Child Re-enacting Krishna Story [Still Image]

Krishna is known in the stories of the Bhagavata-Purana as the eighth incarnation, or avatar, of the god Vishnu. He is a very popular deity, a divine hero who personifies superhuman powers as well as human hopes and failings. According to the narrative, he comes into the world as the son of Vasudeva and Devaki to destroy the foes of human beings and is threatened by many tyrants and monsters, beginning with the cruel King Kans, who tried to kill him based on an omen. Krishna's mother and father were thus imprisoned, but my miraculous intervention Krishna was saved, carried across the river Yamuna and placed with foster-parents, Nand and Yashoda. Stories of Krishna's childhood with his loving foster-mother Yashoda are much beloved in this village of cow-herders. Representations have been illustrated in courtly artistic paintings and sculptures and in contemporary popular media, such as calendars, posters, and statuettes. A combination of super-human powers and child-like behavior endears Krishna to the characters in the narrative, and are what makes him an especially popular figure. One of Krishna's most famous pranks as a child was to find any possible way to steal sweet butter and curds from the storage jars that were suspended from the ceiling with ropes. Lighting his way in the dark room by the jewels he wore, climbing on mortars or on the backs of his playmates, or enlisting the help of agile monkeys, he gave vent to the irresistible urge to eat the butter and feed it to his partners in crime.

The holiday of Krishna's birthday is called Janmashtami in northern India and is celebrated as Sri Krishnajanmashtami, Janmashtami or Gokulashtami in southern India. In celebration, devotees fast, bathe, perform prayers and rites, and re-enact parts of the story of Krishna's birth and rescue from King Kansa. In this photograph, a young child is adorned with jewelry, eye-liner and a headdress, and prompted to re-enact the prank of stealing butter. Sweets made with butter, honey, and other delicacies are also part of the celebration, which falls in late summer or early autumn.

"Krishna's mischievous pranks such as stealing sweet butter are reenacted by this child on Krishna's birthday," India, ARTstor Collection, Image Gallery ©University of California, San Diego. Annotated by Susan Douglass.

Krishna and the Cremation of Putana [Miniature Painting]

Krishna is known in the stories of the Bhagavata-Purana as the 8th incarnation of the god Vishnu, destined to perform great deeds and remove the evils of the world. Shown in this Indian miniature watercolor painting as a child with grey-blue skin, he is a popular deity, a divine hero who personifies superhuman powers as well as human hopes and failings. Stories of Krishna's childhood with his loving foster-mother Yashoda in a village of cow-herds are much beloved and illustrated in paintings and sculpture.

The first demon to threaten the infant Krishna was the flying ogress Putana who abducted and killed infants and children by feeding them poison milk from her breasts. Putana, in the form of a beautiful woman, came to the house of Yashoda to kill Krishna. Yashoda did not recognize the danger, and allowed Putana to nurse the infant Krishna. Krishna, destroyer of wickedness, was immune to the poison. Holding fast to her breast, he sucked her milk and with it, sucked the life out of the ogre. Putana writhed with convulsions making the ground shake. As Krishna held her, she assumed her ugly form and fell to the ground, uprooting trees over a wide area. The villagers approached the corpse to find Krishna playing on top of her. As the painting shows, the villagers chopped Putana into pieces and prepared a cremation fire. The women and Yashoda bathed Krishna lovingly, rocking his body over a basin and gently pouring the water into a stream over a cow's tail.

The miniature painting belongs to the Pahari style of the Himalayan foothills, a courtly style of the Rajput kings that flourished from the 17th to the 19th century.

"Putana's Cremation," leaf from a Bhagavata Purana, ca. 1770, from the Punjab Hills, Guler or Kangra, opaque watercolor on paper, 22.5 x 30.5 cm, Rajput, Pahari, Guler or Kangra Set 40, Bharat Kala Bhavan III: Pahari Paintings, Uttar Pradesh, Varanasi (Banaras), Banaras Hindu University, Bharat Kala Bhavan, BKB #6701. Annotated by Susan Douglass.

Krishna Defeats the Whirlwind [Miniature Painting]

Krishna is known in the stories of the Bhagavata-Purana as the 8th incarnation of the god Vishnu, destined to perform great deeds and remove the evils of the world. Shown in this Indian miniature watercolor painting as a child with grey-blue skin, he is a popular deity, a divine hero who personifies superhuman powers as well as human hopes and failings. Stories of Krishna’s childhood with his loving foster-mother Yashoda in a village of cow-herds are much beloved and illustrated in paintings and sculpture.

This painting, which measures 22.5 x 30.5 centimeters, illustrates Krishna defeating a whirlwind. According to the Bhagavata Purana, when Krishna was five months old, he was attacked by Trinavart, the demon of storm and whirlwind. The demon took hold of the child Krishna and spun with him in the air. While Yashoda and others anxiously searched for the child, he gripped the demon with tenacious strength, causing it to fall to its death on a huge rock. Krishna landed safely, cushioned by the monster’s body. In awe of his feat, Yashoda picked up the child and hugged him to her bosom while the other women looked on with affection.

The miniature painting is dated to 1770 CE, and belongs to the Pahari style of the Himalayan foothills, a courtly style of the Rajput kings that flourished from the 17th to the 19th century. This painting shows little of the ordinary surroundings of the village, focusing instead on the supernatural whirlwind, ominous sky, bent trees, and blowing curtain. Krishna appears three times in the same panel, showing the dramatic sequence of events from right to left across a single panel, in a narrative technique sometimes used by comic book artists on splash pages today, in which all the action appears in one frame.

Rajput, Pahari, Guler or Kangra school, Set 40, Bharat Kala Bhavan III: Pahari Paintings Repository Uttar Pradesh, Varanasi (Banaras), Banaras Hindu University, Bharat Kala Bhavan, BKB #6854; Photo: © Asian Art Archives, University of Michigan Text source: Chandra, Suresh. Encyclopaedia of Hindu gods and goddesses. Sarup & Sons, 1998, p. 181–82. Annotated by Susan Douglass.

Krishna Tied to a Mortar for Stealing Butter [Miniature Painting]

Krishna is known in the stories of the Bhagavata-Purana as the 8th incarnation of the god Vishnu, destined to perform great deeds and remove the evils of the world. Shown in this Indian miniature watercolor painting as a child with grey-blue skin, he is a popular deity, a divine hero who personifies superhuman powers as well as human hopes and failings. Stories of Krishna's childhood with his loving foster-mother Yashoda in a village of cow-herds are much beloved and illustrated in paintings and sculptures.

This painting reflects Krishna's mischievous prank of entering houses and stealing cream, curds, and butter while the women are absorbed in household chores. To reach the pots hanging from the ceiling, he climbs on the back of another boy, stacks pots or grinding mortars on top of each other, or sometimes knocks holes in the pottery containers. He then feeds monkeys or his village playmates. As shown in the painting, Yashoda tried to restrain him by tying cords to a heavy grinding mortar. Hearing a loud crash, she found that he had dragged the mortar between two trees and felled them. In some versions, Krishna's action releases two men imprisoned in these trees. As always, Yashoda appears to scold him, but like the other village women, is disarmed by his charms.

The miniature painting measures 18.4 x 12.7 centimeters, and is dated to 1810 C.E. It belongs to the Pahari style of the Himalayan foothills, a courtly style of the Rajput kings that flourished from the 17th to the 19th century. The painting shows many details of village life, though more ornate and idealized than in reality. Attributes such as affection shown to children, implements and scenes of daily life and homes, and traditional dress are portrayed in the painted space.

"Krishna, the Butter Thief, is tied to an upturned mortar to prevent him from stealing more curds," Set 40, Bharat Kala Bhavan III: Pahari Paintings Repository: Uttar Pradesh, Varanasi (Banaras), Banaras Hindu University, Bharat Kala Bhavan, BKB #372, Rights Photo: © Asian Art Archives, University of Michigan. Annotated by Susan Douglass.

The Student Stage of Life: Brahmacharya [Text]

According to Vedic philosophy, the life span of each person is divided into four stages, or ashrams. The word ashram means "shelter," referring to the protective nature of these phases against the turmoil of life. These stages are Brahmacharya, Grahasta, Vanaprastha and Sanyasa, each of which has a specific purpose and guidelines defined in the Vedas, and are intended to order the lives of male members of the highest three castes.

The ashram called Brahmacharya is the stage of the celibate student. Entry into this phase involved initiation, which was prescribed for Brahmins (priestly caste) between age 5 and 16, for the Kshatriyas (warrior caste) between age 6 and 22, and for the Vaisyas (merchant caste) between age 8 and 24. Failing to undergo initiation during these age spans would mean loss of caste, or social status.

The Brahmacharya stage was a rigorous time of learning, when the high-caste boy was expected to acquire both religious knowledge and a craft or trade. A boy would wear the sacred cord around his chest to signify that he had entered Brahmacharya, and he would live in the teacher's house, serving him and treating him with utmost respect. In return, the boy's development was the responsibility of the guru. The student was to remain celibate so as not to be distracted from study. Among the goals of learning during this stage, memorization of Vedic texts was a priority, but archery, astrology, music, martial arts, and music were included. This selection is from a text that may date to the 5th century B.C.E. that prescribes proper behavior during each life stage.

Apastamba Dharma Sutra, I:1, 2, 3, and 6, passim, in Sacred Books of the East, II, 7–8, 10–11. Cited in Embree, Ainslie Thomas, and Dr. Sam di Bonaventura collection, The Hindu Tradition, New York: Modern Library, 1966, 84–86. Annotated by Susan Douglass.

Susan Douglass

text

en