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Academic literature on the topic 'Krishna (Hindu deity) – Art'
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Journal articles on the topic "Krishna (Hindu deity) – Art"
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Senin, Nurhanisah, Nazneen Ismail, Nurzatil Ismah Azizan, and Zainory Shafie. "THE RELATION OF COW WITH GOD IN HINDU: A STUDY ON UNIVERSITY STUDENTS." International Journal of Humanities, Philosophy and Language 3, no. 10 (2020): 01–11. http://dx.doi.org/10.35631//ijhpl.310001.
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Veneration of cow stems from its adherents' belief in that perceived cow as having an equal position to the god. In diverse religious life, the act of slaughtering cows by other religious members may lead to conflicts. Therefore, this study aimed to identify the Hindus’ belief in cow’s relation with the deity from the perspective of university students in Selangor. The study was conducted qualitatively through a semi-structured interview. A total of 10 students were involved as informants. Interview data were analyzed using a thematic approach. The results show that the informants’ belief in the position of the cow as a deity is in line with the Hindu text that emphasizes the concept of Kamadhenu and Gomatha which refers to the cow as a mother who benefits greatly in nature and meets human needs. This is manifested through the depicted cow symbol of Kamadhenu, a white bull that holds 33 essence of Hindu deities which clearly shows the veneration of the cow. The manifestation of the sacred cow is also apparent with Shiva and Krishna who held cow as their vehicle and beloved animal. In sum, the Hindu community believed that cows are sacred animals that should be respected and revered as a god while killing and eating them are prohibited among Hindus.
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PAUWELS, HEIDI, and EMILIA BACHRACH. "Aurangzeb as Iconoclast? Vaishnava Accounts of the Krishna images’ Exodus from Braj." Journal of the Royal Asiatic Society 28, no. 3 (2018): 485–508. http://dx.doi.org/10.1017/s1356186318000019.
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AbstractThis paper studies how Brajbhāṣā Vaishnava narratives describe the role the Mughal emperor Aurangzeb played in the displacement of Krishna images from the Braj heartland in the 1660s and 1670s. While contemporary discourse frequently suggests that the emperor was a villain persecuting beloved Hindu deities, who in turn are victims forcibly moved from their original homeland, the early-modern vernacular narratives we consider here perceive these peregrinations in rather more complex ways. This article foregrounds the case of the best-known dispersed Krishna image: Śrī Nāthajī, a deity of the Vallabha-Sampradāya, now residing in the Mewar area of Rajasthan. It analyses mostly the discourse of the Śrī Nāthajī kī Prākaṭya-Vārtā, or ‘The story of the Appearance of Śrī Nāthajī’, attributed to Vallabha's descendant, Harirāy. The sectarian logic presents Aurangzeb as an ardent, if uncouth, devotee and Śrī Nāthajī as an autonomous agent, not a victim, but rather a victor.
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Chilcott, Travis, та Raymond F. Paloutzian. "Relations between Gauḍīya Vaiṣṇava Devotional Practices and Implicit and Explicit Anthropomorphic Reasoning about Kṛṣṇa". Journal of Cognition and Culture 16, № 1-2 (2016): 107–21. http://dx.doi.org/10.1163/15685373-12342170.
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Employing a narrative comprehension task procedure, this study tests the hypothesis that engagement in Gauḍīya Vaiṣṇava religious practices, which are aimed at cultivating a personal relationship with the Hindu deity Kṛṣṇa, predict increased implicit attribution of anthropomorphic properties to him. Contrary to our hypothesis, multiple regression analyses of data from 184 native Krishna devotees in West Bengal, India, indicated that increased engagement in these practices loaded as a tertiary predictor after education and age, such that increased practice predicted a decrease in implicit anthropomorphic reasoning about Kṛṣṇa (ß = 0.16, p < 0.03). Based on these and additional analyses of the data, we theorize that these results may be due to the tradition’s emphasis on presenting Kṛṣṇa’s non-anthropomorphic dimensions to neophyte practitioners and the non-Gauḍīya Vaiṣṇava public. One implication of these results is that religious cultures and engagement in religious practices have the potential to significantly affect a human cognitive tendency to implicitly attribute anthropomorphic properties to divine beings. This may result from developing alternative knowledge from which to reason about a deity by engaging in religious practices and beliefs shaped by particular theological, historical, and cultural factors.
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Waghorne, Joanne Punzo. "A Birthday Party for a Sacred Text." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 6, no. 1-3 (2012): 225–42. http://dx.doi.org/10.1558/post.v6i1-3.225.
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For over a decade, various Hindu organizations in Singapore have joined to celebrate an extraordinary series of events, called the Gita Jayanti. The term jayanti literally means "victory" or "victorious" but more usually indicates celebration of the birthday of a holy figure or a deity. Put simply, this is a birthday celebration for the Gita, a compact text that increasingly functions in the Hindu diaspora much like the Bible—a portable compendium of teachings, a deeply poetic source of individual comfort, a text to be memorized, chanted, studied. I know of no other Hindu text with such a birthday, nor had any of the people whom I interviewed about it encountered this celebration outside of Singapore. As part of the celebrations, the Gita undergoes a ritual that parallels the consecration of a deity for use in a temple. In this case the Gita takes on the body of Krishna who is understood to have spoken these holy words many centuries ago. In this sense the Bhagavad Gita, here treated as the Holy Book of contemporary Hinduism, is an iconic body of Krishna just as the bronze murti is also an iconic body—the ultimate iconicity.
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Wuaku, Albert Kafui. "Hinduizing from the Top, Indigenizing from Below: Localizing Krishna Rituals in Southern Ghana." Journal of Religion in Africa 39, no. 4 (2009): 403–28. http://dx.doi.org/10.1163/002242009x12537559494232.
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AbstractThis essay reports on an aspect of Ghana's emerging Hindu religious experience; the localizing of the worship of Krishna, a Hindu deity and a globally circulating emblem of spirituality, in the context of the Radha-Govinda temple community in Accra, Ghana's capital. Representing the Ghanaian portion of International Society for Krishna Consciousness (ISKCON), this community seeks to perpetuate the Caitanyite Vaisnava heritage in this African worshipping society by implementing its policy of 'Hinduizing' local communities. Local worshippers are receptive to this new religion but do not succumb to the pressure to become Hindus in ISKCON's sense. They are resilient and invest this cultural import with local religious meanings, pressing its rituals into service as spiritual ammunition as they respond to pre-existing challenges and the new limitations that contemporary social transformations have imposed on them. The essay demonstrates how the meanings of lay practitioners who we often assume to be powerless, rather than ISKCON and its powerful local elite agents, largely shape the trajectory of the worship of Krishna in Ghana.
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van der Velde, Paul. "Continuing Transformation: Śrī Nāth, His Gurus and His Devotees in a Timeless World." Religions 14, no. 1 (2023): 111. http://dx.doi.org/10.3390/rel14010111.
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Śrī Nāth is one of the most important images of Krishna being worshipped at the temple of Nathdwara in Rajasthan. His devotees consider him to be a living god, he appears in their dreams, and according to their sayings they are in direct contact with him. Śrī Nāth, originally a local deity, is equated with the major Hindu god Krishna. However, while Krishna may be one of the most important gods in India, he is also ambiguous through his acts and words, if not bluntly unreliable. This double nature of Krishna is reflected in the cult of Śrī Nāth. There is an interesting interaction between Śrī Nāth (implying Krishna himself), the main gurus of his cult, i.e., Vallabha (Vallabhācārya) and the latter’s son and main successor Viṭṭhalnāth and his devoted disciples. At times, Śrī Nāth feels the need to stick to the official Brahmanical cult of the temple rituals, on other occasions, there is no problem in transgressing any given official rule. The same is true for the primary teachers, who are often put on par with Krishna himself or one of the celestials closely connected to him. Additionally, the disciples can apparently do anything in their frenzies. All of this reinforces the idea that this entire cult belongs to another world (alaukik). It is part of the everyday world (laukik) of Hindu India, but meanwhile, each and every rule can be ignored if the supernatural breaks through. Even the distinction between Hinduism and Islam at times simply does not seem to be of importance anymore. Muslims can become addicted to the passionate love for Krishna through the form of Śrī Nāth, so it is sometimes stated. Each and every partaker in the cult may share the visions of the initiated devotee, at times even without proper initiation. This all adds to the experience of the supermundane and supernatural in this particular cult.
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Peabody, Norbert. "In Whose Turban Does the Lord Reside?: The Objectification of Charisma and the Fetishism of Objects in the Hindu Kingdom of Kota." Comparative Studies in Society and History 33, no. 4 (1991): 726–54. http://dx.doi.org/10.1017/s0010417500017308.
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The shiny, black stone statue of Shri Nathji that today resides in the busy pilgrimage town of Nathdvara (Rajasthan, India) is the preeminent image of the Vaisnava sect of the Vallabha Sampradaya. Like all statues in the sect, the image is an anthropomorphic manifestation of Krishna, the sect's paramount deity (see Plate 1). More than simply representing Krishna, Vallabhite statues are believed to contain this deity's ‘immanent presence’ and to possess (and emanate) his mystical powers. In order to partake of these powers, the worship of images is a regular feature of Vallabhite religious practice, and pilgrimage to important temples, such as the Shri Nathji Temple, is a cherished goal of all members of the sect. This article examines how the Hindu rajas of western India attempted to bind these mystical powers to the service of their rule and what consequences this had both for royal action and for the maintenance and perpetuation of the divine powers of the statues themselves.
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Sapkota, Jiblal. "The Iconography of Divinity: Kali as a Power-Cluster of Ten Different Goddesses." Crossing the Border: International Journal of Interdisciplinary Studies 1, no. 1 (2014): 11–20. http://dx.doi.org/10.3126/ctbijis.v1i1.10464.
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This article is an exploration of Kali, a Hindu deity, through Panofskian three-tiered meanings of a visual art: pre-iconographical description, iconographical analysis and iconological interpretation. It presents neither a dogmatic nor an erotic interpretation of Kali but a purely objective analysis of the Hindu deity. It is argued that Kali has layers of implications, associations and meanings as well as multiple forms, namely Kali, Chinnamasta Kali, Tara, Bhuvaneshwori, Bagalamukhi, Dhumbavati, Kamala, Bhairavi, Sodasi, and Matangi. Each form is also associated with different mythologies, allegories and allusions of their origin. It is assumed that this article has had great significance in the academia as well as for the academicians and academics who are interested in carrying out research works, with an objective description, analysis and interpretation of any visual art. DOI: http://dx.doi.org/10.3126/ctbijis.v1i1.10464 Crossing the Border: International Journal of Interdisciplinary Studies Vol.1(1) 2013; 11-20
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Agrawal, Ruchi, and Dr Anu Ukande. "INDIAN ART IN CONTEXT: MANUSCRIPT PAINTINGS OF BAL-GOPAL-STUTI." ShodhKosh: Journal of Visual and Performing Arts 3, no. 2 (2022): 15–21. http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.114.
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This article seeks to re-discover the glorious manuscript of Bal-Gopal-Stuti which depicts the tales of Krishna based on the hymns attributed to Bilvamangala. Illustrating of the manuscript of Bal-Gopal-Stuti probably began in the early fifteenth century. Bal-Gopal-Stuti is an esteemed literary masterpiece written in Sanskrit devoted to the Hindu God Krishna. Since its composition around thirteenth- fourteenth century. Bilvamangala’s poems have continued to be popular among the devotees of Krishna. Indian art is the outcome of a fusion of several traditions and is still evolving. Indian paintings can be divided into two categories: murals and miniatures. Apparently, miniature paintings, which drew inspiration and source material from the rich legacy of mural and fresco painting, have been known since the seventh or eighth century. Because of their short width and length, the new painting materials limited the scale of the works to miniatures.
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Sarbadhikary, Sukanya. "The Breathing Body, Whistling Flute, and Sonic Divine: Oneness and Distinction in Bengal Vaishnavism’s Devotional Aesthetics." Religions 12, no. 9 (2021): 743. http://dx.doi.org/10.3390/rel12090743.
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This paper studies complex narratives connecting the Hindu deity Krishna, his melodious flute, and the porous, sonic human body in the popular devotional sect, Bengal Vaishnavism. From the devotee–lover responding to Krishna’s flute call outside, envying the flute’s privileged position on Krishna’s lips, to becoming the deity’s flute through yogic breath–sound fusions—texts abound with nuanced relations of equivalence and differentiation among the devotee–flute–god. Based primarily on readings of Hindu religious texts, and fieldwork in Bengal among makers/players of the bamboo flute, the paper analyses theological constructions correlating body–flute–divinity. Lying at the confluence of yogic, tantric, and devotional thought, the striking conceptual problem about the flute in Bengal Vaishnavism is: are the body, flute and divinity distinct or the same? I argue that the flute’s descriptions in both classical Sanskrit texts and popular oral lore and performances draw together ostensibly opposed religious paradigms of Yoga (oneness with divinity) and passionate devotion/bhakti (difference): its fine, airy feeling fusing with the body’s inner breathing self, and sweet melody producing a subservient temperament towards the lover–god outside. Flute sounds embody the peculiar dialectic of difference-and-identity among devotee–flute–god, much like the flute–lip-lock itself, bringing to affective life the Bengal Vaishnava philosophical foundation of achintya-bhed-abhed (inconceivability between principles of separation and indistinction).