The writer of this book is named Krishna Dvaipyana Vysadeva, also called Bdaryana.

He is the
Lord, the bhagavn, amongst the philosophers, who in India assembled all the holy texts. He compiled
the Vedas, also known as s'ruti, containing the basic wisdom, the mantras for the rituals and the hymns.
He as well wrote the Mahbhrata, which is the greatest epic poem in the world. It describes the history
(itihsa) of the great fall that the vedic culture once made. The Bhagavad Gt is the most important part
of it. Vysa also wrote the rest of the eighteen great Bibles (the purnas) of India as well as
the Brahma-stra, his masterpiece on the Absolute Truth.

Bhagavata Purana
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Not to be confused with Devi-Bhagavata Purana.

Krishna lifting Mount Govardhan to shelter his friends from a thunderstorm unleashed by Indra.
(Bh. P. X.17)
The Bhgavata Purn a (Devangar: , also known as rmad Bhgavatam, or
Bhgavata) is one of the "Maha" Puranic texts of Hindu literature, with its primary focus on
bhakti (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 Hindu 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 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]
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, uka recites the Bhgavata to Parikshit over the course of seven days.[5]

Contents
[hide]

1 Significance

2 Origin and date

3 Philosophy
o

3.1 Bhakti

3.2 Samkhya

3.3 Advaita

3.4 Dharma

3.5 Yoga

4 Contents
o

4.1 Narrators and setting

4.2 Books

4.2.1 Book 1

4.2.2 Book 2

4.2.3 Book 3

4.2.4 Book 4

4.2.5 Book 5

4.2.6 Book 6

4.2.7 Book 7

4.2.8 Book 8

4.2.9 Book 9

4.2.10 Book 10

4.2.11 Book 11

4.2.12 Book 12

5 Theatre and dance

6 Commentaries

7 Translations

8 See also

9 Notes

10 References

11 Further reading

12 External links

[edit] Significance

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

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

The Bhgavata is widely recognized as the best known and 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 form.[4]
The Glory of Srimad Bhagavatam can be understood by understanding the conversation between
Krishna Dvaipayan Vyas and Narad Muni. 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]
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.

[edit] Origin and date

An illustration of an episode from the Bhgavata (IV.17), in which 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 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 Purn a 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 later than around 1000 CE, when it is
mentioned by al Biruni and quoted by Abhinavagupta; the earliest 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 Vedic flavour 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 Purn a 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 10th
11th CE South Indian Vaishnava theologians Yamuna and Ramanuja do not refer to Bhgavata
Purn a in their writings, and this anomaly needs to be explained before the geographical origins
and dating are regarded as definitive.[6][13]

[edit] Philosophy
Part of a series on

Hindu scriptures

Vedas
Rigveda Samaveda
Yajurveda Atharvaveda
Divisions
Samhita Brahmana
Aranyaka Upanishad

Vedangas
Shiksha Chandas
Vyakarana Nirukta
Kalpa Jyotisha

Upanishads
Rig vedic
Aitareya
Yajur vedic
Brihadaranyaka Isha
Taittiriya Katha
Shvetashvatara
Sama vedic
Chandogya Kena
Atharva vedic
Mundaka Mandukya
Prashna

Puranas
Brahma puranas
Brahma Brahmnda
Brahmavaivarta
Markandeya Bhavishya
Vaishnava puranas
Vishnu Bhagavata
Naradeya Garuda Padma Agni
Shaiva puranas
Shiva Linga
Skanda Vayu

Itihasa

Ramayana
Mahabharata (Bhagavad Gita)
Other scriptures
Manu Smriti
Artha Shastra Agama
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Hindu texts

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]

[edit] 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]

[edit] 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]

[edit] 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 nondualistic 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]

[edit] 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]

[edit] 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]

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

[edit] Books

The ten avatars of Vishnu, (Clockwise, from top left) Matsya, Kurma, Varaha, Vamana, Krishna,
Kalki, Buddha, Parshurama, Rama and Narasimha, (in centre) Krishna
[edit] 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]
[edit] Book 2
uka tells Parikishit that when one is about to die, they should become free of the fear of death
and let go of all 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]
[edit] 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 the death of Krishna. 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 Kapila
Kapila's Samkhya teachings help lead her to final liberation.[28]

Vishnu blesses Dhruva A painting by Raja Ravi Varma

[edit] Book 4
The story of Daksha and his sacrifice is told, in which he mocks Shiva in front of Dakshayani
his 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]
[edit] 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]
[edit] 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]

[edit] Book 7

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

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]
[edit] 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 is also recounted, which is done with the help of the Kurma
avatar of Vishnu.[28]
[edit] 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]

Krishna and the gopis, from a Bhagavata Purana manuscript c.1760.

[edit] Book 10
The tenth book, dedicated to Krishna, is responsible for the widespread popularity of the
Bhgavata Purn a. 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.[29]
The tenth book is by far the lengthiest, taking up almost one quarter of 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.
[30]

[edit] Book 11

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 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 socalled 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.
[edit] Book 12
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]

[edit] Theatre and dance

Krishna subdues the serpent Kaliya (10.16)

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.[31] In
particular, many Ras plays dramatise episodes related in the Rasa Panchadhyayi ("Five chapters
of the Celestial Dance"; Book 10, chapters 2933) of Bhagavatam.[32] 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.[33]
In Book 10, Bhagavatam describes Krishna dancing the Tandava, a 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.[34]

[edit] 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, Tattvadipika, Paramahamsa-priya, Suka-hridaya. Vopadeva wrote the Mukta-phala and the Harililamrita. Vijayadhvaja composed the Pada-ratnavali. Viraraghava also edited The BhgavataCandrika (from Ramanuja's school). Other works are the Suvodhini by Vallabha and Bhaktiratnavali 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).

[edit] 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.[35] 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 various magnitudes. Most of the poems of the Kirttana are renderings or
adaptations from the Bhagavata Purana.[36] 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.[37] 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

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 is done 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.

[edit] See also

Bhagavan

Bhakti

Krishna

Nava rasas

Puranas

Vedanta

[edit] Notes
1.

^ a b c d e f g Bryant 2007, pp. 111113

2.

^ Doniger 1999, pp. 126

3.

^ a b c Matchett 2003, pp. 129144

4.

^ a b c Kumar Das 2006, pp. 172173

5.

^ a b c Matchett 1993, pp. 95116

6.

^ a b c d e f Sheridan 1986, pp. 116

7.

^ a b Matchett 2001, pp. 107

8.

^ Haberman & Rpagsvm 2003, p. 65

9.

^ Bryant 2007, pp. 113114

10.

^ Beach 1965, pp. 16869

11.

^ a b c d 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.

^ a b c van Buitenen, J. A. B (1966). "The Archaism of the Bhgavata Purn a". 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.

^ a b c d 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

23.

^ a b c d Sheridan 1986

24.

^ Dasgupta 1949, p. 24

25.

^ a b Sheridan 1986, pp. 12

26.

^ Dasgupta 1949, pp. 211

27.

^ Rukmani 1993, pp. 220, 224

28.

^ a b c d e f g h i j k Rocher & 1986 pp. 138151

29.

^ Matchett 2001, pp. 127137

30.

^ Bryant 2007, pp. 113115

31.

^ Varadpande 1987, pp. 9294

32.

^ Datta 2006, p. 33

33.

^ Varadpande 1987, pp. 9597

34.

^ Varadpande 1987, p. 98

35.

^ http://www.atributetosankaradeva.org/Srimad_Bhagavata.htm

36.

^ http://www.atributetosankaradeva.org/kirttana.htm

37.

^ http://www.atributetosankaradeva.org/gunamala.htm

[edit] References

Beach, Milo Cleveland (1965). "A Bhgavata Purn a from the Punjab Hills and related
paintings". Bulletin of the Museum of Fine Arts (Museum of Fine Arts, Boston) 63 (333): 168177.
JSTOR 4171436.

Beck, Guy (1993). Sonic theology: Hinduism and sacred sound. University of South Carolina
Press. pp. 183184. ISBN 9780253353344. http://books.google.com/?
id=cY1Xw1ZlIeQC&pg=PA183.

Brown, Cheever Mackenzie (1998). The Dev Gt: the song of the Goddess ; a translation,
annotation, and commentary. SUNY Press. ISBN 9780791439401. http://books.google.com/?
id=OxayHczql9EC&pg=PA17.

Brown, C. Mackenzie (Dec. 1983). "The Origin and Transmission of the Two "Bhgavata
Purn a s": A Canonical and Theological Dilemma". Journal of the American Academy of Religion
(Oxford University Press) 51 (4): 551567. JSTOR 1462581.

Bryant, Edwin Francis (2007). Krishna: A Sourcebook. Oxford University Press US. ISBN
9780195148916. http://books.google.com/?id=HVDqCkW1WpUC.

Cutler, Norman (1987). Songs of Experience. Indiana University Press. pp. 1. ISBN
9780253353344. http://books.google.com/?id=veSItWingx8C&pg=PA1.

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

Cambridge University Press.

Datta, Amaresh (2006). The Encyclopaedia Of Indian Literature. vol. 1. Sahitya Akademi. ISBN
8126018038. http://books.google.com/?id=ObFCT5_taSgC.

Doniger, Wendy (1999). Merriam-Webster's encyclopedia of world religions. Merriam-Webster.

ISBN 0877790442. http://books.google.com/?id=ZP_f9icf2roC&pg=PA126.

Haberman, David L.; Rpagsvm (2003). Indira Gandhi National Centre for the Arts. ed. The
Bhaktirasmrtasindhu
of Rpa Gosvmn. Motilal Banarsidass Publ.. ISBN 9788120818613.

http://books.google.com/?id=DsRb6gjUa1oC.

Jarow, Rick (2003). Tales for the dying: the death narrative of the Bhgavata-Purn a. SUNY
Press. ISBN 9780791456095. http://books.google.com/?id=8URUz0jhH3gC&pg=PA32.

Kumar Das, Sisir (2006). A history of Indian literature, 5001399. Sahitya Akademi. ISBN
9788126021710. http://books.google.com/?id=BC3l1AbPM8sC.

Matchett, Freda (1993). "The Pervasiveness of Bhakti in the Bhgavata Purn a". In Werner,
Karel. Love Divine: Studies in Bhakti and Devotional Mysticism. Routledge. pp. 95116. ISBN
9780700702350. http://books.google.com/?id=pYahlaJCLnYC&pg=PA95.

Matchett, Freda (2001). Krs n a, Lord or Avatra?. Routledge. ISBN 9780700712816.

http://books.google.com/?id=1oqTYiPeAxMC.

Matchett, Freda (2003). "The Purn as". In Flood, Gavin D.. The Blackwell companion to
Hinduism. Wiley-Blackwell. pp. 129144. ISBN 9780631215356. http://books.google.com/?
id=qSfneQ0YYY8C&pg=PA129.

Rocher, Ludo (1986). The Puranas. Wiesbaden : Harrassowitz. pp. 138151. ISBN 3447025220.

Rukmani, T. S. (1993). "Siddhis in the Bhgavata Purn a and in the Yogasutras of Patanjali a
Comparison". In Wayman, Alex. Researches in Indian and Buddhist philosophy: essays in honour of
Professor Alex Wayman. Motilal Banarsidass. pp. 217226. ISBN 9788120809949.
http://books.google.com/?id=i1ffdTIbNJkC&pg=PA217.

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

van Buitenen, J. A. B (1996). "The Archaism of the Bhgavata Purn a". In S.S Shashi.
Encyclopedia Indica. New Delhi: Anmol Publications. pp. 2845. ISBN 9788170418597.
http://books.google.com/?id=U-sC1GkwH7sC&pg=PA28.

Varadpande, Manohar Laxman (1987). History of Indian theatre. vol. 3. Abhinav Publications.
ISBN 8170172217. http://books.google.com/?id=SyxOHOCVcVkC.

[edit] 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 Purn a. SUNY Press, 1990. ISBN 0791403637.
Excerpts

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