Princess Rukmini Receives a Brahmin with Krishna's Response to her Message, Folio from a Rukmini-Harana (Abduction of Rukmini)

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Princess Rukmini Receives a Brahmin with Krishna's Response to her Message, Folio from a Rukmini-Harana (Abduction of Rukmini)

India, Himachal Pradesh, Guler, circa 1800-1850
Drawings; watercolors
Opaque watercolor and gold on paper
Image: 8 3/4 x 12 1/8 in. (22.23 x 30.8 cm); Sheet: 9 3/4 x 13 in. (24.77 x 33.02 cm)
Gift of The Ahmanson Foundation (M.74.12)
Not currently on public view

Curator Notes

The Rukmini-Harana (Abduction of Rukmini), known also as the Krishna Rukmini or Rukmini Mangala, is a major episode narrated in Book 10, Chapters 52-53 of the Bhagavata Purana (Ancient Stories of the ...
The Rukmini-Harana (Abduction of Rukmini), known also as the Krishna Rukmini or Rukmini Mangala, is a major episode narrated in Book 10, Chapters 52-53 of the Bhagavata Purana (Ancient Stories of the Lord). Traditionally ascribed to the legendary poet-sage Vyasa in the 8th-10th century CE, it stresses the path of devotion (bhakti) to Krishna, the eighth incarnation of Vishnu, the Hindu God of Preservation. Rukmini was the daughter of King Bhishmaka of Vidarbha, Maharashtra. She was betrothed to Shishupala, the King of the Chedi Kingdom, but was secretly enamored of Krishna. When her arranged marriage in Kundinapura was announced, out of desperation Rukmini sent a trusted Brahmin to Krishna with an urgent message requesting that he rescue her. Krishna and his brother Balarama went to Kundinapura ostensibly to attend the wedding, but when Rukmini went to offer prayers at an Ambika shrine, Krishna abducted her according to their clandestine plan and they eloped to Krishna’s city of Dwarka in Gujarat. Here, Rukmini is receiving Krishna’s response to her message from the Brahmin. This folio is a close copy of the original painting attributed to Nikka (circa 1745-1833), circa 1790-1800, in the Bhuri Singh Museum, Chamba (D.35). The composition is identical, but there are minor variations in the delineation of the figures and coloring. Additional copies of this composition are in the Victoria and Albert Museum, London (IS.129-1951) and Norton Simon Museum, Pasadena (P.2000.9.9).
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