Chapter-4

COMPARATIVE STUDY OF THE LITERARY SOURCES,

FOLK SONGS AND GRANTHS, RELIGIOUS BOOKS WITH THE
FORMS OF KRISHNA

Lord Krishna has been a very popular God; his mention is there in all
forms of art. He appears constantly in the wall-paintings, sculptural forms,
miniature paintings as well as folk images. Apart from being the central
character of Hindu scriptures, He also acquired a unique place in Hindi
literature. He was the main source of inspiration for Mirabel, Surdas and
other writer-devotees. In Haryana, even folk songs and dances are
dedicated to Him. The literature written on Lord Krishna is quite
comparable with His images in the art forms of Haryana. It appears that the
literature was the base of imagination of the artists; as the illustrations that
are seen clearly indicate the impact of literature.
The literature on Lord Krishna is so vast and the Krishna Lela's so
huge in number that all aspects of these cannot be compared in a limited
space. Yet, the motive here is to compare all visual forms derived from
Haryana during the study with the specified literature. Here is given a
brief assessment of various forms of Krishna as available in the folklore
and literature in Haryana.
Etymologically, the forms in which Lord Krishna appeared in the
literature are as following:
Advent of Lord Krishna:
This form, as derived in the form of a wall-painting from a chhatri in

150

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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 uxjh11
The episode of Krishnas 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.

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

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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 Vasudevas
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

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feet into the river. After touching the Lords feet, water receded and
Yamuna paved the way for Vasudeva so as to make his journey
comfortable.4
Nand and Yashoda carrying Lord Krishna:
This visual form has been depicted in a miniature painting at
Kurukshetra University. Here, Krishna is represented in Yashoda s lap.
Musical instruments have also been shown, probably for celebration, as
already shown in (Pl.3).
This form corresponds to the following folk song:

fcjt eSa gks jg~;h t;&t;dkj] tlksnk uSa yy.kk tk;k lSAA
Vksy+ ds Vksy+ uUn ?kj vkoSa] ukPpSa&xkoSa] <ksy ctkoSaA
ykM~Mw ckWaVSa Hkj&Hkj Fkkyh] blk lqHk fnu vk;k lSAA fcjt---eueksgu ekjS fdydkjh] eaxy xkoSa lf[k;kWa lkjhA
njlu [kkRrj HkhM+ epk jg~;h] t.kwWa [kqn dk tk;k lSAA fcjt---ckck uUn vljQh yqVkoS] egrkjh xksnh eSag BkoSA
uj ukjh lc I;kj trkoSa] ?k.kk vkuUn Nk;k lSAA fcjt------5
This folk song reflects the joyous state of mind of the people in the
Braj area. They are all congratulating Nand baba and his wife Yasodha,

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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

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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 Krishnas 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 wallpainting 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

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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>kWa] >q.k>.kokWa fdr rS Y;kWaA
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

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been given the shape where Yasodha, with the help of other females, is
trying to cheer up Krishna.
Maakhan-Chor:
Lord Krishna appears to be very fond of eating butter. In many of the
images, he is seen trying to get butter from the earthern pots which gopikas
are carrying on their head.
The form of baby Krishna as maakhan-chor has been viewed in some
wall-paintings, as in one temple at Kaul as already shown in
another temple in Kaul
chaupal at Girawar

(Pl.7)

and

(Pl.38)

; at a Shivalaya in Farmana Khas (Pl.39); in a

(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>kWa rks;A

eSa le>kWa rks;] ykMys eSa le>kWa 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 x,Wa] fur u;k ek[ku gks;A

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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 Krishnas 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 wallpainting 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

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

Ml X;k jk/kk th dS lkWai------ukx uFkb;k ] fdlu dUgS;k lk dksbZ cSn ughaA
gkFk idM+rs gh tgj mrjX;k] oks lS uVoj fxj/kkjhAA
Ml X;k jk/kk th dS lkWai------pkWanh lksuk /ku vkSj nkSyr uka pkfg, tkxhjA
Qhl eSa dj n~;ks Egkjh xSykWa] vi.kh jk/kk I;kjhAA
Ml X;k jk/kk th dS lkWai------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 peoples
suggestions, Krishna comes as a Vaidh.

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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

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the mouth of the bird. The friends and Balrama got frightened, but Krishna
stirred round and round in the birds stomach and made it vomit. Along
with Krishna, Bakasur threw up blood and died.14
Aghasur Vadh:
A miniature painting from Kurukshetra University visualizes Lord
Krishna standing on the edge of the Aghasurs mouth and trying to tear it
apart. Inside the mouth, faces of different animals are visible. This way,
Krishna killed a huge serpent, Aghasur, as already shown in (Pl.11).
This form has a reference in a book titled The Life of Krishna in
Indian Art as follows: Aghasur was a demon who was brother of Putna and
Bakasur. He was angry at Krishna, so he came to kill Him. He took the
form of a huge serpent and lay on the ground with his mouth wide open.
Krishnas friends entered the demons mouth out of curiosity; calves also
went inside his mouth. Then, five-year-old Krishna also entered in the
demons open mouth and increased his size inside, thus killing the demon
and saving the lives of his friends and calves.15
Kaliya Daman:
Lord Krishna is shown dancing over the Kaliya naag and playing
flute. Two females standing on either side of the naag are praying to the
Lord for mercy. This visual has been marked from several wall-paintings,

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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 ij 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

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jumped inside the water to get it. When He came outside, He was dancing
over the Kaliya naag.
This form also tallies to the text in Granth-Kalyan ShreeKrishnank:
There was a cruel naag who lived near the bank of Kalindi river. He had
poisoned the river water. So, Krishna challenged Kaliya naag. After that,
Krishna started dancing over Kaliyas hood.17
Baal Gopal:
Lord Krishna is shown standing in tribhanga pose as an animalkeeper. A buffalo is also visible in that scene and a stick is also there as
already shown in

(Pl.13)

, 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:

xWaokWa uSa ?ksjs eSa vVdkys js] U;wWa dg jg~;h ekWa fdjl.k dhAA
rUuSa js fdjl.k lc dkfy+;k crkoSaA
rwa ?kky ikVM+k Ugkys js] U;wWa dg jg~;h ekWa fdjl.k dhAA
rUuSa js fdjl.k lc ckoy+k crkoSaA
rwa lqFkjs dkiMs+ ltk ys js] U;wWa dg jg~;h ekWa fdjl.k dhAA18

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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 x pjk;k djrsA

x ds nw/k uS bejr djdS ih;k [kk;k djrsA19
This episode indicates Krishnas 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

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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.68)

, a dharamshala in Rohtak

(Pl.71)

, Gosaihera, a Shivalaya at Sampla

a chaupal at Ajaib

(Pl.74)

(Pl.69)

(Pl.67)

, a Temple in Rohtak
(Pl.72)

(Pl.77)

, Murthal

, a Shivalaya at Ismaila

, haveli Chuharpur

Beri and door panel at Bhaini Chandra Pal

(Pl.15)

(Pl.70)

, a haveli at Bhaini Chandra Pal

Kheri (Pl.76), dera Sultanpur

as already shown in

, a house crown in Rohtak

(Pl.79)

(Pl.78)

(Pl.75)

(Pl.73)

, Gaddi

, iron-railing at

, door panel at Hetampura

, 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 MurliManohar have also been recovered from Krishna Museum
Kurukshetra University

(Pl.84)

and

(Pl.85)

. Also, two folk images from Mirzapur and

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

Krishnas liking for playing the flute has been very clearly depicted
in the visual forms gathered from several places. Besides, all people or

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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 jh ckWaly+hAA

ckWaly+h lq.k.k uSa esjk th dj jk 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 jh 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 xSkWa 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 x,Wa nkSM~;h vk jg~;h lSaA
x,Wa nkSM+h vk jkh xSkWa cNM~;kWa uSa Y;k jkh lSaA
xvkWa 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

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

esjh Hkjrh >tjh MqcksX;h] eksgu rsjh ckWalfy+;kAA
eSa xWa pjko.k tkWa] oks esjs ikPNS vkoSA
esjh pjrh xWa gVkX;h] eksgu rsjh ckWalfy+;kAA
eSa ngh csp.k uSa tkWa] 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 Krishnas 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
Krishnas 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

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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
Bd 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
another at a Shivalaya at Farmana Khas

(Pl.91)

(Pl.90)

, 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.

include a shivalaya in Beri

(Pl.94)

(Pl.93)

The sculptural forms

and in a shivalaya at Sampla.

miniature paintings include one from Krishna Museum

(Pl.96)

(Pl.95)

The

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: Krishnas 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

Radhas 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 Krishnas 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]

pys vbvks [kksy dS fdokM+hAA

tS fdjlu esjks egy uka tk.kSA
lc rSa aph lS

vVkjh]

pys vbvks [kksy dS fdokM+hAA

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 wallpaintings

(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
painting from same place
Saiman; shown in

(Pl.113)

(Pl.111)

; those in

(Pl.112)

(Pl.22)

and another

belong to a Shivalaya at

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

Kurukshetra University. (Pl.118)

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 RaasLeela 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

Kurukshetra University. (Pl.121)
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 dont 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 Krishnas wife. This scene of their
togetherness is also mentioned in literature. Rukmani always wanted
Krishna to be her husband beyond everyones 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 Sudamas 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 Sudamas 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 Kesis 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 Kansas hair. The
wall-paintings include one at a Shivalaya at Farmana Badshahpur (Pl.123), at
a Temple at Kaul
(Pl.29)

(Pl.124)

and in a chhatri in Rewari as already shown in

. 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 aftereffect of Kansas death.

Hkka.ktk ekj dwV ?kj tk x;k] ekrk Y;k Egkjs gkFk /qok A
csVk [kwu Hkjs rsjs dkiM+s] [kwu Hkjs gfFk;kj A
csVk ds ruSa ekj~;k fejxyk] ds taxy dk jkst
csVk [kwu Hkjs rsjs dkiM+s A

185

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 doj dUgS;k A
ekrk N% ohj esjs ekjs
rsjS ,d uk vklw 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 doj 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 brothers 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.128)

(Pl.126) (Pl.127)

and one of Jyotisar

; 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 Lords 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. 149150). 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 bhaktibhawna (p. 182). Chandigarh: Haryana Sahitya Academy.

4.

Kalyan: Sri Krishnank. (1931) (pp. 420421). Gorakhpur: Gita

Press.

5.

Sharma, R. (Dr.) (2005). Haryana ke lokgeeton mein bhaktibhawna (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 bhaktibhawna (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. 198199.

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 bhaktibhawna (pp. 200201). 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. 339340).

Gorakhpur: Gita Press.

26.

Banerjee, P. (1994). The life of Krishna in Indian art (p. 30). New
Delhi: Publication Division, Ministry of Information and
Broadcasting, Government of India.

27.

Sharma, R. (Dr.) (2005). Haryana ke lokgeeton mein bhaktibhawna (pp. 204205). Chandigarh: Haryana Sahitya Academy.

28.

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. 547548). 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
Delhi: Publication Division, Ministry of Information and
Broadcasting, Government of India.

33.

Sharma, R. (Dr.) (2005). Haryana ke lokgeeton mein bhaktibhawna (p. 224). Chandigarh: Haryana Sahitya Academy.

34.

Kalyan: SriKrishnank. (1931) (pp. 464465). Gorakhpur: Gita

Press.

35.

Banerjee, P. (1994). The life of Krishna in Indian art (p. 33). New
Delhi: Publication Division, Ministry of Information and
Broadcasting, Government of India.

36.

Ibid., p. 31.

37.

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. 264265.