Bhagavata Purana

Bhagavata Purana
The Bhgavata Pura (Devangar: , also known as rmad Bhgavatam, or Bhgavata) is one of the "Maha" Puranic texts of Sanskrit literature, with its primary focus on bhakti (religious devotion) to the incarnations of Vishnu, particularly Krishna.[1] The Sanskrit text comprises twelve skandas (cantos or books) and some 18,000 verses.[2] The Bhgavata includes many stories well known in Vedic tradition, including the various avatars of Vishnu and the life of Krishna. It was the first Purana to be translated into a European language, with three French translations between 1840 and 1857.[1] Like all Puranas, the Bhgavata is a product of oral tradition, its extant version usually dated to the ninth or tenth century CE.[1][3] The tradition of the Vaisnava scholars of the text puts it contemporary with date of Krishna's birth, known as Janmashtami; 18 July 3228 BCE. The text itself credits Veda Vyasa with its authorship. The intense and personal bhakti described in the Bhgavata is directed toward Krishna as God in human form. The tenth book (or canto), which is dedicated to Krishna, takes up about one quarter of the entire Bhgavata.[1] 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.[4]

Krishna lifting Mount Govardhan to shelter his friends from a thunderstorm unleashed by Indra. (Bh. P. X.17)

The Bhgavata takes the form of a story recounting Vyasa's work being recited for the first time by his son uka to the dying King Parikshit, who owes his life to Krishna. Longing to hear of Krishna before he dies, Parikshit hears the Bhgavata recited by uka, including questions by the king and replies by the sage, over the course of seven days.[5]

Significance
The Bhgavata is widely recognized as the best known and most influential of the Puranas, and is sometimes referred to as the "Fifth Veda".[6][7] 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.[4] It is also the source for many of the popular stories of Krishna's childhood told for centuries in the Indian subcontinent.[1] Charlotte Vaudeville refers to the Bhgavata as "the real Bible of Krishnaism",[7] while the Bhgavata declares itself as the essence of Vedanta: The Sri Bhgavata is the very essence of all the Vedanta literature. One who has enjoyed the nectar of its rasa never has any desire for anything else.(12.13.15)[8]

Krishna defeats Trinavarta, the whirlwind demon. While everyone else is blinded by sand whirled about, the divine child Krishna emerges victorious.

Bhagavata Purana

The Bhgavata, 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 Bhgavata 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).[9] The 15th16th century Assamese translation of the Purana (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.

Manaku (artist) - Leaf from a Dispersed Bhagavata Purana Series- BMA

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.[11] It is therefore problematic to assign a precise date to any such text,[1][3][12] The Bhgavata Pura 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.[11] Scholarly consensus holds that the text was completed no An illustration of an episode from the Bhgavata (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 [10] the form of a cow, to end a famine in his kingdom. 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.[6][13] 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.[3][6][14] The final redactor of the text was emphasizing the texts's claim to ancient origns by resorting to an archaizing Vedicflavour of Sanskrit.[15] The Bhgavata itself claims primordial origins, while accepting that it has since been edited by human and divine hands.[11] The text and Hindu tradition ascribe its authorship to Veda Vyasa, who is also credited as the scribe for the Vedas.[6] The Bhgavata Pura 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.5.3840);[6][13] 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.[4] However, J. A. B. van Buitenen, a late professor of Indology at the University of Chicago points out that 10th11th CE South Indian Vaishnava theologians Yamuna and Ramanuja do not refer to Bhgavata Pura in their writings, and this anomaly needs to be explained before the geographical origins and dating are regarded as definitive.[6][13]

Bhagavata Purana

Philosophy
The Bhgavata 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 Bhgavata 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.[16]

Bhakti
The Bhgavata is among the most important texts on bhakti, presenting a fully developed teaching on bhakti that originated with the Bhagavad Gita.[17] Bhakti is presented as a path of yoga, or "union with the divine". Many of the bhakti teachings in the Bhgavata are presented as yogic activitiesmeditating on the lila of Krishna; hearing and singing about Vishnu/Krishna; remembering, serving, and worshiping him; dedicating all of one's actions to himall are among nine activities of Bhakti Yoga taught in the Bhgavata. While classical yoga attempts to shut down the mind and senses, the Bhakti Yoga in the Bhgavata teaches that the focus of the mind is transformed by filling the mind with thoughts of Krishna.[18] 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.[19] Even Kapila, the Samkhya philosopher, teaches his mother that in order to reach liberation, she must have bhakti, jna (wisdom), and vairgya (dispassion), with bhakti being the most important.(3.25.18)[20] The Bhgavata 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 Bhgavata, 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 Bhgavata held out the possibility of salvation through devotion (bhakti) regardless of caste or social status. The Bhgavata 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)[21]

Samkhya
Surendranath Dasgupta describes the theistic Samhkhya taught by Kapila in the Bhgavata as the dominant philosophy in the text.[22] In the Bhgavata, 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.[23] Samkhya in the Bhgavata is presented somewhat differently than in other classical Samkhya texts.[24] It describes Brahman, or Bhagavan, as creating all beings within his Self in latent formthen, 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.[23] The treatment of Samkhya in the Bhgavata is changed by the text's emphasis on devotion.[23] 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.[23]

Bhagavata Purana

Advaita
The Bhgavata 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 Bhgavata still recommends Bhagavan as the object of concentration for reaching that goal.[16] Scholars describe this philosophy as "Advaitic Theism",[11][25] 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 Bhgavata with a "truly creative religious moment" for introducing this philosophy.[25]

Dharma
Bhgavata 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, Bhgavata 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 impuritiesmotives, jealousies, pretensions, etc.and reveal man's nature as part of the absolute, leading to supreme bliss. Conversely, Bhgavata teaches that simply following Vedic injunctions that do not produce devotion towards God are of transitory benefit and are fruitless labour.[26]

Yoga
A classical approach to yoga is taught in the beginning of the second chapter, when uka 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 tamo guna. uka 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.[16] Several passages describe the merging of the individual soul with the Absolute Brahman. The Bhgavata, 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.[16] 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 Bhgavata 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.[27]

Contents
Narrators and setting
The Bhgavata is a recounting of events by the storyteller Ugrasrava Sauti (Sta) to Saunaka and other sages assembled in the Naimisha Forest. As Sta 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 knowledgebhakti, or devotion to God.[1][5] Sta recounts the first recital of Vyasa's work, given by Vyasa's son uka 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 Bhgavata introduces the life of Parikshit as background, thus bringing Krishna into the story, and is presented as part of uka's recital over the course of seven days. It concludes with uka asking Parikshit the standard, "What more do you want?"(12.5.13) Completely satisfied

Bhagavata Purana with what he has heard and his purpose in life fulfilled, Parikshit dies.(12.6.1215)[5]

Books
Book 1 The first book introduces the Bhgavata, with Saunaka gathering the sages in Naimisha Forest to hear Sta praise bhakti to Krishna and describe the ten avatars of Vishnu. Sta 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 Bhgavataa 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 uka, son of Vyasa. Parikshit asks uka what he should do to prepare for death. uka's response constitutes the main part of the Bhgavata.[28] Book 2 uka 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, Rama and Narasimha, (in centre) Krishna attachments to pleasure, home, and family. They should 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 uka. In response to Parikshit's questions, uka describes creation and the avatars of Vishnu, concluding with a description of the ten characteristics of a Purana.[28] 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 KapilaKapila's Samkhya teachings help lead her to final liberation.[28]

Bhagavata Purana

Book 4 The story of Daksha and his sacrifice is told, in which he mocks Shiva in front of Dakshayanihis own daughter and Shiva's consortresulting 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.[28] 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).[28] Book 6

Book 6 includes the story of Ajmila, 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 Vivarpa. Book 6 ends with the birth of the Maruts.[28] Book 7 The main portion of the seventh book is dedicated to the well known story of Hiranyakaipu, his son Prahlada, and the death of Hiranyakaipu 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.[28] 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 [29] is also recounted, which is done with the help of the Kurma avatar of Vishnu.[28]

Vishnu blesses Dhruva A painting by Raja Ravi Varma

The lion-man incarnation of Vishnu, Narasimha kills demon Hiranyakaipu

Bhagavata Purana 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 describedPanchala, Magadha, Kuru, Anu, Druhyus, Turvasu, and othersleading up to the Yadu dynasty and the birth of Krishna to his parents Vasudeva and Devaki.[28] Book 10 The tenth book, dedicated to Krishna, is responsible for the widespread popularity of the Bhgavata Pura. 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.[30]
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 Bhgavata. 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.[31] Book 11 The destruction of the Yadava dynasty, including Krishna and all his kinsmen, is caused by the curse of a brahmininstigated 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.[28] Canto or Book 11 section 7-9 discusses the pastimes and realizations of an Avadhuta. Book 12

Page from an Illustrated Manuscript of the Bhagavata Purana-This is a page from a manuscript of the Bhagavata Purana, a lengthy 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 Parikshitcursed to die from snakebiteand 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 Bhgavata, and the assurance that it is the greatest among puranas.[28]

Bhagavata Purana

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.[32] In particular, many Ras plays dramatise episodes related in the Rasa Panchadhyayi ("Five chapters of the Celestial Dance"; Book 10, chapters 2933) of Bhagavatam.[33] 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.[34] 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 Kliy. This is regarded as the origins of the classical dance style of Kathak, and has influenced other forms including Odissi, Manipuri and Bharatnatyam.[35]

Commentaries
The oldest exegetical commentary presently known is Tantra-Bhgavata from the pancaratra school. From the modern age there is Sridhara Swami's Bhavartha-dipika written in 11th century CE, then later, Madhvacharya (c 13th century CE) wrote the Bhagavata Tatparya Nirnaya. 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 Bhgavata-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.[36] 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 various magnitudes. Most of the poems of the Kirttana are renderings or adaptations from the Bhagavata Purana.[37] 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.[38] 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 [39] 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.111113 [2] Doniger 1999, pp.126 [3] Matchett 2003, pp.129144 [4] Kumar Das 2006, pp.172173 [5] Matchett 1993, pp.95116 [6] Sheridan 1986, pp.116 [7] Matchett 2001, pp.107 [8] Haberman & Rpagsvm 2003, p.65 [9] Bryant 2007, pp.113114 [10] Beach 1965, pp.16869 [11] Brown 1983, pp.553554 [12] 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 [13] van Buitenen, J. A. B (1966). "The Archaism of the Bhgavata Pura". In Milton Singer. Krishna: Myths, Rites, and Attitudes. pp.2340.. Reprinted in van Buitenen 1996, pp.2845 [14] Estimated dates given by some notable scholars include: R. C. Hazra 6th c., Radhakamal Mukherjee 9th10th c., Farquhar 10th c., Nilakanta Sastri 10th c., S. N. Dasgupta 10th c.Kumar Das 2006, pp.172173 [15] Sheridan 1986, p.1012 [16] Rukmani 1993, pp.217218 [17] Cutler 1987, p.1 [18] Bryant 2007, p.117 [19] Matchett 1993, p.103 [20] Matchett 1993, p.106 [21] Kumar Das 2006, pp.176177 [22] Dasgupta 1949, p.30

Bhagavata Purana
[23] [24] [25] [26] [27] [28] [29] [30] [31] [32] [33] [34] [35] [36] [37] [38] [39] Sheridan 1986 Dasgupta 1949, p.24 Sheridan 1986, pp.12 Dasgupta 1949, pp.211 Rukmani 1993, pp.220, 224 Rocher & 1986 pp. 138151 Story of Maha Kumbh Mela from Srimad Bhagvatam (http:/ / www. mahakumbhfestival. com/ 2012/ 02/ history-maha-kumbh-mela/ ) Matchett 2001, pp.127137 Bryant 2007, pp.113115 Varadpande 1987, pp.9294 Datta 2006, p.33 Varadpande 1987, pp.9597 Varadpande 1987, p.98 http:/ / www. atributetosankaradeva. org/ Srimad_Bhagavata. htm http:/ / www. atributetosankaradeva. org/ kirttana. htm http:/ / www. atributetosankaradeva. org/ gunamala. htm http:/ / www. atributetosankaradeva. org/ Gunamala_trans. pdf

10

References
Beach, Milo Cleveland (1965). "A Bhgavata Pura from the Punjab Hills and related paintings". Bulletin of the Museum of Fine Arts (Museum of Fine Arts, Boston) 63 (333): 168177. JSTOR4171436. Beck, Guy (1993). Sonic theology: Hinduism and sacred sound (http://books.google.com/ ?id=cY1Xw1ZlIeQC&pg=PA183). University of South Carolina Press. pp.183184. ISBN978-0-253-35334-4. Brown, Cheever Mackenzie (1998). The Dev Gt: the song of the Goddess ; a translation, annotation, and commentary (http://books.google.com/?id=OxayHczql9EC&pg=PA17). SUNY Press. ISBN978-0-7914-3940-1. Brown, C. Mackenzie (Dec. 1983). "The Origin and Transmission of the Two "Bhgavata Puras": A Canonical and Theological Dilemma". Journal of the American Academy of Religion (Oxford University Press) 51 (4): 551567. JSTOR1462581. Bryant, Edwin Francis (2007). Krishna: A Sourcebook (http://books.google.com/?id=HVDqCkW1WpUC). Oxford University Press US. ISBN978-0-19-514891-6. Cutler, Norman (1987). Songs of Experience (http://books.google.com/?id=veSItWingx8C&pg=PA1). Indiana University Press. pp.1. ISBN978-0-253-35334-4. 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. ISBN81-260-1803-8. Doniger, Wendy (1999). Merriam-Webster's encyclopedia of world religions (http://books.google.com/ ?id=ZP_f9icf2roC&pg=PA126). Merriam-Webster. ISBN0-87779-044-2. Haberman, David L.; Rpagsvm (2003). Indira Gandhi National Centre for the Arts. ed. The Bhaktirasmtasindhu of Rpa Gosvmn (http://books.google.com/?id=DsRb6gjUa1oC). Motilal Banarsidass Publ.. ISBN978-81-208-1861-3. Jarow, Rick (2003). Tales for the dying: the death narrative of the Bhgavata-Pura (http://books.google. com/?id=8URUz0jhH3gC&pg=PA32). SUNY Press. ISBN978-0-7914-5609-5. Kumar Das, Sisir (2006). A history of Indian literature, 5001399 (http://books.google.com/ ?id=BC3l1AbPM8sC). Sahitya Akademi. ISBN978-81-260-2171-0. Matchett, Freda (1993). "The Pervasiveness of Bhakti in the Bhgavata Pura" (http://books.google.com/ ?id=pYahlaJCLnYC&pg=PA95). In Werner, Karel. Love Divine: Studies in Bhakti and Devotional Mysticism. Routledge. pp.95116. ISBN978-0-7007-0235-0.

Bhagavata Purana Matchett, Freda (2001). Ka, Lord or Avatra? (http://books.google.com/?id=1oqTYiPeAxMC). Routledge. ISBN978-0-7007-1281-6. Matchett, Freda (2003). "The Puras" (http://books.google.com/?id=qSfneQ0YYY8C&pg=PA129). In Flood, Gavin D.. The Blackwell companion to Hinduism. Wiley-Blackwell. pp.129144. ISBN978-0-631-21535-6. Rocher, Ludo (1986). The Puranas. Wiesbaden : Harrassowitz. pp.138151. ISBN3-447-02522-0. Rukmani, T. S. (1993). "Siddhis in the Bhgavata Pura 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.217226. ISBN978-81-208-0994-9. Sheridan, Daniel (1986). The Advaitic Theism of the Bhgavata Pura (http://books.google.com/ ?id=qrtYYTjYFY8C). Columbia, Mo: South Asia Books. ISBN81-208-0179-2. van Buitenen, J. A. B (1996). "The Archaism of the Bhgavata Pura" (http://books.google.com/ ?id=U-sC1GkwH7sC&pg=PA28). In S.S Shashi. Encyclopedia Indica. New Delhi: Anmol Publications. pp.2845. ISBN978-81-7041-859-7. Varadpande, Manohar Laxman (1987). History of Indian theatre (http://books.google.com/ ?id=SyxOHOCVcVkC). vol. 3. Abhinav Publications. ISBN81-7017-221-7.

11

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 Dev-Bhgavata Pura. 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 Audios 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 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)

Bhagavata Purana 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

12

Article Sources and Contributors

13

Article Sources and Contributors

Bhagavata Purana Source: http://en.wikipedia.org/w/index.php?oldid=504725494 Contributors: 999, Abecedare, AdamSolomon, Alren, Ameliorate!, AmericanaPhonic, Andries, Arun athmanathan, Astynax, B9 hummingbird hovering, Benne, Bhadani, Bhaktivinode, Bhawani Gautam, Bomac, 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 Cornelius, Gaura79, Gaurav verma22, Getramkumar, Gopalkrsnadas, GourangaUK, Gr8opinionater, Grafen, Gsrihariraju, Gunthard Mueller, Headbomb, Henry Flower, Hut 8.5, Ias2008, Imc, Imjitin, Interlingua, Iohannes Animosus, Ism schism, JWB, Jacob.jose, Jbarot, John of Reading, Joy, K2wiki, Kajasudhakarababu, Karan1974, Kkrystian, Ksaravanakumar, Kwamikagami, Le Anh-Huy, Lentower, Lliberal, MER-C, MKar, MURALIPILLAI, Mamgeorge, Mdbest, Meni Rosenfeld, Messiah101, Mishac, Mrhyde, Mukerjee, Nanakshahi chd, Nathsmiles, Navinarayanan, Nayan1, Netito777, New Rock Star, Nivsavariego, Noosphere, O Govinda, OS2Warp, Oldag07, Pandu108, Pearle, Per Honor et Gloria, Pigman, Pol098, Pranathi, Priyanath, Prometheus.pyrphoros, R'n'B, RTG, Raj2004, Randhir21, Redtigerxyz, Redvers, Richi, Risingstar12, Rjwilmsi, Rohitbd, Ronz, Rpba, Ruptor, S, SUSHRUTA, Sakhya, Sampranta, Scottinglis, Search4Lancer, Sheeana, Shreevatsa, Speedannayya, Srilagurudeva, Srimaanpundrik, Stevenmitchell, Tbhotch, TheMandarin, Theismcontrib, Tom harrison, Uanfala, Uriah923, VASANTH S.N., Vbansal108, Venkateswarulu, Vvarkey, Warut, Wiki-uk, Wikidas, WilliamJustinM, Xianyogi, Yworo, Zerokitsune, Zeuspitar, 236 anonymous edits

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: unknown 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, 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 Image:Ravi Varma-Dhannarayan.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Ravi_Varma-Dhannarayan.jpg License: unknown Contributors: 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 File:Indischer Maler um 1640 001.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Indischer_Maler_um_1640_001.jpg License: Public Domain Contributors: Ekabhishek, Redtigerxyz, Roland zh, Shreevatsa, Wolfmann, 3 anonymous edits

License
Creative Commons Attribution-Share Alike 3.0 Unported //creativecommons.org/licenses/by-sa/3.0/