“Chamba Rumal” paintings in embroidery from Kangra done by Sri Lachhodevi depicting Ras-leela; Picture Credits: Textile Art Museum, Department of Clothing and Textiles, The Maharaja Sayajirao University of Baroda.

Kruti Dholakia calls her teacher Reena Bhatia to talk about work inspired by devotion to Lord Krishna.

On the occasion of Janmashtami (the birth festival of Lord Krisha), I was reminded of the stories I learnt during my graduate studies, at the Clothing and Textiles Department of the Maharaja Sayajirao University of Baroda. I especially remember how the birth of Lord Krishna was seen as a divine intervention to restore balance and righteousness (dharma) in the world. More such learning from the Krishna stories was embedded in the different subjects, especially the Historic Textiles and Costumes of India. Immediately, I made a phone call to my teacher Dr Reena Bhatia, who took me through this experiential tour of Krishna’s depictions in traditional textiles then and now.

We reminisced about specimens kept in the department’s Textile Art Museum, cherishing the classroom memories of doing the embroideries by ourselves. This had been the practice for decades wherein the student would become sensitised towards the culture of the land through experiential learning. I was reminded of the sample files we would make which contained the historical stories, along with drawings of the motifs, and sample embroidering. We discussed the present status of the art and craft, which connected us to our own cultural heritage and values.  We had a deep talk because of those revived memories as well as our growing knowledge and comprehension of Shree Krishna’s life and the teachings he propagated. Our reflections on how craft is portrayed and the intimate connections between makers of different arts and crafts led to a trail of tales. We could understand that the images in the handcrafted pieces revealed the communities’ deepest love, devotion, and spiritual bond with Lord Krishna.

Student Anna Kuruvilla’s file work done in the mid-20th century; Picture Credits: Self Clicked

Many examples of such divine depictions surfaced during our conversations. In the Kathiawar region, due to the community artisans’ devotion to Lord Krishna, they embroidered motifs such as Bal Gopal, Radha Krishna, and Gopi Kannha Raas on their Parda (sacred or decorative gateway) placed on the entrance of their homes or as an extension of the marriage canopy.

“Ganesh Staphana / Parda” hung on the entrance of doors or the extension of a marriage canopy having Lord Ganesha and Lord Krishna’s (Bal Gopal, Radha Krishna, and Gopi Kannha Raas) motifs marking their presence in auspicious events of their daily life; Picture Credits: Aastha Shah – Research Student (2022-23) Clothing and Textiles Department, MSU Baroda

Krishna playing Raas-leela is another popular depiction rendered in various arts and crafts namely miniature paintings of Kangra, and Chamba rumal embroidery by the Pahari ladies of Himachal Pradesh. This particular visual narrative depicts the story of the separation of Gopis from Krishna when Krishna never returned to Vrindavan. The pain and devotion led to imagining Krishna everywhere, Raas-leela being one of the examples.

Contrarily, the scene of lifting Mount Govardhan, and fighting with “Kaliya-naag daman” depicted in “Patta chitra” paintings of Orissa and “Kalamkari” of Sri-Kalahasti can serve as an example of strength, sense of protection and risk bearing capacity at a younger age.

Numerous folk tales from Hindu Mythology have been rendered in the “Madhubani/ Mithila painting” in Bihar and “Patta Chitra”, a leaf painting on scrolls in Odisha.

On the other side, the Pipli work, which is an applique technique in the same region, majorly focuses on the worshipping rituals and requirements at lord Jagannath (lord of the world) temple and the Rath-yatra. It is believed that the lord Jagannath takes an overview of the worshippers’ lives and offers a chance to Darshana (seeing or being seen by a deity) during this procession. This further takes us into the Picchwai of Rajasthan worked through painting, which elaborately depicts the life of the lord in the view of devotees, where each season, life stage, even during prahars (time divisions) of the day, Krishna has been imagined performing suitable chore or character. The infinite devotional and emotional attachment to the lord is shown through extensive details in the seasonal clothes and accessories that have been rendered in each of the Picchwais. Lord’s life scenes which depict various rasas, especially Shringara, Viraha and Veer rasa have been depicted through Indian folk and classical music, where narratives are backed and detailed by verbal, musical and gesture-based renditions as seen especially in Theyyam and Kathakali performances from Kerala and Manipur dance performances especially.

(left) “Theyyam”, (right) “Kathakali” a multifaceted art form that combines drama, expression, and storytelling to symbolically represents the eternal fight between good and evil and also the ideas, situations, or states of being.depicted especially through Mudras.Seen here are Krishna’s exploits with Radha; Picture Credits: Self-clicked at Punarjani Traditional Village performance, Kerala

The above analysis gave us common insight that these images present stories from the life of Lord Krishna which serve as tools of learning and reflection by echoing different values that are meant to educate and inspire.

Each of these simplest acts, depicted either through dance, painting, or embroidery, teaches the virtues of strength, compassion, and joy. Good use of Lord Krishna’s representations in arts and crafts as visual aids is made, to teach and learn about Indian religion, culture, and beauty. Students get an appreciation for the cultural and artistic richness of India and beyond, through comparative studies, field visits, and creative projects. This promotes a multidisciplinary learning environment that integrates anthropology, sociology, history and other disciplines into the curriculum. Students through this exposure have taken up in-depth research studies, examining how textiles like Picchwai, Kishangarh Paintings, Madhubhani Paintings, Kalamkari, to name a few, narrate Krishna’s stories, examine their artistic techniques, colours, and regional traditions, identifying these forms as visual storytelling. Students gain a deeper grasp of mythology and ethics by relating these images to ancient writings like the Bhagavad Gita. They also learn moral teachings like compassion and righteousness from Krishna’s life.

The diverse styles and materials used in Krishna-themed arts and crafts reveal a unique freedom to depict the Lord imaginatively, reflecting devotees’ deep, personal connection to the divine. This variety, unified by devotion, embodies a fusion of spirituality, culture, and craft, where creative expression becomes a form of worship. Here, crafting transcends to meditation, with each piece reflecting the artist’s inner self and their bond with the divine.

We concluded this episode of conversation with the comprehension that these depictions as stories then serve as non-verbal communication at times between the generations of artisans, artists and viewers or the consumers or appreciators, the students and teachers alike,  giving way for interpretation and internalization of these stories in their own way. Once these images (timeless stories) are internalised, they serve as a gateway to self-reflection. These revelations lead us to urge the readers to engage their own self to experience, touch and live with the same intentions of the creator, i.e. the artist/artisan and otherwise the supreme spirit (the Brahman – the ultimate reality and the true essence of all existence).

Despite the lengthy call, we couldn’t help but be engrossed in the reverberation of Krishna’s tales and their enduring influence on people’s lives, which epitomizes devotion. In Gujarat, one will often encounter Lord Krishna’s depiction in black, as Ranchhod Rai (Krishna who ran away from the battlefield)  or Shrinathji (the main deity literally “Master of Wealth” of the Pushtimarg Vaishnava sect) in shops, restaurants and of course numerous temples. These sightings, ornate and profound, weave Krishna’s presence into the fabric of our daily life. Dr Bhatia also shared her experience of how her connection to lord Krishna deepened when she was invited to a former student family’s temple in Vadodara better called Haveli, and lovingly cared for by her Vaishnavite grandfather. During her visit, she was also introduced to the concept of Brahmasambhandh, the relation of the Jiva (person) with Prabhu (here Lord Krishna) which is also described as the union with the supreme spirit or the lord within.

Vaishnavism, a major Hindu sect, has deeply influenced India’s artistic and craft traditions through its devotion to Lord Krishna. His imagery is widely celebrated, especially in regions with strong Vaishnava communities like Gujarat, Madhya Pradesh, Rajasthan, Maharashtra, Southwestern Uttar Pradesh, Odisha, Bengal, and North-eastern territories like Assam and Manipur and down south in  Andhra Pradesh and parts of Karnataka. As the eighth incarnation of Lord Vishnu, Krishna embodies multiple roles: a divine figure, spiritual teacher, protector from evil and symbol of love and compassion. He is honoured by different names across India: Gopal and Govind in Uttar Pradesh, Shrinathji and Thakorji in Gujarat and Rajasthan, Jagannath in Odisha, and Vitthala in Maharashtra, Venkateshwara (Balaji) in Andhra Pradesh reflecting his profound and diverse cultural significance.

In Vaishnav temples, Shringar holds profound spiritual significance as it embodies the devotee’s longing for unity with Shrinathji and enhances their devotion, symbolizing inner beauty and the adornment of the soul with virtues. This ritual deepens the emotional connection with the divine, fostering tranquility and a sense of spiritual purification; Picture Credits: Purushottam Das, Sri Dakshin Srinath Dham Haveli, Tirupati, Andhra Pradesh.

Although our conversation had to end, we couldn’t help but summarise: Lord Krishna’s life and teachings resonate profoundly, answering deep questions on existence and preserved in texts like the Bhagavad Gita. His worship, deeply woven into Indian communities, blends spirituality and craft, evident in art and craft traditions that portray Krishna’s life. These artistic depictions spread a powerful message—”life is a celebration”—reflecting Krishna’s calm and poised approach to life’s challenges.

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