Venugopal When Krishna Plays The Flute

Email

Whatsapp

Facebook

Pinterest

Twitter

Copy link

Thus, from one poet to another and one painter to the next, we hear the many notes of the flute of Krishna. Across trackless centuries of the aesthetic celebration of Krishna as Venugopala, in homes and havelis, in palaces and temples, right from the Bhagavata to times contemporary, it is the flute that is the foundation of Venugopala. It is this that resonates with the Indian mind, for hidden somewhere in that mind, are our ancient roots in forests and meadows, in the many nuances of the cowherd, of festivals and gatherings in village squares, of joyous moments where shringara and adhyatma are seamless, where god and human are not dichotomous and in being a part of the love of Krishna we discover our own selves. It is the sound of the flute that is the sutradhar, that connects each one of us to each and also to Krishna and ensures that Krishna is part of our daily life and living, that we do not have to perform any rites or rituals but let the honeyed notes of the flute wash our being and this will ensure that the Kadamba tree will blossom in our mind, and when that happens can Krishna be too far?

Harsha V. Dehejia has a double doctorate, one in Medicine and the other in Ancient Indian Culture both from Mumbai University. He is a practising Physician and Professor of Philsophy and divides his time between Mumbai, India and Ottawa, Canada.

Other books by Harsha V. Dehejia published by Motilal Banarsidass: Advaita of Art; Parvatidarpana; Gods Beyond Temples; Leaves of The Pipal Tree, Aesthetic Reflection on Indian Myths; New Leaves of The Pipal Tree, Vedanta Through Stories; Bhartrhari, Hundred Verses of Love.

In addition Harsha V. Dehejia has numerous books mainly on Krishna Shringara.

**Contents and Sample Pages**