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Description Exceptionally ornate cast in brass, as lustrous and worked with as fine details as an image cast in gold: the same minuteness and precision as defining a piece at a goldsmith’s workshop, the statue represents Lord Krishna playing fully absorbed on his flute. Hearing the melody a cow is drawn to him and stands supporting him from behind. Halebid in the country’s southern part had a highly ornate style of divine images, Krishna’s in particular; however, this image is more akin to north Indian metal casting with a widely different character. The iconography and anatomy of Krishna’s figure and the form and features of the cow are characteristically north Indian. Even the ‘tri-bhanga’ – tri-curved posture is a more celebrated form of Krishna’s images in north. The popular term for ‘tri-bhanga’ being ‘banke’ this form of his image is widely known as Banke Bihari and enshrines the most significant of his ‘pithas’ – seats, the Vrindavana shrine.
Description Exceptionally ornate cast in brass, as lustrous and worked with as fine details as an image cast in gold: the same minuteness and precision as defining a piece at a goldsmith’s workshop, the statue represents Lord Krishna playing fully absorbed on his flute. Hearing the melody a cow is drawn to him and stands supporting him from behind. Halebid in the country’s southern part had a highly ornate style of divine images, Krishna’s in particular; however, this image is more akin to north Indian metal casting with a widely different character. The iconography and anatomy of Krishna’s figure and the form and features of the cow are characteristically north Indian. Even the ‘tri-bhanga’ – tri-curved posture is a more celebrated form of Krishna’s images in north. The popular term for ‘tri-bhanga’ being ‘banke’ this form of his image is widely known as Banke Bihari and enshrines the most significant of his ‘pithas’ – seats, the Vrindavana shrine.
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