Envisioned through Krishna’s beloved epithet Murli Manohar, the stone in this marble sculpture seems to forget its hardness as Krishna descends into it, emerging with a grace so fluid that it feels shaped by melody rather than by tools.
Krishna is shown in a relaxed yet regal pose, absorbed in the act of playing the flute. His gentle smile and luminous gaze enliveniven the sculpture.
The mor mukuta rises above his head, crowned with peacock feathers that echo rhythmically along the prabhavali, while ornaments flow naturally across his form, their golden highlights lending warmth and radiance to the cool white marble. The dhoti wraps his body with soft, lyrical folds, each contour delicately articulated to suggest ease, movement, and breath.
The most captivating presence in the sculpture is the lotus throne itself. It does not appear carved, but fully bloomed. Layer upon layer of petals open outward, their edges softened with subtle tones of pink. Where Krishna’s lotus feet touch the petals, a tenderness is felt, as though one can feel the weight of the Lord’s foot gracing the petal.
The image recalls the poetic vision of Krishna as the bumblebee and the gopis as flowers, with Krishna dwelling at the heart of devotion, eternally drawing nectar from love, beauty, and surrender.
This sculpture stands as a luminous expression of that presence, where devotion, artistry, and emotion meet in perfect harmony.
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