Bhagavata Purana


The [List of works by Madhvacharya|]Bhagavata Purana, also known as the Srimad Bhagavatam , Srimad Bhagavata Mahapurana or simply Bhagavata , is one of Hinduism's eighteen major popular Puranas and central text in Vaishnavism. Composed in Sanskrit and traditionally attributed to Veda Vyasa, it promotes bhakti towards god Vishnu. Like other Puranas, it discusses a wide range of topics including cosmology, astronomy, genealogy, geography, legend, music, dance, yoga and culture.
The text consists of twelve books totalling 335 chapters and 18,000 verses. The tenth book, with about 4,000 verses, has been the most popular and widely studied. It is widely available in almost all Indian languages and was the first Purana to be translated into a European language, as a French translation of a Tamil version appeared in 1788 and introduced many Europeans to Hinduism and 18th-century Hindu culture during the colonial era.
The Bhagavata Purana offers a sophisticated Vaishnava theology that is grounded in the philosophical traditions of Vedanta and Samkhya, utilizing these systems in the service of bhakti. It has been interpreted as having a non-dualistic tenor, but also integrating themes from the Advaita philosophy of Adi Shankara with the Vishishtadvaita of Ramanujacharya and the Dvaita of Madhvacharya. The dualistic school of Madhvacharya has a rich tradition of commentaries expounding the dualistic interpretation of the Bhagavata which beginning with the
Bhagavata Tatparya Nirnaya.

Nomenclature

  • 'Bhagavata' means 'follower or worshipper of Vishnu'.
  • *'Bhagavan' means 'Blessed One', 'God', or 'Lord'. Krishna – the transcendental, primeval Personality of Godhead, avatar of Vishnu – is directly referred to as 'Bhagavan' throughout this scripture. It is stated in canto 1, chapter 3, verse 28, "kṛṣṇas tu bhagavān svayam" which A. C. [Bhaktivedanta Swami Prabhupada] translates as, "Lord Śrī Kṛṣṇa is the original Personality of Godhead."
  • 'Purana' means 'ancient' or 'old'. It also means 'complete' and 'completing' in the sense that a Purana 'completes the Vedas'.
  • 'Srimad' means 'radiant', 'holy', 'splendid', or 'glorious', and is an honorific religious title.
  • *'Sri' means 'wealth'. Lakshmi – Goddess of Wealth and Vishnu/Krishna's wife – is also referred to as 'Sri'.
  • *'Mad' means 'religion' or 'believed'.

Modern scholarship

Dating and origin

Modern scholarship dates its composition to between 500 CE to 1000 CE. A version of the text must have existed by 1030 CE, when it is mentioned by al Biruni and quoted by Abhinavagupta. Within this range, many scholars including Hardy, date its final redaction to the 9th or early 10th century.
However, many scholars argue for an earlier composition, placing much of the text in the Gupta period : Dennis Hudson's study of the Vaikunda Perumal Temple at Kanchipuram provides iconographic evidence that the temple's sculptural panels and layout parallel the Bhagavata Purana, suggesting the text's narratives were already well-established by that era. Gupta and Valpey affirm this interpretation, concluding that Hudson's findings "convincingly suggest" an early, Gupta-period provenance for substantial portions of the Purana, while noting that arguments for a specifically South-Indian origin remain inconclusive. Bryant summarizes modern scholarship, stating that the Bhagavata Purana "might well have reached its final form by the Gupta period". This earlier dating is supported by its use of Vedic archaisms throughout the text, as well as dynastic lists that conclude before the Gupta era. Bryant also suggests that the text was likely composed in North India because northern references and "historical Puranic stories" are more numerous than southern ones.
In contrast, Sheridan argues that the Bhagavata Purana was written by a group of learned Brahmin ascetics, probably in South India, who were well versed in Vedic and ancient Indian literature and influenced by the Alvars. The Bhagavata Purana 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 ; 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. However, J. A. B. van Buitenen points out that 10th–11th CE South Indian Vaishnava theologians Yamuna and Ramanuja do not refer to Bhagavata Purana in their writings, and this anomaly must be explained before the geographical origins and dating are regarded as definitive.

Content and structure

The Bhagavata Purana consists of twelve skhandas or cantos consisting of 18,000 verses of several interconnected, interwoven, and non-linear dialogues, teachings, and explanations espousing Bhakti Yoga that go back and forth in time:

Stated authorship and purpose

From the N. P. Jain for Motilal Banarsidass translation:
A unique and especial emphasis is placed on fostering transcendental loving devotion to Krishna as the ultimate good, i.e. for its own sake rather than for fruitive results or rewards such as detachment or worldly or heavenly gains, a practice known as Bhakti Yoga:

Puranic characteristics

As detailed in the Matsya Mahapurana, all Puranas must cover at least five specific subjects or topics referred to in Sanskrit as Pancha Lakshana – in addition to other information including specific deities and the four aims or goals of life. From the K. L. Joshi translation:
Srimad Bhagavatam covers ten characteristics, while lesser Puranas cover five characteristics. SB 2.10.1 lists the ten characteristics as: "the creation of the universe, subcreation, planetary systems, protection by the Lord, the creative impetus, the change of Manus, the science of God, returning home, liberation and the summum bonum". Jiva Goswami explains that the ten characteristics in the Srimad Bhagavatam are spread across all twelve cantos. Each canto discusses different aspects of these topics with varying emphasis, covering all key aspects of human knowledge without following a strict order.

Manuscripts

According to Hariprasad Gangashankar Shastri, the oldest surviving manuscript dates to c. 1124-25 and is held in the Sampurnananda Sanskrit Vishvavidyalaya in Varanasi.
Poetic or artistic license with existing materials is a strong tradition in Indian culture, a 'tradition of several hundred years of linguistic creativity'. There are variations of original manuscripts available for some Purana, The common manuscript for translations of the Bhagavata Purana – seemingly used by both Swami Prabhupada and Bibek Debroy – is the Bhāgavatamahāpurāṇam a reprint of Khemraj Shri Krishnadas' manuscript. In regard to variances in Puranic manuscripts, Gregory Bailey states:

Cantos (skandhas)

SB 1.1.3 original Sanskrit:

First Canto

Consisting of 19 chapters, the first canto opens with an invocation to Krishna and the assertion that the Srimad Bhagatavam, compiled by Vyasadeva, is sufficient alone to realise God. The overarching narration begins at the onset of Kali Yuga as a dialogue between Sukadeva Gosvami and a group of sages headed by Saunaka, as they perform a thousand-year sacrifice for Krishna and his devotees in the forest of Naimisaranya. Questioned by the sages, topics covered by Suka Gosvami include the:
  • Birth of Pariksit – protected in the womb by Krishna – in the aftermath of the devastating Kurukshetra War
  • Appearance and instruction of Narada to Vyasadeva on the composition of the Srimad Bhagavatam
  • Meditation and inspiration of Vyasadeva on the western bank of the Sarasvati river to compile and revise the Bhagavata
  • Teaching of the Bhagavata by Vyasadeva to his already-liberated son, Suka Gosvami
  • Departure and disappearance of Krishna, followed by the signs and onset of Kali Yuga
  • Retirement of the Pandavas and consequent enthronement of Pariksit
  • Attempts of Pariksit to stem the influence of Kali before being cursed by a Brahmana boy to die within seven days
  • Renunciation of Pariksit, who decided to fast until death on the banks of the Ganges in devotion to Krishna
  • Arrival of sages and their disciples to Pariksit's fast, followed by Suta Gosvami

SB 1.3.38 original Sanskrit:

Second Canto

Consisting of 10 chapters, the second canto opens with an invocation to Krishna. The second layer of overarching narration begins as a dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. Questioned by Pariksit, the topics covered by Sukadeva Gosvami include the:
SB 2.5.35 original Sanskrit:

Third Canto

Consisting of 33 chapters, the third canto continues the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. Vidura, the sudra incarnation of Yama and devotee of Krishna, is the main protagonist narrated. After being thrown out of his home by King Dhritarashtra for admonishing the Kaurava's ignoble behaviour towards the Pandavas, Vidura went on a pilgrimage where he met other devotees of Krishna such as Uddhava and the sage Maitreya; their dialogues form a third layer of narration. Topics covered by Sukadeva Gosvami, Uddhava, and Maitreya include the:
SB 3.25.25 original Sanskrit:

Fourth Canto

Consisting of 31 chapters, the fourth canto continues the dialogues of Sukadeva Gosvami, Uddhava, and Maitreya. There are additional layers of dialogue, such as between the sage-avatar Narada and King Pracinabharhisat. Focusing on the female descendants of Svayambhuva Manu, topics covered include the:
  • Genealogies of the daughters of Svayambhuva Manu and of Dhruva
  • Enmity between Daksa and Shiva, self-immolation of Sati, and attack by Shiva on Daksa's ritual
  • Tapasya and liberation of Dhruva, including advice from Narada, his vision of Vishnu, and battles between Dhruva and the Yaksas
  • Killing of the tyrant-king Vena by Brahmins before the appearance of the king Prthu to restore abundance of the Earth
  • Allegorical story, descriptions, and characteristics of King Puranjana, who was reborn as a woman due to thinking of his wife when he died
  • Activities of the Pracetas, including meeting with Shiva, instruction from Narada, and ultimate liberation
  • Qualities of Krishna, Vaishnava devotion, the soul, the super-soul, and materialistic life

SB 4.16.17 original Sanskrit:

Fifth Canto

Consisting of 26 chapters, the fifth canto focuses on the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. Notable additional layers of dialogue are between the avatar Rsabha and his sons, and between Bharata and King Rahugana. Topics covered include the:
  • Appearance, life, and teachings of the publicly abused avatar Rsabha, the first Tirthankara of Jainism
  • Appearance of Hayagriva to return vedic knowledge to Brahma
  • Activities, character, teachings, and liberation of King Bharata
  • Activities and descendants of King Priyavrata, whose chariot wheels created the seven oceans and islands
  • Descriptions of the universe, sun, orbits of the planets, and the heavenly and hellish planets
  • Flow of the Ganges and expansion of Narayana as Vasudeva, Sankarsana, Pradyumna, and Aniruddha
  • Glories of Ananta / Sankarsana / Shesha / Tamasi
SB 5.5.1 original Sanskrit:

Sixth Canto

Consisting of 19 chapters, the sixth canto continues with the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. A notable additional layer of dialogue is between Yama and his messengers. With the main focus on the battles of the demon-devotee Vrtrasura and his armies against the demigods led by Indra, as well as the life of King Citraketu, topics covered include the:
  • Life of Ajamila, a Brahmin that lost liberation due to sex-attraction but was liberated due to calling his son – Narayana – upon death
  • Instructions of Yamaraja to his messengers about justice, punishment, chanting, Vishnu's messengers, and surrender to Krishna
  • Curse of Daksa on Narada, and a genealogy of the daughters of Daksa
  • Offence of Indra to Brhaspati, the appearance of Vrtrasura to battle the demigods, their prayers to Narayana and Vrtrasura's death
  • Story of King Chitraketu, the murder of his son, instruction from Narada and Angiras, meeting with Krishna, and curse by Parvati
  • Vow of Diti to kill Indra, her embryo being cut into 49 pieces by Indra but saved by Vishnu, and her purification through devotion
  • Performance of the Pumsavana ceremony for pregnancy with prayers to Vishnu and Lakshmi
SB 6.3.13 original Sanskrit:

Seventh Canto

Consisting of 15 chapters, the seventh canto continues with the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. A notable additional layer of dialogue is between Narada and Yudhishthira about Prahlada, the devotee-son of the demon-King Hiranyakasipu. Prahlada, protected by Vishnu, survives multiple attempts to kill him until the arrival of the Nrsimha avatar to destroy his father, who could not be killed by any weapon, by any man or beast, or in the water, air, or on land. Topics covered include the:
  • Vow of demon-King Hiranyakasipu to destroy Vishnu, his austerities to become invincible, and conquering of the entire universe
  • Birth, abuse, and teachings of the devotee Prahlada, son of Hiranyakasipu, protected from death by Vishnu
  • Arrival of the Nrsimha avatar to destroy Hiranyakasipu, later pacified by the prayers of Prahlada
  • Perfect society in the form of the four social and four spiritual classes or orders
  • Behaviour of a good person, ideal family life, and instructions to be civilised
  • Exposition that the absolute truth is a person – Vishnu – who is the master and controller of all universe.
  • Previous incarnations of Narada, and that Krishna lived with the Pandavas like an ordinary human being
SB 7.14.9 original Sanskrit:

Eighth Canto

Consisting of 24 chapters, the eighth canto continues the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. A notable additional layer of dialogue is between the Vamana avatar and King Bali about the demon-King Hiranyakasipu. Topics covered include the:
SB 8.5.30 original Sanskrit:
In 7th chapter of eighth canto mentioned Shiva is also non different from Brahman. He is supreme ruler of the universe and the eternal refugee of all living beings.
Gita Press:

Ninth Canto

Consisting of 24 chapters, the ninth canto continues the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. With no notable additional layers of dialogue, the primary focus is upon the male dynasties of various ruling figures. Topics covered include the:
  • Pastimes of the Rama avatar that destroyed the demon-King Ravana
  • Appearance of the Parashurama avatar to repeatedly destroy the corrupt, Godless ruling class
  • Genealogy and downfall of Saubhari Muni due to sex-desire, and his liberation through performing austerities
  • Story of King Yayati, cursed to suffer old age; after passing the curse to his son, he learned the futility of sense-pleasure and achieved liberation
  • Story of King Pururava, beguiled by the Apsara Urvasi, until he sated his lusty desires with a ceremonial fire
  • Genealogies of the sons of Svayambhuva Manu, and of the Kings Mandhata, Amsuman, Yayati, Bharata, Ajamidha, Puru, and Pururava
  • Genealogy of Krishna, and brief descriptions of His beauty and pastimes
SB 9.24.59.60 original Sanskrit:

Tenth Canto

Consisting of 90 chapters, the tenth canto continues the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. Notable additional layers of dialogue all involve the lila of the supreme and transcendental Krishna avatar. Thus focusing on the appearance and pastimes of Krishna, topics covered include the:
  • Imprisonment of Krishna's parents, the murder of His siblings, and attempted murder of baby Krishna by King Kamsa
  • Fostering of Krishna and Balarama by Nanda and Yashoda ; Yashoda saw the universal form in boy-Krishna's mouth
  • Attempts on baby and boy-Krishna's life by various demons, mostly sent by Kamsa
  • Chastisement of Kaliya, swallowing of a forest fire, lifting of Govardhana Hill, stealing of Gopis' clothes, and the Rasa dance
  • Raas Leela is described very thoroughly and is shown in great detail in the Tenth Canto.
  • Defeat of numerous demonic foes to diminish the burden of the Earth
  • Marriages to over 16,000 wives, establishment of Dvaraka, return of the Syamantaka Jewel, and washing of Narada's feet
  • Defeat of Banasura and Shiva, daily activities, blessing of Sudama, blessing of His devotees, saving of Shiva from Vrkasura, and summary of glories
SB 10.90.50 original Sanskrit:

Study

The largest canto with 4,000 verses, the tenth canto is also the most popular and widely studied part of the Bhagavata. It has also been translated, commented on, and published separately from the rest of the Srimad Bhagavatam.

Eleventh Canto

Consisting of 31 chapters, the eleventh canto continues the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. Notable additional layers of dialogue are between Narada and Vasudeva, and between Krishna and Uddhava. Topics covered include the:
  • Curse and destruction of the Yadu Dynasty at Prabhasa to relieve the burden of the Earth
  • Appearance of the Hamsa avatar to answer the questions of the sons of Brahma
  • Discourse of Narada to Vasudeva about the instruction of the '9 Yogendras' to King Nimi about Bhakti for Krishna
  • Final teachings of Krishna to Uddhava at Dvaraka
  • Disappearance of Krishna after being shot in the foot by the hunter, Jara
  • Flood and destruction of Dvarka

SB 11.7.33–35 original Sanskrit:

The Uddhava or Hamsa Gita

Containing the final teachings of Krishna to His devotee Uddhava, the eleventh canto is also referred to as the 'Uddhava Gita' or 'Hamsa Gita'. Like the tenth canto, it has also been translated and published separately, usually as a companion or 'sequel' to the Bhagavad Gita. 'Hamsa' means 'swan' or 'spirit', and:
  • Is the name of the single class or order of society in Satya Yuga, the first and purest of the four cyclical yugas
  • Symbolises Brahman in Hinduism
  • Is the mount ridden by Brahma
  • Is the name of the tenth avatar of Vishnu that taught the Vedas to Brahma.

Twelfth Canto

Consisting of 13 chapters, the twelfth and final canto completes the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river, and ends with the overarching dialogue between Sukadeva Gosvami and the group of sages led by Saunaka, at the forest of Naimisaranya. Focusing on prophecies and signs of Kali Yuga, topics covered in this canto include the:
  • Degradation of rulers as liars and plunderers, and the symptoms of the age of Kali
  • A list of the future rulers of the world, and the way they attained downfall
  • Final instructions to and death of Pariksit due to his curse
  • Prayers of sage Markandeya to Nara-Narayana, resistance to Kamadeva sent by Indra to break his vows, and glorification by Shiva and Uma
  • Four categories of universal annihilation
  • Appearance of the Kalki avatar to destroy evil at the end of Kali Yuga
  • Description of the lesser and greater Puranas, and the eighteen major Puranas
  • Description of the Mahapurusa
  • Summary and glories of the Srimad Bhagavatam
SB 12.13.11–12 original Sanskrit:

Philosophy

While Bhakti Yoga and Dvaita Vedanta are the prominent teachings, states T. S. Rukmani, various passages show a synthesis that also includes Samkhya, Yoga, Vedanta, and Advaita Vedanta.

Bhakti

Cutler states the Bhagavata Purana is among the most important texts on bhakti, presenting a fully developed teaching that originated with the Bhagavad Gita. Bryant states that while classical yoga attempts to shut down the mind and senses, Bhakti Yoga in the Bhagavata teaches that the mind is transformed by filling it with thoughts of Krishna.
Matchett states that in addition to various didactic philosophical passages the Bhagavata also describes one of the activities that can lead to liberation as listening to, reflecting on the stories of, and sharing devotion for Vishnu with others. Bhakti is depicted in the Purana, adds Matchett, as both an overpowering emotion as well as a way of life that is rational and deliberately cultivated.

Samkhya

Surendranath Dasgupta describes the theistic Samkhya philosophy taught by Kapila in the Bhagavata as the dominant philosophy in the text.
Sheridan points out that in the Third Canto, Kapila is described as an avatar of Vishnu, born as the son of the Prajapati Kardama, in order to share the knowledge of self-realization and liberation with his mother, Devahuti; in the Eleventh Canto, Krishna also teaches Samkhya to Uddhava, describing the world as an illusion, and the individual as dreaming, even while in the waking state. Krishna expounds Samhkhya and Yoga as the way of overcoming the dream, with the goal being Krishna Himself.
Sheridan also states that the treatment of Samkhya in the Bhagavata is also changed by its emphasis on devotion, as does Dasgupta, adding it is somewhat different from other classical Samkhya texts.

Advaita

Kumar Das and Sheridan state that the Bhagavata frequently discusses a distinctly advaitic or non-dualistic philosophy of Shankara. Rukmani adds that the concept of moksha is explained as Ekatva and Sayujya, wherein one is completely lost in Brahman. This, states Rukmani, is proclamation of a 'return of the individual soul to the Absolute and its merging into the Absolute', which is unmistakably advaitic. The Bhagavata Purana is also stated to parallel the non-duality of Adi Shankara by Sheridan. As an example:
Scholars describe this philosophy as built on the foundation of non-dualism in the Upanishads, and term it as "Advaitic Theism". This term 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. God in this philosophy is within and is not different from the individual self, states Sheridan, and transcends the limitations of specificity and temporality. Sheridan also describes Advaitic Theism as a "both/and" solution for the questions of whether God is transcendent or immanent, and credits the Bhāgavata with a 'truly creative religious moment' for introducing this philosophy. The text suggests that God Vishnu and the soul in all beings is one in quality.
Bryant states that the monism in Bhagavata Purana is certainly built on Vedanta foundations, but not exactly the same as the monism of Adi Shankara. The Bhagavata asserts, according to Bryant, that the empirical and the spiritual universe are both metaphysical realities, and manifestations of the same Oneness, just like heat and light are "real but different" manifestations of sunlight. Bryant notes that the tenth book of the Bhagavata does not, as is conventional for non-dualist schools, understand Krishna's form to be a "secondary derivation," which can be subsumed within the impersonal absolute. Rather than describe Brahman to be ultimately formless, the tenth book ascribes an "eternal personal element" to Brahman.

Dharma

Kurmas Das states the Bhagavata Purana conceptualizes a form of Dharma that competes with that of the Vedas, suggesting that Bhakti ultimately leads to Self-knowledge, Moksha and bliss. The earliest mention of bhakti is found in the Shvetashvatara Upanishad verse 6.23, but scholars such as Max Muller state that the word Bhakti appears only once in this Upanishad; and that being in one last verse of the epilogue it could be a later addition, and that the context suggests that it is a panentheistic idea and not theistic.
Scholarly consensus sees bhakti as a post-Vedic movement that developed primarily during the Puranas era of Indian history. The Bhagavata Purana develops the Bhakti concept more elaborately, states Cutler, proposing "worship without ulterior motive and with kind disposition towards all" as Dharma. T.R. Sharma states the text includes in its scope intellectual and emotional devotion as well as Advaita Vedanta ideas.
The text does not subscribe, states Gupta and Valpey, to context-less "categorical notions of justice or morality", but suggests that "Dharma depends on context". They add that in a positive or neutral context, ethics and moral behavior must be adhered to; and when persistently persecuted by evil, anything that reduces the strength of the "evil and poisonous circumstances" is good. That which is motivated by, furthers, and enables bhakti is the golden standard of Dharma.

Yoga

Sarma states that the Bhagavata Purana describes all steps of yoga practice, and characterizes yoga as bhakti, asserting that the most important aspect is the spiritual goal. According to Sarma and Rukmani, the text dedicates numerous chapters to yoga, such as Canto 10, which begins with a declaration that Siddhi results from concentrating one's mind on Krishna, adding this substitutes the concept of a "personal god" in the Yogasutras of Patanjali, and contrasts with Patanjali's view that Siddhi is considered powerful but an obstacle to Samadhi.
In other chapters of the text, Rukmani states, Śuka describes different meditations on aspects of Krishna, in a way that is similar to the Yoga Sutras of Patanjali. However, adds Bryant, the Bhagavata Purana recommends the object of concentration as Krishna, thus folding in yoga as a form of bhakti and the "union with the divine". Bryant describes the synthesis of ideas in Bhagavata Purana as:
Sheridan as well as Pintchman affirm Bryant's view, adding that the Vedantic view emphasized in the Bhagavata is non-dualist, as described within a reality of plural forms.

Maya

In Vedanta, Maya is frequently depicted as a deceptive or deluding energy. Conversely, the Bhagavata Purana presents Maya as divine energy through which Krishna manifests the material universe, including its elements, universes, bodies, senses, and minds, contributing to the richness and diversity of the phenomenal world. This process is not just entrapment but also a path to liberation for beings caught in the cycle of birth and death. Maya's illusionary powers, though binding individuals to temporal existence, ultimately facilitate their spiritual growth and release.

Suffering

In explaining suffering, the Bhagavata Purana acknowledges karma as a central principle, where actions in past lives influence current and future existences, shaping one's destiny and experiences in subsequent lifetimes. However, it also critiques the adequacy of karma in fully explaining suffering and explores time as a significant factor in suffering. Time, personified by Sudarshana Chakra, is shown as an unstoppable force that brings both end and renewal, acting indiscriminately upon all beings. Despite time's overwhelming power, the text suggests that sincere devotion to God and surrender to the divine can enable devout souls to overcome the influence of time and karma, ultimately leading to spiritual liberation.

Lila

The Bhagavata Purana argues that the play of God is central to understanding his actions in the world. Despite having everything and being able to make his wishes reality, Krishna engages in various activities and interactions with devotees out of joy and divine play, rather than out of any necessity or compulsion. By participating in Krishna's lila, individuals can transcend the limitations and suffering of the material world and ultimately achieve liberation from time's constraints.

Significance

The source of many popular stories of Krishna's pastimes for centuries in the Indian subcontinent, the Bhagavata Purana is widely recognized as the best-known and most influential of the Puranas, and as a part of Vedic literature '' is referred to as the "Fifth Veda". It is important in Indian religious literature for its emphasis on the practice of devotion compared to the more theoretical approach of the Bhagavad Gita, for challenging the ritualism of the Vedas, and for its extended description of a God in human form.

Relation to other texts

The Bhagavata Purana aligns itself with canonical texts like Brahma Sutras and Rigveda by echoing their verses at various points throughout its narrative. It claims equality with the Vedas and reinterprets their themes to emphasize the supremacy of Krishna. It transforms the descriptions of Vishnu's deeds found in the Vishnu Sukta into narratives centered around Krishna's actions. The Bhagavata Purana does not directly reference the Bhagavad Gita, which is part of the Mahabharata. Instead, it includes the teachings similar to those found in the Bhagavad Gita in the form of dialogues between Krishna and Uddhava in Canto 11.

Hindu Festivals

The stories in the Bhagavata Purana are also the legends quoted by one generation to the next in Vaishnavism, during annual festivals such as Holi and Diwali.
The International Society for Krishna Consciousness celebrates the promise of Canto 12, Chapter 13, Verse 13 by distributing sets of Srimad Bhagavatam leading up to the full-moon day of the month of Bhādra in India and around the world.

Vaishnavism

Gaudiya Vaishnavism

The Bhagavata has played a significant role in the emergence of the Krishna-bhakti movement of Chaitanya, in Bengal. The scriptural basis for the belief that Chaitanya is an avatar of Krishna is found in verses such as the following :
Chaitanya is commonly referred to as 'Gauranga' in regards to His golden complexion, and is most notable for popularising the Hare Krishna maha-mantra. In regards to not being explicitly named as an avatar in the Bhagavata, this is also explained :
The key word in this verse in regards to Krishna incarnating in the age of Kali Yuga is 'channaḥ','' which means ' hidden', 'secret', or 'disguised'. In Gaudiya Vaishnavism, Chaitanya is accepted as a hidden avatar of Krishna who appeared in the age of Kali as His own devotee to show the easiest way to achieve Krishna Consciousness. Modern Gaudiya movements such as the Gaudiya Math and others established by disciples of Bhaktisiddhanta Sarasvati, such as the International Society for Krishna Consciousness and the Sri Chaitanya Saraswat Math, trace their disciplic lineages back directly to Chaitanya.

Other Vaishnava Traditions

In the 15th–16th century Ekasarana Dharma in Assam, a panentheistic tradition whose proponents, Sankardeva and Madhavdeva, acknowledge that their theological positions are rooted in the Bhagavata Purana, purged of doctrines that find no place in Assamese Vaishnavism and adding a monist commentary instead.
In northern and western India the Bhagavata Purana has influenced the Hari Bhakti Vilasa and Haveli-style Krishna temples found in Braj region near Mathura-Vrindavan. The text complements the Pancharatra Agama texts of Vaishnavism. While the text focuses on Krishna "Narayana himself appears and explains how Brahma and Shiva should never be seen as independent and different from him". The sixth book includes the feminine principle as Shakti, or goddess Devi, conceptualizing her as the "energy and creative power" of the masculine yet a manifestation of a sexless Brahman, presented in a language suffused with Hindu monism.

Jainism and Buddhism

The fifth canto of the Bhagavata Purana is significant for its inclusion of legends about the first Tirthankara of Jainism, Rishabha, as an avatar of Vishnu. Further, his father Nabhi is mentioned as one of the Manus and his mother Marudevi also finds a mention. It further mentions the 100 sons of Rishabha including Bharata. While homage to Shakyamuni Buddha is included in by declaring him as an avatar of Vishnu, the interpretation of Buddhism-related stories in the Purana range from honor to ambivalence to polemics wherein prophecies predict some will distort and misrepresent the teachings of the Vedas, and attempt to sow confusion. According to T. S. Rukmani, the Bhagavata Purana is also significant in asserting that Yoga practice is a form of Bhakti.

The Arts

The Bhagavata Purana played a key role in the history of Indian theatre, music, and dance, particularly through the tradition of Ras ''Leela. These are dramatic enactments about Krishna's pastimes. Some of the text's legends have inspired secondary theatre literature such as the eroticism in Gita Govinda. While Indian dance and music theatre traces its origins to the ancient Sama Veda and Natyasastra texts, the Bhagavata Purana and other Krishna-related texts such as Harivamsa and Vishnu Purana have inspired numerous choreographic themes.
Many 'Ras' plays dramatise episodes related in the Rasa Panchadhyayi of the Bhagavatam. The Bhagavatam also encourages theatrical performance as a means to propagate the faith, and this has led to the emergence of several theatrical forms centred on Krishna all across India. Canto 10 of Bhagavatam'' is regarded as the inspiration for many classical dance styles such as Kathak, Odissi, Manipuri and Bharatnatyam. Bryant summarizes the influence as follows,

Modern reception

In the 20th century, the Bhagavata Purana became widely popular as it spread beyond India, translated into over twenty languages and respected by people worldwide.

Bhaktivedanta Swami

Bhaktivedanta Swami significantly impacted the global recognition of the Bhagavata Purana. Bhaktivedanta Swami, raised in a devout Vaishnava family, embraced the Caitanya tradition in 1932. Between 1962 and 1965, he devoted himself to translating the Bhagavata Purana into English, a departure from earlier works focusing on Caitanya's life and teachings. While lacking formal traditional education, he was deeply familiar with the teachings of Caitanya and the insights of ancient commentators through self-study. He made the Bhagavata Purana meaningful to modern readers, and his way of explaining the text made it easier to understand and relevant to modern world. He appealed to young people who were looking for something different from mainstream religion.

Commentaries and translations

Commentaries

The Bhagavata Purana is one of the most commented texts in Indian literature. There is a saying in Sanskrit – vidyā bhāgavatāvadhi – Bhāgavatam is the limit of one's learning. Hence throughout the centuries it attracted a host of commentators from all schools of Krishna worshippers. Over eighty medieval era Bhāṣya in Sanskrit alone are known, and many more commentaries exist in various Indian languages. The oldest exegetical commentary presently known is Tantra-Bhagavata from the Pancaratra school. Other commentaries include:

Advaita Vedanta commentaries

Acintya-bhedābheda">Acintya Bheda Abheda">Acintya-bhedābheda Commentaries

[Dvaita] commentaries

[Dvaitādvaita] Commentaries

  • Siddhānta pradīpikā – Śuka-sudhī

Suddhādvaita">Shuddhadvaita">Suddhādvaita Commentaries

  • Subodhinī by Vallabha
  • Bhāgavatārtha-prakaraṇa by Vallabha
  • Daśama-skandha anukramaṇikā by Vallabha
  • Ṭippaṇī – Gosvāmī Viṭṭhalanātha
  • Subodhinī-prakāśa – Gosvāmī Puruṣhottama
  • Bāla-prabodhinī – Gosvāmī Giridharlāl
  • Viśuddha-rasa-dīpikā – Kishorī Prasāda

[Viśiṣṭādvaita] Commentaries

  • Śuka pakṣīyā – Sudarśana sūri
  • Bhāgavata-candrikā – Vīrarāghava – elaborate commentary
  • Bhakta-rañjanī – Bhagavat prasāda

Others

Hanumad-bhāṣyaVāsanā-bhāṣyaSambandhoktiVidvat-kāmadhenuParamahaṁsa-priyāŚuka-hṛdayaMuktā-phala and Hari-līlāmṛta by VopadevaBhakti-ratnāvali by ViṣṇupurīBhakti-ratnākara by Srimanta Sankardev Ekanathi Bhagavata by Saint Eknath of Paithan
  • Narayaneeyam by Melpathur Bhattathiri of Kerala
  • Bhāvārtha-dīpikā-prakāśa – Vaṁśīdhara
  • Anvitārtha prakāśikā – Gaṅgāsahāya
  • Bhagavata-Purana by S.S. Shulba ; other Sanskrit manuscripts are availableA study of the Bhagavata Purana or Esoteric Hinduism by P.N. Sinha

Translations

The Bhagavata has been rendered into various Indian and non-Indian languages. A version of it is available in almost every Indian language, with forty translations alone in the Bengali language. From the eighteenth century onwards, the text became the subject of scholarly interest and Victorian disapproval, with the publication of a French translation followed by an English one. The following is a partial list of translations:

Assamese">Assamese language">Assamese

Bhagavata of Sankara
  • ''Katha Bhagavata by Bhattadeva ''

Bengali">Bengali language">Bengali

  • Śrī Kṛṣṇa-vijaya by Maladhara Basu, a translation of the 10th Canto and a bit from othersKṛṣṇa-prema-taraṅginī by Śrī Raghunātha Bhāgavatācārya

Gurmukhi

10th Book of Bhagvad Purana under title Krishna Avtar written by Guru Gobind Singh in Dasam Granth

Hindi

Bhagavata Mahapurana published by Gita Press

[Kannada]

  • by Dr. Vyasanakere Prabhanjanachar
  • by Dr. Vyasanakere Prabhanjanachar
  • in Kannada Pravachana by Dr. Vyasanakere PrabhanjanacharBhagavata Mahapurana by Vidwan Motaganahalli Ramashesha Sastri
OdiaOdia Bhagabata by Jagannatha Dasa

Telugu

English

  • The Śrīmad Bhāgavatam by A. C. Bhaktivedanta Swami Prabhupada. Swami Prabhupada completed cantos 1 through 9 and the first thirteen chapters of canto 10 before he died. After his departure, a team of his disciples completed the work, which was then published by the Bhaktivedenta Book Trust.
  • A prose English translation of Shrimadbhagabatam by M.N. Dutt
  • Bhagavata Purana by Motilal Banarsidass Publishers The Srimad Bhagavatam by J.M. Sanyal
  • The Bhagavata Purana by Ganesh Vasudeo Tagare
  • Srimad Bhagavata by Swami Tapasyananda
  • A Translation by B.P. Yati Maharaj of Mayapur Sri Chaitanya Math
  • Reading from Bhagabata by Gananath Das which has been translated from Odia BhagabataBhagavata Mahapurana by C.L. Goswami and M.A. Shastri
  • Śrīmad Bhāgavatam with the Sārārtha-darśinī commentary of Viśvanātha Cakravartī by Swami Bhānu
  • Srimad Bhagavata Purana by Anand Aadhar The Bhagavata Purana by Bibek Debroy

English (partial translations and paraphrases)

  • Kṛṣṇa: The Supreme Personality of Godhead by A. C. Bhaktivedanta Swami Prabhupada
  • Vallabhacarya on the Love Games of Krishna by James D. Redington
  • The Bhagavata Purana; Book X by Nandini Nopani and P. Lal Krishna: The Beautiful Legend of God: Srimad Bhagavata Purana Book X by Edwin F. Bryant The Wisdom of God: Srimat Bhagavatam by Swami Prabhavananda The Uddhava Gita by Swami Ambikananda Saraswati Bhagavata Purana by Ramesh Menon Śrīmad Bhāgavatam: A Symphony of Commentaries on the Tenth Canto in six volumes by Gaurapada Dāsa, M.A. & Matsya Avatāra Dāsa Bhakti Yoga: Tales and Teachings from the Bhagavata Purana by Edwin F. Bryant
  • Śrīmad Bhāgavatam with the Krama-sandarbha commentary of Jīva Gosvāmī by Swami Bhānu
  • Bṛhad-vaiṣṇnava-toṣaṇī of Sanātana Gosvāmī by Swami Bhānu
  • Laghu-vaiṣṇava-toṣaṇī of Jīva Gosvāmī by Swami Bhānu
  • Śrīmad Bhāgavatam with the Vaiṣṇavānandinī commentary of Baladeva Vidyābhūṣaṇa by Swami Bhānu

French

Bagavadam ou Bhagavata Purana by Maridas Poullé Le Bhagavata Purana by Eugene Burnouf