Traditional depiction of Krishna

Krishna

Also known asGovindaGopalaMadhavaHariMurari

The playful, flute-playing form of the Divine — the most-chanted deity in Kirtan and the heart of the Bhakti tradition.

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Krishna is the blue-skinned, flute-playing cowherd of Vrindavan — and for most of the Bhakti tradition, he is not one god among many but the all-attractive face of the Divine itself. His name comes from the Sanskrit root krish, "to draw" or "to attract": Krishna is the one who pulls hearts toward him the way his flute pulled the cowherd girls of Vrindavan out of their houses at dusk.

His stories fill the Bhagavata Purana and the Mahabharata. As a child he is the butter thief, the mischievous darling of the village. As a youth he dances the rasa lila with Radha and the gopis on the banks of the Yamuna — the tradition's great image of the soul's love affair with God. And on the battlefield of Kurukshetra he becomes the teacher, speaking the Bhagavad Gita to the archer Arjuna: the classic manual of yoga, devotion, and selfless action.

In the sixteenth century, Chaitanya Mahaprabhu swept through Bengal teaching that in this age the simplest and most powerful spiritual practice is to sing Krishna's names together — and that movement, carried west by Srila Prabhupada in 1966, is a direct ancestor of the Kirtan you'll hear in yoga studios today. The Hare Krishna maha-mantra is Krishna's mantra, and it remains the most-sung chant in the world.

In Traditional Art

Krishna is almost always shown with skin the color of a rain cloud — deep blue or blue-black — dressed in yellow silk (pitambara), with a peacock feather in his crown and a garland of forest flowers. He stands in a relaxed, cross-legged pose playing the bamboo flute, often beside a cow or under a kadamba tree, with the river Yamuna nearby. When shown with Radha at his side, the pair together represent divine love itself.

In Kirtan

More kirtans are addressed to Krishna than to any other deity. The Hare Krishna maha-mantra, "Govinda Jaya Jaya," "Radhe Govinda," and countless other chants call him by his many names — each name remembered as a doorway into one of his stories. Gaudiya Vaishnava teaching holds that Krishna and his name are not different: to sing the name is to be in his company. That idea — the name as the presence — is the theological heart of Kirtan.

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