By 

hukam (supreme command), he created his ten incarnations

Rather there is no Ramayana written by any Guru. Guru Gobind Singh however is known to
have written Ram Avatar in a text which is highly debated on its authenticity. Guru Gobind Singh
clearly states that though all the 24 avatars incarnated for the betterment of the world, but fell
prey to ego and therefore were destroyed by the supreme creator.[citation needed].

He also said that the almighty, invisible, all prevailing God created great numbers of Indras,
Moons and Suns, Deities, Demons and sages, and also numerous saints and Brahmanas
(enlightened people). But they too were caught in the noose of death (Kaal) (transmigration of
the soul).[citation needed]

Nepal[edit]
Besides being the site of discovery of the oldest surviving manuscript of
the Ramayana, Nepal gave rise to two regional variants in mid 19th – early 20th century. One,
written by Bhanubhakta Acharya, is considered the first epic of Nepali language, while the other,
written by Siddhidas Mahaju in Nepal Bhasa was a foundational influence in the Nepal Bhasa
renaissance.

Ramayana written by Bhanubhakta Acharya is one of the most popular verses in Nepal. The
popularization of the Ramayana and its tale, originally written in Sanskrit Language was greatly
enhanced by the work of Bhanubhakta. Mainly because of his writing of Nepali Ramayana,
Bhanubhakta is also called Aadi Kavi or The Pioneering Poet.

Southeast Asian[edit]
Cambodia[edit]

Cambodian classical dancers as Sita and Ravana, the Royal Palace in Phnom Penh (c. 1920s)

The Cambodian version of the Ramayana, Reamker (Khmer: រាមកេរ - Glory្ដិ៍ of Rama), is the

most famous story of Khmer literature since the Kingdom of Funan era. It adapts the Hindu
concepts to Buddhist themes and shows the balance of good and evil in the world. The Reamker
has several differences from the original Ramayana, including scenes not included in the original
and emphasis on Hanuman and Sovann Maccha, a retelling which influences the Thai and Lao
versions. Reamker in Cambodia is not confined to the realm of literature but extends to all
Cambodian art forms, such as sculpture, Khmer classical dance, theatre known as lakhorn
luang (the foundation of the royal ballet), poetry and the mural and bas-reliefs seen at the Silver
Pagoda and Angkor Wat.

Indonesia[edit]

Lakshmana, Rama and Sita during their exile in Dandaka Forest depicted in Javanese dance

There are several Indonesian adaptations of Ramayana, including the Javanese Kakawin

Ramayana[48][49] and Balinese Ramakavaca. The first half of Kakawin Ramayana is similar to the
original Sanskrit version, while the latter half is very different. One of the recognizable
modifications is the inclusion of the indigenous Javanese guardian demigod, Semar, and his
sons, Gareng, Petruk, and Bagong who make up the numerically significant four Punokawan or
"clown servants".[50]

Kakawin Ramayana is believed to have been written in Central Java circa 870 AD during the
reign of Mpu Sindok in the Mataram Kingdom.[50] The Javanese Kakawin Ramayana is not based
on Valmiki's epic, which was then the most famous version of Rama's story, but based
on Ravanavadha or the "Ravana massacre", which is the sixth or seventh century poem by
Indian poet Bhattikavya.[51]

Kakawin Ramayana was further developed on the neighboring island of Bali becoming the

Balinese Ramakavaca. The bas-reliefs of Ramayana and Krishnayana scenes are carved on
balustrades of the 9th century Prambanan temple in Yogyakarta,[52] as well as in the 14th
century Penataran temple in East Java.[53] In Indonesia, the Ramayana is a deeply ingrained
aspect of the culture, especially among Javanese, Balinese and Sundanese people, and has
become the source of moral and spiritual guidance as well as aesthetic expression and
entertainment, for example in wayang and traditional dances.[54]

The Balinese kecak dance for example, retells the story of the Ramayana, with dancers playing
the roles of Rama, Sita, Lakhsmana, Jatayu, Hanuman, Ravana, Kumbhakarna and Indrajit
surrounded by a troupe of over 50 bare-chested men who serve as the chorus chanting "cak".
The performance also includes a fire show to describe the burning of Lanka by Hanuman.
[55]
 In Yogyakarta, the Wayang Wong Javanese dance also retells the Ramayana. One example
of a dance production of the Ramayana in Java is the Ramayana Ballet performed on the
Trimurti Prambanan open air stage, with dozens of actors and the three main prasad spires of
the Prambanan Hindu temple as a backdrop.[56]

Laos[edit]
Phra Lak Phra Lam is a Lao language version, whose title comes from Lakshmana and Rama.
The story of Lakshmana and Rama is told as the previous life of Gautama buddha.

Malaysia[edit]
The Hikayat Seri Rama of Malaysia incorporated element of both Hindu and Islamic mythology.
[57][58][59]

Myanmar[edit]

Rama (Yama) and Sita (Me Thida) in Yama Zatdaw, the Burmese version of the Ramayana

Yama Zatdaw is the Burmese version of Ramayana. It is also considered the unofficial national

epic of Myanmar. There are nine known pieces of the Yama Zatdaw in Myanmar. The Burmese
name for the story itself is Yamayana, while zatdaw refers to the acted play or being part of
the jataka tales of Theravada Buddhism. This Burmese version is also heavily influenced
by Ramakien (Thai version of Ramayana) which resulted from various invasions by Konbaung
dynasty kings toward the Ayutthaya Kingdom.

Philippines[edit]
Main article: Maharadia Lawana

The Maharadia Lawana, an epic poem of the Maranao people of the Philippines, has been

regarded as an indigenized version of the Ramayana since it was documented and translated
into English by Professor Juan R. Francisco and Nagasura Madale in 1968.[60]: "264" [61] The poem,
which had not been written down before Francisco and Madale's translation,[60]: "264"  narrates the
adventures of the monkey-king, Maharadia Lawana, to whom the Gods have granted
immortality.[60]

Francisco, an indologist from the University of the Philippines Manila, believed that

the Ramayana narrative arrived in the Philippines some time between the 17th to 19th centuries,
via interactions with Javanese and Malaysian cultures which traded extensively with India.[62]: 101 

By the time it was documented in the 1960s, the character names, place names, and the precise
episodes and events in Maharadia Lawana's narrative already had some notable differences
from those of the Ramayana. Francisco believed that this was a sign of "indigenization", and
suggested that some changes had already been introduced in Malaysia and Java even before
the story was heard by the Maranao, and that upon reaching the Maranao homeland, the story
was "further indigenized to suit Philippine cultural perspectives and orientations."[62]: "103" 

Thailand[edit]

The Thai retelling of the tale—Ramakien—is popularly expressed in traditional regional dance theatre

Thailand's popular national epic Ramakien (Thai: รามเกียรติ,์ from rāmakīrti, 'glory of Ram') is

derived from the Hindu epic. In Ramakien, Sita is the daughter of Ravana and Mandodari
(thotsakan and montho). Vibhishana (phiphek), the astrologer brother of Ravana, predicts the
death of Ravana from Sita's horoscope. Ravana throws her into the water, but she is later
rescued by Janaka (chanok).[47]: 149 

While the main story is identical to that of Ramayana, many other aspects were transposed into
a Thai context, such as the clothes, weapons, topography and elements of nature, which are
described as being Thai in style. It has an expanded role for Hanuman and he is portrayed as a
lascivious character. Ramakien can be seen in an elaborate illustration at Wat Phra Kaew in
Bangkok.

Critical edition[edit]
A critical edition of the text was compiled in India in the 1960s and 1970s, by the Oriental
Institute at Maharaja Sayajirao University of Baroda, India, utilizing dozens of manuscripts
collected from across India and the surrounding region.[63] An English language translation of the
critical edition was completed in November 2016 by Sanskrit scholar Robert P. Goldman of
the University of California, Berkeley.[64] Another English translation of Critical Edition of Valmiki
Ramayana (in three volumes) with extensive footnotes was done by an Indian Scholar,
economist and translator Bibek Debroy in October, 2017.[65]

Commentaries[edit]
It is said that there are around thirty three commentaries for Ramayana.[66] Some of the
commentaries on Ramayana include Mahesvara Tirtha's tattvadīpa (also known as tattvadīpika),
Govindaraja's bhūṣaṇa (also known as govindarājīyam), Sivasahaya's śiromaṇi, Mahadeva
Yogi's amṛtakaṭaka, Ramanuja's rāmānujīyam, Ahobala's taniclōkī and tilaka by Nagoji Bhatta or
Ramavarma.[67] The three commentaries tilaka, bhūṣaṇa and śiromaṇi are known
as ṭīkātraya (i.e. commentary trio) and are more popular.[68]

Influence of Ramayana