The Loves of Krishna in Indian Painting and PoetryArcher, W. G. (William George)
Religion
The Loves of Krishna in Indian Painting and Poetry
Archer, W. G. (William George)
Hindu gods in art; Hindu painting -- India; Krishna (Hindu deity); Sanskrit poetry -- History and criticism
The first reference to Krishna occurs in the _Chandogya Upanishad_ of
perhaps the sixth century B.C. _Upanishads_ were 'forest sittings' or
'sessions with teachers.' Sages and their disciples discussed the nature
of life and strove to determine the soul's exact relationship to God. The
starting-point was the theory of re-incarnation. Death, it was believed,
did not end the soul. Death was merely a stepping-stone to another life,
the soul moving from existence to existence in one long effort to escape
re-birth. From this cycle, only one experience could bring release and
that was consciousness or actual knowledge of the supreme Spirit. When
that state was achieved, the soul blended with the Godhead and the cycle
ended. The problem of problems, therefore, was how to attain such
knowledge. The _Chandogya Upanishad_ does not offer any startling solution
to this matter. The teacher who conducts the session is a certain Ghora of
the Angirasa family and it is the person of his disciple rather than his
actual message which concerns us. The disciple is called Krishna and his
mother has the name Devaki. Devaki is the later Krishna's mother and there
is accordingly every reason to suppose that the two Krishnas are the same.
Nothing, however, is stated of this early Krishna's career and although
parts of the sage's teachings have been compared to passages in the
_Gita_,[3] Krishna himself remains a vague and dim name.
For the next few centuries, knowledge of Krishna remains in this
fragmentary state. Nothing further is recorded and not until the great
Indian epic, the _Mahabharata_, crystallizes out between the fourth
century B.C. and the fourth century A.D. does a more detailed Krishna make
his appearance.[4] By the end of this period, many vital changes had taken
place. The Indian world-view had become much clearer and it is possible
not only to connect Krishna with a definite character but to see him in
clear relation to cosmic events. The supreme Spirit was now envisaged as a
single all-powerful God, known according to his functions as Brahma,
Vishnu and Siva. As Brahma, he brought into existence three
worlds--heaven, earth and the nether regions--and also created gods or
lesser divinities, earth and nature spirits, demons, ogres and men
themselves. Siva, for his part, was God the final dissolver or destroyer,
the source of reproductive energy and the inspirer of asceticism. He was
thought of in many forms--as a potent ascetic, a butcher wild for blood, a
serene dancer--and in his character of regenerator was represented by his
symbol, the _lingam_ or phallus. The third aspect, Vishnu, was God in his
character of loving protector and preserver. This great Trinity was
ultimately supreme but under it were a number of lesser powers. Those that
represented the forces of good were called _devas_ or gods. They were led
by their king, Indra, lord of clouds, and associated with him were gods
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