reat series as Plate 3, here attributed to the Kangra
artist Purkhu.

The young Krishna, tied to a mortar to keep him out of mischief, has
dragged it between two trees and thereby uprooted them. The cowherds, led
by the bearded Nanda, Krishna's foster-father, have hurried to the scene
and Balarama, Krishna's half-brother, is excitedly pointing out that
Krishna is safe. In the foreground, emerging from the earth are two
crowned figures--Nala and Kuvara, the sons of the yaksha king, Kubera,
who, as a consequence of a curse had been turned into the two trees.
Doomed to await Krishna's intervention, they have now been released.
Reclining on the trunks, still tied to the mortar, the young Krishna
surveys the scene with pert satisfaction.

[Illustration]

PLATE 6

_The Road to Brindaban_

Illustration to the _Bhagavata Purana_
Kangra, Punjab Hills, c. 1790
National Museum, New Delhi

With Plates 3 and 5, part of the series attributed to Purkhu.

Led by Nanda, the majestic figure in the front bullock-cart, the cowherds
are moving a day's march across the River Jumna to enjoy the larger
freedom of Brindaban. Their possessions--bundles of clothes,
spinning-wheels, baskets of grain and pitchers--are being taken with them
and mounted with Yasoda on a second cart go the children, Balarama and
Krishna. With its great variety of stances, simple naturalism and air of
innocent calm, the picture exactly expresses the terms of tender
familiarity on which the cowherds lived with Krishna.

[Illustration]

PLATE 7

_Krishna milking_

Illustration to the _Bhagavata Purana_
Garhwal, Punjab Hills, c. 1800
G.K. Kanoria collection, Calcutta

Like Plate 4, an illustration of an isolated episode. Krishna, having
graduated from tending the calves, is milking a cow, his mind filled with
brooding thoughts. A cowgirl restrains the calf by tugging at its string
while the cow licks its restive offspring with tender care. Other
details--the tree clasped by a flowering creeper, the peacock perched in
its branches--suggest the cowgirls' growing love. The image of tree and
creeper was a common symbol in poetry for the lover embraced by his
beloved and peacocks, thirsting for rain, were evocative of desire.

In style, the picture represents the end of the first great phase of
Garhwal painting (c. 1770-1804) when romantic themes were treated with
glowing ardour.

[Illustration]

PLATE 8

_The Quelling of the Snake Kaliya_

Ill