Bhagavata Purana 1

Bhagavata Purana

Krishna lifting Mount Govardhan to shelter hisfriends from a thunderstorm unleashed by Indra.

(Bh. P. X.17)

The Bhāgavata Purāṇa (Devanāgarī: भागवतपुराण, also known as ŚrīmadBhāgavatam, or Bhāgavata) is one of the "Maha" Puranic texts ofSanskrit literature, with its primary focus on bhakti (religious devotion)to the incarnations of Vishnu, particularly Krishna.[1] The Sanskrit textcomprises twelve skandas (cantos or books) and some 18,000 verses.[2]

The Bhāgavata includes many stories well known in Vedic tradition,including the various avatars of Vishnu and the life of Krishna. It wasthe first Purana to be translated into a European language, with threeFrench translations between 1840 and 1857.[1]

Like all Puranas, the Bhāgavata is a product of oral tradition, its extantversion usually dated to the ninth or tenth century CE.[1][3] Thetradition of the Vaisnava scholars of the text puts it contemporary withdate of Krishna's birth, known as Janmashtami; 18 July 3228 BCE. Thetext itself credits Veda Vyasa with its authorship.

The intense and personal bhakti described in the Bhāgavata is directedtoward Krishna as God in human form. The tenth book (or canto),which is dedicated to Krishna, takes up about one quarter of the entireBhāgavata.[1] It includes the most comprehensive collection of storiesabout the life of Krishna, showing him in all the stages and conditionsof human life. It also includes instruction in the practice of bhakti, ananalysis of bhakti, and descriptions of the different types of bhakti.[4]

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

Significance

Krishna defeats Trinavarta, the whirlwind demon. Whileeveryone else is blinded by sand whirled about, the divine

child Krishna emerges victorious.

The Bhāgavata is widely recognized as the best known andmost influential of the Puranas, and is sometimes referred toas the "Fifth Veda".[6][7] It is unique in Indian religiousliterature for its emphasis on the practice of bhakti, comparedto the more theoretical bhakti of the Bhagavad Gita; for itsredefining of dharma; and for the extent of its description ofGod in a human-like form.[4] It is also the source for many ofthe popular stories of Krishna's childhood told for centuries inthe Indian subcontinent.[1] Charlotte Vaudeville refers to theBhāgavata as "the real Bible of Krishnaism",[7] while theBhāgavata declares itself as the essence of Vedanta:

The Sri Bhāgavata is the very essence of all theVedanta literature. One who has enjoyed thenectar of its rasa never has any desire foranything else.(12.13.15)[8]

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Manaku (artist) - Leaf from a Dispersed Bhagavata PuranaSeries- BMA

The Bhāgavata, along with the Bhagavad Gita, are the mainsources of scriptural authority used by Gaudiya Vaishnavasfor demonstrating the pre-eminence of Krishna over otherforms of God. An oft-quoted verse from the Bhāgavata is usedas a representational statement by Krishna sects to show thatKrishna is "Bhagavan Svayam", or God himself: "These[other incarnations] are amsha, or kala, partial incarnations,but krishnas tu bhagavan svayam, 'Krishna is Bhagavan, Godhimself.'"(1.3.28).[9]

The 15th–16th century Assamese translation of the Purana(Bhagavat of Sankardeva) by Srimanta Sankardeva and othersform the central text of the Ekasarana Dharma, a monotheisticreligion in Assam. Sankardeva's rendering of the tenth Book,locally called daxama, is particularly popular.

Origin and date

An illustration of an episode from the Bhāgavata (IV.17), inwhich Vishnu avatar Prithu chases the earth goddess Prithvi in

the form of a cow, to end a famine in his kingdom.[10]

The Puranas are a type of traditional Hindu texts that tookform during the medieval period, often both informed byearlier material and undergoing later interpolations.[11] It istherefore problematic to assign a precise date to any suchtext,[1][3][12] The Bhāgavata Purāṇa itself is a typical case, atext transformed by oral tradition which reached its "basicfinal shape" at some stage during the Indian MiddleAges.[11]

Scholarly consensus holds that the text was completed nolater than around 1000 CE, when it is mentioned by alBiruni and quoted by Abhinavagupta; the earliestsuggestions of it are the composition of the Vishnu Puranaand 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 itto the first-half of the sixth century, while most others place it in the post-Alvar period around the ninthcentury.[3][6][14] The final redactor of the text was emphasizing the texts's claim to ancient origns by resorting to anarchaizing Vedic flavour of Sanskrit.[15]

The Bhāgavata itself claims primordial origins, while accepting that it has since been edited by human and divinehands.[11] The text and Hindu tradition ascribe its authorship to Veda Vyasa, who is also credited as the scribe forthe Vedas.[6]

The Bhāgavata Purāṇa contains apparent references to the South Indian Alvar saints and it makes a post factumprophecy of the spread of Vishnu worship in Tamil country (BP XI.5.38–40);[6][13] these facts, along with itsemphasis on "emotional Bhakti to Krishna" and the "Advaita philosophy of Sankara", lead many scholars to trace itsorigins to South India.[4] However, J. A. B. van Buitenen, a late professor of Indology at the University of Chicagopoints out that 10th–11th CE South Indian Vaishnava theologians Yamuna and Ramanuja do not refer to BhāgavataPurāṇa in their writings, and this anomaly needs to be explained before the geographical origins and dating areregarded as definitive.[6][13]

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PhilosophyThe Bhāgavata is primarily a bhakti text, with an emphasis on achieving moksha through cultivating a personalrelationship with Vishnu in the form of Krishna. The philosophy and teachings of the Bhāgavata include severaltraditions, and an absence of a "narrow, sectarian spirit". While Bhakti Yoga is the prominent teaching, variouspassages show a synthesis that also include Samkhya, Yoga, Vedanta, and Advaita Vedanta.[16]

BhaktiThe Bhāgavata is among the most important texts on bhakti, presenting a fully developed teaching on bhakti thatoriginated with the Bhagavad Gita.[17] Bhakti is presented as a path of yoga, or "union with the divine". Many of thebhakti teachings in the Bhāgavata are presented as yogic activities—meditating on the lila of Krishna; hearing andsinging about Vishnu/Krishna; remembering, serving, and worshiping him; dedicating all of one's actions tohim—all are among nine activities of Bhakti Yoga taught in the Bhāgavata. While classical yoga attempts to shutdown the mind and senses, the Bhakti Yoga in the Bhāgavata teaches that the focus of the mind is transformed byfilling the mind with thoughts of Krishna.[18]

There are many didactic philosophical passages, but the lengthy narrative stories are also a teaching; the bookdescribes one of the activities that lead to liberation (moksha) as listening to and reflecting on the stories ofBhagavan.[19] Even Kapila, the Samkhya philosopher, teaches his mother that in order to reach liberation, she musthave bhakti, jñāna (wisdom), and vairāgya (dispassion), with bhakti being the most important.(3.25.18)[20]

The Bhāgavata also teaches that bhakti is more important than caste, stating that even a Chandala who has deep faithand devotion is dearer to God than a brahmin without faith.(III.33.7) While not completely dismissing the castesystem, it does reject the superiority of the brahmin based solely on birth. In the Bhāgavata, devotees of Krishnainclude those from lower castes: Prahlad, considered the greatest of devotees, is the son of a demon king and of 'lowbirth'; the gopis are uneducated wives of herdsman, yet are very close to Krishna. The Bhāgavata held out thepossibility of salvation through devotion (bhakti) regardless of caste or social status. The Bhāgavata is also critical ofthe acquisition, protection, and enjoyment of wealth, going as far as implying that only the poor can be truefollowers of bhakti. In one passage, Krishna says to Rukmini, "We are poor and we are always the favourites of poorpersons."(X.60.14)[21]

SamkhyaSurendranath Dasgupta describes the theistic Samhkhya taught by Kapila in the Bhāgavata as the dominantphilosophy in the text.[22] In the Bhāgavata, Kapila is described as an avatar of Vishnu, born into the house ofKardama in order to share the knowledge of self-realization and liberation. Kapila's Samkhya is taught by him to hismother Devahuti in Book Three, and by Krishna to Uddhava in Book Eleven.[23] Samkhya in the Bhāgavata ispresented somewhat differently than in other classical Samkhya texts.[24] It describes Brahman, or Bhagavan, ascreating all beings within his Self in latent form—then, 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 Bhāgavata 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 givesSamhkhya and Yoga as the way of overcoming the dream, with the goal of Samhkhya as Bhagavan himself in theaspect of Krishna.[23]

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AdvaitaThe Bhāgavata frequently discusses the merging of the individual soul with the Absolute Brahman, or "the return ofBrahman into His own true nature", a distinctly advaitic or non-dualistic philosophy. In the same passages, theBhāgavata still recommends Bhagavan as the object of concentration for reaching that goal.[16] Scholars describe thisphilosophy as "Advaitic Theism",[11][25] which combines the seemingly contradictory beliefs of a personal God thatcan be worshiped with a God that is immanent in creation and in one's own self. Daniel P. Sheridan describesAdvaitic Theism as a "both/and" solution for the question of whether God is transcendent or immanent in relation tocreation, and credits the Bhāgavata with a "truly creative religious moment" for introducing this philosophy.[25]

DharmaBhāgavata extends the concept of dharma that had previously been regarded either as the duty to follow Vedicinjunctions, as a moral code that emphasizes ahimsa (non-injury), satya (truthfullness) etc., or as the idea ofself-realization through yoga. Breaking with these senses of the term, Bhāgavata considers dharma to consist ofsincere worship and devotion towards God without any ulterior motive. Such worship is said to cleanse the spirit ofall impurities—motives, jealousies, pretensions, etc.—and reveal man's nature as part of the absolute, leading tosupreme bliss. Conversely, Bhāgavata teaches that simply following Vedic injunctions that do not produce devotiontowards God are of transitory benefit and are fruitless labour.[26]

YogaA classical approach to yoga is taught in the beginning of the second chapter, when Śuka tells Parikshit to preparefor death by making an asana (place to sit) in a solitary place and meditating on Om, without regard for thedistractions caused by the lower qualities of raja and tamo guna. Śuka also describes different meditations on thegross and subtle aspects of Bhagavan, or God, in a way that is similar to the Yoga Sutras of Patanjali.[16] Severalpassages describe the merging of the individual soul with the Absolute Brahman. The Bhāgavata, in explaining themethod of reaching that goal, recommends the object of concentration as Bhagavan, with an emphasis on yoga as aform of bhakti.[16]

Siddhis, or spiritual powers developed through yoga practice, are described in many passages in ways that echo theYoga Sutras of Patanjali. The tenth chapter of the eleventh skanda teaches that the yogi who has controlled hissenses and concentrated his mind on Bhagavan develops these siddhis. Patanjali describes siddhis as obstacles toreaching the ultimate goal of yoga (union)—the Bhāgavata describes them as blessings that are present in Bhagavanin infinite form, and given to the yogi in varying degrees depending on the yogi's devotion.[27]

Contents

Narrators and settingThe Bhāgavata is a recounting of events by the storyteller Ugrasrava Sauti (Sūta) to Saunaka and other sagesassembled in the Naimisha Forest. As Sūta explains, Veda Vyasa was feeling unsatisfied, even after he made divineknowledge available to humans by writing the Vedas and the Mahabharata. The sage Narada, in his role asintermediary between gods and men, visited Vyasa to inform him that his unease was because he had not yetdescribed the highest goal of knowledge—bhakti, or devotion to God.[1][5]

Sūta recounts the first recital of Vyasa's work, given by Vyasa's son Śuka 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 Bhāgavata introduces the life of Parikshit as background, thus bringing Krishna into the story, and is presented as part of Śuka's recital over the course of seven days. It concludes with Śuka asking Parikshit the standard, "What more do you want?"(12.5.13) Completely satisfied

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with what he has heard and his purpose in life fulfilled, Parikshit dies.(12.6.12–15)[5]

Books

The ten avatars of Vishnu, (Clockwise, from top left) Matsya,Kurma, Varaha, Vamana, Krishna, Kalki, Buddha, Parshurama,

Rama and Narasimha, (in centre) Krishna

Book 1

The first book introduces the Bhāgavata, with Saunakagathering the sages in Naimisha Forest to hear Sūtapraise bhakti to Krishna and describe the ten avatars ofVishnu. Sūta tells the story of the life of Parikshit, sonof Abhimanyu, beginning while still in his mother'swomb, where Krishna protected him from theBrahmastra weapon of Ashwatthama. The conclusionof Parikshit's life introduces the main storyline of theBhāgavata—a curse is placed on Parikshit that willcause him to die within seven days. Parikshit retires tothe bank of the Ganges to fast until his death, withseveral sages gathered around him, including Śuka, sonof Vyasa. Parikshit asks Śuka what he should do toprepare for death. Śuka's response constitutes the mainpart of the Bhāgavata.[28]

Book 2

Śuka tells Parikishit that when one is about to die, theyshould become free of the fear of death and let go of allattachments to pleasure, home, and family. They shouldcontrol the breath and mind and concentrate on thesacred Aum. The development of yoga and bhakti, different types of dharana, the nature of Bhagavan, and theliberation of a yogi upon his death are also explained by Śuka. In response to Parikshit's questions, Śuka describescreation 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 Krishnaleaving this world. Next he meets the sage Maitreya, who gives instruction on the creation of the world, the divisionsof time, and other subjects. The story of the birth of Hiranyakasipu and Hiranyaksa is told, including the latter'sdeath at the hands of Varaha, the boar avatar of Vishnu. An important story is the tale of Devahuti and her sonKapila—Kapila's Samkhya teachings help lead her to final liberation.[28]

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Vishnu blesses Dhruva – A painting by Raja RaviVarma

Book 4

The story of Daksha and his sacrifice is told, in which he mocks Shivain front of Dakshayani—his own daughter and Shiva'sconsort—resulting in Dakshayani's self-immolation, which later cameto be known by one of her names, Sati. The legend of Dhruva'spenance and devotion to Vishnu is also recounted, along with therelated story of king Prithu. The book ends with the recounting of therenunciation and liberation of the Pracetas brothers.[28]

Book 5

The story of Manu's sons and their children leads eventually to Bharatand a description of the world, the sun and its course, the moon and theplanets, the regions below the earth, and the twenty-eight hells(naraka).[28]

Book 6

Book 6 includes the story of Ajāmila, who reached heaven as a rewardfor 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 thevictory of Indra over Viśvarūpa. Book 6 ends with the birth of the Maruts.[28]

Book 7

The lion-man incarnation of Vishnu, Narasimha kills demonHiranyakaśipu

The main portion of the seventh book is dedicated to thewell known story of Hiranyakaśipu, his son Prahlada, andthe death of Hiranyakaśipu at the hands of Narasimha, anavatar of Vishnu. This version expands on the story ofPrahlada as told in the Vishnu Purana, and is the form thatis most commonly told in Hinduism. Prahlada is considereda great devotee of Vishnu, and describes the process ofbhakti toward Bhagavan. Book seven also includes adiscussion of the dharma involved with the different varnasand 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 Manuincludes several stories, many involving the avatars of Vishnu. Nine chapters are dedicated to the oft told story ofVishnu's Vamana (dwarf) avatar and his defeat of Bali. The story of the churning of the ocean of milk [29] is alsorecounted, which is done with the help of the Kurma avatar of Vishnu.[28]

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Book 9

The current age of Manu is described at length, including the traditional history of the Solar Dynasty founded byIkshvaku and the Lunar Dynasty of Pururavas. A long history of dynasties is described—Panchala, Magadha, Kuru,Anu, Druhyus, Turvasu, and others—leading up to the Yadu dynasty and the birth of Krishna to his parentsVasudeva and Devaki.[28]

Krishna and the gopis, from a Bhagavata Puranamanuscript c. 1760.

Book 10

The tenth book, dedicated to Krishna, is responsible for the widespreadpopularity of the Bhāgavata Purāṇa. Book Ten includes the mostenduring images and stories of Krishna: the mischievous child whosteals butter; the godlike child who holds the entire universe withinhimself; the boy who can slay demons and move an entire mountainwith one finger; the cowherd who is the love of all the gopis, makingthem leave all their duties to follow him.[30]

The tenth book is by far the lengthiest, taking up almost one quarter ofthe entire Bhāgavata. While the Mahabharata and the Bhagavad Gitashow Krishna in various roles as teacher and diplomat, book 10 shows Krishna simply engaging in lila, or divine andintimate play with his devotees. It presents this intimate relationship with God as the highest goal of humanexistence.[31]

Book 11

Page from an Illustrated Manuscript of theBhagavata Purana-This is a page from a

manuscript of the Bhagavata Purana, a lengthyHindu scripture dedicated to the god Krishna,who is said to have lived on earth as a prince.

The destruction of the Yadava dynasty, including Krishna and all hiskinsmen, is caused by the curse of a brahmin—instigated by Krishnahimself. The Yadavas kill each other in a drunken fight and Krishnadies as a result of the same curse, the result of a metal-tipped arrowstriking his foot. The last chapter describes Krishna's ascent toVaikuntha. Book eleven also includes the so-called Uddhava Gita, thelast discourse of Krishna which he addresses to his dear friendUddhava.[28] Canto or Book 11 section 7-9 discusses the pastimes andrealizations of an Avadhuta.

Book 12

The future rulers of Magadha are predicted, along with the evils of KaliYuga and the future destruction of the world (pralaya). The main storyends with the death of King Parikshit—cursed to die from snakebite—and the thwarted snake sacrifice of his sonJanamejaya. The text finally concludes with a second description of the ten characteristics of a purana, the life ofMarkandeya, a summary of the Bhāgavata, and the assurance that it is the greatest among puranas.[28]

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Theatre and dance

Krishna subdues the serpent Kaliya (10.16)

The Bhagavata cult centred around the worship of Krishna and therelated puranas, played a central role in the development of theatre anddance in India, particularly through the tradition of Ras and Leela,which are dramatic enactments of Krishna wooing gopis (cow herdinggirls), and episodes from his life, respectively. Though thisdance-theatre tradition predates the composition of the Harivamsa,Vishnu and Bhagavata Purana, they were significant in itsevolution.[32] In particular, many Ras plays dramatise episodes relatedin the Rasa Panchadhyayi ("Five chapters of the Celestial Dance";Book 10, chapters 29–33) of Bhagavatam.[33] The purana accords ametaphysical significance to the performances and treats them asreligious ritual, which cleanses the hearts of faithful actors andlisteners and gains them para bhakti (supreme devotion) towards theLord. Bhagavatam also encouraged theatrical performance as a meansto propagate the faith (BP 11.11.23 and 36, 11.27.35 and 44, etc.), andthis led to the emergence of several theatrical forms centred aroundKrishna all across India.[34]

In Book 10, Bhagavatam describes Krishna dancing the Tandava, avigorous dance, on the hood of the cobra Kāliyā. This is regarded asthe origins of the classical dance style of Kathak, and has influenced other forms including Odissi, Manipuri andBharatnatyam.[35]

CommentariesThe oldest exegetical commentary presently known is Tantra-Bhāgavata from the pancaratra school. From themodern age there is Sridhara Swami's Bhavartha-dipika written in 11th century CE, then later, Madhvacharya (c13th century CE) wrote the Bhagavata Tatparya Nirnaya. Other commentaries are: Hanumad-Bhasya,Vasana-bhasya, Sambandhoki, Vidvat-kamadhenu, Tattva-dipika, Paramahamsa-priya, Suka-hridaya. Vopadevawrote the Mukta-phala and the Hari-lilamrita. Vijayadhvaja composed the Pada-ratnavali. Viraraghava also editedThe Bhāgavata-Candrika (from Ramanuja's school). Other works are the Suvodhini by Vallabha andBhakti-ratnavali by Visnupuri. Among the Gaudiya Vaishnava commentaries there are Jiva Goswami'sKrama-sandarbha (16th century CE), the Sarartha Darsini by Vishvanatha Chakravarti (17th century), theDipikadipani 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 9

various magnitudes. Most of the poems of the Kirttana are renderings or adaptations from the BhagavataPurana.[37] His Nimi Nava Siddha Samvada is a doctrinal treatise based on Book XI of the Bhagavata. His AnadiPatana is mainly an adaptation from Book III of the Bhagavata. The Gunamala, the 'Garland of Praises (for LordKrishna)' written by Sankaradeva is a little handbook capturing in racy, rhyming and sonorous verses, the essenceof the Bhagavata Purana.[38] Within the compass of a single laudatory verse, the poet recounts many incidentsfrom Krishna's life making them easy to remember. This 'pocket-Bhagavata' is a sacred text for all AssameseVaisnavas and is often placed in the pedestal or the Guru-Asana (sacred throne) in the congregationalprayer-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 ofKerala in 1586.

• The 16th century Maharashtrian poet Eknath wrote a scholarly commentary on the 11th Canto of the ShrimadBhagavatam 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. 111–113[2][2] Doniger 1999, pp. 126[3] Matchett 2003, pp. 129–144[4] Kumar Das 2006, pp. 172–173[5] Matchett 1993, pp. 95–116[6] Sheridan 1986, pp. 1–16[7][7] Matchett 2001, pp. 107[8] Haberman & Rūpagōsvāmī 2003, p. 65[9] Bryant 2007, pp. 113–114[10] Beach 1965, pp. 168–69[11] Brown 1983, pp. 553–554[12][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."Rocher1986, pp. 59, 103

[13] van Buitenen, J. A. B (1966). "The Archaism of the Bhāgavata Purāṇa". In Milton Singer. Krishna: Myths, Rites, and Attitudes. pp. 23–40..Reprinted in van Buitenen 1996, pp. 28–45

[14] Estimated dates given by some notable scholars include: R. C. Hazra – 6th c., Radhakamal Mukherjee – 9th–10th c., Farquhar – 10th c.,Nilakanta Sastri – 10th c., S. N. Dasgupta – 10th c.Kumar Das 2006, pp. 172–173

[15] Sheridan 1986, p. 10–12[16] Rukmani 1993, pp. 217–218[17][17] Cutler 1987, p. 1[18][18] Bryant 2007, p. 117[19][19] Matchett 1993, p. 103[20][20] Matchett 1993, p. 106[21] Kumar Das 2006, pp. 176–177[22][22] Dasgupta 1949, p. 30

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[23][23] Sheridan 1986[24][24] Dasgupta 1949, p. 24[25] Sheridan 1986, pp. 1–2[26] Dasgupta 1949, pp. 2–11[27][27] Rukmani 1993, pp. 220, 224[28] Rocher & 1986 pp. 138–151[29] Story of Maha Kumbh Mela from Srimad Bhagvatam (http:/ / www. mahakumbhfestival. com/ 2012/ 02/ history-maha-kumbh-mela/ )[30] Matchett 2001, pp. 127–137[31] Bryant 2007, pp. 113–115[32] Varadpande 1987, pp. 92–94[33][33] Datta 2006, p. 33[34] Varadpande 1987, pp. 95–97[35][35] Varadpande 1987, p. 98[36] http:/ / www. atributetosankaradeva. org/ Srimad_Bhagavata. htm[37] http:/ / www. atributetosankaradeva. org/ kirttana. htm[38] http:/ / www. atributetosankaradeva. org/ gunamala. htm[39] http:/ / www. atributetosankaradeva. org/ Gunamala_trans. pdf

References• Beach, Milo Cleveland (1965). "A Bhāgavata Purāṇa from the Punjab Hills and related paintings". Bulletin of the

Museum of Fine Arts (Museum of Fine Arts, Boston) 63 (333): 168–177. JSTOR 4171436.• Beck, Guy (1993). Sonic theology: Hinduism and sacred sound (http:/ / books. google. com/

?id=cY1Xw1ZlIeQC& pg=PA183). University of South Carolina Press. pp. 183–184. ISBN 978-0-253-35334-4.• Brown, Cheever Mackenzie (1998). The Devī Gītā: the song of the Goddess ; a translation, annotation, and

commentary (http:/ / books. google. com/ ?id=OxayHczql9EC& pg=PA17). SUNY Press.ISBN 978-0-7914-3940-1.

• Brown, C. Mackenzie (Dec. 1983). "The Origin and Transmission of the Two "Bhāgavata Purāṇas": A Canonicaland Theological Dilemma". Journal of the American Academy of Religion (Oxford University Press) 51 (4):551–567. JSTOR 1462581.

• Bryant, Edwin Francis (2007). Krishna: A Sourcebook (http:/ / books. google. com/ ?id=HVDqCkW1WpUC).Oxford University Press US. ISBN 978-0-19-514891-6.

• Cutler, Norman (1987). Songs of Experience (http:/ / books. google. com/ ?id=veSItWingx8C& pg=PA1). IndianaUniversity Press. pp. 1. ISBN 978-0-253-35334-4.

• Dasgupta, Surendranath (1949). A history of Indian philosophy. IV: Indian pluralism. Cambridge UniversityPress.

• Datta, Amaresh (2006). The Encyclopaedia Of Indian Literature (http:/ / books. google. com/?id=ObFCT5_taSgC). vol. 1. Sahitya Akademi. ISBN 81-260-1803-8.

• Doniger, Wendy (1999). Merriam-Webster's encyclopedia of world religions (http:/ / books. google. com/?id=ZP_f9icf2roC& pg=PA126). Merriam-Webster. ISBN 0-87779-044-2.

• Haberman, David L.; Rūpagōsvāmī (2003). Indira Gandhi National Centre for the Arts. ed. TheBhaktirasāmṛtasindhu of Rūpa Gosvāmīn (http:/ / books. google. com/ ?id=DsRb6gjUa1oC). Motilal BanarsidassPubl.. ISBN 978-81-208-1861-3.

• Jarow, Rick (2003). Tales for the dying: the death narrative of the Bhāgavata-Purāṇa (http:/ / books. google.com/ ?id=8URUz0jhH3gC& pg=PA32). SUNY Press. ISBN 978-0-7914-5609-5.

• Kumar Das, Sisir (2006). A history of Indian literature, 500–1399 (http:/ / books. google. com/?id=BC3l1AbPM8sC). Sahitya Akademi. ISBN 978-81-260-2171-0.

• Matchett, Freda (1993). "The Pervasiveness of Bhakti in the Bhāgavata Purāṇa" (http:/ / books. google. com/?id=pYahlaJCLnYC& pg=PA95). In Werner, Karel. Love Divine: Studies in Bhakti and Devotional Mysticism.Routledge. pp. 95–116. ISBN 978-0-7007-0235-0.

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• Matchett, Freda (2001). Kṛṣṇa, Lord or Avatāra? (http:/ / books. google. com/ ?id=1oqTYiPeAxMC). Routledge.ISBN 978-0-7007-1281-6.

• Matchett, Freda (2003). "The Purāṇas" (http:/ / books. google. com/ ?id=qSfneQ0YYY8C& pg=PA129). InFlood, Gavin D.. The Blackwell companion to Hinduism. Wiley-Blackwell. pp. 129–144.ISBN 978-0-631-21535-6.

• Rocher, Ludo (1986). The Puranas. Wiesbaden : Harrassowitz. pp. 138–151. ISBN 3-447-02522-0.• Rukmani, T. S. (1993). "Siddhis in the Bhāgavata Purāṇa and in the Yogasutras of Patanjali – a Comparison"

(http:/ / books. google. com/ ?id=i1ffdTIbNJkC& pg=PA217). In Wayman, Alex. Researches in Indian andBuddhist philosophy: essays in honour of Professor Alex Wayman. Motilal Banarsidass. pp. 217–226.ISBN 978-81-208-0994-9.

• Sheridan, Daniel (1986). The Advaitic Theism of the Bhāgavata Purāṇa (http:/ / books. google. com/?id=qrtYYTjYFY8C). Columbia, Mo: South Asia Books. ISBN 81-208-0179-2.

• van Buitenen, J. A. B (1996). "The Archaism of the Bhāgavata Purāṇa" (http:/ / books. google. com/?id=U-sC1GkwH7sC& pg=PA28). In S.S Shashi. Encyclopedia Indica. New Delhi: Anmol Publications.pp. 28–45. ISBN 978-81-7041-859-7.

• Varadpande, Manohar Laxman (1987). History of Indian theatre (http:/ / books. google. com/?id=SyxOHOCVcVkC). vol. 3. Abhinav Publications. ISBN 81-7017-221-7.

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

Devī-Bhāgavata Purāṇa. 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 linksEnglish• 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 12

• 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

Article Sources and Contributors 13

Article Sources and ContributorsBhagavata Purana  Source: http://en.wikipedia.org/w/index.php?oldid=504725494  Contributors: 999, Abecedare, AdamSolomon, Alren, Ameliorate!, AmericanaPhonic, Andries, Arunathmanathan, 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 ContributorsFile: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 fromRajasthan 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 zhFile: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 anonymouseditsImage:Avatars.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Avatars.jpg  License: Public Domain  Contributors: the Victoria and Albert MuseumImage: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: LACMAFile: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 zhFile: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, Sridhar1000File: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

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