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Bhakti emphasises devotion and practice above ritual. Bhakti is typically represented in terms of human relationships, most often as beloved-lover, friend-friend, parent-child, and master-servant. It may refer to devotion to a spiritual teacher (Guru) as guru-bhakti, to a personal form of God, or to divinity without form (nirguna). Different traditions of bhakti in Hinduism are sometimes distinguished, including: Shaivas, who worship Shiva and the gods and goddesses associated with him; Vaishnavas, who worship forms of Vishnu, his avatars, and others associated with; Shaktas, who worship a variety of goddesses. Belonging to a particular tradition is not exclusive—devotion to one deity does not preclude worship of another.
The Bhagavad Gita is the first text to explicitly use the word "bhakti" to designate a religious path, which the Bhagavata Purana develops more elaborately. coloring many aspects of Hindu culture to this day, from religious to secular, and becoming an integral part of Indian society. Bhajan, or devotional singing to God, is also derived from the same root. "Devotion" as an English translation for bhakti doesn't fully convey two important aspects of bhakti—the sense of participation that is central to the relationship between the devotee and God, and the intense feeling that is more typically associated with the word "love". The Bhagavad Gita is the first text to explicitly use the word "bhakti" to designate a religious path, using it as a term for one of three possible religious approaches. The Bhagavata Purana develops the idea more elaborately, An early sutra by Pāṇini (c. 5th century BCE) is considered by some scholars as the first appearance of the concept of bhakti, where the word "vun" may refer to bhakti toward "Vasudevarjunabhya" (with implied reference to Krishna Vasudeva). Other scholars question this interpretation.
The Bhakti Movement was a rapid growth of bhakti beginning in Southern India with the Saiva Nayanars (4th-10th century CE) and the Vaisnava Alvars (6th-9th century CE) who spread bhakti poetry and devotion throughout India by the 12th-18th century CE.
Like the Alvars the Saiva Nayanar poets softened the distinctions of caste and gender. The Tirumurai, a compilation of hymns by sixty-three Nayanar poets, is still of great importance in South India. Hymns by three of the most prominent poets, Appar (7th century CE), Campantar (7th century) and Cuntarar (9th century), were compiled into the Tevaram, the first volumes of the Tirumurai. The poets' itinerant lifestyle helped create temple and pilgrimage sites and spread devotion to Shiva. Early Tamil-Siva bhakti poets quoted the Black Yajurveda specifically.
By the 12th to 18th centuries, the bhakti movement had spread to all regions and languages of India. Bhakti poetry and attitudes began to color many aspects of Hindu culture, religious and secular, and became an integral part of Indian society. It extended its influence to Sufism, Sikhism,
Fill thy mind with Me, be My devotee, sacrifice unto Me, bow down to Me; thus having made thy heart steadfast in Me, taking Me as the Supreme Goal, thou shalt come to Me. (B-Gita 9.34)
Shandilya and Narada produced two important Bhakti texts, the Shandilya Bhakti Sutra and Narada Bhakti Sutra. They define devotion, emphasize its importance and superiority, and classify its forms.
Such pure devotion is expressed in nine ways, . First is satsang or association with love-intoxicated devotees. The second is to develop a taste for hearing my nectar-like stories. The third is service to the guru (...) Fourth is to sing my kirtan (communal chorus) (...) Japa or repetition of my Holy name and chanting my bhajans are the fifth expression (...) To follow scriptural injunctions always, to practice control of the senses, nobility of character and selfless service, these are expressions of the sixth mode of bhakti. Seeing me manifested everywhere in this world and worshipping my saints more than myself is the seventh mode of bhakti. To find no fault with anyone and to be contented with one's lot is the eighth mode of bhakti. Unreserved surrender with total faith in my strength is the ninth and highest stage. Shabari, anyone who practices one of these nine modes of my bhakti pleases me most and reaches me without fail.
The Bhagavata Purana teaches nine similar facets of bhakti, as explained by Prahlada:
(1) śravaṇa("listening" to the scriptural stories of and his companions), (2) kīrtana ("praising", usually refers to ecstatic group singing), (3) smaraṇa ("remembering" or fixing the mind on Viṣṇu), (4) pāda-sevana (rendering service), (5) arcana (worshiping an image), (6) vandana (paying homage), (7) dāsya (servitude), (8) sākhya (friendship), and (9) ātma-nivedana (self-surrender). (from Bhagata Purana, 7.5.23-24)
Category:Hindu philosophical concepts * Category:Sanskrit words and phrases Category:Meditation Category:Religious behaviour and experience Category:Yoga styles Category:Yoga
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Name | Vanraj Bhatia |
---|---|
Birthdate | 1927 |
Birth place | Bombay, Maharashtra |
Nationalfilmawards | 1988: Best Music Direction: Tamas |
During the 70s and 80s he worked with many art film makers in India. In the 90s he composed the music of Vijay Singh's international film Jaya Ganga. He won the National Film Award for Best Music Direction for Tamas in 1988, and was awarded the Sangeet Natak Akademi Award in 1989.
Thereafter he entered the Paris Conservatory where he studied with Nadia Boulanger and Howard Ferguson between 1954 and 1959. During his studies abroad he received various scholarships, including the Sir Michael Costa Scholarship (1951-4), a Rockefeller Fellowship (1954-8), and a French Government Scholarship (1957-8).
Meanwhile in 1959 he created his first advertising jingle for Shakti Silk Sarees. From that point on he became one of the pioneering ad jingle makers in India, and also one of the most successful, later moving to Mumbai and working for the advertising industry. In all he has created over 7000 scores for advertising jingles, corporate and business films.
His first film as a music composer was Ankur (1974), and he soon became a regular composer for Shyam Benegal and other art film makers of the time. His most noted works in this period are Manthan (1976), Bhumika(1977), Junoon (1978), 36 Chowringhee Lane (1981), Trikal (1985) and Mandi (1983).
He has also created music for Indian theatre productions such as “Tughlak” and “Andha Yug”
In the following decade his work was heard constantly on Indian television with the title scores for TV series like Khandaan, Yatra, Lifeline, Discovery Of India, Wagle Ki Duniya, and the made-for-TV film Tamas (1987), for which he received the National Film Award for Best Music Direction in 1988.
In the 90s he worked in many commercial Hindi films as well as providing background scores for many other films, working on over 40 films during his career. His most noted works were for Sudhir Mishra's film Sardari Begum in 1996 and for Vijay Singh's international film Jaya Ganga.
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.