This same Ashtapadi is also sung in the rag Kaanada in the Sampradaya bhajan Padhathi. The lyrics is also given for the benifit of rasikas. The Ashtapadi is a work by Jayadeva, a great devotee of Krishna. It is replete with elements conducive to bhakti rasa—music and dance. It was composed by. Jayadeva Ashtapadi Lyrics In Tamil Pdf Download.
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It is replete with elements conducive to bhakti rasa—music and dance. It was composed by Jayadeva at the Jagannatha Kshetra of Puri, while lyrucs wife, Padmavati, danced to its music. Both music and dance are among the sixty-four kinds of offerings made to god at the time of pooja or worship.
Of these, music and dance have very intense, personal significance. The Lord is of the form of music. The art of dance is a mingling of music with the ambient lhrics. The Supreme Being, the Paramatma, is of the form ljrics music. Parashakti, the Supreme Energy, is of the form of air which is favourable to convey sound or music. It is this concept that appeared embodied in the form of Radhakrishna and performed several lilas in order to lead the hearts of devotees into maturity.
The First Ashtapadi The first section sings of the ten incarnations of Lord Vishnu. The text, transliteration, and translation of it are given below. The Dashavatara Stotra is a hymn to Lord Vishnu. It is the first section in the Gita-Govindam of Sri Jayadeva. Incarnation is a special manifestation of God for a specific purpose. The Ashtapadi is a work by Jayadeva, a great devotee of Krishna. It is replete with elements conducive to bhakti rasa—music and dance. It was composed by Jayadeva at the Jagannatha Kshetra of Puri, while his wife, Padmavati, danced to its music. Both music and dance are among the sixty-four kinds of offerings made to god at the time of pooja.
In general, Lilas enchant every one.
However, the deep esoteric significance of these lilas is enjoyed only by the most enlightened of devotees. It is such a devotee who is a parama-ekanti the highest among the enlighteneda jeevan mukta the liberated.
Vedavyasa was one such bhakta. He gave the world deep, precious philosophical thoughts, through the eighteen puranas. The Ashtapadi was composed with these two texts as its source. Sri Krishna is with his wife Viraja in Goloka.
When Radha, on hearing about this, comes there in anger, Krishna turns Viraja into a river and hides himself. However, she would not be appeased. I ashtapxdi with you. Krishna, then, goes back to his love sport with Viraja. Radha, who could not bear to be separated from Krishna, sends her apologies to Krishna through a friend.
lalitha lavanga-ashtapadi lyrics –
On receiving this message, Radha sets out to meet Krishna. However, Sudhama, who is still angry with Radha, bars her ,yrics into the place.
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Radha curses him to become an asura and he, in turn, curses her that she would be separated from Bhagavan Krishna. At this point, the Lord Himself comes out and effects a reconciliation between them. Sudhama is to be born as Shankachuda, would ashtapqdi killed by Shiva and would return to Goloka. Radha would be born as the daughter of Vrishabanu.
They were to live on earth for a while and then return to Goloka. This is the story sung by Jayadeva in the 24 verses of the Ashtapadi. Based on the ratio of a thousand verses for each of the 24 letters, Valmiki composed the Ramayana in 24, verses.
On a similar scale, Sri Thyagaraja Swamigal composed 24, keerthanas. Jayadeva, on the same basis, composed 24 Ashtapadis. Since it is a song gita about Govinda, it is called the Gitagovinda. Since it is composed in eight padas in keeping with rhythms of danceit is also called the Ashtapadi.
Several slokas are added to the songs in asutapadi beginning and in the end. Many writers have specified the raga and tala in which ashtapsdi verses are set. Yet others sing these as taught by their gurus. Since it is considered a Kavya, a work of poetry, it is divided into sargas or chapters, like other kavyas such as the Raghuvamsha. This work has been composed in twelve sargas, bearing the Dvadashakshari mantra twelve-syllable mantra of Krishna.
The names given by Jayadeva to each of these sargas are lyrjcs unique and meaningful. They bestow grace upon devotees. These meaningful names explain the import of the Ashtapadi clearly.
We have no knowledge of Moksha and the unknown is to be reached through the known. Moksha is unalloyed bliss and all other pleasures we experience are but drops of this Ocean of Bliss. This bliss is purely experiential. This Nayaka-Nayaki Bhava is akin to the relationship between the Jiva and Ishwara, in aspects such as the experience of union ashtapaddi devotion.
This Nayaka-Nayaki Bhava is not exclusive to our ashta;adi alone; it is found in Christianity and Islam too. Prema Bhakti is, thus, portrayed in the songs of the Thevaram, the Divya Prabhandam and in the songs of many other devotees. Though these appear to be erotic in nature, they are replete with ideas from the Vedantas and so are sung even by renunciates.
The jiva is separated from the Paramatman and suffers several sorrows such as birth, death, old age, hunger and disease. By the grace of the Lord, the jiva finds a good lyrrics, who guides him aright and leads him to union with the Lord.
The Padma Purana serves as a precedent to this. Click here to access the original article in Tamil. Useful Info ashtappadi Portal Subscribe: The Ashtapadi or the Gitagovindam. He who gives joy to the mother who tied him to a mortar. He who protected Brahma and Shiva. He who punished Madhu, the asura who was enslaved by Moha.
He who revealed his beauteous form to Madhu and Kaitabha. Ashtapdi who awaits the arrival of his devotees with eyes wide open. Dhrishta Vaikuntan or Dhanya Vaikunthan: He who reveals the bliss of Vaikuntha to every one. He who can appeal to people of a city, though He had ashtwpadi in a village among Gopis cowherdesses. He who accepts every one who seeks his Grace as Lakshmi herself.
The Guru who bestows a unique experience. He who has four arms which grant all the goals of human life. He who brings joy lyeics cowherds and to every one on earth. He who, pleased by the devotion of his devotees, bestows upon them the Pitambara the yellow garment worn by Him.
Translated from Tamil by Devotees from Chennai. Windows 10 high definition audio driver download.
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Welcome to the Gita Govinda blog. Here you will find a collection of different renditions of Jayadeva’s Gita Govinda Ashtapadis. Each of the 24 Ashtapadis has a static post of its own, which you can access on the right (the dates on the posts are just to set the order; we’ll keep updating them as we find new renditions).
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Jayadeva was a poet of the 12th century, hailing from today’s Orissa. His Gita Govinda is a work of Sanskrit love poetry and song, centered around its most famous components, 24 Ashtapadis (songs with 8 couplets). These Ashtapadis are about different moods in the love between Krishna and Radha — some are almost hymns, listing Krishna’s achievements in his various incarnations; some are glimpses into Krishna’s or Radha’s minds at times of separation, anger or reconciliation; some others are the words of messengers sent to each other, urging mercy and to swallow pride. There is a nod to the concept of ‘Ashta-nayika’, an idea from Bharata’s Natyashastra about 8 situations a heroine in love finds herself in. There is, naturally, also a possible spiritual interpretation to all this, with Radha as the jivatma and Krishna as the paramatma.
These Ashtapadis’ very alluring mixture of context, melody, simplicity, and really, a certain je ne sais quoi have made them Sanskrit literature’s greatest cross-platform blockbuster hit. From the easternmost corner of Manipur and Assam, where it spawned a tradition of dance and singing; to Bengal, where this was an essential element of Sri Chaitanya’s movement; down to Orissa, where even today virtually every art form from Odissi dance to music to temple sculpture involves them; to Andhra, where it is the soul of several Kuchipudi dance compositions; down to Tamil Nadu, where Carnatic music rejoices in newer and newer tunings of its lyrics, tens of Sanskrit treatises elaborate on how it can be performed in dance, Tanjore paintings celebrate its scenes, and temple traditions make Bhajans out of it; to Kerala, where the dance form Mohiniattam derived great inspiration, and an entire genre of music, Sopana Sangeetham, was born as these Ashtapadis were sung on the temple stairs; up to the coast of Karnataka, where it inspires Yakshagana dances to this day; up to Maharashtra and Gujarat, where it was a key nucleator of the Krishna-Bhakti traditions; to Rajasthan, the central territories and the Gangetic plain, all the way up to Kashmir where several hundred derivative works have appeared in Sanskrit, Prakrit, and local languages. To even comprehend the Gita Govinda’s reach would require some level of mastery of every facet of Indian art! What’s more, a large portion of this conquest happened within just a century after its composition. Political and geographical fragmentation seems to have been a trivial barrier for this cultural unity to envelop the whole of the subcontinent!
The real beauty of the Gita Govinda is in its music. The lyrics are written in such a way that a talented composer can fit a large number of tunes and unleash his creativity, letting the music speak even more than the words. We wanted to give a glimpse of this and began collecting different renditions of a few Ashtapadis; this snowballed into an all-out effort, and this blog was born.
For starters, check out Dr. M. Balamuralikrishna’s version of the famous Ashtapadi #7 “Mamiyam Chalita” and compare against Varagoor Narayanan’s Carnatic Bhajan version here: Ashtapadi #7, “Mamiyam Chalita”
Next up, #11 “Dheera Sameere”, is a great next step. Compare Pandit Raghunath Panigrahi’s immortal rendition with Ghantasala’s strongly Carnatic version, and P. Unnikrishnan’s very well melded Pop version here: Ashtapadi #11, “Dheera Sameere”
#19 “Priye Charusheele” is also an all-time favorite. Compare Dr. M. Balamuralikrishna’s version with Njerlath Harigovindan’s percussion-heavy Sopana Sangeetham version here: Ashtapadi #19, “Priye Charusheele”
Just to see how incredibly vibrant these songs remain, check out the fusion version of #8, “Nindati Chandanam”, by Haraprasad and compare with the more traditional versions here: Ashtapadi #8, “Nindati Chandanam”
The blog is still a work in progress, and we very much appreciate your feedback and suggestions. Please feel free to comment. If you know of a rendition you think we should put up, we’d be very grateful if you could let us know.