Who painted Krishna seated on a hill being fed by Yasoda?

Krishna seated on a hill being fed by Yasoda was painted by Unknown in 1825.

Where can I see Krishna seated on a hill being fed by Yasoda?

Krishna seated on a hill being fed by Yasoda is held by Victoria and Albert Museum.

What movement is Krishna seated on a hill being fed by Yasoda?

Krishna seated on a hill being fed by Yasoda is associated with Romanticism.

Artwork

Krishna seated on a hill being fed by Yasoda

Unknown , 1825

Krishna seated on a hill being fed by Yasoda is a paint painting by the Romanticist artist Unknown. It dates from 1825 and is held in the collection of the Victoria and Albert Museum. Created in 1825, this South Indian painting portrays the child deity Krishna seated on a hilltop.

About this work

Overview

Created in 1825, this South Indian painting portrays the child deity Krishna seated on a hilltop. He is attended by his foster‑mother Yasoda and another woman, both kneeling and offering him rice balls. The composition is framed by a leafy tree and rendered in warm, gentle hues that emphasize the scene’s intimacy.

Subject & Meaning

The work illustrates a familiar episode from Krishna’s early life, when Yasoda nourishes the divine child with rice. The presence of a second female figure suggests communal care, reinforcing themes of devotion and maternal love central to Hindu devotional narratives.

Technique & Style

Executed in a drawing medium, the piece employs delicate line work and a limited palette of pinks, golds, and earth tones. The soft modeling of forms and the emphasis on emotional expression align it with Romantic sensibilities, which prized feeling and the natural setting.

History & Provenance

The painting belongs to a larger series of one hundred drawings that document various Hindu deities. Produced in the early nineteenth century, the series was likely commissioned for a private collector or temple patron interested in a systematic visual record of the pantheon.

Context

During the period, South Indian artists often blended traditional iconography with emerging European artistic influences. This synthesis is evident in the work’s romanticized treatment of the landscape and the individualized, tender portrayal of the divine figure.