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TheBhagavata Purana (Sanskrit:भागवतपुराण;IAST:Bhāgavata Purāṇa), also known as theSrimad Bhagavatam (Śrīmad Bhāgavatam),Srimad Bhagavata Mahapurana[1] (Śrīmad Bhāgavata Mahāpurāṇa) or simplyBhagavata (Bhāgavata), is one ofHinduism's eighteen major popularPuranas (Mahapuranas) and central text inVaishnavism.[2][3] Composed inSanskrit and traditionally attributed toVeda Vyasa,[4] it promotesbhakti (devotion) towards godVishnu.[5][6][7] Like other Puranas, it discusses a wide range of topics includingcosmology,astronomy,genealogy, geography, legend, music, dance,yoga and culture.[6][8]
The text consists of twelve books (skandhas orcantos) totalling 335 chapters (adhyayas) and 18,000 verses.[9][10] The tenth book, with about 4,000 verses, has been the most popular and widely studied.[4] It is widely available in almost allIndian languages and was the firstPurana to be translated into a European language, as a French translation of a Tamil version appeared in 1788 and introduced many Europeans to Hinduism and 18th-century Hindu culture during the colonial era.[7][11][12]
The Bhagavata Purana offers a sophisticated Vaishnava theology that is grounded in the philosophical traditions ofVedanta andSamkhya, utilizing these systems in the service of bhakti.[10] It has been interpreted as having anon-dualistic tenor, but also integrating themes from theAdvaita (monism) philosophy ofAdi Shankara with theVishishtadvaita (qualified monism) ofRamanujacharya and theDvaita (dualism) ofMadhvacharya.[6][13][14][15] The dualistic school ofMadhvacharya has a rich tradition of commentaries expounding thedualistic interpretation of the Bhagavata which beginning with theBhagavata Tatparya Nirnaya.[16][17]
Modern scholarship dates its composition to between 500 CE to 1000 CE.[26] A version of the text must have existed by 1030 CE, when it is mentioned byal Biruni[26] and quoted byAbhinavagupta. Within this range, many scholars including Hardy, date its final redaction to the 9th or early 10th century.[27]
However, many scholars argue for an earlier composition, placing much of the text in the Gupta period (4th–7th centuries CE): Dennis Hudson's study of theVaikunda Perumal Temple at Kanchipuram provides iconographic evidence that the temple's sculptural panels and layout parallel the Bhagavata Purana, suggesting the text's narratives were already well-established by that era.[28] Gupta and Valpey (2013) affirm this interpretation, concluding that Hudson's findings "convincingly suggest" an early, Gupta-period provenance for substantial portions of the Purana, while noting that arguments for a specifically South-Indian origin remain inconclusive.[29] Bryant summarizes modern scholarship, stating that the Bhagavata Purana "might well have reached its final form by the Gupta period". This earlier dating is supported by its use of Vedic archaisms throughout the text, as well as dynastic lists that conclude before the Gupta era. Bryant also suggests that the text was likely composed in North India because northern references and "historical Puranic stories" are more numerous than southern ones.[30]
In contrast, Sheridan argues that the Bhagavata Purana was written by a group of learned Brahmin ascetics, probably in South India, who were well versed in Vedic and ancient Indian literature and influenced by the Alvars.[31] The Bhagavata Purana contains apparent references to the South Indian Alvar saints and it makes apost factum prophecy of the spread of Vishnu worship inTamil country (BP XI.5.38–40);[32][33] these facts, along with its emphasis on "emotional Bhakti to Krishna" and the "Advaita philosophy ofSankara", lead many scholars to trace its origins to South India.[34] However,J. A. B. van Buitenen points out that 10th–11th CE South Indian Vaishnava theologiansYamuna andRamanuja do not refer to Bhagavata Purana in their writings, and this anomaly must be explained before the geographical origins and dating are regarded as definitive.[32][33]
The Bhagavata Purana consists of twelveskhandas orcantos consisting of 18,000 verses of several interconnected, interwoven, and non-linear dialogues, teachings, and explanations espousingBhakti Yoga that go back and forth in time:
We have alluded to the Bhagavata's identity as aPurana, an important feature of which is its multilevel dialogical structure ... the layered arrangement of dialogues, in which a speaker (typicallySuka, the main reciter, addressing his interlocutor,King Pariksit) quotes an "earlier" speaker (for example,Narada, addressing KingYudhisthira, Pariksit's granduncle, in a dialogue understood to have taken place earlier and elsewhere), who may in turn quote yet another speaker. Two or three such layers are typically operative simultaneously ... the compounding of voices serve to strengthen the message delivered; and second, one is left with the sense that one cannot, and indeed need not, trace out the origin of the message.
— Ravi M. Gupta and Kenneth R. Valpey,The Bhāgavata Purāna: Selected Readings[35]
From the N. P. Jain for Motilal Banarsidass translation:
The divine seer,Vedavyasa, composed thisPurana, known by the name of Srimad Bhagavata, which stands on a par with the Vedas and contains the stories of the Lord of excellent renown.
— Śrīmad Bhāgavatam 1st Canto, Chapter 3, Verse 40
A unique and especial emphasis is placed on fostering transcendental loving devotion to Krishna as the ultimate good, i.e. for its own sake rather than for fruitive results or rewards such asdetachment or worldly or heavenly gains, a practice known asBhakti Yoga:
What makes the Bhagavata unique in the history of Indian Religion... is its prioritization of Bhakti. The main objective of this text is to promote Bhakti to Vishnu in his incarnation as Krishna referred to variously, and to illustrate and explain it... what makes the Bhagavata special is its emphasis on an intense personal and passionate Bhakti...
— Sisir Kumar Das,A History of Indian Literature[36]
As detailed in theMatsya Mahapurana, allPuranas must cover at least five specific subjects or topics referred to inSanskrit asPancha Lakshana (literally meaning 'consisting of five characteristics')[37][38] – in addition to other information including specific deities and thefour aims or goals of life. From the K. L. Joshi (editor) translation:
The following are the five characteristics of the Puranas: They describe (1) the creation of the universe, (2) its genealogy and dissolution, (3) the dynasties, (4) theManvantaras, (5) the dynastic chronicles. The Puranas, with these five characteristics, sing the glory ofBrahma,Vishnu,the Sun andRudra, as well as they describe also the creation and dissolution of the Earth. The four [aims of human life] (Dharma,Artha,Kama andMoksa) have also been described in all the Puranas, along with evil consequences following from sin. In thesattvika Puranas there is largely a mention ofHari's glory.
— Matsya Mahapurana, Chapter 53[39]
Srimad Bhagavatam covers ten characteristics, while lesser Puranas cover five characteristics. SB 2.10.1 lists the ten characteristics as: "the creation of the universe, subcreation, planetary systems, protection by the Lord, the creative impetus, the change of Manus, the science of God, returning home (back to Godhead), liberation and thesummum bonum".Jiva Goswami explains that the ten characteristics in the Srimad Bhagavatam are spread across all twelve cantos. Each canto discusses different aspects of these topics with varying emphasis, covering all key aspects of human knowledge without following a strict order.[40][41]
According to Hariprasad Gangashankar Shastri, the oldest surviving manuscript dates to c. 1124-25 and is held in theSampurnananda Sanskrit Vishvavidyalaya in Varanasi.[42]
Poetic orartistic license with existing materials is a strong tradition in Indian culture,[43] a'tradition of several hundred years of linguistic creativity'.[44] There are variations of original manuscripts available for some Purana, The common manuscript for translations of the Bhagavata Purana – seemingly used by both Swami Prabhupada andBibek Debroy – is theBhāgavatamahāpurāṇam[45] a reprint of Khemraj Shri Krishnadas' manuscript.[46] In regard to variances in Puranic manuscripts, Gregory Bailey states:
[S]ignificant are the widespread variations between manuscripts of the same Purana, especially those originating in different regions of India... one of the principal characteristics of the genre is the status of Purana as what Doniger calls "fluid texts" (Doniger 1991, 31). The mixture of fixed form [the Puranic Characteristics] and seemingly endless variety of content has enabled the Purana to be communicative vehicles for a range of cultural positions ... [the] idea of originality is primarily Western and belies the fact that in the kind of oral genres of which the Puranas continue to form a part, such originality is neither promoted nor recognised. Like most forms of cultural creation in India, the function of the Puranas was to reprocess and comment upon old knowledge ...
— The Study of Hinduism (Arvind Sharma, editor), Chapter 6 ('The Puranas: A Study in the Development of Hinduism')[43]
SB 1.1.3 original Sanskrit:
निगमकल्पतरोर्गलितं फलं
शुकमुखादमृतद्रवसंयुतम् ।
पिबत भागवतं रसमालयं
मुहुरहो रसिका भुवि भावुका: ॥ ३ ॥O ye devotees possessing a taste for divine joy, Srimad Bhagavata is the fruit (essence) of the wish-yielding tree of Veda, dropped on earth from the mouth of the parrot-like sage Suka, and is full of the nectar of supreme bliss. It is unmixed sweetness (devoid of rind, seed or other superfluous matter). Go on drinking this divine nectar again and again till there is consciousness left in you.
Consisting of 19 chapters,[47] the first canto opens with an invocation toKrishna and the assertion that the Srimad Bhagatavam, compiled byVyasadeva, is sufficient alone to realise God. The overarching narration begins at the onset ofKali Yuga as a dialogue betweenSukadeva Gosvami (the son of Vyasadeva) and a group of sages headed bySaunaka, as they perform a thousand-year sacrifice for Krishna and his devotees in the forest ofNaimisaranya. Questioned by thesages, topics covered by Suka Gosvami include the:
SB 1.3.38 original Sanskrit:
स वेद धातु: पदवीं परस्य
दुरन्तवीर्यस्य रथाङ्गपाणे: ।
योऽमायया सन्ततयानुवृत्त्या
भजेत तत्पादसरोजगन्धम् ॥ ३८ ॥The power of the Lord who wields the discus in His hand is infinite; though the Maker of this world, He remains ever beyond it. He alone can know His ways who inhales the fragrance of His lotus-feet through constant and sincere devotion to them.
Consisting of 10 chapters,[48] the second canto opens with an invocation toKrishna. The second layer of overarching narration begins as a dialogue betweenSukadeva Gosvami andPariksit on the banks of theGanges river (narrated by Suta Gosvami to a group of sages headed bySaunaka in the forest ofNaimisaranya). Questioned by Pariksit, the topics covered by Sukadeva Gosvami include the:
SB 2.5.35 original Sanskrit:
स एव पुरुषस्तस्मादण्डं निर्भिद्य निर्गत: ।
सहस्रोर्वङ्घ्रिबाह्वक्ष: सहस्राननशीर्षवान् ॥ ३५ ॥Bursting open that (Cosmic) egg, issued therefrom the same Supreme Person (the Cosmic Being) with thousands of thighs, feet, arms and eyes and thousands of faces and heads too.
Consisting of 33 chapters,[49] the third canto continues the dialogue betweenSukadeva Gosvami andPariksit on the banks of theGanges river.Vidura, thesudra incarnation ofYama and devotee ofKrishna, is the main protagonist narrated. After being thrown out of his home by KingDhritarashtra (his older half-brother) for admonishing theKaurava's ignoble behaviour towards thePandavas, Vidura went on apilgrimage where he met other devotees of Krishna such asUddhava and the sageMaitreya; their dialogues form a third layer of narration. Topics covered by Sukadeva Gosvami, Uddhava, and Maitreya include the:
SB 3.25.25 original Sanskrit:
सतां प्रसङ्गान्मम वीर्यसंविदो
भवन्ति हृत्कर्णरसायना: कथा: ।
तज्जोषणादाश्वपवर्गवर्त्मनि
श्रद्धा रतिर्भक्तिरनुक्रमिष्यति ॥ २५ ॥Through the fellowship of saints one gets to hear My stories, leading to a correct and full knowledge of My glory and pleasing to the heart as well as to the ear. By hearing such stories one is sure to develop one after another reverence and fondness for and Devotion to the Lord, whose realization is preceded by the cessation of ignorance.
Consisting of 31 chapters,[50] the fourth canto continues the dialogues ofSukadeva Gosvami,Uddhava, andMaitreya. There are additional layers of dialogue, such as between the sage-avatarNarada and KingPracinabharhisat (as narrated by Maitreya toVidura). Focusing on the female descendants ofSvayambhuva Manu, topics covered include the:
SB 4.16.17 original Sanskrit:
मातृभक्ति: परस्त्रीषु पत्न्यामर्ध इवात्मन: । प्रजासु पितृवत्स्निग्ध: किङ्करो ब्रह्मवादिनाम् ॥ १७ ॥
He regards and reveres the wives of others as His mother and loves His own wife as a half of His own body. He is loving as a father to those over whom He rules; He looks upon Himself as a servant to those who are well-versed in the Vedic lore.
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Consisting of 26 chapters,[51] the fifth canto focuses on the dialogue betweenSukadeva Gosvami andPariksit on the banks of theGanges river. Notable additional layers of dialogue are between the avatarRsabha and his sons, and betweenBharata and King Rahugana (the former was perceived as a fool and made to carry the latter'spalanquin). Topics covered include the:
SB 5.5.1 original Sanskrit:
ऋषभ उवाच
नायं देहो देहभाजां नृलोके
कष्टान् कामानर्हते विड्भुजां ये ।
तपो दिव्यं पुत्रका येन सत्त्वं
शुद्ध्येद्यस्माद् ब्रह्मसौख्यं त्वनन्तम् ॥ १ ॥This (human) body in the mortal world does not deserve to be given up to (the pursuit of) sensuous pleasures, which are (really) a source of misery and which are enjoyed even by swine, dogs and other animals (that feed on ordure). It is worthy of being devoted, My beloved sons, to sublime austerities whereby the mind is purified; and from purity of mind follows the unending bliss of absorption into the Absolute.
Consisting of 19 chapters,[52] the sixth canto continues with the dialogue betweenSukadeva Gosvami andPariksit on the banks of theGanges river. A notable additional layer of dialogue is betweenYama and his messengers (called theYamadutas). With the main focus on the battles of the demon-devoteeVrtrasura and his armies against the demigods led byIndra, as well as the life of King Citraketu, topics covered include the:
SB 6.3.13 original Sanskrit:
यो नामभिर्वाचि जनं निजायां
बध्नाति तन्त्र्यामिव दामभिर्गा: ।
यस्मै बलिं त इमे नामकर्म-
निबन्धबद्धाश्चकिता वहन्ति ॥ १३ ॥Just as a farmer ties (his) oxen with tethers to a big cord (to keep them together), He binds men with (different) denominations (Brahmana, Ksatriya and so on) to His own Word (the Veda)-allots them different duties as enjoined by the Vedas; and, bound by (these) strong ties in the shape of class, names and obligations (attaching thereto), the aforesaid men meticulously bear offerings (do homage) to Him (through the scrupulous discharge of their duties).
Consisting of 15 chapters,[53] the seventh canto continues with the dialogue betweenSukadeva Gosvami andPariksit on the banks of theGanges river. A notable additional layer of dialogue is betweenNarada andYudhishthira aboutPrahlada, the devotee-son of the demon-KingHiranyakasipu (brother ofHiranyaksa, destroyed by theVaraha avatar in the third canto; the demonic brothers are incarnations ofJaya and Vijaya). Prahlada, protected byVishnu, survives multiple attempts to kill him until the arrival of theNrsimha avatar to destroy his father, who could not be killed by any weapon, by any man or beast, or in the water, air, or on land. Topics covered include the:
SB 7.14.9 original Sanskrit:
मृगोष्ट्रखरमर्काखुसरीसृप्खगमक्षिका: ।
आत्मन: पुत्रवत् पश्येत्तैरेषामन्तरं कियत् ॥ ९ ॥He should look upon deer, camels, donkeys, monkeys, rats, reptiles, birds and flies as though they were their (own) children What is that which distinguishes these from those (children)? (They deserve his fostering care as much as his own children).
Consisting of 24 chapters,[54] the eighth canto continues the dialogue betweenSukadeva Gosvami andPariksit on the banks of theGanges river. A notable additional layer of dialogue is between theVamana avatar andKing Bali about the demon-KingHiranyakasipu. Topics covered include the:
SB 8.5.30 original Sanskrit:
न यस्य कश्चातितितर्ति मायां
यया जनो मुह्यति वेद नार्थम् ।
तं निर्जितात्मात्मगुणं परेशं
नमाम भूतेषु समं चरन्तम् ॥ ३० ॥Let us bow to that Ruler of the highest gods, moving qually in all created beings, whose Maya (deluding potency) nobody can overpass-that Māyā due to which men get bewildered and are unable to know the truth (their reality)-but vho has completely subdued that Maya-Sakti of His own and its properties (in the shape of Sattva, Rajas and Tamas).
In 7th chapter of eighth canto mentionedShiva is also non different fromBrahman. He is supreme ruler of the universe and the eternal refugee of all living beings.
Gita Press:
You are the supreme, mysterious Brahma (the Absolute), the Creator of all beings, (the gods, beasts and so on), high and low. It is You, the (supreme) Spirit, that stand manifested as the universe by virtue of (Your) manifold energies (in the form of Sattva, Rajas and Tamas) and are its Ruler (too).
— Canto 8, Chapter 7, Verse 24
29. The five sacred (Vedic) texts (known by the names of Tatpuruşa, Aghora, Sadyojäta, Vämadeva and Iśāna), O Lord, from (the thirty- eight parts of) which the thirty-eight fragmentary Mantras came into existence, constitute Your (five) faces (bearing the same names as the sacred texts themselves). Again, that self- effulgent Principle, constituting the supreme Reality, which is known by the name of Śiva, O Deity, is (nothing but) Your absolute state.
— Canto 8, Chapter 7, Verse 29
Consisting of 24 chapters,[55] the ninth canto continues the dialogue betweenSukadeva Gosvami andPariksit on the banks of theGanges river. With no notable additional layers of dialogue, the primary focus is upon the maledynasties of various ruling figures (the female sides are covered in the fourth canto). Topics covered include the:
SB 9.24.59.60 original Sanskrit:
अक्षौहिणीनां पतिभिरसुरैर्नृपलाञ्छनै: । भुव आक्रम्यमाणाया अभाराय कृतोद्यम: ॥ ५९ ॥
कर्माण्यपरिमेयाणि मनसापि सुरेश्वरैः ।
सहसङ्कर्षणश्चक्रे भगवान्मधुसूदनः ॥ ६० ॥
Endeavouring to remove the burden of the earth, which was overrun by demons disguised as kings, who led more than one Akşauhinīs, Śri Krsna (the slayer of the demon Madhu). accompanied by (His elder brother) Sarnkarsana (better known as Balarama), performed deeds which cannot be comprehended even in thought by the rulers of gods.
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Consisting of 90 chapters,[56] the tenth canto continues the dialogue betweenSukadeva Gosvami andPariksit on the banks of theGanges river. Notable additional layers of dialogue all involve thelila (divine play) of the supreme andtranscendentalKrishna avatar. Thus focusing on the appearance and pastimes of Krishna, topics covered include the:
SB 10.90.50 original Sanskrit:
मर्त्यस्तयानुसवमेधितया मुकुन्द-
श्रीमत्कथाश्रवणकीर्तनचिन्तयैति ।
तद्धाम दुस्तरकृतान्तजवापवर्गं
ग्रामाद् वनं क्षितिभुजोऽपि ययुर्यदर्था: ॥ ५० ॥By listening to, chanting and contemplating on the charming stories of Bhagavān Sri Krsna every moment, man develops the devotion which leads him to the (supreme) sphere of the Lord. (True,) it is (most) difficult to reach beyond the jurisdiction of Time; but in the Lord's realm Time has no sway. Even rulers of the earth have left their kingdom and retired to the forest for (the performance of austerities with the object of) gaining that eternal realm. (Therefore, one should constantly engage oneself in hearing the stories of the Lord.)
The largest canto with 4,000 verses, the tenth canto is also the most popular and widely studied part of the Bhagavata.[57] It has also been translated, commented on, and published separately from the rest of the Srimad Bhagavatam.[58][59]
Consisting of 31 chapters,[60] the eleventh canto continues the dialogue betweenSukadeva Gosvami andPariksit on the banks of theGanges river. Notable additional layers of dialogue are betweenNarada andVasudeva, and betweenKrishna andUddhava (and in turn, other dialogues such as that between the Hamsa (swan) avatar andBrahma). Topics covered include the:
SB 11.7.33–35 original Sanskrit:
पृथिवी वायुराकाशमापोऽग्निश्चन्द्रमा रवि: ।
कपोतोऽजगर: सिन्धु: पतङ्गो मधुकृद् गज: ॥ ३३ ॥
मधुहाहरिणो मीन: पिङ्गला कुररोऽर्भक: ।
कुमारी शरकृत् सर्प ऊर्णनाभि: सुपेशकृत् ॥ ३४ ॥
एते मे गुरवो राजन् चतुर्विंशतिराश्रिता: ।
शिक्षा वृत्तिभिरेतेषामन्वशिक्षमिहात्मन: ॥ ३५ ॥The earth, the air, the sky, water, fire, the moon and the sun, the dove, the boa-constrictor, the sea, the moth, the honey-bee, the elephant, the honey-gatherer, the deer, the fish, Pingala (a courtesan), the osprey, the infant, the maiden, the forger of arrows, the serpent, the spider and the Bhrnga (a kind of wasp) these twenty-four have been accepted, O king, by me as preceptors. From the conduct of these have I learnt all that I had to learn in this life for my good.
Containing the final teachings of Krishna to His devoteeUddhava, the eleventh canto is also referred to as the 'Uddhava Gita' or 'Hamsa Gita'. Like the tenth canto, it has also been translated and published separately, usually as a companion or 'sequel' to theBhagavad Gita.[61][62]'Hamsa' means 'swan' or 'spirit',[63] and:
Consisting of 13 chapters,[66] the twelfth and final canto completes the dialogue betweenSukadeva Gosvami andPariksit on the banks of theGanges river, and ends with the overarching dialogue between Sukadeva Gosvami and the group of sages led bySaunaka, at the forest ofNaimisaranya. Focusing on prophecies and signs ofKali Yuga, topics covered in this canto include the:
SB 12.13.11–12 original Sanskrit:
आदिमध्यावसानेषु वैराग्याख्यानसंयुतम् ।
हरिलीलाकथाव्रातामृतानन्दितसत्सुरम् ॥ ११ ॥
सर्ववेदान्तसारं यद ब्रह्मात्मैकत्वलक्षणम् ।
वस्त्वद्वितीयं तन्निष्ठं कैवल्यैकप्रयोजनम् ॥ १२ ॥It has been enriched at the beginning, in the middle and at the end with legends illustrating the glory of Dispassion and has been delighting the righteous as well as the gods with its nectar-like stories describing the pastimes of Lord Śri Hari. (11) It has for its theme that one reality without a second—which is the sum and substance of all the Upaniṣads (which are the culmination of the Vedas) and has been characterized as the oneness of Brahma (the Absolute) and the (individual) soul—and has detachment of the Spirit from Matter as its only object.
WhileBhakti Yoga andDvaita Vedanta are the prominent teachings, statesT. S. Rukmani, various passages show a synthesis that also includesSamkhya,Yoga,Vedanta, andAdvaita Vedanta.[67]
Cutler states the Bhagavata Purana is among the most important texts onbhakti, presenting a fully developed teaching that originated with the Bhagavad Gita.[68] Bryant states that while classical yoga attempts to shut down the mind and senses, Bhakti Yoga in the Bhagavata teaches that the mind is transformed by filling it with thoughts of Krishna.[69]
Matchett states that in addition to variousdidactic philosophical passages the Bhagavata also describes one of the activities that can lead to liberation (moksha) as listening to, reflecting on the stories of, and sharing devotion forVishnu with others.[70] Bhakti is depicted in thePurana, adds Matchett, as both an overpowering emotion as well as a way of life that is rational and deliberately cultivated.[71]
Surendranath Dasgupta describes the theisticSamkhya philosophy taught byKapila in the Bhagavata as the dominant philosophy in the text.[72]
Sheridan points out that in the Third Canto, Kapila is described as an avatar ofVishnu, born as the son of thePrajapatiKardama, in order to share the knowledge of self-realization and liberation with his mother, Devahuti; in the Eleventh Canto,Krishna also teaches Samkhya toUddhava, describing the world as an illusion, and the individual as dreaming, even while in the waking state. Krishna expounds Samhkhya and Yoga as the way of overcoming the dream, with the goal being Krishna Himself.[73]
Sheridan also states that the treatment of Samkhya in the Bhagavata is also changed by its emphasis on devotion, as doesDasgupta, adding it is somewhat different from other classicalSamkhya texts.[74][73]
Kumar Das and Sheridan state that the Bhagavata frequently discusses a distinctlyadvaitic or non-dualistic philosophy of Shankara.[6][75] Rukmani adds that the concept ofmoksha is explained asEkatva (Oneness) andSayujya (Absorption, intimate union), wherein one is completely lost in Brahman (Self, Supreme Being, one's true nature).[67] This, states Rukmani, is proclamation of a 'return of the individual soul to the Absolute and its merging into the Absolute', which is unmistakably advaitic.[67] The Bhagavata Purana is also stated to parallel the non-duality of Adi Shankara by Sheridan.[75] As an example:
— Sūta, Bhagavata Purana 1.2.10–11, Translated by Daniel Sheridan[76]
Scholars describe this philosophy as built on the foundation ofnon-dualism in theUpanishads, and term it as "Advaitic Theism".[75][77] This term 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. God in this philosophy is within and is not different from the individual self, states Sheridan, and transcends the limitations of specificity and temporality. Sheridan also describes Advaitic Theism as a "both/and" solution for the questions of whether God istranscendent orimmanent, and credits the Bhāgavata with a 'truly creative religious moment' for introducing this philosophy.[75] The text suggests that GodVishnu and the soul (atman) in all beings is one in quality (nirguna).
Bryant states that themonism in Bhagavata Purana is certainly built onVedanta foundations, but not exactly the same as themonism of Adi Shankara.[78] The Bhagavata asserts, according to Bryant, that the empirical and the spiritual universe are both metaphysical realities, and manifestations of the same Oneness, just like heat and light are "real but different" manifestations of sunlight.[78] Bryant notes that the tenth book of the Bhagavata does not, as is conventional for non-dualist schools, understand Krishna's form to be a "secondary derivation," which can be subsumed within the impersonal absolute. Rather than describe Brahman to be ultimately formless, the tenth book ascribes an "eternal personal element" to Brahman.[79]
Kurmas Das states the Bhagavata Purana conceptualizes a form ofDharma that competes with that of theVedas, suggesting that Bhakti ultimately leads to Self-knowledge,Moksha (salvation) and bliss.[80] The earliest mention ofbhakti is found in theShvetashvatara Upanishad verse 6.23,[81][82] but scholars such asMax Muller state that the word Bhakti appears only once in thisUpanishad; and that being in one last verse of the epilogue it could be a later addition, and that the context suggests that it is apanentheistic idea and nottheistic.[83][84]
Scholarly consensus sees bhakti as apost-Vedic movement that developed primarily during thePuranas era ofIndian history.[85] The Bhagavata Purana develops the Bhakti concept more elaborately, states Cutler,[86] proposing "worship without ulterior motive and with kind disposition towards all" as Dharma.[87][88] T.R. Sharma states the text includes in its scope intellectual and emotional devotion as well as Advaita Vedanta ideas.[89]
The text does not subscribe, states Gupta and Valpey, to context-less "categorical notions of justice or morality", but suggests that "Dharma depends on context".[90] They add that in a positive or neutral context, ethics and moral behavior must be adhered to; and when persistently persecuted by evil, anything that reduces the strength of the "evil and poisonous circumstances" is good.[90] That which is motivated by, furthers, and enables bhakti is the golden standard of Dharma.[90]
Sarma states that the Bhagavata Purana describes all steps of yoga practice, and characterizes yoga asbhakti, asserting that the most important aspect is the spiritual goal.[91] According to Sarma and Rukmani, the text dedicates numerous chapters to yoga, such as Canto 10 (chapter 11), which begins with a declaration thatSiddhi results from concentrating one's mind onKrishna, adding this substitutes the concept of a "personal god" in theYogasutras of Patanjali, and contrasts withPatanjali's view that Siddhi is considered powerful but an obstacle toSamadhi.[91][92]
In other chapters of the text, Rukmani states,Śuka describes different meditations on aspects ofKrishna, in a way that is similar to the Yoga Sutras of Patanjali.[67] However, adds Bryant, the Bhagavata Purana recommends the object of concentration asKrishna, thus folding in yoga as a form of bhakti and the "union with the divine".[67][93] Bryant describes the synthesis of ideas in Bhagavata Purana as:
The philosophy of the Bhagavata is a mixture of Vedanta terminology, Samkhyan metaphysics and devotionalized Yoga praxis. (...) The tenth book promotes Krishna as the highest absolute personal aspect of godhead – the personality behind the termIshvara and the ultimate aspect ofBrahman.
— Edwin Bryant, Krishna: A Sourcebook[94]
Sheridan as well as Pintchman affirm Bryant's view, adding that theVedantic view emphasized in the Bhagavata isnon-dualist, as described within a reality of plural forms.[95][96]
In Vedanta,Maya is frequently depicted as a deceptive or deluding energy. Conversely, the Bhagavata Purana presentsMaya as divine energy through which Krishna manifests the material universe, including its elements, universes, bodies, senses, and minds, contributing to the richness and diversity of the phenomenal world. This process is not just entrapment but also a path to liberation for beings caught in the cycle of birth and death. Maya's illusionary powers, though binding individuals to temporal existence, ultimately facilitate their spiritual growth and release.[97]
In explaining suffering, the Bhagavata Purana acknowledges karma as a central principle, where actions in past lives influence current and future existences, shaping one's destiny and experiences in subsequent lifetimes. However, it also critiques the adequacy of karma in fully explaining suffering and explores time (kala) as a significant factor in suffering. Time, personified bySudarshana Chakra, is shown as an unstoppable force that brings both end and renewal, acting indiscriminately upon all beings. Despite time's overwhelming power, the text suggests that sincere devotion (bhakti) to God and surrender to the divine can enable devout souls to overcome the influence of time and karma, ultimately leading to spiritual liberation (moksha).[98]
The Bhagavata Purana argues that the play of God (lila) is central to understanding his actions in the world. Despite having everything and being able to make his wishes reality, Krishna engages in various activities and interactions with devotees out of joy and divine play, rather than out of any necessity or compulsion (SB 1.10.24). By participating in Krishna's lila, individuals can transcend the limitations and suffering of the material world and ultimately achieve liberation from time's constraints.[99]
The source of many popular stories of Krishna's pastimes for centuries in theIndian subcontinent,[7] the Bhagavata Purana is widely recognized as the best-known and most influential of thePuranas, and as a part ofVedic literature(the Puranas,Itihasa epics, andUpanishads) is referred to as the "Fifth Veda".[100][101][102] It is important in Indian religious literature for its emphasis on the practice of devotion compared to the more theoretical approach of the Bhagavad Gita, for challenging the ritualism of theVedas, and for its extended description of a God in human form.[6]
The Srimad Bhagavatam is the very essence of all theVedanta literature. One who has enjoyed the nectar of itsrasa never has any desire for anything else.
— Bhagavata Purana 12.13.15, Translated by David Haberman[103]
The Bhagavata Purana aligns itself with canonical texts likeBrahma Sutras andRigveda by echoing their verses at various points throughout its narrative. It claims equality with the Vedas and reinterprets their themes to emphasize the supremacy of Krishna. It transforms the descriptions of Vishnu's deeds found in the Vishnu Sukta into narratives centered around Krishna's actions (verse 10.51.38). The Bhagavata Purana does not directly reference the Bhagavad Gita, which is part of the Mahabharata. Instead, it includes the teachings similar to those found in the Bhagavad Gita in the form of dialogues between Krishna and Uddhava in Canto 11.[104]
The stories in the Bhagavata Purana are also the legends quoted by one generation to the next in Vaishnavism, during annual festivals such asHoli andDiwali.[105][106]
TheInternational Society for Krishna Consciousness (ISKCON) celebrates the promise of Canto 12, Chapter 13, Verse 13 by distributing sets of Srimad Bhagavatam leading up to the full-moon day of the month of Bhādra (Bhādra Purnima) in India and around the world.[107]
The Bhagavata has played a significant role in the emergence of theKrishna-bhakti (Gaudiya Vaishnavism) movement ofChaitanya (1486–1534 CE), in Bengal.[108] The scriptural basis for the belief that Chaitanya is an avatar ofKrishna is found in verses such as the following (Disciples ofSwami Prabhupada translation):
In the Age of Kali, intelligent persons perform congregational chanting to worship the incarnation of Godhead who constantly sings the names of Kṛṣṇa. Although His complexion is not blackish, He is Kṛṣṇa Himself. He is accompanied by His associates, servants, weapons and confidential companions.
— Canto 11, Chapter 5, Verse 32[109]
Chaitanya is commonly referred to as 'Gauranga' in regards to His golden complexion (as detailed in theGauranga article, theSanskrit word 'ākṛṣṇaṁ' means 'not blackish' and 'golden'), and is most notable for popularising theHare Krishna maha-mantra. In regards to not being explicitly named as an avatar (unlike others such asKalki) in the Bhagavata, this is also explained (A. C. Bhaktivedanta Swami Prabhupada translation):
In this way, my Lord, You appear in various incarnations as a human being, an animal, a great saint, a demigod, a fish or a tortoise, thus maintaining the entire creation in different planetary systems and killing the demoniac principles. According to the age, O my Lord, You protect the principles of religion. In the Age of Kali, however, You do not assert Yourself as the Supreme Personality of Godhead, and therefore You are known as Triyuga, or the Lord who appears in three yugas.
— Canto 7, Chapter 9, Verse 38[110]
The key word in this verse in regards to Krishna incarnating in the age ofKali Yuga is'channaḥ' (Sanskrit छन्न), which means ' hidden', 'secret', or 'disguised'.[111] In Gaudiya Vaishnavism, Chaitanya is accepted as a hidden avatar ofKrishna who appeared in the age of Kali (also known as 'the Iron Age' and 'the age of quarrel') as His own devotee to show the easiest way to achieve Krishna Consciousness.[112] Modern Gaudiya movements such as theGaudiya Math (established byBhaktisiddhanta Sarasvati in 1920) and others established by disciples of Bhaktisiddhanta Sarasvati, such as the International Society for Krishna Consciousness (by A. C. Bhaktivedanta Swami Prabhupada in 1966) and the Sri Chaitanya Saraswat Math (byBhakti Rakshak Sridhar in 1941), trace their disciplic lineages back directly to Chaitanya.
In the 15th–16th centuryEkasarana Dharma inAssam, apanentheistic tradition whose proponents,Sankardeva andMadhavdeva, acknowledge that their theological positions are rooted in theBhagavata Purana,[113] purged of doctrines that find no place in Assamese Vaishnavism[114] and adding amonist commentary instead.[115]
In northern and western India theBhagavata Purana has influenced theHari Bhakti Vilasa andHaveli-style Krishna temples found inBraj region near Mathura-Vrindavan.[116] The text complements the PancharatraAgama texts ofVaishnavism.[116] While the text focuses on Krishna "Narayana (Vishnu) himself appears and explains howBrahma andShiva should never be seen as independent and different from him".[117] The sixth book includes the feminine principle asShakti, or goddess Devi, conceptualizing her as the "energy and creative power" of the masculine yet a manifestation of a sexless Brahman, presented in a language suffused withHindu monism.[95]
The fifth canto of theBhagavata Purana is significant for its inclusion of legends about the firstTirthankara ofJainism,Rishabha, as an avatar ofVishnu.[118] Further, his fatherNabhi is mentioned as one of the Manus and his motherMarudevi also finds a mention. It further mentions the 100 sons of Rishabha includingBharata.[119] While homage toShakyamuni Buddha is included in by declaring him as an avatar ofVishnu,[120] the interpretation of Buddhism-related stories in the Purana range from honor to ambivalence to polemics wherein prophecies predict some will distort and misrepresent the teachings of the Vedas, and attempt to sow confusion.[121][122][123] According toT. S. Rukmani, the Bhagavata Purana is also significant in asserting thatYoga practice is a form of Bhakti.[124]
The Bhagavata Purana played a key role in the history of Indian theatre, music, and dance, particularly through the tradition ofRasLeela. These are dramatic enactments about Krishna's pastimes. Some of the text's legends have inspired secondary theatre literature such as the eroticism inGita Govinda.[128] While Indian dance and music theatre traces its origins to the ancientSama Veda andNatyasastra texts,[129][130] theBhagavata Purana and otherKrishna-related texts such asHarivamsa andVishnu Purana have inspired numerous choreographic themes.[131]
Many 'Ras' plays dramatise episodes related in theRasa Panchadhyayi ("Five chapters of the Celestial Dance"; Canto 10, Chapters 29–33) of theBhagavatam.[132] TheBhagavatam also encourages theatrical performance as a means to propagate the faith (BP 11.11.23 and 36, 11.27.35 and 44, etc.), and this has led to the emergence of several theatrical forms centred on Krishna all across India.[133] Canto 10 ofBhagavatam is regarded as the inspiration for many classical dance styles such asKathak,Odissi,Manipuri andBharatnatyam.[134] Bryant summarizes the influence as follows,
The Bhagavata ranks as an outstanding product of Sanskrit literature. Perhaps more significantly, the Bhagavata has inspired more derivative literature, poetry, drama, dance, theatre and art than any other text in the history of Sanskrit literature, with the possible exception of theRamayana.
— Edwin Bryant, Krishna: A Sourcebook[135]
In the 20th century, the Bhagavata Purana became widely popular as it spread beyond India, translated into over twenty languages and respected by people worldwide.[136]
Bhaktivedanta Swami significantly impacted the global recognition of the Bhagavata Purana. Bhaktivedanta Swami, raised in a devout Vaishnava family, embraced theCaitanya tradition in 1932. Between 1962 and 1965, he devoted himself to translating the Bhagavata Purana into English, a departure from earlier works focusing on Caitanya's life and teachings.[137] While lacking formal traditional education, he was deeply familiar with the teachings of Caitanya and the insights of ancient commentators through self-study. He made the Bhagavata Purana meaningful to modern readers, and his way of explaining the text made it easier to understand and relevant to modern world. He appealed to young people who were looking for something different from mainstream religion.[138]
The Bhagavata Purana is one of the most commented texts in Indian literature. There is a saying in Sanskrit – vidyā bhāgavatāvadhi – Bhāgavatam is the limit of one's learning. Hence throughout the centuries it attracted a host of commentators from all schools of Krishna worshippers. Over eighty medieval eraBhāṣya (scholarly reviews and commentaries) in Sanskrit alone are known, and many more commentaries exist in various Indian languages.[4] The oldestexegetical commentary presently known isTantra-Bhagavata from thePancaratra school. Other commentaries include:
TheBhagavata has been rendered into various Indian and non-Indian languages. A version of it is available in almost every Indian language, with forty translations alone in the Bengali language.[4] From the eighteenth century onwards, the text became the subject of scholarly interest andVictorian disapproval,[135] with the publication of a French translation followed by an English one. The following is a partial list of translations:
10th Book of Bhagvad Purana under title Krishna Avtar written byGuru Gobind Singh inDasam Granth
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