Krishna: The Stories of Devotion

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By Vanirathi Nathani

8 min read

  • God
  • Festive
  • Religion
  • Painting
  • Handmade Art

    • Table of Contents

    A Night of Birth and Celebration

    Each year, as monsoon clouds gather over the subcontinent, there is a shift in the air. Temples shimmer with the glow of a thousand lamps, and lanes fill with the sound of devotional songs — bhajans that recount the playful yet profound life of Krishna. The sweet scent of incense mingles with the aroma of fried mathris and fresh pedas. In bustling neighbourhoods, human pyramids form beneath swinging earthen pots, and with every cheer, the festival’s joy grows louder.

    Janmashtami marks not only the birth of Krishna, but also the arrival of his stories into the present. For believers, this is the night when the eternal returns — when the flute’s melody is imagined in the breeze and his mischief lingers in every smile. And alongside prayer, fasting, and Dahi Handi festivities, another expression of devotion has endured for centuries: the art that brings Krishna to life in pigment, line, and texture.

    Radha and Krishna:Kalighat painting by Hasir Chitrakar

    Krishna on Canvas, Cloth, and Wall

    From the northern hills of Rajasthan to the lush coastal temples of Kerala, artists have translated Krishna’s life into a visual language unique to their regions. Some traditions emerged within temple walls, others under royal patronage, and still others in humble village homes — but all carry the same essence: a longing to keep Krishna’s presence close.

    Every brushstroke is more than craftsmanship. It is an offering. And while the styles differ — intricate, bold, minimal, or opulent — each tells the same timeless truth: Krishna’s story belongs to everyone, everywhere.

    Pichwai: Nathdwara’s Painted Curtains of Faith

    In Nathdwara, Rajasthan, the deity Shrinathji — a child form of Krishna — is worshipped with an intensity that transforms art into ritual. Here, Pichwai paintings serve as grand backdrops inside temples, often spanning several feet in height and width. Painted on cloth with mineral colours, these works are not simply decorations; they are part of the daily seva (service) offered to the deity.

    The scenes they depict are often seasonal or festival-specific. In the monsoon, Pichwais show Krishna under cloudy skies with peacocks calling nearby. During Janmashtami, they burst with celebratory imagery: Krishna breaking pots of butter, dancing with gopis, or reclining on a bed of lotuses. Every element — from the curve of a cow’s horn to the ripples in the Yamuna — is placed with symbolic intention.

    The making of a Pichwai is a slow, meditative process. Artists work in silence, layering colours and details for weeks, sometimes months. And when these paintings are finally hung behind the idol, they transform the space into Vrindavan itself, turning stone walls into a living landscape of devotion.

    Nature's Adoration: Pichwai Artistry with Radha and Krishna by Shehzaad Ali Sherani

    Kerala Murals: The Southern Glow of the Divine

    Step into a temple in Kerala, and the walls might speak to you — not in words, but in colours so deep they seem to breathe. Kerala mural paintings, dating back to the 9th century, are born from a tradition that combines religious symbolism with visual opulence.

    Painted with natural pigments derived from minerals and plants, the murals are known for their glowing palette — burnt orange, leaf green, vermilion red, and indigo. Krishna here is often depicted with wide, almond-shaped eyes, a serene expression, and a body adorned with intricate jewelry. Unlike the more pastoral portrayals of the north, Kerala murals often present him in grand, almost celestial scenes, surrounded by divine beings, flowering trees, and rivers that curve like ornaments.

    In these paintings, Radha and Krishna’s union is given visual poetry — the smallest tilt of a head or the curve of a smile becomes an entire verse. The murals are not static images but meditative aids; standing before them, devotees feel themselves drawn into a timeless, sacred stillness.

    Kerala Mural

    Gond Art: A Forest Singing of Krishna

    Deep in the forests of Madhya Pradesh and surrounding regions, the Gond community has long painted the world as they see it — alive, interwoven, and inseparable from spirit. In Gond art, nothing exists in isolation. A fish might carry a forest on its back; a tree might grow patterns that look like a river’s flow.

    When Krishna enters this world, he does so as part of nature itself. The cows he tends are covered in geometric textures, the Yamuna is a web of flowing dots, and the flute’s music becomes visible as rhythmic, decorative waves. A butter theft scene in Gond style feels like a festival of shapes and colours, with joy hidden in every patterned curve.

    The style’s use of repetition and fine detailing creates a hypnotic effect, echoing the cyclical, eternal nature of Krishna’s story — one that is told and retold, yet always feels new.

    Kishangarh Miniatures: Poetry in Paint

    In the royal court of Kishangarh, the painter Nihal Chand in the 18th century created a visual style that would forever define Radha and Krishna’s romantic imagery. These miniatures are delicate works on paper, often inspired by devotional poetry of the Ashtachap poets and the Bhakti movement.

    Radha is portrayed with an elongated face, arched brows, and eyes brimming with longing, while Krishna, with his peacock feather crown, mirrors her gaze. They are set against misty hills, rivers, and gardens painted in soft, muted tones. The landscapes themselves seem to participate in their romance — trees bend toward them, lotuses bloom at their feet.

    These paintings do not simply narrate events; they capture emotional states — love, separation, reunion — with a subtlety that feels both intimate and universal. They are as much about the silence between two heartbeats as about the figures themselves.

    Radha Krishna in a pavilion, Kishangarh painting

    Madhubani: Folk Art Full of Play

    In the Mithila region of Bihar, Madhubani painting is not just art — it is an everyday act of devotion. Traditionally painted on walls and floors during festivals and weddings, these works use natural dyes and bold black outlines to frame a riot of colours and motifs.

    Krishna here is playful and accessible — dancing in the courtyard, stealing butter with friends, or teasing the gopis. The scenes are framed by dense borders filled with vines, flowers, and birds. Every inch is alive, with no empty spaces left behind.

    The style’s symmetry and decorative richness make it instantly recognisable. And while the themes are sacred, there is also humour and warmth in the way Krishna is drawn — as though the divine could sit next to you and share a meal.

    Intricate art work of krishna painting

    Tanjore: The Radiance of Gold

    From Tamil Nadu comes Tanjore painting, a tradition known for its sumptuous use of gold leaf and gem-like colours. These works are built on wooden boards, layered with gesso to create a raised surface, and then meticulously painted with mineral pigments.

    The Bala Krishna of Tanjore art is a picture of divine innocence: round cheeks, a butterball in hand, eyes that sparkle with mischief. Yet the gold background and ornate framing remind the viewer of his cosmic stature. This blend of childlike charm and divine grandeur is the hallmark of Tanjore’s Krishna imagery.

    Owning a Tanjore painting is more than acquiring art — it is welcoming a sacred presence into the home, often passed down through generations as a family treasure.

    Shri Radha-Krishna, Tanjore Painting by Sanjay Tandekar

    Phad: Scrolls that Tell the Story

    The Phad tradition of Rajasthan is part painting, part performance. Artists paint long scrolls — sometimes 30 feet in length — illustrating scenes from epics and legends. Storytellers then travel with these scrolls, unrolling them bit by bit as they narrate the tales, often accompanied by music.

    Krishna’s life in Phad form is vibrant and continuous, with no strict frames separating one scene from another. You might see him lifting Govardhan mountain, playing the flute, and dancing with the gopis — all within a single flowing composition. The format allows the audience to experience his life as a journey, moving from one moment to the next without pause.

    Phad is not just visual art; it is a communal experience, binding the painter, performer, and audience in shared devotion.

    Krishna With Gopies In Phad by Baaya

    Kalighat and Chitrakathi: Urban Boldness and Folk Spirit

    In 19th-century Bengal, Kalighat painting emerged near the Kalighat temple in Kolkata, catering to pilgrims and urban buyers. The style was quick, bold, and expressive, often using sweeping brushstrokes and simplified forms. Krishna here could be tender or mischievous, drawn with a directness that matched the bustling life of the city.

    Meanwhile, in Maharashtra, Chitrakathi artists told Krishna’s stories through sequences of hand-painted paper panels. Performed in village squares, these works combined narration, song, and imagery, creating a lively atmosphere where art was both entertainment and worship.

    Though their techniques and audiences differed, both traditions show Krishna’s adaptability — how his image shifts to meet the needs of the place and time, yet remains rooted in devotion.

    Ram Krishna Mahaprabhu Avatar in Kalighat by Hasir Chitrakar

    A God Both Near and Timeless

    From temple frescoes to tribal dots, from gold-leaf icons to humble scrolls, Krishna’s life has been painted in countless ways. Each style speaks in its own language, yet all convey the same closeness — the sense that he is not a distant figure, but a companion in daily life.

    Even as digital reproductions become common, there is something irreplaceable about a hand-painted work. It carries the hours, the patience, and the faith of the person who made it. To live with such a piece is to live with a fragment of eternity, renewed each time you look it.

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