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From the author of what has become the standard edition of The Yoga Sutras of Patañjali, an exploration of probably the most significant tradition in Hinduism, along with a rendering of key texts and parables from that tradition Bhakti Yoga explores one of the eight “limbs” of yoga. In the simplest terms, bhakti yoga is the practice of devotion, which is the essential heart of yoga and of Hinduism in general. In recent times, the term has come to be used in a rather simplistic way to refer to the increasingly popular practice of kirtan, or chanting in a group or at large gatherings. But bhakti yoga is far more complex and ancient than today’s growing kirtan audiences are aware, and embraces many strands and practices. Edwin F. Bryant focuses on one famous and important school of bhakti and explores it in depth to show what bhakti is and how it is expressed. And he supplies his own renderings of central texts from that tradition in the form of “tales and teachings” from an important work called the Bhagavata Purana, or “The Beautiful Legend of God.” This clarifying work establishes a baseline for understanding, and will be welcomed by all serious students of the spiritual heritage of India.
The Bhagavata Purana is one of the most important, central and popular scriptures of Hinduism. A medieval Sanskrit text, its influence as a religious book has been comparable only to that of the great Hindu epics, the Ramayana and the Mahabharata. Ithamar Theodor here offers the first analysis for twenty years of the Bhagavata Purana (often called the Fifth Veda ) and its different layers of meaning. He addresses its lyrical meditations on the activities of Krishna (avatar of Lord Vishnu), the central place it affords to the doctrine of bhakti (religious devotion) and its treatment of older Vedic traditions of knowledge. At the same time he places this subtle, poetical book within the context of the wider Hindu scriptures and the other Puranas, including the similar but less grand and significant Vishnu Purana. The author argues that the Bhagavata Purana is a unique work which represents the meeting place of two great orthodox Hindu traditions, the Vedic-Upanishadic and the Aesthetic. As such, it is one of India s greatest theological treatises. This book illuminates its character and continuing significance."
Tales for the Dying explores the centrality of death and dying in the narrative of the Bhāgavata-Purāna, India's great text of devotional theism, canonized as an integral part of the Vaisnava bhakti tradition. The text grapples with death through an imaginative meditation, one that works through the presence and power of narrative. The story of the Bhāgavata-Purāna is spoken to a king who is about to die, and it enables him to come to terms with his own passing. The work does not isolate dying as an issue; it treats it on many levels. This book discusses how images of dying in the Bhāgavata-Purāna relate to issues of language and love in the religious imagination of India. Drawing on insights from studies in myth, literary semiotics, and depth psychology, as well as from Indian commentarial and aesthetic traditions, the author examines the power of myth and narrative (storytelling or hari katha) and shows how a detailed awareness of the Puranic imagination may lead to a revisioning of some long-held presuppositions around Indian religious attitudes toward dying. By casting Vaisnava bhakti traditions and Puranic narrative in a fresh light, the mythic imagination of the Purānas takes its place on the stage of contemporary discourse on comparative mythology and literature.
An in-depth analysis of the great and sacred text, the Bhagavata Purana This work focuses on the second half of the Tenth Book of the Purana Includes over 200 images of the exquisite paintings in this splendid manuscript This book from Mysore, stands out, not only because of the splendor of its illustrations but also because it engages with that great and sacred text, the Bhagavata Purana, in a manner that is completely different from almost anything else that one sees. There are leaps of imagination here that take one's breath away, and the episodes picked up by its great but unnamed illustrators are explored in dense, brilliant detail. At each step the painters seem to have been aware of the importance of the text itself. For the Purana they were engaging with has a very special place in the heart of devotees, there being the belief that the Bhagavata 'is equal in status to the Veda'. The scope of the volume is restricted to the second half of the Tenth Book of the Purana. Here the city of Dwarka is founded, a fierce contest with the bear king Jambavana is fought; the Khandava forest is burnt down, the great fortress of Narakasura is vanquished, the city of Hastinapura is dragged to the waters, great pilgrimages are undertaken, hordes of enslaved princes are freed, Shishupala is slain, Jarasandha is riven. Wide-eyed, one sees wonders piling upon majestic wonders.
The Bhāgavata Purāna is a versatile Hindu sacred text containing more than 14,000 Sanskrit verses. Finding its present form around the tenth century C.E., the work inspired several major north Indian devotional traditions as well as schools of dance and drama, and continues to permeate popular Hindu art and ritual in both India and the diaspora.
The authors of the Devī-Bhāgavata Purāna endeavored to demonstrate the superiority of the Devī over competing masculine deities, and to articulate in new ways the manifold nature of the Goddess. Brown's book sets out to examine how the Purana pursues these ends. The Devī-Bhāgavata employs many ancient myths and motifs from older masculine theologies, incorporating them into a thoroughly "feminized" theological framework. The text also seeks to supplant older "masculine" canonical authorities. Part I of Brown's study explores these strategies by focusing on the Purana's self-conscious endeavor to supersede the famous VaisBhagavata Purana. The Devī-Bhāgavata also re-envisions older mythological traditions about the Goddess, especially those in the first great Sanskritic glorification of the Goddess, the Devi-Mahatmya. Brown shows in Part II how this re-envisioning process transforms the Devī from a primarily martial and erotic goddess into the World-Mother of infinite compassion. Part III examines the Devi Gita, the philosophical climax of the Purana modeled upon the Bhagavad Gita. The Devi Gita, while affirming that ultimate reality is the divine Mother, avows that her highest form as consciousness encompasses all gender, thereby suggesting the final triumph of the Goddess. It is not simply that She is superior to the male gods, but rather that She transcends Her own sexuality without denying it.
Shrimad Bhagavat is renowned as one of the greatest compositions in Sanskrit Literature. The 18th Purana composed by Maharishi Veda-Vyasa, it stands unparalleled in its distinct and resplendent exaltation of devotion to God, revealing throughout the quintessence of Vedantic teachings. Masterfully profound and delightfully enchanting, Shrimad Bhagavat abounds in work-paintings of the supreme Lord's wondrous and endearing avatars, divine sports and devotees - paintings that kindle, intensity and establish devotion in one's heart. This spring of devotion leads one to satsang, to the Guru and to teachings that unveil one's essential nature of Brahman.
This volume is a detailed exposition of the visual retellings from the Rāmāyaṇa, Mahābhārata and Bhāgavata Purāṇa on specific South Indian Hoysaḷa temples. The first part of the book deals with the Amṛteśvara temple, particularly its narrative panels depicting the Rāmāyaṇa, Mahābhārata and Bhāgavata Purāṇa. The text is a résumé of episodes paired with photographs which illustrate and review the visual retellings and explore Indian techniques of visual narrative. Corollary material from other Hoysaḷa temples with narrative reliefs, including new sites, is presented in the second part. There are very few published contextual studies of Indian narrative sculptures, and so the book is a contribution to the documentation of Indian medieval art, examining visual narratives within the context of the Hindu temple. The book is illustrated with 150 photographs.