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“Krishna with Butter” usually refers to the childhood stories and devotional images of Krishna as Makhan Chor, or “the Butter Thief.” In these scenes, the young Krishna may hold a ball of butter, take it from a pot, or be caught by his foster mother, Yashoda. The motif is rooted in the pastoral stories of Vrindavan and appears in paintings, sculpture, and terracotta.
Why is Krishna called Makhan Chor?
Makhan Chor means “butter thief” and names a familiar form of child Krishna. LACMA also records the name Navanitachora and describes this iconography as a child holding a ball of butter. The butter is not just a prop: it identifies the figure and points to stories of Krishna’s playful thefts in Vrindavan. LACMA’s object record uses both names for the subject.
The Philadelphia Museum of Art’s exhibition text connects these childhood episodes to chapter ten of the Bhagavata Purana, which recounts Krishna’s early years and describes him stealing butter from his stepmother in Vrindavan. The museum also notes that many Hindus revere Krishna as the supreme deity and as an avatar of Vishnu; images of the butter thief therefore belong to a sacred narrative tradition as well as to scenes of childhood mischief. Philadelphia Museum of Art: “A Flute in the Forest: Tales of Young Krishna”
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What happens in the story of Yashoda and the butter thief?
One related episode begins when Yashoda tries to stop Krishna’s thefts by tying him to a wooden mortar. In the Met’s account, the rope repeatedly proves too short; Krishna eventually allows himself to be bound. The scene links ordinary household activity with divine play, and it gives artists a different way to depict the butter-thief story: not simply a child with butter, but Krishna in a moment of interaction with his foster mother. The Metropolitan Museum of Art’s catalog entry describes this episode on a Gujarat manuscript page dated 1640–50.
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- This Baby Krishna-Vishnu Stealing Butter From A Pot Statue is approximately 4.25" tall and 3.25" long and 2.25" deep. He weighs about 8 ounces.
- This Baby Krishna-Vishnu Stealing Butter From A Pot Statue is made of designer composite resin, hand painted and polished individually. Color Tone may vary
- This sculpture shows young Krishna stealing butter from the Gopis. The Gopis prayed to Krishna to accept the butter as their token of love. They stored some butter in pots and left to sell other milk products such as buttermilk, butter and cheese.
- When asked about the act of stealing, the Hindu Guru commented, “Sri Krishna was not a thief. Just as the Sun doesn’t need the light from a candle flame, Sri Krishna never needed anything from anyone. “Some of his childhood friends were poor. As Krishna and his friends went out to play, the friends complained that they were hungry. So Krishna visited the houses of different Gopis, took the butter and offered it to his friends. He didn’t do it for his own sake."
How artists depict Krishna with butter
The subject changes with the artist’s choice of moment and medium. A figure holding a butter ball makes the butter-thief identity immediately legible; a scene with a pot, companions, or Yashoda can place that identity within a particular episode. When looking at an image, distinguish what is visibly represented from what the story helps explain.
- Child holding butter: A compact devotional image of Krishna as Navanitachora or Makhan Chor, such as the child-Krishna sculpture described by LACMA.
- Theft from a pot: A narrative moment that emphasizes Krishna’s mischief and the household setting of the stories.
- Yashoda and the mortar: A scene from the binding episode, as represented in the Met’s illustrated manuscript page.
- Krishna with a butter-churning gopi: The National Crafts Museum describes a Bankura, West Bengal, terracotta temple brick showing Balakrishna stealing butter while a gopi churns nearby. National Crafts Museum & Hastkala Academy: “Brick depicting Maakhan Chor”
The records illustrate how widely the motif travels across object types: LACMA catalogs 16th-century sculpture, the Met documents a 1640–50 manuscript painting, and the National Crafts Museum catalogs a Bankura terracotta temple brick. These objects belong to distinct historical and regional contexts, so their differences are part of the subject rather than variations to be flattened into one standard image.
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How to read a Krishna-with-butter image
Start with the object itself, then use the story to interpret it. Useful questions include:
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- What medium is used—sculpture, manuscript painting, or terracotta—and what details does that medium make prominent?
- Does the object record identify a region, date, or devotional setting?
- Is it a historical artwork, a contemporary devotional object, or a reproduction? Do not assume a modern object copies a particular museum work unless its maker or seller establishes that connection.
For example, LACMA describes one 16th-century Krishna sculpture through the butter-thief iconography, while its record for another 16th-century sculpture says it was likely intended for domestic shrine veneration. That qualification applies to the cataloged object, not automatically to every image of Krishna with butter. LACMA’s second sculpture record
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