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Updated: May 14, 2025
The first is represented by a group of three manuscripts two of them dated respectively 1598 and 1610 and consisting of the tenth book of the Bhagavata Purana, the third being yet another illustration of the Gita Govinda . All three sets of illustrations are in a closely similar style a style which, while possessing roots in Jain painting is now considerably laxer and more sprawling.
Such vital differences are only partially resolved in the Bhagavata Purana. Representing as they do two different conceptions of Krishna's character, it is inevitable that the resulting account should be slightly biased in one direction or the other. The Bhagavata Purana records both phases in careful detail blending them into a single organic whole.
The Bhagavata Purana is couched in the form of a dialogue between a sage and a king. The king is the successor of the Pandavas but is doomed to die within a week for having by accident insulted a holy ascetic. To ensure his salvation, he spends the week listening to the Bhagavata Purana and concentrating his mind on Krishna whom he declares to be his helper.
From the twelfth century onwards Bengal had constantly celebrated the loves of Krishna the poets Jayadeva, Chandi Das and Vidyapati being all natives of this part of India. Hymns to Krishna were sung in the villages and as part of this fervid adhesion, local manuscripts of the Bhagavata Purana and the Gita Govinda were often produced.
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