- published: 08 Jun 2010
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The Nimbarka Sampradaya (IAST: Nimbārka Sampradāya, Sanskrit निम्बार्क सम्प्रदाय), also known as the Hamsa Sampradāya, Kumāra Sampradāya, Catuḥ Sana Sampradāya and Sanakādi Sampradāya, is one of the four authorised Vaiṣṇava Sampradāyas (philosophical schools characterised by leaders in disciplic succession) as according to the Padma Purāṇa, one of the eighteen main Purāṇas. The verse says:
sampradāyavihīnā ye mantrāste niṣphalā matāḥ|
ataḥ kalau bhaviśyanti catvāraḥ sampradāyinaḥ||
Śrī-brahmā-rudra-sanakā vaiṣṇavā kṣitipāvanāḥ|
catvāraste kalau bhāvya hyutkale puruṣottamāt||
rāmānujaṃ śrī svicakre madhvācaryaṃ caturmukhaḥ|
All mantras which have been given (to disciples) not in an authorised Sampradāya are fruitless. Therefore, in Kali Yuga, there will be four bona-fide Sampradāyas. Each of them were inaugurated by Śrī Devī and known as the Śrī Sampradāya, Lord Brahmā and known as the Brahmā Sampradāya, Lord Rudra and known as the Rudra Sampradāya; and the Four Kumāras and known as Sanakādi Sampradāya. Śrī Devī made Rāmānujācārya the head of that lineage. So too Lord Brahmā appointed Madhvācārya, Lord Rudra appointed Viṣṇusvāmī and the four Kumaras chose Nimbāditya (an epithet for Śrī Nimbārkācārya).
Nimbarka is known for propagating the Vaishnava Theology of Dvaitadvaita, duality in unity. According to scholars headed by Prof. Roma Bose, he lived in the 13th Century, on the assumption that Śrī Nimbārkāchārya was the author of the work Madhvamukhamardana. According to Nimbārka Sampradāya however, Śrī Nimbārkāchārya appeared over 5000 years ago, in the year 3096 BCE at the time when the grandson of Arjuna was on the throne. He hailed from the present-day Andhra Pradesh, in South India.
Bhandarkar has placed him as a philosopher after Ramanuja and has maintained his demise date as 1162 AD. Some hold that he is dated around 13th Century. However, S.N.Dasgupta dated Nimbarka to around middle of 14th Century. On the other hand, S A A Rizvi assigns the date of Circa 1130–1200 AD But Jadunath Sinha, has counted him as a 13th-century philosopher, and Tarachand has held him to be a younger contemporary of Ramanuja.
Current scholarship has pointed out that in Bhandarkar's own work it is clearly stated that this was an approximation based on an extremely flimsy calculation, yet most scholars chose to honour his suggested date, even until modern times. Current scholars have demonstrated with a high degree of clarity that Nimbarka and his immediate disciple Shrinivasa flourished well before Ramanuja, and that Shrinivasa was a contemporary, or just after Sankaracarya. This clearly settles the debate, pending an in depth investigation of this already tested hypothesis, that Nimbarka is a contemporary or just before Sankaracarya.
Shri (Devanagari: श्री, IAST; Śrī), also transliterated as Sree, Shri, Sri, Shree, Si or Seri is a word of Sanskrit origin, used in the Indian subcontinent as a polite form of address equivalent to the English "Mr." or "Ms." in written and spoken language, or as a title of veneration for deities (usually translated as "Holy").
It is also widely used in other South and Southeast Asian languages.
Shri has the root meaning of goddess of prosperity.
In Sanskrit grammar, Shri has the feminine gender. It is gender-specific in Sanskrit, but the assumption that it is masculine has resulted in the titles of Shrimati (abbreviated Smt) for married women and Sushri for women (independent of marital status).
Shri (also Sree, Sri, Shree, श्री) is a polite form of address equivalent to the English "Mr." or "Ms." The title is derived from Sanskrit श्रीमान् (śrīmān). This use may stem from the Puranic conception of prosperity.
Śhrī is also frequently used as an epithet of some Hindu gods, in which case it is often translated into English as Holy. Also in language and general usage, Śhrī if used by itself and not followed by any name then it refers to the supreme consciousness i.e. God.
A swami (Sanskrit: स्वामी svāmī [sʋaːmiː]) sometimes abbreviated “sw.” is an ascetic or yogi who has been initiated into the religious monastic order founded by some religious teacher. It is believed to be originally used for the ones who were initiated into to the Advaita Vedanta movement started by Adi Shankara. The usage of this word is not just for a yogi but also used for a religious guru, with or without disciples.
The Oxford English Dictionary gives the etymology as
In the Bengali language, the word (pronounced [ˈʃami]), while carrying its original meaning, has a dual meaning of “husband”. The word also means “husband” in the Malay language, where it is spelled “Suami”. Swami also means husband in the Khmer language.
The Gita Govinda (Bengali:গীতগোবিন্দ, Odia: ଗୀତ ଗୋବିନ୍ଦ, Devanagari: गीत गोविन्द) (Song of Govinda) is a work composed by the 12th-century poet, Jayadeva, born in either the village of Jayadeva Kenduli in Bengal or the village of Kenduli Sasan in Odisha are likely candidates though another Kenduli in Mithila is also a possibility. Recent studies point to the Odisha birthplace as the more likely one. It describes the relationship between Krishna and the gopis (female cow herders) of Vrindavana, and in particular one gopi named Radha.
The Gita Govinda is organized into twelve chapters. Each chapter is further sub-divided into twenty four divisions called Prabandhas. The prabandhas contain couplets grouped into eights, called Ashtapadis. It is mentioned that Radha is greater than Krishna. The text also elaborates the eight moods of Heroine, the Ashta Nayika, which has been an inspiration for many compositions and choreographic works in Indian classical dances.
The work delineates the love of Krishna for Radha, the milkmaid, his faithlessness and subsequent return to her, and is taken as symbolical of the human soul's straying from its true allegiance but returning at length to the God which created it.
Sringar Arti
This impromptu recording was made of the commencement of the Samaaj Gaayan held in Shri Golok Dham Ashram, Vrindavan, in July 2010, on the 6th Tirobhava anniversary of Parama Gurudeva Swami Shri Lalita Sharan Devacharya Ji Maharaj, who is the Gurudeva of our Sadgurudeva Swami Shri Gopal Sharan Devacharya Ji Maharaj. Samaaj Gaayan is the traditional music of Vraja based Vaishnava traditions which spans back thousands of years to the founder of this style of devotional singing, Shri Narada Muni, the Guru of Shri Nimbarka Bhagavan. In this recording, the Mangala Padas are sung to praise the Lord, Their abode, and the Vaishnavas before continuing with the Padas of the season and specific leela of that period. Firstly, God Almighty, Thakur Shri Shri Radha Sarveshwara are praised, together w...
Album: Nimbark Leela Sampradaya Singer: Radha Kant Vats Copyright: Radha Kant Vats Vendor A2Z Music Media. Watch " Nimbark Leela Sampradaya By Radha Kant Vats Part 2" from the Hindi Devotional album Nimbark Leela Sampradaya. Click on http://www.youtube.com/user/BhaktiBhajanKirtan to SUBSCRIBE and Enjoy more Krishna Videos. Subscribe Now: http://www.youtube.com/subscription_center?add_user=Bhakti%20Bhajan%20Kirtan
Album: Nimbark Leela Sampradaya Singer: Radha Kant Vats Copyright: Radha Kant Vats Vendor A2Z Music Media. Watch " Nimbark Leela Sampradaya By Radha Kant Vats Part 4" from the Hindi Devotional album Nimbark Leela Sampradaya. Click on http://www.youtube.com/user/BhaktiBhajanKirtan to SUBSCRIBE and Enjoy more Krishna Videos. Subscribe Now: http://www.youtube.com/subscription_center?add_user=Bhakti%20Bhajan%20Kirtan
This is the traditional Mangala Aarati hymn sung by members of the Nimbarka Vaishnava Sampradaya for the Mangala Aarati ceremony at 4.30am in the morning. It is from the Mahavaani of Jagadguru Nimbarkacharya Pithadhishwara, SWAMI SHRI HARIVYAS DEVACHARYA JI MAHARAJ, the 15th Century leader of the tradition in Vraj. It wonderfully describes the glory of the Divine Couple, the Supreme Lord, Bhagavan Shri Shri Radha Sarveshwara, and reminds the soul of its ultimate origin and destination. This recording is taken from the Raas Leela performance of 2003 at the Phogala Ashram by Raas Mandala Swami Shri Raam Sharma Ji of Vrindavan. I have not shown the Leela as the Raas Leela should not be viewed by those who haven't studied its meaning; but I have given the audio accompanied by pictures of the...
A pada from the Aadi Vaani, Shri Yugala Shataka by Jagadguru Nimbarkacharya Pithadhishwara Swami Shri Shribhatta Acharya Ji Maharaj, leader of the Nimbarka Sampradaya in the 14th Century in Shri Vrindavan Dham. This recording is not in the usual Samaaj Gaayan style of Dhrupada music, but is a modern version based on the ancient raaga, done by Pt. Bholanath Mishra from the album released by Shri Golok Dham Ashram called Shri Goloka Madhurya. Jay Jay Shri Radhe Shyaam!
This impromptu recording was made at the Samaaj Gaayan held in Shri Golok Dham Ashram, Vrindavan, in July 2010, on the 6th Tirobhava anniversary of Parama Gurudeva Swami Shri Lalita Sharan Devacharya Ji Maharaj, who is the Gurudeva of our Sadgurudeva Swami Shri Gopal Sharan Devacharya Ji Maharaj. Samaaj Gaayan is the traditional music of Vraja based Vaishnava traditions which spans back thousands of years to the founder of this style of devotional singing, Shri Narada Muni, the Guru of Shri Nimbarka Bhagavan. In this recording, the Sakhis are singing the praises of Shri Radha Ju on the anniversary of Her appearance on earth. This pada comes from Utsaaha Sukha of the Mahavani compiled by the 15th Century Jagadguru Nimbarkacharya, Swami Shri Harivyasa Devacharya Ji Maharaj. Samaaj Gaayan ...
This impromptu recording was made at the Samaaj Gaayan held in Shri Golok Dham Ashram, Vrindavan, in July 2010, on the 6th Tirobhava anniversary of Parama Gurudeva Swami Shri Lalita Sharan Devacharya Ji Maharaj, who is the Gurudeva of our Sadgurudeva Swami Shri Gopal Sharan Devacharya Ji Maharaj. Samaaj Gaayan is the traditional music of Vraja based Vaishnava traditions which spans back thousands of years to the founder of this style of devotional singing, Shri Narada Muni, the Guru of Shri Nimbarka Bhagavan. In this recording, the Sakhis are singing of the innate bliss they feel by simply having a vision of the most beautiful Lord Almighty, Bhagavan Shri Radha Krishna. It comes from Sahaja Sukha of the Mahavani compiled by the 15th Century Jagadguru Nimbarkacharya, Swami Shri Harivy...
SHANTI SAMADJ is a simple way of singing bhajans using elements from derived from Dhrupad Dhamar the origin of Classical Indian music.