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Collections

Unknown
Princess Rukmini Receives a Brahmin with Krishna's Response to her Message, Folio from a Rukmini-Harana (Abduction of Rukmini)circa 1800-1850

Not on view
Indian miniature painting showing two architectural pavilions, a woman leaning from an upper balcony, an elderly bearded man gesturing upward from a terrace, and a seated woman, against a bold red sky
Artist or Maker
Unknown
Title
Princess Rukmini Receives a Brahmin with Krishna's Response to her Message, Folio from a Rukmini-Harana (Abduction of Rukmini)
Place Made
India, Himachal Pradesh, Guler
Date Made
circa 1800-1850
Medium
Opaque watercolor and gold on paper
Dimensions
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)
Credit Line
Gift of The Ahmanson Foundation
Accession Number
M.74.12
Classification
Drawings
Collecting Area
South and Southeast Asian Art
Curatorial 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 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).