Pub Date : 2018-08-30DOI: 10.1093/OSO/9780199478866.003.0021
Emilia Bachrach
Emilia Bachrach paints a vivid ethnographic picture of vārtā satsaṅgs in present-day Ahmadabad—meetings in which female members of the Vallabha Sampraday read and discuss sections of the Sampraday’s two central hagiographies, the Caurāsī vaiṣṇavan kī vārtā and the Do sau bhāvan vaiṣṇavan kī vārtā. Showing how these women use the stories of the saint’s lives to understand and navigate their own social and religious worlds, Bachrach argues that such religious reading practices are an active and productive process, providing a space for debate, interpretation, and exploration of sectarian identity.
艾米利亚·巴赫拉赫(Emilia Bachrach)描绘了一幅生动的民族志图片,在今天的艾哈迈迪巴德会议上,瓦拉巴Sampraday的女性成员阅读并讨论了Sampraday的两部中心圣徒传记Caurāsī vaiṣṇavan k ā vārtā和Do sau bhāvan vaiṣṇavan k ā vārtā的部分内容。巴赫拉赫展示了这些妇女如何利用圣人的生活故事来理解和驾驭她们自己的社会和宗教世界,他认为这种宗教阅读实践是一个积极而富有成效的过程,为辩论、解释和探索宗派认同提供了空间。
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Pub Date : 2018-08-30DOI: 10.1093/OSO/9780199478866.003.0017
Shrivatsa Goswami
Shrivatsa Goswami examines the ways in which Gopāl Bhaṭṭ, interacting with Chaitanya Mahaprabhu and being a southerner by birth, played a key role in establishing the philosophical perspectives and ritual practices that characterized the new Gaudiya sampradaya being formed at Vrindavan in the first half of the sixteenth century. In doing so, he analyses important features of Gopal Bhatt’s two major works, the Ṣat-Sandarbha (Six Treatises) often mistakenly attributed to Jīva Gosvāmī, and the Haribhaktivilāsa (The Pleasure of Worshiping Hari). It emerges, among other things, that there is an element of mystery as to how Gopāl Bhaṭṭ’s philosophical statements relate to his pronouncements on devotional practice.
Shrivatsa Goswami考察了Gopāl Bhaṭṭ与Chaitanya Mahaprabhu互动的方式,作为南方人,在16世纪上半叶在温达文形成的新Gaudiya sampradaya的哲学观点和仪式实践中发挥了关键作用。在此过程中,他分析了戈帕尔·巴特的两部主要作品的重要特征,一部是经常被错误地认为是jj ā va Gosvāmī的《六篇论文》,另一部是Haribhaktivilāsa(拜哈里的乐趣)。它出现了,在其他事情中,有一个神秘的元素,Gopāl Bhaṭṭ的哲学陈述是如何与他对虔诚实践的声明联系起来的。
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Pub Date : 2018-08-30DOI: 10.1093/OSO/9780199478866.003.0020
Rembert Lutjeharms
Examining the Padyāvalī of the preeminent Gaudiya theologian Rupa Gosvami, Lutjeharms examines how Rupa creatively arranges both religious and non-religious verses by numerous poets into a dissertation that evinces intimate familiarity with Vedanta (particularly Advaita Vedanta), but ultimately establishes bhakti as being superior to Vedanta’s primary object, liberation. Redrawing the lines between Vedanta and Vaishnavism also affords Rupa the opportunity to distinguish Chaitanyaite theology from that of other Vaishnava sects like the Sri Vaishnava Sampraday, which had also wrestled with Vedanta in its own theological literature.
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Pub Date : 2018-08-30DOI: 10.1093/oso/9780199478866.003.0004
Samuel Wright
The movement of material between Sanskrit and the vernacular was by no means unidirectional, as Samuel Wright demonstrates in his analysis of Radhamohan Thakkur’s Mahābhāvānusāriṇī-ṭīkā, a Sanskrit commentary on Bengali devotional poetry. Wright breaks down the techniques employed by Radhamohan in his exegesis of Gaudiya Vaishnava poetry, particularly his use of Sanskrit lexicon in the glossing of Bengali words and his emphasis on the technique of śleṣa (punning). He argues that Radhamohan’s apposition of Sanskrit and the vernacular though such techniques was an attempt not only to show that Sanskrit poetic theory could be used to explain how vernacular poetry ‘works’ (that is, achieves its effects), but also to establish that such vernacular poetry worked as literature, a distinction previously accorded only to Sanskrit.
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Pub Date : 2018-08-30DOI: 10.1093/OSO/9780199478866.003.0001
I. Bangha
Imre Bangha locates the source of what would later become the literary idioms associated with the Hindi heartland—Brajbhasha, Avadhi, Khari Boli, and so on—in Maru-Gurjar, an idiom originating not in the Gangetic plain but in western India, particularly the lands of modern Gujarat and western Rajasthan. Bangha argues that it was this literary language, originally cultivated by Jains beginning in the late twelfth century, that eventually spread to the lands known as madhyadeś, where in the course of the fourteenth and fifteenth centuries it developed into the forms that we now associate with Brajbhasha and Avadhi. Bangha also reveals that the linguistic and literary evidence for this connection has been apparent for some time, but modern Hindi literary historiography, taking nationalism as its organizing principle and embracing a strict sense of religion as one of the significant boundaries of literary culture, has been largely unable to see it.
Imre Bangha在Maru-Gurjar找到了后来与印地语中心地带有关的文学习语的来源——brajbhasha, Avadhi, Khari Boli等等,这个习语不是起源于恒河平原,而是起源于印度西部,特别是现代古吉拉特邦和拉贾斯坦邦西部的土地。邦加认为,正是这种文学语言,最初是由耆那教徒在12世纪末开始培养的,最终传播到被称为中央邦的土地上,在14世纪和15世纪的过程中,它发展成我们现在与布拉杰巴沙和阿瓦第联系在一起的形式。Bangha还揭示了这种联系的语言和文学证据已经明显存在了一段时间,但现代印度文学史学,以民族主义为组织原则,并将严格的宗教意识作为文学文化的重要界限之一,在很大程度上无法看到它。
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Pub Date : 2018-08-30DOI: 10.1093/oso/9780199478866.003.0010
J. Cort
John Cort examines phaguā, a type of song associated with the festival of Holi, stressing the role of allegory in north Indian Digambar Jain songs composed in this form. Phaguā was shared by various traditions of Jainism and Hinduism alike, but each tradition put it to quite a distinct use. For Digambar Jains the antinomian transgressions of the Holi festival presented an ethical problem, so their poets adapted the sensual and sexualized phaguā into a metaphorical description of various aspects of the Self and its struggle for spiritual realization. Digambar poets such as Banarasidas and Dhyanatray ‘tamed’ Holi by turning its poetic and musical tradition into a didactic dissertation on discipline, even while retaining the narrative elements (separated lovers, seasonal fecundity, and so on) that were put to more erotic use in other traditions.
John Cort研究了phaguā,一种与胡里节相关的歌曲类型,强调了以这种形式创作的北印度Digambar耆那教歌曲中寓言的作用。耆那教和印度教的各种传统都有Phaguā,但每个传统都有不同的用途。对于Digambar耆那教徒来说,胡里节的反律法主义的越界行为提出了一个伦理问题,因此他们的诗人将感性和性化的phaguā改编为对自我的各个方面及其为精神实现而奋斗的隐喻性描述。像Banarasidas和Dhyanatray这样的Digambar诗人“驯服”了洒红节,他们把洒红节的诗歌和音乐传统变成了一篇关于纪律的说教论文,甚至保留了在其他传统中被更多地用于色情的叙事元素(分别的情人,季节性的繁殖力等等)。
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Pub Date : 2018-08-30DOI: 10.1093/OSO/9780199478866.003.0013
Allison Busch
Allison Busch places Padmakar Bhatt and his Himmatbahādurvirudāvalī in the context of the literary and political imaginary of the eighteenth century. She shows how Padmakar inherits the genre of the virudāvalī (itself a multi-faceted tradition) from Sanskrit, but also a rich lexicon from the vernacular, Arabic, and Persian. The form and language of his work thus reflect the changed political and cultural realities of his time. The seamless movement between modes of versified poetic description in the Himmatbahādurvirudāvalī reflects Padmakar’s simultaneous function as both historian and poet.
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Pub Date : 2018-08-30DOI: 10.1093/oso/9780199478866.003.0006
R. Sinha
In this chapter Raman P. Sinha makes a bold effort to uncover broad correlations between the verbal content of poetry that is typically set to music and the ragas in which these poems are performed—not at the level of specific compositions but in regard to a poet’s entire oeuvre. Using standard editions as his base, he deals with padas attributed to four leading Hindi poets of the early modern period: Kabir, Surdas, Mirabai, and Tulsidas. Correlating the life stories of these poets with the musical dimensions of their poetic output, Sinha comes to a number of thought-provoking conclusions. Chief among them is his observation of a reverse relationship between the variety of ragas used and the variety of life situations out of which they arise. In music as in life, finds Sinha, Mirabai and Kabir stand at opposite ends of the spectrum.
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Pub Date : 2018-08-30DOI: 10.1093/oso/9780199478866.003.0005
Tyler R Williams
Tyler Williams examines how the monk-poet Bhagvandas, although ostensibly writing a vernacular commentary (ṭīkā) on the Sanskrit Vairāgya Śataka (Hundred Verses on Non-Attachment) of Bhartrihari, in fact adapts the genre of the commentary so as to transform Bhartrihari’s poetic anthology into a religious treatise. In doing so, Bhagvandas gives his audience—the monastic and householder members of the Niranjani Sampraday, as well as members of other devotional sects and even courtly elites—not only access to the Sanskrit original, but also radically transforms that source text in the process.
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Pub Date : 2018-08-30DOI: 10.1093/OSO/9780199478866.003.0019
J. Hawley
A typical way of referring to the influx of southerners into Braj in the late fifteenth and early sixteenth centuries is to speak of these immigrants as gosvamis, which stresses their liturgical and perhaps institutional roles, but in this chapter John Hawley proposes another lens: the fact that crucial figures among them were Bhatts. Powerful new work by James Benson, Christopher Minkowski, and Rosalind O’Hanlon has focused on reconfigurations that occurred among Bhatt Brahmins in Banaras in the seventeenth century. Hawley attempts to discover similar connections among Bhatts who settled in Braj a century earlier. Their number and individual profiles are impressive: Narayan Bhatt, Sri Bhatt, Kesav Kasmiri Bhatt, Gopal Bhatt, and Vallabh Bhatt—that is, Vallabhacharya.
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