Bhagavat Puran

Bhagavata Purana
Varanasi Conference
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Contents
Articles
Bhagavata Purana 1
Puranas 12
Gaudiya Vaishnavism 19
Rasa lila 25
Dashavatara 27
Bhagavata 33
Tandava 36
Indian aesthetics 38
References
Article Sources and Contributors 44
Image Sources, Licenses and Contributors 45
Article Licenses
License 46
Bhagavata Purana 1
Bhagavata Purana
The Bhāgavata Purāṇa (Devanāgarī: भागवतपुराण, also known as Śrīmad
Bhāgavatam, or Bhāgavata) is one of the "Maha" Puranic texts of
Sanskrit literature, with its primary focus on bhakti (religious devotion)
to Lord Narayana or Lord Vishnu or Krishna, who is "Svayam
Bhagavan, God himself".[1] The Sanskrit text comprises twelve
skandas (cantos or books) and some 18,000 verses.[2] The Bhāgavata
includes many stories well known in Vedic tradition, including the
various avatars of God Vishnu and the life & pastimes of his complete
incarnation, Krishna. It was the first Purana to be translated into a
European language, with three French translations also between 1840
and 1857.[3]
Bhagavata Purana is a sattva purana[4] and is considered as purest and

greatest of all puranas since it invokes the devotion towards the God
Narayana or Vishnu and his various incarnations, primarily focusing
on Krishna since he was complete incarnation of Lord Vishnu or
Svayam Bhagavan.[5]
Like all Puranas, the Bhāgavata is a product of oral tradition, its extant
version usually dated to the ninth or tenth century CE.[3][6] The Krishna lifting Mount Govardhan to shelter
tradition of the Vaisnava scholars of the text puts it contemporary with people of from a thunderstorm unleashed by
date of Krishna's birth, known as Janmashtami; 18 July 3228 BCE. The Indra. (Bh. P. 10.17)
text itself credits Veda Vyasa with its authorship.

The intense and personal bhakti described in the Bhāgavata is directed toward Krishna as Vishnu in human form.
The tenth book (or canto), which is dedicated to Krishna, takes up about one quarter of the entire Bhāgavata.[3] It
includes the most comprehensive collection of stories about the life of Krishna, showing him in all the stages and
conditions of human life. It also includes instruction in the practice of bhakti, an analysis of bhakti, and descriptions
of the different types of bhakti.[7] Many vaishnavas consider Srimad Bhagvatam to be non-different from Krishna
and to be literary form of Krishna.
The Bhāgavata takes the form of a story recounting Vyasa's work being recited for the first time by his son Śuka to
the dying King Parikshit, who owes his life to Krishna. Longing to hear of Krishna before he dies, Parikshit hears the
Bhāgavata recited by Śuka, including questions by the king and replies by the sage, over the course of seven days.[8]
Bhagavata Purana 2
Significance
The Bhāgavata is widely recognized as the best known and
most influential of the Puranas, and is sometimes referred to
as the "Fifth Veda".[9][10] It is unique in Indian religious
literature for its emphasis on the practice of bhakti, compared
to the more theoretical bhakti of the Bhagavad Gita; for its
redefining of dharma; and for the extent of its description of
God in a human-like form.[7] It is also the source for many of
the popular stories of Krishna's childhood told for centuries in
the Indian subcontinent.[3] Charlotte Vaudeville refers to the
Bhāgavata as "the real Bible of Krishnaism",[10] while the
Bhāgavata declares itself as the essence of Vedanta:
Krishna defeats Trinavarta, the whirlwind demon. While
The Sri Bhāgavata is the very essence of all the everyone else is blinded by sand whirled about, the divine
child Krishna emerges victorious.
Vedanta literature. One who has enjoyed the
nectar of its rasa never has any desire for
anything else. (12.13.15)[11]
The Bhāgavata, along with the Bhagavad Gita, are the main
sources of scriptural authority used by Gaudiya Vaishnavas
for demonstrating the pre-eminence of Krishna over other
forms of God. An oft-quoted verse from the Bhāgavata is used
as a representational statement by Krishna sects to show that
Krishna is "Bhagavan Svayam", or God himself: "These
[other incarnations] are amsha, or kala, partial incarnations,
but krishnas tu bhagavan svayam, 'Krishna is Bhagavan, God
himself.'" (1.3.28).[12]
Manaku (artist) - Leaf from a Dispersed Bhagavata Purana
The 15th–16th century Assamese translation of the Purana
Series- BMA
(Bhagavat of Sankardeva) by Srimanta Sankardeva and others
form the central text of the Ekasarana Dharma, a monotheistic
religion in Assam. Sankardeva's rendering of the tenth Book, locally called daxama, is particularly popular.
Origin and date

The Puranas are a type of traditional Hindu texts that took
form during the medieval period, often both informed by
earlier material and undergoing later interpolations.[14] It is
therefore problematic to assign a precise date to any such
text,[3][6][15] The Bhāgavata Purāṇa itself is a typical case, a
text transformed by oral tradition which reached its "basic
final shape" at some stage during the Indian Middle
Ages.[14]
Scholarly consensus holds that the text was completed no

An illustration of an episode from the Bhāgavata (IV.17), in later than around 1000 CE, when it is mentioned by al
which Vishnu avatar Prithu chases the earth goddess Prithvi in Biruni and quoted by Abhinavagupta; the earliest
[13]
the form of a cow, to end a famine in his kingdom.
Bhagavata Purana 3
suggestions of it are the composition of the Vishnu Purana and Harivamsa, and the Vaishnava Bhakti movement in
South India, which limit its composition to after 500 CE.[9][16] Within this range, scholars such as R. C. Hazra date it
to the first-half of the sixth century, while most others place it in the post-Alvar period around the ninth
century.[6][9][17] The final redactor of the text was emphasizing the texts's claim to ancient origns by resorting to an
archaizing Vedic flavour of Sanskrit.[18]
The Bhāgavata itself claims primordial origins, while accepting that it has since been edited by human and divine
hands.[14] The text and Hindu tradition ascribe its authorship to Veda Vyasa, who is also credited as the scribe for
the Vedas.[9]
The Bhāgavata Purāṇa contains apparent references to the South Indian Alvar saints and it makes a post factum
prophecy of the spread of Vishnu worship in Tamil country (BP XI.5.38–40);[9][16] these facts, along with its
emphasis on "emotional Bhakti to Krishna" and the "Advaita philosophy of Sankara", lead many scholars to trace its
origins to South India.[7] However, J. A. B. van Buitenen, a late professor of Indology at the University of Chicago
points out that 10th–11th CE South Indian Vaishnava theologians Yamuna and Ramanuja do not refer to Bhāgavata
Purāṇa in their writings, and this anomaly needs to be explained before the geographical origins and dating are
regarded as definitive.[9][16]
Philosophy
The Bhāgavata is primarily a bhakti text, with an emphasis on achieving moksha through cultivating a personal
relationship with Vishnu in the form of Krishna. The philosophy and teachings of the Bhāgavata include several
traditions, and an absence of a "narrow, sectarian spirit". While Bhakti Yoga is the prominent teaching, various
passages show a synthesis that also include Samkhya, Yoga, Vedanta, and Advaita Vedanta.[19]
Bhakti
The Bhāgavata is among the most important texts on bhakti, presenting a fully developed teaching on bhakti that
originated with the Bhagavad Gita.[20] Bhakti is presented as a path of yoga, or "union with the divine". Many of the
bhakti teachings in the Bhāgavata are presented as yogic activities—meditating on the lila of Krishna; hearing and
singing about Vishnu/Krishna; remembering, serving, and worshiping him; dedicating all of one's actions to
him—all are among nine activities of Bhakti Yoga taught in the Bhāgavata. While classical yoga attempts to shut
down the mind and senses, the Bhakti Yoga in the Bhāgavata teaches that the focus of the mind is transformed by
filling the mind with thoughts of Krishna.[21]
There are many didactic philosophical passages, but the lengthy narrative stories are also a teaching; the book
describes one of the activities that lead to liberation (moksha) as listening to and reflecting on the stories of
Bhagavan.[22] Even Kapila, the Samkhya philosopher, teaches his mother that in order to reach liberation, she must
have bhakti, jñāna (wisdom), and vairāgya (dispassion), with bhakti being the most important. (3.25.18)[23]
The Bhāgavata also teaches that bhakti is more important than caste, stating that even a Chandala who has deep faith
and devotion is dearer to God than a brahmin without faith. (III.33.7) While not completely dismissing the caste
system, it does reject the superiority of the brahmin based solely on birth. In the Bhāgavata, devotees of Krishna
include those from lower castes: Prahlad, considered the greatest of devotees, is the son of a demon king and of 'low
birth'; the gopis are uneducated wives of herdsman, yet are very close to Krishna. The Bhāgavata held out the
possibility of salvation through devotion (bhakti) regardless of caste or social status. The Bhāgavata is also critical of
the acquisition, protection, and enjoyment of wealth, going as far as implying that only the poor can be true
followers of bhakti. In one passage, Krishna says to Rukmini, "We are poor and we are always the favourites of poor
persons." (X.60.14)[24]
Bhagavata Purana 4
Samkhya
Surendranath Dasgupta describes the theistic Samhkhya taught by Kapila in the Bhāgavata as the dominant
philosophy in the text.[25] In the Bhāgavata, Kapila is described as an avatar of Vishnu, born into the house of
Kardama in order to share the knowledge of self-realization and liberation. Kapila's Samkhya is taught by him to his
mother Devahuti in Book Three, and by Krishna to Uddhava in Book Eleven.[26] Samkhya in the Bhāgavata is
presented somewhat differently than in other classical Samkhya texts.[27] It describes Brahman, or Bhagavan, as
creating all beings within his Self in latent form—then, on its own initiative, bringing itself into Maya and falling "
under the influence of its own power". This is in contrast to classical Samkhya, where the impulse for creation is
"inherent in primal nature", or prakriti.[26]
The treatment of Samkhya in the Bhāgavata is changed by the text's emphasis on devotion.[26] In Chapter Eleven,
Krishna describes the world as an illusion, and the individual as dreaming, even while in the waking state. He gives
Samhkhya and Yoga as the way of overcoming the dream, with the goal of Samhkhya as Bhagavan himself in the
aspect of Krishna.[26]
Advaita
The Bhāgavata frequently discusses the merging of the individual soul with the Absolute Brahman, or "the return of
Brahman into His own true nature", a distinctly advaitic or non-dualistic philosophy. In the same passages, the
Bhāgavata still recommends Bhagavan as the object of concentration for reaching that goal.[19] Scholars describe this
philosophy as "Advaitic Theism",[14][28] which combines the seemingly contradictory beliefs of a personal God that
can be worshiped with a God that is immanent in creation and in one's own self. Daniel P. Sheridan describes
Advaitic Theism as a "both/and" solution for the question of whether God is transcendent or immanent in relation to
creation, and credits the Bhāgavata with a "truly creative religious moment" for introducing this philosophy.[28]
Dharma
Bhāgavata extends the concept of dharma that had previously been regarded either as the duty to follow Vedic
injunctions, as a moral code that emphasizes ahimsa (non-injury), satya (truthfullness) etc., or as the idea of
self-realization through yoga. Breaking with these senses of the term, Bhāgavata considers dharma to consist of
sincere worship and devotion towards God without any ulterior motive. Such worship is said to cleanse the spirit of
all impurities—motives, jealousies, pretensions, etc.—and reveal man's nature as part of the absolute, leading to
supreme bliss. Conversely, Bhāgavata teaches that simply following Vedic injunctions that do not produce devotion
towards God are of transitory benefit and are fruitless labour.[29]
Yoga
A classical approach to yoga is taught in the beginning of the second chapter, when Śuka tells Parikshit to prepare
for death by making an asana (place to sit) in a solitary place and meditating on Om, without regard for the
distractions caused by the lower qualities of raja and tama guna. Śuka also describes different meditations on the
gross and subtle aspects of Bhagavan, or God, in a way that is similar to the Yoga Sutras of Patanjali.[19] Several
passages describe the merging of the individual soul with the Absolute Brahman. The Bhāgavata, in explaining the
method of reaching that goal, recommends the object of concentration as Bhagavan, with an emphasis on yoga as a
form of bhakti.[19]
Siddhis, or spiritual powers developed through yoga practice, are described in many passages in ways that echo the
Yoga Sutras of Patanjali. The tenth chapter of the eleventh skanda teaches that the yogi who has controlled his
senses and concentrated his mind on Bhagavan develops these siddhis. Patanjali describes siddhis as obstacles to
reaching the ultimate goal of yoga (union)—the Bhāgavata describes them as blessings that are present in Bhagavan
in infinite form, and given to the yogi in varying degrees depending on the yogi's devotion.[30]
Bhagavata Purana 5
Contents
Narrators and setting

The Bhāgavata is a recounting of events by the storyteller Ugrasrava Sauti (Sūta) to Saunaka and other sages
assembled in the Naimisha Forest. As Sūta explains, Veda Vyasa was feeling unsatisfied, even after he made divine
knowledge available to humans by writing the Vedas and the Mahabharata. The sage Narada, in his role as
intermediary between gods and men, visited Vyasa to inform him that his unease was because he had not yet
described the highest goal of knowledge—bhakti, or devotion to God.[3][8]
Sūta recounts the first recital of Vyasa's work, given by Vyasa's son Śuka to King Parikshit, the grandson of Arjuna.
Parikshit, who owed his life to Krishna, had angered a rishi's son for being disrespectful to the rishi's father. He was
cursed to be bitten by a poisonous snake and had only seven days to live. Fasting by the banks of the Ganges River,
and with Krishna no longer alive, Parikshit longed to hear of him. The Bhāgavata introduces the life of Parikshit as
background, thus bringing Krishna into the story, and is presented as part of Śuka's recital over the course of seven
days. It concludes with Śuka asking Parikshit the standard, "What more do you want?" (12.5.13) Completely
satisfied with what he has heard and his purpose in life fulfilled, Parikshit dies. (12.6.12–15)[8]
Books
Book 1
The first book introduces the Bhāgavata, with Saunaka

gathering the sages in Naimisha Forest to hear Sūta
praise bhakti to Krishna and describe the ten avatars of
Vishnu. Sūta tells the story of the life of Parikshit, son
of Abhimanyu, beginning while still in his mother's
womb, where Krishna protected him from the
Brahmastra weapon of Ashwatthama. The conclusion
of Parikshit's life introduces the main storyline of the
Bhāgavata—a curse is placed on Parikshit that will
cause him to die within seven days. Parikshit retires to
the bank of the Ganges to fast until his death, with
several sages gathered around him, including Śuka, son
of Vyasa. Parikshit asks Śuka what he should do to
prepare for death. Śuka's response constitutes the main
part of the Bhāgavata.[31]
Book 2
Śuka tells Parikishit that when one is about to die, they The ten avatars of Vishnu, (Clockwise, from top left) Matsya,
should become free of the fear of death and let go of all Kurma, Varaha, Vamana, Krishna, Kalki, Buddha, Parshurama,
attachments to pleasure, home, and family. They should Rama and Narasimha, (in centre) Krishna
control the breath and mind and concentrate on the

sacred Aum. The development of yoga and bhakti, different types of dharana, the nature of Bhagavan, and the
liberation of a yogi upon his death are also explained by Śuka. In response to Parikshit's questions, Śuka describes
creation and the avatars of Vishnu, concluding with a description of the ten characteristics of a Purana.[31]
Bhagavata Purana 6
Book 3
Vidura's pilgrimage to various holy places provides the backdrop for the stories and spiritual teachings in Book 3.
Near the Yamuna River Vidura meets Uddhava, who gives him the news of the Kurukshetra War and about Krishna
leaving this world. Next he meets the sage Maitreya, who gives instruction on the creation of the world, the divisions
of time, and other subjects. The story of the birth of Hiranyakasipu and Hiranyaksa is told, including the latter's
death at the hands of Varaha, the boar avatar of Vishnu. An important story is the tale of Devahuti and her son
Kapila—Kapila's Samkhya teachings help lead her to final liberation.[31]
Book 4
The story of Daksha and his sacrifice is told, in which he mocks Shiva in front of Dakshayani—his own daughter
and Shiva's consort—resulting in Dakshayani's self-immolation, which later came to be known by one of her names,
Sati. The legend of Dhruva's penance and devotion to Vishnu is also recounted, along with the related story of king
Prithu. The book ends with the recounting of the renunciation and liberation of the Pracetas brothers.[31]
Book 5
The story of Manu's sons and their children leads eventually to Bharat and a description of the world, the sun and its
course, the moon and the planets, the regions below the earth, and the twenty-eight hells (naraka).[31]
Book 6
Book 6 includes the story of Ajāmila, who reached heaven as a reward for uttering the syllables "Na-ra-ya-na" on his
deathbed, even though he was only intending to call his son. The story of the son of the Praceta brothers is also
recounted, along with the victory of Indra over Viśvarūpa. Book 6 ends with the birth of the Maruts.[31]
Book 7
The main portion of the seventh book is dedicated to the

well known story of Hiranyakaśipu, his son Prahlada, and
the death of Hiranyakaśipu at the hands of Narasimha, an
avatar of Vishnu. This version expands on the story of
Prahlada as told in the Vishnu Purana, and is the form that
is most commonly told in Hinduism. Prahlada is considered
a great devotee of Vishnu, and describes the process of
bhakti toward Bhagavan. Book seven also includes a
discussion of the dharma involved with the different varnas
and with the four ashramas (stages) of life.[31] The lion-man incarnation of Vishnu, Narasimha kills demon
Hiranyakaśipu
Book 8
The description of the six past Manvantaras (ages or time periods of Manu) and the seven future ages of Manu
includes several stories, many involving the avatars of Vishnu. Nine chapters are dedicated to the oft told story of
Vishnu's Vamana (dwarf) avatar and his defeat of Bali. The story of the churning of the ocean of milk [32] is also
recounted, which is done with the help of the Kurma avatar of Vishnu.[31]
Bhagavata Purana 7
Book 9
The current age of Manu is described at length, including the traditional history of the Solar Dynasty founded by
Ikshvaku and the Lunar Dynasty of Pururavas. A long history of dynasties is described—Panchala, Magadha, Kuru,
Anu, Druhyus, Turvasu, and others—leading up to the Yadu dynasty and the birth of Krishna to his parents
Vasudeva and Devaki.[31]
Book 10
The tenth book, dedicated to Krishna, is responsible for the widespread

popularity of the Bhāgavata Purāṇa. Book Ten includes the most
enduring images and stories of Krishna: the mischievous child who
steals butter; the godlike child who holds the entire universe within
himself; the boy who can slay demons and move an entire mountain
with one finger; the cowherd who is the love of all the gopis, making
them leave all their duties to follow him.[33]
Krishna and the gopis, from a Bhagavata Purana
The tenth book is by far the lengthiest, taking up almost one quarter of manuscript c. 1760.
the entire Bhāgavata. While the Mahabharata and the Bhagavad Gita
show Krishna in various roles as teacher and diplomat, book 10 shows Krishna simply engaging in lila, or divine and
intimate play with his devotees. It presents this intimate relationship with God as the highest goal of human
existence.[34]
Book 11
The destruction of the Yadava dynasty, including Krishna and all his
kinsmen, is caused by the curse of a brahmin—instigated by Krishna
himself. The Yadavas kill each other in a drunken fight and Krishna
dies as a result of the same curse, the result of a metal-tipped arrow
striking his foot. The last chapter describes Krishna's ascent to
Vaikuntha. Book eleven also includes the so-called Uddhava Gita, the
last discourse of Krishna which he addresses to his dear friend
Uddhava.[31] Canto or Book 11 section 7-9 discusses the pastimes and
Page from an Illustrated Manuscript of the
realizations of an Avadhuta.
Bhagavata Purana-This is a page from a
manuscript of the Bhagavata Purana, a lengthy
Book 12 Hindu scripture dedicated to the god Krishna,
who is said to have lived on earth as a prince.
The future rulers of Magadha are predicted, along with the evils of Kali
Yuga and the future destruction of the world (pralaya). The main story
ends with the death of King Parikshit—cursed to die from snakebite—and the thwarted snake sacrifice of his son
Janamejaya. The text finally concludes with a second description of the ten characteristics of a purana, the life of
Markandeya, a summary of the Bhāgavata, and the assurance that it is the greatest among puranas.[31]
Bhagavata Purana 8
Theatre and dance

The Bhagavata cult centred around the worship of Krishna and the
related puranas, played a central role in the development of theatre and
dance in India, particularly through the tradition of Ras and Leela,
which are dramatic enactments of Krishna wooing gopis (cow herding
girls), and episodes from his life, respectively. Though this
dance-theatre tradition predates the composition of the Harivamsa,
Vishnu and Bhagavata Purana, they were significant in its
evolution.[35] In particular, many Ras plays dramatise episodes related
in the Rasa Panchadhyayi ("Five chapters of the Celestial Dance";
Book 10, chapters 29–33) of Bhagavatam.[36] The purana accords a
metaphysical significance to the performances and treats them as
religious ritual, which cleanses the hearts of faithful actors and
listeners and gains them para bhakti (supreme devotion) towards the
Lord. Bhagavatam also encouraged theatrical performance as a means
to propagate the faith (BP 11.11.23 and 36, 11.27.35 and 44, etc.), and
this led to the emergence of several theatrical forms centred around
Krishna all across India.[37]
In Book 10, Bhagavatam describes Krishna dancing the Tandava, a Krishna subdues the serpent Kaliya (10.16)
vigorous dance, on the hood of the cobra Kāliyā. This is regarded as
the origins of the classical dance style of Kathak, and has influenced other forms including Odissi, Manipuri and
Bharatnatyam.[38]
Commentaries
The oldest exegetical commentary presently known is Tantra-Bhāgavata from the pancaratra school. From the
modern age there is the commentary by Madhvacharya (c 13th century CE) titled Bhagavata Tatparya Nirnaya, then
later Sridhara Swami's Bhavartha-dipika written in 15th century CE.[39] Other commentaries are: Hanumad-Bhasya,
Vasana-bhasya, Sambandhoki, Vidvat-kamadhenu, Tattva-dipika, Paramahamsa-priya, Suka-hridaya. Vopadeva
wrote the Mukta-phala and the Hari-lilamrita. Vijayadhvaja composed the Pada-ratnavali. Viraraghava also edited
The Bhāgavata-Candrika (from Ramanuja's school). Other works are the Suvodhini by Vallabha and
Bhakti-ratnavali by Visnupuri. Among the Gaudiya Vaishnava commentaries there are Jiva Goswami's
Krama-sandarbha (16th century CE), the Sarartha Darsini by Vishvanatha Chakravarti (17th century), the
Dipikadipani by Radharamana, Bhaktisiddhanta Saraswati's Gaudiya-bhasya (20th century).
Translations
• A. C. Bhaktivedanta Swami Prabhupada has written a multi-volume edition that includes English translation and
commentary. Translation also available in more than 40 languages. For free online reading, see: http://www.
vedabase.net
• A Telugu version was rendered by the poet Pothana in the fifteenth century.
• The transcreated work, known as the Bhagavata of Sankaradeva, is the primary theological source for
Mahapurushiya Dharma in the Indian state of Assam. Sankaradeva (1449-1568 AD) drew inspiration chiefly from
the Bhagavata and he himself undertook the task of rendering of the major portion, namely Books I, II, III, VI,
VII, VIII, IX, X, XI and XII.[40] Besides the rendering, he composed a large number of works with materials from
the Bhagavata such as the Kirttana Ghosha which is an anthology (kavya-kosh) of more than two dozen epics of
Bhagavata Purana 9
various magnitudes. Most of the poems of the Kirttana are renderings or adaptations from the Bhagavata
Purana.[41] His Nimi Nava Siddha Samvada is a doctrinal treatise based on Book XI of the Bhagavata. His Anadi
Patana is mainly an adaptation from Book III of the Bhagavata. The Gunamala, the 'Garland of Praises (for Lord
Krishna)' written by Sankaradeva is a little handbook capturing in racy, rhyming and sonorous verses, the essence
of the Bhagavata Purana.[42] Within the compass of a single laudatory verse, the poet recounts many incidents
from Krishna's life making them easy to remember. This 'pocket-Bhagavata' is a sacred text for all Assamese
Vaisnavas and is often placed in the pedestal or the Guru-Asana (sacred throne) in the congregational
prayer-house called Namghar as the object of veneration. See English translation of Sankaradeva's Gunamala [43]
• A condensed Srimad Bhagavatam in Sanskrit, the Narayaneeyam, was composed by Melpathur Bhattathiri of
Kerala in 1586.
• The 16th century Maharashtrian poet Eknath wrote a scholarly commentary on the 11th Canto of the Shrimad
Bhagavatam named "Ekanathi Bhagavata" in Marathi, the vernacular language of the Indian state of Maharashtra.
• The first translation of the Bhagavata into French was made by Eugene Burnouf in 1840.
• Swami Tapasyananda has written an English translation in four volumes.
• Swami Prabhavananda wrote an English version that is part translation, part summary and paraphrase, titled The
Wisdom of God: Srimat Bhagavatam.
• Asthana Vidwan Motaganahalli Ramashesha Shastri has written a Kannada translation, Bhagavata Maha Purana.
• Gita Press has a two-volume English and Hindi translation (with Sanskrit text and English translation).
• Kamala Subramanian has written a concise version of this book in English.
• Another translation of Book X was published on Writers Workshop in 1997, transcreated by Nandini Nopani and
P. Lal.
• Edwin Bryant published an English translation of Book X in 2003, through Penguin Books.
Notes
[1] Bryant 2007, pp. 114
[2] Doniger 1999, pp. 126
[3] Bryant 2007, pp. 111–113
[4] Padma Purana, Uttara-khanda, 236.18–21
[5] Bhagavata Purana: Canto 12 Chapter 13 Verse 16
[6] Matchett 2003, pp. 129–144
[7] Kumar Das 2006, pp. 172–173
[8] Matchett 1993, pp. 95–116
[9] Sheridan 1986, pp. 1–16
[10] Matchett 2001, pp. 107
[11] Haberman & Rūpagōsvāmī 2003, p. 65
[12] Bryant 2007, pp. 113–114
[13] Beach 1965, pp. 168–69
[14] Brown 1983, pp. 553–554
[15] Ludo Rocher points out that modern Puranic studies have mistakenly seen the Puranas as manuscripts to be studied, when "fundamentally,
they do not belong in books", but are an oral tradition. He writes that "it is not possible to set a specific date for a Purana as a whole."Rocher
1986, pp. 59, 103
[16] van Buitenen, J. A. B (1966). "The Archaism of the Bhāgavata Purāṇa". In Milton Singer. Krishna: Myths, Rites, and Attitudes. pp. 23–40..
Reprinted in van Buitenen 1996, pp. 28–45
[17] Estimated dates given by some notable scholars include: R. C. Hazra – 6th c., Radhakamal Mukherjee – 9th–10th c., Farquhar – 10th c.,
Nilakanta Sastri – 10th c., S. N. Dasgupta – 10th c.Kumar Das 2006, pp. 172–173
[18] Sheridan 1986, p. 10–12
[19] Rukmani 1993, pp. 217–218
[20] Cutler 1987, p. 1
[21] Bryant 2007, p. 117
[22] Matchett 1993, p. 103
Bhagavata Purana 10
[23] Matchett 1993, p. 106

[24] Kumar Das 2006, pp. 176–177
[25] Dasgupta 1949, p. 30
[26] Sheridan 1986
[27] Dasgupta 1949, p. 24
[28] Sheridan 1986, pp. 1–2
[29] Dasgupta 1949, pp. 2–11
[30] Rukmani 1993, pp. 220, 224
[31] Rocher & 1986 pp. 138–151
[32] Story of Maha Kumbh Mela from Srimad Bhagvatam (http:/ / www. mahakumbhfestival. com/ 2012/ 02/ history-maha-kumbh-mela/ )
[33] Matchett 2001, pp. 127–137
[34] Bryant 2007, pp. 113–115
[35] Varadpande 1987, pp. 92–94
[36] Datta 2006, p. 33
[37] Varadpande 1987, pp. 95–97
[38] Varadpande 1987, p. 98
[39] http:/ / orissa. gov. in/ e-magazine/ Orissareview/ April2006/ engpdf/ sanskrit_scholars_of_orissa. pdf
[40] "> The Bhagavata of Sankaradeva; Assamese rendering of the Bhagavata Purana" (http:/ / www. atributetosankaradeva. org/
Srimad_Bhagavata. htm). atributetosankaradeva. 2008-10-02. . Retrieved 2012-12-26.
[41] "> The Holy Kirttana" (http:/ / www. atributetosankaradeva. org/ kirttana. htm). atributetosankaradeva. 2012-03-29. . Retrieved 2012-12-26.
[42] ">Gunamala" (http:/ / www. atributetosankaradeva. org/ gunamala. htm). atributetosankaradeva. 2008-04-16. . Retrieved 2012-12-26.
[43] http:/ / www. atributetosankaradeva. org/ Gunamala_trans. pdf
References
• Beach, Milo Cleveland (1965). "A Bhāgavata Purāṇa from the Punjab Hills and related paintings". Bulletin of the
Museum of Fine Arts (Museum of Fine Arts, Boston) 63 (333): 168–177. JSTOR 4171436.
• Beck, Guy (1993). Sonic theology: Hinduism and sacred sound (http://books.google.com/
?id=cY1Xw1ZlIeQC&pg=PA183). University of South Carolina Press. pp. 183–184. ISBN 978-0-253-35334-4.
• Brown, Cheever Mackenzie (1998). The Devī Gītā: the song of the Goddess ; a translation, annotation, and
commentary (http://books.google.com/?id=OxayHczql9EC&pg=PA17). SUNY Press.
ISBN 978-0-7914-3940-1.
• Brown, C. Mackenzie (Dec. 1983). "The Origin and Transmission of the Two "Bhāgavata Purāṇas": A Canonical
and Theological Dilemma". Journal of the American Academy of Religion (Oxford University Press) 51 (4):
551–567. JSTOR 1462581.
• Bryant, Edwin Francis (2007). Krishna: A Sourcebook (http://books.google.com/?id=HVDqCkW1WpUC).
Oxford University Press US. ISBN 978-0-19-514891-6.
• Cutler, Norman (1987). Songs of Experience (http://books.google.com/?id=veSItWingx8C&pg=PA1). Indiana
University Press. p. 1. ISBN 978-0-253-35334-4.
• Dasgupta, Surendranath (1949). A history of Indian philosophy. IV: Indian pluralism. Cambridge University
Press.
• Datta, Amaresh (2006). The Encyclopaedia Of Indian Literature (http://books.google.com/
?id=ObFCT5_taSgC). vol. 1. Sahitya Akademi. ISBN 81-260-1803-8.
• Doniger, Wendy (1999). Merriam-Webster's encyclopedia of world religions (http://books.google.com/
?id=ZP_f9icf2roC&pg=PA126). Merriam-Webster. ISBN 0-87779-044-2.
• Haberman, David L.; Rūpagōsvāmī (2003). Indira Gandhi National Centre for the Arts. ed. The
Bhaktirasāmṛtasindhu of Rūpa Gosvāmīn (http://books.google.com/?id=DsRb6gjUa1oC). Motilal Banarsidass
Publ.. ISBN 978-81-208-1861-3.
• Jarow, Rick (2003). Tales for the dying: the death narrative of the Bhāgavata-Purāṇa (http://books.google.
com/?id=8URUz0jhH3gC&pg=PA32). SUNY Press. ISBN 978-0-7914-5609-5.
• Kumar Das, Sisir (2006). A history of Indian literature, 500–1399 (http://books.google.com/
?id=BC3l1AbPM8sC). Sahitya Akademi. ISBN 978-81-260-2171-0.
Bhagavata Purana 11
• Matchett, Freda (1993). "The Pervasiveness of Bhakti in the Bhāgavata Purāṇa" (http://books.google.com/
?id=pYahlaJCLnYC&pg=PA95). In Werner, Karel. Love Divine: Studies in Bhakti and Devotional Mysticism.
Routledge. pp. 95–116. ISBN 978-0-7007-0235-0.
• Matchett, Freda (2001). Kṛṣṇa, Lord or Avatāra? (http://books.google.com/?id=1oqTYiPeAxMC). Routledge.
ISBN 978-0-7007-1281-6.
• Matchett, Freda (2003). "The Purāṇas" (http://books.google.com/?id=qSfneQ0YYY8C&pg=PA129). In
Flood, Gavin D.. The Blackwell companion to Hinduism. Wiley-Blackwell. pp. 129–144.
ISBN 978-0-631-21535-6.
• Rocher, Ludo (1986). The Puranas. Wiesbaden : Harrassowitz. pp. 138–151. ISBN 3-447-02522-0.
• Rukmani, T. S. (1993). "Siddhis in the Bhāgavata Purāṇa and in the Yogasutras of Patanjali – a Comparison"
(http://books.google.com/?id=i1ffdTIbNJkC&pg=PA217). In Wayman, Alex. Researches in Indian and
Buddhist philosophy: essays in honour of Professor Alex Wayman. Motilal Banarsidass. pp. 217–226.
ISBN 978-81-208-0994-9.
• Sheridan, Daniel (1986). The Advaitic Theism of the Bhāgavata Purāṇa (http://books.google.com/
?id=qrtYYTjYFY8C). Columbia, Mo: South Asia Books. ISBN 81-208-0179-2.
• van Buitenen, J. A. B (1996). "The Archaism of the Bhāgavata Purāṇa" (http://books.google.com/
?id=U-sC1GkwH7sC&pg=PA28). In S.S Shashi. Encyclopedia Indica. New Delhi: Anmol Publications.
pp. 28–45. ISBN 978-81-7041-859-7.
• Varadpande, Manohar Laxman (1987). History of Indian theatre (http://books.google.com/
?id=SyxOHOCVcVkC). vol. 3. Abhinav Publications. ISBN 81-7017-221-7.
Further reading
• Mani, Vettam. Puranic Encyclopedia. 1st English ed. New Delhi: Motilal Banarsidass, 1975.
• Cheever Mackenzie Brown. The triumph of the goddess: the canonical models and theological visions of the
Devī-Bhāgavata Purāṇa. SUNY Press, 1990. ISBN 0-7914-0363-7. Excerpts (http://books.google.com/
books?id=erENsMcblGAC&pg=PA97&dq=Katyayani&as_brr=0#PPP1,M1)
External links
English
• Read online latest BBT edition of Srimad Bhagavatam (http://vedabase.com/en/sb).
• translated by [[A.C. Bhaktivedanta Swami Prabhupada (http://www.srimadbhagavatam.com/)] and disciples].
• Anand Aadhar version (http://bhagavata.org/).
• Bhagavatam Complete English Translation (http://www.bhagavatam.in)
• Shrimad Bhagwat (http://bhakti.tv/shrimad-bhagwat/).
• The Translation of Sankaradeva's Gunamala - the 'pocket-Bhagavata' (http://www.atributetosankaradeva.org/
Gunamala_trans.pdf).
• Translation of Sankaradeva's Veda-Stuti (The Prayer of the Vedas), Bhagavata, Book X, from Sankaradeva's
Kirttana Ghosa, the 'Bhagavata in miniature' (http://atributetosankaradeva.org/Veda_Stuti.pdf).
Listen to MP3 audio
• Listen to the Nectar of Pure Bhakti – Srimad Bhagavatam Purana Mp3 Audios (http://srimadbhagvatam.com/
zina-2).
• Bhagavatam recital in telugu by Chaganti Koteswara Rao (http://english.srichaganti.net/BhagavatamHome.
aspx)
Sanskrit
Bhagavata Purana 12
• GRETIL etext: The transliterated Sanskrit text for the entire work (http://www.sub.uni-goettingen.de/ebene_1/
fiindolo/gretil/1_sanskr/3_purana/bhagp/bhp1-12u.htm)
• Searchable transliterated PDF file of the entire Bhagavata-Purana from sanskritweb.net (http://www.
sanskritweb.net/sansdocs/bhagpur.pdf)
• Discourse in kannada for all 18000 shloka's by Dr. V. Prabhanjacharya (http://www.vyasamadhwa.org/
upanyasa/PoornaBhagavata)
Pothana Bhagavatam - AS IT IS - Live Channel daily IST 19.00 Hrs
• Sri Mahabhagavatam in Telugu AS IT IS by Dr.Goli Anjaneyulu (http://www.livestream.com/drgoli)
For children
• Tales From The Bhagavatham Retold For Children (http://www.bagavatham.org/) by P.S. Krishna Iyer
Puranas
For other meanings, see Purana
(disambiguation).
The Puranas (Sanskrit: पुराण purāṇa, "of
ancient times") are a genre of important
Hindu, Jain and Buddhist religious texts,
notably consisting of narratives of the
history of the universe from creation to
destruction, genealogies of kings, heroes,
sages, and demigods, and descriptions of
Hindu cosmology, philosophy, and
[1]
geography.
The Goddess Ambika or Durga Leading the Eight Matrikas in Battle Against the
Puranas usually give prominence to a Demon Raktabija, Folio from Devi Mahatmya, Markandeya Purana.
particular deity, employing an abundance of
religious and philosophical concepts. They are usually written in the form of stories related by one person to another.
The Puranas are available in vernacular translations and are disseminated by Brahmin scholars, who read from them
and tell their stories, usually in Katha sessions (in which a traveling Brahmin settles for a few weeks in a temple and
narrates parts of a Purana, usually with a Bhakti perspective).
Puranas 13
Origins
Vyasa, the narrator of the Mahabharata, is
traditionally considered the compiler of the
Puranas.[2] However, the earliest written
versions date from the time of the Gupta
Empire (third-fifth century CE) and much
material may be dated, through historical
references and other means, to this period
and the succeeding centuries. The texts were
probably written all over India.
The date of the production of the written

texts does not define the date of origin of the
An illustration of Varaha avatar based on the Bhagavata Purana
Puranas.[3] On one hand, they existed in
some oral form before being written[3] while
at the same time, they have been incrementally modified well into the 16th century.[3][4]
An early reference is found in the Chandogya Upanishad (7.1.2). (circa 500 BCE). The Brhadaranyaka Upanishad
refers to purana as the "fifth Veda",[5] itihāsapurāṇaṃ pañcamaṃ vedānāṃ, reflecting the early religious importance
of these myths, presumably then in purely oral form. Importantly, the most famous form of itihāsapurāṇaṃ is the
Mahabharata. The term also appears in the Atharvaveda 11.7.24.[6][7]
According to Pargiter,[6] the "original Purana" may date to the time of the final redaction of the Vedas. Gavin Flood
connects the rise of the written Purana historically with the rise of devotional cults centring upon a particular deity in
the Gupta era: the Puranic corpus is a complex body of materials that advance the views of various competing
cults.[8] Wendy Doniger, based on her study of indologists, assigns approximate dates to the various Puranas. She
dates Markandeya Purana to c. 250 CE (with one portion dated to c. 550 CE), Matsya Purana to c. 250–500 CE,
Vayu Purana to c. 350 CE, Harivamsa and Vishnu Purana to c. 450 CE, Brahmanda Purana to c. 350–950 CE,
Vamana Purana to c. 450–900 CE, Kurma Purana to c. 550–850 CE, and Linga Purana to c. 600–1000 CE.[9]
Common ideas are found throughout the corpus but it is not possible to trace the lines of influence of one Purana
upon another so the corpus is best viewed as a synchronous whole.[8]
The All India Kashiraj Trust, formed under Vibhuti Narayan Singh, the Maharaja of Kashi, dedicated itself to
publishing editions of the Puranas.[10]
Content
According to Matysa Purana,[11] they are said to narrate five subjects, called Pancha Lakshana pañcalakṣaṇa ("five
distinguishing marks", though some scholars have suggested that these are shared by other traditional religious
scriptures):[12][13]
1. Sarga: the creation of the universe.
2. Pratisarga: secondary creations, mostly recreations after dissolution.
3. Vamśa: genealogy of the gods and sages.
4. Manvañtara: the creation of the human race and the first human beings. The epoch of the Manus' rule, 71 celestial
Yugas or 308,448,000 years.
5. Vamśānucaritam: the histories of the patriarchs of the lunar and solar dynasties.
The Puranas also lay emphasis on keeping a record of genealogies, as the Vayu Purana says, "to preserve the
genealogies of gods, sages and glorious kings and the traditions of great men."[14] The Puranic genealogies indicate,
for example, that Sraddhadeva Manu lived 95 generations before the Bharata war.[15] In Arrian's Indica,
Puranas 14
Megasthenes is quoted as stating that the Indians counted from "Dionysos" (Shiva) to "Sandracottus" (Chandragupta
Maurya) "a hundred and fifty-three kings over six thousand and forty-three years."[16] The list of kings in Kalhana's
Rajatarangini goes back to the 19th century BCE.[17]
Texts
Mahapuranas
Of the many texts designated 'Puranas' the most important are the Mahāpurāṇas. These are always said to be
eighteen in number, divided into three groups of six, though in fact they are not always counted in the same way.
Combining the various lists Cornelia Dimmitt and J. A. B. van Buitenen have collated twenty names, totalling
429,000 verses:[18]
Purana name Verses Comments

number
Agni 15,400 Contains details of Vastu Shastra and Gemology.

verses
Bhagavata 18,000 [19][20]

Indologist Ludo Rocher considers it to be the most celebrated and popular of the Puranas, telling of Vishnu's
verses ten Avatars. Its tenth and longest canto narrates the deeds of Krishna, introducing his childhood exploits, a theme
[21]
later elaborated by many Bhakti movements.
Bhavishya 14,500 [22]

Contains a record of prophecies. Portions of the extant text are drawn from the law book of Manu.
verses
Brahma 10,000 Describes the Godavari and its tributaries. It is shortest of the Puranas.
verses
Brahmanda 12,000 Includes Lalita Sahasranamam, a text some Hindus recite as prayer.
verses
Brahmavaivarta 17,000 Describes ways to worship Devis, Krishna and Ganesha.

verses
Garuda 19,000 Describes death and its aftermaths.

verses
Harivamsa 16,000 Is considered to be itihāsa (epic poetry).

verses
Kurma 17,000
verses
Linga 11,000 Describes the magnificence of Lingam, symbol of Shiva, and origin of the universe. It also contains many stories of
verses Lingam one of which entails how Agni Lingam solved dispute between Vishnu and Brahma.
Markandeya 09,000 The Devi Mahatmya, an important text for the Shaktas, is embedded in it.
verses
Matsya 14,000 Narrates the story of Matsya, the first of ten major Avatars of Vishnu. It also contains genealogical details of various
verses [23]
dynasties.
Narada 25,000 Describes the greatness of Vedas and Vedangas.

verses
Padma 55,000 Describes the greatness of Bhagavad Gita. Hence, it is also known as gītāmāhātmya (lit. the majesty of Gita).
verses
Shiva 24,000 Describes the greatness of Shiva, greatness in worshiping Shiva and other stories about him.
verses
Puranas 15
Skanda 81,100 Describes the birth of Skanda (or Karthikeya), second son of Shiva. The longest Purana, it is an extraordinarily
verses meticulous pilgrimage guide, containing geographical locations of pilgrimage centers in India, with related legends,
[24]
parables, hymns and stories. Many untraced quotes are attributed to this text.
Vamana 10,000 Describes areas around Kurukshetra in North India.

verses
Varaha 24,000 Describes various forms prayer and devotional observances to Vishnu. Many illustrations also involve Shiva and
verses [25]
Durga.
Vayu 24,000
verses
Vishnu 23,000 [26]

Describes the many deeds of Vishnu and various ways to worship him.
verses
Classification
Puranas are classified according to qualification of persons who can understand them: "Purāṇas are supplementary
explanations of the Vedas intended for different types of men. All men are not equal. There are men who are
conducted by the mode of goodness, others who are under the mode of passion and others who are under the mode of
ignorance. The Purāṇas are so divided that any class of men can take advantage of them and gradually regain their
lost position and get out of the hard struggle for existence."[27]
The Mahapuranas are frequently classified according the three aspects of the divine Trimurti[28]:
Vaiṣṇava Vishnu Purana, Bhagavata Purana, Nāradeya Purana, Garuda Purana, Padma Purana, Varaha Purana, Vāmana Purana, Kūrma
Puranas: Purana, Matsya Purana, Kalki Purana
Brāhma Brahma Purana, Brahmānda Purana, Brahma Vaivarta Purana, Mārkandeya Purana, Bhavishya Purana,
Puranas:
Śaiva Puranas: Shiva Purana, Linga Purana, Skanda Purana, Agni Purana, Vāyu Purana
[29]
According to the Padma Purana,[30] the texts have been classified in accordance with the three gunas or qualities;
truth, passion, and indifference:
Sattva ("truth; purity") Vishnu Purana, Bhagavata Purana, Naradeya Purana, Garuda Purana, Padma Purana, Varaha Purana
Rajas ("dimness; passion") Brahmanda Purana, Brahma Vaivarta Purana, Markandeya Purana, Bhavishya Purana, Vamana Purana, Brahma
Purana
Tamas ("darkness; Matsya Purana, Kurma purana, Linga Purana, Shiva Purana, Skanda Purana, Agni Purana
ignorance")
Upapuranas
The Upapurāṇas are lesser or ancillary texts: these are sometimes also said to be eighteen in number, with still less
agreement as to the canonical titles. Few have been critically edited. They include: Sanat-kumara, Narasimha,
Brihan-naradiya, Siva-rahasya, Durvasa, Kapila, Vamana, Bhargava, Varuna, Kalika, Samba, Nandi, Surya,
Parasara, Vasishtha, Devi-Bhagavata, Ganesha, Mudgala, and Hamsa,[31] among many others.[32]
The Ganesha and Mudgala Puranas are devoted to Ganesha.[33][34] The Devi-Bhagavata Purana, which extols the
goddess Durga, has become (along with the Devi Mahatmya of the Mārkandeya Purana) a basic text for Devi
worshipers.[35]
Puranas 16
Sthala Puranas
This corpus of texts tells of the origins and traditions of particular Tamil Shiva temples or shrines. There are
numerous Sthala Puranas, most written in vernaculars, some with Sanskrit versions as well. The 275 Shiva Sthalams
of the continent have puranas for each, famously glorified in the Tamil literature Tevaram. Some appear in Sanskrit
versions in the Mahapuranas or Upapuranas. Some Tamil Sthala Puranas have been researched by David Dean
Shulman.[36]
Kula Puranas
These Puranas deal with a caste's origin myth, stories, and legends (the word kula means "family" or "tribe" in
Sanskrit). They are important sources for caste identity though usually contested by rival castes. This subgenre is
usually in the vernacular and may at times remain oral.[37] These have been little researched, though they are
documented in the caste section of the British Census of India Report and the various Gazetteers.[38]
Jain and Buddhist Puranas

Jain Puranas deal with Jain myths, history and legends and form a major part of early Kannada literature.[39] [40] The
best known is the Mahapurana of Acharya Jinasena. The Buddhist scriptures have no mention of puranas. But the
Tibetan and Nepalese Buddhist revere nine works as puranas which are styled as Navadharmas (nine dharmas). The
so called “nine dharmas” are no canon of any sect, but a series of books which have been composed at different
periods and belong to different persuasions. These nine works are: Ashtasahasrika Prajnaparamita, Gandavyuha,
Samadhiraja, Lankavatara, Tathagataguhyaka, Saddharmapundarika, Lalitavistara, Suvarnaprabhasa and
Dashabhumishvara. All these scriptures are also designated Vaipulyasutras. Among other works, Swayambhu Purana
narrates the mythological history of Nepal and describes Buddhist pilgrimage sites inside the Kathmandu Valley.
Notes
[1] Puranas at Sacred Texts (http:/ / www. sacred-texts. com/ hin/ index. htm#puranas)
[2] The Puranas by Swami Sivananda (http:/ / www. dlshq. org/ religions/ puranas. htm)
[3] Johnson 2009, p. 247
[4] Singh 1997, p. 2324
[5] Brhadaranyaka Upanisad 2.4.10, 4.1.2, 4.5.11. Satapatha Brahmana (SBE, Vol. 44, pp. 98, 369). Moghe 1997, pp. 160,249
[6] Pargiter 1962, pp. 30–54
[7] Moghe 1997, p. 249 and the Satapatha Brahmana 11.5.6.8. and 13.4.3.13. SBE Vol. 44, pp. 98, 369
[8] Flood 1996, p. 359
[9] Collins, Charles Dillard (1988). The Iconography and Ritual of Śiva at Elephanta (http:/ / books. google. com/ books?id=pQNi6kAGJQ4C&
pg=PA36). SUNY Press. p. 36. ISBN 978-0-88706-773-0. .
[10] Mittal 2004, p. 657
[11] Matsya Purana 53.65
[12] Rao 1993, pp. 85–100
[13] Johnson 2009, p. 248
[14] Vayu Purana 1. 31-2.
[15] Majumdar & Pusalker 1951, p. 273
[16] Pliny: Naturalis Historia 6:59; Arrian: Indica 9:9
[17] Elst 1999, with reference to Bernard Sergent
[18] Dimmitt & van Buitenen 1978, p. 373
[19] Thompson, Richard L. (2007). The Cosmology of the Bhagavata Purana 'Mysteries of the Sacred Universe (http:/ / books. google. com/
books?id=3TZmDSr-1msC& pg=PA10). Motilal Banarsidass Publishers. p. 10. ISBN 978-81-208-1919-1. .
[20] Monier-Williams 1899, p. 752, column 3, under the entry Bhagavata.
[21] Hardy 2001
[22] Winternitz, Maurice; Winternitz, Moriz; Sarma, V. Srinivasa (1 October 1981), A History of Indian Literature: Introduction, Veda, epics,
Purāṇas and Tantras (http:/ / books. google. com/ books?id=FYPOVdzZ2UIC& pg=PA541), Motilal Banarsidass Publ., pp. 541,
ISBN 978-81-208-0264-3,
Puranas 17
[23] Dalal, Roshen (2011). Hinduism: An Alphabetical Guide (http:/ / books. google. com/ books?id=DH0vmD8ghdMC& pg=PA250). Penguin
Books India. p. 250. ISBN 978-0-14-341421-6. .
[24] Doniger 1993, pp. 59–83
[25] Wilson, Horace H. (1864), Works: ¬Vol. ¬6 : ¬The Vishṅu Purāṅa: a system of Hindu mythology and tradition ; 1 (http:/ / books. google.
com/ books?id=9Xo-AAAAcAAJ& pg=PR71), Trübner, p. LXXI,
[26] Lochtefeld, James G. (2002), The Illustrated Encyclopedia of Hinduism: N-Z (http:/ / books. google. com/ books?id=g6FsB3psOTIC&
pg=PA760), The Rosen Publishing Group, p. 760, ISBN 978-0-8239-3180-4,
[27] Śrīmad Bhāgavatam 1.2.4 (http:/ / vedabase. net/ sb/ 1/ 2/ 4/ en) All the Vedic literatures and the Purāṇas are meant for conquering the
darkest region of material existence. The living being is in the state of forgetfulness of his relation with God due to his being overly attracted
to material sense gratification from time immemorial. His struggle for existence in the material world is perpetual, and it is not possible for
him to get out of it by making plans. If he at all wants to conquer this perpetual struggle for existence, he must reestablish his eternal relation
with God. And one who wants to adopt such remedial measures must take shelter of literatures such as the Vedas and the Purāṇas. Some
people say that the Purāṇas have no connection with the Vedas. However, the Purāṇas are supplementary explanations of the Vedas intended
for different types of men. All men are not equal. There are men who are conducted by the mode of goodness, others who are under the mode
of passion and others who are under the mode of ignorance. The Purāṇas are so divided that any class of men can take advantage of them and
gradually regain their lost position and get out of the hard struggle for existence.
[28] Nair, Shantha N. (2008). Echoes of Ancient Indian Wisdom: The Universal Hindu Vision and Its Edifice (http:/ / books. google. co. in/
books?id=ekehXVP3W8wC& pg=PA266& dq=Vaishnava+ Shaiva+ Brahma+ Puranas#v=onepage& q=Vaishnava Shaiva Brahma Puranas&
f=false). Delhi: Hindology Books. p. 266. ISBN 978-81-223-1020-7. .
[29] The Puranic Encyclopedia (http:/ / www. puranas. org/ )
[30] Padma Purana, Uttara-khanda, 236.18–21
[31] R. C. Hazra, Studies in the Upapuranas, vol. I, Calcutta, Sanskrit College, 1958. Studies in the Upapuranas, vol. II, Calcutta, Sanskrit
College, 1979. Studies in Puranic Records on Hindu Rites and Customs, Delhi, Banarsidass, 1975. Ludo Rocher, The Puranas - A History of
Indian Literature Vol. II, fasc. 3, Wiesbaden: Otto Harrassowitz, 1986.
[32] `Verbal Narratives: Performance and Gender of the Padma Purana, by T.N. Sankaranarayana in Kaushal 2001, pp. 225–234
[33] Thapan 1997, p. 304
[34] Purana at Gurjari (http:/ / gurjari. net/ ico/ Mystica/ html/ purana. htm)
[35] Mackenzie 1990
[36] Shulman 1980
[37] Handoo 1998, pp. 125–142
[38] See for example Castes and Tribes of Southern India vol. I–V, Thurston Edgar. Cosmo Publication, Delhi.
[39] Jaini, Padmanabh S. (1993). "Jaina Puranas: A Puranic Counter Tradition." in Doniger 1993, pp. 207–249
[40] Cort, John E. (1993). "An Overview of the Jaina Puranas". in Doniger 1993, pp. 185–206
References
• Bhargava, P.L. 1971. India in the Vedic Age. Lucknow: Upper India Publishing.
• Dimmitt, Cornelia; van Buitenen, J. A. B. (1978). Classical Hindu Mythology: A Reader in the Sanskrit Puranas.
Philadelphia: Temple University Press. ISBN 81-7030-596-9.
• Doniger, Wendy (editor) (1993). Purāṇa Perennis: Reciprocity and Transformation in Hindu and Jaina Texts.
Albany, New York: State University of New York. ISBN 0-7914-1382-9.
• Handoo, Jawaharlal (editor) (1998). Folklore in Modern India. ISBN 81-7342-055-6.
• Hardy, Friedhelm (2001). Viraha-Bhakti - The Early History of Krsna Devotion in South India.
ISBN 0-19-564916-8.</ref>
• Flood, Gavin (1996). An Introduction to Hinduism. Cambridge University Press. ISBN 0-521-43304-5.
• Johnson, W.J. (2009). A Dictionary of Hinduism. Oxford University Press. ISBN 978-0-19-861025-0.
• Kaushal, Molly (editor) (2001). Chanted Narratives - The Katha Vachana Tradition. ISBN 81-246-0182-8.
• Majumdar, R. C.; Pusalker, A. D. (1951). The history and culture of the Indian people. 1: The Vedic age.
Bombay: Bharatiya Vidya Bhavan.
• Mackenzie, Brwon (1990). The Triumph of the Goddess - The Canonical Models and Theological Visions of the
DevI-BhAgavata PuraNa. State University of New York Press. ISBN 0-7914-0363-7.</ref>
• Mittal, Sushil (2004). The Hindu World. Routledge. ISBN 978-0-415-21527-5.
• Moghe, S. G. (editor) (1997). Professor Kane's contribution to Dharmasastra literature. New Delhi: D.K.
Printworld (P) Ltd.. ISBN 81-246-0075-9.
Puranas 18
• Monier-Williams, Monier (1899). A Sanskrit-English Dictionary. Oxford University Press.

• Pargiter, F.E. (1922). Ancient Indian Historical Tradition. London: Oxford University Press.
• Pargiter, F. E. (1962) [1922]. Ancient Indian historical tradition. Original publisher Oxford University Press,
London. Delhi: Motilal Banarasidass. OCLC 1068416.
• Rao, Velcheru Narayana (1993). "Purana as Brahminic Ideology". In Doniger Wendy. Purana Perennis:
Reciprocity and Transformation in Hindu and Jaina Texts. Albany: State University of New York Press.
ISBN 0-7914-1381-0.
• Shulman, David Dean (1980). Tamil Temple Myths: Sacrifice and Divine Marriage in the South Indian Saiva
Tradition. ISBN 0-691-06415-6.
• Singh, Nagendra Kumar (1997). Encyclopaedia of Hinduism. ISBN 81-7488-168-9.
• Thapan, Anita Raina (1997). Understanding Gaṇapati: Insights into the Dynamics of a Cult. New Delhi: Manohar
Publishers. ISBN 81-7304-195-4.
Further reading
• Thurston Edgar. Castes and Tribes of Southern India (http://books.google.com/books?id=ru6jAVEY5DYC)
(Vols I-V). Cosmo Publication, Delhi.
External links
• The Puranas (http://www.bharatadesam.com/scriptures/puranas.php) (bharatadesam.com)
Texts
• Puranas in Devnagari, typed, PDF files (http://is1.mum.edu/vedicreserve/puran.htm)
• GRETIL (http://www.sub.uni-goettingen.de/ebene_1/fiindolo/gretil.htm#Pur) (uni-goettingen.de)
Translations
• Śrīmad-Bhāgavatam (http://vedabase.net/sb/en) Full text of the Bhāgavata Purāṇa, with the original Sanskrit,
word-for-word meanings, translation, and commentary.
• The Vishnu Purana (http://www.sacred-texts.com/hin/vp/index.htm) Full text of the H.H. Wilson translation
at sacred-texts.com
Synopses
• Contents of 18 Puranas and a list of Upapuranas (lesser Puranas) (http://www.veda.harekrsna.cz/encyclopedia/
puranas.htm) (a Java applet)
• Extensive synopsis of several Maha Puranas (http://www.dharmakshetra.com/literature/puranas/puranas.
html)
• Synopsis of Puranas at Urday.com (http://www.urday.com/puranas.htm)
• Agni Purana - A synopsis (http://www.bharatadesam.com/spiritual/agni_purana.php)
Gaudiya Vaishnavism
Gaudiya Vaishnavism (also known as Chaitanya
Vaishnavism[1] and Hare Krishna) is a Vaishnava
spiritual movement founded by Chaitanya Mahaprabhu
(1486–1534) in India in the 16th century. "Gaudiya"
refers to the Gauḍa region (present day
Bengal/Bangladesh) with Vaishnavism meaning "the
worship of the monotheistic Deity or Supreme
Personality of Godhead, often addressed as Krishna,
Narayana or Vishnu". Its philosophical basis is
primarily that of the Bhagavad Gita and Bhagavata
Purana, as well as other Puranic scriptures and
Upanishads such as the Isha Upanishad, Gopala Tapani
Upanishad, and Kali Santarana Upanishad.[2] Gaudiya Vaishnava temple or ISKCON at Bangalore
The focus of Gaudiya Vaishnavism is the devotional

worship (bhakti) of Krishna, as Svayam Bhagavan or
the Original Supreme Personality of Godhead.[3] Most
popularly, this worship takes the form of singing God's
holy names, such as "Krishna" and "Rama", most
commonly in the form of the Hare Krishna (mantra),
also known as kirtan. The movement is sometimes
referred to as the Brahma-Madhva-Gaudiya
sampradaya, referring to its traditional origins in the
succession of spiritual masters (gurus) believed to
originate from Brahma. It classifies itself as a
monotheistic tradition, seeing the many forms of
Vishnu as expansions or incarnations of the one
Gaudiya Vaishnava temple at Tirupathi
Supreme God, adipurusha[4] known as Krishna
(literally “blue-black”) or Govinda.
Among the Gaudiya Vaishnavas, devotion to Krishna often includes the worship of Krishna along with His spiritual
internal potency (hlandhini shakti) or pleasure potency and manifest as His eternal consort, the Goddess of devotion
known as Sri Radha.
Philosophical concepts
Living beings
According to Gaudiya Vaishnava philosophy, consciousness is not a product of matter, but is instead a symptom of
the soul.[5] All living beings (jivas), are distinct from their current body - the nature of the soul being eternal,
immutable, and indestructible without any particular beginning or end.[6] Souls which are captivated by the illusory
nature of the world (Maya) are repeatedly reborn among the various (8 400 000 in number) species of life on this
planet and on other worlds in accordance to the laws of karma and individual desire. This is consistent with the
concept of samsara found throughout Hindu belief.
Release from the process of samsara (known as moksha) is believed to be achievable through a variety of yoga
processes. However, within Gaudiya Vaishnavism it is bhakti in its purest state (or "pure love of God") which is
given as the ultimate aim, rather than liberation from the cycle of rebirth.[7]
Supreme Person (God)

Gaudiya Vaishnavas believe that God has many forms and names, but that the name "Krishna" is the 'fullest'
description because it means "He who is all-attractive",[8] covering all of God's aspects, such as being all-powerful,
supremely merciful and all-loving. God is worshiped as the eternal, all-knowing, omnipresent, all-powerful and
all-attractive Supreme Person. Names of God from other religious traditions, such as Allah and Jehovah, are also
accepted as bonafide titles of the same Supreme Person.[9]
One of the defining aspects of Gaudiya Vaishnavism is that Krishna is worshiped specifically as the source of all
Avataric incarnations of God. This is based on quotations from the Bhagavata Purana, such as "krsnas tu bhagavan
svayam", translated as "Krishna is the original Personality of Godhead"[10] and from the Bhagavad Gita where
Arjuna, when speaking to Krishna, states:
"You are the Supreme Personality of Godhead, the ultimate abode, the purest, the Absolute Truth. You
are the eternal, transcendental, original person, the unborn, the greatest. All the great sages such as
Narada, Asita, Devala and Vyasa confirm this truth about You, and now You Yourself are declaring it to
me."[11]
Krishna is described elsewhere as the "seed-giving father of all living beings"[12] and is worshiped within the
Gaudiya tradition literally, as such - Krishna being the "sustaining energy of the universe".[13]
Inconceivable oneness and difference

A particularly distinct part of the Gaudiya Vaishnava philosophy espoused by Chaitanya Mahaprabhu is the concept
of Achintya Bheda Abheda, which translates to "inconceivable oneness and difference" in the context of the soul's
relationship with Krishna,[14] and also Krishna's relationship with his other energies (i.e. the material world).[15]
In quality, the soul (jiva) is described as being identical to God, but in terms of quantity individual jivas are said to
be infinitesimal in comparison to the unlimited Supreme Being. The exact nature of this relationship (being
simultaneously one and different with Krishna) is inconceivable to the human mind, but can be experienced through
the process of Bhakti yoga.
This philosophy serves as a meeting of two opposing schools of Hindu philosophy, pure monism (God and the soul
as one entity) and pure dualism (God and the soul as absolutely separate). In practice Gaudiya Vaishnava philosophy
has much more in common with the dualistic schools, as Krishna is worshiped as a Supreme person.
Devotional activities
Bhakti Yoga
The practical process of devotional life is described as bhakti or bhakti-yoga. The two main elements of the
bhakti-yoga process are vaidhi bhakti, which is devotional service through practice of rules and regulations
(sadhana) and raganuga bhakti, which is taken as a higher stage of more spontaneous devotional service based on a
selfless desire to please one's chosen Ishta-deva of Krishna or his associated expansions and avatars. Practicing
vaidhi-bhakti with a view to cultivate prema creates eligibility for raganuga-sadhana.[16] Both vaidhi and raganuga
bhakti are based on the chanting or singing of Krishna's names. Attainment of the raganuga stage means that rules of
lifestyle are no longer important and that emotions or any material activities for Krishna should not be repressed,
including sexuality. Vaidhi-bhakti's purpose is to elevate the devotee to raganuga; something which generally takes a
long time.
Within his Siksastaka prayers, Chaitanya compares the process of bhakti-yoga to that of cleansing a dirty place of
dust, wherein our consciousness is the object in need of purification.[17] This purification takes place largely through
the chanting and singing of Radha and Krishna's names. Specifically the Hare Krishna (mantra) is chanted and sung
by practitioners on a daily basis, sometimes for many hours each day. Famously within the tradition, one of
Chaitanya Mahaprabhu's close associates, Haridasa Thakur, is reported to have chanted 300,000 holy names of God
each day.[18]
Diet and lifestyle

Gaudiya Vaishnavas follow a Lacto vegetarian diet, abstaining from all types of animal flesh, including fish and
eggs. Onions and garlic are also avoided as they are believed to promote a more tamasic form of consciousness in
the eater when taken in large quantities.
All types of food are first offered to Krishna, and then the remnants are eaten as prasadam. This is based on a
number of instructions by Krishna in the Bhagavad Gita that:
• "If one offers Me with love and devotion a leaf, a flower, fruit or water, I will accept it." (9.26)[19]
• "The devotees of the Lord are released from all kinds of sins because they eat food which is offered first for
sacrifice. Others, who prepare food for personal sense enjoyment, verily eat only sin." (3.13) [20]
They avoid taking any recreational drugs or intoxicants and engage in sexual relations only within marriage, often
for the sole purpose of procreation. Many Gaudiya Vaishnavas will live for at least some time in their life as monks
(brahmacharya), and the majority of senior gurus live as renunciates (sannyasa) after the age of 50 years.
History since Chaitanya Mahaprabhu

Over the three centuries following the disappearance of
Sri Chaitanya Mahaprabhu, the Gaudiya Vaishnava
tradition evolved into the form in which we largely find
it today in contemporary India. In the early years of the
tradition, the followers of Nityananda Prabhu, Advaita
Acharya and other companions of Chaitanya
Mahaprabhu educated and initiated people, each in
their own locales across Bengal.
Chaitanya Mahaprabhu requested a select few among

his followers, who later came to be known as the Six
Gosvamis of Vrindavan, to systematically present his
theology of bhakti in their writings. This theology
emphasized the devotee's relationship to the Divine
Couple, Radha and Krishna, and looked to Caitanya as
the embodiment of both Radha and Krishna. The six
were Rupa Goswami, Sanatana Goswami, Gopala
Bhatta Goswami, Raghunatha Bhatta Goswami,
Raghunatha dasa Goswami and Jiva Goswami. In the
second generation of the tradition, Narottama, Srinivasa
and Shyamananda, three students of Jiva Goswami, the
youngest among the six Goswamis, were instrumental
in spreading the theology across Bengal and Odisha. A murti of Chaitanya in ISKCON temple, Mayapur
The festival of Kheturi (approx 1574),[21] presided over

by Jahnava Thakurani, the wife of Nityananda Rama, was the first time the leaders of the various branches of
Chaitanya Mahaprabhu's followers assembled together. Through such festivals, members of the loosely organized
tradition became acquainted with other branches along with their respective theological and practical nuances. That
notwithstanding, the tradition has maintained its plural nature, having no central authority to preside over its matters.
The festival of Kheturi allowed for the systemization of Gaudiya Vaishnava theology as a distinct branch of
Vaishnava theology.
In the 17th century, Vishvanath Chakravarti Thakur held great merit in clarifying core doctrinal issues over the
practice of raganuga-bhakti through works such as Raga-vartma-chandrika. His student Baladeva Vidyabhushan
wrote a famous commentary on the Vedanta-sutra called Govinda Bhashya.
The 18th century saw a number of luminaries headed by Siddha Jayakrishna Das Babaji of Kamyavan and Siddha
Krishnadas Babaji of Govardhan. The latter, a widely renowned teacher of the mode of internal worship
(raga-bhajan) practiced in the tradition, is largely responsible for the current form of devotional practice embraced
by some of the traditions based in Vraja.
From the very beginning of Chaitanya's bhakti movement in Bengal, Haridasa Thakur and others Muslim by birth
were the participants. This openness received a boost from Bhaktivinoda Thakur's broad-minded vision in the late
19th century and was institutionalized by Bhaktisiddhanta Sarasvati Thakur in his Gaudiya Matha in the 20th
century.[22]
The Gaudiya Matha

Gaudiya Matha historians assert that in the 17th-18th
century, there was a period of general decline in the
movement's strength and popularity characterized by
decreased preaching and appearance of persons
following and promoting degraded teachings and
practices.[23] These groups are called
[24]
apasampradayas. This period was followed by a
renaissance which began at the start of the 20th
century. This change is believed to have happened
largely due to the efforts of a particularly adept
preacher known as Bhaktivinoda Thakur, who also held
the position of a deputy magistrate with the British Pancha-Tattva deities: Chaitanya Mahaprabhu, Nityananda, Advaita
government. Bhaktivinoda Thakur's son grew up to be Acharya, Gadadhara and Srivasa, installed in a Gaudiya Vaishnava
both an eminent scholar and highly influential temple
Vaishnava preacher, known in his later life as Srila

Bhaktisiddhanta Sarasvati Thakura. In total, Bhaktisidhanta Sarasvati Thakur founded sixty-four Gaudiya Matha
monasteries in India, Burma and Europe.[25]
Gaudiya and other Vaishnava schools

Although sharing a common set of core beliefs, there are a number of philosophical differences which distinguish
Gaudiya Vaishnavism from other Vaishnava schools:
• In Gaudiya Vaishnavism, Krishna is seen as the original form of God, i.e. the source of Vishnu and not as His
avatar. This is based primarily on verse 1.3.28 of the Bhagavata Purana (krsnas tu bhagavan svayam)[10] and
other scriptures. This belief is shared by the Nimbarka and Vallabha sampradayas, but not by the Ramanuja and
Madhva schools, who view Krishna as an avatar of Vishnu.
• As Krishna's consort, Radha is similarly viewed as the source of all other Shaktis, including Lakshmi and Sita.
• Chaitanya Mahaprabhu is worshiped as the most recent Avatar of Krishna to descend in the current yuga, or age.
Other sampradayas view Chaitanya as a devotee of Krishna only, and not Krishna himself or a form of avatar.
According to his biographies, Chaitanya did not display himself as Krishna in public, and would in fact avoid
being addressed as such. In this regard A. C. Bhaktivedanta Swami states, "[When] addressed as Lord Krishna,
He denied it. Indeed, He sometimes placed His hands over His ears, protesting that one should not be addressed as
the Supreme Lord".[26] However at times Chaitanya would exhibit a different mood and would welcome worship
of himself as the Supreme Lord, and at a few occasions exhibited his Universal form. Rupa Goswami, when first
meeting with Chaitanya, composed the following verse showing his belief in Chaitanya Mahaprabhu's divinity:
"O most munificent incarnation! You are Krishna Himself appearing as Sri Krishna Caitanya
Mahaprabhu. You have assumed the golden color of Srimati Radharani, and You are widely distributing
pure love of Krishna. We offer our respectful obeisances unto You."[27]
Although not a widely accepted viewpoint outside of the Gaudiya tradition, Chaitanya's followers point at verses
throughout the Puranic literatures such as in the Padma Purana, Garuda Purana, Narasimha Purana, Bhavisya Purana,
Agni Purana, Vayu Purana etc. as evidence to support this claim.[28][29]
Theological sources
Gaudiya Vaishnava theology is prominently expounded by Jiva Goswami in his Sat-sandarbhas, six elaborate
treatises on various aspects of God. Other prominent Gaudiya Vaishnava theologians are his uncles, Rupa Gosvami
author of Sri Bhakti-rasamrta-sindhu[30] and Sanatana Gosvami, author of Hari-bhakti-vilasa,[31] Visvanatha
Chakravarti author of Sri Camatkara-candrika[32] and Baladeva Vidyabhushana, author of Govinda Bhashya, a
famous commentary on Vedanta Sutra.
Gaudiya Vaishnava organizations

• International Society for Krishna Consciousness
• Gaudiya Math
• World Vaishnava Association [33]
• VRINDA [34]
• Science of Identity Foundation [35]
• Sri Caitanya Gaudiya Math [36]
• Sri Narasingha Caitanya Ashram [37]
• Sri Jagannath Mandir [38]
Footnotes
[1] Hindu Encounter with Modernity, by Shukavak N. Dasa (http:/ / www. sanskrit. org/ www/ Hindu Encounter/ foreword. html) "
[2] ISKCON Seshadripuram (http:/ / www. iskconbangalore. co. in/ ): ISKCON in Seshadripuram
[3] “All of the above-mentioned incarnations are either plenary portions or portions of the plenary portions of the Lord, but Lord Sri Krishna is
the original Personality of Godhead.” Bhagavat Purana 1:3:28
[4] “Krishna who is known as Govinda is the Supreme Godhead. He has an eternal blissful spiritual body. He is the origin of all. He has no other
origin and He is the prime cause of all causes.” Brahma Samhita 5.1
[5] Consciousness the Symptom of the Soul (http:/ / www. stephen-knapp. com/ consciousness_the_symptom_of_the_soul. htm) by Stephen
Knapp
[6] Bhagavad Gita 2.20 (http:/ / bhagavadgitaasitis. com/ 2/ 20/ en1)
[7] Devotional Service Surpasses All Liberation (http:/ / nectarofdevotion. com/ 4/ en1)
[8] Bhagavata Purana 6.4.33 (http:/ / www. vedabase. net/ sb/ 6/ 4/ 33/ en1) "Krishna means "all-attractive." This is the Lord's name because His
transcendental qualities make Him very attractive."
[9] krishna.com (http:/ / www. krishna. com/ main. php?id=478) "The names can be generic terms, such as “God” or “the Absolute Truth.” They
can be in Sanskrit, such as Govinda, Gopala, or Shyamasundara. They can be in other languages, such as Yahweh and Allah"
[10] Bhagavata Purana 1.3.28 (http:/ / srimadbhagavatam. com/ 1/ 3/ 28/ en1)
[11] Bhagavad-Gita 10.12-13 (http:/ / bhagavadgitaasitis. com/ 10/ 12-13/ en1)
[12] Bhagavad-Gita 14.4 (http:/ / www. vedabase. net/ bg/ 14/ 4/ en1) "It should be understood that all species of life, O son of Kunti, are made
possible by birth in this material nature, and that I am the seed-giving father."
[13] Eight Points of Krishna Conscious Philosophy (http:/ / chantandbehappy. com/ diary/ philosophy. htm)
[14] Caitanya-Caritamrita Ml 20.108-109 (http:/ / vedabase. net/ cc/ madhya/ 20/ 108-109/ en1) "It is the living entity's constitutional position to
be an eternal servant of Krishna because he is the marginal energy of Krishna and a manifestation simultaneously one with and different from
the Lord, like a molecular particle of sunshine or fire."
[15] B-Gita 7.8 (http:/ / vedabase. net/ bg/ 7/ 8/ en1)
[16] Tripurari, Swami, Learn to Think Differently (http:/ / www. swami. org/ pages/ sanga/ 1999/ 1999_13. php), Sanga, 1999.
[17] Teachings of Lord Caitanya - Sikshashtakam (http:/ / lordcaitanya. com/ mission/ en1)
[18] Caitanya Caritamrita 1.10.43, 3.3.100, 3.3.176, 3.4.101, 3.7.48
[19] Bhagavad-Gita 9.26 (http:/ / bhagavadgitaasitis. com/ 9/ 26/ en1)
[20] Bhagavad-Gita 3.13 (http:/ / bhagavadgitaasitis. com/ 3/ 13/ en1)
[21] Women Saints in Gaudiya Vaishnavism (http:/ / google. com/ search?q=cache:VqATTY2a2uMJ:www. gaudiya. com/ pdf/
Women_Saints_in_Gaudiya_Vaishnavism. pdf+ festival+ kheturi+ date& hl=en& ct=clnk& cd=4& gl=uk) "The event at which this took place
was the famous Kheturi festival already mentioned above, the date of which is still a matter of conjecture, but likely took place in the 1570s."
[22] Sherbow, P.H. (2004). "AC Bhaktivedanta Swami's Preaching In The Context Of Gaudiya Vaishnavism" (http:/ / books. google. com/
books?q=and others Haridasa of Muslim by birth were the participants& ie=UTF-8& oe=utf-8). The Hare Krishna Movement: The
Postcharismatic Fate of a Religious Transplant: 139. .
[23] śuna haridāsa ei līlā saṃgopane viśva andhakāra karibeka duṣṭa jane, Harinama Cintamani 15.108
[24] gaudiya kutir - Asampradaya (http:/ / wiki. gaudiyakutir. com/ Apasampradaya)
[25] Edwin Bryant, Maria Ekstrand, The Hare Krishna Movement: The Postcharismatic Fate of a Religious Transplant (2004) - 448 pages Page
130
[26] Teachings of Lord Chaitanya (http:/ / www. vedabase. net/ tlc/ 17/ en1)
[27] Caitanya Caritamrita 2.19.53 (http:/ / caitanyacaritamrta. com/ madhya/ 19/ 53/ en1)
[28] Bhagavata Purana 11.5.32 (http:/ / srimadbhagavatam. com/ 11/ 5/ 32/ en1) "In the age of Kali, intelligent persons perform congregational
chanting to worship the incarnation of Godhead who constantly sings the names of Krishna. Although His complexion is not blackish, He is
Krishna Himself. He is accompanied by His associates, servants, weapons and confidential companions."
[29] Sri Chaitanya Mahaprabhu predicted (http:/ / veda. harekrsna. cz/ encyclopedia/ caitanya. htm)
[30] Sri Bhakti-rasamrta-sindhu-bindu, ISBN 0-18-673701-4
[31] Hari-bhakti-vilasa, ISBN 81-87812-86-9
[32] Sri Camatkara-candrika, ISBN 81-86737-33-2
[33] http:/ / www. wva-vvrs. org/
[34] http:/ / www. vrindavan. org/ English/ VRINDA. html
[35] http:/ / www. scienceofidentityfoundation. net/
[36] http:/ / www. sreecgmath. org/ scgmtimes/ scgmtimes. php
[37] http:/ / gosai. com/
[38] http:/ / iskconbangalore. co. in/
External links
• An overview of Gaudiya Vaishnavism (http://www.gaudiya.com/) - (gaudiya.com)
• The International Society For Krishna Consciousness (http://www.iskcon.com/) (iskcon.com)
• World Vaishnava Association (http://www.wva-vvrs.org/) - An Umbrella Organisation of the Vaishnava faith
• Gaudiya Vedanta Samiti (http://www.purebhakti.com/) - Mission of Bhaktivedanta Narayana Maharaja
Rasa lila 25
Rasa lila
The Rasa lila (IAST rāsa-līlā) (Hindi: रास लीला) or Rasa dance is part
of the traditional story of Krishna described in Hindu scriptures such as
the Bhagavata Purana and literature such as the Gita Govinda, where
he dances liki with Radha and her sakhis. The Indian classical dance of
Kathak evolved from the 'Raslila of Braj and Manipuri Classical
Dance' (Vrindavan) also known as Natwari Nritya, which was revived
in 1960s by Kathak dancer, Uma Sharma.[1] what is rasa lila: The term,
rasa meaning aesthetic/s and lila meaning act, play or dance is a
concept from Hinduism, which roughly translates to "play (lila) of
aesthetics (rasa)," or more broadly as "Dance of Divine Love".[2]
The rasa lila takes place one night when the gopis of Vrindavan, upon
hearing the sound of Krishna's flute, sneak away from their households
and families to the forest to dance with Krishna throughout the night,
which Krishna supernaturally stretches to the length of one Night of
Brahma, a Hindu unit of time lasting approximately 4.32 billion years.
In the Krishna Bhakti traditions, the rasa-lila is considered to be one of
Krishna and Radha dancing the Rasalila, a 19th
the highest and most esoteric of Krishna's pastimes. In these traditions, century painting, Rajasthan
romantic love between human beings in the material world is seen as
merely a diminished, illusionary reflection of the soul’s original, ecstatic spiritual love for Krishna, God, in the
spiritual world.
In the Bhagavata Purana it is stated that whoever faithfully hears or describes the Rasa lila attains Krishna's pure
loving devotion (Suddha-bhakti).[3]
Just as a child plays at its own will with its reflection in a mirror, even so with the help of His Yogamāyā Bhagavān
Śrī Kṛṣṇa sported with the Gopīs, who were like many shadows of His own form.[4]
Etymology
Apart from the definition above, the term also comes from the Sanskrit words rasa and lila, with rasa meaning
“juice”, “nectar”, "emotion" or "sweet taste" and lila meaning "act".By taking this etymologic breakdown of the word
literally, "Rasa lila" means the “sweet act” (of Krishna). It is often freely rendered as "the dance of love".
Performance
Rasa lila has been a popular theme in Bharatanatyam, Odissi, Manipuri and Kuchipudi items. Ras lila is a popular
form of folk theatre in the regions of Mathura, Vrindavan in Uttar Pradesh, especially during the festivals of Krishna
Janmashtami and Holi, and amongst various followers of Gaudiya Vaishnavism in the region. Raas leela(Raax lila)
is also observed as one of the National Festivals of Assam. During Raax lila, several thousand devotees visit the holy
temples and Xatras of Assam every year.
Rasa lila 26
In the tradition of Vaishnavism of

Manipur Rasa Lila is depicted within
classic Manipuri dance, and revolves
around the same story of the love
between Krishna and the cowherd girls
and tells the divine love story of
Krishna, svayam bhagavan and Radha,
his divine beloved. This form of dance
was started by Bhagya Chandra in
1779 and in some parts of India is still
performed every year on Krishna
Janmashtami (the festival to clebrate
Rasa Lila in Manipuri dance style.
Krishna’s birthday). According to
different traditions, the rasa-lila is
performed either by boys and girls, or by girls only. The dance is performed holding dandi (plural of danda) or sticks
and is often accompanied with folk songs and devotional music.
The Traditional Rasa Lila performances in Vrindavan are famous throughout the Vaisnava world as an experience of
the spiritual world. Rasa Lila performance was started by Swami Sri Uddhavaghamanda Devacharya in the early
15th Century CE at Vamshivata in Vrindavan, Mathura. He was a prominent saint of the Nimbarka Sampradaya, and
disciple of the world-renowned Swami Sri Harivyasa Devacarya. The Vani literature of Vraja is the transcription of
the songs that were heard by Swami Harivyasa Devacarya and his Guru, Swami Shri Shribhatta as they meditated on
the Nitya Lila of Shri Radha Krishna. These songs describe the eternal spiritual abode of Shri Radha Krishna, the
Sakhis and Nitya Vrindavana Dham - or Nikunja Dham.
As many new devotees of that time could not understand the Vraja language, Swami Uddavaghamanda Devacarya
trained his Brahmachari students to play the parts that appeared in the songs in order to get a visual representation of
the Lila that was being described. Many were sceptical of this, and attempted to thwart the first enactment. However,
at the conclusion of the first Rasa Lila, tradition has it, the Lord Himself appeared and gave the actors his own
Crown, and decreed that whenever a qualified actor was to take the part of the Lord, from the moment he put on the
crown on his head, it should be understood that he represents the Lila potency of God, and treated with due respect.
Shri Radha and Krsna shall be known as Shri Radha Rasavihari.
Since then, the traditional form has remained that actors who are young Brahmacharis will join a group led by the
Swami of that group. The music remains the typical Dhrupada style of the Vraja Acharyas who penned the songs
they heard to the accompaniment of Sitar and Pakhawaj and the songs are sung in Vraja Language, a parent to
modern Hindi.
Recently, many people have taken advantage of the religious sentiments and have begun plagiarising this ancient art,
and for popularity changing the music to popular music. Yet there are a dedicated few who seek to preserve the
traditional form of devotional art known as Rasa Lila.
Rasa lila 27
References and notes

[1] Richmond, Farley P.; Darius L. Swann, Phillip B. Zarrilli (1993). Indian theatre: traditions of performance (http:/ / books. google. co. in/
books?id=3HIh7oPkvAMC& pg=PA198& dq=Uma+ Sharma& lr=& cd=12#v=onepage& q=Uma Sharma& f=false). Motilal Banarsidass
Publ.. p. 197. ISBN 81-208-0981-5. .
[2] Schweig, G.M. (2005). Dance of divine love: The Rasa Lila of Krishna from the Bhagavata Purana, India's classic sacred love story..
Princeton University Press, Princeton, NJ; Oxford. ISBN 0-691-11446-3.
[3] Bhag-P 10.33.39 (http:/ / vedabase. net/ sb/ 10/ 33/ 39/ en2)
[4] Hanumanprasad, Poddar (1941). Gopīs' Love for Śrī Kṛṣṇa. Gorakhpur: Gita Press.
• Music in traditional Indian theatre: special reference to Raas Leela, by Rani Balbir Kaur. Shubhi Publications,
2006. ISBN 979-8187226993.
Books
• Rasa - Love Relationships in Transcendence, by Swami B.V. Tripurari (ISBN 1-866069-10-7)
• Theatre and Religion on Krishna's Stage, by David Mason, New York: Palgrave, 2009.
External links
• Raslila (http://www.britannica.com/eb/article-9062739/raslila) at Encyclopædia Britannica
Dashavatara
Dashavatara (IAST: Daśāvatāra) refers to the ten
major incarnations of Vishnu, the Hindu god of
preservation and life. Etymologically, avatar (Sanskrit:
अवतार, derives from daśa, meaning 'ten' and avatāra),
meaning 'descent'. Some religious traditions believe the
ten avatars to be incarnations of Krishna, rather than
Vishnu, and so do not include him on the list.
Balarama, brother of Krishna, is worshiped either with
his sibling as the eighth avatar, or with Rama, as the
seventh. The avatars in this list are also described as
lila-avatars.[1]
Historical perspective
The first four incarnations of Vishnu appeared in Satya
or Kritha Yuga, the first of the four Yugas. The next
three appeared in Treta Yuga, the eighth and ninth in
Dwapara Yuga and the tenth will appear in Kali Yuga.
The time till completion for Kali Yuga is in 427,000
years.[2] In the Vishnu Purana and Bhagavata Purana, The ten avatars of Vishnu, (Clockwise, from top left) Matsya,
the Kali-yuga is described as ending with the Kurma, Varaha, Vamana, Krishna, Kalki, Buddha, Parshurama,
appearance of Kalki, who will defeat the wicked, Rama and Narasimha, (in centre) Krishna
liberate the virtuous, and initiate a new Satya or Kritha

Yuga.[3]
Dashavatara 28
At that time, the Supreme Personality of Godhead will appear on the earth. Acting with the power of
pure spiritual goodness, He will rescue eternal religion. Lord Viṣṇu — the Supreme Personality of
Godhead, the spiritual master of all moving and nonmoving living beings, and the Supreme Soul of all
— takes birth to protect the principles of religion and to relieve His saintly devotees from the reactions
of material work. - Bhagavata Purana, 12.2.16-17[4]
The adoption of Buddha as one of the Avatars of Vishnu under Bhagavatism was a catalyzing factor in assimilation
during the Gupta period between 330 and 550 CE. Mahayana Buddhism is sometimes called
Buddha-Bhagavatism.[5] By this period, the concept of Dashavatara was fully developed.[6]
The evolution of historical Vishnuism produced a complex system of Vaishnavism, often viewed as a synthesis of
the worship of Vishnu, Narayana, Vasudeva and Krishna, and which was well established by the time of Bhagavad
Gita from 4 BCE to the 3rd century CE.[7]
Twelve Alvars, or saints, spread the sect to the common people with their devotional hymns. Early alvars did not
distinguish or list the Dashavatara, nor did they distinguish Krishna. Their poems in praise of Vishnu and Krishna in
Tamil language are collectively known as Naalayira Divya Prabandha.[8][9]
Avatars
The following list contains eleven names. Some religious traditions believe the ten avatars to be incarnations of
Krishna, rather than Vishnu, and so do not include him on the list. Balarama, brother of Krishna, is worshiped either
with his sibling as the eighth avatar, or with Rama, as the seventh.[10]
1. Matsya, the fish, from the Satya Yuga. Lord Vishnu takes the form of a fish to save Manu from a flood, after
which he takes his boat to the new world along with one of every species of plant and animal, gathered in a
massive cyclone.
2. Kurma, the tortoise, appeared in the Satya Yuga. When the devas and asuras were churning the ocean in order to
get the nectar of immortality, the mount Mandara they were using as the churning staff started to sink and Lord
Vishnu took the form of a tortoise to bear the weight of the mountain.
3. Varaha, the boar, from the Satya Yuga. He appeared to defeat Hiranyaksha, a demon who had taken the Earth, or
Prithvi, and carried it to the bottom of what is described as the cosmic ocean in the story. The battle between
Varaha and Hiranyaksha is believed to have lasted for a thousand years, which the former finally won. Varaha
carried the Earth out of the ocean between his tusks and restored it to its place in the universe.
4. Narasimha, the half-man/half-lion appeared in the Satya Yuga. The raksha Hiranyakashipu was granted a
powerful boon from Brahma, not allowing him to be killed by man or animal, inside or out, day or night, or in
earth or the stars, with a weapon either living or inanimate. Vishnu descended as an anthropomorphic incarnation,
with the body of a man and head and claws of a lion. He then disembowels the raksha at the courtyard threshold
of his house, at dusk, with his claws, while he lay on his thighs.
5. Vamana, the dwarf, appeared in the Treta Yuga. The fourth descendant of Hiranyakashyap, Bali, with devotion
and penance was able to defeat Indra, the god of firmament. This humbled the other deities and extended his
authority over the three worlds. The gods appealed to Vishnu for protection and he descended as the dwarf
Vamana. During a yagna of the king, Vamana approached him in the midst of other Brahmins. Bali was happy to
see the diminutive holy man, and promised whatever he asked. Vamana asked for three paces of land. Bali agreed,
and the dwarf then changed his size to that of a giant. He stepped over heaven in his first stride, the netherworld
with the second. Bali realized that Vamana was Vishnu incarnate. In deference, the king offered his head as the
third place for Vamana to place his foot. The avatar did so and thus granted Bali immortality. Then in
appreciation to Bali and his grandfather Prahlad, Vamana made him ruler of Pathala, the netherworld. Bali is
believed to have ruled Kerala and Tulunadu. He is still worshiped there as the king of prosperity and recalled
before the time of harvest.
Dashavatara 29
6. Parashurama, Rama with the axe, appeared in the Treta Yuga. He

is son of Jamadagni and Renuka. He received an axe after a penance
to Shiva. Parashurama is the first Brahma-Kshatriya in Hinduism, or
warrior-saint, with duties between a Brahmana and a Kshatriya).
His mother was from the Kshatriya Suryavanshi clan that ruled
Ayodhya, of the line of Rama. King Kartavirya Arjuna and his army
visited the father of Parashurama at his ashram, and the saint was
able to feed them with the divine cow Kamadhenu. The king
demanded the animal, Jamadagni refused, and the king took it by
force and destroyed the ashram. Parashurama then killed the king at
his palace and destroyed his army. In revenge, the sons of
Kartavirya killed Jamadagni. Parashurama took a vow to kill every
Kshatriya on earth twenty-one times over, and filled five lakes with
their blood. Ultimately, his grandfather, the great rishi Rucheeka,
appeared and made him halt. He is a Chiranjivi, and believed to be
alive today in penance at Mahendragiri.
Avatars of Vishnu lithograph by Raja Ravi
Varma. Anti-clockwise from left top corner: 7. Rama, Ramachandra, the prince and king of Ayodhya, appeared in
Matsya, Kurma, Varaha, Narasimha, Vamana, the Treta Yuga. Rama is a commonly worshiped avatar in
Parshurama, Rama, Krishna, Buddha, Kalki
Hinduism, and is thought of as the ideal heroic man. His story is
surround Vishnu.
recounted in one of the most widely read scriptures of Hinduism,
the Ramayana. While in exile from his own kingdom with his
brother Lakshman and the monkey king Hanuman, his wife Sita was abducted by the demon king of Lanka,
Ravana. He travelled to Ashoka Vatika in Lanka, killed the demon king and saved Sita. Ultimately, Rama
doubted her chastity during her time with Ravana, and so Sita walked through the sacred fire to prove her
chastisity. Sita eventually returned to her mother Bhooma Devi. Rama then said goodbye to his immortal
companion Hanuman, and left the earth by submerging his body in the river Sarayu.
8. Balarama brother of Krishna, is worshiped either with his sibling as the eighth avatar, or with Rama, as the
seventh. According to the Bhagavata Purana, Balarama appeared in the Dwapara Yuga, along with Krishna, as
incarnation of Ananta Shesha. He may have originated in Vedic times as a deity of agriculture and fertility. In
scripture, Vishnu impregnated the belly of the goddess Devaki with two hairs, one black, one white. To ensure
their safety, they were transferred before birth to Rohini. Krishna was born with darker complexion, while
Balarama was fair. In Jainism he is known as Baladeva. He is often depicted with a drinking cup, pitcher, shield
and sword.
9. Krishna, was the eighth son of Devaki and Vasudev. Krishna is the most commonly worshiped deity in
Hinduism and an avatar in Vaishnava belief. His name means 'dark' or 'attractive', and he appeared in the
Dwapara Yuga alongside his brother Balarama, and was the central character of the Bhagavad Gita, the most
published Hindu canon. He is mentor to Arjuna, delivering him the Gita at the Battle of Kurukshetra. He is often
depicted playing the murali and having a mischievous spirit.[11] The appearance of Krishna coincided with the
beginning of Kali Yuga.
10. Kalki ("Eternity", or "White Horse", or "Destroyer of Filth"), is the final incarnation of Vishnu, foretold to
appear at the end of Kali Yuga, our present epoch. He will be atop a white horse and his sword will be drawn,
blazing like a comet. He is the harbinger of end time in Hindu eschatology, and will destroy all unrighteousness
and evil at the end of Kali Yuga.
Dashavatara 30
Jayadevas Dasavatara Stotra

Pralaya Payodhi Jale (from Gita Govinda) by Jayadeva concludes after listing the ten avataras each with a separate
stanza:
vedān uddharate jaganti vahate bhū-golam udbibhrate
daityaṁ dārayate baliṁ chalayate kṣatra-kṣayaṁ kurvate
paulastyaṁ jayate halaṁ kalayate kāruṇyam ātanvate
mlecchān mūrchayate daśakṛti-kṛte kṛṣṇāya tubhyaṁ namaḥ
O Lord Kṛṣṇa, I offer my obeisances to You, who appears in these ten incarnations
As Matsya, You rescue the Vedas, as Kūrma You bear the Mandara Mountain on Your back
As Varāha You lift the Earth with Your tusks
And as Narasiṁha You tear open the chest of the daitya Hiraṇyakaśipu
As Vāmana You trick the daitya king Bali by asking him for three paces of land
And You take the entire universe from him by expanding
As Paraśurāma You slay the wicked kṣatriyas
And as Rāmacandra, You conquer the rākṣasa king Rāvaṇa
In the form of Balarāma, You carry a plow to subdue the wicked and drew to Yamunā
As Buddha You show compassion toward the suffering of all life
And at the end of the Kali-yuga You appear as Kalki to bewilder the mlecchas
Who have yielded to worldly pleasures
- Jayadevas Dasavatara Stotra
Thus, the stanzas trace the evolution of avatars as they repeatedly returned to save mankind from violence and
impiety.
Dashavatara 31
Alternative lists
In Vishishtadvaita tradition, Balarama is considered an incarnation,
while Buddha is not included.[12][13] Some medieval traditions omit
Krishna from the list. Gaudiya Vaishnavas, for example, worship
Krishna as Svayam Bhagavan, or source of the incarnations.[14][15][16]
The Vallabha Sampradaya and Nimbarka Sampradaya go even further,
worshiping Krishna not only as source of other incarnations, but also
Vishnu himself, related to descriptions in the Bhagavata Purana. The
first lines of the Bhagavata Purana open:
Om namo bhagavate vasudevaya ete

Camsah kalah pumsah krishna stu bhagavan svayam
I bow to God, Krishna, who appeared as the son of Vasudeva
—Bhagavata Purana, Srimad Bhagavadam, Bhagavata Purana,
1.3.28[17][18]
In traditions that emphasize the Bhagavata Purana, Krishna is the
original Supreme Personality of Godhead, from whom everything else
emanates.
In Vishishtadvaita, Balarama is the eighth avatar of Vishnu, while
Krishna is the ninth. Buddha is considered as an avatar of Vishnu in
Madhva (Dvaita), Smartha and Advaita traditions. The Bhagavata Temple door depicting the ten avatars, Sree Balaji
Temple, Goa. (from leftmost upper corner, clock
Purana describes Balarama as appearing in the Dwapara Yuga, with
wise) Matsya, Narasimha, Parashurama, Rama,
Krishna, as an incarnation of Ananta Shesha. He is also an avatar of Krishna, Kalki, Vamana, Balarama, Varaha and
Vishnu in the Vaishnava movements of Vishishtadvaita, although these Kurma.
lists do not mention Buddha.
In Maharashtra and Goa, Vithoba's image replaces Buddha as the ninth avatar of Vishnu in some temple sculptures
and Hindu astrological almanacs. Maharashtra scholars have also praised Vithoba as a form of Buddha.[19]
In Orissa, Jagannath is sometimes depicted as the ninth avatar instead of Buddha. Jayadeva, a great Vaishnava saint
and renowned poet of 12th century from Orissa, included Buddha as the ninth avatar in the famous song Gita
Govinda.
Indian Postage
In 2009, the Indian Postal Service issued a series of ten stamps with Dashavatara as their theme. It was released in
Bhubaneswar, Orissa, to commemorate the birth of Jayadeva in that state.
Notes
[1] Garuda Purana 1.86.10-11
[2] B-Gita 8.17 (http:/ / www. vedabase. net/ bg/ 8/ 17/ en1) "And finally in Kal-yuga (the yuga we have now been experiencing over the past
5,000 years) there is an abundance of strife, ignorance, irreligion and vice, true virtue being practically nonexistent, and this yuga lasts
432,000 years. In Kali-yuga vice increases to such a point that at the termination of the yuga the Supreme Lord Himself appears as the Kalki
avatara"
[3] Klostermaier (2007) p. 495
[4] "Bhagavata Purana, 12.2.16-17" (http:/ / srimadbhagavatam. com/ 12/ 2/ en). .
[5] Hāṇḍā, Omacanda (1994). Buddhist Art & Antiquities of Himachal Pradesh: Up to 8th Century A.D.. Columbia, Mo: South Asia Books.
pp. 40. ISBN 81-85182-99-X.
[6] Indian, History. "(Prabha IAS-IPS Coaching Centre - Indian History 2003 exam - "The crystallization Of the Avatara Concept and the
worship of the incarnations of Vishnu were features of Bhagavatism during the Gupta period"" (http:/ / www. chandraiashistory. com/
Dashavatara 32
INDIAN HISTORY 2003. htm). Arumbakkam, Chennai. . Retrieved 2008-08-01.

[7] Beck, Guy L. (1993). Sonic theology: Hinduism and sacred sound. Columbia, S.C: University of South Carolina Press. pp. 170.
ISBN 0-87249-855-7.
[8] Annangaracariyar, P.B. (1971). Nalayira tivviyap pirapantam. Kanci: VN Tevanatan.
[9] Seth, K.P. (1962). "Bhakti in Alvar Saints". The University Journal of Philosophy.
[10] Chandra, Suresh (Aug 15, 2012). Encyclopaedia of Hindu Gods and Goddesses. Kindle Edition.
[11] Bhagavata Purana, Canto 1, Chapter 3 (http:/ / srimadbhagavatam. com/ 1/ 3/ en1) - SB 1.3.24: "Then, in the beginning of Kali-yuga, the
Lord will appear as Lord Buddha, the son of Anjana, in the province of Gaya, just for the purpose of deluding those who are envious of the
faithful theist." ... SB 1.3.28: "All of the above-mentioned incarnations [avatars] are either plenary portions or portions of the plenary portions
of the Lord [Krishna or Vishnu]"
[12] Britannica list of dashavatara (http:/ / books. google. com/ books?id=Kpd9lLY_0-IC& pg=PA152& dq=balarama&
sig=hyqE5tkz6rdKLrSqo2931bwZSWE)
[13] English-Tamil dictionary (http:/ / books. google. com/ books?id=lJX0s2gkg_MC& pg=PT48& dq=balarama+ ten+ incarnations&
sig=bIYK5jc65LzBjadjRQveF8kGaqs)
[14] The Religion of the Hindus By Kenneth W Morgan, D S Sarma p.55 (http:/ / books. google. com/ books?id=ulz9mO9cK54C& pg=PA57&
dq=balarama+ ten+ incarnations& lr=& as_brr=3& sig=lxv5w6dPK28A_5BQKGJ7-6ahjTw#PPA55,M1)
[15] Iconography of Balarama By N.P. Joshi p.25 (http:/ / books. google. com/ books?id=5vd-lKzyFg0C& pg=PA25& dq=balarama+ ten+
incarnations& lr=& as_brr=3& sig=uRPW5CwfXnT8jBEZYLNcjvO0mOE)
[16] Kennedy, M.T. (1925). The Chaitanya Movement: A Study of the Vaishnavism of Bengal. H. Milford, Oxford university press.
[17] Flood, Gavin D. (1996). An introduction to Hinduism (http:/ / books. google. com/ books?id=KpIWhKnYmF0C& printsec=frontcover&
dq=gavin+ flood& sig=q_waAYpO_WokCivKS2OtlwsG2dw#PPA118,M1). Cambridge, UK: Cambridge University Press. pp. 341.
ISBN 0-521-43878-0. . Retrieved 2008-04-21."Early Vaishnava worship focuses on three deities who become fused together, namely
Vasudeva-Krishna, Krishna-Gopala and Narayana, who in turn all become identified with Vishnu. Put simply, Vasudeva-Krishna and
Krishna-Gopala were worshiped by groups generally referred to as Bhagavatas, while Narayana was worshipped by the Pancaratra sect."
[18] Essential Hinduism S. Rosen, 2006, Greenwood Publishing Group p.124 (http:/ / books. google. com/ books?id=VlhX1h135DMC&
pg=PA124& dq=Krishna+ is+ the+ original+ Personality+ of+ Godhead& client=firefox-a& sig=2Yojs3j3lTcocPQ7RaIqBnpLrq0) ISBN
0-275-99006-0
[19] Jamanadas, K. (2001). "Vitthala of Pandharpur is Buddha" (http:/ / www. ambedkar. org/ Tirupati/ Chap4. htm). Tirupati Balaji was a
Buddhist Shrine. Dalit E-Forum. . Retrieved 2008-09-20.
References
External sources
• Klostermaier, Klaus K. (2007). A survey of Hinduism. Albany: Sate University of New York Press.
ISBN 0-7914-7081-4.
• Sikand, Yoginder (2004). Muslims in India since 1947: Islamic perspectives on inter-faith relations. London:
RoutledgeCurzon. ISBN 0-415-31486-0.
External links
• Avataras as categorized within Gaudiya Vaishnavism (http://www.veda.harekrsna.cz/encyclopedia/avatars.
htm)
• Avatars (Incarnations or Descents) of Vishnu (http://www.sscnet.ucla.edu/southasia/Religions/Avatars/
Vishnu.html)
Bhagavata 33
Bhagavata
Bhagavata (Bhāgavata, a vrddhi formation from Bhagavan, meaning
"pertaining to Bhagavan" ("the Lord", i.e. God)") signifies in the
context of Hinduism. In this context bhakti has the primary meaning of
'adoration', while Bhagavat means 'the Adorable One', and Bhagavata
is a worshiper of the Adorable One.[1] It also refers to a tradition
devoted to worship of Krishna, later assimilated into the concept of
Narayana[2] or original form svayam bhagavan. According to some
historical scholars, worship of Krishna emerged in the 1st century BC.
However, Vaishnava traditionalists place it in 4th century BC.[3]
Despite relative silence of the earlier Vedic sources, the features of Flow chart showing the growth of Bhagavatism
Bhagavatism and principles of monotheism of Bhagavata school
unfolding described in the Bhagavad Gita as viewed as an example of the belief that Vasudeva-Krishna is not an
avatar of the Vedic Vishnu, but is the Supreme.[4]
Definition of Krishnaism
In the ninth century the Bhagavatism was already at least millennium old and many separated groups, all following
Bhagavata Purana were found. These Gopala-worshipers grew in various lines, and now precise reference requires
the names of their denominations. However a usefulness remains in the single vague term Krishnaism, which
recognizes a certain unity in them all. Today the faith has a significant following outside of India as well.[5] Many
places of Vrindavana associated with Krishna from the time immemorial. Many millions of bhaktas or devotees of
Krishna visit these paces of pilgimage every year and participate in a number of festivals that relate to the scenes
from Krishnas life on Earth. Some believe that early Bhagavatism was enriched and transformed with powerful and
popular Krishna tradition with a strong "human" element to it.[6]
Initial History of Bhagavata tradition

Its believed that Bhagavatas borrowed or shared the attribute or title Purusa of their monotheistic deity from the
philosophy of Sankhya. The philosophy was formulated by the end of 4th century BC and as time went other names
such as Narayana were applied to the main deity of Krishna-Vāsudeva.[7]
Second Early Stage

Some relate absorption by Brahmanism to be the characteristic of the second stage of the development of the
Bhagavata tradition. Its believed that at this stage Krishna-Vāsudeva was identified with the deity of Vishnu, that
according to some belonged to the pantheon of Brahmanism. [7]
Rulers onwards from Chandragupta II, Vikramaditya were known as parama Bhagavatas, or Bhagavata Vaishnavas.
The Bhagavata Purana entails the fully developed tenets and philosophy of the Bhagavata cult whereis Krishna gets
fused with Vasudeva and transcends Vedic Vishnu and cosmic Hari to be turned into the ultimate object of bhakti.[8]
Bhagavata 34
Literary references
References to Vāsudeva also occur in early Sanskrit literature. Taittiriya Aranyaka (X,i,6) identifies him with
Narayana and Vishnu. Pāṇini, ca. 4th century BCE, in his Ashtadhyayi explains the word "Vāsudevaka" as a Bhakta
(devotee) of Vāsudeva. At some stage during the Vedic period, Vasudeva and Krishna became one deity or three
distinct deities Vasudeva-Krishna, Krishna-Gopala and Narayana, all become identified with Vishnu.[9] and by the
time of composition of the redaction of Mahabharata that survives till today.
A Gupta period research makes a "clear mention of Vasudeva as the exclusive object of worship of a group of
people", who are referred as bhagavatas.[10]
According to an opinion of some scholars in Patanjali's time identification of Krishna with Vasudeva is an
established fact as is surmised from a passage of the Mahabhasya - (jaghana kamsam kila vasudevah).[11] This
"supposed earliest phase is though to have been established from the sixth to the fifth centuries BCE at the time of
Pāṇini, who in his Astadhyayi explained the word vasudevaka as a bhakta, devotee, of Vasudeva and its believed that
Bhagavata religion with the worship od Vasudeva Krishna were at the root of the Vaishnavism in Indian
history."[12][13]
Other meanings
In the recent times this often refer to a particular sect of Vaishnavas in West India, referring to themselves as
'Bhagavata-sampradaya'.[14][15]
It is also a common greeting among the followers of Ramanujacharya and other yoga sects.[16] It can also be spelled
'Bhagavats' and refer to a Buddhist concept.[17][18]
Bhagavata Sampradaaya is a very old vedic tradition that respects all the darshana shastras & siddantas. It is neutral
to any particular practices like only Vaishnava, Smarta, Shakta, Gaanapatya, Saura etc., And instructs to practice the
rituals that is in accordance with Vedas. Some of the practices of this Sampradaaya are continuous study of Vedas,
all time chanting of Gayatri, Nitya Agni Upaasana, Atiti Satkaara, Vaishwadeva, Pancha Yagnas, Daana-Dharma,
Simpleness, humbleness, socially accepted life style, Sachitdananda Dhyana, leaving egotism, Sarva samarpana
Bhaava of ones own Sampat-Bhakti-Punya Karma-Knowledge. This is actual Bhagavata.
Notes
[1] Hastings 2003, p. 540
[2] Beck, G. (2005). "Krishna as Loving Husband of God" (http:/ / books. google. com/ ?id=0SJ73GHSCF8C). Alternative Krishnas: Regional
and Vernacular Variations on a Hindu Deity. ISBN 978-0-7914-6415-1. . Retrieved 2008-04-28. Vishnu was by then assimilated with
Narayana
[3] Hastings 2003, pp. 540–42
[4] Srinivasan, Doris (1997). Many heads, arms, and eyes: origin, meaning, and form of multiplicity in Indian art. Leiden: Brill. p. 134.
ISBN 90-04-10758-4.
[5] Graham M. Schweig (2005). Dance of Divine Love: The R‫ﭲ‬asa L‫ﭲ‬il‫ﭲ‬a of Krishna from the Bh‫ﭲ‬agavata Pur‫ﭲ‬a. na, India's classic sacred love
story. Princeton, N.J: Princeton University Press. Front Matter. ISBN 0-691-11446-3.
[6] KLOSTERMAIER, Klaus K. (2007). A Survey of Hinduism. State University of New York Press; 3 edition. p. 204. ISBN 0-7914-7081-4.
"Not only was Krsnaism influenced by the identification of Krsna with Vishnu, but also Vaishnavism as a whole was partly transformed and
reinvented in the light of the popular and powerful Krishna religion. Bhagavatism may have brought an element of cosmic religion into
Krishna worship; Krishna has certainly brought a strongly human element into Bhagavatism. ... The center of Krishna-worship has been for a
long time Brajbhumi, the district of Mathura that embraces also Vrindavana, Govardhana, and Gokula, associated with Krishna from the time
immemorial. Many millions of Krishna bhaktas visit these places ever year and participate in the numerous festivals that reenact scenes from
Krshnas life on Earth"
[7] Hastings 2003, p. 540
[8] Kalyan Kumar Ganguli: (1988). Sraddh njali, Studies in Ancient Indian History: D.C. Sircar Commemoration: Puranic tradition of Krishna.
Sundeep Prakashan. ISBN 81-85067-10-4.p.36
[9] Flood, Gavin D. (http:/ / www. ocvhs. com) (1996) (in Engl.). An introduction to Hinduism (http:/ / books. google. com/
?id=KpIWhKnYmF0C& printsec=frontcover& dq=gavin+ flood). Cambridge, UK: Cambridge University Press. p. 341. ISBN 0-521-43878-0.
Bhagavata 35
. Retrieved 2008-04-21."Early Vaishnava worship focuses on three deities who become fused together, namely Vasudeva-Krishna,
Krishna-Gopala and Narayana, who in turn all become identified with Vishnu. Put simply, Vasudeva-Krishna and Krishna-Gopala were
worshiped by groups generally referred to as Bhagavatas, while Narayana was worshipped by the Pancaratra sect."
[10] Banerjea, 1966, page 20
[11] A Corpus of Indian Studies: Essays in Honour of Professor Gaurinath Sastri, Page 150, 1980 - 416 pages.
[12] Page 76 of 386 pages: The Bhagavata religion with the worship of Vasudeva Krishna as the ... of Vasudeva Krishna and they are the direct
forerunners of Vaisnavism in India.Ehrenfels, U.R. (1953). "The University Of Gauhati". Dr. B. Kakati Commemoration Volume.
[13] Page 98: In the Mahabharata, Vasudeva-Krishna is identified with the highest God.Mishra, Y.K. (1977). Socio-economic and Political
History of Eastern India. Distributed by DK Publishers' Distributors.
[14] General, A. (1920). "I. The Bhagavata Sampradaya". An Outline of the Religious Literature of India.
[15] Singhal, G.D. (1978). "The Cultural Evolution of Hindu Gaya, the Vishnu Dham". The Heritage of India: LN Mishra Commemoration
Volume.
[16] BHAKTI YOGA (http:/ / yoga-daily. blogspot. com/ 2008/ 02/ bhakti-yoga. html) 19 Feb 2008 by ANKARALI INC
Constant Satsanga with devotees and Bhagavatas, repetition of His Name, Sri Ram, Sita Ram, Hari Om, etc.,
constant remembrance of the Lord, prayer, study of religious books such as the Ramayana, the Bhagavata, Hari
Kirtan, service of ... Yoga - (http://yoga-daily.blogspot.com/)
[17] ,. The Newly Discovered Three Sets Of Svetaka Gangacopper Plates (http:/ / orissagov. nic. in/ e-magazine/ Journal/ journalvol3/ pdf/ 40-48.
pdf). . Retrieved 2008-04-20.
[18] Kielhorn, F. (1908). "Bhagavats, Tatrabhavat, and Devanampriya" (http:/ / buddhism. lib. ntu. edu. tw/ BDLM/ toModule. do?prefix=/
search& page=/ search_detail. jsp?seq=23700). Journal of the Royal Asiatic Society: 502–505. . Retrieved 2008-04-20.
Further reading
• Dahmen-Dallapiccola, Anna Libera; Anna L. Dallapiccola (2002). Dictionary of Hindu lore and legend. London:
Thames & Hudson. ISBN 0-500-51088-1.
• Hastings, James Rodney (2nd edition 1925-1940, reprint 1955, 2003) [1908-26]. [[Encyclopedia of Religion and
Ethics (http://books.google.com/?id=Kaz58z--NtUC&pg=PA540&vq=Krishna)]]. John A Selbie (Volume 4
of 24 ( Behistun (continued) to Bunyan.) ed.). Edinburgh: Kessinger Publishing, LLC. p. 476.
ISBN 0-7661-3673-6. Retrieved 03-05-2008. "The encyclopedia will contain articles on all the religions of the
world and on all the great systems of ethics. It will aim at containing articles on every religious belief or custom,
and on every ethical movement, every philosophical idea, every moral practice."
• Richard Thompson, Ph. D. (December 1994). Reflections on the Relation Between Religion and Modern
Rationalism (http://content.iskcon.com/icj/1_2/12thompson.html). Retrieved 2008-04-12.
• Gupta, Ravi M. (2004). Caitanya Vaisnava Vedanta: Acintyabhedabheda in Jiva Gosvami's Catursutri tika.
University Of Oxford.
• Gupta, Ravi M. (2007). Caitanya Vaisnava Vedanta of Jiva Gosvami. Routledge. ISBN 0-415-40548-3.
• Ganguli, K.M. (1883 -1896). The Mahabharata of Krishna Dwaipayana Vyasa. Kessinger Publishing.
• Ganguli, K.M. (1896). Bhagavad-gita (Chapter V). The Mahabharata, Book 6. Calcutta: Bharata Press.
• Wilson, H.H. (1840). The Vishnu Purana, a System of Hindu Mythology and Tradition: Translated from the
Original Sanscrit and Illustrated by Notes Derived Chiefly from Other Puranas. Printed for the Oriental
Translation Fund of Great Britain and Ireland.
• Prabhupada, A.C. (1988). Srimad Bhagavatam. Bhaktivedanta Book Trust.
• Kaviraja, K.; Prabhupada, A.C.B.S.; Bhaktivedanta, A.C. (1974). Sri Caitanya-Caritamrta of Krsnadasa
Kaviraja. Imprint unknown.
• S.D. Goswami (1998). The Qualities of Sri Krsna. GNPress. pp. 152 pages. ISBN 0-911233-64-4.
• Garuda Pillar of Besnagar, Archaeological Survey of India, Annual Report (1908–1909). Calcutta:
Superintendent of Government Printing, 1912, 129.
• Rowland Jr, B. (1935). "Notes on Ionic Architecture in the East". American Journal of Archaeology 39 (4):
489–496. doi:10.2307/498156. JSTOR 498156.
• Delmonico, N. (2004). "The History Of Indic Monotheism And Modern Chaitanya Vaishnavism" (http://books.
google.com/?id=mBMxPdgrBhoC&pg=PA31&dq=Vaisnava+monotheism). The Hare Krishna Movement: the
Bhagavata 36
Postcharismatic Fate of a Religious Transplant. ISBN 978-0-231-12256-6. Retrieved 2008-04-12.</ref>

• Mahony, W.K. (1987). "Perspectives on Krsna's Various Personalities". History of Religions 26 (3): 333–335.
doi:10.1086/463085. JSTOR 1062381.
• Beck, Guy L. (Ed.) (2005). Alternative Krishnas: Regional and Vernacular Variations on a Hindu Deity (http://
books.google.com/?id=0SJ73GHSCF8C). SUNY Press. ISBN 0-7914-6415-6.
• [ |Vyasanakere, Prabhanjanacharya (http://en.wikipedia.org/wiki/Vyasanakere_Prabhanjanacharya)].
Download and Listen to Bhagavata in Kannada (http://www.vyasamadhwa.org/upanyasa/Bhagavata).
Vyasamadhwa Samshodhana Pratishtana.
Tandava
Tāṇḍava or Tāṇḍava nṛtya, (ताण्डव, ताण्डव नृत्य) the divine art
form, is a dance performed by Shiva, a Hindu God. According
to Hindu mythology, Shiva’s Tandava is a vigorous dance that
is the source of the cycle of creation, preservation and
dissolution. While the Rudra Tandava depicts his violent
nature, first as the creator and later as the destroyer of the
universe, even of death itself; the Ananda Tandava depicts
him as enjoying. Shiva as Nataraja (lit. "Lord of dance") is
considered the supreme lord of dance.[1]
The Tandava takes its name from Tandu, the attendant of

Shiva, who instructed Bharata (author of the Natya Shastra) in
the use of Angaharas and Karanas, modes of the Tandava at
Shiva's order. Some scholars consider that Tandu himself
must have been the author of an earlier work on the dramatic
arts, which was incorporated into the Natya Shastra.[2] Indeed,
the classical arts of dance, music and song may derive from
the mudras and rituals of Shaiva tradition.
Shiva Nataraja, the Lord of the Dance. Tamil Nadu, Chola
Dynasty, India
Tandava 37
The 32 Angaharas and 108 Karanas are discussed by Bharata in the 4th
chapter of the Natya Shastra, Tandava Lakshanam.[3] Karana is the
combination of hand gestures with feet to form a dance posture.
Angahara is composed of seven or more Karanas.[4] 108 karanas
included in Tandava could be employed in the course of dance, fight,
and personal combats and in other special movements like strolling.
The dance is a pictorial allegory of the five principal manifestations of

eternal energy:[5]
Some of the 108 Karanas of Nataraja at Kadavul
• 'Srishti' (सृष्टि) - creation, evolution Hindu Temple, on Kauai, Hawaii. It is one of the
• 'Sthiti' (स्थिति) - preservation, support few complete collections in existence,
commissioned by Satguru Sivaya
• 'Samhara' (संहार) - destruction, evolution Subramuniyaswami in the 1980s. Each sculpture
• 'Tirobhava' (तिरोभाव) - illusion is about 12 inches tall. Chidambaram Temple is
• 'Anugraha' (अनुग्रह) - release, emancipation, grace also known to have a complete set.
Thus Tandava symbolizes the cosmic cycles of creation and

destruction, as well as the daily rhythm of birth and death.
Tandava, as performed in the sacred dance-drama of southern India,
has vigorous, brisk movements. Performed with joy, the dance is called
Ananda Tandava. Performed in a violent mood, the dance is called
Rudra Tandava. In the Hindu texts, at least seven types of Tandava are
found: Ananda Tandava, Tripura Tandava, Sandhya Tandava, Samhara
Tandava, Kali (Kalika) Tandava, Uma Tandava and Gauri Tandava.[4]
However, some people believe that there are 16 types of Tandava.
"How many various dances of Shiva are known to His

worshipers I cannot say. No doubt the root idea behind all
of these dances is more or less one and the same, the
manifestation of primal rhythmic energy. Whatever the
origins of Shiva's dance, it became in time the clearest
image of the activity of God which any art or religion can
Rudra Tandava: A dancer depicting Shiva kicking boast of." - Ananda Coomaraswamy[6]
Yama, the god of Death.
The dance performed by Goddess Parvati in response to Shiva's
Tandava is known as Lasya, in which the movements are gentle,
graceful and sometimes erotic. Some scholars consider Lasya to be the feminine version of Tandava. Lasya has 2
kinds, Jarita Lasya and Yauvaka Lasya.
The Hindu scriptures narrate various occasions when Shiva or other gods have performed the Tandava. When Sati
(first wife of Lord Shiva, who was reborn as Parvati) jumped into the Agni Kunda (sacrificial fire) in Daksha's
Yagna and gave up her life, Shiva is said to have performed the Rudra Tandava to express his grief and anger. The
Shivapradosha stotra says when Shiva performs the Sandhya Tandava, the other gods like Brahma, Vishnu,
Sarasvati, Lakshmi and Indra play musical instruments and sing Shiva's praises.[4] Ganesha, the son of Shiva, is
depicted as Ashtabhuja tandavsa nritya murtis (Eight armed form of Ganesha dancing the Tandava) in temple
sculptures.[7] The Bhagavata Purana talks of Krishna dancing his Tandava on the head of the serpent Kaliya.[8]
According to Jain traditions, Indra is said to have performed the Tandava in honour of Rishabha (Jain tirthankar) on
the latter's birth.[9]
Tandava 38
References
[1] "Nataraja", Manas, UCLA (http:/ / www. sscnet. ucla. edu/ southasia/ Religions/ Avatars/ Natar. html)
[2] Quarterly Journal of the Andhra Historical Research Society, part III, pp. 25-26, as cited in Manohar Laxman Varadpande, History of Indian
Theatre, p. 154. Abhinav Publ. (1987) ISBN 81-7017-221-7]
[3] Ragini Devi, Dance Dialects of India, pp.29-30. Motilal Banarsidass (1990) ISBN 81-208-0674-3
[4] Manohar Laxman Varadpande, History of Indian Theatre, p. 154. Abhinav Publ. (1987) ISBN 81-7017-221-7
[5] Ananda Coomaraswamy, cited at www.mahashivratri.org (http:/ / www. mahashivratri. org/ shiva-tandava. html)
[6] Ananda K. Coomaraswamy, "The Dance of Shiva", in The Dance of Shiva: Fourteen Indian Essays, rev. ed. (New York: Noonday Press,
(1957) ISBN 81-215-0153-9. Cited, "Nataraja", Manas, UCLA (http:/ / www. sscnet. ucla. edu/ southasia/ Religions/ Avatars/ Natar. html)
Indian aesthetics
Indian art evolved with an emphasis on inducing special spiritual or philosophical states in the audience, or with
representing them symbolically.
Rasa theory
Introduction
Of particular concern to Indian drama and literature are the term
'bhAva' or the state of mind and rasa (Sanskrit रस lit. 'juice' or
'essence') referring generally to the emotional flavors/essence
crafted into the work by the writer and relished by a 'sensitive
spectator' or sahṛdaya or one with positive taste and mind. Rasas
are created by bhavas.[1] They are described by Bharata Muni in
the Nātyasāstra, an ancient work of dramatic theory.
Although the concept of rasa is fundamental to many forms of

Indian art including dance, music, musical theatre, cinema and
literature, the treatment, interpretation, usage and actual
performance of a particular rasa differs greatly between different
styles and schools of abhinaya, and the huge regional differences
even within one style. Performing the Sringāra rasa in Koodiyattam
Experience of rasa (rasAnubhava)

A rasa is the developed relishable state of a permanent mood, which is called sthAyI bhAva. This development
towards a relishable state results by the interplay on it of attendant emotional conditions which are called Vibhavas,
anubhAvas and sancharI/ vyAbhichArI bhavas. The production of aesthetic rasa from bhAvas is analogous to the
production of tastes/juices of kinds from food with condiments, curries, pastes and spices. This is explained by the
quote below:
Vibhavas means karana or cause. It is of two kinds: Alambana, the personal or human object and substratum, and
Uddipana, the excitants. Anubhava, as the name signifies, means the ensuants or effects following the rise of the
emotion. vyAbhichArI bhavas are described later.
Vedic concept
The Rishi Praskanva insists (Rig Veda I.46.6) that the sources of knowledge some of which are open and some
hidden they are to be sought and found by the seekers after Truth, these sources are not available everywhere,
anywhere and at all times. In this context Rishi Agastya (Rig Veda I.187.4) stating thus –
तव तये पितो रसा रजांस्यनु विष्ठिताः |
दिवि वाताइव श्रिताः ||
reminds the ardent seekers about the six kinds of Rasa or taste which food has but which all tastes cannot be found in
one place or item, for these tastes are variously distributed throughout space. Food, in this context, means matter or
objects or thoughts, which are all produced effects, effects that are produced owing to various causes. The Rasas are
the unique qualities which bring about variety in things created whose source is one and one only. [2]
Lists of rasas
Eight primary rasas

Bharata Muni enunciated the eight Rasas in the Nātyasāstra, an ancient
work of dramatic theory. Each rasa, according to Nātyasāstra, has a
presiding deity and a specific colour. There are 4 pairs of rasas. For
instance, Hasya arises out of Sringara. The Aura of a frightened person
is black, and the aura of an angry person is red. Bharata Muni
established the following.[3]
• Śṛngāram (शृङ्गारं) Love, attractiveness. Presiding deity: Vishnu.

Colour: light green
• Hāsyam (हास्यं) Laughter, mirth, comedy. Presiding deity: Pramata.
Colour: white
• Raudram (रौद्रं) Fury. Presiding deity: Rudra. Colour: red
• Kāruṇyam (कारुण्यं) Compassion, mercy. Presiding deity: Yama.
Colour: grey
• Bībhatsam (बीभत्सं) Disgust, aversion. Presiding deity: Shiva.
Colour: blue
• Bhayānakam (भयानकं) Horror, terror. Presiding deity: [[|Kala]].
Colour: black
Expression of Sringāra in Bharatanatyam
• Vīram (वीरं) Heroic mood. Presiding deity: Indra. Colour: yellowish
• Adbhutam (अद्भुतं) Wonder, amazement. Presiding deity: Brahma.
Colour: yellow[4]
Śāntam rasa
A ninth rasa was added by later authors (See History section). This addition had to undergo a good deal of struggle
between the sixth and the tenth centuries, before it could be accepted by the majority of the Alankarikas, and the
expression Navarasa (the nine rasas), could come into vogue.
• Śāntam Peace or tranquility. deity: Vishnu. Colour: perpetual white
Shānta-rasa functions as an equal member of the set of rasas but is simultaneously distinct being the most clear form
of aesthetic bliss. Abhinavagupta likens it to the string of a jeweled necklace; while it may not be the most appealing
for most people, it is the string that gives form to the necklace, allowing the jewels of the other eight rasas to be
relished. Relishing the rasas and particularly shānta-rasa is hinted as being as-good-as but never-equal-to the bliss of
Self-realization experienced by yogis.
Other additions
In addition to the nine Rasas, two more appeared later (esp. in literature): Additional rasas:
• Vātsalya (वात्सल्य) Parental Love
• Bhakti (भक्ति) Spiritual Devotion
However, the presiding deities, the colours and the relationship between these additional rasas have not been
specified.
List of bhavas
According to the nATyashAstra, bhAvas are of three types: sthAyI, sanchari, sAttvika based on how they are
developed or enacted during the aesthetic experience. This is seen in the following passage:
पुनश्च भावान्वक्ष्यामि स्थायिसञ्चारिसत्त्वजान् । । ६.१६ । ।
Some bhAvas are also described as being anubhAva if they arise from some other bhAva.
sthAyI
The Natyasastra lists eight bhavas with eight corresponding rasas:
• Rati (Love)
• Hasya (Mirth)
• Soka (Sorrow)
• Krodha(Anger)
• Utsaha (Energy)
• Bhaya (Terror)
• Jugupsa (Disgust)
• Vismaya (Astonishment)
This list is from the following passage:
रतिहासश्च शोकश्च क्रोधोत्साहौ भयं तथा ।
जुगुप्सा विस्मयश्चेति स्थायिभावाः प्रकीर्तिताः । । ६.१७ । ।
Sanchari
Sanchari Bhavas are those crossing feelings which are ancillary to a permanent mood.[5] A list of 33 bhAvas are
identified therein.
nirvedaglAnisha~NkAkhyAstathAsuuyA madaH shramaH .
Alasya.n chaiva dainya.n cha chintAmohaH smRîtirdhRîtiH ..18..
vrIDA chapalatA harSha Avego jaDatA tathA .
garvo viShAda autsukya.n nidrApasmAra eva cha ..19..
supta.n vibodho.amarShashchApi avahitthaM athogratA .
matirvyAdhistathA unmAdastathA maraNameva cha ..20..
trAsashchaiva vitarkashcha vidnyeyA vyabhichAriNaH .
trayastri.nshadamI bhAvAH samAkhyAtAstu nAmataH ..21..
sAtvika
The sAtvika-bhAvAs themselves are listed below.
stambhaH svedo.atha romA~nchaH svarabhedo.atha vepathuH .
vaivarNyaM ashru-pralaya ityaShTau sAtvikAH smRîtAH ..22..
These are explained by Bharata and dhanika as below:
"सत्त्वं नाम मनःप्रभवम्। एतदेव समाहितमनस्त्वादुत्पद्यते। " इति भरतः।
"एतदेवास्य सत्त्वं यत् दुःखितेन प्रहर्षितेन वा अश्रु-रोमाञ्चादयो निवर्त्यन्ते।
तेन सत्त्वेन निर्वृत्ता भावाः - सात्त्विकाः भावाः। तद्भावभावनं च भावः।" इति धनिकः।
"पृथग् भावा भवन्त्यन्येऽनुभावत्वेऽपि सात्त्विकाः।
सत्त्वादेव समुत्पत्तेस्तच्च तद्भावभावनम्॥" इति धनिकः।
Thus, physical expression of the feelings of the mind are called sAttvika.
The Rasas in the Performing Arts

The theory of rasas still forms the aesthetic underpinning of all Indian
classical dance and theatre, such as Bharatanatyam, kathak, Kuchipudi,
Odissi, Manipuri, Kudiyattam, Kathakali and others. Expressing Rasa
in classical Indian dance form is referred to as Rasa-abhinaya. The
Nātyasāstra carefully delineates the bhavas used to create each rasa.
The expressions used in Kudiyattam or Kathakali are extremely
exaggerated theatrical expressions. The opposite of this interpretation
is Balasaraswathi's school of subtle and understated abhinaya of the
devadasis. There were serious public debates when Balasaraswathi
condemned Rukmini Devi's puritanistic interpretations and
applications of Sringara rasa. The abhinaya of the Melattur style of
abhinaya remains extremely rich in variations of the emotions, while
the Pandanallur style expressions are more limited in scope. Raudram rasa of the destructive fury of goddess
Durga in Bharatanatyam
History
Natyashastra
Rasa theory blossoms beginning with the Sanskrit text Nātyashāstra
(nātya meaning "drama" and shāstra meaning "science of"), a work
attributed to Bharata Muni where the Gods declare that drama is the
'Fifth Veda' because it is suitable for the degenerate age as the best
form of religious instruction. The Nātyashāstra presents the aesthetic
concepts of rasas and their associated bhāvas in Chapters Six and
Seven respectively, which appear to be independent of the work as a
whole. Eight rasas and associated bhāvas are named and their
enjoyment is likened to savoring a meal: rasa is the enjoyment of
flavors that arise from the proper preparation of ingredients and the
quality of ingredients.
Kashmiri aestheticians
The theory of the rasas develops significantly with the Kashmiri
aesthetician Ãndandavardhana's classic on poetics, the Dhvanyāloka
which introduces the ninth rasa, shānta-rasa as a specifically religious
"A Yakshagana artist expressing emotions on feeling of peace (śānta) which arises from its bhāva, weariness of the
stage. Vaachikabhinaya is an important part of
pleasures of the world. The primary purpose of this text is to refine the
Yakshagana"
literary concept dhvani or poetic suggestion, by arguing for the
existence of rasa-dhvani, primarily in forms of Sanskrit including a
word, sentence or whole work "suggests" a real-world emotional state or bhāva, but thanks to aesthetic distance, the
sensitive spectator relishes the rasa, the aesthetic flavor of tragedy, heroism or romance.
The 9th - 10th century master of the religious system known as "the nondual Shaivism of Kashmir" (or "Kashmir
Shaivism") and aesthetician, Abhinavagupta brought rasa theory to its pinnacle in his separate commentaries on the
Dhvanyāloka, the Dhvanyāloka-locana (translated by Ingalls, Masson and Patwardhan, 1992) and the
Abhinavabharati, his commentary on the Nātyashāstra, portions of which are translated by Gnoli and Masson and
Patwardhan. Abhinavagupta offers for the first time a technical definition of rasa which is the universal bliss of the
Self or Atman colored by the emotional tone of a drama.
Inclusion of bhakti
In the literary compositions, the emotion of Bhakti as a feeling of adoration towards God was long considered only a
minor feeling fit only for Stothras, but not capable of being developed into a separate rasa as the sole theme of a
whole poem or drama. In the tenth century, it was still struggling, and Aacharya Abhinavagupta mentions Bhakti in
his commentary on the Natya Shastra, as an important accessory sentiment of the Shanta Rasa, which he strove with
great effort to establish. However, just as Shantha slowly attained a state of primacy that it was considered the Rasa
of Rasas, Bhakti also soon began to loom large and despite the lukewarmness of the great run of Alankarikas, had
the service of some distinguished advocates, including Tyagaraja. It is the Bhagavata that gave the great impetus to
the study of Bhakti from an increasingly aesthetic point of view.
Attention to rasas
Poets like Kālidāsa were attentive to rasa, which blossomed into a fully developed aesthetic system. Even in
contemporary India the term rasa denoting "flavor" or "essence" is used colloquially to describe the aesthetic
experiences in films.
References
[1] Farley Richmond, "India", in The Cambridge Guide to Asian Theatre, ed. James R. Brandon (Cambridge University Press, 1993), p.69.
[2] Ravinder kumar Soni. The Illumination of Knowledge (http:/ / books. google. co. in/ books/ about/ The_Illumination_Of_Knowledge.
html?id=dXZJXwAACAAJ& redir_esc=y). GBD Books. p. 113. .
[3] Ghosh, Manomohan (2002). Natyasastra. ISBN 81-7080-076-5.
[4] "The Navarasa" (http:/ / www. thenavarasa. com/ flash/ ). . Retrieved 2012-04-22.
[5] C.Ramanujachari and Dr. V. Raghavan. The Spiritual Heritage of Tyagaraja.
Further reading
• Sen, R. K., Aesthetic Enjoyment: Its Background in Philosophy and Medicine, Calcutta: University of Calcutta,
1966
• Sen, R. K., A Brief Introduction to a Comparative Study of Greek and Indian Aesthetics and Poetics, Calcutta:
Sen Ray & Co., 1954
• Sen, R. K., Nature of Aesthetic Enjoyment in Greek and Indian Analyses, Indian Aesthetics and Art Activity,
Simla: Indian Institute of Advanced Study, 1968
• Matthew Jones (January 2010). "Bollywood, Rasa and Indian Cinema: Misconceptions, Meanings and
Millionaire". Visual Anthropology 23 (1): 33–43.
Article Sources and Contributors 44
Article Sources and Contributors

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athmanathan, Astynax, B9 hummingbird hovering, Benne, Bhadani, Bhaktivinode, Bhawani Gautam, Bomac, Carlossuarez46, Catgut, Chaipau, Charles Matthews, Chirags, Chiswick Chap,
Chopper Dave, ChrisGualtieri, Cinosaur, Cminard, Colonies Chris, CommonsDelinker, DWhiskaZ, DaGizza, Dangerous-Boy, Danianjan, Dazedbythebell, Dbachmann, Decibert, Dedda71,
Deeptrivia, Didactohedron, Dileepbellave, Dougweller, Dream of Nyx, Dsvyas, Ekabhishek, Elizium23, Elvenscout742, Epbr123, Everyking, Futuristcorporation, Gabriel Pradiipaka, Gaius
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Anirudh777, Ansat, Anthony Appleyard, Antiuser, Arunix, Aryachaty, Atlantia, Attilios, BADMINton, Bankelal, Bhadani, Bhaktivinode, Bharatshah, Bharatveer, Bhawani Gautam, Biglovinb,
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Zippymarmalade, ‫ﺍﺩﺭﯾﺲ ﻓﺎﺗﺢ‬, ธวัชชัย, 187 anonymous edits
Gaudiya Vaishnavism Source: http://en.wikipedia.org/w/index.php?oldid=538036997 Contributors: Acharya108, Ampater, Andries, Angusmclellan, Bhaktivinode, BuckwikiPDa535,
Byelf2007, Chillum, Chopper Dave, Cminard, DaGizza, Daddysmutantkid, Dangerous-Boy, DanielCD, Dazedbythebell, Dbachmann, Deleteme42, Editor2020, Ekabhishek, Ekantik, El C,
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Vapour, Wavelength, Welsh, Wikidas, Zerokitsune, Δ, 150 anonymous edits
Rasa lila Source: http://en.wikipedia.org/w/index.php?oldid=537912167 Contributors: 18jahremädchen, Amlanjyoti.s, Anshuman.jrt, AroundTheGlobe, Auntof6, B9 hummingbird hovering,
BD2412, Carlossuarez46, Chopper Dave, Cminard, David G Brault, Dream of Nyx, Ekabhishek, Fatsodoctor, GourangaUK, Gryffindor, Imc, Iridescent, Ism schism, John of Reading, JohnCD,
Joy, Jyoti.mickey, Kalamkaar, Kwamikagami, Libin Scaria, Lugia2453, MatthewVanitas, Nick Number, Noopur28, PhnomPencil, Physchim62, Rasikapriya00, Rich Farmbrough, Rjwilmsi,
Shruti14, Snowgrouse, Syamagopala, Titodutta, WikHead, Wikidas, 43 anonymous edits
Dashavatara Source: http://en.wikipedia.org/w/index.php?oldid=538060293 Contributors: Abecedare, AguireTS, Amereshmishra, Angusmclellan, Anishviswa, Anoopan, Arcandam, Arjun G.
Menon, Arjun024, Ayushpranshu, BD2412, Carel.jonkhout, Carlossuarez46, Caseylp, CommonsDelinker, Cott12, Dakutaa, Dazedbythebell, Dheerajtheja, E. Ripley, Eelamstylez77, Eronel189,
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Jinjanjaa, Jitravirajsinh, Jonathansammy, Jonoikobangali, Just-watch, Kannan260479, Kaushys, Kman543210, Krithikapineapple99, Lenny Kaufman, LilHelpa, Llightex, Malaiya, Milkdave, Mr
magnolias, Mvuijlst, Nathsmiles, Nemonoman, Oerjan, Oldag07, Orenburg1, Paris1127, Pigman, Pipaaz, Porsche9111, Prerna369, Pridesal, Priyanath, Psubhashish, Raazinleaviateiin, Rahulhb,
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Tamicus, Tejasdeshpande, TheJJJunk, TheMandarin, TheRingess, Tiramisuloverr, Titodutta, Tommytocker, TwoTwoHello, Ureshkannah, Utcursch, Vedantahindu, Wiki-uk, Wikidas, Yworo,
Zafar142003, 141 anonymous edits
Bhagavata Source: http://en.wikipedia.org/w/index.php?oldid=537794380 Contributors: Abecedare, Altzinn, Armyrifle9, BD2412, Bhadani, Carlossuarez46, Cminard, Colonies Chris,
Dazedbythebell, Dbachmann, Deeptrivia, Ettrig, Gaura79, Gilliam, GourangaUK, Idamitham37, Imc, Iridescent, Jyothis, Kman543210, Manaspathak, Mattisse, Mboverload, Per Honor et Gloria,
QuartierLatin1968, Redheylin, Redtigerxyz, Rjwilmsi, SamuelTheGhost, Senthilvelsp, Shruti14, SpaceFlight89, Wikidas, Woohookitty, Zerokitsune, Zeuspitar, 16 anonymous edits
Tandava Source: http://en.wikipedia.org/w/index.php?oldid=537641576 Contributors: Abecedare, AroundTheGlobe, Bobrayner, DanielRigal, Deerlike, Dj7777, Dkmaurya, Dream of Nyx,
Editorcade, Ekantik, Fconaway, Fladrif, Iridescent, Irrigator, Isthisthingworking, Kanchanjunga, Khanaks108, Mpbabaji, Mywiki1902, Redtigerxyz, Sanjeet20, Satyanatha, Shobhitlunia31, Tide
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Image Sources, Licenses and Contributors 45
Image Sources, Licenses and Contributors

File:Krishna Holding Mount Govardhan - Crop.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Krishna_Holding_Mount_Govardhan_-_Crop.jpg License: Public Domain
Contributors: Mola Ram (1760-1833)
File:Krishna defeats Trinavarta.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Krishna_defeats_Trinavarta.jpg License: Public Domain Contributors: Unknown, possibly from
Rajasthan or the Mathura region. From a Bhagavata Purana series.
File:Brooklyn Museum - Leaf from a Dispersed Bhagavata Purana Series.jpg Source:
http://en.wikipedia.org/w/index.php?title=File:Brooklyn_Museum_-_Leaf_from_a_Dispersed_Bhagavata_Purana_Series.jpg License: Public Domain Contributors: Quibik, Roland zh
File:Prithu - Crop.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Prithu_-_Crop.jpg License: Public Domain Contributors: Durga, Ekabhishek, Melesse, Primaler, Redtigerxyz, 1
anonymous edits
Image:Avatars.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Avatars.jpg License: Public Domain Contributors: the Victoria and Albert Museum
File:Narasimha LACMA.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Narasimha_LACMA.jpg License: Public Domain Contributors: LACMA
File:Indischer Maler um 1760 65 001.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Indischer_Maler_um_1760_65_001.jpg License: Public Domain Contributors: Durga,
Ekabhishek, Orso della campagna, Roland zh
File:Page from an Illustrated Manuscript of the Bhagavata Purana.jpg Source:
http://en.wikipedia.org/w/index.php?title=File:Page_from_an_Illustrated_Manuscript_of_the_Bhagavata_Purana.jpg License: Public Domain Contributors: Roland zh, Sridhar1000
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Redtigerxyz, Roland zh, Shreevatsa, Wolfmann, 3 anonymous edits
File:Ashta-Matrika.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Ashta-Matrika.jpg License: Public Domain Contributors: Unknown Nepali
File:Bhagavatapurana.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Bhagavatapurana.jpg License: Public Domain Contributors: Original uploader was Deeptrivia at en.wikipedia
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Magog the Ogre
Image:Mahaprabhu 103.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Mahaprabhu_103.jpg License: GNU Free Documentation License Contributors: Gaura
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en.wikipedia (Original text : en:User:Chopper_Dave)
File:Krishna and Radha dancing the Rasalila, Jaipur, 19th century.jpg Source:
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Judithcomm, Mattes, Praveenp, Redtigerxyz, Roland zh, Wmpearl
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Contributors: http://www.flickr.com/photos/matsukin/
File:Avatars.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Avatars.jpg License: Public Domain Contributors: the Victoria and Albert Museum
File:Vishnu Avatars.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Vishnu_Avatars.jpg License: Public Domain Contributors: Redtigerxyz, Roland zh
File:Dashaavathaaram...ദശാവതാരം....jpg Source: http://en.wikipedia.org/w/index.php?title=File:Dashaavathaaram...ദശാവതാരം....jpg License: Creative Commons Attribution 2.0
Contributors: Aruna Radhakrishnan
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Commons Zero Contributors: Yon Man33
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Bhagavata Purana

Bhagavata Purana is a sattva purana[4] and is considered as purest and

text itself credits Veda Vyasa with its authorship.

Origin and date

Scholarly consensus holds that the text was completed no

Narrators and setting

The first book introduces the Bhāgavata, with Saunaka

control the breath and mind and concentrate on the

The main portion of the seventh book is dedicated to the

The tenth book, dedicated to Krishna, is responsible for the widespread

Theatre and dance

[23] Matchett 1993, p. 106

The date of the production of the written

Purana name Verses Comments

Agni 15,400 Contains details of Vastu Shastra and Gemology.

Bhagavata 18,000 [19][20]

Bhavishya 14,500 [22]

Brahmavaivarta 17,000 Describes ways to worship Devis, Krishna and Ganesha.

Garuda 19,000 Describes death and its aftermaths.

Harivamsa 16,000 Is considered to be itihāsa (epic poetry).

Narada 25,000 Describes the greatness of Vedas and Vedangas.

Vamana 10,000 Describes areas around Kurukshetra in North India.

Vishnu 23,000 [26]

Jain and Buddhist Puranas

• Monier-Williams, Monier (1899). A Sanskrit-English Dictionary. Oxford University Press.

The focus of Gaudiya Vaishnavism is the devotional

Supreme Person (God)

Inconceivable oneness and difference

Diet and lifestyle

History since Chaitanya Mahaprabhu

Chaitanya Mahaprabhu requested a select few among

The festival of Kheturi (approx 1574),[21] presided over

The Gaudiya Matha

Vaishnava preacher, known in his later life as Srila

Gaudiya and other Vaishnava schools

Gaudiya Vaishnava organizations

In the tradition of Vaishnavism of

References and notes

liberate the virtuous, and initiate a new Satya or Kritha

6. Parashurama, Rama with the axe, appeared in the Treta Yuga. He

Jayadevas Dasavatara Stotra

Om namo bhagavate vasudevaya ete

INDIAN HISTORY 2003. htm). Arumbakkam, Chennai. . Retrieved 2008-08-01.

Initial History of Bhagavata tradition

Second Early Stage

Postcharismatic Fate of a Religious Transplant. ISBN 978-0-231-12256-6. Retrieved 2008-04-12.</ref>

The Tandava takes its name from Tandu, the attendant of

The dance is a pictorial allegory of the five principal manifestations of

Thus Tandava symbolizes the cosmic cycles of creation and

"How many various dances of Shiva are known to His

Although the concept of rasa is fundamental to many forms of

Experience of rasa (rasAnubhava)

Eight primary rasas

• Śṛngāram (शृङ्गारं) Love, attractiveness. Presiding deity: Vishnu.

Self-realization experienced by yogis.

The Rasas in the Performing Arts

Article Sources and Contributors

Image Sources, Licenses and Contributors

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