Krishna

Krishna (/ˈkrɪʃnə/; Sanskrit: कृष्ण, ) is a major deity in Hinduism. He is worshipped as the eighth avatar of Vishnu and also as the Supreme God in his own right. He is the god of protection, compassion, tenderness, and love; and is one of the most popular and widely revered among Hinduism divinities. Krishna's birthday is celebrated every year by Hindus on Krishna Janmashtami according to the lunisolar Hindu calendar, which falls in late August or early September of the Gregorian calendar.

The anecdotes and narratives of Krishna's life are generally titled as Krishna Līlā. He is a central character in the Mahabharata, the Bhagavata Purana, the Brahma Vaivarta Purana, and the Bhagavad Gita, and is mentioned in many Hindu philosophical, theological, and mythological texts. They portray him in various perspectives: as a god-child, a prankster, a model lover, a divine hero, and the universal supreme being. His iconography reflects these legends, and shows him in different stages of his life, such as an infant eating butter, a young boy playing a flute, a young boy with Radha or surrounded by female devotees; or a friendly charioteer giving counsel to Arjuna.

The name and synonyms of Krishna have been traced to 1st millennium BCE literature and cults. In some sub-traditions, like Krishnaism, Krishna is worshipped as Svayam Bhagavan (the Supreme God). These sub-traditions arose in the context of the medieval era Bhakti movement. Krishna-related literature has inspired numerous performance arts such as Bharatanatyam, Kathakali, Kuchipudi, Odissi, and Manipuri dance. He is a pan-Hindu god, but is particularly revered in some locations, such as Vrindavan in Uttar Pradesh, Dwarka and Junagadh in Gujarat; the Jagannatha aspect in Odisha, Mayapur in West Bengal; in the form of Vithoba in Pandharpur, Maharashtra, Shrinathji at Nathdwara in Rajasthan, Udupi Krishna in Karnataka, Parthasarathy in Tamil Nadu and in Aranmula, Kerala, and Guruvayoorappan in Guruvayoor in Kerala. Since the 1960s, the worship of Krishna has also spread to the Western world and to Africa, largely due to the work of the International Society for Krishna Consciousness (ISKCON).

## Names and epithets

The name "Krishna" originates from the Sanskrit word ', which is primarily an adjective meaning "black", "dark", or "dark blue". The waning moon is called Krishna Krishna Paksha, relating to the adjective meaning "darkening". The name is also interpreted sometimes as "all-attractive".

As a name of Vishnu, Krishna is listed as the 57th name in the Vishnu Sahasranama. Based on his name, Krishna is often depicted in idols as black- or blue-skinned. Krishna is also known by various other names, epithets, and titles that reflect his many associations and attributes. Among the most common names are Mohan "enchanter"; Govinda "chief herdsman", Keev "prankster", and Gopala "Protector of the 'Go'", which means "soul" or "the cows". Some names for Krishna hold regional importance; Jagannatha, found in the Puri Hindu temple, is a popular incarnation in Odisha state and nearby regions of eastern India.

Krishna may also be referred to as Vāsudeva-Krishna, Murlidhar, or Chakradhar. The honorary title "Sri" (also spelled "Shri") is often used before the name of Krishna.

### Names in different states of India

Krishna is commonly worshipped as:

1. Kanhaiyya/Banke Bihari/Thakurji/Kanha/Kunj Bihari/Radha Raman/Radha Vallabh/Kisna/Kishan: Uttar Pradesh, Bihar, Jharkhand, and Madhya Pradesh
2. Jagannath: Odisha
3. Vithoba: Maharashtra
4. Shrinathji: Rajasthan
5. Guruvayoorappan/Kannan: Kerala
6. Dwarakadhish/Ranchhod: Gujarat
7. Mayon/Parthasarathy/Kannan: Tamil Nadu
8. Kr̥śṇayya: Karnataka

## Historical and literary sources

The tradition of Krishna appears to be an amalgamation of several independent deities of ancient India, the earliest to be attested being Vāsudeva. Vāsudeva was a hero-god of the tribe of the Vrishnis, belonging to the Vrishni heroes, whose worship is attested from the 5th–6th century BCE in the writings of Pāṇini, and from the 2nd century BCE in epigraphy with the Heliodorus pillar. At one point in time, it is thought that the tribe of the Vrishnis fused with the tribe of the Yadavas/Abhiras, whose own hero-god was named Krishna. Vāsudeva and Krishna fused to become a single deity, which appears in the Mahabharata, and they started to be identified with Vishnu in the Mahabharata and the Bhagavad Gita. Around the 4th century CE, another tradition, the cult of Gopala-Krishna of the Ābhīras, the protector of cattle, was also absorbed into the Krishna tradition.

### Early epigraphic sources

#### Depiction in coinage (2nd century BCE)

Around 180 BCE, the Indo-Greek king Agathocles issued some coinage (discovered in Ai-Khanoum, Afghanistan) bearing images of deities that are now interpreted as being related to Vaisnava imagery in India. The deities displayed on the coins appear to be Saṃkarṣaṇa-Balarama with attributes consisting of the Gada mace and the plow, and Vāsudeva-Krishna with attributes of the Shankha (conch) and the Sudarshana Chakra wheel. According to Bopearachchi, the headdress on top of the deity is actually a misrepresentation of a shaft with a half-moon parasol on top (chattra).

#### Inscriptions

The Heliodorus Pillar, a stone pillar with a Brahmi script inscription, was discovered by colonial era archaeologists in Besnagar (Vidisha, central Indian state of Madhya Pradesh). Based on the internal evidence of the inscription, it has been dated to between 125 and 100 BCE and is now known after Heliodorus – an Indo-Greek who served as an ambassador of the Greek king Antialcidas to a regional Indian king, Kasiputra Bhagabhadra. The Heliodorus pillar inscription is a private religious dedication of Heliodorus to "Vāsudeva", an early deity and another name for Krishna in the Indian tradition. It states that the column was constructed by "the Bhagavata Heliodorus" and that it is a "Garuda pillar" (both are Vishnu-Krishna-related terms). Additionally, the inscription includes a Krishna-related verse from chapter 11.7 of the Mahabharata stating that the path to immortality and heaven is to correctly live a life of three virtues: self-temperance (damah), generosity (cagah or tyaga), and vigilance (apramadah). The Heliodorus pillar site was fully excavated by archaeologists in the 1960s. The effort revealed the brick foundations of a much larger ancient elliptical temple complex with a sanctum, mandapas, and seven additional pillars. The Heliodorus pillar inscriptions and the temple are among the earliest known evidence of Krishna-Vasudeva devotion and Vaishnavism in ancient India.

The Heliodorus inscription is not isolated evidence. The Hathibada Ghosundi Inscriptions, all located in the state of Rajasthan and dated by modern methodology to the 1st century BCE, mention Saṃkarṣaṇa and Vāsudeva, also mention that the structure was built for their worship in association with the supreme deity Narayana. These four inscriptions are notable for being some of the oldest-known Sanskrit inscriptions.

A Mora stone slab found at the Mathura-Vrindavan archaeological site in Uttar Pradesh, held now in the Mathura Museum, has a Brahmi inscription. It is dated to the 1st century CE and mentions the five Vrishni heroes, otherwise known as Saṃkarṣaṇa, Vāsudeva, Pradyumna, Aniruddha, and Samba.

The inscriptional record for Vāsudeva starts in the 2nd century BCE with the coinage of Agathocles and the Heliodorus pillar, but the name of Krishna appears rather later in epigraphy. At the Chilas II archaeological site dated to the first half of the 1st-century CE in northwest Pakistan, near the Afghanistan border, are engraved two males, along with many Buddhist images nearby. The larger of the two males held a plough and club in his two hands. The artwork also has an inscription with it in Kharosthi script, which has been deciphered by scholars as Rama-Krsna, and interpreted as an ancient depiction of the two brothers, Balarama and Krishna.

The first known depiction of the life of Krishna himself comes relatively late, with a relief found in Mathura, and dated to the 1st–2nd century CE. This fragment seems to show Vasudeva, Krishna's father, carrying baby Krishna in a basket across the Yamuna. The relief shows at one end a seven-hooded Naga crossing a river, where a makara crocodile is thrashing around, and at the other end a person seemingly holding a basket over his head.

### Literary sources

#### Mahabharata

The earliest text containing detailed descriptions of Krishna as a personality is the epic Mahabharata, which depicts Krishna as an incarnation of Vishnu. Krishna is central to many of the main stories of the epic. The eighteen chapters of the sixth book (Bhishma Parva) of the epic that constitute the Bhagavad Gita contain the advice of Krishna to Arjuna on the battlefield.

During the ancient times that the Bhagavad Gita was composed in, Krishna was widely seen as an avatar of Vishnu rather than an individual deity, yet he was immensely powerful and almost everything in the universe other than Vishnu was "somehow present in the body of Krishna". Krishna had "no beginning or end", "fill[ed] space", and every god but Vishnu was seen as ultimately him, including Brahma, "storm gods, sun gods, bright gods", light gods, "and gods of ritual." Other forces also existed in his body, such as "hordes of varied creatures" that included "celestial serpents." He is also "the essence of humanity."

The Harivamsa, a later appendix to the Mahabharata, contains a detailed version of Krishna's childhood and youth.

#### Other sources

The Chandogya Upanishad, estimated to have been composed sometime between the 8th and 6th centuries BCE, has been another source of speculation regarding Krishna in ancient India. The verse (III.xvii.6) mentions Krishna in Krishnaya Devakiputraya as a student of the sage Ghor' of the Angirasa family. Ghora is identified with Neminatha, the twenty-second tirthankara in Jainism, by some scholars. This phrase, which means "To Krishna the son of Devaki", has been mentioned by scholars such as Max Müller as a potential source of fables and Vedic lore about Krishna in the Mahabharata and other ancient literature –  only potential because this verse could have been interpolated into the text, or the Krishna Devakiputra, could be different from the deity Krishna. These doubts are supported by the fact that the much later age Sandilya Bhakti Sutras, a treatise on Krishna, cites later age compilations such as the Narayana Upanishad but never cites this verse of the Chandogya Upanishad. Other scholars disagree that the Krishna mentioned along with Devaki in the ancient Upanishad is unrelated to the later Hindu god of the Bhagavad Gita fame. For example, Archer states that the coincidence of the two names appearing together in the same Upanishad verse cannot be dismissed easily.

Yāska's Nirukta, an etymological dictionary published around the 6th century BCE, contains a reference to the Shyamantaka jewel in the possession of Akrura, a motif from the well-known Puranic story about Krishna. Shatapatha Brahmana and Aitareya-Aranyaka associate Krishna with his Vrishni origins.

In Ashṭādhyāyī, authored by the ancient grammarian Pāṇini (probably belonged to the 5th or 6th century BCE), Vāsudeva and Arjuna, as recipients of worship, are referred to together in the same sutra. Megasthenes, a Greek ethnographer and an ambassador of Seleucus I to the court of Chandragupta Maurya towards the end of 4th century BCE, made reference to Herakles in his famous work Indica. This text is now lost to history, but was quoted in secondary literature by later Greeks such as Arrian, Diodorus, and Strabo. According to these texts, Megasthenes mentioned that the Sourasenoi tribe of India, who worshipped Herakles, had two major cities named Methora and Kleisobora, and a navigable river named the Jobares. According to Edwin Bryant, a professor of Indian religions known for his publications on Krishna, "there is little doubt that the Sourasenoi refers to the Shurasenas, a branch of the Yadu dynasty to which Krishna belonged". The word Herakles, states Bryant, is likely a Greek phonetic equivalent of Hari-Krishna, as is Methora of Mathura, Kleisobora of Krishnapura, and the Jobares of Jamuna. Later, when Alexander the Great launched his campaign in the northwest Indian subcontinent, his associates recalled that the soldiers of Porus were carrying an image of Herakles.

The Buddhist Pali canon and the Ghata-Jâtaka (No.  454) polemically mention the devotees of Vâsudeva and Baladeva. These texts have many peculiarities and may be a garbled and confused version of the Krishna legends. The texts of Jainism mention these tales as well, also with many peculiarities and different versions, in their legends about Tirthankaras. This inclusion of Krishna-related legends in ancient Buddhist and Jaina literature suggests that Krishna theology was existent and important in the religious landscape observed by non-Hindu traditions of ancient India.

The ancient Sanskrit grammarian Patanjali in his Mahabhashya makes several references to Krishna and his associates found in later Indian texts. In his commentary on Pāṇini's verse 3.1.26, he also uses the word Kamsavadha or the "killing of Kamsa", an important part of the legends surrounding Krishna.

#### Puranas

Many Puranas, mostly compiled during the Gupta period (4–5th century CE), tell Krishna's life story or some highlights from it. Two Puranas, the Bhagavata Purana and the Vishnu Purana, contain the most elaborate telling of Krishna's story, but the life stories of Krishna in these and other texts vary, and contain significant inconsistencies. The Bhagavata Purana consists of twelve books subdivided into 332 chapters, with a cumulative total of between 16,000 and 18,000 verses depending on the version. The tenth book of the text, which contains about 4,000 verses (\~25%) and is dedicated to legends about Krishna, has been the most popular and widely studied part of this text.

## Iconography

Krishna is represented in the Indian traditions in many ways, but with some common features. His iconography typically depicts him with black, dark, or blue skin, like Vishnu. However, ancient and medieval reliefs and stone-based arts depict him in the natural color of the material out of which he is formed, both in India and in southeast Asia. In some texts, his skin is poetically described as the color of Jambul (Jamun, a purple-colored fruit).

Krishna is often depicted wearing a peacock-feather wreath or crown, and playing the bansuri (Indian flute). In this form, he is usually shown standing with one leg bent in front of the other in the Tribhanga posture. He is sometimes accompanied by cows or a calf, which symbolise the divine herdsman Govinda. Alternatively, he is shown as a romantic young boy with the gopis (milkmaids), often making music or playing pranks.

In other icons, he is a part of battlefield scenes of the epic Mahabharata. He is shown as a charioteer, notably when he is addressing the Pandava prince Arjuna character, symbolically reflecting the events that led to the Bhagavad Gita – a scripture of Hinduism. In these popular depictions, Krishna appears in the front as the charioteer, either as a counsel listening to Arjuna or as the driver of the chariot while Arjuna aims his arrows in the battlefield of Kurukshetra.

Alternate icons of Krishna show him as a baby (Bala Krishna, the child Krishna), a toddler crawling on his hands and knees, a dancing child, or an innocent-looking child playfully stealing or consuming butter (Makkan Chor), holding Laddu in his hand (Laddu Gopal) or as a cosmic infant sucking his toe while floating on a banyan leaf during the Pralaya (the cosmic dissolution) observed by sage Markandeya. Regional variations in the iconography of Krishna are seen in his different forms, such as Jaganatha in Odisha, Vithoba in Maharashtra, Shrinathji in Rajasthan and Guruvayoorappan in Kerala.

Guidelines for the preparation of Krishna icons in design and architecture are described in medieval-era Sanskrit texts on Hindu temple arts such as Vaikhanasa agama, Vishnu dharmottara, Brihat samhita, and Agni Purana. Similarly, early medieval-era Tamil texts also contain guidelines for sculpting Krishna and Rukmini. Several statues made according to these guidelines are in the collections of the Government Museum, Chennai.

Krishna iconography forms an important element in the figural sculpture on 17th–19th century terracotta temples of Bengal. In many temples, the stories of Krishna are depicted on a long series of narrow panels along the base of the facade. In other temples, the important Krishnalila episodes are depicted on large brick panels above the entrance arches or on the walls surrounding the entrance.

## Life and legends

This summary is a mythological account, based on literary details from the Mahābhārata, the Harivamsa, the Bhagavata Purana, and the Vishnu Purana. The scenes from the narrative are set in ancient India, mostly in the present states of Uttar Pradesh, Bihar, Rajasthan, Haryana, Delhi, and Gujarat. The legends about Krishna's life are called Krishna charitas (IAST: Kṛṣṇacaritas).

### Birth

In the Krishna Charitas, Krishna is born to Devaki and her husband, Vasudeva, of the Yadava clan in Mathura. Devaki's brother is a tyrant named Kamsa. At Devaki's wedding, according to Puranic legends, Kamsa is told by fortune tellers that a child of Devaki would kill him. Sometimes, it is depicted as an akashvani announcing Kamsa's death. Kamsa arranges to kill all of Devaki's children. When Krishna is born, Vasudeva secretly carries the infant Krishna away across the Yamuna, and exchanges him with Yashoda's daughter. When Kamsa tries to kill the newborn, the exchanged baby appears as the Hindu goddess Yogamaya, warning him that his death has arrived in his kingdom, and then disappears, according to the legends in the Puranas. Krishna grows up with Nanda and his wife, Yashoda, near modern-day Mathura. Two of Krishna's siblings also survive, namely Balarama and Subhadra, according to these legends. The day of the birth of Krishna is celebrated as Krishna Janmashtami.

### Childhood and youth

The legends of Krishna's childhood and youth describe him as a cow-herder, a mischievous boy whose pranks earn him the nickname Makhan Chor (butter thief), and a protector who steals the hearts of the people in both Gokul and Vrindavana. The texts state, for example, that Krishna lifts the Govardhana hill to protect the inhabitants of Vrindavana from devastating rains and floods.

Other legends describe him as an enchanter and playful lover of the gopis (milkmaids) of Vrindavana, especially Radha. These metaphor-filled love stories are known as the Rasa lila and were romanticized in the poetry of Jayadeva, author of the Gita Govinda. They are also central to the development of the Krishna bhakti traditions worshiping Radha Krishna.

Krishna's childhood illustrates the Hindu concept of Lila, playing for fun and enjoyment and not for sport or gain. His interaction with the gopis at the rasa dance or Rasa-lila is an example. Krishna plays his flute and the gopis come immediately, from whatever they were doing, to the banks of the Yamuna River and join him in singing and dancing. Even those who could not physically be there join him through meditation. He is the spiritual essence and the love-eternal in existence, the gopis metaphorically represent the prakṛti matter and the impermanent body.

This Lila is a constant theme in the legends of Krishna's childhood and youth. Even when he is battling with a serpent to protect others, he is described in Hindu texts as if he were playing a game. This quality of playfulness in Krishna is celebrated during festivals as Rasa-Lila and Janmashtami, where Hindus in some regions such as Maharashtra playfully mimic his legends, such as by making human gymnastic pyramids to break open handis (clay pots) hung high in the air to "steal" butter or buttermilk, spilling it all over the group.

### Adulthood

Krishna legends then describe his return to Mathura. He overthrows and kills the tyrant king, his uncle Kamsa/Kansa after quelling several assassination attempts by Kamsa. He reinstates Kamsa's father, Ugrasena as the king of the Yadavas and becomes a leading prince at the court. In one version of the Krishna story, as narrated by Shanta Rao, Krishna after Kamsa's death leads the Yadavas to the newly built city of Dwaraka. Thereafter Pandavas rise. Krishna befriends Arjuna and the other Pandava princes of the Kuru kingdom. Krishna plays a key role in the Mahabharata.

The Bhagavata Purana describes eight wives of Krishna that appear in sequence as Rukmini, Satyabhama, Jambavati, Kalindi, Mitravinda, Nagnajiti (also called Satya), Bhadra and Lakshmana (also called Madra). According to Dennis Hudson, this is a metaphor where each of the eight wives signifies a different aspect of him. According to George Williams, Vaishnava texts mention all Gopis as wives of Krishna, but this is spiritual symbolism of devotional relationship and Krishna's complete loving devotion to each and everyone devoted to him.

In Krishna-related Hindu traditions, he is most commonly seen with Radha. All of his wives and his lover Radha are considered in the Hindu tradition to be the avatars of the goddess Lakshmi, the consort of Vishnu. Gopis are considered as Lakshmi's or Radha's manifestations.

### Kurukshetra War and Bhagavad Gita

According to the epic poem Mahabharata, Krishna becomes Arjuna's charioteer for the Kurukshetra War, but on the condition that he personally will not raise any weapon. Upon arrival at the battlefield and seeing that the enemies are his family, his grandfather, and his cousins and loved ones, Arjuna is moved and says his heart will not allow him to fight and kill others. He would rather renounce the kingdom and put down his Gandiva (Arjuna's bow). Krishna then advises him about the nature of life, ethics, and morality when one is faced with a war between good and evil, the impermanence of matter, the permanence of the soul and the good, duties and responsibilities, the nature of true peace and bliss and the different types of yoga to reach this state of bliss and inner liberation. This conversation between Krishna and Arjuna is presented as a discourse called the Bhagavad Gita.

### Death and ascension

It is stated in the Indian texts that the legendary Kurukshetra War led to the death of all the hundred sons of Gandhari. After Duryodhana's death, Krishna visits Gandhari to offer his condolences when Gandhari and Dhritarashtra visited Kurukshetra, as stated in Stree Parva. Feeling that Krishna deliberately did not put an end to the war, in a fit of rage and sorrow, Gandhari said, "Thou were indifferent to the Kurus and the Pandavas whilst they slew each other. Therefore, O Govinda, thou shalt be the slayer of thy own kinsmen!" According to the Mahabharata, a fight breaks out at a festival among the Yadavas, who end up killing each other. Mistaking the sleeping Krishna for a deer, a hunter named Jara shoots an arrow towards Krishna's foot that fatally injures him. Krishna forgives Jara and dies. The pilgrimage (tirtha) site of Bhalka in Gujarat marks the location where Krishna is believed to have died. It is also known as Dehotsarga, states Diana L. Eck, a term that literally means the place where Krishna "gave up his body". The Bhagavata Purana in Book 11, Chapter 31 states that after his death, Krishna returned to his transcendent abode directly because of his yogic concentration. Waiting gods such as Brahma and Indra were unable to trace the path Krishna took to leave his human incarnation and return to his abode.

### Versions and interpretations

There are numerous versions of Krishna's life story, of which three are most studied: the Harivamsa, the Bhagavata Purana, and the Vishnu Purana. They share the basic storyline but vary significantly in their specifics, details, and styles. The most original composition, the Harivamsa is told in a realistic style that describes Krishna's life as a poor herder but weaves in poetic and allusive fantasy. It ends on a triumphal note, not with the death of Krishna. Differing in some details, the fifth book of the Vishnu Purana moves away from Harivamsa realism and embeds Krishna in mystical terms and eulogies. The Vishnu Purana manuscripts exist in many versions.

The tenth and eleventh books of the Bhagavata Purana are widely considered to be a poetic masterpiece, full of imagination and metaphors, with no relation to the realism of pastoral life found in the Harivamsa. Krishna's life is presented as a cosmic play (Lila), where his youth is set as a princely life with his foster father Nanda portrayed as a king. Krishna's life is closer to that of a human being in Harivamsa, but is a symbolic universe in the Bhagavata Purana, where Krishna is within the universe and beyond it, as well as the universe itself, always. The Bhagavata Purana manuscripts also exist in many versions, in numerous Indian languages.

Chaitanya Mahaprabhu is considered as the incarnation of Krishna in Gaudiya Vaishnavism and by the ISKCON community.

## Proposed datings

The date of Krishna's birth is celebrated every year as Janmashtami.

According to Guy Beck, "most scholars of Hinduism and Indian history accept the historicity of Krishna – that he was a real male person, whether human or divine, who lived on Indian soil by at least 1000 BCE and interacted with many other historical persons within the cycles of the epic and puranic histories." Yet, Beck also notes that there is an "enormous number of contradictions and discrepancies surrounding the chronology of Krishna's life as depicted in the Sanskrit canon".

According to mythologies in the Jain tradition, Krishna was a cousin of Neminatha. Neminatha is believed in the Jain tradition to have been born 84,000 years before the 9th-century BCE Parshvanatha, the twenty-third tirthankara.

## Philosophy and theology

A wide range of theological and philosophical ideas are presented through Krishna in Hindu texts. The teachings of the Bhagavad Gita can be considered, according to Friedhelm Hardy, as the first Krishnaite system of theology.

Ramanuja, a Hindu theologian and philosopher whose works were influential in Bhakti movement, presented him in terms of qualified monism, or nondualism (namely Vishishtadvaita school). Madhvacharya, a philosopher whose works led to the founding of Haridasa tradition of Vaishnavism, presented Krishna in the framework of dualism (Dvaita). Bhedabheda – a group of schools, which teaches that the individual self is both different and not different from the ultimate reality – predates the positions of monism and dualism. Among medieval Bhedabheda thinkers are Nimbarkacharya, who founded the Kumara Sampradaya (Dvaitadvaita philosophical school), as well as Jiva Goswami, a saint from Gaudiya Vaishnava school, described Krishna theology in terms of Bhakti yoga and Achintya Bheda Abheda. Krishna theology is presented in a pure monism (advaita, called shuddhadvaita) framework by Vallabha Acharya, who was the founder of Pushti sect of vaishnavism. Madhusudana Sarasvati, an India philosopher, presented Krishna theology in nondualism-monism framework (Advaita Vedanta), while Adi Shankara, who is credited for unifying and establishing the main currents of thought in Hinduism, mentioned Krishna in his early eighth-century discussions on Panchayatana puja.

The Bhagavata Purana, a popular text on Krishna considered to be like scripture in Assam, synthesizes an Advaita, Samkhya, and Yoga framework for Krishna but one that proceeds through loving devotion to Krishna. Bryant describes the synthesis of ideas in Bhagavata Purana as,

> The philosophy of the Bhagavata is a mixture of Vedanta terminology, Samkhyan metaphysics, and devotionalized Yoga praxis. (...) The tenth book promotes Krishna as the highest absolute personal aspect of godhead – the personality behind the term Ishvara and the ultimate aspect of Brahman.

While Sheridan and Pintchman both affirm Bryant's view, the latter adds that the Vedantic view emphasized in the Bhagavata is non-dualist with a difference. In conventional nondual Vedanta, all reality is interconnected and one, the Bhagavata posits that the reality is interconnected and plural.

Across the various theologies and philosophies, the common theme presents Krishna as the essence and symbol of divine love, with human life and love as a reflection of the divine. The longing and love-filled legends of Krishna and the gopis, his playful pranks as a baby, as well as his later dialogues with other characters, are philosophically treated as metaphors for the human longing for the divine and for meaning, and the play between the universals and the human soul. Krishna's lila is a theology of love-play. According to John Koller, "love is presented not simply as a means to salvation, it is the highest life". Human love is God's love.

Other texts that include Krishna such as the Bhagavad Gita have attracted numerous bhasya (commentaries) in the Hindu traditions. Though only a part of the Hindu epic Mahabharata, it has functioned as an independent spiritual guide. It allegorically raises through Krishna and Arjuna the ethical and moral dilemmas of human life, then presents a spectrum of answers, weighing in on the ideological questions on human freedoms, choices, and responsibilities towards self and towards others. This Krishna dialogue has attracted numerous interpretations, from being a metaphor of inner human struggle teaching non-violence, to being a metaphor of outer human struggle teaching a rejection of quietism to persecution.

## Influence

### Vaishnavism

The worship of Krishna is part of Vaishnavism, a major tradition within Hinduism. Krishna is considered a full avatar of Vishnu, or one with Vishnu himself. However, the exact relationship between Krishna and Vishnu is complex and diverse, with Krishna of Krishnaite sampradayas considered an independent deity and supreme. Vaishnavas accept many incarnations of Vishnu, but Krishna is particularly important. Their theologies are generally centered either on Vishnu or an avatar such as Krishna as supreme. The terms Krishnaism and Vishnuism have sometimes been used to distinguish the two, the former implying that Krishna is the transcendent Supreme Being. Some scholars, as Friedhelm Hardy, do not define Krishnaism as a sub-order or offshoot of Vaishnavism, considering it a parallel and no less ancient current of Hinduism.

All Vaishnava traditions recognise Krishna as the eighth avatar of Vishnu; others identify Krishna with Vishnu, while Krishnaite traditions such as Gaudiya Vaishnavism, Ekasarana Dharma, Mahanam Sampraday, Nimbarka Sampradaya and the Vallabha Sampradaya regard Krishna as the Svayam Bhagavan, the original form of Lord or the same as the concept of Brahman in Hinduism. Gitagovinda of Jayadeva considers Krishna to be the supreme lord while the ten incarnations are his forms. Swaminarayan, the founder of the Swaminarayan Sampradaya, also worshipped Krishna as God himself. "Greater Krishnaism" corresponds to the second and dominant phase of Vaishnavism, revolving around the cults of the Vasudeva, Krishna, and Gopala of the late Vedic period. Today the faith has a significant following outside of India as well.

Early traditions

The deity Krishna-Vasudeva (' "Krishna, the son of Vasudeva Anakadundubhi") is historically one of the earliest forms of worship in Krishnaism and Vaishnavism. It is believed to be a significant tradition of the early history of Krishna religion in antiquity. Thereafter, there was an amalgamation of various similar traditions. These include ancient Bhagavatism, the cult of Gopala, of "Krishna Govinda" (cow-finding Krishna), of Balakrishna (baby Krishna) and of "Krishna Gopivallabha" (Krishna the lover). According to Andre Couture, the Harivamsa contributed to the synthesis of various characters as aspects of Krishna.

Already in the early Middle Ages, the Jagannathism ( Odia Vaishnavism) was origined as the cult of the god Jagannath (lit. ''Lord of the Universe'') – an abstract form of Krishna. Jagannathism was a regional temple-centered version of Krishnaism, where Jagannath is understood as a principal god, Purushottama and Para Brahman, but can also be regarded as a non-sectarian syncretic Vaishnavite and all-Hindu cult. According to the Vishnudharma Purana (c. 4th century), Krishna is woshipped in the form of Purushottama in Odia (Odisha). The notable Jagannath temple in Puri, Odisha became particularly significant within the tradition since about 800 CE.

### Bhakti tradition

The use of the term bhakti, meaning devotion, is not confined to any one deity. However, Krishna is an important and popular focus of the devotionalism tradition within Hinduism, particularly among the Vaishnava Krishnaite sects. Devotees of Krishna subscribe to the concept of lila, meaning 'divine play', as the central principle of the universe. It is a form of bhakti yoga, one of three types of yoga discussed by Krishna in the Bhagavad Gita.

#### Indian subcontinent

The bhakti movements devoted to Krishna became prominent in southern India in the 7th to 9th centuries CE. The earliest works included those of the Alvar saints of Tamil Nadu. A major collection of their works is the Divya Prabandham. Alvar Andal's popular collection of songs Tiruppavai, in which she conceives of herself as a gopi, is the most famous of the oldest works in this genre.

The movement originated in South India during the 7th century CE, spreading northwards from Tamil Nadu through Karnataka and Maharashtra; by the 15th century, it was established in Bengal and northern India. Early Krishnaite Bhakti pioneers included Nimbarkacharya (12th or 13th century CE), but most emerged later, including Vallabhacharya (15th century CE) and Chaitanya Mahaprabhu. They started their own schools, namely Nimbarka Sampradaya, Vallabha Sampradaya, and Gaudiya Vaishnavism, with Krishna and Radha as the supreme gods. In addition, since the 15th century, flourished Tantric variety of Krishnaism, Vaishnava-Sahajiya, is linked to the Bengali poet Chandidas.

In the Deccan, particularly in Maharashtra, saint poets of the Warkari sect such as Dnyaneshwar, Namdev, Janabai, Eknath, and Tukaram promoted the worship of Vithoba, a local form of Krishna, from between the 13th to 18th century. Before the Warkari tradition, Krishna devotion became well established in Maharashtra due to the rise of the Mahanubhava Sampradaya founded by Sarvajna Chakradhara. The Pranami Sampradaya emerged in the 17th century in Gujarat, based on the Krishna-focussed syncretist Hindu-Islamic teachings of Devchandra Maharaj and his famous successor, Mahamati Prannath. In southern India, Purandara Dasa and Kanakadasa of Karnataka composed songs devoted to the Krishna image of Udupi. Rupa Goswami of Gaudiya Vaishnavism has compiled a comprehensive summary of bhakti called Bhakti-rasamrita-sindhu.

In South India, the acharyas of the Sri Sampradaya have written reverently about Krishna in most of their works, including the Tiruppavai by Andal and Gopalavimshati by Vedanta Desika.

Tamil Nadu, Karnataka, Andhra Pradesh, and Kerala states have many major Krishna temples, and Janmashtami is one of the widely celebrated festivals in South India.

#### Outside Asia

By 1965, the Krishna-bhakti movement had spread outside India after Bhaktivedanta Swami Prabhupada (as instructed by his guru, Bhaktisiddhanta Sarasvati Thakura) travelled from his homeland in West Bengal to New York City. A year later, in 1966, after gaining many followers, he was able to form the International Society for Krishna Consciousness (ISKCON), popularly known as the Hare Krishna movement. The purpose of this movement was to write about Krishna in English and to share the Gaudiya Vaishnava philosophy with people in the Western world by spreading the teachings of the saint Chaitanya Mahaprabhu. In the biographies of Chaitanya Mahaprabhu, the mantra he received when he was given diksha or initiation in Gaya was the six-word verse of the Kali-Santarana Upanishad, namely "Hare Krishna Hare Krishna, Krishna Krishna Hare Hare; Hare Rama Hare Rama, Rama Rama Hare Hare". In the Gaudiya tradition, it is the maha-mantra, or great mantra, about Krishna bhakti. Its chanting was known as hari-nama sankirtana.

The maha-mantra gained the attention of George Harrison and John Lennon of the Beatles fame, and Harrison produced a 1969 recording of the mantra by devotees from the London Radha Krishna Temple. Titled "Hare Krishna Mantra", the song reached the top twenty on the UK music charts and was also successful in West Germany and Czechoslovakia. The mantra of the Upanishad thus helped bring Bhaktivedanta and ISKCON ideas about Krishna into the West. ISCKON has built many Krishna temples in the West, as well as other locations such as South Africa.

### Southeast Asia

Krishna is found in Southeast Asian history and art, but to a far lesser extent than Shiva, Durga, Nandi, Agastya, and Buddha. In temples (candi) of the archaeological sites in hilly volcanic Java, Indonesia, temple reliefs do not portray his pastoral life or his role as the erotic lover, nor do the historic Javanese Hindu texts. Rather, either his childhood or the life as a king and Arjuna's companion have been more favored. The most elaborate temple arts of Krishna is found in a series of Krsnayana reliefs in the Prambanan Hindu temple complex near Yogyakarta. These are dated to the 9th century CE. Krishna remained a part of the Javanese cultural and theological fabric through the 14th century, as evidenced by the 14th-century Penataran reliefs along with those of the Hindu god Rama in east Java, before Islam replaced Buddhism and Hinduism on the island.

The medieval era arts of Vietnam and Cambodia feature Krishna. The earliest surviving sculptures and reliefs are from the 6th and 7th centuries, and these include Vaishnavism iconography. According to John Guy, the curator and director of Southeast Asian arts at the Metropolitan Museum of Art, the Krishna Govardhana art from 6th/7th-century Vietnam at Danang, and 7th-century Cambodia at Phnom Da cave in Angkor Borei, are some of the most sophisticated of this era.

Krishna's iconography has also been found in Thailand, along with those of Surya and Vishnu. For example, a large number of sculptures and icons have been found in the Si Thep and Klangnai sites in the Phetchabun region of northern Thailand. These are dated to about the 7th and 8th centuries, from both the Funan and Zhenla period archaeological sites.

## Performance arts

Indian dance and music theatre traces its origins and techniques to the ancient Sama Veda and Natyasastra texts. The stories enacted and the numerous choreographic themes are inspired by the mythologies and legends in Hindu texts, including Krishna-related literature such as Harivamsa and Bhagavata Purana.

The Krishna stories have played a key role in the history of Indian theatre, music, and dance, particularly through the tradition of Rasaleela. These are dramatic enactments of Krishna's childhood, adolescence, and adulthood. One common scene involves Krishna playing flute in Rasa Leela, only to be heard by certain gopis (cowherd maidens), which is theologically supposed to represent divine call only heard by certain enlightened beings. Some of the text's legends have inspired secondary theatre literature such as the eroticism in Gita Govinda.

Krishna-related literature such as the Bhagavata Purana accords a metaphysical significance to the performances and treats them as a religious ritual, infusing daily life with spiritual meaning, thus representing a good, honest, happy life. Similarly, Krishna-inspired performances aim to cleanse the hearts of faithful actors and listeners. Singing, dancing, and performing any part of Krishna Lila is an act of remembering the dharma in the text, as a form of para bhakti (supreme devotion). To remember Krishna at any time and in any art, asserts the text, is to worship the good and the divine.

Classical dance styles such as Kathak, Odissi, Manipuri, Kuchipudi and Bharatanatyam in particular are known for their Krishna-related performances. Krisnattam (Krishnattam) traces its origins to Krishna legends, and is linked to another major classical Indian dance form called Kathakali. Bryant summarizes the influence of Krishna stories in the Bhagavata Purana as, "[it] has inspired more derivative literature, poetry, drama, dance, theatre and art than any other text in the history of Sanskrit literature, with the possible exception of the Ramayana.

The Palliyodam, a type of large boat built and used by Aranmula Parthasarathy Temple in Kerala for the annual water processions of Uthrattathi Jalamela and Valla Sadhya has the legend that it was designed by Krishna and were made to look like Sheshanaga, the serpent on which Vishnu rests.

## Major temples

- Banke Bihari Temple, Vrindavan
- Dwarkadhish Temple, Dwarka
- Govind Dev Ji Temple, Jaipur
- Guruvayur Temple, Kerala
- ISKCON Temples
  - ISKCON Temple, Bangalore
  - ISKCON Temple, Chennai
  - ISKCON Temple, Delhi
  - ISKCON Temple, Pune
  - ISKCON Temple, Vrindavan
  - Vrindavan Chandrodaya Temple
- Jagannath Temple, Puri
- Kantajew Temple, Bangladesh
- Krishna Janmasthan Temple Complex, Mathura
- Madan Mohan Temple, Karauli
- Parthasarathy Temple, Chennai
- Prem Mandir, Vrindavan
- Radha Damodar Temple, Junagadh
- Radha Damodar Temple, Vrindavan
- Radha Krishna Vivah Sthali, Bhandirvan
- Radha Madan Mohan Temple, Vrindavan
- Radha Madhab Temple, Bishnupur
- Radha Raman Temple, Vrindavan
- Radha Vallabh Temple, Vrindavan
- Rajagopalaswamy Temple, Mannargudi
- Ranchodrai Temple, Dakor
- Shree Govindajee Temple, Imphal
- Shrinathji Temple, Nathdwara
- Swaminarayan Temples
  - Shri Swaminarayan Mandir, Dholera
  - Swaminarayan Mandir, Gadhada
- Udupi Sri Krishna Matha
- Vithoba Temple, Pandarpur

## Krishna outside of Hinduism

### Jainism

The Jainism tradition lists 63 Śalākāpuruṣa or notable figures which, amongst others, includes the twenty-four Tirthankaras (spiritual teachers) and nine sets of triads. One of these triads is Krishna as the Vasudeva, Balarama as the Baladeva, and Jarasandha as the Prati-Vasudeva. In each age of the Jain cyclic time is born a Vasudeva with an elder brother termed the Baladeva. Between the triads, Baladeva upholds the principle of non-violence, a central idea of Jainism. The villain is the Prati-vasudeva, who attempts to destroy the world. To save the world, Vasudeva-Krishna has to forsake the non-violence principle and kill the Prati-Vasudeva. The stories of these triads can be found in the Harivamsa Purana (8th century CE) of Jinasena (not be confused with its namesake, the addendum to Mahābhārata) and the Trishashti-shalakapurusha-charita of Hemachandra.

The story of Krishna's life in the Puranas of Jainism follows the same general outline as those in the Hindu texts, but in details, they are very different: they include Jain Tirthankaras as characters in the story, and generally are polemically critical of Krishna, unlike the versions found in the Mahabharata, the Bhagavata Purana, and the Vishnu Purana. For example, Krishna loses battles in the Jain versions, and his gopis and his clan of Yadavas die in a fire created by an ascetic named Dvaipayana. Similarly, after dying from the hunter Jara's arrow, the Jaina texts state Krishna goes to the third hell in Jain cosmology, while his brother is said to go to the sixth heaven.

Vimalasuri is attributed to be the author of the Jain version of the Harivamsa Purana, but no manuscripts have been found that confirm this. It is likely that later Jain scholars, probably Jinasena of the 8th century, wrote a complete version of Krishna legends in the Jain tradition and credited it to the ancient Vimalasuri. Partial and older versions of the Krishna story are available in Jain literature, such as in the Antagata Dasao of the Svetambara Agama tradition.

In other Jain texts, Krishna is stated to be a cousin of the twenty-second Tirthankara, Neminatha. The Jain texts state that Neminatha taught Krishna all the wisdom that he later gave to Arjuna in the Bhagavad Gita. According to Jeffery D. Long, a professor of religion known for his publications on Jainism, this connection between Krishna and Neminatha has been a historic reason for Jains to accept, read, and cite the Bhagavad Gita as a spiritually important text, celebrate Krishna-related festivals, and intermingle with Hindus as spiritual cousins.

### Buddhism

The story of Krishna occurs in the Jataka tales in Buddhism. The Vidhurapandita Jataka mentions Madhura (Sanskrit: Mathura), the Ghata Jataka mentions Kamsa, Devagabbha (Sk: Devaki), Upasagara or Vasudeva, Govaddhana (Sk: Govardhana), Baladeva (Balarama), and Kanha or Kesava (Sk: Krishna, Keshava).

Like the Jaina versions of the Krishna legends, the Buddhist versions such as one in Ghata Jataka follow the general outline of the story, but are different from the Hindu versions as well. For example, the Buddhist legend describes Devagabbha (Devaki) to have been isolated in a palace built upon a pole after she is born, so no future husband could reach her. Krishna's father similarly is described as a powerful king, but who meets up with Devagabbha anyway, and to whom Kamsa gives away his sister Devagabbha in marriage. The siblings of Krishna are not killed by Kamsa, though he tries. In the Buddhist version of the legend, all of Krishna's siblings grow to maturity.

Krishna and his siblings' capital becomes Dvaravati. The Arjuna and Krishna interaction is missing in the Jataka version. A new legend is included, wherein Krishna laments in uncontrollable sorrow when his son dies, and a Ghatapandita feigns madness to teach Krishna a lesson. The Jataka tale also includes internecine destruction among his siblings after they all get drunk. Krishna also dies in the Buddhist legend by the hand of a hunter named Jara, but while he is traveling to a frontier city. Mistaking Krishna for a pig, Jara throws a spear that fatally pierces his feet, causing Krishna great pain and then his death.

At the end of this Ghata-Jataka discourse, the Buddhist text declares that Sariputta, one of the revered disciples of the Buddha in the Buddhist tradition, was incarnated as Krishna in his previous life to learn lessons on grief from the Buddha in his prior rebirth:

> Then he [Master] declared the Truths and identified the Birth: "At that time, Ananda was Rohineyya, Sariputta was Vasudeva [Krishna], the followers of the Buddha were the other persons, and I myself was Ghatapandita."

While the Buddhist Jataka texts co-opt Krishna-Vasudeva and make him a student of the Buddha in his previous life, the Hindu texts co-opt the Buddha and make him an avatar of Vishnu. In Chinese Buddhism, Taoism and Chinese folk religion, the figure of Krishna has been amalgamated and merged with that of Nalakuvara to influence the formation of the god Nezha, who has taken on iconographic characteristics of Krishna such as being presented as a divine god-child and slaying a nāga in his youth.

### Other

Krishna is mentioned as "Krishna Avtar" in the Chaubis Avtar, a composition in Dasam Granth traditionally and historically attributed to Sikh Guru Gobind Singh.

Within the Sikh-derived 19th-century Radha Soami movement, the followers of its founder Shiv Dayal Singh used to consider him the Living Master and incarnation of God (Krishna/Vishnu).

Baháʼís believe that Krishna was a "Manifestation of God", or one in a line of prophets who have revealed the Word of God progressively for a gradually maturing humanity. In this way, Krishna shares an exalted station with Abraham, Moses, Zoroaster, Buddha, Muhammad, Jesus, the Báb, and the founder of the Baháʼí Faith, Bahá'u'lláh.

Ahmadiyya, a 20th-century Islamic movement, consider Krishna as one of their ancient prophets. Ghulam Ahmad stated that he was himself a prophet in the likeness of prophets such as Krishna, Jesus, and Muhammad, who had come to earth as a latter-day reviver of religion and morality.

Krishna worship or reverence has been adopted by several new religious movements since the 19th century, and he is sometimes a member of an eclectic pantheon in occult texts, along with Greek, Buddhist, biblical, and even historical figures. For instance, Édouard Schuré, an influential figure in perennial philosophy and occult movements, considered Krishna a Great Initiate, while Theosophists regard Krishna as an incarnation of Maitreya (one of the Masters of the Ancient Wisdom), the most important spiritual teacher for humanity along with Buddha.

Krishna was canonised by Aleister Crowley and is recognised as a saint of Ecclesia Gnostica Catholica in the Gnostic Mass of Ordo Templi Orientis.

## Explanatory notes

Major deity in Hinduism


IRT Broadway–Seventh Avenue Line

The IRT Broadway–Seventh Avenue Line (also known as the IRT Seventh Avenue Line or the IRT West Side Line) is a New York City Subway line. It is one of several lines that serves the A Division, stretching from South Ferry in Lower Manhattan north to Van Cortlandt Park–242nd Street in Riverdale, Bronx. The Brooklyn Branch, known as the Wall and William Streets Branch during construction, from the main line at Chambers Street southeast through the Clark Street Tunnel to Borough Hall in Downtown Brooklyn, is also part of the Broadway–Seventh Avenue Line. The IRT Broadway–Seventh Avenue Line is the only line to have elevated stations in Manhattan, with two short stretches of elevated track at 125th Street and between Dyckman and 225th Streets.

The line was constructed in two main portions by the Interborough Rapid Transit Company (IRT), a private operator. The first portion, north of 42nd Street, was opened between 1904 and 1908, and is part of the first subway line in the city. The line ran from City Hall, up the Lexington Avenue Line, across 42nd Street, and up Seventh Avenue and Broadway, before splitting into the Broadway Branch and the Lenox Avenue Line. The second portion of the line, that south of 42nd Street, was constructed as part of the Dual Contracts, which were signed between the IRT, the New York Municipal Railway (a subsidiary of the Brooklyn Rapid Transit Company), and the City of New York. Among the various subway lines that were to be constructed as part of the contracts, the West Side Line was to be extended south along Seventh Avenue to serve Manhattan's West Side.

This extension extended service to the end of Lower Manhattan and into Brooklyn, relieving crowding on the East Side Line, while opening up service to new areas. The Pennsylvania Railroad's new hub in Manhattan, Penn Station, could now be accessed by the subway. Additionally, Manhattan's West Side was rebuilt with the arrival of the line. To allow the wide four-track line to go through the area, new streets had to be mapped and built, and new buildings were constructed as a result. Capacity on the IRT's subway system doubled, increasing its usage.

Since the line opened, service patterns have been streamlined. Originally, express and local trains ran to both the Broadway Branch and to the Lenox Avenue Line, resulting in delays. As part of a rebuilding of the line in the late 1950s, all local trains were sent up the Broadway Branch, and all express trains were sent up the Lenox Avenue Line. Accompanying these changes were the lengthening of platforms, new subway cars, and the closing of the 91st Street station. One other major change in service was the implementation of skip-stop service on the 1 and 9 trains in 1989, but this was discontinued in 2005 as few people benefited. The Cortlandt Street station, destroyed following the September 11 attacks, was completely rebuilt and reopened in September 2018 as WTC Cortlandt. The original South Ferry station, a five-car balloon loop, was also replaced with a two-track terminal in 2009; the new South Ferry terminal was rebuilt in 2017 after being flooded during Hurricane Sandy in 2012.

## Description

Also known as the IRT West Side Line, since it runs along the west side of Manhattan, the IRT Broadway–Seventh Avenue Line runs from Van Cortlandt Park–242nd Street in the Bronx, close to New York City's border with Westchester, to South Ferry in Lower Manhattan, at the southernmost point in the borough. Along the way, the line serves places such as Times Square, Lincoln Center, Columbia University, and the City College of New York. The portion of the line north of 42nd Street was built as part of the first subway in New York in 1904.

Train services that use the IRT Broadway–Seventh Avenue Line are colored on subway signage and literature. The line is served by the , which operate together over much of the line. Between 1989 and 2005, the 1 train operated as a skip-stop service in Upper Manhattan in tandem with the . The 1 and 9 alternated skipping stops along the line, with some stops having both trains stop. This was intended to speed commutes without having to have express service run down the line. This service was discontinued after May 27, 2005; from 1994 onward, this skip-stop separation existed only during rush hours.

A third track along much of the line north of 96th Street has been used in the past for peak direction express service, at least between 96th Street and 137th Street. This center track is currently used only during construction reroutes. There is another unused third track between Dyckman Street and Van Cortlandt Park–242nd Street. Three yards have connections to the line. The 240th Street Yard is located between Van Cortlandt Park-242nd Street and 238th Street. This yard holds 21 layup tracks and can hold the entire rolling stock for the 1. The next yard, 207th Street Yard holds a few trains that are used during rush hours and cleans and overhauls some of the line's fleet. Finally, the 137th Street Yard has six tracks, which hold rush hour turn-around trains.

Where the Brooklyn Branch ends at its southern end is unclear. In a 1981 list of "most deteriorated subway stations", the MTA listed Borough Hall and Clark Street stations as part of the IRT New Lots Line. However, as of 2007, emergency exit signs label Borough Hall as an IRT Broadway–Seventh Avenue Line station, and the two parts of Borough Hall are signed as being along the Broadway–Seventh Avenue and IRT Eastern Parkway Lines. At Borough Hall, the chaining designations, "K" (Clark Street Tunnel) and "M" (Joralemon Street Tunnel), which are used to precisely specify locations in the system, join and become "E" (Eastern Parkway Line) at Borough Hall.

### Clark Street Tunnel

The Clark Street Tunnel carries the under the East River between the boroughs of Manhattan and Brooklyn. It was opened for revenue service on Tuesday, April 15, 1919, relieving crowding on the Joralemon Street Tunnel and providing passengers with a direct route between Brooklyn and the west side of Manhattan. It is about 5,900 feet (1,800 m) long, with about 3,100 feet (940 m) underwater.

Booth & Flinn Ltd. and the O'Rourke Engineering Construction Company received a \$6.47 million contract in July 1914 to build a tunnel between Old Slip in Manhattan and Clark Street in Brooklyn. Construction of the tunnel began on October 12, 1914, using a tunneling shield in conjunction with compressed air. The tunnel was designed by civil engineer Clifford Milburn Holland, who later served as the first chief engineer of the Holland Tunnel. Five hundred men, working in several shifts, excavated the tubes for 24 hours a day. The north tube was holed through on November 28, 1916, followed by the south tube on December 19 of the same year.

On December 28, 1990, an electrical fire in the Clark Street Tunnel trapped passengers on a subway train for over half an hour. The fire killed two people and injured 149 others.

## History

### Contracts 1 and 2

Operation of the first subway began on October 27, 1904, with the opening of all stations from City Hall to 145th Street on the West Side Branch. The line was mostly underground, except for the section surrounding 125th Street, which ran across the elevated Manhattan Valley Viaduct to cross a deep valley there. Service was extended to 157th Street on November 12, 1904, as that station's opening had been delayed because of painting and plastering work. The West Side Branch was extended northward to a temporary terminus at 221st Street and Broadway on March 12, 1906, served by shuttle trains operating between 157th Street and 221st Street. However, only the Dyckman Street, 215th Street, and 221st Street stations opened on that date as the other stations were not yet completed. The 168th Street station opened on April 14, 1906. The 181st Street station opened on May 30, 1906, and on that date express trains on the Broadway branch began running through to 221st Street, eliminating the need to transfer at 157th Street to shuttles. The station at 207th Street was completed in 1906, but since it was located in a sparsely occupied area, it did not open until April 1, 1907. The original system as included in Contract 1 was completed on January 14, 1907, when trains started running across the Harlem Ship Canal on the Broadway Bridge to 225th Street, and the nearby 221st Street station was closed.

Once the line was extended to 225th Street on January 14, 1907, the 221st Street platforms were dismantled and moved to 230th Street for a new temporary terminus. Service was extended to the temporary terminus at 230th Street on January 27, 1907. An extension of Contract 1 north to 242nd Street at Van Cortlandt Park was approved in 1906 and opened on August 1, 1908. (The original plan had been to turn east on 230th Street to just west of Bailey Avenue, at the New York Central Railroad's Kings Bridge station.) When the line was extended to 242nd Street, the temporary platforms at 230th Street were dismantled, and were rumored to be brought to 242nd Street to serve as the station's side platforms. The 191st Street did not open until January 14, 1911, because the elevators and other work at the station had not yet been completed.

Between 1904 and 1908, one of the main service patterns was the West Side Branch, running from Lower Manhattan to Van Cortlandt Park via what is now the Lexington Avenue, 42nd Street, and Broadway–Seventh Avenue Lines. There were both local and express services with express trains south of 96th Street. Some express trains ran to Atlantic Avenue in Brooklyn via the Joralemon Street Tunnel during rush hours while all other trains turned around at City Hall or South Ferry.

### Dual Contracts

#### Planning and construction

The Dual Contracts, which were signed on March 19, 1913, were contracts for the construction and/or rehabilitation and operation of rapid transit lines in the City of New York. The contracts were "dual" in that they were signed between the City and two separate private companies (the Interborough Rapid Transit Company and the Brooklyn Rapid Transit Company), all working together to make the construction of the Dual Contracts possible. The Dual Contracts promised the construction of several lines in Brooklyn. As part of Contract 3, the IRT agreed to build a branch of the original subway line south down Seventh Avenue, Varick Street, and West Broadway to serve the West Side of Manhattan.

The construction of this line, in conjunction with the construction of the Lexington Avenue Line, would change the operations of the IRT system. Instead of having trains go via Broadway, turning onto 42nd Street, before finally turning onto Park Avenue, there would be two trunk lines connected by the 42nd Street Shuttle. The system would be changed from looking like a "Z" system on a map to an "H" system. One trunk would run via the new Lexington Avenue Line down Park Avenue, and the other trunk would run via the new Seventh Avenue Line up Broadway. In order for the line to continue down Varick Street and West Broadway, these streets needed to be widened, and two new streets were built, the Seventh Avenue Extension and the Varick Street Extension. It was predicted that the subway extension would lead to the growth of the Lower West Side, and to neighborhoods such as Chelsea and Greenwich Village.

Originally, there were to be no express stops between 34th Street–Penn Station to the north and Chambers Street to the south. By late 1912, local merchants were advocating for the construction of an express station at 14th Street and Seventh Avenue.

Construction started on the extension in 1914. To allow for the extension of the line south from Times Square, the entire western wall of the subway between 43rd Street and 44th Street was removed, all while service continued uninterrupted. The line was mostly built in an open-cut, excluding the segments within the limits of Battery Park, the widened portions of Varick Street, and the new Varick and Seventh Avenue Extensions. Filled in ground was found south of Varick Street along Greenwich Street, which approximately marked the old shore line of the Hudson River during the time of the American Revolution. Many buildings had to be underpinned during the construction of the line, especially those on the lower sections through Greenwich Street.

South of Chambers Street, there were to be two branches constructed. The first of the two would run to the Battery via Greenwich Street, while the second branch would turn eastward under Park Place and Beekman Street and down William Street and Old Slip. After going through Lower Manhattan, the second branch would go through a tunnel under the East River before running under Clark and Fulton Streets until a junction at Borough Hall with the existing Contract 2 IRT Brooklyn Line. In order to pass under the Broadway and Park Row subway lines, this branch has grades as steep as 3%, being located 60 feet (18 m) below surface level. As a result, the Park Place station was built with escalators. Because William Street is so narrow (40 feet (12 m) wide), every building along the line had to be underpinned. The entire line, consisting of eight sections, was expected to cost \$14,793,419.

On September 22, 1915, there was an explosion during construction of the 23rd Street subway station that caused the tunnel to collapse. Seven people were killed after a blast of dynamite in the subway tunnel destroyed the plank roadway over Seventh Avenue. As a result, a crowded trolley car, and a brewery truck fell into the excavation, accounting for most of the injuries.

#### Opening

On June 3, 1917, the first portion of the Broadway–Seventh Avenue Line south of Times Square–42nd Street, a shuttle to 34th Street–Penn Station, opened; a separate shuttle service, running between 42nd and 34th Streets, was created. This short extension was opened even though the rest of the route was not yet completed in order to handle the mass of traffic to and from Pennsylvania Station. Only the northern part of the station was opened at this time, and piles of plaster, rails, and debris could be seen on the rest of the platforms.

On June 27, 1918, the Public Service Commission (PSC) announced that on July 1, the shuttle would be extended south to South Ferry, with a shorter shuttle on the Brooklyn branch between Chambers Street and Wall Street, on July 1, 1918. The PSC's decision to open the line before the Lexington Avenue Line was completed was unexpected. The new "H" system was implemented on August 1, 1918, joining the two halves of the Broadway–Seventh Avenue Line and sending all West Side trains south from Times Square. An immediate result of the switch was the need to transfer using the 42nd Street Shuttle. The completion of the "H" system doubled the capacity of the IRT system.

The local tracks ran to South Ferry, while the express tracks used the Brooklyn branch to Wall Street, extended to Atlantic Avenue in Brooklyn via the Clark Street Tunnel on April 15, 1919. Extensions of the Eastern Parkway Line and the connecting Nostrand Avenue Line and New Lots Line opened in the next few years, with the end result being that West Side trains ran to Flatbush Avenue or New Lots Avenue.

### 1940s to 1990s

In 1948, platforms on the line from 103rd Street to 238th Street were lengthened to 514 feet (157 m) to allow full ten-car express trains to platform. Previously the stations could accommodate only six car local trains. The platform extensions were opened in stages. On April 6, 1948, the stations from 103rd Street to Dyckman Street had their platform extensions opened, with the exception of the 125th Street station, which had its extension opened on June 11, 1948. On July 9, 1948, the platform extensions at stations between 207th Street and 238th Street were opened for use at the cost of \$423,000.

During the early 1950s, it was considered to convert the Columbus Circle station from a local stop to an express stop in order to serve the anticipated rise of ridership at the stop resulting from the proposed New York Coliseum and the expected redevelopment of the area. In 1955, the firm Edwards, Kelcey and Beck was hired as Consulting Engineers for the construction of the express station.

Under a \$100 million rebuilding program, increased and lengthened service was implemented during peak hours on the 1 train. To the north of 96th Street, delays occurred as some trains from the Lenox Avenue Line switched from the express to the local tracks, while some trains from the Broadway Branch switched from the local to the express tracks. This bottleneck was removed on February 6, 1959. All Broadway trains became locals, and all Lenox Avenue trains became expresses, eliminating the need to switch tracks. All 3 trains began to run express south of 96th Street on that date running to Brooklyn. 1 trains began to run between 242nd Street and South Ferry at all times. Trains began to be branded as Hi-Speed Locals, being as fast as the old express service was, with 8-car trains consisting of new R21 and R22 subway cars from the St. Louis Car Company. During rush hour in the peak direction, alternate trains, those running from 242nd Street, made no stops except 168th Street between Dyckman and 137th Streets in the direction of heavy traffic. The bypassed stations were served by locals originating from Dyckman Street.

The improved service could not be implemented until the platform extensions at all stations on the line were completed. The original IRT stations north of Times Square could barely fit five or six car locals based on whether the trains had one or two ends with cars that had manually operated doors. In 1958, the platform extensions at the local stations were nearly completed, but there were more problems with the platform extensions at the two express stations, 72nd Street and 96th Street. To make room for the platform extension at 72nd Street, the track layout was changed. However, in order to fit the platform extension at 96th Street, the local tracks and the outside walls had to be moved. A new mezzanine with stairways to the street was built between West 93rd Street and West 94th Street. Since the 86th Street and 96th Street stations had their platforms extended in order to accommodate 10-car trains, the 91st Street station was closed on February 2, 1959, because it was too close to the other two stations.

In 1961, the New York City Transit Authority (NYCTA) awarded a \$11 million contract to General Railway Signal to upgrade the line's signals between the 96th Street and 242nd Street stations. On August 9, 1964, the NYCTA announced the letting of a \$7.6 million contract to lengthen platforms at stations from Rector Street to 34th Street–Penn Station on the line, and stations from Central Park North–110th Street to 145th Street on the Lenox Avenue Line to allow express trains to be lengthened from nine-car trains to ten-car trains, and to lengthen locals from eight-car trains to ten-car trains. With the completion of this project, the NYCTA project to lengthen IRT stations to accommodate ten-car trains would be complete. During the 1964–1965 fiscal year, the platforms at Park Place, Fulton Street, Wall Street, Clark Street and Borough Hall were lengthened to 525 feet (160 m) to accommodate a ten-car train of 51 feet (16 m) long IRT cars.

On August 21, 1989, the 1/ weekday skip-stop service started. The plan was to have skip-stop service begin north of 116th Street–Columbia University, but due to objections, most notably that riders did not want 125th Street to be a skip-stop station, skip-stop service was only implemented north of 137th Street–City College between the hours of 6:30 am and 7:00 pm. All 1 trains skipped Marble Hill–225th, 207th, 191st and 145th Streets, while all 9 trains skipped 238th, 215th, Dyckman and 157th Streets. On September 4, 1994, midday skip-stop service was discontinued, and 191st Street was no longer a skip-stop station.

### 21st century

After the September 11 attacks, all 1 trains had to be rerouted since the IRT Broadway–Seventh Avenue Line ran directly under the World Trade Center site and was heavily damaged in the collapse of the Twin Towers. 1 trains ran only between 242nd Street and 14th Street, making local stops north of and express stops south of 96th Street. The skip-stop service with the 9 train was suspended. On September 19, after a few switching delays at 96th Street, service was changed. All 1 trains made all stops from 242nd Street to New Lots Avenue via the Clark Street Tunnel and IRT Eastern Parkway Line, to replace all trains (which terminated at 14th Street) at all times except late nights, when it terminated at Chambers Street in Manhattan instead. On September 15, 2002, all 1 trains returned to the South Ferry Loop and 9 skip-stop service was reinstated. Cortlandt Street, which was directly underneath the World Trade Center, was demolished as part of the clean-up, to be rebuilt as part of the World Trade Center Transportation Hub.

In June 2002, the Metropolitan Transportation Authority (MTA) announced that ten subway stations citywide, including 103rd Street, 110th Street, 116th Street, 125th Street, and 231st Street on the IRT Broadway–Seventh Avenue Line, would receive renovations. As part of the project, fare control areas would be redesigned, flooring, and electrical and communication systems would be upgraded, and new lighting, public address systems and stairways would be installed. In addition, since 110th Street, 116th Street, and 125th Street had landmark status, historical elements would be replaced or restored, including their white wall tiles. At the ends of the station platforms at 103rd Street, 110th Street, and 116th Street, a small section of station wall, which would look identical to the existing station walls, would be added to provide space for scrubber rooms. Work on the ten citywide renovation projects was estimated to cost almost \$146 million, and was scheduled to start later that year, and be completed in April 2004, in time for the 100th anniversary of the station's opening, and the 250th anniversary of Columbia University.

Columbia University agreed to contribute \$1 million to the renovation of the 103rd Street station following its announcement in April that it would purchase a building adjacent to that station. In September 2002, the university was in negotiations to provide funding for the renovation of the 110th Street station. As a condition of the funding allocation for the station renovation at 103rd Street, the university wanted work on the project to be expedited. Residents of Morningside Heights approved of the renovations plans, but were concerned that the expedited repairs would come at the cost of damaging the stations' historic elements. Block associations near the 103rd Street station contracted a firm to develop a plan to renovate the station quickly while maintaining its historic elements. A similar plan was already completed for the 110th Street station. The MTA was expected to decide whether preservation or speed would be prioritized in the station renovation projects by the end of the year.

The design of the station renovations at the 110th Street and 116th Street was met with controversy as local community activists believed that the plan to include artwork from the MTA's Arts for Transit program would damage the stations' original decorative tiling, which had remained untouched since the stations opened. The community activists believed that the new artwork would also be illegal for going against restrictions put into place when they were landmarked. The MTA had planned to install a small bronze subway track and train to be inlaid within the station walls surrounded by sepia-toned photographs of the neighborhood at 116th Street. In December 2002, Manhattan Community Board 7 voted in favor of the plan to include artwork from the MTA's Arts for Transit program at the 103rd Street station, which was not landmarked, but voted against the plan to include new artwork at the landmarked 110th Street and 116th Street. On February 4, 2003, Community Board 7 voted in favor of renovating the 103rd Street and 110th Street stations, but against the inclusion of any new artwork in the stations, going against the board's initial vote to support the installation of artwork at 103rd Street. The opposition to the addition of artwork at that stop stemmed from the belief among opponents of the plan for artwork that the station's historic features would be more vulnerable as the station was not landmarked.

Columbia University contributed \$1 million to the station renovation project at 116th Street after the MTA said it would have to put off the renovation projects in Manhattan due to funding issues. Columbia also provided funding to cover a portion of the cost of renovating the 125th Street station, and funded the substitution of the station's aluminum vents with glass windows to reflect the station's original design. Due to concerns expressed by community groups, the addition of art to the 110th Street and 116th Street stations was dropped. From May 31 to July 12, 2003, the uptown platforms at 116th Street station and 103rd Street were closed at all times for their renovations. The station renovation project at 116th Street began in January 2003. Between October 5 and November 17, 2003, the downtown platforms at 110th Street and 125th Street were closed to expedite work on their renovations.

On May 27, 2005, the 9 train was discontinued and all 1 trains began to make all stops. The skip-stop service made less sense by 2005 because of the increased number of trains being run and the higher ridership at the bypassed stations; the MTA estimated that eliminating skip-stop service only added 21⁄2 to 3 minutes of travel time (for passengers at the northernmost stations at 242nd Street and 238th Street) but many passengers would see trains frequencies double, resulting in decreased overall travel time (because of less time waiting for trains).

On March 16, 2009, the new South Ferry station opened, replacing the original loop station. The loop station could only accommodate the first five cars of a train and required the use of gap fillers because of the sharpness of the loop curve. The new station was built as a two-track, full (10-car)-length island platform on a less severe curve, permitting the operation of a typical terminal station. The newer station does not have a connection to the IRT Lexington Avenue Line, and is underneath the loop station. The MTA claimed that the new station saved four to six minutes of a passenger's trip time and increased the peak capacity of the 1 service to 24 trains per hour, as opposed to 16 to 17 trains per hour with the loop station. This was the first new station to open since 1989 when the IND 63rd Street Line stations opened.

1 service was affected by Hurricane Sandy in October 2012, following serious flood damage at South Ferry. Rector Street served as a temporary terminal until April 4, 2013, when the 1 returned to the reopened old loop station. Hurricane Sandy also damaged the Clark Street Tubes, necessitating a full closure on weekends from June 27, 2017, to June 24, 2018, thus affecting 2, 3, 4, and 5 service. In addition, as a result of the closure for repairs of the Clark Street Tubes, the stations on the Brooklyn Branch of the line (Park Place to Borough Hall, as well as Hoyt Street on the Eastern Parkway Line) saw closures on weekends as well (2 trains continued to operate to Brooklyn on weekdays and weekday late nights as did 3 trains on weekdays except late nights). The new South Ferry station reopened on June 27, 2017, in time to accommodate the Clark Street closures. Throughout the duration of the Clark Street tunnel closures, a free out-of-system MetroCard transfer was provided between South Ferry (where 2 trains were rerouted from 11:45pm Fridays to 5:00am Mondays), and Bowling Green (where 4 and 5 trains ran local in Brooklyn in place of the 2 and 3 trains during those same times). Normal service on the Brooklyn Branch resumed on June 25, 2018. The Cortlandt Street station reopened on September 8, 2018.

## Extent and service

The following services use part or all of the Broadway–Seventh Avenue Line, whose services' bullets are colored :

## Station listing

New York City Subway line