Krishna

This article is about the Hindu deity. For other meanings, see Krishna (disambiguation).

Krishna
Devanagari	कृष्ण

Krishna (Sanskrit: कृष्ण Kṛṣṇa in IAST, pronounced [ˈkr̩ʂɳə] literally "black, dark blue") is a Hindu deity, worshipped as a "complete" avatar of the preserver-god, Vishnu.

Krishna is often described and portrayed as an infant or young boy playing a flute as in the Bhagavata Purana, or as a youthful prince giving direction and guidance as in the Bhagavad Gita. The stories of Krishna appear across a broad spectrum of Hindu philosophical and theological traditions. They portray him in various perspectives: a god-child, a prankster, a model lover, a divine hero and the Supreme Being. The principal scriptures discussing Krishna's story are the Mahabharata, the Harivamsa, the Bhagavata Purana and the Vishnu Purana.

Worship of a deity of Krishna, either in the form of Vasudeva, Bala Krishna or Gopala, can be traced to as early as 4th century BC. Worship of Krishna as svayam bhagavan, or the Supreme Being, known as Krishnaism, arose in the Middle Ages in the context of the bhakti movement. From the 10th century AD, Krishna became a favourite subject in performing arts and regional traditions of devotion developed for forms of Krishna such as Jagannatha in Orissa, Vithoba in Maharashtra and Shrinathji in Rajasthan. Since the 1960s the worship of Krishna has also spread in the West, largely due to the International Society for Krishna Consciousness.

Name and titles

14th century fresco of Krishna on interior wall City Palace, Udaipur

Main article: List of titles and names of Krishna

The Sanskrit word in its origin language Kṛṣṇa is primarily an adjective meaning "black" or "dark", sometimes it is also translated as "all attractive". It is cognate with Slavic čьrnъ "black".

As a feminine noun, Kṛṣṇa is used in the meaning "night, blackness, darkness" in the Rigveda. As a proper noun, Kṛṣṇa occurs in RV 8.85.3 as the name of a poet.

As a name of Vishnu, Krishna listed as the 57th name in the Vishnu Sahasranama. Based on his name, Krishna is often depicted in murtis as black or blue-skinned. Krishna is also known by various other names, epithets and titles, which reflect his many associations and attributes. Among the most common names are Mohan "enchanter of women or cowherdesses", Govinda, "finder of cows", or Gopala, "protector of cows", which refer to Krishna's childhood in Vraja (in present day Uttar Pradesh). Some of the distinct names may be regionally important; for instance, Jagannatha (literally "Lord of the Universe"), a popular deity of Puri, Orissa in eastern India and western China.

Iconography

Krishna with cows, herdsmen and Gopis, Pahari painting [Himalayan] from Smithsonian Institution

Krishna is easily recognized by his representations. Though his skin colour may be depicted as black or dark in some representations, particularly in murtis, in other images such as modern pictorial representations, Krishna is usually shown with blue skin. He is often shown wearing a yellow silk dhoti and peacock feather crown. Common depictions show him as a little boy, or as a young man in a characteristic relaxed pose, playing the flute. In this form, he usually stands with one leg bent in front of the other and raises a flute to his lips, known as Tribhangi Mudra, accompanied by cows, emphasizing his position as the divine herdsman, Govinda, or with the gopis (milkmaids) i.e. Gopikrishna, stealing butter from neighbouring houses i.e. Navneet Chora or Gokulakrishna, killing the vicious serpent i.e. Kaliya Damana Krishna, lifting the hill i.e. Giridhara Krishna ..so on and so forth from his childhood / youth events.

Bala Krishna dancing, sculpture from National Museum, New Delhi.

His appearance is described in the Krishna Stuti as follows: -

kasturi tilakam lalATa phalakE

vakshasthalE koustubham

nAsAgrE nava mouktikam

karatalE vENum karE kankaNam

sarvAngE hari chandanamcha

kalayan kanThEcha muktAvaLim

gOpa stree parivEshTitO vijayatE

gOpAla chooDAmaNihi ||

The above means, "Krishna's forehead is adorned with 'Kasturi tilakam'(mark with musk). His chest is embellished with Koustubha gem. A shining pearl is on the tip of his nose. There is flute in his hands and a bracelet shines on his wrist. His whole body is smeared with pure sandalwood paste. His neck is adorned with a garland of pearls and himself is surrounded by beautiful Gopikas. Victory to Sri Krishna who is the diadem of Yadu clan".

A steatite tablet unearthed from Mohenjo-daro, Larkana district, Sindh depicting a young boy uprooting two trees from which are emerging two human figures is an interesting archaeological find for fixing dates associated with Krishna. This image recalls the Yamalarjuna episode of Bhagavata and Harivamsa Purana. In this image, the young boy is undoubtedly Krishna, and the two human beings emerging from the trees are the two cursed Gandharvas, identified as Nalakubara and Manigriva. Dr. E.J.H. Mackay, who did the excavation at Mohanjodaro, compares this image with the Yamalarjuna episode. Prof. V.S. Agrawal has also accepted this identification. Thus, it seems that the Indus valley people knew stories related to Krishna. This lone find may not establish Krishna as contemporary with Pre-Indus or Indus times, but, likewise, it cannot be ignored.

Krishna is also represented in the form of 'Vatapatra Shayi', the child form on Ficus Leaf floating on water post the great deluge ('Pralaya') which comes once in eight million years. Vatapatra Shayi represents the first form of life on earth and Markandeya Purana evidences that Rishi Markandeya one of the sapta chiranjeevis witnessed the deluge and also fortunate to have a darshan of Vatapatra Shayi. This is extolled in the sloka: -

karAravindEna padAravindam

mukhAravindE vinivESayantam

vaTaSya patraSya puTE Sayanam

bAlam mukundam manasA smarAmi ||

The scene on the battlefield of the epic Mahabharata, notably where he addresses Pandava prince Arjuna in the Bhagavad Gita, is another common subject for representation. In these depictions, he is shown as a man, often with typical god-like characteristics of Hindu religious art, such as multiple arms or heads, denoting power, and with attributes of Vishnu, such as the chakra or in his two-armed form as a charioteer. Cave paintings dated to 800 BCE in Mirzapur, Mirzapur district, Uttar Pradesh, show raiding horse-charioteers, one of whom is about to hurl a wheel, and who could potentially be identified as Krishna.

Representations in temples often show Krishna as a man standing in an upright, formal pose. He may be alone, or with associated figures: his brother Balarama and sister Subhadra, or his main queens Rukmini and Satyabhama.

Often, Krishna is pictured with his gopi-consort Radha. Manipuri Vaishnavas do not worship Krishna alone, but as Radha Krishna, a combined image of Krishna and Radha. This is also a characteristic of the schools Rudra and Nimbarka sampradaya, as well as that of Swaminarayan faith. The traditions celebrate Radha Ramana murti, who is viewed by Gaudiyas as a form of Radha Krishna.

Krishna is also depicted and worshipped as a small child (Bala Krishna, Bāla Kṛṣṇa the child Krishna), crawling on his hands and knees or dancing, often with butter or Laddu in his hand being Laddu Gopal. Regional variations in the iconography of Krishna are seen in his different forms, such as Jaganatha of Orissa, Vithoba of Maharashtra and Shrinathji in Rajasthan.

Literary sources

See also: Krishna in the Mahabharata

Yashoda bathing the child Krishna. (Western Indian illustrated Bhagavata Purana Manuscript)

The earliest text to explicitly provide detailed descriptions of Krishna as a personality is the epic Mahābhārata which depicts Krishna as an incarnation of Vishnu. Krishna is central to many of the main stories of the epic. The eighteen chapters of the sixth book (Bhishma Parva) of the epic that constitute the Bhagavad Gita contain the advice of Krishna to the warrior-hero Arjuna, on the battlefield. Krishna is already an adult in the epic, although there are allusions to his earlier exploits. The Harivamsa, a later appendix to this epic, contains the earliest detailed version of Krishna's childhood and youth.

In early texts, such as Rig Veda, there are confidential references to Krishna

"apasyam gopam anipadyamana ma ca para ca pathibhis carantam sa sadhricih sa visucir vasana avatirvati bhuvanesv antah "

I saw a cowherd. He never falls from his position; sometimes he is near, and some times far, wandering on various paths. He is a friend, decorated with a variety of clothes. He comes again and again to the material world. - Rig Veda 1.22.164 sukta 31

Thus Krishna is the only Infallible Cowherd boy in Hinduism, Who comes again and again to save the earth in His various avatars. Also Ramakrishna Gopal Bhandarkar attempted to show that "the very same Krishna" made an appearance, e.g. as the drapsa ... krishna "black drop" of RV 8.96.13. Some authors have also likened prehistoric depictions of deities to Krishna.

Chandogya Upanishad (3.17.6) Composed around 900BC-700BC mentions Vasudeva Krishna

as the son of Devaki and the disciple of Ghora Angirasa , the seer who preached his disciple the philosophy of ‘Chhandogya.’ Having been influenced by the philosophy of ‘Chhandogya’ Krishna in the Bhagavadgita while delivering the discourse to Arjuna on the battlefield of Kurukshetra discussed about sacrifice, which can be compared to purusha or the individual.

Yāska's Nirukta, an etymological dictionary around 6th century BC, contains a reference to the Shyamantaka jewel in the possession of Akrura, a motif from well known Puranic story about Krishna. Shatapatha Brahmana and Aitareya-Aranyaka, associate Krishna with his Vrishni origins.

Connected with the festival Holi

Pāṇini, the ancient grammarian and author of Asthadhyayi (probably belonged to 5th century or 6th century BC) mentions a character called Vāsudeva, son of Vasudeva, and also mentions Kaurava and Arjuna which testifies to Vasudeva Krishna, Arjuna and Kauravas being contemporaries.

Megasthenes (350 – 290 BC) a Greek ethnographer and an ambassador of Seleucus I to the court of Chandragupta Maurya mentioned about Herakles in his famous work Indica. Many scholars have suggested that the deity identified as Herakles was Krishna. According to Arrian, Diodorus, and Strabo, Megasthenes described an Indian tribe called Sourasenoi, who especially worshipped Herakles in their land, and this land had two cities, Methora and Kleisobora, and a navigable river, the Jobares. As was common in the ancient period, the Greeks sometimes described foreign gods in terms of their own divinities, and there is a little doubt that the Sourasenoi refers to the Shurasenas, a branch of the Yadu dynasty to which Krishna belonged; Herakles to Krishna, or Hari-Krishna: Methora to Mathura, where Krishna was born; Kleisobora to Krishnapura, meaning "the city of Krishna"; and the Jobares to the Yamuna, the famous river in the Krishna story. Quintus Curtius also mentions that when Alexander the Great confronted Porus, Porus's soldiers were carrying an image of Herakles in their vanguard.

The name Kṛșṇa occurs in Buddhist writings in the form Kānha, phonetically equivalent to Kṛșṇa.

The Ghata-Jâtaka (No. 454) gives an account of Kṛishṇa's childhood and subsequent exploits which in many points corresponds with the Brahmanic legends of his life and contains several familiar incidents and names, such as Vâsudeva, Baladeva, Kaṃsa. Yet it presents many peculiarities and is either an independent version or a misrepresentation of a popular story that had wandered far from its home. Jain tradition also shows that these tales were popular and were worked up into different forms, for the Jains have an elaborate system of ancient patriarchs which includes Vâsudevas and Baladevas. Kṛishṇa is the ninth of the Black Vâsudevas and is connected with Dvâravatî or Dvârakâ. He will become the twelfth tîrthankara of the next world-period and a similar position will be attained by Devakî, Rohinî, Baladeva and Javakumâra, all members of his family. This is a striking proof of the popularity of the Kṛishṇa legend outside the Brahmanic religion.

According to Arthasastra of Kautilya (4th centuries CE) Vāsudeva was worshiped as supreme Deity in a strongly monotheistic format.

Around 150 BC, Patanjali in his Mahabhashya quotes a verse: "May the might of Krishna accompanied by Samkarshana increase!" Other verses are mentioned. One verse speaks of "Janardhana with himself as fourth" (Krishna with three companions, the three possibly being Samkarshana, Pradyumna, and Aniruddha). Another verse mentions musical instruments being played at meetings in the temples of Rama (Balarama) and Kesava (Krishna). Patanjali also describes dramatic and mimetic performances (Krishna-Kamsopacharam) representing the killing of Kamsa by Vasudeva.

In the 1st century BC, there seems to be evidence for a worship of five Vrishni heroes (Balarama, Krishna, Pradyumna, Aniruddha and Samba) for an inscription has been found at Mora near Mathura, which apparently mentions a son of the great satrap Rajuvula, probably the satrap Sodasa, and an image of Vrishni, "probably Vasudeva, and of the "Five Warriors". Brahmi inscription on the Mora stone slab, now in the Mathura Museum.

Many Puranas tell Krishna's life-story or some highlights from it. Two Puranas, the Bhagavata Purana and the Vishnu Purana, that contain the most elaborate telling of Krishna’s story and teachings are the most theologically venerated by the Vaishnava schools. Roughly one quarter of the Bhagavata Purana is spent extolling his life and philosophy.

Life

This summary is based on details from the Mahābhārata, the Harivamsa, the Bhagavata Purana and the Vishnu Purana. The scenes from the narrative are set in north India, mostly in the present states of Uttar Pradesh, Bihar, Haryana, Delhi and Gujarat.

Birth

Krishna Carried Across the River

According to Bhagavata Purana, Krishna was born without a sexual union, but by divine "mental transmission" from the mind of Vasudeva into the womb of Devaki. Based on scriptural details and astrological calculations the date of Krishna's birth, known as Janmashtami, is 19 July 3228 BCE and departed on 3102 BCE. Krishna belonged to the Vrishni clan of Yadavas from Mathura, and was the eighth son born to the princess Devaki, and her husband Vasudeva.

Mathura (in present day Mathura district, Uttar Pradesh) was the capital of the Yadavas, to which Krishna's parents Vasudeva and Devaki belonged. King Kansa, Devaki's brother, had ascended the throne by imprisoning his father, King Ugrasena. Afraid of a prophecy from a divine voice from the heavens that predicted his death at the hands of Devaki's eighth "garbha", Kansa had the couple locked into a prison cell. After Kansa killed the first six children, Devaki apparently had a miscarriage of the seventh. However in reality, the womb was actually transferred to Rohini secretly. This was how Balarama, Krishna's elder brother was born. Once again Devaki became pregnant. Now due to the miscarriage, Kamsa was in a puzzle regarding 'The Eighth One' but his ministers advised that the divine voice from the heavens emphasised "the eight garbha" and so this is the one. That night Krishna was born in the Rohini nakshatra and simultaneously Goddess Durga was born as Yogamaya in Gokulam to Nanda and Yashoda.

Since Vasudeva knew Krishna's life was in danger, Krishna was secretly taken out of the prison cell to be raised by his foster parents, Yasoda and Nanda, in Gokula (in present day Mathura district). Two of his other siblings also survived, Balarama (Devaki's seventh child, transferred to the womb of Rohini, Vasudeva's first wife) and Subhadra (daughter of Vasudeva and Rohini, born much later than Balarama and Krishna).

Childhood and youth

Krishna holding Govardhan hill as depicted in Pahari painting

Nanda was the head of a community of cow-herders, and he settled in Vrindavana. The stories of Krishna's childhood and youth tell how he became a cow herder, his mischievous pranks as Makhan Chor (butter thief), his foiling of attempts to take his life, and his role as a protector of the people of Vrindavana.

Krishna killed the demoness like Putana, disguised as a wet nurse, sent by Kansa for Krishna's life. He tamed the serpent Kāliyā, who previously poisoned the waters of Yamuna river, thus leading to the death of the cowherds. In Hindu art, Krishna is often depicted dancing on the multi-hooded Kāliyā.

Krishna lifted the Govardhana hill and taught Indra, the king of the devas and rain, a lesson to protect native people of Vrindavana from persecution by Indra and prevent the devastation of the pasture land of Govardhan. Indra had too much pride and was angry when Lord Krishna advised the people of Vrindavana to take care of their animals and their environment that provide them with all their necessities, instead of worshipping Indra annually by spending their resources. In the view of some, the spiritual movement started by Lord Krishna had something in it which went against the orthodox forms of worship of the Vedic gods such as Indra. In Bhagavat Purana, Lord Krishna says that the rain came from the nearby hill Govardhana, and advised that the people worshiped the hill instead of Indra. This made Indra furious, so he punished them by sending out a great storm. Lord Krishna then lifted Govardhan and held it over the people like an umbrella.

The stories of his play with the gopis (milkmaids) of Vrindavana, especially Radha (daughter of Vrishbhanu, one of the original residents of Vrindavan) became known as the Rasa lila and were romanticised in the poetry of Jayadeva, author of the Gita Govinda. These became important as part of the development of the Krishna bhakti traditions worshiping Radha Krishna.

The prince

Krishna with his two principal queens. (From left) Rukmini, Krishna, Satyabhama and his vahana Garuda.

On his return to Mathura as a young man, Krishna overthrew and killed his maternal uncle, Kansa, after avoiding several assassination attempts from Kansa's followers. He reinstated Kansa's father, Ugrasena, as the king of the Yadavas and became a leading prince at the court. During this period, he became a friend of Arjuna and the other Pandava princes of the Kuru kingdom, who were his cousins. Later, he took his Yadava subjects to the city of Dwaraka (in modern Gujarat) and established his own kingdom there.

Krishna married Rukmini, the Vidarbha princess, by abducting her, at her request, from her proposed wedding with Shishupala. Krishna subsequently married 16,100 maidens who were held captive by demon Narakasura, to save their honour. of which eight were chief—collectively called the Ashta Bharya—including Rukmini, Satyabhama, Jambavati, Kalindi, Mitravrinda, Nagnajiti, Bhadra and Lakshana. Krishna killed the demon and released them all. According to social custom of the time, all of the captive women were degraded, and would be unable to marry, as they had been under the Narakasura's control. However Krishna married them to reinstate their status in the society. This symbolic wedding with 16,100 abandoned daughters was more of a mass women rehabilitation. In Vaishnava traditions, Krishna's wives are forms of the goddess Lakshmi— consort of Vishnu, or special souls who attained this qualification after many lifetimes of austerity, while his queen Satyabhama, is an expansion of Radha.

When Yudhisthira was assuming the title of emperor, he had invited all the great kings to the ceremony and while paying his respects to them, he started with Krishna because he considered Krishna to be the greatest of them all. While it was a unanimous feeling amongst most present at the ceremony that Krishna should get the first honours, his cousin Shishupala felt otherwise and started berating Krishna. Due to a vow given to Shishupal's mother, Krishna forgave a hundred verbal abuses by Shishupal, and upon the one hundred and first, he assumed his Virat (universal) form and killed Shishupal with his Chakra. The blind king Dhritarashtra also obtained divine vision during this time to be able to see the Lord's form. Essentially, Shishupal and Dantavakra were both re-incarnations of Lord Vishnu's gate-keepers Jaya and Vijaya, who were cursed to be born on Earth, to be delivered by the Lord back to Heaven.

Kurukshetra War and Bhagavad Gita

Main articles: Kurukshetra War and Bhagavad Gita

File:Krishna Mediating between the Pandavas and Kauravas.jpeg

Krishna Mediating between the Pandavas and Kauravas

Once battle seemed inevitable, Krishna offered both sides the opportunity to choose between having either his army called narayani sena or himself alone, but on the condition that he personally would not raise any weapon. Arjuna, on behalf of the Pandavas, chose to have Krishna on their side, and Duryodhana, Kaurava prince, chose Krishna's army. At the time of the great battle, Krishna acted as Arjuna's charioteer, since this position did not require the wielding of weapons.

Upon arrival at the battlefield, and seeing that the enemies are his family, his grandfather, his cousins and loved ones, Arjuna is moved and says his heart does not allow him to fight and he would rather prefer to renounce the kingdom. and put down his Gandiv (Arjuna's bow). Krishna then advises him about the battle, with the conversation soon extending into a discourse which was later compiled as the Bhagavad Gita.

Krishna displays his Vishvarupa (Universal Form) to Arjuna on the battlefield of Kurukshetra.

Krishna asked Arjuna, "Have you within no time, forgotten the Kauravas' evil deeds such as not accepting the eldest brother Yudhishtira as King, usurping the entire Kingdom without yielding any portion to the Pandavas, meting out insults and difficulties to Pandavas, attempt to murder the Pandavas in the Barnava lac guest house, publicly disrobing and disgracing Draupadi and killing young Abhimanyu in a way that violated not only approved war traditions but also the limits of humanism. Krishna further exhorted in his famous Bhagaad Gita, "Arjuna, do not engage in philosophical analyses at this point of time like a Pundit. You are aware that Duryodhana and Karna particularly have long harboured jealousy and hatred for you Pandavas and badly want to prove their hegemony. You are aware that Bhishmacharya and your Teachers are tied down to their dharma of protecting the unitarian power of the Kuru throne. Moreover, you Arjuna, are only a mortal appointee to carry out my divine will, since the Kauravas are destined to die either way, due to their heap of sins. Open your eyes O Bhaarata and know that I encompass the Karta, Karma and Kriya, all in myself. There is no scope for contemplation now or remorse later, it is indeed time for war and the world will remember your might and immense powers for time to come. So rise O Arjuna!, tighten up your Gandiva and let all directions shiver till their farthest horizons, by the reverbration of its string.

Krishna had a profound effect on the Mahabharata war and its consequences. He considered the Kurukshetra war as a last resort by voluntarily making himself as a messenger in order to establish peace between the Pandavas and Kauravas. But, once these peace negotiations failed and was embarked into the war, then he became a clever strategist. During the war, upon becoming angry with Arjun for not fighting in true spirit against his ancestors, Krishna once picked up a carriage wheel and converted it to a Chakra (discus) to challenge Bhishma when the latter injured him. Upon seeing this, Bhishma dropped his weapons and asked Krishna to kill him. However, Arjuna apologized to Krishna, promising that he would fight with full dedication here/after, and the battle continued. Krishna had directed Yudhisthira and Arjuna to return to Bhishma the boon of "victory" which he had given to Yudhisthira before the war commenced, since he himself was standing in their way to victory. Bhishma understood the message and told them the means through which he would drop his weapons—which was if a woman entered the battlefield. Next day, upon Krishna's directions, Shikhandi (Amba reborn) accompanied Arjuna to the battlefield and thus, Bhishma laid down his arms. This was a decisive moment in the war because Bhishma was the chief commander of the Kaurava army and the most formidable warrior on the battlefield. Krishna aided Arjuna in killing Jayadratha, who had held the other four Pandava brothers at bay while Arjuna's son Abhimanyu entered Drona's Chakravyuha formation—an effort in which he got killed by the simultaneous attack of eight Kaurava warriors. Krishna also caused the downfall of Drona, when he signalled Bhima to kill an elephant called Ashwatthama, the namesake of Drona's son. Pandavas started shouting that Ashwatthama was dead but Drona refused to believe them saying he would believe it only if he heard it from Yudhisthira. Krishna knew that Yudhisthira would never tell a lie, so he devised a clever ploy so that Yudhisthira wouldn't lie and at the same time Drona would be convinced of his son's death. On asked by Drona, Yudhisthira proclaimed

Ashwathama Hatahath, naro va Kunjaro va

i.e. Ashwathama had died but he was nor sure whether it was a Drona's son or an elephant. But as soon as Yudhisthira had uttered the first line, Pandava army on Krishna's direction broke into celebration with drums and conchs, in the din of which Drona could not hear the second part of the Yudhisthira's declaration and assumed that his son indeed was dead. Overcome with grief he laid down his arms, and on Krishna's instruction Dhrishtadyumna beheaded Drona.

Krishna and Arjuna driving towards Bhishma

When Arjuna was fighting Karna, the latter's chariot's wheels sank into the ground. While Karna was trying to take out the chariot from the grip of the Earth, Krishna reminded Arjuna how Karna and the other Kauravas had broken all rules of battle while simultaneously attacking and killing Abhimanyu, and he convinced Arjuna to do the same in revenge in order to kill Karna. During the final stage of the war, when Duryodhana was going to meet his mother Gandhari for taking her blessings which would convert all parts of his body on which her sight falls to steel, Krishna tricks him to wearing banana leaves to hide his groin. When Duryodhana meets Gandhari, her vision and blessings fall on his entire body except his groin and thighs, and she becomes unhappy about it because she was not able to convert his entire body to steel. When Duryodhana was in a mace-fight with Bhima, Bhima's blows had no effect on Duryodhana. Upon this, Krishna reminded Bhima of his vow to kill Duryodhana by hitting him on the thigh, and Bhima did the same to win the war despite it being against the rules of mace-fight (since Duryodhana had himself broken Dharma in all his past acts). Thus, Krishna's unparalleled strategy helped the Pandavas win the Mahabharata war by bringing the downfall of all the chief Kaurava warriors, without lifting any weapon. He also brought back to life Arjuna's grandson Parikshit, who had been attacked by a Brahmastra weapon from Ashwatthama while he was in his mother's womb. Parikshit became the Pandavas' successor.

Family

Krishna in Balinese Wayang form

Krishna had a total of 16,108 wives, out of which eight were his princely wives and 16,100 were rescued from Narakasura, who had forcibly kept them in his harem. After Krishna killed Narkasura he rescued these 16,100 women and freed them, but all of them returned to him saying that they have been raped by Narkasura repeatedly and now neither their family will accept them nor will any one marry them, thus remaining shelter less. Krishna married them and gave them shelter in his new palace and a respectful place in the society but never had sexual relations with any.

The first son of Queen Rukmini was Pradyumna, and also born of her were Charudeshna, Sudeshna and the powerful Charudeha, along with Sucharu, Chharugupta, Bhadracaru, Charuchandra, Vicaru and Caru, the tenth. Pradyumna fathered the greatly powerful Aniruddha in the womb of Rukmavati, the daughter of Rukmi. This took place while they were living in the city of Bhojakata.

Temple car carving of Krishna playing flute with Radha, suchindram, Tamil Nadu

The ten sons of Satyabhama were Bhanu, Subhanu, Svarbhanu, Prabhanu, Bhanuman, Chandrabhanu, Brihadbhanu, Atibhanu (the eighth), Sribhanu and Pratibhanu.

Samba, Sumitra, Purujit, Satajit, Sahasrajit, Vijaya, Citraketu, Vasuman, Dravida and Kratu were the sons of Jambavati. These ten, headed by Samba, were their father's favorites.

The sons of Nagnajiti were Vira, Candra, Asvasena, Citragu, Vegavan, Vrisha, Ama, Sanku, Vasu and the opulent Kunti.

Sruta, Kavi, Vrisha, Vira, Subahu, Bhadra, Santi, Darsa and Purnamasa were sons of Kalindi. Her youngest son was Somaka.

Madra's sons were Praghosha, Gatravan, Simha, Bala, Prabala, Urdhaga, Mahasakti, Saha, Oja and Aparajita.

Mitravinda's sons were Vrika, Harsha, Anila, Gridhra, Vardhana, Unnada, Mahamsa, Pavana, Vahni and Kshudhi.

Sangramajit, Brihatsena, Sura, Praharana, Arijith, Jaya and Subhadra were the sons of Bhadra, together with Vama, Ayur and Satyaka.

Diptiman, Tamratapta and others were the sons of Lord Krishna and Rohini.

Later life

Main article: Mausala Parva

The hunter Jara abount to shoot an arrow towards Krishna.

According to Mahabharata, the Kurukshetra war resulted in the death of all 100 sons of Gandhari. On the night before Duryodhana's death, Lord Krishna visited Gandhari to offer his condolences. Gandhari felt that Krishna knowingly did not put an end to the war, and in a fit of rage and sorrow, Gandhari cursed that Krishna, along with everyone else from yadu dynasty, will perish after 36 years.

At a festival, a fight broke out between the Yadavas, who killed each other. His elder brother, Balarama, then gave up his body using Yoga. Krishna retired into the forest and started meditating under a tree. The Mahabharata also narrates the story of a hunter who kills Krishna. The hunter Jara, mistook Krishna's partly visible left foot for that of a deer, and shot an arrow, wounding and killing him mortally. After he realised the mistake, Lord Krishna told Jara, "O Jara, you were Vaali in your previous birth, killed by myself as Rama in Tretayuga. Here you had a chance to even it and since all acts in this world are done as desired by me, you need not worry for this". Krishna's soul then ascended to heaven, while his mortal body was cremated by Arjuna.

According to Puranic sources, Krishna's death marks the end of Dvapara Yuga and the start of Kali Yuga, which is dated to February 17/18, 3102 BCE. Vaishnava teachers such as Ramanujacharya and Gaudiya Vaishnavas held the view that the body of Krishna is completely spiritual and never decays (Achyuta) as this appears to be the perspective of the Bhagavata Purana. The great Vaishnava Saint Chaitanya Mahaprabhu exhorted, "Krishna Naama Sankirtan" i.e. the constant chanting of the Lord's name is the supreme healer in Kali Yuga. It destroys sins and purifies the hearts through Bhakti ensures universal peace.

Krishna never appears to grow old or age at all in the historical depictions of the Puranas despite passing of several decades, but there are grounds for a debate whether this indicates that he has no material body, since battles and other descriptions of the Mahabhārata epic show clear indications that he seems to be subject to the limitations of nature. While battles apparently seem to indicate limitations, Mahabharata also shows in many places where Krishna is not subject to any limitations as through episodes Duryodhana trying to arrest Krishna where his body burst into fire showing all creation within him. Krishna is also explicitly described as without deterioration elsewhere.

Worship

Vaishnavism

Main articles: Vaishnavism and Krishnaism

Rasa Lila in Manipuri dance style.

The worship of Krishna is part of Vaishnavism, which regards Vishnu as the Supreme God and venerates His associated Avatars, their consorts, and related saints and teachers. Krishna is especially looked upon as a full manifestation of Vishnu, and as one with Vishnu himself. However the exact relationship between Krishna and Vishnu is complex and diverse, where Krishna is sometimes considered an independent deity, supreme in his own right. Out of many deities, Krishna is particularly important, and traditions of Vaishnava lines are generally centered either on Vishnu or on Krishna, as supreme. The term Krishnaism has been used to describe the sects of Krishna, reserving term "Vaishnavism" for sects focusing on Vishnu in which Krishna is an Avatar, rather than as a transcendent Supreme Being.

All Vaishnava traditions recognise Krishna as an avatar of Vishnu; others identify Krishna with Vishnu; while traditions, such as Gaudiya Vaishnavism, Vallabha Sampradaya and the Nimbarka Sampradaya, regard Krishna as the svayam bhagavan, original form of God, or the Lord himself. Swaminarayan, the founder of the Swaminarayan Sampraday also worshipped Krishna as God himself. "Greater Krishnaism" corresponds to the second and dominant phase of Vaishnavism, revolving around the cults of the Vasudeva, Krishna, and Gopala of late Vedic period. Today the faith has a significant following outside of India as well.

Early traditions

An image of Bala Krishna displayed during Janmashtami celebrations at a Swaminarayan Temple in London

The deity Krishna-Vasudeva (kṛṣṇa vāsudeva "Krishna, the son of Vasudeva") is historically one of the earliest forms of worship in Krishnaism and Vaishnavism. It is believed to be a significant tradition of the early history of the worship of Krishna in antiquity. This tradition is considered as earliest to other traditions that led to amalgamation at a later stage of the historical development. Other traditions are Bhagavatism and the cult of Gopala, that along with the cult of Bala Krishna form the basis of current tradition of monotheistic religion of Krishna. Some early scholars would equate it with Bhagavatism, and the founder of this religious tradition is believed to be Krishna, who is the son of Vasudeva, thus his name is Vāsudeva; he is said to be historically part of the Satvata tribe, and according to them his followers called themselves Bhagavatas and this religion had formed by the 2nd century BC (the time of Patanjali), or as early as the 4th century BC according to evidence in Megasthenes and in the Arthasastra of Kautilya, when Vāsudeva was worshiped as supreme deity in a strongly monotheistic format, where the supreme being was perfect, eternal and full of grace. In many sources outside of the cult, the devotee or bhakta is defined as Vāsudevaka. The Harivamsa describes intricate relationships between Krishna Vasudeva, Sankarsana, Pradyumna and Aniruddha that would later form a Vaishnava concept of primary quadrupled expansion, or avatar.

Bhakti tradition

Main article: Bhakti yoga

Bhakti, meaning devotion, is not confined to any one deity. However Krishna is an important and popular focus of the devotional and ecstatic aspects of Hindu religion, particularly among the Vaishnava sects. Devotees of Krishna subscribe to the concept of lila, meaning 'divine play', as the central principle of the Universe. The lilas of Krishna, with their expressions of personal love that transcend the boundaries of formal reverence, serve as a counterpoint to the actions of another avatar of Vishnu: Rama, "He of the straight and narrow path of maryada, or rules and regulations."

The bhakti movements devoted to Krishna became prominent in southern India in the 7th to 9th centuries AD. The earliest works included those of the Alvar saints of the Tamil country. A major collection of their works is the Divya Prabandham. The Alvar Andal's popular collection of songs Tiruppavai, in which she conceives of herself as a gopi, is the most famous of the oldest works in this genre. Kulasekaraazhvaar's Mukundamala was another notable work of this early stage.

Spread of the Krishna-bhakti movement

Gita Govinda by Jayadeva.

The movement spread rapidly from northern India into the south, with the Sanskrit poem Gita Govinda of Jayadeva (12th century AD) becoming a landmark of devotional, Krishna-based literature. It elaborated a part of the Krishna legend—his love for one particular gopi, called Radha, a minor character in Bhagavata Purana but a major one in other texts like Brahma Vaivarta Purana. By the influence of Gita Govinda, Radha became inseparable from devotion to Krishna.

While the learned sections of the society well versed in Sanskrit could enjoy works like Gita Govinda or Bilvamangala 's Krishna-Karnamritam , the masses sang the songs of the devotee-poets, who composed in the regional languages of India. These songs expressing intense personal devotion were written by devotees from all walks of life. The songs of Meera and Surdas became epitomes of Krishna-devotion in north India.

Krishna (left) with the flute with gopi-consort Radha, Bhaktivedanta Manor, Watford, England

These devotee-poets, like the Alvars before them, were aligned to specific theological schools only loosely, if at all. But by the 11th century AD, Vaishnava Bhakti schools with elaborate theological frameworks around the worship of Krishna were established in north India. Nimbarka (11th century AD), Vallabhacharya (15th century AD) and Chaitanya Mahaprabhu (16th century AD) were the founders of the most influential schools. These schools, namely Nimbarka Sampradaya, Vallabha Sampradaya and Gaudiya Vaishnavism respectively, see Krishna as the supreme god, rather than an avatar, as generally seen.

In the Deccan, particularly in Maharashtra, saint poets of the Varkari sect such as Dnyaneshwar, Namdev, Janabai, Eknath and Tukaram promoted the worship of Vithoba, a local form of Krishna, from the beginning of the 13th century until the late 18th century. In southern India, Purandara Dasa and Kanakadasa of Karnataka composed songs devoted to the Krishna image of Udupi. Rupa Goswami of Gaudiya Vaishnavism, has compiled a comprehensive summary of bhakti named Bhakti-rasamrita-sindhu .

In the West

Since 1966, the Krishna-bhakti movement has also spread outside India. This is largely due to the International Society for Krishna Consciousness (ISKCON), popularly known as the Hare Krishna movement. The movement was founded by Bhaktivedanta Swami Prabhupada, who was instructed by his guru, Bhaktisiddhanta Sarasvati Thakura, to write about Krishna in English and to share the Gaudiya Vaishnava philosophy with people in the Western world.

In the performing arts

A Kathakali performer as Krishna

While discussing the origin of Indian theatre, Horwitz talks about the mention of the Krishna story in Patanjali's Mahabhashya (c. 150 BC), where the episodes of slaying of Kamsa (Kamsa Vadha) and "Binding of the heaven storming titan" (Bali Bandha) are described. Bhasa's Balacharitam and Dutavakyam (c. 400 BC) are the only Sanskrit plays centered on Krishna written by a major classical dramatist. The former dwells only on his childhood exploits and the latter is a one-act play based on a single episode from the Mahābhārata when Krishna tries to make peace between the warring cousins.

From the 10th century AD, with the growing bhakti movement, Krishna became a favorite subject of the arts. The songs of the Gita Govinda became popular across India, and had many imitations. The songs composed by the Bhakti poets added to the repository of both folk and classical singing.

The classical Indian dances, especially Odissi and Manipuri, draw heavily on the story. The 'Rasa lila' dances performed in Vrindavan shares elements with Kathak, and the Krisnattam, with some cycles, such as Krishnattam, traditionally restricted to the Guruvayur temple, the precursor of Kathakali.

The Sattriya dance, founded by the Assamese Vaishnava saint Sankardeva, extols the virtues of Krishna. Medieval Maharashtra gave birth to a form of storytelling known as the Hari-Katha, that told Vaishnava tales and teachings through music, dance, and narrative sequences, and the story of Krishna one of them. This tradition spread to Tamil Nadu and other southern states, and is now popular in many places throughout India.

Narayana Tirtha's (17th century AD) Krishna-Lila-Tarangini provided material for the musical plays of the Bhagavata-Mela by telling the tale of Krishna from birth until his marriage to Rukmini. Tyagaraja (18th century AD) wrote a similar piece about Krishna called Nauka-Charitam. The narratives of Krishna from the Puranas are performed in Yakshagana, a performance style native to Karnataka's coastal districts. Many movies in all Indian languages have been made based on these stories. These are of varying quality and usually add various songs, melodrama, and special effects.

In other religions

Jainism

Further information: Salakapurusa

The most exalted figures in Jainism are the twenty-four Tirthankaras. Krishna, when he was incorporated into the Jain list of heroic figures presented a problem with his activities which are not pacifist or non-violent. The concept of Baladeva, Vasudeva and Prati-Vasudeva was used to solve it. The Jain list of sixty-three Shalakapurshas or notable figures includes amongst others, the twenty-four Tirthankaras and nine sets of this triad. One of these triads is Krishna as the Vasudeva, Balarama as the Baladeva and Jarasandha as the Prati-Vasudeva. He was a cousin of the twenty-second Tirthankara, Neminatha. The stories of these triads can be found in the Harivamsha of Jinasena (not be confused with its namesake, the addendum to Mahābhārata) and the Trishashti-shalakapurusha-charita of Hemachandra.

In each age of the Jain cyclic time is born a Vasudeva with an elder brother termed the Baladeva. The villain is the Prati-vasudeva. Baladeva is the upholder of the Jain principle of non-violence. However, Vasudeva has to forsake this principle to kill the Prati-Vasudeva and save the world.

Buddhism

Depiction of Krishna playing flute in the temple constructed in AD 752 on the order of Emperor Shomu; Todai-ji Temple, Great Buddha Hall in Nara, Japan

The story of Krishna occurs in the Jataka tales in Buddhism, in the Ghatapandita Jataka as a prince and legendary conqueror and king of India. In the Buddhist version, Krishna is called Vasudeva, Kanha and Keshava, and Balarama is his older brother, Baladeva. These details resemble that of the story given in the Bhagavata Purana. Vasudeva, along with his nine other brothers (each son a powerful wrestler) and one elder sister (Anjana) capture all of Jambudvipa (many consider this to be India) after beheading their evil uncle, King Kamsa, and later all other kings of Jambudvipa with his Sudarshana Chakra. Much of the story involving the defeat of Kamsa follows the story given in the Bhagavata Purana.

As depicted in the Mahābhārata, all of the sons are eventually killed due to a curse of sage Kanhadipayana (Veda Vyasa, also known as Krishna Dwaipayana). Krishna himself is eventually speared by a hunter in the foot by mistake, leaving the sole survivor of their family being their sister, Anjanadevi of whom no further mention is made.

Since Jataka tales are given from the perspective of Buddha's previous lives (as well as the previous lives of many of Buddha's followers), Krishna appears as one of the lives of Sariputra, one of Buddha's foremost disciples and the "Dhammasenapati" or "Chief General of the Dharma" and is usually shown being Buddha's "right hand man" in Buddhist art and iconography. The Bodhisattva, is born in this tale as one of his youngest brothers named Ghatapandita, and saves Krishna from the grief of losing his son. The 'divine boy' Krishna as an embodiment of wisdom and endearing prankster forms a part of worshipable pantheon in Japanese Buddhism.

Ismailia Muslim Faith

According to the Ismailia sect of Islam, Krishna was a "Manifestation of God". In Aga Khan III's famous book Islam is the religion of my ancestor, Krishna and Shiri Ram were prophets of God for the people of India.

Bahá'í Faith

Bahá'ís believe that Krishna was a "Manifestation of God", or one in a line of prophets who have revealed the Word of God progressively for a gradually maturing humanity. In this way, Krishna shares an exalted station with Abraham, Moses, Zoroaster, Buddha, Muhammad, Jesus, the Báb, and the founder of the Bahá'í Faith, Bahá'u'lláh.

Ahmadiyya Islam

Members of the Ahmadiyya Community believe Krishna to be a great prophet of God as described by their founder, Mirza Ghulam Ahmad. Ghulam Ahmad also claimed to be the likeness of Krishna as a latter day reviver of religion and morality whose mission was to reconcile man with God. Ahmadis maintain that the term Avatar is synonymous with the term 'prophet' of the middle eastern religious tradition as God's intervention with man; as God appoints a man as his vicegerent upon earth. In Lecture Sialkot, Ghulam Ahmed wrote:

Let it be clear that Raja Krishna, according to what has been revealed to me, was such a truly great man that it is hard to find his like among the Rishis and Avatars of the Hindus. He was an Avatar—i.e., Prophet—of his time upon whom the Holy Spirit would descend from God. He was from God, victorious and prosperous. He cleansed the land of the Aryas from sin and was in fact the Prophet of his age whose teaching was later corrupted in numerous ways. He was full of love for God, a friend of virtue and an enemy of evil.

Krishna is also called Murli Dhar. The flute of Krishna means the flute of revelation and not the physical flute. Krishna lived like humans and he was a prophet

Other

Krishna worship or reverence has been adopted by several new religious movements since the 19th century, and he is sometimes a member of an eclectic pantheon in occult texts, along with Greek, Buddhist, Biblical and even historical figures. For instance, Édouard Schuré, an influential figure in perennial philosophy and occult movements, considered Krishna a Great Initiate; while Theosophists regard Krishna as an incarnation of Maitreya (one of the Masters of the Ancient Wisdom), the most important spiritual teacher for humanity along with Buddha. Krishna was canonized by Aleister Crowley and is recognized as a saint in the Gnostic Mass of Ordo Templi Orientis.

Pilgrimage for Krishna

Chardham Yatra is a religious pilgrimage undertaken since time immemorial where pilgrims visit four extreme corners of the country associated with Krishan. In north, they visit Bhadrinath, where Krishna is supposed to be in meditative mood. In east, they visit Poori Jaganath Temple where he is always eating food, in south, they visit Rameshwaram where Krishna takes his bath and in West, they visit Dwaraka, where he rules like the king. This also shows geographical continuity in Krishna worship in India.

Further reading

• Beck, Guy L. (1993). Sonic theology: Hinduism and sacred sound. Columbia, S.C: University of South Carolina Press. ISBN 0-87249-855-7.
• Bryant, Edwin H. (2004). Krishna: the beautiful legend of God;. Penguin. ISBN 0-14-044799-7.
• Bryant, Edwin H. (2007). Krishna: A Sourcebook. Oxford University Press, USA. ISBN 0-19-514891-6.
• The Mahabharata of Krishna-Dwaipayana Vyasa, translated by Kisari Mohan Ganguli, published between 1883 and 1896
• The Vishnu-Purana, translated by H. H. Wilson, (1840)
• The Srimad Bhagavatam, translated by A.C. Bhaktivedanta Swami Prabhupada, (1988) copyright Bhaktivedanta Book Trust
• Knott, Kim (2000). Hinduism: A Very Short Introduction. Oxford University Press, USA. p. 160. ISBN 0-19-285387-2.
• The Jataka or Stories of the Buddha's Former Births, edited by E. B. Cowell, (1895)
• Ekstrand, Maria (2004). Bryant, Edwin H. (ed.). The Hare Krishna movement: the postcharismatic fate of a religious transplant. New York: Columbia University Press. ISBN 0-231-12256-X.
• Goswami, S.D (1998). "The Qualities of Sri Krsna" (Document). GNPress. {{cite document}}: Unknown parameter |isbn= ignored (help); Unknown parameter |url= ignored (help)
• Garuda Pillar of Besnagar, Archaeological Survey of India, Annual Report (1908–1909). Calcutta: Superintendent of Government Printing, 1912, 129.
• Flood, G.D. (1996). An Introduction to Hinduism. Cambridge University Press. ISBN 0-521-43878-0.
• Beck, Guy L. (Ed.) (2005). Alternative Krishnas: Regional and Vernacular Variations on a Hindu Deity. SUNY Press. ISBN 0-7914-6415-6. {{cite book}}: Invalid |ref=harv (help)
• Rosen, Steven (2006). Essential Hinduism. New York: Praeger. ISBN 0-275-99006-0. {{cite book}}: Invalid |ref=harv (help)
• Valpey, Kenneth R. (2006). Attending Kṛṣṇa's image: Caitanya Vaiṣṇava mūrti-sevā as devotional truth. New York: Routledge. ISBN 0-415-38394-3. {{cite book}}: Invalid |ref=harv (help)
• Sutton, Nicholas (2000). Religious doctrines in the Mahābhārata. Motilal Banarsidass Publ.,. p. 477. ISBN 81-208-1700-1.{{cite book}}: CS1 maint: extra punctuation (link)
• History of Indian Theatre By M. L. Varadpande. Chapter Theatre of Krishna, pp. 231–94. Published 1991, Abhinav Publications, ISBN 81-7017-278-0.

External links

• Vedic Archeology (A Vaishnava Perspective) (gosai.com)
• Article on the chronology of Krishna (timesofindia.indiatimes.com)