Stemming from my interest in Indian culture and mythology, the photography depicted in this project holds personal value to me. Immersing myself in folklore and the traditional stories of gods and demigods of the Hindu religion, this piece explores the story of Krishna and a few of the women who were a part of his life.

 

The concept behind the stills were inspired by the book The Palace of Illusions by Chitra Banerjee Divakaruni. The book elaborates the epic poem Mahabharata and discusses the events that led to the Kurukshetra War. Unlike how the tale is traditionally told, it looks at the story through the eyes of Draupadi, one of the most important female presences during the epic. We are given an insight into her feelings and thoughts. In a similar manner, the project imagery brings the women and their emotions towards Krishna to the forefront, highlighting their relationships.

 

As a young boy, Krishna was popularly known as being mischievous, stealing freshly churned butter hung in clay pots. One day, when playing with his friend Balarama, an apparition of the Lord Vishnu stuffed a handful of mud into Krishna’s mouth. His friends quickly complained about the happenings to his mother, who in return sternly commanded that he show her the mud in his mouth. On opening his mouth instead of seeing dirt, she was surprised by the sight of the entire universe. It was from then that Krishna’s true powers as an incarnation of Lord Vishnu himself was revealed.

 

As he grew older his playful nature remained. He would serenade all the milkmaids of the village with his charm and skilful flute playing skills. One milkmaid who he formed a particularly close bond with was Radha. Radha today is known as the goddess of love and compassion and can be seen through numerous paintings, singing and dancing with Krishna. While Radha and Krishna were never married, their presence in each other’s heart, friendship and lasting bond are constantly spoken about. Their names tend to be said in unison.

 

While their devotion to each other was strongly present, Krishna’s attention and affection was still divided amongst other women. Jealousy, while not shown predominantly, was still a growing inkling of a thought in her mind (this can even be seen in references from pop culture, such as the song Radha Kaise Na Jale – how should Radha not be jealous – from the Bollywood film Lagaan). Some stories even speak about how Radha’s jealousy caused her to curse one of Krishna’s lovers into becoming a plant. The most recognised colour for envy is green, backing the reasoning behind why Radha’s emotional depiction in the photos in green.

 

Radha and Krishna dancing together is commonly depicted in imagery as happening in nature, where there is an abundance of grass, trees and plants. This is why the attire chosen to be draped for Radha’s set of photographs was that with embroidery of flowers. The threads are bright and colourful, showcasing the innocent childhood relationship between the two. Indian dancers are usually seen wearing anklets when performing, adding the faint sound of chiming bells to an already present beat – potentially created by a tabla. Due to this the feet photographed are seen adorned with silver anklets, in particular the sort that produce a jingling sound.

 

Stemming from the myth of Radha cursing a woman into leading a life as a plant comes Tulsi. Tulsi is said to be an earthly incarnation of the Lakshmi, the goddess of wealth. In Hindu tradition, Tulsi is worshipped through taking care of basil plant. While the story of Tulsi being cursed by Radha is not widely circulated or believed, she is known as the wife of Krishna.

 

A Hindu marriage is signified by a couple walking around a blazing fire seven times. This fire, before the saat phere (seven rounds), is fed with ghee, flowers and other such items as a part of the ceremony. Fire is characterised by it’s warmth and the colour orange. As an acknowledgement of this religious custom, Tulsi's images are in a rich orange. Hindu wedding jewellery is typically gold, explaining the ring, bangles and anklets seen adorned in the photographs. While Tulsi is Krishna's wife, it is common that Radha's name is taken when speaking of Krishna instead of hers. This is why Tulsi is shown wearing simpler, one toned clothing that allows her to blend into the background far easier than Radha's colourful embroidery.

 

Meera is the final woman whose relationship with Krishna is depicted. Unlike Radha and Tulsi, who directly interact with Krishna on a regular basis, Meera veers towards being his devotee. While she is the wife of another man, her loyalties remain with Krishna. In lore she is described dancing her days away in a shrine devoted to Krishna. This devotion to Krishna rather than her own husband was looked down upon by her in laws, leading to them constantly wanting to harm her. She was never accepted wholly by her family for the love she held in her heart for Krishna, in turn meaning she led a very isolated and melancholy life.

 

Due to the negative impact her relationship with Krishna had on her own family life, the colour chosen for Meera's images is blue. This depicts the gloom and loneliness she faced on a daily basis. In the pictures, her hands and feet are adorned with dancer's henna, paying homage to the the performances she devoted to Krishna's idol. Her attire is a silk saree, showcasing the richness she was born in.

 

As a nod to the many emotions, feelings and relationships possessed by a single woman, all three women were photographed using the same person. This decision showcases how every woman can have strong bonds and friendships like Radha, be a wife and companion like Tulsi, and a devotee of her own passion like Meera.