Bhagavata Purana


Bhagavata Purana also known as Śrīmad Bhāgavata Mahā Purāṇa, Śrīmad Bhāgavatam or Bhāgavata, is one of Hinduism's eighteen great Puranas. Composed in Sanskrit and available in almost all Indian languages, it promotes bhakti to Krishna integrating themes from the Advaita philosophy of Adi Shankara, Vishishtadvaita of Ramanujacharya and Dvaita of Madhvacharya.
The Bhagavata Purana, like other puranas, discusses a wide range of topics including cosmology, astronomy, genealogy, geography, legend, music, dance, yoga and culture. As it begins, the forces of evil have won a war between the benevolent devas and evil asuras and now rule the universe. Truth re-emerges as Krishna, – first makes peace with the demons, understands them and then creatively defeats them, bringing back hope, justice, freedom and happiness – a cyclic theme that appears in many legends.
The Bhagavata Purana is a revered text in Vaishnavism, a Hindu tradition that reveres Vishnu. The text presents a form of religion that competes with that of the Vedas, wherein bhakti ultimately leads to self-knowledge, liberation and bliss. However the Bhagavata Purana asserts that the inner nature and outer form of Krishna is identical to the Vedas and that this is what rescues the world from the forces of evil. An oft-quoted verse is used by some Krishna sects to assert that the text itself is Krishna in literary form.
The date of composition is probably between the eighth and the tenth century CE, but may be as early as the 6th century CE. Manuscripts survive in numerous inconsistent versions revised through the 18th century creating various recensions both in the same languages and across different Indian languages. The text consists of twelve books totalling 332 chapters and between 16,000 and 18,000 verses depending on the recension. The tenth book, with about 4,000 verses, has been the most popular and widely studied. It was the first Purana to be translated into a European language as a French translation of a Tamil version appeared in 1788 and introduced many Europeans to Hinduism and 18th-century Hindu culture during the colonial era.

Nomenclature

'Bhagavata Purana' can be translated as 'the history of the devotees of Vishnu'. 'Srimad Bhagavatam' can be translated as 'the glorious devotees of Vishnu'.
The 18,000 verses of the Srimad Bhagavatam consist of several interconnected, interwoven, and non-linear dialogues, teachings, and explanations espousing Bhakti Yoga that go back and forth in time and across its twelve cantos:

Stated authorship and purpose

From the A.C. Bhaktivedanta Swami Prabupada / Bhaktivedanta Book Trust translation:
From the Bibek Debroy translation:
A unique and especial emphasis is placed on fostering transcendental loving devotion to Krishna as the ultimate good, i.e. for its own sake rather than for fruitive results or rewards such as detachment or worldly or heavenly gains, a practice known as Bhakti Yoga:

Puranic characteristics

As detailed in the Matsya Mahapurana, all Puranas must cover at least five specific subjects or topics - referred to in Sanskrit as Pancha Lakshana - in addition to other information including specific deities and the four aims or goals of life. From the K.L. Joshi translation:
A sattvic Vaishnava Mahapurana, the Srimad Bhagavatam adds another five characteristics, expanding this list to ten. From the J.M. Sanyal translation:
The Bhagavata further elaborates on the differences between lesser and greater Puranas possessing five or ten characteristics, respectively. From the Disciples of Swami Prabhupada / BBT translation:

Shlokas / verses

Although the number of original Sanskrit shlokas is stated to be 18,000 by the Bhagavata itself - and by other Puranas such as the Matsya mahapurana - the number of equivalent verses when translated into other languages varies, even between translations into the same language and based on the same manuscript The English translation by Bibek Debroy, for example, contains 78 more verses than the English translation by A.C. Bhaktivedanta Swami Prabhupada / BBT, despite likely being based on the same manuscript:
In his discussion on the issue of varying numbers of verses in translations of the Srimad Bhagavatam, Debroy states:

Manuscript

Contrary to the western cultural tradition of novelty, poetic or artistic license with existing materials is a strong tradition in Indian culture, a 'tradition of several hundred years of linguistic creativity'. There are variations of original manuscripts available for each Purana, including the Srimad Bhagavatam. Debroy states that although there is no 'Critical Edition' for any Purana, the common manuscript for translations of the Bhagavata Purana - seemingly used by both Swami Prabhupada and himself - is the Bhāgavatamahāpurāṇam, a reprint of Khemraj Shri Krishnadas' manuscript. In regards to variances in Puranic manuscripts, academic states:

Date of origin

Academics estimate the date of origin of the Bhagavata Purana to be between 800–1000 CE, composed to popularize the worship of Vishnu. According to the Bhagavata Purana itself, it was composed at the onset of Kali Yuga, calculated to have occurred around 3100 BCE.

Characters

All tables provided apply to all complete translations of the Bhagavata Purana. All tables can also be sorted by column title.

Avatars of Vishnu

The table below is primarily based on the avatars listed in Canto 1, Chapter 3 and Canto 2, Chapter 7 of the Srimad Bhagavatam. The number given in parenthesis "" after a name indicates the order of incarnation as stated in Canto 1. Note that:
Avatar DescriptionFunctionCanto
Kumaras Sanaka, Sanatkumara, Sanandana, and SanatanaRevive spiritual truth1, 3, 4
Varaha BoarLift the Earth out of the cosmic ocean 3
Narada SageExpound Vedic Knowledge--
Nara-Narayana TwinsDemonstrate austerity and penance 4
Kapila SageExpound Sankhya Philosophy3
Dattatreya Trimurti GuruExpound renunciation 4
Yajna Personification of sacrificeExpound sacrifice
Rsabha First Tirthankara of JainismExpound Japa Yoga 5
Prthu First consecrated kingRule over the Earth in abundance4
Matsya FishShelter from the vast water at the end of the millennium8
Kurma TortoisePivot for Mandara Mountain used as a churning rod8
Dhanvantari God of Ayurvedic medicineInaugurate medical science8, 9
Mohini Female; represents seductive illusionDelude demons - and later Shiva - through seduction 8
Nrsimha Half lion, half manKill Hiranyakasipu7
Vamana DwarfTake away all the lands of Bali in three steps8
Parashurama / Bhrgupati WarriorUproot unwanted rulers 9
Vyasadeva Compiler of Vedic scripturesDivide Vedic knowledge to make it easier to understand--
Rama / Ramachandra Incarnation in previous Treta YugaDestroy Ravana9
Balarama Krishna's brotherDiminish the burden of the Earth from asuras10
Krishna Transcendental source of allDiminish the burden of the Earth from asuras1, 10, 11
Buddha Founder of BuddhismExpound impersonal philosophy to atheists
Kalki Supreme ChastisterAppear at the end of Kali Yuga to destroy evil12
HayagrivaHalf-horse, half-man; personification of Vedas and SacrificesRevive Vedic knowledge and sacrifice 2, 5
HamsaSwanRevive Vedic knowledge11
AniruddhaGrandson of Krishna, son of PradyumnaDiminish the burden of the Earth from asuras10
PradyumnaSon of Krishna; avatar of Kamadeva Diminish the burden of the Earth from asuras10
SambaSon of KrishnaDiminish the burden of the Earth from asuras10
Suyajna Son of PrajapatiDiminish misery; beget Demigods with Daksina7
ManuDescendant of the ruling Manu dynastyRule over the miscreant kingly order 3
Ananta / Sankarsana / Shesha / TamasiTranscendental serpent worshipped by ShivaSupport and destroy the universe5
AjitaAppeared to churn the ocean of milkChurn the ocean of milk8

Notable devotees

The table below does not include devotee avatars of Vishnu such as Narada, Kipila, or Prthu. Devotees featured or appearing repeatedly throughout the scripture are marked with "--" in the Canto column.
NameDescriptionCanto
PrahladaSon of the demon-king Hiranyakashipu7
Unnamed SaintEncountered by Prahlada lying on the ground and covered in dirt; explained the nature of a perfect person7
ViduraSudra incarnation of Yama; Aryamā officiated the post of Yamarāja in his absence 3
UddhavaFriend and counsellor of Krishna3,10, 11
ParikshitKing, succeeded his granduncle Yudhishthira; much of the Srimad Bhagavatam consists of narrations to him by Suka Gosvami1, 2, --
Suka GosvamiSage, son of Vyasadeva, main narrator--
MaitreyaSage3
VrtrasuraDemon King who defeated the demigods led by Indra6
DhruvaBoy sage, son of Uttanapada, grandson of Svayambhuva Manu4
Pracetas / VarunaMeditated in the ocean to achieve liberation; instructed by Narada4
BharataKing that lost liberation due to affection for a deer; reincarnated as a deer and later a human saved by the Goddess Kali from being sacrificed5
PriyavrataKing that was attached to his kingdom, but became detached and achieved liberation; his chariot wheels created the seven oceans and islands5
AjamilaBrahmin that lost liberation due to sex-attraction; liberated due to calling his son's name - Narayana - upon death6
CitraketuKing whose only son was murdered; in his sorrow, learned from Narada the illusion of familial relationships; later cursed by Parvati6
GajendraElephant rescued from Makara, the crocodile, by Vishnu riding his mount, Garuda8
YayatiKing cursed to suffer old age; passed the curse to his son but learned the futility of sense-pleasure, took back the curse, and achieved liberation9
AkruraSent by Kamsa in a plot to trick and kill Krishna, but informed him of it10
Vasudeva Anakadundubhi and DevakiParents of Krishna and Balarama; imprisoned and had their other children murdered by Kamsa10
Sandipani MuniGuru of Krishna and Balarama; Krishna later brought his dead son back from Yama's abode10
Nanda and YashodaFoster parents of Krishna and Balarama; Nanda was head of the Gopas, a tribe of cowherds10
MucukundaKing granted a boon by Indra to sleep after battling demons; anyone who interrupts his sleep will be burned to ashes10
JambavanBear that battled Krishna over the Syamantaka Jewel; surrendered and was blessed by Krishna who married his daughter, Jambavati10
NrgaKing turned into a lizard; rescued by Krishna from a well; he had accidentally given away a cow to a Brahmin that was not his10
SudamaImpoverished sage and childhood friend of Krishna; so poor, he could only offer flat rice as a gift to Krishna at Dvaraka10
BhrguSage that deliberately insulted Brahma, offended Shiva, and kicked Vishnu to determine which of them was the greatest10
NimiKing instructed by the '9 Yogendras' about Bhakti for Krishna 11

Notable demons(villains)

Many demons are mentioned throughout the Srimad Bhagavatam; cantos listed concern their primary appearances and/or descriptions. This table is not exhaustive.
NameDescriptionCanto
AsvatthamaKilled the sleeping children of Draupadi and attempted to kill the unborn Pariksit, son of Uttara1
Hiranyaksa and HiranyakasipuDemonic twin-sons of Diti; first incarnations of Jaya and Vijaya cursed by the Four Sanas / Kumaras1, 3, 7
VenaCorrupt and evil king that caused famines; cursed by brahmanas to die before the appearance of Prthu4
VrtrasuraDemon King that defeated the Demigods, led by Indra6
Bali / MahabaliDemon King that conquered the three worlds; Vamana took them back in three footsteps8
Ravana and KumbhakarnaDemonic enemies of Rama ; second incarnations of Jaya and Vijaya7, 9
KamsaTyrant King that imprisoned Krishna's parents, murdered Krishna's siblings, and attempted to kill Krishna10
PutanaDemon sent by Kamsa to poison baby Krishna10
TrnavartaWhirlwind demon sent by Kamsa to kill baby Krishna10
AghasuraGigantic serpent demon sent by Kamsa to kill boy Krishna10
BakasuraGigantic duck demon that swallowed boy Krishna10
DhenukaDonkey demon, ruler of the Talavana forest near the Yamuna river10
KaliyaNaga that poisoned Kaliya Lake and Krishna's cowherd friends10
PralambaDemon sent by Kamsa, disguised as a cowherd boy10
AristasuraBull demon, attacked Krishna's cowherd community10
KesiHorse demon sent by Kamsa to kill young Krishna10
VyomasuraDemon sent by Kamsa, disguised as a cowherd boy abducted Krishna's cowherd friends10
KuvalayapidaDrunken and mad Elephant goaded to kill Krishna on behalf of Kamsa at a wrestling arena10
JarasandhaKamsa's father-in-law; laid siege to Mathura with 23 armies before Krishna established Dvaraka10
KalayavanaBarbarian King and ally of Jarasandha; tricked by Krishna into kicking Mucukunda and waking him10
Shishupala and DantavakraMaternal cousins and kings; cousins and enemies of Krishna; third incarnations of Jaya and Vijaya7, 10
RukmiKing and brother of Rukmini; wanted her to marry Shishupala, not Krishna; cheated Balarama at dice10
NarakasuraDemon that kidnapped 16,000 princesses; Krishna rescued and married them all10
BanasuraDemonic son of Bali who captured Aniruddha; saved by his naked mother from being killed by Krishna10
PaundrakaKing that imitated Krishna and challenged his position as the Supreme Personality of Godhead10
DvividaGorilla friend of Narakasura; for revenge, raped and terrorised people in Krishna's province10
SalvaDemonic King, friend of Shishupala and Dantavakra, and an illusionist; attacked Krishna's city, Dvaraka10
VidurathaBrother of Dantavakra; attempted to avenge his brother by attacking Krishna with a sword10
BalvalaDemon that had been polluting a sacrificial arena at the holy Naimisaraya forest10
Bhasmasura Demon given a boon by Shiva to kill anyone whose head he touched; tried to kill Shiva with that boon10

Cantos

For ease of reference, synopses of cantos cite a legal online copy of the complete 18-volume A.C. Bhaktivedanta Swami Prabhupada / Bhaktivedanta Book Trust translation of the Srimad Bhagavatam, available at the . It also provides original Sanskrit verses, transliterations, synonyms, and purports. With the exception of canto 10 onwards - translated by the disciples of Swami Prabhupada after his death in 1977 - unless otherwise stated, quoted verses and purports given are identical to the original 30-volume translation of cantos 1-10 published by Krishna Books. Other translations of quoted verses have also been provided for comparison. The non-exhaustive overviews given apply to all complete translations.
SB 1.1.3 original Sanskrit:
Swami Prabhupada translation:
Bibek Debroy translation:

First Canto

Consisting of 19 chapters, the first canto opens with an invocation to Krishna and the assertion that the Srimad Bhagatavam, compiled by Vyasadeva, is sufficient alone to realise God. The over-arching narration begins at the onset of Kali Yuga as a dialogue between Sukadeva Gosvami and a group of sages headed by Saunaka, as they perform a thousand-year sacrifice for Krishna and his devotees in the forest of Naimisaranya. Questioned by the sages, topics covered by Suta Gosvami include the:

SB 1.3.38 original Sanskrit:
Swami Prabhupada translation:
J.M. Sanyal Translation:

Second Canto

Consisting of 10 chapters, the second canto opens with an invocation to Krishna. The second layer of over-arching narration begins as a dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. Questioned by Pariksit, the topics covered by Suta Gosvami include the:
SB 2.5.35 original Sanskrit:
Swami Prabhupada translation:
Bibek Debroy translation:

Third Canto

Consisting of 33 chapters, the third canto continues the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. Vidura, the sudra incarnation of Yama and devotee of Krishna, is the main protagonist narrated. After being thrown out of his home by King Dhritarashtra for admonishing the Kaurava's ignoble behaviour towards the Pandavas, Vidura went on a pilgrimage where he met other devotees of Krishna such as Uddhava and the sage Maitreya; their dialogues form a third layer of narration. Topics covered by Sukadeva Gosvami, Uddhava, and Maitreya include the:
SB 3.25.25 original Sanskrit:
Swami Prabhupada translation:
J.M. Sanyal translation:

Fourth Canto

Consisting of 31 chapters, the fourth canto continues the dialogues of Sukadeva Gosvami, Uddhava, and Maitreya. There are additional layers of dialogue, such as between the sage-avatar Narada and King Pracinabharhisat. Focusing on the female descendants of Svayambhuva Manu, topics covered include the:

SB 4.16.17 original Sanskrit:
Swami Prabhupada translation:
Bibek Debroy translation:

Fifth Canto

Consisting of 26 chapters, the fifth canto focuses on the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. Notable additional layers of dialogue are between the avatar Rsabha and his sons, and between Bharata and King Rahugana. Topics covered include the:
SB 5.5.1 original Sanskrit:
Swami Prabhupada translation:
J.M. Sanyal translation:

Sixth Canto

Consisting of 19 chapters, the sixth canto continues with the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. A notable additional layer of dialogue is between Yama and his messengers. With the main focus on the battles of the demon-devotee Vrtrasura and his armies against the demigods led by Indra, as well as the life of King Citraketu, topics covered include the:
SB 6.3.13 original Sanskrit:
Swami Prabhupada translation:
Bibek Debroy translation:

Seventh Canto

Consisting of 15 chapters, the seventh canto continues with the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. A notable additional layer of dialogue is between Narada and Yudhishthira about Prahlada, the devotee-son of the demon-King Hiranyakasipu. Prahlada, protected by Krishna, survives multiple attempts to kill him until the arrival of the Nrsimha avatar to destroy his father, who could not be killed by any weapon, by any man or beast, or in the water, air, or on land. Topics covered include the:
SB 7.14.9 original Sanskrit:
Swami Prabhupada translation:
J.M. Sanyal translation:

Eighth Canto

Consisting of 24 chapters, the eighth canto continues the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. A notable additional layer of dialogue is between the Vamana avatar and King Bali about the demon-King Hiranyakasipu. Topics covered include the:
SB 8.5.30 original Sanskrit:
Swami Prabhupada translation:
Bibek Debroy translation:

Ninth Canto

Consisting of 24 chapters, the ninth canto continues the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. With no notable additional layers of dialogue, the primary focus is upon the male dynasties of various ruling figures. Topics covered include the:
SB 9.24.59 original Sanskrit:
Swami Prabhupada translation:
Bibek Debroy translation :

Tenth Canto

Consisting of 90 chapters, the tenth canto continues the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. Notable additional layers of dialogue all involve the lila of the supreme and transcendental Krishna avatar. Thus focusing on the appearance and pastimes of Krishna, topics covered include the:
SB 10.90.50 original Sanskrit:
Disciples of Swami Prabhupada translation:
J.M. Sanyal translation:

Study

The largest canto with 4,000 verses, the tenth canto is also the most popular and widely studied part of the Bhagavata. It has also been translated, commented on, and published separately from the rest of the Srimad Bhagavatam. A. C. Bhaktivedanta Swami Prabhupada stated this canto is distinct from the others, albeit while warning against studying it before reading the previous nine:

Eleventh Canto

Consisting of 31 chapters, the eleventh canto continues the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river. Notable additional layers of dialogue are between Narada and Vasudeva, and between Krishna and Uddhava. Topics covered include the:

SB 11.7.33-35 original Sanskrit:
Disciples of Swami Prabhupada translation:
Swami Ambikananda Saraswati translation:
The Uddhava or Hamsa Gita
Containing the final teachings of Krishna to His devotee Uddhava, the eleventh canto is also referred to as the 'Uddhava Gita' or 'Hamsa Gita'. Like the tenth canto, it has also been translated and published separately, usually as a companion or 'sequel' to the Bhagavad Gita. 'Hamsa' means 'swan' or 'spirit', and:
Consisting of 13 chapters, the twelfth and final canto completes the dialogue between Sukadeva Gosvami and Pariksit on the banks of the Ganges river, and ends with the over-arching dialogue between Sukadeva Gosvami and the group of sages led by Saunaka, at the forest of Naimisaranya. Focusing on prophesies and signs of Kali Yuga, topics covered include the:
SB 12.13.11-12 original Sanskrit:
Disciples of Swami Prabhupada translation:
A Wikipedia editor's translation:

Philosophy

While Bhakti Yoga and Dvaita Vedanta are the prominent teachings, states T. S. Rukmani, various passages show a synthesis that also includes Samkhya, Yoga, Vedanta, and Advaita Vedanta.

Bhakti

Cutler states the Bhagavata is among the most important texts on bhakti, presenting a fully developed teaching that originated with the Bhagavad Gita. Bryant states that while classical yoga attempts to shut down the mind and senses, Bhakti Yoga in the Bhagavata teaches that the mind is transformed by filling it with thoughts of Krishna.
Matchett states that in addition to various didactic philosophical passages the Bhagavata also describes one of the activities that can lead to liberation as listening to, reflecting on the stories of, and sharing devotion for Krishna with others. Bhakti is depicted in the Purana, adds Matchett, as both an overpowering emotion as well as a way of life that is rational and deliberately cultivated.

Samkhya

describes the theistic Samkhya philosophy taught by Kapila in the Bhagavata as the dominant philosophy in the text.
Sheridan points out that in the Third Canto, Kapila is described as an avatar of Vishnu, born as the son of the sage Kardama Muni, in order to share the knowledge of self-realization and liberation with his mother, Devahuti; in the Eleventh Canto, Krishna also teaches Samkhya to Uddhava, describing the world as an illusion, and the individual as dreaming, even while in the waking state. Krishna expounds Samhkhya and Yoga as the way of overcoming the dream, with the goal being Krishna Himself.
Sheridan also states that the treatment of Samkhya in the Bhagavata is also changed by its emphasis on devotion, as does Dasgupta, adding it is somewhat different from other classical Samkhya texts.

Advaita

Kumar Das and Sheridan state that the Bhagavata frequently discusses a distinctly advaitic or non-dualistic philosophy of Shankara. Rukmani adds that the concept of moksha is explained as Ekatva and Sayujya, wherein one is completely lost in Brahman. This, states Rukmani, is proclamation of a 'return of the individual soul to the Absolute and its merging into the Absolute', which is unmistakably advaitic. The Bhagavata Purana is also stated to parallel the non-duality of Adi Shankara by Sheridan. As an example:
Scholars describe this philosophy as built on the foundation of non-dualism in the Upanishads, and term it as "Advaitic Theism". This term combines the seemingly contradictory beliefs of a personal God that can be worshiped with a God that is immanent in creation and in one's own self. God in this philosophy is within and is not different from the individual self, states Sheridan, and transcends the limitations of specificity and temporality. Sheridan also describes Advaitic Theism as a "both/and" solution for the questions of whether God is transcendent or immanent, and credits the Bhāgavata with a 'truly creative religious moment' for introducing this philosophy. The text suggests that God Vishnu and the soul in all beings is one in quality.
Bryant states that the monism in Bhagavata Purana is certainly built on Vedanta foundations, but not exactly the same as the monism of Adi Shankara. The Bhagavata asserts, according to Bryant, that the empirical and the spiritual universe are both metaphysical realities, and manifestations of the same Oneness, just like heat and light are "real but different" manifestations of sunlight.

Dharma

Kurmas Das states the Bhagavata Purana conceptualizes a form of Dharma that competes with that of the Vedas, suggesting that Bhakti ultimately leads to Self-knowledge, Moksha and bliss. The earliest mention of bhakti is found in the Shvetashvatara Upanishad verse 6.23, but scholars such as Max Muller state that the word Bhakti appears only once in this Upanishad; and that being in one last verse of the epilogue it could be a later addition, and that the context suggests that it is a panentheistic idea and not theistic.
Scholarly consensus sees bhakti as a post-Vedic movement that developed primarily during the Puranas era of Indian history. The Bhagavata Purana develops the Bhakti concept more elaborately, states Cutler, proposing "worship without ulterior motive and with kind disposition towards all" as Dharma. T.R. Sharma states the text includes in its scope intellectual and emotional devotion as well as Advaita Vedanta ideas.
The text does not subscribe, states Gupta and Valpey, to context-less "categorical notions of justice or morality", but suggests that "Dharma depends on context". They add that in a positive or neutral context, ethics and moral behavior must be adhered to; and when persistently persecuted by evil, anything that reduces the strength of the "evil and poisonous circumstances" is good. That which is motivated by, furthers, and enables bhakt is the golden standard of Dharma.

Yoga

Sarma states that the Bhagavata Purana describes all steps of yoga practice, and characterizes yoga as bhakti, asserting that the most important aspect is the spiritual goal. According to Sarma and Rukmani, the text dedicates numerous chapters to yoga, such as Canto 10, which begins with a declaration that Siddhi results from concentrating one's mind on Krishna, adding this substitutes the concept of a "personal god" in the Yogasutras of Patanjali, and contrasts with Patanjali's view that Siddhi is considered powerful but an obstacle to Samadhi.
In other chapters of the text, Rukmani states, Śuka describes different meditations on aspects of Krishna, in a way that is similar to the Yoga Sutras of Patanjali. However, adds Bryant, the Bhagavata Purana recommends the object of concentration as Krishna, thus folding in yoga as a form of bhakti and the "union with the divine". Bryant describes the synthesis of ideas in Bhagavata Purana as:
Sheridan as well as Pintchman affirm Bryant's view, adding that the Vedantic view emphasized in the Bhagavata is non-dualist, as described within a reality of plural forms.

Significance

The source of many popular stories of Krishna's pastimes for centuries in the Indian subcontinent, the Bhagavata Purana is widely recognized as the best-known and most influential of the Puranas, and as a part of Vedic literature '' is referred to as the "Fifth Veda". It is important in Indian religious literature for its emphasis on the practice of devotion compared to the more theoretical approach of the Bhagavad Gita, for challenging the ritualism of the Vedas, and for its extended description of a God in human form.

Hindu Festivals

The stories in the Bhagavata Purana are also the legends quoted by one generation to the next in Vaishnavism, during annual festivals such as Holi and Diwali.

Vaishnavism

Gaudiya Vaishnavism

The Bhagavata has played a significant role in the emergence of the Krishna-bhakti movement of Lord Chaitanya, in Bengal. The scriptural basis for the belief that Lord Chaitanya is an avatar of Krishna is found in verses such as the following :
Chaitanya is commonly referred to as 'Gauranga' in regards to His golden complexion, and is most notable for popularising the Hare Krishna maha-mantra. In regards to not being explicitly named as an avatar in the Bhagavata, this is also explained :
The key word in this verse in regards to Krishna incarnating in the age of Kali Yuga is 'channaḥ','' which means ' hidden', 'secret', or 'disguised'. In Gaudiya Vaishnavism, Chaitanya is accepted as a hidden avatar of Krishna that appeared in the age of Kali as His own devotee to show the easiest way to achieve Krishna Consciousness. Modern Gaudiya movements such as the Gaudiya Math and others established by disciples of Bhaktisiddhanta Sarasvati, such as the International Society for Krishna Consciousness and the Sri Chaitanya Saraswat Math, trace their disciplic lineages back directly to Lord Chaitanya.

Other Vaishnava Traditions

In the 15th–16th century Ekasarana Dharma in Assam, a panentheistic tradition whose proponents, Sankardeva and Madhavdeva, acknowledge that their theological positions are rooted in the Bhagavata Purana, purged of doctrines that find no place in Assamese Vaishnavism and adding a monist commentary instead.
In northern and western India the Bhagavata Purana has influenced the Hari Bhakti Vilasa and Haveli-style Krishna temples found in Braj region near Mathura-Vrindavan. The text complements the Pancharatra Agama texts of Vaishnavism. While the text focuses on Krishna "Lord Narayana himself appears and explains how Brahma and Shiva should never be seen as independent and different from him". The sixth book includes the feminine principle as Shakti, or goddess Devi, conceptualizing her as the "energy and creative power" of the masculine yet a manifestation of a sexless Brahman, presented in a language suffused with Hindu monism.

Jainism and Buddhism

The fifth canto of the Bhagavata Purana is significant for its inclusion of legends about the first Tirthankara of Jainism, Rishabha, as an avatar of Vishnu. Further, his father Nabhi is mentioned as one of the Manus and his mother Marudevi also finds a mention. It further mentions the 100 sons of Rishabha including Bharata. While homage to Buddha is included in by declaring him as an avatar of Vishnu. However, the interpretation of Buddhism-related stories in the Purana range from honor to ambivalence to polemics wherein prophecies predict some will distort and misrepresent the teachings of the Vedas, and attempt to sow confusion. According to T. S. Rukmani, the Bhagavata Purana is also significant in asserting that Yoga practice is a form of Bhakti.

The Arts

The Bhagavata Purana played a key role in the history of Indian theatre, music, and dance, particularly through the tradition of Ras and Leela. These are dramatic enactments about Krishna's pastimes. Some of the text's legends have inspired secondary theatre literature such as the eroticism in Gita Govinda. While Indian dance and music theatre traces its origins to the ancient Sama Veda and Natyasastra texts, the Bhagavata Purana and other Krishna-related texts such as Harivamsa and Vishnu Purana have inspired numerous choreographic themes.
Many 'Ras' plays dramatise episodes related in the Rasa Panchadhyayi of the Bhagavatam. The Bhagavatam also encourages theatrical performance as a means to propagate the faith, and this has led to the emergence of several theatrical forms centred on Krishna all across India. Canto 10 of Bhagavatam is regarded as the inspiration for many classical dance styles such as Kathak, Odissi, Manipuri and Bharatnatyam. Bryant summarizes the influence as follows,

Manuscripts, commentaries, and translations

Commentaries

The Bhagavata Purana is one of the most commented texts in Indian literature. There is a saying in Sanskrit - vidyā bhāgavatāvadhi - Bhāgavatam is the limit of one's learning. Hence through out the centuries it attracted a host of commentators from all schools of Krishna worshippers. Over eighty medieval era Bhāṣya in Sanskrit alone are known, and many more commentaries exist in various Indian languages. The oldest exegetical commentary presently known is Tantra-Bhagavata from the Pancaratra school. Other commentaries include:

[Dvaita] commentaries

  • Bhāgavata Tātparya Nirṇaya by Madhvacharya
  • Pada-ratnavali by Vijayadhvaja Tīrtha - elaborate commentary
  • Bhagvata Tatparya Nirnaya Tippani by Yadupati Acharya
  • Duraghatabhavadipa by Satyabhinava Tirtha
  • Bhaghavata-Sarodhara by Adavi Jayatirthacharya
  • Srimadbhagavata Tippani by Satyadharma Tirtha

    Acintya-bhedābheda">Acintya Bheda Abheda">Acintya-bhedābheda Commentaries

  • Caitanya-mata-mañjuṣā - Śrīnātha Cakravartī
  • Bṛhad-vaiṣṇava-toṣiṇī - Sanātana Gosvāmī
  • Laghu-Vaiṣṇava-toṣiṇī - Jīva Gosvāmī
  • Krama-sandarbha - Jīva Gosvāmī
  • Bṛhat-krama-sandarbha - Jīva Gosvāmī
  • Ṣaṭ-sandarbhas by Jīva Gosvāmī
  • Vaiṣṇavānandinī - Baladeva Vidyābhūṣaṇa
  • Sārārtha Darśinī - Vishvanatha Chakravarti - elaborate commentary
  • Dīpika-dīpanī - Rādharamaṇa Gosvāmī
  • Gauḍīya-bhāṣya - Bhaktisiddhanta Saraswati - elaborate commentary
  • Bhaktivedānta Purports - A.C. Bhaktivedanta Swami Prabhupada - elaborate commentary

    Viśiṣṭādvaita">Vishishtadvaita">Viśiṣṭādvaita Commentaries

  • Śuka pakṣīyā - Sudarśana sūri
  • Bhāgavat chandrikā - Vīrarāghava - elaborate commentary
  • Bhakta rañjanī - Bhagavat prasāda

    Suddhādvaita">Shuddhadvaita">Suddhādvaita Commentaries

  • Subodhini by Vallabha
  • Ṭippaṇī - Gosvāmī Viṭṭhalanātha
  • Subodhinī prakāsha - Gosvāmī Puruṣhottama
  • Bāla prabodhinī - Gosvāmī Giridharlāl
  • Viśuddha rasadīpikā - Kishorī prasāda

    Dvaitādvaita">Dvaitadvaita">Dvaitādvaita Commentaries

  • Siddhānta pradīpikā - Śuka-sudhī
  • Bhāvārtha dīpikā prakāsha - Vamshīdhara
  • Anitārtha prakāśikā - Gaṅgāsahāya

    Others

  • Bhāvārtha-dīpikā by Sridhara Swami
  • Amrtatarangini by Laksmidhara
  • Hanumad-Bhasya
  • Vasana-bhasya
  • Sambandhoki
  • Vidvat-kamadhenu
  • Paramahamsa-priya
  • Suka-hridaya
  • Mukta-phala and Hari-lilamrita by Vopadeva
  • Bhakti-ratnavali by Visnupuri
  • Ekanathi Bhagavata by Saint Eknath of Paithan
  • Narayaneeyam by Melpathur Bhattathiri of Kerala
  • Bhagavata-Purana by S.S. Shulba ; other Sanskrit manuscripts are available
  • A study of the Bhagavata Purana or Esoteric Hinduism by P.N. Sinha

    Translations

The Bhagavata has been rendered into various Indian and non-Indian languages. A version of it is available in almost every Indian language, with forty translations alone in the Bengali language. From the eighteenth century onwards, the text became the subject of scholarly interest and Victorian disapproval, with the publication of a French translation followed by an English one. The following is a partial list of translations:

Assamese">Assamese language">Assamese

  • Bhagavata of Sankara

    Bengali">Bengali language">Bengali

  • Krishna prema tarangini by Shri Raghunatha Bhagavatacharya

    Hindi

  • Bhagavata Mahapurana published by Gita Press

    [Kannada]

  • Bhagavata Mahapurana by Vidwan Motaganahalli Ramashesha Sastri

    Telugu

  • Andhra Maha Bhagavatam by the poet Pothana. It is considered as "the crown jewel of Telugu literature".

    English

  • The Śrīmad Bhāgavatam by A. C. Bhaktivedanta Swami Prabhupada. Unabridged and translated into 40 languages, there are two versions:
  • * Pre-1978: Original and incomplete 30-volume translation of cantos 1-10
  • * Post-1978: Revised and expanded 18-volume translation, completed by the Bhaktivedenta Book Trust and disciples of HDGACBVSŚP after the death of Swami Prabhupada
  • A prose English translation of Shrimadbhagabatam by M.N. Dutt
  • Bhagavata Purana by Motilal Banarsidass Publishers
  • The Srimad Bhagavatam by J.M. Sanyal
  • The Bhagavata Purana by Ganesh Vasudeo Tagare
  • Srimad Bhagavata by Swami Tapasyananda
  • Bhagavata Mahapurana by C.L. Goswami and M.A. Shastri
  • Śrīmad Bhāgavatam with the Sārārtha darśini commentary of Viśvanātha Cakravartī by Swami Bhānu
  • Srimad Bhagavata Purana by Anand Aadhar
  • The Bhagavata Purana by Bibek Debroy
  • Śrīmad Bhāgavatam with the Krama sandarbha commentary of Jīva Gosvāmī by Swami Bhānu

    English (partial translations and paraphrases)

  • Kṛṣṇa: The Supreme Personality of Godhead by A. C. Bhaktivedanta Swami Prabhupada
  • The Bhagavata Purana; Book X by Nandini Nopani and P. Lal
  • Krishna: The Beautiful Legend of God: Srimad Bhagavata Purana Book X by Edwin F. Bryant
  • The Wisdom of God: Srimat Bhagavatam by Swami Prabhavananda
  • The Uddhava Gita by Swami Ambikananda Saraswati
  • Bhagavata Purana by Ramesh Menon
  • Bhakti Yoga: Tales and Teachings from the Bhagavata Purana by Edwin F. Bryant

    French

  • Bagavadam ou Bhagavata Purana by Maridas Poullé
  • Le Bhagavata Purana by Eugene Burnouf

    Citations