Radha Krishna

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Radha Krishna
Radha (right) - Krishna (left), surrounded by gopis, in Mayapur Chandradoya Mandir, 2005
Radha (right) - Krishna (left), surrounded by gopis, in Mayapur Chandradoya Mandir, 2005
Devanagari राधा कृष्ण
Affiliation Krishna is an Avatar of Vishnu
Abode Vrindavan
Consort Radha
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Radha Krishna (IAST rādhā-kṛṣṇa, Sanskrit राधा कृष्ण) is a Hindu deity. Krishna is often referred as svayam bhagavan in Gaudiya Vaishnavism theology and Radha is a young woman, a gopi who is Krishna's supreme beloved.[1] In relation to Krishna, Radha is acknowledged as the Supreme Goddess, for it is said that she controls Krishna with Her love.[2] It is believed that Krishna enchants the world, but Radha "enchants even Him. Therefore She is the supreme goddess of all." [3]

While there are much earlier references to the worship of this form of God, it is since Jayadeva Goswami wrote a famous poem Gita Govindain the twelfth century of the Common Era, that the topic of the spiritual loving affair between the divine Krishna and his devotee Radha, became a theme celebrated throughout India for many centuries in ritual, festival, and all the arts.[4] It is believed that Krishna has left the circle of the rasa dance to search for Radha. The Caitanya school believes that the name and identity of Radha are both revealed and concealed in the verse describing this incident in Bhagavata Purana.[5] It is also believed that Radha is not just one cowherd maiden, but is the origin of all the gopis, or divine personalities that participate in the rasa dance.[6]

Contents

[edit] Name

Krishna (left) his consort Radha
Krishna (left) his consort Radha
Ragastani Style portrait of Radha
Ragastani Style portrait of Radha

RadhaKrishna can be broken into two – Krishna (Devanagari:कृष्ण), the eighth incarnation (avatar) of Vishnu.[7], and his consort Radha (Devanagari: राधा).[8] Krishna in Vrindavana is sometimes depicted with Radha standing on his left, on whose bosom resides Laksmi.[9]

[edit] History

[edit] Philosophy

From the Vaishnava point of view the divine feminine energy (shakti) implies a divine source of energy, God or shaktiman. "Sita relates to Rama; Lakshmi belongs to Narayana; Radha has Her Krishna." As Krishna is believed to be the source of all manifestations of God, "Shri Radha, His consort, is the original source of all shaktis" or feminine manifestation of divine energy.[10]

A number of interpretations according to traditions possess a common root of personalism in the understanding of worship. Specifically Caitanyaite Gaudiya Vaishnava doctrine and mission is fiercely "personalistic," proclaiming the supremacy of Krishna, the identification of Caitanya as Radha-Krishna, the reality and eternality of individual selves, and a method for approaching the absolute reality and the Deity as a person first and foremost.[11]

Jiva Goswami in his Priti Sandarbha states that each of the Gopis exhibits a different level of intensity of passion, among which Radha's is the greatest. [12]

In his famous dialogs Ramananda Raya describes Radha to Caitanya and quotes, among other texts, a verse from Chaitanya Charitamrta2.8.100, before he goes on to describe her role in the pastimes of Vrindavana.[13]

The central pivot point of the theology is related to the word rasa. The theological use of the word can be found very early, about two thousand years before the Nimbarka or Caitanya school, in a phrase that the tradition frequently quotes: "Truly, the Lord is rasa" (raso vai sah) of Brahma sutras. This statement expresses the view that God is the one who enjoys the ultimate rasa or spiritual rapture, emotions.[14]

[edit] Traditions

The Poet Bihari Offers Homage to Radha and Krishna Opening page of the Satasai (Seven Hundred) of Bihari c. 1760–65 Philadelphia Museum of Art Alvin O. Bellak Collection
The Poet Bihari Offers Homage to Radha and Krishna Opening page of the Satasai (Seven Hundred) of Bihari c. 1760–65 Philadelphia Museum of Art Alvin O. Bellak Collection

Radha Krishna are worshiped in the following traditions of Hinduism:


[edit] Bisnupriya Manipuri Vaishnavas

Main article: Vaishnavism in Manipur

King Gareeb Nivaz was ruling from 1709 to 1748 and he was initiated into Vaishnavism of the Chaitanya tradition, which worships Krishna as the supreme deity, Svayam bhagavan. He practiced this religion for nearly twenty years. Preachers and pilgrims used to arrive in large numbers and cultural contact with Assam was maintained.[15]

The Manipuri Vaishnavas do not worship Krishna alone, but Radha-Krishna.[16] With the spread of Vaishnavism the worship of Krishna and Radha became the dominant form in the Manipur region. Every village there has a Thakur-ghat and a temple.[17] Rasa and other dances are a feature of the regional folk and religious tradition and often, for example, a female dancer will portray both Krishna and his consort, Radha, in the same piece.[18]

[edit] Bhagavata

Medieval Rajasthani painting
Medieval Rajasthani painting
Main article: Bhagavatism

Who is Radha or Radhika as Jayadeva calls her? Just a cow-herdess or gopika or gopi and why the special mention? In Vedic and Puranic literature, Radhas and other forms of the root >rAdh have meaning of ‘perfection’, ‘success’ and even ‘wealth’. Lord of Success, Indra was referred to as Radhaspati. In references to Lord Maha-vishnu as the Lord of Fortune and freely used by Jayadeva as Jaya Jayadeva Hare – the victorious Hari, and ‘Radhaspati’ all found in many places. The word Radha occurs in the Atharva Veda, Taittiriya BrAhmana and Taittiriya Samhita.

Charlotte Vaudeville, in the article ‘Evolution of Love Symbolism in Bhagavatism’ draws some parallel to Nappinnai, appearing in Godha’s magnum opus Thiruppavai and also in Nammalwar’s references to Nappinnani, the daughter-in-law of Nandagopa. Nappinnai is believed to be the source of Radha’s conception in Prakrit and Sanskrit literature although their characteristic relations with Krishna are different. In the ritual dance called Kuravai, Krishna dances with his wife Nappinnai.

"It is a complex relationship, for the devotee is the `same as and yet different from' the Lord, and so even in the joy of union there is the pain of separation. Indeed, the highest form of devotion, according to Yamunacarya, comes not in union but after the union, in the `fear of new separation'."[19]

Yasastilaka Champukavya (AD 959) all make references to Radha and Krishna well before Jayadeva's period. There are elaborate references to Radha in Brahma vaivarta and Padma Puranas.[20]

[edit] Gaudiya Vaishnava

Drawing of the image of Radharaman,1542 seen as not only Krishna but also as Radha-Krishna.
Drawing of the image of Radharaman,1542 seen as not only Krishna but also as Radha-Krishna.

Gaudiya Vaishnava, as the name suggests, usually refers to the region of Bengal. Early Bengali literature gives a vivid description of the depiction and evolution of understanding of Radha and Krishna.[21] It is believed, however, that the source of Jayadeva Goswamis heroine in his poem Gita Govinda remains a puzzle of the Sanskrit Literature. At the same time there are well documented references to works earlier than Gita Govinda, which some count to be in excess of twenty. The figure of Radha is one of the most elusive in the literature of Sanskrit; she is described only in a few selected passages of Prakrit or Sanskrit poetry, a few inscriptions and a few works on grammar, poetry and drama. Jayadeva has referred to them and created an exquisite lyrical poem of passionate devotion in the twelfth century, and from this poetic beginning a huge movement specific to Bengal began.[22]

Baru Candidasa is a poet notable for being a prominent Early Middle Bengal historical figure; the date of his poem Srikrsnakirtana is still under question however the text remains one of the most important evidences of early portrayal of the popular story of "Lord Krishna's love for the cowherd girl Radha" in Bangla literature and religion. The 412 songs of Srikrsnakirtana are divided into thirteen sections that represent the core of the Radha-Krsna legendary cycle, with many variants providing excellent comparative material. The manuscript clearly suggests that the songs were meant to be song, and implies particular ragas for the recitation. There is considerable debate as to the authenticity of the text that has significant religious meaning.[23] In this Bengali tradition of Caitanya Vaishnavism metaphysical status and Radha-worship is considered to be established by Krsnadasa in his Chaitanya Charitamrta where he represents the doctrine that prevailed among the Vrindavan Caitanyaites following Caitanya's demise in 1533. It is believed that Krishna, desiring to experience fully what it is like to love Krishna as Radha does, has appeared as Caitanya Mahaprabhu. And what Radha (appearing as Caitanya) does in her longing for Krsna is to chant his names.[24] One of the self manifested Deities established by Gopala Bhatta Goswami is called Radha Ramana, it is not surprising that Radha Ramana is seen as not only Krishna but also as Radha-Krishna.[25] And worship in his temple, located in the centre of Vrindavana is a perpetual daily affair, involving several prescribed events throughout the day,[26] with the goal of being theoretical and remote, but with aspiration of the possibility to attend and associate directly with Radha and Krishna.[27]

[edit] Nimbarka sampradaya

The Nimbarka sampradaya worship of the youthful Krishna, alone or with his consort Radha, is one of the earliest dating at least to the 12th century, just as Rudra Sampradaya does.[28] According to Nimbarka, Radha was the eternal consort of Vishnu-Krishna and there is also a suggestion, though not a clear statement, that she became the wife of her beloved Krishna.[29] It should be noted that Nimbarka rescues Radha from the presumed immoral implication of much of the literature, and gives to her a dignity unattained elsewhere.[30]

In this sampradaya, the significance of Radha is not less than the significance of Sri Krsna. Both are conjointly the object to be worshiped in this school of Nimbarka,[31] who is also one of the first commentators on Brahma Sutras under the name Vedanta-Parijata-Saurabha.

[edit] Swaminarayan Sampraday

Murti of RadhaKrishna Dev (Center and Right) at the Swaminarayan Temple in Cleveland.
Murti of RadhaKrishna Dev (Center and Right) at the Swaminarayan Temple in Cleveland.

Radha Krishna Dev has a special place in the Swaminarayan Sampraday as Swaminarayan himself made a reference to Radha Krishna in the Shikshapatri he wrote.[32] Further, he himself ordered the construction of temples in which Radha Krishna have been installed as deities. "Sahajanand explained that Krishna appears in many forms. When he is together with Radha, he is regarded as supreme lord under the name of Radha-Krishna; with Rukmini he is known as Lakshmi-Narayana."[33] The first temple constructed in the sect, built in Ahmedabad in AD 1822, houses the images of Nara Narayana, forms of Arjuna and Krishna, in the central shrine. The shrine on the left of the hall has murtis of Radha Krishna.[34] According to the philosophy of the tradition there were many female companions of Krishna, gopis, but out of all of them Radha was considered to be the perfect devotee. Those who wish to come close to Krishna must cultivate the devotional qualities of Radha.[35] According to theory the sect has set aside Goloka as the supreme heaven or abode (in fact, in some of their temples, such as the Mumbai Temple, the murtis installed are those of Shri Gaulokvihari and Radhikaji), because there Krishna is supposed to be enjoying himself with his Gopis,[36] who according to the Swaminarayana sampradaya are the herdswomen with whom Krishna danced; his relations with them symbolize the relation of the deity to his devotees.[37]

[edit] Vallabha sampradaya

Krishna with Gopis - Painting from Smithsonian Institution
Krishna with Gopis - Painting from Smithsonian Institution

Vallabhacharya, founder of Pustimarga even before Chaitanya, introduced worship of Radha, where according to some sects, the devotees identify mainly with the female companion (sakhis) of Radha who are privileged to witness the Radha-Krsna love-making.[38]

One of the prominent poets of this tradition, which also called Radhavallabhi, named Dhruvadasa was notable for being principally concerned with the private relationships of Radha and Krishna. In his poetry Caurasi Pad and in the commentaries of his followers, the concentration is in meditation on the unique benefits of constant reflection on the eternal lila.

Radhavallabhis share with their Vaishnava co-religionists a great regard for Bhagavata Purana, but some of the pastimes that are outside the scope of relationships with Radha and gopis do not feature in the concept of this school. Emphasis is placed on the sweetness of the relationship, or rasa.[39]

[edit] Outside of Hinduism

In opinion of some Hindu scholars as well as scholars of Hinduism, a golden age existed when Muslims and Hindus created a common culture mainly because some Muslim rulers patronized Sanskrit and translations from Sanskrit into Persian, while there were poets with Muslim names who wrote about Krishna and Radha.[40]

[edit] Differences according to traditions

[edit] Major temples in India

Vrindavan and Mathura are considered to be the centers of Radha-Krishna cult. The most important temples of Vrindavana are the Madan-mohan, Govindadev, Radha-Raman, Radha-Gokulananda, Radha-Damodar, Banki-behari, Radhavallabha, Jugal Kishor, Radha-Gopinath, Radha Shyamasundar, and Krishna-Balaram temples where Radha and Krishna are worshiped in their murti forms.[41]

[edit] Major temples outside India

There are number of traditions that spread the worship of Radha-Krishna in many countries, be it associated with migration or preaching activities of sadhus. One such prominent adept, Prabhupada opened a number of centers himself wherein he could train mleccha-turned-brahmin students to worship Radha-Krishna murtis and become "devoted to the service of Godhead".[42]

[edit] Popular songs and prayers

[edit] Shri Radhika Krishashtaka

The Shri Radhika Krishnastaka (also called the Radhashtak) is a hymn. It is said that the reciter can get to Krishna via Radha by chanting it.

[edit] See also

[edit] Footnotes

  1. ^ Schweig 2005, p. 3
  2. ^ Rosen 2002, p. 50
  3. ^ Rosen 2002, p. 52 Chaitanya-charitamritaAdi-lila 4.95,
  4. ^ Schwartz 2004, p. 49
  5. ^ Schweig 2005, pp. 41-42
  6. ^ Schweig 2005, p. 43
  7. ^ Britannica: Mahabharata
  8. ^ H.Wilson, Brahmavaivarta Purana with English Translation]], Motilal Banarsidas Publishers, 1990 reprint.
  9. ^ Shikshapatri, verse 109 by Bhagwan Swaminarayan.
  10. ^ Rosen 2002, p. 54
  11. ^ Valpey 2006, p. 110
  12. ^ Schweig 2005, p. 125
  13. ^ Schweig 2005, p. 126
  14. ^ Schweig 2005, p. 79
  15. ^ (1997) Medieval Indian Literature: An Anthology. New Delhi: Sahitya Akademi. ISBN 81-260-0365-0. p.327
  16. ^ Encyclopaedia of Indian Literature - p. 4290, Amaresh Datta, Mohan Lal,1994
  17. ^ Shanti Swarup (1968). 5000 Years of Arts and Crafts in India and Pakistan. New Delhi: D. B. Taraporevala, 272. p.183
  18. ^ Schwartz 2004, p. 35
  19. ^ Charlotte Vaudeville, "Evolution of Love Symbolism in Bhagavatism", Journal of the American Oriental Society LXXXII (1962), 39
  20. ^ Musical Saints of India www.sankeertanam.com
  21. ^ Chatterji, S.K.. "Purana Legends and the Prakrit Tradition in New Indo-Aryan". literary study of their lyric literature of Bengal Vaishnavism, has given a useful conspectus of the "Historical Development of the Radha-Krsna Legend"
  22. ^ Miller, S.B.S. (1975). "Radha: Consort of Krsna's Vernal Passion". Journal of the American Oriental Society 95 (4): 655-671. 
  23. ^ Stewart, T.K. (1986). "Singing the Glory of Lord Krishna: The" Srikrsnakirtana". Asian Folklore Studies 45 (1): 152-154. 
  24. ^ Valpey 2006, pp. 30-31
  25. ^ Valpey 2006, p. 52
  26. ^ Valpey 2006, p. 58
  27. ^ Valpey 2006, p. 75
  28. ^ The penny cyclopædia [ed. by G. Long]. 1843, p.390 [1]
  29. ^ Sharda Arya, Sudesh Narang, Religion and Philosophy of the Padma-purāṇa: Dharmaśāstra. Miranda House (University of Delhi). Dept. of Sanskrit, India University Grants Commission, 1988. 547, p.30
  30. ^ Melville T. Kennedy, The Chaitanya Movement: A Study of the Vaishnavism of Bengal, 1925. 270, p.7
  31. ^ Ramesh M. Dave, K. K. A. Venkatachari, The Bhakta-bhagawan Relationship: Paramabhakta Parmeshwara Sambandha. Sya. Go Mudgala, Bochasanvasi Shri Aksharpurushottama Sanstha, 1988. p.74
  32. ^ Shikshapatri, verse 109 by Bhagwan Swaminarayan.
  33. ^ Williams 2001, p. 74
  34. ^ Williams 2001, p. 96
  35. ^ Williams 2001, p. 85
  36. ^ Williams 2001, p. 59
  37. ^ Williams 2001, back matter
  38. ^ White, C.S.J. (1990). "Vallabhacarya on the Love Games of Krsna". Journal of the American Oriental Society 110 (2): 373-374. 
  39. ^ Snell, R. (1992). "Synoptic and sectarian bhakti in the poetry of Dhruvdas". [http://books.google.com/books?q=inpublisher:%22Cambridge+University+Press%22&source=gbs_summary_r&cad=0 Cambridge University Press]. 
  40. ^ Gaeffke, P. (1992). "How a Muslim looks at Hindu bhakti". [http://books.google.com/books?q=inpublisher:%22Cambridge+University+Press%22&source=gbs_summary_r&cad=0 Cambridge University Press]. p. 80
  41. ^ Rosen 2002, p. 117
  42. ^ Valpey 2006, p. 109


[edit] References

[edit] Further Reading

  • Kakar, Sudhir. "Erotic fantasy: the secret passion of Radha and Krishna",Contributions to Indian Sociology (New Series) 19, no.1 (Jan-June 1985):75-94.
  • Miller, Barbara Stoller. "The divine duality of Radha and Krishna", in The Divine Consort: Radha and the Goddesses of India, eds. J. S. Hawley and D. M. Wulff. Berkeley: University of California Press, 1982, pp. 13-26.
  • Patnaik, Debi Prasanna. "Concept of Radhakrishna in the Panchasakha Literature." Proceedings of Indian Oriental Conference 18 (1955):406-411.
  • Goswami, Sri Rupa. Bhakti-Rasamrta-Sindhuh. Vrindaban: Institute of Oriental Philosophy, 1965.
  • Prabhupada, A. C. Bhaktivedanta Swami. Krsna: The Supreme Personality of Godhead. [A Summary Study of Srila Vyasadeva’s Srimad-Bhagavatam, Tenth Canto.] Los Angeles: Bhaktivedanta Trust, 1970. 2 vols.
  • Wilson, Frances, ed. The Love of Krishna: The Krsnakarnamarta of Lilasuka Bilvamangala. Philadelphia: University of Pennsylvania Press, 1975
  • Vaudeville, Ch. "Evolution of Love-Symbolism in Bhagavatism." Journal of the American Oriental Society 82 (1962):31-40.
  • Wulff, D. M. The Divine Consort: Radha and the Goddesses of India, Berkeley: University of California Press. 1982

[edit] Links