The Loves of Krishna in Indian Painting and Poetry

Bibliographical Note

This Dover edition, first published in 2004, is an unabridged republication of the work originally published in 1957 by The Macmillan Company, New York. The frontispiece has been moved to the inside front cover of this edition.

Library of Congress Cataloging-in-Publication Data

Archer, W G. (William George), 1907—

The loves of Krishna in Indian painting and poetry / W.G. Archer. p. cm.

Includes bibliographical references and index.

9780486149059

1. Krishna (Hindu deity) 2. Gods, Hindu, in art. 3. Painting, Hindu—India. 4. Sanskrit poetry—History and criticism. I. Title.

BL1220.A7 2004

755’.9452113—dc22

2004041388

Manufactured in the United States of America

Dover Publications, Inc., 31 East 2nd Street, Mineola, N.Y. 11501

TO

MR. AND MRS. H. N.

WITH LOVE

AND ADMIRATION

ACKNOWLEDGMENTS

I am deeply indebted to Dr. A. L. Basham for generous guidance throughout the preparation of this book, to George Keyt for permitting me to quote extensively from his brilliant translation of the Gita Govinda, and to Deben Bhattacharya who supplied me with new translations of later poems and discussed a number of important points. I must also express my deep gratitude to Mildred Archer and to Gopi Krishna Kanoria for valued criticism and advice, to Messrs. Faber and Faber, the Harvill Press, Messrs. Macmillan, the Oxford University Press, the Phoenix House and Messrs. Sidgwick and Jackson for permitting me to quote passages from works still copyright, to Professor J. Brough for an informative note on Bhanu Datta’s Rasamanjari and to all those owners of collections who have either allowed me to reproduce pictures in their possession or have kindly supplied me with photographs.

Part of the material for this book was delivered as lectures to the Royal Asiatic Society, the Royal India, Pakistan and Ceylon Society and at the Victoria and Albert Museum.

Table of Contents

Title Page

Copyright Page

Dedication

ACKNOWLEDGMENTS

I - INTRODUCTION

II - THE MAHABHARATA: KRISHNA THE HERO

III - THE BHAGAVATA PURANA : THE COWHERD

IV - THE BHAGAVATA PURANA: THE PRINCE

V - THE KRISHNA OF POETRY

VI - THE KRISHNA OF PAINTING

NOTES

BIBLIOGRAPHY

INDEX

THE PLATES

SOURCES

I

INTRODUCTION

During the twentieth century, a certain type of Indian painting began to fascinate the West. Unlike Mughal art, it was a product of Hindu courts in Rajasthan and the Punjab Hills and unlike Mughal painting, its chief concern was with the varied phases of romance. Ladies would be shown brooding in their chambers as storm clouds mounted in the sky. A girl might be portrayed desperately fondling a plantain tree, gripping a pet falcon, the symbol of her lover, or hurrying through the rainy darkness intent only on reaching a longed-for tryst. A prince would appear lying on a terrace, his outstretched arms striving vainly to detain a calm beauty or welcoming with delight a bashful girl as she slowly advanced. In all these pictures, romantic love was treated as the highest good and physical passion was interpreted with a freshness and innocence unequalled in the world’s art.

Such paintings were, at first sight, easy to appreciate. Although they alternated between two methods of expression—the first a style of savage distortion, the second a style of the softest grace—each manner enlivened the common subject.¹ Yet in two respects elucidation was vitally necessary. Just as in Japan, the lover might express his longings by cryptic references to Nature, the Indian artist employed poetic symbols to charge his subjects with romantic ardour. Flowers were never merely flowers nor clouds clouds. The symbols of Indian poetry—the lotus swaying in a stream, the flowering creeper embracing a trunk—were intended to suggest passion-haunted ladies. The mingling of clouds, rain and lightning symbolized the embraces of lovers, and commonplace objects such as dishes, vases, ewers and lamps were brought into subtle conjunction to hint at ‘the right true end of love.’ What, in fact, might seem at first sight to be a simple portrait, proved on closer understanding to be a study in despair, a revelation of delight or a clue to rapture, each image with its sexual implications contriving to express some nuance of longing. In these pictures, only a part of the meaning was apparent and without a comprehension of the poetry, much of its true significance was lost.

Such an obstacle to understanding was real enough but, as the eye ranged over this new kind of love-painting, a second difficulty appeared. In many pictures, the lover had special characteristics. He was shown with a crown of peacock’s feathers, clad in a golden dhoti and in every case his skin was mauve or slate-blue.² In certain cases, the lady of his choice appeared bowing at his feet, her pose suggesting the deepest adoration; yet, in other pictures, his role was quite different. He was then a resolute warrior, fighting and destroying demons. It was clear, in fact, that here was no ordinary lover but one who might also be a god. At the same time, other perplexing circumstances were present. The lover’s appearance was that of an aristocratic youth and the ladies whom he loved had the bearing of elegant princesses. Yet often the scene of their encounters was a forest thick with flowering trees. His companions were cowherds and the objects of his love were not the ladies of a court but cowgirls. Other activities betrayed the same lowly sphere. In certain pictures, he was shown eating with cowherds, sharing in their sports, grazing the cattle and himself milking cows. That such a lover should dominate the paintings was perplexing in the extreme and just as cultured Indians would be baffled by Italian and Flemish painting unless they already knew the life of Christ, it was clear that part, even the majority, of these pictures would remain obscure unless the character of their central figure was first explained. One further point remained. In many cases, the pictures were not intended to be viewed in isolation but were illustrations of a text. Many were inscribed with Sanskrit or Hindi verses and in each case there was an intimate connection between the content of the picture and the poem’s subject. To understand the pictures, therefore, some acquaintance with these texts was necessary for only in this way could the identity and role of the blue-skinned lover be appreciated. He was, in fact, Krishna—an incarnation of God—and in his worship some of the deepest requirements of the Indian spirit found ecstatic release.

The purpose of this book is to throw some light on Indian painting by presenting the story of Krishna in the clearest possible terms. It might be supposed that, of all Indian gods, Krishna was already the one best known to the West and therefore, perhaps, the one least requiring explanation. Among modern poets, Sacheverell Sitwell devotes a whole poem in Canons of Giant Art to describing Krishna’s effect.

Rain falls and ceases, all the forest trembles:

Mystery walks the woods once more,

We hear a flute.

It moves on earth, it is the god who plays

With the flute to his lips and music in his breath:

The god is Krishna in his lovely youth.

Louis MacNeice in Ten Burnt Offerings describes a much-loved cat,

Fluid as Krishna chasing the milkmaids.

And the same Krishna, flute player and lover of milkmaids, is familiar to British audiences from the dancing of Ram Gopal. Yet side by side with this magnetic figure, a second, strangely different Krishna is also known. This second Krishna is the preacher of the Bhagavad Gita, the great sermon delivered on the battlefield of Kurukshetra. It is a cardinal document of Indian ethics, and consoled Mahatma Gandhi during his work for Indian independence. It has for many years been known in the West but has recently attracted fresh attention through a modern translation by Christopher Isherwood and Swami Prabhavananda. This Krishna of the Gita is clearly quite different in character from the Krishna of the milkmaids and, without some effort at reconciliation, the two must obviously present a baffling enigma. Indeed so great is the contrast that many Englishmen, entranced by the lover, might be astonished to hear of a more didactic role, while those who value the Gita might easily be disturbed on finding its author so daringly identified with the theory and practice of romantic love. The truth, if we are to admit it, is that despite considerable acquaintance with Krishna as a name, few educated people in the West have intimate knowledge of his story. In fact, we have only to ask some basic questions to realize how slender is general understanding. What, for example, were the circumstances in which Krishna was born and why did he enter the world? Of which Indian god is he an incarnation? Who were his parents and how did he come to live among cowherds? Who were Radha and Rukmini? In what ways did he love the milkmaids and why has this aspect of his story assumed such big proportions in Indian religion? Why, in fact, is God a romantic lover? Just as few Indians, even highly educated Indians, could survive a friendly cross-examination on details of the New Testament, the majority of cultured Englishmen would find it hard to answer even a few of these simple questions.

It is to remedy in part this situation that I have marshalled the material given in this book. With certain types of issue I have made no attempt to deal. I have not, for example, discussed statements such as ‘Krishna was not a god but a hero of a rough tribe of cowherds.’ ‘The Gita is an interpolation.’ ‘There is general agreement on the historicity of Krishna.’ ‘Radha appears to be a late addition.’ Higher Criticism, whether applied to the Bible or to the classics of Indian religion must necessarily remain a small scholars’ preserve—of vital importance to the few but of little account to the main body of believers or to artists illustrating adored themes. I have rather been concerned to present information about Krishna in the form in which it has actually reached Indian minds and has influenced belief and worship. During the last two thousand years, various texts have dealt with Krishna, emphasizing first one and then another aspect of his character and in the process assembling more and more details. These texts are still revered by Indians and although they are the product of widely separated eras, all of them have still an air of contemporary authority. By considering them in historical sequence, we can understand not only the subject-matter of romantic Indian painting but realize why Krishna, the adored lover, should still enchant religious India.

II

THE MAHABHARATA: KRISHNA THE HERO

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 such as Agni (fire), Varuna (water), Surya the sun and Kama the god of passion. These gods lived in Indra’s heaven, a region above the world but lower than Vaikuntha, the heaven of Vishnu. Dancing-girls and musicians lived with them and the whole heaven resembled a majestic court on earth. From this heaven the gods issued from time to time intervening in human affairs. Demons, on the other hand, were their exact opposites. They represented powers of evil, were constantly at war with the gods and took vicious pleasure in vexing or annoying the good. Below gods and demons were men themselves.

In this three-tiered universe, transmigration of souls was still the basic fact but methods of obtaining release were now much clearer. A man was born, died and then was born again. If he acted well, did his duty and worked ceaselessly for good, he followed what was known as the path of dharma or righteousness. This ensured that at each succeeding birth he would start a stage more favourably off than in his previous existence till, by sheer goodness of character, he qualified for admission to Indra’s heaven and might even be accounted a god. The achievement of this status, however, did not complete his cycle, for the ultimate goal still remained. This was the same as in earlier centuries—release from living by union with or absorption into the supreme Spirit; and only when the individual soul had reached this stage was the cycle of birth and re-birth completed. The reverse of this process was illustrated by the fate of demons. If a man lapsed from right living, his second state was always worse than his first. He might then be born in humble surroundings or if his crimes were sufficiently great, he became a demon. As such, his capacity for evil was greatly increased and his chances of ultimate salvation correspondingly worsened. Yet even for demons, the ultimate goal was the same—release from living and blissful identification with the Supreme.

Dharma alone, however, could not directly achieve this end. This could be done by the path of yoga or self-discipline—a path which involved penances, meditation and asceticism. By ridding his mind of all desires and attachments, by concentrating on pure abstractions, the ascetic ‘obtained insight which no words could express. Gradually plumbing the cosmic mystery, his soul entered realms far beyond the comparatively tawdry heavens where the great gods dwelt in light and splendour. Going from darkness to darkness deeper yet, he solved the mystery beyond all mysteries; he understood, fully and finally, the nature of the universe and of himself and he reached a realm of truth and bliss, beyond birth and death. And with this transcendent knowledge came another realization—he was completely, utterly, free. He had found ultimate salvation, the final triumph of the soul.’⁵ Such a complete identification with the supreme Spirit, however, was not easily come by and often many existences were required before the yogi