Krishna's next blockbuster encounter is with Indra, the king of the gods. In the Govardhan lila episode Krishna defies Indra by instructing his people to stop worshipping him. An indignant Indra unleashes seven days of rain, but Krishna simply lifts the Govardhan mountain so that all the people and animals of Vrindavan gather under it and are protected from the rain. In terracotta panels, the mountain is usually shown as a series of wavy lines at the top (although at Bhalia, the sculptor has used a series of spiral squares to depict the mountain). Below this, a central, relaxed figure of Krishna holds up the mountain with his finger and under it, surrounding Krishna, are men, women, and cattle. At Bansberia, this scene spans several panels and has delightfully sculpted seated cattle along with many men and women. Some of these surrounding figures, who (again) resemble Krishna, are also holding up the mountain, but with poles held at an angle. This depiction is derived from jatra plays where a large canopy representing the mountain was held up on stage by several Krishnas holding poles.
Scenes of Krishna's dalliances with the Gopis in the forests of Vrindavan include the popular scene of Raas lila, a miracle where Krishna replicated himself to dance with every gopi on a moonlit autumn night. In other scenes he is shown dancing and playing the flute, or sitting either under trees as at Rajbalhat or Atpur, or within arched frames. At Chandannagar, a panel shown Krishna with Radha standing next to a tree and a peacock, perhaps a depiction of the Natvin Lila where Krishna disguised as a female acrobat amuses Radha by dancing like a peacock. This is followed by the scene where Radha wishes to be carried on Krishna's shoulders because she is tired. Finally, Radha and Krishna are shown playing a single flute. A common scene of Krishna with Gopis is of the Chirharan Lila or stealing the gopis clothes. In these panels, Krishna is shown seated on a tree playing the flute while several gopis standing in water plead with Krishna to return their clothes. They are shown in various postures, some with hands folded above their heads, others with open palms asking for their clothes, sometimes kneeling to touch their heads to the ground, and some attempting to climb the tree, or shaking its branches.
In the episode of Nauka Lila, Krishna appears as a boatman, and agrees to ferry the gopis across the Yamuna. Krishna is shown sitting at the helm of a river-boat, while the gopis sit or stand in it with baskets on their heads. He holds an oar dipped in wavy lines depicting the Yamuna. In more complex depictions as at Dvarhatta, the scene takes place in a long, elaborately carved river-boat with peacock-prows, while crocodiles peer from the water. Krishna is sometimes shown multiple times, flirting with the gopis or stealing food from their baskets. In some depictions, Radha is shown seated in the boat with Krishna, or separately in a pavilion. At some temples like Hatbasantapur, the figure of the widow Barai-buri is shown as a hunched figure leaning on a stick, standing next to Krishna and berating him with upraised hand. This character was recognizable to viewers from Krishna plays, where she provided a comic foil to Krishna's divinity.
A similar episode is the Dan Lila, usually depicted on a panel near the Nauka Lila scene. Gopis bringing curds into Nanda's village are intercepted by Krishna and his friends who set up a toll post and demand tax. Krishna is shown seated, sometimes on a platform, but always under a large kadamba tree. His demands are challenged again by Barai-buri, shown as a bent figure leaning on a stick, and arguing hand-raised with Krishna while Gopis carrying baskets with pots of curd wait behind her, some impatiently or angrily with hands on their hips.