12 Chapter 4

Chapter-4

COMPARATIVE STUDY OF THE LITERARY SOURCES,

FOLK SONGS AND GRANTHS, RELIGIOUS BOOKS WITH THE

FORMS OF KRISHNA

150

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

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:

Hkknok ykxrs gh vkBe uS] cts jkr ds ckjkA

eFkqjk uxjh] dal dSn eSa] tUe d`".k uS /kkj~;kAAVsdAA

ckj cq/k] u{k= jksg.kh] 'kqHk ?kM+h vkj~gh FkhA

xke uxj ?kj c.k ckxka eSa] vkuUnh Nkj~gh FkhA

unh rykc] Hkjs iafN;ka dh Vksyh xkj~gh FkhA

ckny gkaMSa czt iS 'kksHkk] nqfu;ka rSa U;kjh FkhA

xka/koZ xkoSa xhr] vIljk ukp djSa Fkh U;kjkA

eFkqjk uxjh……………………11

The episode of Krishna’s birth has been versed here in Haryanvi

dialect (Krishan-Janam Hona). The poet here says that Lord Krishna

emerged on the midnight of the 8th day of Bhadava in a prison. It was an

auspicious time and indicated that good days would follow; the flocks were

singing and the angels were dancing.

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) and a miniature painting in Krishna Museum, Kurukshetra. (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 Krishna’s head. Motifs used in the paintings are

basket, snake, River Yamuna and lion.

These forms correspond to the folk song as mentioned here:

gq;s fdjlu th vorkj] [kqy x~;s eFkqjk ds fdokM+A

lks X;s lkjs igjsnkj] ,d lkFk lf[k;kAA

fdjlu Vksdjs eSa Bk;k] teuk ty m>y Hkj vk;kA

Åij ukx ukFk ygjk;k] mlh gky lf[k;ksAA gq;s fdjlu th--------

153

fdjlu uSa ikag~ yVdk,] teuk rSa pj.k /kqok,A

ckcy ds fijk.k cpk,] mlh gky lf[k;ksAA gq;s fdjlu th--------

fdjlu nsodh dk tk;k] xksnh ekr tlksnk ik;kA

csVk uUn dk dgk;k] mlh gky lf[k;ksAA gq;s fdjlu th--------3

In this folk song titled Krishna Janam, the poet says that as soon as

Krishna was incarnated, the doors of Mathura opened and all guards went

to sleep. In the meanwhile, Vasudeva put the infant in a basket to take him

to Gokul. On the way, the poet explains, a naag appeared over the basket,

River Yamuna touched the feet of baby Krishna. The infant also saved the

life of Vasudeva. He was born to Devaki but was brought up by Yasodha;

was called a son of Nand baba. The forms like basket, snake and River

Yamuna as depicted visually are similar to the text.

These forms also tally to the text as written in an epic Kalyan Shree

Krishnank. It mentions that Vasudeva was asked by newborn Krishna

himself to take him to Gokul, though the circumstances did not seem

conducive. As he proceeded by covering the infant in pitamber, it was

raining very heavily. Shesh Naag acted as an umbrella over Vasudeva’s

head. While Vasudeva was carrying Krishna through the Yamuna, its water

level began to rise. Seeing this, Vasudeva got frightened. Sensing his fear

and the wish of River Yamuna to touch his feet, baby Krishna hung out his

154

feet into the river. After touching the Lord’s 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:

dal uS [kUnkbZ Fkh] iwruk ,d vkbZ FkhA

ghax lh c/kkbZ l[kh] I;kjs uUnyky uSA

156

czt eSa /kwe epkbZ l[kh……………

ugha Mj dk dke gs] jkdl MjSa reke gsA7

This scene refers to the killing of Putna, a demon sent by Kansa. The

bravery and supernatural power of Lord Krishna made it possible. A giant

female demon is seen in the visuals as derived. These represent the whole

story in a single view. The folk song, on the other hand, is narrating the

complete sequence of events related to the episode.

The visual image, as derived, also tallies to the text as mentioned in

‘The Life of Krishna in Indian Art.’ It states that Putna was sent to Gokul

by Kansa so as to kill all the newborn children there. She almost succeeded

in the mission, but when Krishna’s turn came and she tried to give her

poisoned milk to him, Krishna killed her.8

Lord Krishna as a child with Yasodha:

Yashoda is churning milk with the help of a madhani; Krishna is

sitting before Yashoda and eating butter. This form can be seen in a wall-

painting in a temple at Pabnava (Pl.36); in a haveli at Barwaa; and in a

chhatri of Rewari as already shown in (Pl.5). In another wall-painting from

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

Sirohi village of Rewari district, Krishna is seen tied to the pounding

vessel, while Yashoda is churning milk with a madhani.

This visual form corresponds to the text as mentioned in Srimad

Bhagvata Mahapurana. It states that when all maid servants were busy

with some other work, Yashoda herself churned milk with the help of a

madhani and while doing so, she enjoyed the infantile sports of her son that

were sung in Vraja.9

Another visual form is of a wall-painting in a chhatri of Rewari that

depicts Krishna in a resentful mood and Yashoda trying to cheer him up

along with three other women who are playing musical instruments. A

peacock is also visible in this scene.

xqLlk NksM+n~;ks gWal tk js] Y;ks ek[ku feljh [kk ysA

D;wadj rUuSa le>kÅWa] >q.k>.kokWa fdr rS Y;kÅWaA

ckj&ckj le>k;k lS] ij eku ukgha vks ik;k lSA

fdls ftn~nh rS iM+ x;k ikYyk] vks rS [ksYy.k uS ekWaxs uUnykyk]

>q.k>.kk >q.k>.kk >q.k>.kk------AA10

Here, Yashoda is trying to make baby Krishna happy. He is upset as

he has lost his rattle. She is repeatedly telling him to smile. This form has

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 (Pl.7) and

another temple in Kaul (Pl.38); at a Shivalaya in Farmana Khas (Pl.39); in a

chaupal at Girawar (Pl.40); in a well at Bharan and in a chhatri of Bhiwani.

(Pl.41)

This visual form that depicts the mysterious nature of the lord

corresponds to the following folk song:

js ek[ku dh pksjh NksM+] dUgS;k eSa le>kÅWa rks;A

eSa le>kÅWa rks;] ykMys eSa le>kÅWa rks;A

cjlkus rS rsjh vkoS lxkbZ] fur mB pjpk gks;A

jkt?kjkWa dh jktnqykjh] uke /kjSxh rks;AA jS ek[ku--

uUnckck dS fdruh xÅ,Wa] fur u;k ek[ku gks;A

159

ftc pkgks th Hkj&Hkj [kkvks] uka dks; jksds rks;AA js ek[ku---11

Yashoda is telling Krishna not to steal butter. She exhorts him to

leave this bad habit as they have plenty of butter at home and there is no

restriction on eating it. She also talks about a matrimonial proposal for from

a royal family from Barsana and points out that Krishna’s habit of stealing

butter would bring a bad name to him. This song depicts Krishna as a

naughty boy and has his mother worried due to his mischievous activities.

One aspect of the folk song — his mischievous nature of Krishna — is

very clearly represented in the visually derived forms.

Vaidh-Leela:

Krishna posing as Vaidh (ayurvedic doctor) appears in a wall-

painting in a chhatri of Rewari. He is shown checking the pulse of Radha

and giving her instructions as already shown in (Pl.9).

This visual matches the following folk song:

Ml x~;k jk/kk th dS lkWai] dkfy+;s uSa tqye dj~;k HkkjhA

dq.k js mrkjS tgj clsYyk] yhyk xkr gqvkA

csx cqykvks js cSn lgj rSa] uj gks ;k ukjhAA

Ml X;k jk/kk th dS lkWai-------

eqWag ekWaX;h /ku nkSyr n~;kWaxs ] jkt & ikV xSykWaA

160

dks; jk/kk dh T;ku cpk ns] U;w rM+i jâkh I;kjhAA


ukx uFkb;k ] fdlu dUgS;k lk dksbZ cSn ughaA

gkFk idM+rs gh tgj mrjX;k] oks lS uVoj fxj/kkjhAA


pkWanh lksuk /ku vkSj nkSyr uka pkfg, tkxhjA

Qhl eSa dj n~;ks Egkjh xSykWa] vi.kh jk/kk I;kjhAA


fdjl.k cSn c.;ka nwYgk] C;kg Y;k;k U;wWa jk/kkA

gal & gal.kh dh & lh T;ksM+h] nqfu;k rSa U;kjh AA12

This song indicates that a snake has bitten Radha and her family

members are asking to call for a Vaidh who could cure her. They want to

call any person to get her treated, and they would amply reward the person

for this. Then they say that there is no one who could treat Radha better

than Krishna, so Krishna came as a Vaidh. Here the folk song details on

the whole episode of treatment required for Radha, and on people’s

suggestions, Krishna comes as a Vaidh.

161

Krishna writing alphabets on a Takhti:

Lord Krishna, during his childhood, 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 a miniature painting collected from Bhagwad Gita

preserved in the library of Kurukshetra University as already shown in (Pl.8)

and a sculpture preserved in National Museum, New Delhi.

This visual form corresponds to the text as revealed in Puranic

Encyclopaedia. It narrates that on the advice of Garga, Balrama and

Krishna were sent to the ashram of the great sage Sandipani for their

education. Krishna learnt the 64 arts and dhanurveda under the guidance of

Sandipani.13

Bakasur Vadh:

In the visual depiction of Bakasur Vadh, Krishna is holding the beak

of a crane (which is actually Bakasur) and it appears as if he is trying to

crack it. It appears as a wall-painting in a chhatri of Rewari as already

shown in (Pl.10).

The above-mentioned form tallies to the following text in the Puranic

Encyclopaedia: Kansa sent a demon named Bakasur, who assumed the

shape of a bird to kill Krishna. Krishna, leaving his companions, entered

162

the mouth of the bird. The friends and Balrama got frightened, but Krishna

stirred round and round in the bird’s 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 Aghasur’s 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.

Krishna’s friends entered the demon’s mouth out of curiosity; calves also

went inside his mouth. Then, five-year-old Krishna also entered in the

demon’s 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

as in a Shivalaya in Ajaib (Pl.42); in a Shivalaya at Sampla as already shown

in (Pl.12); in a chaupal at Bhaini Surjan (Pl.43); in a chaupal at Girawar (Pl.44);

in a chaupal at Ladwaa (Pl.45); in a chhatri of Bhiwani, as a sculpture from

Gujjar Kheri and a miniature painting form Kurukshetra University. (Pl.46)

The form of Krishna as in Kaliya Daman corresponds to the

following folk song:

dkyh ng iS vk;k jh] xjhc.kh dk tk;kA

xjhc.kh dk tk;k jh] tlksnk ykM+ yM+k;kAA

jsle xhaM gkFkkWa eSa M.Ms] Vksy+ [ksy.ks vk;kAA dkyh ng-----

ekj~;k Vksj xhaM iM~;h ty eSa] ckyd :nu epk;kAA dkyh ng----

jsle dh oksgs xhaMks Y;koS] ftg~uSa js Vksj tek;kAA dkyh ng------

ikPNs uSa oks ckyd gVX;s] fdjl.k lkehsg vk;kA dkyh ng------

ekjh dwn teu ty mQ+.kS] lcdk th ?kcjk;kAA dkyh ng------

nsD[kSa ckV dMS+ lS fdjl.k] eksj eqdV ygjk;kAA dkyh ng-----

Q.k&Q.k Åij ukx&uFkS;k] uVoj ukp fn[kk;kAA dkyh ng----

Ukx dkfy;k uSa teuk NksM~;h] fcjt eSa vkuUn Nk;kAA dkyh ng----16

The poet here writes that Krishna and his friends were playing with a

ball near the bank of River Yamuna. The ball fell into the river and Krishna

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 Kaliya’s hood.17

Baal Gopal:

Lord Krishna is shown standing in tribhanga pose as an animal-

keeper. A buffalo is also visible in that scene and a stick is also there as

already shown in (Pl.13), this wall painting was seen at a chaupal of

Balambha village.

The thematic concept of this form, i.e. showing the entanglement of

Krishna with the cattle, tallies with the following folk songs:

xÅWaokWa 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

The people of Haryana sing a number of folk songs which portray

Krishna as a baal Gopal. In the aforesaid song, Yashoda is asking Krishna

that along with the cows, he should take care of himself as well. She tells

Krishna that people make fun of his dress and looks. So, she tells her child

to be particular about these.

fdjl.k th vorkj /kkj dS xÅ pjk;k djrsA

xÅ ds nw/k uS bejr djdS ih;k [kk;k djrsA19

This episode indicates Krishna’s love and attachment with the cows.

It has been depicted in literature as well as in illustrations.

Murli-Manohar:

In most of his images, Lord Krishna is seen standing in a tribhanga

pose and playing the flute. In some of the forms, He is accompanied with

gopikas or cows. In one painting, He is shown playing the flute while

sitting. In one sculpture, Lord Krishna is shown standing straight and not in

a tribhanga pose. Wall-paintings in a Shivalaya at Sampla (Pl.47); in a

Shivalaya at Ismaila (Pl.48); in a Shivalaya at Farmana Badshahpur (Pl.49), in

a Shivalaya at Saiman and a Temple in Rohtak (Pl.50); in a Temple at

Kaul (Pl.51) (Pl.52); in a Temple at Pabnava (Pl.53); in a Temple at Satora and in

a dera at Sultanpur (Pl.54), in a haveli at Bhaini Chandrapal (Pl.55) (Pl.56); in a

haveli at Barwaa, Nangal Sirohi and Pehowa, in a chaupal at Farmana

166

Badshahpur (Pl.57), a chaupal in Ladwaa (Pl.58), in a chhatri of Bhiwani (Pl.59),

a chhatri at Bairawas and two chhatris of Rewari (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), a well in Banda Heri as already

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.67), a house crown in Rohtak

(Pl.68), a dharamshala in Rohtak (Pl.69), a Temple in Rohtak (Pl.70), Murthal

(Pl.71), Gosaihera, a Shivalaya at Sampla (Pl.72), a Shivalaya at Ismaila (Pl.73),

a chaupal at Ajaib (Pl.74), a haveli at Bhaini Chandra Pal (Pl.75), Gaddi

Kheri (Pl.76), dera Sultanpur (Pl.77), haveli Chuharpur (Pl.78), iron-railing at

Beri and door panel at Bhaini Chandra Pal (Pl.79), door panel at Hetampura

as already shown in (Pl.15), a door panel at Taragarh (Pl.80), Rohtak (Pl.81), a

house at Sampla (Pl.82) and a house at Ramayana. (Pl.83)

Similarly, the miniature paintings displaying Krishna as Murli-

Manohar have also been recovered from Krishna Museum (Pl.84) and

Kurukshetra University (Pl.85). Also, two folk images from Mirzapur and

Narkatari representing Krishna as Murli-Manohar. (Pl.86) (Pl.87)

Krishna’s liking for playing the flute has been very clearly depicted

in the visual forms gathered from several places. Besides, all people or

167

cattle who are listening to this music are also depicted. The form of

Krishna as Murli-Manohar corresponds to the following folk songs:

gs bl gjs jaxhys ckx eSa] fdjl.k dh ckt jâh ckWaly+hAA

ckWaly+h lq.k.k uSa esjk th dj jâk lSA

gs esjs dke iM+s nks P;kj gs] esjh vk dS uSa lkl yMS+xhA

nkEe.k rS gs eUuSa iSgj~;k lky+ eSa]

vkWags eUuSa ukM+k ckWa/;k xky+ eSa] fdjl.k dh ckt jâh ckWalyhAA

ckWalfy+;k Qsj rSa ctk] vks L;ke ckWalfy+;k Qsj rSa ctkAA

ckWaly+h dh /kqu lq.k jk/kk nkSM~;h vkoSxhA

jk/kk nkSM+h vkoS xSÈkWa lf[k;kWa uSa Y;koSxhA

jk/kk uSa ;wWa uka lrk] vks L;ke ckWalfy+;k Qsj rSa ctkAA

lf[k;kWa uSa ;wWa uk lrk] vks L;ke ckWalfy+;k Qsj rSa ctkAA

ckWaly+h lq.k.k uSa xÅ,Wa nkSM~;h vk jg~;h lSaA

xÅ,Wa nkSM+h vk jâkh xSÈkWa cNM~;kWa uSa Y;k jâkh lSaA

xÅvkWa uS er uka lrk] vks L;ke ckWalfy;k Qsj rSa ctkAA

cNM~;kWa uS er uka lrk] vks L;ke ckWalfy+;k Qsj rSa ctkAA

gk; ukxf.k;k c.k dS Ml X;h] eksgu rsjh ckWalfy+;kAA

168

eSa if.k;k Hkj.k uSa tkÅWa] oks esjs ikPNS vkoSA

esjh Hkjrh >tjh MqcksX;h] eksgu rsjh ckWalfy+;kAA

eSa xÅWa pjko.k tkÅWa] oks esjs ikPNS vkoSA

esjh pjrh xÅWa gVkX;h] eksgu rsjh ckWalfy+;kAA

eSa ngh csp.k uSa tkÅWa] oks esjs ikPNS vkoSA

esjh ngh dh eVfd;k QksM+X;k] eksgu rsjh ckWalfy+;kAA20

The poet expresses that the flute of Krishna produces divine musical

notes. The people get mesmerized after listening to that music and they

leave all their jobs to gather around Krishna. There was an undefined magic

in the music created by Krishna’s flute. Not only the humans, but also

bullocks, deer and other animals used to were attracted to that melodious

music. The most common representation of Lord Krishna in literature as

well as visual forms is that of Murli-Manohar. This form depicts Lord

Krishna’s immense liking for music.

This form also tallies to the text in Granth-Srimad Bhagvata

Mahapurana: Hearing the flute music as played by Krishna, captivating to

the mind of all living beings, and celebrating it, all those women of Vraja

mentally embraced the Lord.21

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:

uV[kV enu eqjkjh] phj ys X;k cuokjhA

ty fcp [kM~;h m?kkM+h] phj ns n~;ks fxj/kkjhAA

teuk rV iS vkbZ xksiuh A teuk rV iS vkbZ xksiuhA

yS dS eVfd;k >kjh] lax jk/kk I;kjhAA uV[kV enu----

phj mrkj /kj~;k daBkjSA phj mrkj /kj~;k daBkjSA

djh Ugko.k dh R;kjh] xksiuh eroky+hAA uV[kV enu----

xqipqi vk;k [ksy jpk;kA xqipqi vk;k [ksy jpk;kA

p<+X;k dnekWa dh Mky+h] ctkbZ caljh I;kjhAA uV[kV enu----

170

ruSa js Nfy+;k phj D;wWa Bk;kA

ruSa js Nfy+;k phj D;wWa Bk;kA

tqye djs ?k.ks Hkkjh] ruSa n~;wWaxh xkyhAA uV[kV enu-----

fdldh i<+kbZ re fdlh fl[kkbZA

fdldh i<+kbZ re fdlh fl[kkbZA

D;wWa bl <ky+ jh UgkbZ] ykt [kks n~;h lkjhAA uV[kV enu----

Hkwy pwd Egkjh ekQ+h ch n~;ksA

Hkwy pwd Egkjh ekQ+h ch n~;ksA

ÅBd cSBd yxokbZ] phj fn;k cuokjhAA uV[kV enu------22

Another Krishna-Leela is of teasing gopikas by stealing their clothes

while they are taking a bath. This episode indicates the playful attitude of

Krishna towards the gopikas of the village. Here, the poet explains that as

per their routine, the gopikas come to River Yamuna to take a bath. They

remove their clothes and get down into the river. In the meanwhile,

Krishna comes there silently and takes away their clothes. The gopikas are

later found requesting Him to return their clothes.

This form also tallies to the text in Srimad Bhagvata Mahapurana:

The gopikas once went to the Kalindi river and leaving their clothes on the

bank as usual, they merrily got into the water. Krishna picked up their

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 (Pl.90),

another at a Shivalaya at Farmana Khas (Pl.91), at a Shivalaya at Farmana

Badshahpur as already shown in (Pl.17), a Temple in Kurukshetra, a chaupal

in Girawar (Pl.92) and in a chhatri in Bhiwani. (Pl.93) The sculptural forms

include a shivalaya in Beri (Pl.94) and in a shivalaya at Sampla. (Pl.95) The

miniature paintings include one from Krishna Museum (Pl.96) and from

Kurukshetra University. (Pl.97)

The whole episode over which the visual forms are based corresponds

to this folk song:

172

fd;k vfHkeku bUnj uS

fcjt iS tk djh cj[kk

mBk;k gkFk esa fxfjoj

lnk t; gks] lnk t; gks A24

There was a tradition of worshipping Lord Indra, the God of rain.

However, Lord Krishna, who was apparently not convinced with this idea,

suggested the gopas to worship the mountain instead. He asserted that

actually the mountain brought rain as the clouds collided with it. The

people abided by His suggestion and stopped the worship of Lord Indra,

who felt belittled. To teach a lesson to the Vrindavan people, he poured

heavy rain on the village to create a deluge. To meet the challenge of Indra,

Krishna lifted Mount Goverdhan with the little finger of his hand, thereby

providing shelter to the village people and cattle. The confrontation went

on for seven days and eventually, Indra accepted his defeat.

This form also tallies with the text in Sri Vishnu Purana: As

according to a tradition, a yajna was performed every year to appease Lord

Indra for a good rainfall. Lord Krishna opposed this custom by saying that

Mount Goverdhan was the household deity of the Vraja people and it was

enough to worship the mountain and the cattle. People followed this advice,

but then, Indra got angry and poured heavy rain on the village. For the

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

Kanina display the form of Krishna with gopikas.

This form relates to the text in a book titled The Life of Krishna in

Indian Art: Krishna’s call of flute went straight into the hearts of the

gopikas who could not help running to Him, leaving their household chores

behind and ignoring the warnings given to them by their husbands.26

Lord Krishna with Radha:

In one such representation in the form of a wall-painting located in a

Temple at Kaul, Lord Krishna is shown seated under a tree with Radha; in

174

another depiction at the same place, Lord Krishna is seen combing

Radha’s hair; two dasis (maids) are also shown standing (Pl.100). Another

depiction of shringaar rasa can be seen in a Temple of Kurukshetra (Pl.101);

while one form derived from a haveli in Bhiwani (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) reflects both of them

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

playing the flute. Several other images displaying Krishna with Radha

have been found from a haveli at Nangal Sirohi, a haveli at Pehowa, a

chhatri at Bairawas and a chhatri at Kanina.

A rare depiction in a chhatri of Rewari (Pl.103) indicates Lord Krishna

with Radha on a swing. A sculpture from a Shivalaya in Rohtak (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), while another folk image

preserved at Krishna Museum shows Lord Krishna as Murli-Manohar with

Radha sitting on a swing with brightly coloured clothes. (Pl.106)

All these visual forms are suggestive of Krishna’s closeness with

Radha and this is what the following folk song represents:

175

lkWaofy+;k fdlu eqjkjh]

pys vbvks [kksy dS fdokM+hAA

tS fdjlu esjks uke uk tk.kSA

uke lS jk/kk I;kjh]


tS fdjlu esjks egy uka tk.kSA

lc rSa Åaph lS vVkjh]


tS fdjlu esjks :I uka tk.kSA

xkSjks cnu gjh lkM+h]

pys vbvks [kksy dS fdokM+hAA27

The name of Lord Krishna with Radha has become an unforgettable

legend. The folk songs of Haryana represent Krishna with Radha. In the

present song, Radha is calling Krishna to her house. She is telling Him the

way to her house so that there is no confusion; she goes to the extent of

telling Him the colour of her saree, that is, green.

The oneness of Krishna and Radha can also be found in the text of a

granth-Kalyan Krishnank. It explains that Radha preaches Krishna and

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 wall-

paintings (Pl.107) (Pl.108) (Pl.109) belong to a Shivalaya at Ajaib; while (Pl.110)

from a Shivalaya at Farmana Khas; one paitnitng is derived from

Shivalaya at Farmana Badshahpur as already shown in (Pl.22) and another

painting from same place (Pl.111); those in (Pl.112) belong to a Shivalaya at

Saiman; shown in (Pl.113) belong to a Temple at Pabnava; (Pl.114)belong to a

Mutth in Asthal Bohar; (Pl.115) belong to a dera in Sultanpur; (Pl.116) belong to

a haveli in Legha, a haveli in Nangal Sirohi and Pehowa; while those

shown in (Pl.117) belong to a chhatri in Rewari and a miniature painting at


This visual form corresponds to the following folk song:

177

eksgu dk vn~Hkqr jkl

eksgu vn~Hkqr jP;ks jklA

lax fefy c`"kHkkuq ru;k xksfidk pgqa iklAA

,d gh lqj ldy eksgs eqjfy lq/k izdklA

tygq Fky ds tho Fkfd jgs eqfufu eufga mnklAA

Fkfdr Hk;sk lehj lqfu ds tequ myVh /kjA

lwj izHkq cztcke fefy cu fulk djr fcgkjAA29

Lord Krishna is involved in a Raas with gopikas. It has been seen as

the unity of God and disciples. Here, the poet points out that the uniqueness

of the raas held by Krishna was that He, on the inner circle, was with

Radha, while the other gopikas came to the outer side just to perform Raas-

Leela with Krishna. Krishna played the flute even while in this position

and everyone was mesmerised with the melodious music. The poet further

says that the gopikas remained completely drowned in the raas the whole

night they forgot everything as they were saturated with the thoughts of

Krishna.

The form of Krishna in and as doing raas-leela corresponds to the

following text in a granth- Brahamvaivratpurana. It states: Krishna went

to the forest in the raas mandal, he started playing the flute, producing

melodious musical notes. After listening to the music, Radha lost her

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) and a chhatri of Rewari (Pl.120). Apart

from this, it was also seen in the form of a miniature painting in


Krishna performing Maharaas with Radha matches with this folk song:

jk/k lax u`R; djs ';ke

u`R;r gSa nksm L;kek L;keA

vax exu fiz; rsa I;kjh vfr fujf[k pfdr cztckeA

frji ysr piyk lh pedfr >edr Hkw"ku vaxA

;k Nfc ij miek dgqa ukgha fuj[kr fccl vuaxAA

Jh jkf/dk ldy xqu iwju tkds L;ke v/huA

lax rs gksr ugha dgqa U;kjs Hk, jgr vfr yhuAA

179

jl leqnz ekukS mNfyr Hk;ks lqnajrk dh [kkfuA

lwjnkl izHkq jhf> Fkfdr Hk, dgr u dNw c[kkfuAA31

While performing maharaas, the poet defines the state of

involvement achieved by Krishna and Radha. He says that they are so

strongly attached to each other that they don’t get separated during the

raas. On the other hand, the art forms depict Maharaas not only during the

raas-leela, but it is attained while sitting on a pidhi also. Also, this

sequence is with Radha as well as the other gopikas.

Lord Krishna with Rukmani:

Lord Krishna with Rukmani can be seen in two wall-paintings; one in

a Temple at Pabnava and the other in a chhatri in Rewari as already shown

in (Pl.24).

The characters of this form have a reference in the book The Life of

Krishna in Indian Art:

Rukmani was considered as Lord Krishna’s wife. This scene of their

togetherness is also mentioned in literature. Rukmani always wanted

Krishna to be her husband beyond everyone’s will. Before going for her

svayamvar, she prayed to Goddess Ambika to let her be the wife of Krishna

only. When she came out of the temple, she was picked by Krishna; it was

in this way that they got united.32

180

Lord Krishna with Sudama:

Lord Krishna is meeting his friend Sudama; this affectionate scene in

the form of a wall-painting in a Temple at Kaul as already shown in (Pl.25) is

a rare depiction.

This form goes with the following folk song:

esjs cky+ki.k ds ;kj] lqnkek dSls vk,AA

lqnkek dSls vk,] lqnkek dSls vk, A esjs cky+ki.k----

:de.k uSa iyax fcNk;k] re cSV~Bks lqnkek HkkbZA

ikWao /kks; jg~;s Hkxoku] lqnkek dSls vk,--- esjs cky+ki.k-----

:de.k uSa Ugk.k latks;k] re Ugkvks lqnkek HkkbZA

/kksR;h /kks; jg~;s Hkxoku] lqnkek dSls vk,AA esjs cky+ki.k----

:de.k uSa pUnu f?klk;k] re ykvks lqnkek HkkbZA

fryd yxk; jg~;s Hkxoku] lqnkek dSls vk,AA esjs cky+ki.k----

:de.k uSa rih jlksbZ] re thEeks lqnkek HkkbZA

ia[kk <ksy+ jg~;s Hkxoku] lqnkek dSls vk,AA esjs cky+ki.k-----

:de.k uSa lst fcNkbZ] re lksoks lqnkek HkkbZA

181

ikWao nck; jg~;s Hkxoku] lqnkek dSls vk,AA

esjs cky+ki.k ds ;kj] lqnkek dSls vk,AA33

There is a myth behind the meeting of Lord Krishna with Sudama

that is explained thus: Sudama went to meet his dear friend Krishna at

Dwarka and he got astonished after seeing the royal grace of that place. But

as soon as Krishna heard about the arrival of His friend Sudama, He came

running bare-feet to welcome him. In the present song, Krishna is surprised

about the visit of Sudama. Lord Krishna is extremely happy on his arrival

and is trying to make him comfortable in every possible way.

This image of Krishna and Sudama also corresponds to the text as

mentioned in a granth- Kalyan Krishnank. It narrates the whole story as:

Sudama was a childhood friend of Krishna, they were educated by the

same Guru, whose name was Sandipani. As Sudama’s condition became

miserable, his wife asked him to meet his friend Krishna who could solve

all their problems. Sudama agreed to this and went to Dwarka. There,

Krishna recognized Sudama at once and accorded him a warm welcome.

He took him inside his palace, ate the rice sent by Sudama’s wife and

provided him all comforts. A few days later, Sudama went back without

getting any money or other material gift from Krishna. However, when he

reached his home, he found that his small and mutilated house had been

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) and as already shown in (Pl.26).

This form tallies to the text in the book The Life of Krishna in

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

and an upraised foreleg. It seems that the animal is in the posture of

attacking.

This visual form tallies to the text in the Puranic Encyclopaedia. It

narrates that a demon named Kesi approached Krishna in the guise of a

horse. Krishna put His hand into Kesi’s mouth and made it grow in size.

The demon was thus killed by Krishna.38

Kansa Vadh:

Lord Krishna has been shown killing Kansa in three wall-paintings

and a miniature one. Krishna is represented pulling Kansa’s hair. The

wall-paintings include one at a Shivalaya at Farmana Badshahpur (Pl.123), at

a Temple at Kaul (Pl.124) and in a chhatri in Rewari as already shown in

(Pl.29). The miniature painting has been found from Kurukshetra University.

The thematic approach of this visual form relates with the folk song

mentioned below. This song defines the situation that emerged as the after-

effect of Kansa’s 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

ekrk uk geus ekj~;k fejxyk uk¡ taxy dk jkst

ekrk geus jh ekj~;k dal jkt

ftl uSa ekjs esjs lkrw¡ lkrw¡ chj A

dkUgk ruSa cqjh djh

eSa ruS fc.k chj djh

esjs d¡oj dUgS;k A

ekrk N% ohj esjs ekjs

rsjS ,d uk¡ vk¡lw vk;k

esjh ekr nsodh A

ekrk ,d chj rsjk ekj~;k

ruSa uks uks uhj cgk,

esjh ekr nsodh A

csVk iwr ljhjk¡ mitSa

csVk chj dM+s rSa vkoS

esjs d¡oj dUgS;k A39

Lord Krishna killed Kansa, his maternal uncle. This folk song

mentioned the pitiable state of mind of Devaki as she is unhappy to hear

about her brother’s death. Initially, she is asking Krishna why his clothes

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) and a dera at Sultanpur as already shown in

(Pl.32); in two sculptures of Kurukshetra (Pl.126) (Pl.127) and one of Jyotisar

(Pl.128); also in a miniature painting from Krishna Museum. (Pl.129) In the

visual forms, Krishna appears sitting in the chariot as the charioteer of

Arjuna, or Parth.

This form relates to the text in Srimad Bhagwad Gita: Krishna acted

as a Parthsarthi in the great war of Mahabharata. He played the divine

conch from the Pandavas’ side.41

187

Lord Krishna delivering Gita sermon:

A sculpture outside Gita Bhawan in Bhiwani reflects Krishna

delivering the sermons of the Bhagwad Gita to Arjuna as already shown in

(Pl.34).

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 Lord’s wisdom, glory, energy and

strength. Krishna showed his Viraat Roopa to Arjuna while delivering the

Gita sermon.43

188

REFERENCES

1. Yadav, R. (Dr.) (Ed.). (2005). Bharatbhushan sanghiwal Haryanvi kavya granthawali (pp. 149–150). Kaithal: Sukriti Publishers.

2. Mani, V. (2006). Puranic encyclopaedia (p. 421). Delhi: Motilal

Banarsidas Publishers Private Limited. 3. Sharma, R. (Dr.) (2005). Haryana ke lokgeeton mein bhakti-

bhawna (p. 182). Chandigarh: Haryana Sahitya Academy. 4. Kalyan: Sri Krishnank. (1931) (pp. 420–421). Gorakhpur: Gita

Press. 5. Sharma, R. (Dr.) (2005). Haryana ke lokgeeton mein bhakti-

bhawna (p. 184). Chandigarh: Haryana Sahitya Academy. 6. Srimad Bhagvata Mahapurana: Part II. (2006). (C.L. Goswami,

Trans.) (p. 121). Gorakhpur: Gita Press. 7. Yadav, R. (Dr.) (Ed.). (2005). Bharatbhushan sanghiwal

Haryanvi kavya granthawali (p. 156). Kaithal: Sukriti Publishers.

8. Banerjee, P. (1994). The life of Krishna in Indian art (p.18) New

Delhi: Publication Division, Ministry of Information and Broadcasting, Government of India.

9. Srimad Bhagvata Mahapurana: Part II. (2006). (C.L. Goswami,

Trans.) (p. 138). Gorakhpur: Gita Press. 10. Sharma, R. (Dr.) (2005). Haryana ke lokgeeton mein bhakti-

bhawna (p. 192). Chandigarh: Haryana Sahitya Academy. 11. Ibid., p. 195. 12. Ibid., p. 208. 13. Mani, V. (2006). Puranic encyclopaedia (p. 424). Delhi: Motilal

Banarsidas Publishers Private Limited. 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. Sharma, R. Dr. (2005). Haryana ke lokgeeton mein bhakti-bhawna

(p. 208). Chandigarh: Haryana Sahitya Academy. 17. Kalyan: SriKrishnank. (1931). (p. 66). Gorakhpur: Gita Press. 18. Sharma, R. Dr. (2005). Haryana ke lokgeeton mein bhakti-bhawna

(p. 194). Chandigarh: Haryana Sahitya Academy. 19. Ibid., p. 195. 20. Ibid., pp. 198–199. 21. Srimad Bhagvata Mahapurana: Part II (2006), C. L. Goswami

(Trans.) (p. 196). Gorakhpur: Gita Press.. 22. Sharma, R. (Dr.) (2005). Haryana ke lokgeeton mein bhakti-

bhawna (pp. 200–201). Chandigarh: Haryana Sahitya Academy. 23. Srimad Bhagvata Mahapurana: Part II (2006), C. L. Goswami

(Trans.) (p. 200). Gorakhpur: Gita Press. 24. Kaushik, J. N. (1995). Krishna katha aur lok sahitya (p. 183).

New Delhi: Hindi Book Centre. 25. Gupt, M. (Trans.). Sri Vishnu purana; 2065 V.S. (pp. 339–340).

Gorakhpur: Gita Press. 26. Banerjee, P. (1994). The life of Krishna in Indian art (p. 30). New


27. Sharma, R. (Dr.) (2005). Haryana ke lokgeeton mein bhakti-

bhawna (pp. 204–205). Chandigarh: Haryana Sahitya Academy. 28. Kalyan: Sri Krishnank. (1931) (p. 178). Gorakhpur: Gita Press. 29. Sharma, M. (Compiled by) Surdas ke lokpriya pad (p. 78). Delhi:

Manoj Pocket Books.

190

30. Brahamvaivratpurana; 2065 V.S. (pp. 547–548). Gorakhpur: Gita Press.

31. Sharma, M. (Compiled by) Surdas ke lokpriya pad (p. 80). Delhi:

Manoj Pocket Books. 32. Banerjee, P. (1994). The life of Krishna in Indian art (p. 37). New


33. Sharma, R. (Dr.) (2005). Haryana ke lokgeeton mein bhakti-

bhawna (p. 224). Chandigarh: Haryana Sahitya Academy. 34. Kalyan: SriKrishnank. (1931) (pp. 464–465). Gorakhpur: Gita

Press. 35. Banerjee, P. (1994). The life of Krishna in Indian art (p. 33). New


36. Ibid., p. 31. 37. Mani, V. (2006). Puranic encyclopaedia (p. 423). Delhi: Motilal

Banarsidas Publishers Private Limited. 38. Ibid. 39. Kaushik, J. N. (1995). Krishna katha aur lok sahitya (pp. 187–

188). New Delhi: Hindi Book Centre. 40. Mani, V. (2006). Puranic encyclopaedia (p. 424). Delhi: Motilal

Banarsidas Publishers Private Limited. 41. Srimad Bhagwad Gita. Gorakhpur: Gita Press. 42. Ibid. 43. Ibid., pp. 264–265.

Documents

12 Chapter 4