl.19) A chhatri at Kanina in district Mahendragarh also displays

Lord Krishna with gopikas.

Lord Krishna Attending the Gopikas and Other People: This episode has

been depicted on many pages of the illustrated manuscript, named as

Bhagwad Gita, obtained from the library of Kurukshetra University. In these

episodes, Lord Krishna is sitting along with male figures, attending the

gopikas or other people standing in a row. (Pl.20)

Lord Krishna with Radha: Lord Krishna and His sakhi Radha were found

seated at about nine places in the wall-paintings of Haryana. Venu Madhav

Temple represents an image where the Lord is shown seated under a tree

with Radha. One painting that represents Lord Krishna with Radha also

arouses the feel of Shringaar rasa. In it, Lord Krishna is seen combing

Radha’s hair; two daasis are also shown standing. Another painting

depicting Shringaar rasa has been found at Kali Kamli Temple in

Kurukshetra. Among havelis, in a depiction at Bhiwani, He is shown

playing various musical instruments in Raas with Radha. The imagination in

this painting is one of its own kind as here, along with a flute, the Lord is

also shown dancing and playing other musical instruments, viz; daph,

khartal, manjira, algoja, been and mridang. The usage of various

instruments contributed in the making of divine music. This miniature style

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painting also depicts nature in the form of birds and branches. The choga

worn by the Lord and the lehnga worn by Radha indicated a Rajasthani

dressing pattern. Yellow ochre, blue, green, maroon and brown colours are

mainly used. Another painting representing Lord Krishna with Radha is

laid on the fascia of a haveli at Hetampura, district Bhiwani. Both of them

are seated on a piece of furniture, probably a couch, and the Lord is shown

playing the flute. Usage of blue, red, yellow ochre and green colour is there.

Another unusual thing is the big head gear of the Lord; perhaps it refers to

the Baniya community. (Pl.21)

At Nangal Sirohi in district Mahendragarh, a haveli has been studied.

Inside both the podiums of the main fascia of this haveli, there are two types

of paintings depicting Lord Krishna. Both paintings display Lord Krishna

with Radha. In the second painting, a cow has also been indicated in the

background. In another haveli at Pehowa, district Kurukshetra, Lord

Krishna is shown with Radha near a tree. In addition to havelis, some

chhatris also depict Lord Krishna with Radha. A chhatri that is noticed at

Bairawas in district Mahendragarh displayed such an image. Another

chhatri that represented this form was at Kanina, district Mahendragarh.

A chhatri at Rewari is also depicting the form of Lord Krishna with

Radha in miniature style. This painting is brightly coloured in red, yellow,

green, blue and white; outlining is done with brown. In another chhatri

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located at Rewari, Lord Krishna is indicated with Radha on a swing; this,

in itself, is a rare depiction. Blue, green, brown and white are the main

colours used in this painting. One sculptural form has also been found

displaying Lord Krishna playing flute while standing with Radha. This

form was found from a Shivalaya that is located at the vyayamshala of Vaish

College in Rohtak. In this sculpture, both images are shown wearing a cap,

Radha is shown holding probably a thali. An image that is made out of cast

iron has been obtained from the crown of a house at Barwaa, district

Bhiwani. In this very rare depiction, Lord Krishna is shown playing the

flute standing in tribhanga pose along with Radha on a lotus flower inside a

structure of “Om”; the two forms are overlapping. Outside the “Om”, a

chandra-bindu has been indicated on the top and it is again bordered by an

oval; a floral pattern is also made on both sides. The complete depiction is in

the shape of an arc.

An image of Lord Krishna as Murli-Manohar with Radha has been

found in a form of lentil sculpture from a village named Karora in district

Kaithal. The form has been depicted in the shape of an oval around, which a

decorative pattern has been carved.

Two folk images have also been found that represent Lord Krishna

as Murli-Manohar with Radha. Of these, one is found from Haryana

Agriculture University, Hisar. The other one, comparatively bigger in size,

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has been notified from Krishna Museum, Kurukshetra. Both represent the

couple in the form of a toy made of brightly coloured cloth. In the latter one,

the images are shown sitting on a swing.

Raas-Leela: The most colourful event in the forms of Lord Krishna has

been identified as the Raas-Leela. This form has been found illustrated in 17

wall-paintings of Haryana. Beginning with Shivalayas; this form of Lord

Krishna with gopikas performing raas has been found at Ajaib, district

Rohtak. The inside dome of this Shivalaya depicts Raas-Leela in a complete

circle. In it, total 18 images are shown, and instead of line work, filled-up

colours are observed. The garments of all the images are designed with a bit

of difference. Side-posed faces, elongated eyes, moustaches on Lord’s face,

nose-ring on gopikas’ faces and the red ears of all figures are the

highlighting features. Colours used in this picture are red, green, yellow

ochre, blue and white.

Below that, again a circle of Raas-Leela has been reflected; in this

picture, the images are of miniature type. Between the joining of the hands,

a floral pattern is made. Outside the main dome of the Shivalaya, a Raas-

Leela scene is depicted again. In it, 14 images have been shown with the

effect as on the other Raas-Leelas made in this Shivalaya. Another

Shivalaya at Farmana Khas representing the form of Lord Krishna in Raas-

Leela has also been highlighted. In it, a total of 27 images are shown. Side-

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pose faces of the images are prevailing here; in this picture, images of two

gopikas are shown overlapped. Here, the big-head features, headgear,

elongated eyes, sharp long garments and a cloth tied on the waistline are

highlighted, that is also a characteristic of Rajasthani paintings. The colours

used are red, green, yellow ochre, blue and maroon.

At Farmana Badshshpur, a Shivalaya has been notified where the

sequence of Raas-Leela has been represented. Inside the dome, the Raas-

Leela had 20 images created in it. As in Ajaib, the Muslim effect is visible

here too on the dresses and the moustaches. Red, brown, yellow ochre and

green colours are used here. Outlining of the images is done with black

colour. (Pl.22) Even outside the dome, Raas Leela has been depicted on the

border of the wall in a rectangular form. Another Shivalaya that contained

Raas Leela was at Saiman, district Rohtak. Here, the depiction is in very

light and sober shades. In it, 17 images are shown; side-posed faces,

decorative dresses, and red, green and yellow ochre colours are the attributes

of this painting.

Other than Shivalayas, Baanke Bihari Temple at Pabnava in district

Kaithal has been identified as carrying the form of Raas-Leela on its wall.

This wall-painting is extraordinary from the representation point of view.

Lord Krishna and Radha are shown standing in the centre and around them,

17 gopikas are standing in a circle; this composition has not been seen

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anywhere else in Haryana. Asthal Bohar Mutthh, district Rohtak, is another

place that contained Raas-Leela. Here, the images of Lord Krishna and

gopikas have been shown performing raas. Side profile has been depicted in

this picture; large eyes, pointed nose and garments also have Rajasthani

influence. Simplicity and sobriety is well-preserved in this picture. The folds

in the garments are highlighted with lines only; usage of pearl in the

jewellery is there. The colours used in this painting are yellow ochre, jogiya,

pink, grey and green.

A dera at Sultanpur in district Hisar also contained a scene of Raas-

Leela at two levels. Here, a central division can be seen on the ceiling and

29 images on each side are shown. On the upper level, Lord Krishna and

gopikas are shown playing holi, performing dance and playing daph and

dandiya. On the lower part, a chain of images has been shown; and along

with other jewellery, bajuband is also depicted in this picture, which is a

unique feature of this place. Side-pose faces are prevalent here; usage of

bright colours as red, green, blue, yellow ochre is there.

Another mention is of havelis, which are embraced with the form of

Lord Krishna as performing Raas-Leela. One such haveli is located at

Legha, district Bhiwani. Here, Lord Krishna is performing raas with

gopikas and He is shown with moustaches and wearing a mor-mukut. Blue,

red, green and white colours are applied to this painting. Next mention is of

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a haveli located at Nangal Sirohi, district Mahendragarh. Inside the podium

of this haveli, Lord Krishna is shown playing dandiya with Radha. Another

such haveli is at Pehowa, district Kurukshetra. This haveli had two such

paintings; one is on the roof of three windows as viewed from outside. The

other painting is inside in one portion of the same haveli.

Additionally, chhatries also had Raas-Leela in painted forms. A

chhatri at Bhiwani is one such place where Raas-Leela has been found; in it

16 images in total are shown, standing hand in hand. Side-posed faces; sharp

features and decorated dresses are the attributes of this scene. The

application of red, green, blue and yellow ochre is seen. Kanina in district

Mahendragarh also had a chhatri. The lowest part of this chhatri is painted

with this; in it, a total of 96 images are made. Usage of thin brush is

observed in this miniature-styled painting.

One miniature painting obtained from Kurukshetra University

library’s manuscript Bhagwad Gita contains the image of Raas-Leela. Here,

Lord Krishna is shown from three directions; front, left and right, while

performing raas with gopikas. On both sides, two female figurines are also

shown standing.

Maharaas: Three images of Lord Krishna performing Maharaas have been

gathered from the wall-paintings of Haryana. The first one has been found

from a Shivalaya of Farmana Khas, district Rohtak. Lord Krishna sitting

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on a pidhi with Radha performing Maharaas has been illustrated here; they

are ornamented and big-sized headgear is visible on the head of Lord

Krishna. The colours applied in this painting are grey, yellow ochre, red,

green and black. Outlines and design patterns are done in black colour. (Pl.23)

A dera at Sultanpur in district Hisar also represents this image of

Maharaas. An image like this is uncommonly seen; it represents Lord and

Radha. In it, both of them are standing, looking and pointing the index

fingers of their right hands in upward direction. Elongated eyes, pointed

nose, sleek figures and above all, the standing pose are the speciality of this

picture. The colours used here are yellow ochre, blue, green, white and

maroon. A chhatri at Rewari also shows the scene of Maharaas. This is an

exceptional picture as the Lord is performing Raas with two gopikas.

This has been illustrated in the form of a miniature painting obtained

from Bhagwad Gita from the library of Kurukshetra University. Lord

Krishna has been depicted as performing Maharaas with Radha in a

separate portion of the painting. Outside that, two other female figurines are

also seen sitting.

Lord Krishna with Rukmani: This form can be seen at Baanke Bihari

Temple, Pabnava, district Kaithal; Lord Krishna has been illustrated with

Rukmani and Radha. This depiction is very uncommon. Lord Krishna is

also shown with Rukmani in a chhatri at Rewari. (Pl.24)

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Lord Krishna with Sudama: A very touching scene of Lord Krishna

meeting his dear friend Sudama has been found at Venu Madhav Temple in

Kaul, district Kaithal. The colours used here are red, green, blue, yellow

ochre and white. (Pl.25)

Mathura-Gaman: This sequence has been found in two paintings of the

Bhagwad Gita obtained from the library of Kurukshetra University. Here,

Lord Krishna and Lord Balrama are shown in a chariot. Akrur is taking

them to Mathura. (Pl.26)

Vatsasur Vadh: Two miniature paintings found in the Bhagwad Gita

obtained from the library of Kurukshetra University represent this sequence.

In both of these, Lord Krishna is killing the demon Vatsasur, who has been

indicated as a bull. (Pl.27)

Arishthasur Vadh: This has been illustrated in the form of a miniature

painting obtained from Bhagwad Gita from the library of Kurukshetra

University. Arishthnemi was a demon that is represented in the form of bull.

He has been shown to be killed by Lord Krishna.

Kansa Vadh: This form of Lord Krishna has been gathered from three

wall-paintings of Haryana. One has been derived from a Shivalaya located

at Farmana Badshahpur in district Rohtak. In this painting, along with the

main characters, two female figurines are also created; one of them is

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bowing her hands in front of Lord Krishna. The colours of this painting are

red, green, grey and black; line work is the characteristic of this painting.

The other place that contains this sequence, is Venu Madhav Temple at

Kaul, district Kaithal. Here, in the scene of killing Kansa, Lord Krishna is

pulling Kansa’s hair. The next place where this image is found is in a

chhatri at Rewari. (Pl.28)

Kansa Vadh has also been found in the Bhagwad Gita obtained from

the library of Kurukshetra University. Lord Krishna is shown killing Kansa

and in the surroundings, six persons are standing. The colours used here are

green, yellow, orange, pink, blue and white.

Lord Krishna as Jagannath: The representation of Lord Krishna as

JaganNath has been found at several places. One being Venu Madhav

Temple at Kaul, district Kaithal; for this depiction, a separate frame is

created on a wall over here. Baanke Bihari Temple at Pabnava in district

Kaithal contained this form in two panels; on one of these panels, Lord

Krishna is shown playing the flute on both sides. This form of JaganNath

along with ShreeNath ji is also found in a chhatri at Rewari. (Pl.29)

Portrait of Lord Krishna: This representation has been found in the form

of a wall-painting in a haveli at Behal in district Bhiwani. The image is

clearly indicating the effect of Raja Ravi Verma’s style of painting.(Pl.30) The

portrait of Lord Krishna has also been found in sculptural form. It has been

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obtained from outside a house at Kaul, district Kaithal. The carved image of

Lord Krishna’s portrait while playing flute is made as a part of the

complete design. Its size is quite small; still the image is very interesting.

Lord Krishna in the Court Scene: This rare depiction of Lord Krishna

sitting in His court has been found in the form of a wall-painting in a haveli

at Pehowa, district Kurukshetra.

Ekanamsha: This sandstone sculpture, derived from Sanghel in district

Faridabad of Haryana, is named as Ekanamsha; the daughter of Yashoda

and sister of Balrama. Vasudeva, the father of Lord Krishna, exchanged

baby Krishna with Eknamsha so as to save His life. The present panel

depicts Eknamsha with Balrama and Krishna; the middle image belongs to

Eknamsha; on her right side is an image of Balrama and to her left is

standing the Lord. They all are shown standing in sambhanga pose. The

Goddess is revealed with two short hands; one of them is in abhay mudra

and left akimbo; also a canopy is arched over her head. Lord Balrama is

represented with four hands; the upper ones are carrying musala and hala,

the natural right hand is in abhay mudra, and the left one holding a wine

flask resting on his waist. The image of Lord Krishna is mutilated; his head

and upper two hands are broken. His lower left hand is probably carrying a

nectar jar.

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Kesi Vadh: The present 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; 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 and upraised foreleg. It seems that the animal is in the posture

of attacking. This horse has been indicated as a representation of the demon

Kesi, who rushed to attack Lord Krishna but was killed by the Lord.

Lord Krishna Watching a Wrestling Scene: This brick panel from

Agroha, district Hisar is believed to be of a wrestling match between Bhima

and Jarasandh as watched by Lord Krishna. It is mutilated to some extent

and no proper identification mark has been recognized.

Lord Krishna Wearing Vanamala: This lowermost stone panel derived

from Gujjar Kheri in district Sonepat suggests of a standing figure who is

wearing vanamala, which is symbolic of Lord Krishna. This figure is

represented as it is breaking something while using both the hands.

Lord Krishna as Parthsarthi on Chariot: In this form, Lord Krishna is

displayed as Parthsarthi on chariot, delivering Gita sermon to Arjuna in two

wall-paintings of Haryana. In Banke Bihari Temple at Pabnava, district

Kaithal, this image has been found. The lower part of this precious and

unique painting is covered with tiles. Another wall-painting that indicates

this form, is a dera at Sultanpur in district Hisar. Here, the chariot is well-

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composed; two white horses are there, who give the feel of movement. Lord

Krishna is facing Arjuna. Line-work is there in this painting. (Pl.31)

A stone sculpture displaying the chariot has been also found from

Kurukshetra. In it, the horses are not seen tied with the chariot, but Arjuna

and Lord Krishna are sitting inside it, facing each other. Behind this

sequence, all other Pandavas are shown standing along with Draupadi. Two

marble sculptures displaying the image of Lord Krishna in a chariot have

been shown. One sculpture that is located at Kurukshetra does not reflect the

form of Lord Krishna in sculptural form, but a chariot has been made here

in marble and on the back of that, a painted image shows Lord Krishna

inside.

The other chariot sculpture has been notified from Jyotisar, district

Kurukshetra. This is believed to be the place where Lord Krishna

delievered the Gita sermon to Arjuna. Here, a marble sculpture of chariot is

placed inside a glass frame. On this chariot, Arjuna is shown sitting inside

and Lord Krishna is reflected as Parthsarthi. He is facing Arjuna and

probably telling him something. The form of Lord Krishna as Parthsarthi

on chariot has also been found in a miniature painting. This has been derived

from an illustrated Bhagwad Gita from Krishna Museum, Kurukshetra. In

this illustration, a chariot having two canopied structures, the rear and the

front, pulled by two white horses is seen. The chariot shows Lord Krishna

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seated on the front part of it and Arjuna is shown seated on the back part.

The galloping horses indicate the movement of the chariot. The whole

composition is drawn on a rectangular area having two distinct borders

decorated with floral scroll and geometric design. The Lord is represented in

blue colour and a yellow garment called pitamber. Arjuna is of human

colour, attired on a royal garment of orange colour. The other colours used

in this painting are red, pink, white and golden. These bright and enchanting

colours are indicative of Pahari-style miniatures.

Arjuna Looking at Lord Krishna in Vishnu Form: This miniature

painting has been gathered from an illustrated Bhagwad Gita obtained from

the library of Kurukshetra University. This painting has been divided into

two parts; upper and lower. The upper part indicates Arjuna looking at Lord

Krishna in Vishnu form and the bottom one reflects Lord Ganesha flanked

on either side by Ridhi and Sidhi. The colours used are yellow, blue, orange,

green, white and pink. The border of this page is also there in the painting.

(Pl.32)

Lord Krishna Delivering Gita Sermon: This form has been derived from

Gita Bhawan of Bhiwani town. This scupture has been carved in relief on

the wall made of cement. In it, Lord Krishna is shown delivering the

sermons of The Bhagwad Gita to Arjuna. The Lord is standing and Arjuna

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is sitting in front of Him while bowing his hands. A chariot is shown in the

background. (Pl.33)

Lord Krishna in Viraat-Roopa: This miniature style painting has been

gathered from an illustrated Bhagwad Gita obtained from Krishna Museum,

Kurukshetra. In this painting, Lord Krishna is showing his cosmic form to

Arjuna. This form in reality is the manifestation of the Lord’s wisdom,

glory, energy and strength. The Lord is depicted sitting on a lotus with ten

heads and six hands. Of the ten heads, one is of a lion, one of a boar and the

rest are remaining eight have human faces. These heads of the Lord are

equivalent to 33 crore divinities. On the other hand, Arjuna is shown

standing, facing Lord Krishna.

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REFERENCES

1. Kalyan: Sri Krishnank. (1931). (p.15). Gorakhpur: Gita Press. 2. Mani, V. (2006). Puranic encyclopaedia (p. 420). Delhi: Motilal

Banarsidas Publishers Private Limited. 3. Kalyan: SriKrishnank. (1931). (p. 15). Gorakhpur: Gita Press. 4. Dutt, M.N. (1978). Vishnupuranam (p. 317–318). Delhi: Ess Ess

Publications. 5. Ibid., p. 317. 6. Ibid., p. 321–324. 7. Mani, V. (2006). Puranic encyclopaedia (p. 421). Delhi: Motilal

Banarsidas Publishers Private Limited. 8. Bhaktivedanta, A. C. & Prabhupada, S. (1974). Krishna: the

supreme personality of Godhead (p. xii). Japan: The Bhaktivedanta Book Trust.

9. Banerjee, P. (1994). The life of Krishna in Indian art (p. 2). New

Delhi: Publication Division, Ministry of Information and Broadcasting, Government of India.

10. Bhaktivedanta, A. C. & Prabhupada, S. (1974). Krishna: The

supreme personality of Godhead (p. xi). Japan: The Bhaktivedanta Book Trust.

11. Purohit, R. (2004). Masterpieces from Srikrishna museum

collection (p. 1). Kurukshetra: Kurukshetra Development Board.

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12. Purohit, R. Personal interview, Krishna Museum, Kurukshetra, June 22, 2008.