The Carving of Kṛṣṇa’s Legend: North and South, Back and Forth

This paper emphasizes the role played by the sculptural tradition in the elaboration of religious narratives that today are mostly studied through texts. It aims to demonstrate that according to the documents we know, the legend of Kṛṣṇa has been built through one continuous dialogue between differe...

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Main Author: Charlotte Schmid
Format: Article
Language:English
Published: MDPI AG 2020-08-01
Series:Religions
Subjects:
Online Access:https://www.mdpi.com/2077-1444/11/9/439
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spelling doaj-f1fd14bde95341edbc0861d789eb95862020-11-25T04:00:53ZengMDPI AGReligions2077-14442020-08-011143943910.3390/rel11090439The Carving of Kṛṣṇa’s Legend: North and South, Back and ForthCharlotte Schmid0French School of the Far East (École Française d’Extrême-Orient), 75116 Paris, FranceThis paper emphasizes the role played by the sculptural tradition in the elaboration of religious narratives that today are mostly studied through texts. It aims to demonstrate that according to the documents we know, the legend of Kṛṣṇa has been built through one continuous dialogue between different media, namely texts and carvings, and different linguistic areas, Indo-Aryan and Dravidian. Taking the motif of the butter theft as a basis, we stress the role played by the sculptural tradition and Tamil poetry, two elements less studied than others, at the foundation of a pan-Indian Kṛṣṇa-oriented heritage. We posit that the iconographic formula of the cowherds’ station as the significant background of the infancy of Kṛṣṇa led to the motif of the young god stealing butter in the texts, through the isolation of one significant element of the early sculpted images. The survey of the available documents leads to the conclusion that, in the southern part of the peninsula, patterns according to which stone carvings were done have been a source of inspiration in Tamil literature. Poets writing in Tamil authors knew texts transmitted in Sanskrit, Prākrit, and Pāli, and they certainly had listened to some others to which we have no access today. But we give reasons to assume that the authors of the said texts were also aware of the traditional ways of representing a child Kṛṣṇa in the visual domain. With these various traditions, poets of the Tamil country in the later stage of Tamil Caṅkam literature featured a character they may not have consciously created, as he was already existent in the visual tradition and nurtured by the importance of one landscape animated by cowherds in the legend of Kṛṣṇa.https://www.mdpi.com/2077-1444/11/9/439Tamil Caṅkamvisual traditionKṛṣṇa’s legendBhāgavata-purāṇaHarivaṃśaDivyaprabandham
collection DOAJ
language English
format Article
sources DOAJ
author Charlotte Schmid
spellingShingle Charlotte Schmid
The Carving of Kṛṣṇa’s Legend: North and South, Back and Forth
Religions
Tamil Caṅkam
visual tradition
Kṛṣṇa’s legend
Bhāgavata-purāṇa
Harivaṃśa
Divyaprabandham
author_facet Charlotte Schmid
author_sort Charlotte Schmid
title The Carving of Kṛṣṇa’s Legend: North and South, Back and Forth
title_short The Carving of Kṛṣṇa’s Legend: North and South, Back and Forth
title_full The Carving of Kṛṣṇa’s Legend: North and South, Back and Forth
title_fullStr The Carving of Kṛṣṇa’s Legend: North and South, Back and Forth
title_full_unstemmed The Carving of Kṛṣṇa’s Legend: North and South, Back and Forth
title_sort carving of kṛṣṇa’s legend: north and south, back and forth
publisher MDPI AG
series Religions
issn 2077-1444
publishDate 2020-08-01
description This paper emphasizes the role played by the sculptural tradition in the elaboration of religious narratives that today are mostly studied through texts. It aims to demonstrate that according to the documents we know, the legend of Kṛṣṇa has been built through one continuous dialogue between different media, namely texts and carvings, and different linguistic areas, Indo-Aryan and Dravidian. Taking the motif of the butter theft as a basis, we stress the role played by the sculptural tradition and Tamil poetry, two elements less studied than others, at the foundation of a pan-Indian Kṛṣṇa-oriented heritage. We posit that the iconographic formula of the cowherds’ station as the significant background of the infancy of Kṛṣṇa led to the motif of the young god stealing butter in the texts, through the isolation of one significant element of the early sculpted images. The survey of the available documents leads to the conclusion that, in the southern part of the peninsula, patterns according to which stone carvings were done have been a source of inspiration in Tamil literature. Poets writing in Tamil authors knew texts transmitted in Sanskrit, Prākrit, and Pāli, and they certainly had listened to some others to which we have no access today. But we give reasons to assume that the authors of the said texts were also aware of the traditional ways of representing a child Kṛṣṇa in the visual domain. With these various traditions, poets of the Tamil country in the later stage of Tamil Caṅkam literature featured a character they may not have consciously created, as he was already existent in the visual tradition and nurtured by the importance of one landscape animated by cowherds in the legend of Kṛṣṇa.
topic Tamil Caṅkam
visual tradition
Kṛṣṇa’s legend
Bhāgavata-purāṇa
Harivaṃśa
Divyaprabandham
url https://www.mdpi.com/2077-1444/11/9/439
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