Jayadeva’s Gitagovínda is a lyrical account of the illicit springtime love affair of Krishna and Radha, a god and goddess manifesting on earth as a cowherd and milkmaid for the sake of relishing the sweet miseries and rapturous delights of erotic love. The narrative framing their bucolic songs was composed under royal patronage in northeastern India in the twelfth century. It was to be performed for connoisseurs of poetry and the erotic arts, for aesthetes and voluptuaries who, while sensually engaged, were at the same time devoted to Krishna as Lord of the Universe. The text at once celebrates the vicissitudes of carnal love and the transports of religious devotion, merging and reconciling those realms of emotion and experience. Erotic and religious sensibilities serve, and are served by, the pleasures of poetry. In the centuries following its composition, the courtly text became a vastly popular inspirational hymnal. Jayadeva's songs continue to be sung throughout India in fervent devotional adoration of Krishna.
The heart of this book is a dramatic love poem, the Rasa Lila, which is the ultimate focal point of one of the most treasured Sanskrit texts of India, the Bhagavata Purana. Judged a literary masterpiece by Indian and Western scholars alike, this work of poetic genius and soaring religious vision is one of the world's greatest sacred love stories and, as Graham Schweig clearly demonstrates, should be regarded as India's Song of Songs. The story presents the supreme deity as the youthful and amorous cowherd, Krishna, who joins his beloved maidens in an enchanting and celebratory "dance of divine love." Schweig introduces this work of exquisite poetry and profound theology to the Western world in the form of a luminous translation and erudite scholarly treatment. His book explores the historical context and literary genre of the work and elucidates the aesthetic and emotional richness of the composition, highlighting poignant details of this drama of divine love. Schweig illuminates the religious dimensions and ethical nuances of the drama, drawing widely from the commentaries and esoteric vision of masters of the Caitanya school of Vaishnavism, a prominent devotional Hindu tradition. Themes such as transcendence of death through love, the yoga of devotion, the contrast between worldly love and passionate love for God, and the dialectical tension between ethical boundaries and boundless love are presented. The final event of the Rasa dance, the author concludes, presents a dynamic symbol of supreme love that provides the basis for a theological vision of genuine religious pluralism.
This book is an attempt to explore the metaphorical aspect of the original work of Sri Jayadeva’s Gita Govinda. Gita Govinda is an overtly misunderstood epic love poem depicting intense emotional exchanges between Radha and Krishna mediated by Radha’s confidante - Sakhi. As one unravels the apparent emotions of love, elation, anxiety, depression, lack of trust etc. one sees hidden layers, revealing deeper spiritual processes in the life of a sincere seeker. The Meditations in this book are an attempt to present that esoteric journey of a sadhaka, his relationship with his Lord and the role of a Guru, as seen through the eyes of the epic work.
The greatest myths of India, drawn from the sacred texts and traditions of Hinduism, Buddhism, and Jainism are presented for readers. The Indian gods and goddesses portrayed in this colorful mythology are creators and protectors, but often they are also warriors and destroyers, particularly when fighting demons. Supported by beautiful Indian art works and full-color photography, the text shows readers how these ancient tales helped Indians explain creation, birth, death, love, and the purpose of humans' earthly life.
Who was Radha, and why has she captured the imagination of so many writers across centuries? No other goddess combines the elements of bhakti and shringara quite as exquisitely as the divine milkmaid. She spans a vivid rainbow of imagery-from the playfulness of the Ras Lila to the soulfulness of her undying love, from the mystic allure of her depictions in poetry, art and sculpture to her enduring legacy in Vrindavan. In a way that sets her apart from other female consorts, Radha is idealized and dreamed of in a way that is almost more elemental than mythical. Namita Gokhale and Malashri Lal, who brought us In Search of Sita: Revisiting Mythology, now present an anthology on the mysterious Radha, the epitome of love, who defies all conventional codes yet transcends social prohibitions through the power of the spiritual and the sensual, the sacred and the erotic. Finding Radha is the first of its kind: a collection of poetry, prose and translation that enter the historical as well as the artistic dimensions of the eternal romance of Radha and Krishna.
Embark on a captivating exploration of Radha & Krishna's love story – a timeless tale that transcends romance to unveil the profound path of Bhakti (devotion) in Hinduism. Discover the hidden symbolism of the Ras Leela dance, delve into Radha's unwavering devotion, and learn how it guides seekers towards spiritual liberation. This comprehensive guide explores all 10 chapters, offering insights into the couple's connection, the yearning for the divine, and the transformative power of love. Radha, Krishna, Hinduism, Bhakti, Devotion, Divine Love, Spiritual Journey, Ras Leela, Symbolism, Liberation
The book attempts to trace an overview of the different components that define the cultural landscape of the state of Odisha in relation to its history, religious cults, art, and literature and to link the development of the various aspects to the role played over the centuries by the Geeta Govinda poem in its different manifestations. From being an important component of the rituals performed in the Jagannath Temple to becoming an essential part of the people’s daily lives and artistic expressions, this immortal poem has exercised its influence on the cultural landscape of the state from its early inception in the twelfth century until present times. Religious beliefs, visual representations, performative expressions, and literary compositions have been influenced by the strong emotional appeal contained in its verses. Its musical structure, spiritual underline and histrionic content have been an essential font of inspiration in the process of the rediscovery of a cultural identity during the last century and continue to exercise a strong influence on the performing arts of the present times. Among all the art forms, the classical style of Odissi dance, the way it has been re-structured in the middle of the last century, is perhaps the one which bears the closest contact with the poem, almost being synonymous with it. The dance’s lyrical quality and its emotional appeal steeped in a long history of association with devotional and spiritual values make it an ideal form of visual expression for the literary content of the poem.
Preface The period commencing about the end of the 19th century till the end of the 20th century marked the 'golden era' of 'gharandaj/gharanedar khayal gayaki'(traditional 'khayal gayaki'). The south-west region of India which was then known as Bombay Presidency comprised of the princely states of Kolhapur, Sangli, Miraj Senior, Miraj Junior, Kurundwad Senior, Kurundwad Junior, Jamkhandi, Mudhol and Ramdurg. Only exceptional performers of outstanding caliber were appointed as 'darbar gayaks' (or 'state musicians') of these prestigious princely states. "Proudh Gandharva" Pandit Vishwanathbuwa Jadhav and his illustrious sons namely, "Gantapasvi" Pandit Baburao alias B.V. Jadhav, "Swara-Ratna" Pandit Rajaram alias Pandit R.V.Jadhav and "Ganrasila" Pandit Pandurang alias P.V. Jadhav, were reputed 'darbar gayaks' and distinguished direct disciples of "Sangeetratna" Ustad Abdul Karim Khan who pioneered the prolifi c 'Kirana gharana' 'khayal' vocal tradition of this golden era. They all gained individual recognition and fame and are still legendary. The visionary and benevolent ruler of the erstwhile Kolhapur State, Shrimant Chhatrapati Maharaja "Rajarshi" Shahu ("the "saintly king") honoured Pandit Vishwanathbuwa Jadhav by offi cially appointing him as the 'darbar gayak' of Kolhapur State. Later the enlightened ruler "Nalwadi" Maharaja Krishnaraj Wodaiyar of Mysore State bestowed upon Pandit Vishwnathbuwa Jadhav the coveted title "Proudh Gandhava" ('a seasoned mature celestial singer'). The virtuous ruler of Kolhapur, Chhatrapati Maharaja Rajaram-III accorded "Proudh Gandharva" and his acclaimed vocalist sons the sobriquet "The Gandharva Parivar of Karveer Nagar". ("The Family of Celestial Singers of Karveer Nagar") or Kolhapur. Pandit Vishwanathbuwa Jadhav was offi cially also instated as 'Rajgayak' ('principal state-musician' of Sangli State by Shrimant Rajasaheb Chintamanrao Dhundirajrao ('Appasaheb-II') Patwardhan of Sangli State. As 'darbar gayak' he also received the patronage of Shrimant Rajasaheb Ganpatrao Madhavrao ('Bapusaheb') Patwardhan of Kurundwad State. In appreciation of Panditji's lifetime contribution to 'Hindustani shastriya sangeet', Pandit Vishwanathbuwa Jadhav was duly felicitated in Delhi by the fi rst President of India-Dr. Rajendra Prasadji. The "Proudh Gandharva" legacy continued to be perpetuated by Pandit B. V. Jadhav, Pandit R.V. Jadhav, Pandit P.V. Jadhav and "Proudh Gandharva"-'s disciple and daughter-in-law Smt. Shakuntalaraje (née Patwardhan) Jadhav, all of whom were extraordinary performer-pedagogues of the 'Kirana gharandaj khayal gayaki' in their own rights. - A. R. Jadhav