Surabhi, cow of plenty,
40
Sursagar, Hindi poem, pl.
29
Surya, sun god,
18
Tagore, Rabindranath,
112
Taking of Toll, The
,
121
Ten Burnt Offerings
,
15
Tess of the D'Urbervilles,
119
Trinavarta, whirlwind demon,
30
Udaipur, chief city, Mewar,
100
,
101
,
103
-
105
, pl.
29
(comment)
Udho, friend of Krishna,
52
-
54
,
68
Ugrasena, king of Mathura,
26
,
48
,
54
,
57
,
67
,
69
Ugrasura, snake demon,
33
Upanishads
,
17
Usa, daughter of demon Vanasura,
64
Vaikuntha, heaven of Vishnu,
18
,
59
Vallabhacharya, poet,
84
Vamana, dwarf incarnation of Vishnu,
20
Vanasura, demon with a thousand arms,
64
Varuna, god of water,
18
,
38
, pl.
1
Vasudeva, Yadava prince, father of Krishna, husband of Devaki, brother of Kunti,
21
,
27
-
31
,
44
,
46
,
48
-
53
,
62
,
69
, pl.
3
Vatsasura, cow demon,
33
Vedas,
39
,
46
,
56
,
117
Vedic Age, The
,
121
Victoria and Albert Museum,
98
, pls.
30
,
33
,
34
Vidyapati, poet,
84
,
87
,
90
,
111
Vishnu,
17
-
20
,
26
-
29
,
36
,
39
,
40
,
45
-
47
,
49
,
56
-
58
,
67
,
69
,
70
,
76
,
115
,
116
, pl.
2
(comment)
Vishnu Purana
,
25
,
116
,
117
, pl.
8
(comment)
Visvakarma, divine architect,
54
,
63
Vrishabhanu, father of Radha,
72
Vrishnis, kinsmen of Krishna,
23
Vyamasura, wolf demon,
45
Wellesz, E.,
98
Williams, R.H.B., pl.
30
(comment)
Wilson, H.H.,
116
,
117
Winternitz, M.,
121
Wonder that was India, The
,
19
,
115
,
117
,
121
Wrestlers, Krishna's conflict with,
44
,
45
,
48
, pl.
17
Yadavas, pastoral caste, Krishna's castemen,
21
,
26
,
27
,
45
,
49
-
57
,
61
,
62
,
54
,
66
-
69
,
117
, pls.
1
(comment),
2
(comment)
Yasoda, wife of Nanda, foster-mother of Krishna,
27
-
33
,
35
,
49
,
51
-
53
,
61
,
62
,
72
,
109
Yoga,
19
,
23
Yudhisthira, leader of the Pandavas, husband of Draupadi,
21
-
23
,
65
,
66
The Death of Balarama
Although illustrations of the Hindu epic, theMahabharata, were rarely commissioned by Hindu patrons, the gigantic text possessed a unique appeal to Indian minds and for this reason the Mughal emperor, Akbar, chose it for translation into Persian. 'Having observed the fanatical hatred prevailing between Hindus and Muslims,' writes his biographer, Abul Fazl, 'and convinced that it arose only from their mutual ignorance, the enlightened monarch wished to dispel the same by rendering the books of the former accessible to the latter.' The work of translation was begun in 1582 and was probably concluded in 1588 when Abul Fazl wrote the preface. It is unlikely, however, that the illustrations were completed before 1595.
The present picture by one of Akbar's greatest Hindu artists illustrates the sensitive naturalism which from antecedents in Khurasan came to elegant maturity in Mughal India between 1585 and 1600. Certain details—the drapery with its shaded folds, the steeples rising in the distance—are modelled on the European Renaissance pictures which by 1580 had already reached the court. Other details such as the lithe squirrels gambolling in the tree, the rearing snakes and dense luxuriant foliage can only have been painted by an artist devoted to the Indian scene.
In subject, the picture represents what Krishna saw on his return from destroying the Yadavas at Prabhasa. Balarama, his half-brother, has gone down to the sea and has there yielded up his spirit. Sesha, the great serpent, who is part of Vishnu himself, is now issuing from the body Balarama having been his incarnation. Snakes come to greet him while Varuna, the god of water, stands as 'an old man of the sea' ready to escort him to his long home.
The Death of Krishna
Following the death of Balarama, Krishna prepares to leave the world. He sits in meditation and is shot in the sole of his right foot by Jara, a Bhil hunter—the arrow which kills him being tipped with part of the iron which has caused the destruction of the Yadavas.
The picture shows Krishna reclining on a platform of the kind still constructed in India at the base of sacred trees. An arrow transfixes his right foot while the hunter, dressed as a courtier in Mughal dress, is shown releasing the bow. In front of Krishna stand four awe-struck figures, representing the celestial sages and devotees of Vishnu who have come to attend his passing. In the sky four gods look down. To the right is Siva. Then, a little to the left, is four-headed Brahma, below him, Indra, his body spotted with a thousand eyes and finally a fourth god of uncertain identity. Around the platform surges the snarling sea as if impatiently awaiting Krishna's death before engulfing the doomed Dwarka.
The painting is by a colleague of Basawan (Plate1) and illustrates the same great text.
The Slaughter of an Innocent
Following the expansion of Indian miniature painting in the early seventeenth century, illustrated versions of the tenth book of theBhagavata Puranabegan to be produced in parts of Hindu India. It was in the Punjab Hills, at the end of the eighteenth century, however, that romance and religion achieved their most delicate expression. The artist chiefly responsible was a certain Nainsukh who had arrived at the State of Guler in about 1740. His way of painting had marked affinities with that of Basawan (Plate1) and represents a blend of early Mughal naturalism with later Hindu sentiment. The style founded by him influenced members of his own family, including his nephew Kushala and ultimately spread to Kangra and Garhwal where it reached its greatest heights. The present picture, together with Plates5,6,8,9,11and16, is possibly by the Kangra artist Purkhu and with others of the series illustrates perhaps the greatest interpretation of theBhagavata Puranaever produced in Indian painting.
In the picture, the tyrant ruler Kansa is sleeping on a bed as a courtier prepares to break the fateful news of Krishna's birth. To the right, Devaki, Krishna's mother, nurses the baby girl whom her husband, Vasudeva, has substituted for the infant Krishna. Kansa is wresting the baby from her in order to dash its head against a boulder. As he does so, she eludes his grasp and ascends to heaven in a flash, being, in fact, the eight-armed goddess Devi.
Krishna stealing Butter
Besides illustrating the tenth book of theBhagavata Puranaas a whole, Indian artists sometimes chose isolated episodes and composed their pictures around them. The present picture is an instance of this practice, its subject being the baby Krishna pilfering butter. As Yasoda, Krishna's foster-mother, goes inside the house, Krishna and the cowherd children stage an impudent raid. A cowherd boy mounts a wooden mortar and then, balanced on his shoulders, the young Krishna helps himself to the butter which is kept stored in a pot suspended by strings from the roof. A second cowherd boy reaches up to lift the butter down while edging in from the right, a monkey, emblematic of mischievous thieving, shares in the spoil.
The picture illustrates the wild and vehemently expressive style of painting which suddenly appeared at Basohli, a tiny State in the Punjab Hills, towards the end of the seventeenth century. The jagged form of Yasoda, cut in two by the lintel of the doorway, the stabbing lines of the churning pole, grazing sticks and cords, as well as the sharp angles of the house and its furniture, all contribute to a state of taut excitement.
The Felling of the Trees
From the same great series as Plate3, here attributed to the Kangra artist Purkhu.
The young Krishna, tied to a mortar to keep him out of mischief, has dragged it between two trees and thereby uprooted them. The cowherds, led by the bearded Nanda, Krishna's foster-father, have hurried to the scene and Balarama, Krishna's half-brother, is excitedly pointing out that Krishna is safe. In the foreground, emerging from the earth are two crowned figures—Nala and Kuvara, the sons of the yaksha king, Kubera, who, as a consequence of a curse had been turned into the two trees. Doomed to await Krishna's intervention, they have now been released. Reclining on the trunks, still tied to the mortar, the young Krishna surveys the scene with pert satisfaction.
The Road to Brindaban