Birth narratives of Krishna in sculptures

The birth of Krishna is an important episode that Indian artists have delineated in sculptures and paintings. There

Krishna birth narrative in Somnathapura Keshava temple (1258-68 CE).JPG

The birth of Krishna is an important episode that Indian artists have delineated in sculptures and paintings. There are many stories connected with the incarnation of Vishnu as Krishna. The Vishnu Purana and Bhagavata Purana have lengthy descriptions of the story of his birth.

As a young boy, Krishna spent his days in Gokula–Vrindavan on the banks of river Yamuna, where he performed heroic deeds and miracles. Indian artists from ancient lore to contemporary periods have depicted the form of Krishna with love and reverence. He has been the hero of many devotees and praised by poets of varied genres. Jayadeva’s Geeta Govinda showcases Krishna as the Almighty. The Hari Dasas praise Krishna as the Vishnu on earth who will save them and also give salvation. In Bhagavad-Gita, Krishna gives his famous discourse to Arjuna. Krishna is omnipresent in all aspects of life—friend, beloved, son, brother and philosopher. 

Birth narrative of Krishna in the lintel of Badami Cave 2 (Chalukyas, circa 570-75 CE)

Indian artists have delineated the birth narratives of Krishna in imaginative ways. Right from the Badami Chalukya period to the Vijayanagara era, sculptural narratives have appeared on cave and structural temples. There are many instances and records that give clues about the date of the Mahabharata and which also corroborate the birth events of Krishna. The Aihole Ravikirti Prashasti, dated 634 CE in the time of Chalukya Emperor Pulakeshi II, speaks about the completion year of the Mahabharata War. This suggests the date of Mahabharata and presumably, the life of Krishna along with the contemporary events of Pandavas and Kauravas.

Badami Cave 2 and 3 are probably the first monuments in the whole of southern India where the birth narratives of Krishna are depicted. The Bhagavata Purana speaks about Krishna as a Yadava veera born to Vasudeva and Devaki, the younger sister of Kamsa. The birth of Krishna as narrated in Puranic literature has been followed in visual narratives. In Cave 2 in Badami (c. 570-75 CE), the birth is followed by transportation of the child to Gokula and then the Putana Vadha and Shakatasura Vadha. What is important is the depiction of the theme in a very naturalistic manner. Devaki is shown reclining on a cot with Krishna, like any mother with her baby. The subsequent episodes are shown in a compact and episodic way.

In the post-Chalukya period, the Hoysala artists were imaginative in depictions of the narratives of Krishna katha. In the Amruteshwara temple in Amruthapura (in present-day Chikkamagaluru district of Karnataka) built in 1196 CE during the reign of Veera Ballala II, Krishna’s birth episodes are realistic and also follow the textual sources.

 The first three panels of the Krishna birth narrative in Amruteshwara temple in Karnataka's Amruthapura &  Cradle ceremony in Amruteshwara temple, a Hoysala monument (1196 CE) in Chikkamagaluru district.

The Amruthapura narratives are framed in a square space. The northern wall of the temple has the Bhagavata and Mahabharata narratives. The first panel in the Bhagavata narrative (which goes from right to left) shows Kamsa. The next one depicts Devaki expecting her eighth child. In the subsequent panel, Vasudeva bows down to a donkey and requests it not to make any sound in the night, as he plans to shift the child to Gokula. Then, episodes like Krishna killing Dhenukasura, Yamalarjuna Vijaya, Kalinga Damana and Krishna Govardhana are depicted. The episodes in the Amruthapura temple are unique and they also have a direct mode of depiction with minimum figures, where the characters are shown as part of the melodrama.

The Somanathapura Keshava temple (1258-68 CE) in Mysore district, another Hoysala monument, too has some other interesting episodes. Young Krishna is being taken by Vasudeva to Gokula and has to cross River Yamuna. It was a dark night with heavy rains. The serpent Adishesha provides shade and protects the newly born Krishna. The five-hooded Adisesha and the way the child is carried are depicted realistically. The child is handed over to Yashodha in Gokula, which is depicted through the cows. Hoysala artists were imaginative in portraying the subjects like live images. The composition of the figures and creating a realistic ambience was something that they developed as part of the narrative method.

 Geetopadesha depicted in Halebidu’s Hoysaleshwara temple (1121 CE)

While Krishna is depicted as a young hero, he is also seen as a philosopher and guide in the Mahabharata. The Krishna incarnation’s most important episode was the Geetopadesha. A rare and unique depiction of the Geetopadesha episode is seen in the Halebid Hoysaleshwara temple narrative sculptures as part of the Mahabharata story. Bhagavad-Gita as a treatise of ethics, morals, bhakti, karma and surrender has been subject of the culmination of Indian moksha-sadhana. Vishnu’s incarnation on earth as Krishna is regarded as a guide to humanity. This is a tribute to the Lord on Janmashtami through visual narratives. 

R H Kulkarni
Professor, Department of Art History, College of Fine Arts, Karnataka Chitrakala Parishath
(rhkulkarniarthistory@gmail.com)