By Guy L. Beck
Going past the normal depictions of Krishna within the epics, this booklet makes use of local and vernacular resources to give a variety of Krishna traditions.
Krishna—widely commemorated and loved within the Hindu tradition—is a deity of many features. An historic manifestation of the ultimate God Vishnu, or the Godhead itself, Krishna is the bringer of Yoga philosophy and the writer of the universe, the destroyer of evil tyrants, and the hero of the epic Mahabharata. he's additionally defined in classical Sanskrit texts as having human features and having fun with very human goals: Krishna is the butter thief, cowherd, philanderer, and flute participant. but even those playful depictions are dependent upon descriptions present in the Sanskrit canon, and normally replicate universal, classical Pan-Indian images.
In this publication, individuals research the choice, or unconventional, Krishnas, providing examples from extra localized Krishna traditions present in assorted areas between a number of ethnic teams, vernacular language traditions, and distant branches of Indian religions. those wide-ranging, replacement visions of Krishna comprise the Tantric Krishna of Bengal, Krishna in city women's rituals, Krishna as monogamous husband and more youthful brother in Braj, Krishna in Jainism, Krishna in Marathi culture, Krishna in South India, and the Krishna of nineteenth-century reformed Hinduism.
“The complete quantity bargains a consi-derable spectrum of numerous lesser-known kinds of Krishna bhakti awarded from diversified study views. it truly is an informative addition to reports in largely conceived Vaishnavism and non secular traditions.” — Acta Orientalia Vilnensia
“…Guy Beck has … provid[ed] a superbly produced quantity with a few attention-grabbing study papers featuring ‘regional and vernacular diversifications on a Hindu deity’ … [he] has performed a superb carrier by means of amassing and soliciting splendidly wealthy and numerous articles.” — Indo-Iranian Journal
"Surely, there are few, if any, deities extra crucial and significant to Hinduism than Krishna. This quantity provides vital voices to our realizing of this Hindu deity, a true and intensely major accomplishment." — Jeffrey J. Kripal, writer of Roads of extra, Palaces of knowledge: Eroticism and Reflexivity within the research of Mysticism
Contributors contain Jerome H. Bauer, man L. Beck, Glen Alexander Hayes, June McDaniel, Anne E. Monius, Christian Lee Novetzke, Tracy Pintchman, Valerie Ritter, and A. Whitney Sanford.
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Additional info for Alternative Krishnas: Regional And Vernacular Variations On A Hindu Deity
Why Krishna? Participants offered a wide array of different and sometimes contradictory interpretations regarding various dimensions of the puja, and it would be misleading to suggest that all participants view the puja in the same way. However, more than half of the thirty-six women whom I formally interviewed indicated that they consider Kartik puja to be in some way related to Krishna’s rasa-lŒla. On one level, of course, the term rasa-lŒla refers to the famous circle dance of Krishna mythology, in which Krishna danced in the middle of a circle of cowherdesses, or gopŒs, making love with each of them.
The Post-Caitanya Sahajia [sic] Cult of Bengal. Calcutta: University of Calcutta, 1930, Reprint ed. Delhi: Gian, 1986. 30 Glen Alexander Hayes Brooks, Douglas Renfrew. The Secret of the Three Cities: An Introduction to Hindu Sakta Tantrism. Chicago: University of Chicago Press, 1990. Dasa, Paritos. Caitanyottara prathama cariti sahajiya puzthi. Calcutta: Bharati Book Stall, 1972. Dasgupta, Shashibhusan. Obscure Religious Cults, 3d ed. Calcutta: Firma K. L. Mukhopadhyay, 1969. Dimock Jr, Edward C.
18 Contemporary Metaphor Theory and Alternative Views 25 In the case of Sahajiya texts, which are often riddlelike in their use of uninflected language and esoteric vocabulary, there is an interesting range of imagery and metaphor, much of which is “hydraulic” in nature, based on sexuality, fluids, rivers, ponds, and flowers. 19 This consistency suggests that such choices are neither coincidental nor random. ” The AmrtaratnavalŒ or “Necklace of Immortality” of Mukunda-dasa was composed approximately in 1650 CE, and in its more than three hundred couplets we find a rich trove of metaphors and Bengali cultural references—as well as the tantric visualizations and ritual procedures that are its main focus.