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Radha-Krishna (IASTrādhā-kṛṣṇa, Sanskrit: राधा कृष्ण) are collectively known within Hinduism as the combined forms of feminine as well as the masculine realities of God. Radha and Krishna are the primeval forms of God and His pleasure potency respectively in the Gaudiya Vaishnava school of thought. In some schools of Vaishnavism, Krishna is referred to as Svayam Bhagavan, and Radha is illustrated as the primeval potency of the three main potencies of God, Hladini (immense spiritual bliss), Sandhini (eternality) and Samvit (existential consciousness) of which Radha is an embodiment of the feeling of love towards the almighty Lord, Krishna (Hladini).With Krishna, Radha is acknowledged as the Supreme Goddess, for it is said that Krishna or God is only satiated by devotional service in loving servitude and Radha is the personification of devotional service to the supreme. She is also considered in Vaishnavism as the total feminine energy and also as the Supreme Lakshmi (Adi-Lakshmi). Various devotees worship her with the understanding of her merciful nature as the only way to attain Krishna. Radha is also depicted to be Krishna himself, split into two, for the purpose of His enjoyment.[1]
It is believed that Krishna enchants the world, but Radha 'enchants even Him. Therefore She is the supreme goddess of all. RadhaKrishn'.[2]
While there are much earlier references to the worship of this form of God, it is since Jayadeva Goswami wrote a famous poem Gita Govinda in the twelfth century of the Common Era, that the topic of the spiritual love between the divine Krishna and his devotee Radha, became a theme celebrated throughout India.[3] It is also believed that Radha is not just one cowherd maiden, but is the origin of all the gopis, or divine personalities that participate in the rasa dance.[4]
- 4Traditions
- 5Nimbarka sampradaya
Name[edit]
14th-century fresco of Radha Krishna in Udaipur, Rajasthan
Vigneshwaracannot be broken into two – Krishna (Devanagari: कृष्ण), the eighth incarnation (Avatar) of Vishnu, and his shakti Radha (Devanagari: राधा) such was the love of Radha towards Krishna that they became one. Krishna in Vrindavana is depicted with Radha standing on his left.
Shakti and Shaktiman[edit]
Shree Radha Krishna Ashta Shakthi Mandir at Parashakthi Temple, Pontiac, USA
The common derivation of shakti and shaktiman, i.e. Female and male principle in a god implies that shakti and shaktiman are the same.[5] Each and every god has its partner, 'betterhalf' or Shakti and without this Shakti, is sometimes viewed being without essential power.[6] It is a not uncommon feature of Hinduism when worship of a pair rather than one personality constitutes worship of God, such is worship of Radha Krishna. Traditions worshiping Krishna, as svayam bhagavan, who is male, include reference and veneration to his Radha, who is worshiped as supreme. A view that exists of orthodox Krishnaism, the sect of the worship of Krishna, is that Radha is shakti and Krishna is shaktiman and are always found without any tinge of materialistic attributes or cause.[7]
Philosophy[edit]
Radha and Krishna pastime on a swing, while Krishna plays his flute. Bronze, probably 20th century.
From the Vaishnava point of view the divine feminine energy (shakti) implies a divine source of energy, God or shaktiman. 'Sita relates to Rama; Lakshmi belongs to Narayana; Radha has Her Krishna.' As Krishna is believed to be the source of all manifestations of God, 'Radha, His consort, is the original source of all shaktis' or feminine manifestation of divine energy.[8]
A number of interpretations according to traditions possess a common root of personalism in the understanding of worship. Specifically Caitanyaite Gaudiya Vaishnava doctrine and mission is fiercely 'personalistic,' proclaiming the supremacy of Krishna, the identification of Caitanya as Radha-Krishna, the reality and eternality of individual selves, and a method for approaching the absolute reality and the Deity as a person first and foremost.[9]
Jiva Goswami in his Priti Sandarbha states that each of the Gopis exhibits a different level of intensity of passion, among which Radha's is the greatest.[10]
In his famous dialogs Ramananda Raya describes Radha to Caitanya and quotes, among other texts, a verse from Chaitanya Charitamrta 2.8.100, before he goes on to describe her role in the pastimes of Vrindavana.[11]
The central pivot point of the theology is related to the word rasa. The theological use of the word can be found very early, about two thousand years before the Nimbarka or Caitanya school, in a phrase that the tradition frequently quotes: 'Truly, the Lord is rasa' (raso vai sah) of Brahma sutras. This statement expresses the view that God is the one who enjoys the ultimate rasa or spiritual rapture, emotions.[12]
Traditions[edit]
Radha-Krishna, a depiction of Bhairava Raga in Ragamala paintings
Radha Krishna are worshiped in the following traditions of Hinduism:
Bisnupriya Manipuri Vaishnavas[edit]
King Gareeb Nivaz ruled from 1710 to 1734 and was initiated into Vaishnavism of the Chaitanya tradition, which worships Krishna as the supreme deity, Svayam bhagavan. He practiced this religion for nearly twenty years. Preachers and pilgrims used to arrive in large numbers and cultural contact with Assam was maintained.[13]
The Manipuri Vaishnavas do not worship Krishna alone, but Radha-Krishna.[14] With the spread of Vaishnavism the worship of Krishna and Radha became the dominant form in the Manipur region. Every village there has a Thakur-ghat and a temple.[15] Rasa and other dances are a feature of the regional folk and religious tradition and often, for example, a female dancer will portray both Krishna and his consort, Radha, in the same piece.[16]
Bhagavata[edit]
In Vedic and Puranic literature, Radhas and other forms of the root >rAdh have meaning of ‘perfection’, ‘success’ and even ‘wealth’.[citation needed] Lord of Success, Indra was referred to as Radhaspati. In references to Mahavishnu as the Lord of Fortune and freely used by Jayadeva as Jaya Jayadeva Hare – the victorious Hari, and ‘Radhaspati’ all found in many places. The word Radha occurs in the Atharva Veda, Taittiriya BrAhmana and Taittiriya Samhita.[17]
Charlotte Vaudeville, in the article Evolution of Love Symbolism in Bhagavatism draws some parallel to Nappinnai, appearing in Godha's magnum opus Thiruppavai and in Nammalwar’s references to Nappinnani, the daughter-in-law of Nandagopa. Nappinnai is believed to be the source of Radha’s conception in Prakrit and Sanskrit literature although their characteristic relations with Krishna are different. In the ritual dance called Kuravai, Krishna dances with his wife Nappinnai.
'It is a complex relationship, for the devotee is the ‘same as and yet different from’ the Lord, and so even in the joy of union there is the pain of separation. Indeed, the highest form of devotion, according to Yamunacarya, comes not in union but after the union, in the ‘fear of new separation’.'[18]
Yasastilaka Champukavya (AD 959) all make references to Radha and Krishna well before Jayadeva's period. There are elaborate references to Radha in Brahma vaivarta and Padma Puranas.[19]
Gaudiya Vaishnava[edit]
Drawing of the image of Radharaman,1542 seen as not only Krishna but also as Radha-Krishna.
Gaudiya Vaishnava, as the name suggests, usually refers to the region of Bengal. Early Bengali literature gives a vivid description of the depiction and evolution of understanding of Radha and Krishna.[20] It is believed, however, that the source of Jayadeva Goswamis heroine in his poem Gita Govinda remains a puzzle of the Sanskrit Literature. At the same time there are well documented references to works earlier than Gita Govinda, which some count to be more than twenty. The figure of Radha is one of the most elusive in the literature of Sanskrit; she is described only in a few selected passages of Prakrit or Sanskrit poetry, a few inscriptions and a few works on grammar, poetry and drama. Jayadeva has referred to them and created an exquisite lyrical poem of passionate devotion in the twelfth century, and from this poetic beginning a huge movement specific to Bengal began.[21]
Baru Chandidas is a poet notable for being a prominent Early Middle Bengal historical figure; the date of his poem Srikrsnakirtana is still under question however the text remains one of the most important evidences of early portrayal of the popular story of 'Lord Krishna's love for the cowherd girl Radha' in Bengali literature and religion. The 412 songs of Srikrsnakirtana are divided into thirteen sections that represent the core of the Radha-Krishna legendary cycle,with many variants providing excellent comparative material. The manuscript clearly suggests that the songs were meant to be song, and implies particular ragas for the recitation. There is considerable debate as to the authenticity of the text that has significant religious meaning.[22]In this Bengali tradition of Caitanya Vaishnavism metaphysical status and Radha-worship is considered to be established by Krsnadasa in his Chaitanya Charitamrta where he represents the doctrine that prevailed among the Vrindavan Caitanyaites following Caitanya's demise in 1533. It is believed that Krishna, desiring to experience fully what it is like to love Krishna as Radha does, has appeared as Caitanya Mahaprabhu. And what Radha (appearing as Caitanya) does in her longing for Krishna is to chant his names.[23]One of the self manifested Deities established by Gopala Bhatta Goswami is called Radha Ramana, it is not surprising that Radha Ramana is seen as not only Krishna but also as Radha-Krishna.[24] And worship in his temple, located in the centre of Vrindavana is a perpetual daily affair, involving several prescribed events throughout the day,[25] with the goal of being theoretical and remote, but with aspiration of the possibility to attend and associate directly with Radha and Krishna.[26]
Nimbarka sampradaya[edit]
The Shankha-Chakra-Tilaka emblems of the Sri Nimbarka Sampradaya.
The Nimbarka sampradaya worship of the youthful Krishna, alone or with his consort Radha, is one of the earliest dating at least to the 12th century, just as Rudra Sampradaya does.[27] According to Nimbarka, Radha was the eternal consort of Vishnu-Krishna and there is also a suggestion, though not a clear statement, that she became the wife of her beloved Krishna.[28] Nimbarka rescues Radha from the presumed immoral implication of much of the literature, and gives to her a dignity unattained elsewhere.[29]
The Nimbarka Sampradaya founded by Nimbarka is one of the four bona fide Vaishnava traditions. Lack of evidence due to the destruction of Mathura and Vrindavan in the 13th Century and 14th Century has meant that the true dates and origins of this tradition are shrouded in mystery and await investigation.
Nimbarka, who is widely held by scholars such as Satyanand Joseph, Prof. Rasik Bihari Joshi, Prof. M. M. Aggrawal etc., to be at least of the same time or before the appearance of Shankaracharya, was the first acharya to worship Radha along with Krishna in Sakhi Bhava Upasana method of worship. In his Vedanta Kamadhenu Dashashloki, it is clearly stated that:-
ange tu vaame vrishabhaanujaam mudaa viraajamaanaam anuruupasaubhagaam.sakhiisahasraih parisevitaam sadaa smarema deviim sakalestakaamadaam. verse 6.The left portion of the body of the Supreme Lord is Shrimati Radha, seated blissfully, as beautiful as the Lord Himself; who is served by thousands of gopis: we meditate on the Supreme Goddess, the fulfiller of all desires.
This theme was taken up by Jayadeva Goswami and other poets of the time who saw the inherent beauty and bliss which constitute this philosophy.
In this sampradaya, the significance of Radha is not less than the significance of Sri Krsna. Both are conjointly the object to be worshiped in this school of Nimbarka,[30] who is also one of the first commentators on Brahma Sutras under the name Vedanta-Parijata-Saurabha. The later acharyas of the Nimbarka Sampradaya in the 13th and 14th centuries in Vrindavana composed much literature on the Divine Couple. Swami Sri Sribhatta, the elder god-brother of Jayadeva composed the Yugala Shataka for the Dhrupada style of musical presentation like Jayadeva, however unlike Jayadeva who composed his work in Sanskrit, Swami Shribhatta's compositions are in Vraja Bhasha, a Hindi vernacular which was understood by all inhabitants of Vraja. Indeed, the rest of the acharyas of this tradition wrote in Vraja Bhasha and due to the lack of prevalence of this language in modern times, very little research has been done, even though these Acharyas predate the Six Goswamis of Vrindavan by centuries.
In any case, the sole object of worship in the Nimbarka Sampradaya is the unified Divine Couple of Shri Radha Krishna. According to the 15th century Mahavani written by Jagadguru Swami Sri Harivyasa Devacharya
radhaamkrsnasvaroopaam vai, krishnam raadhaasvarupinam; kalaatmaanam nikunjastham gururoopam sadaa bhajeI ceaselessly praise Radha who is none other than Krishna, and Sri Krishna who is none other than Radha, whose unity is represented by the Kaamabeeja and who are forever resident in Nikunja Goloka Vrndavana.
The contribution from the Nimbarka Sampradaya to the philosophy of Radha Krishna is undeniable, as the philosophy and theology originate in it.
Swaminarayan Sampraday[edit]
Murti of RadhaKrishna Dev (Center and Right) at the Swaminarayan Temple in Cleveland.
Radha-Krishna Dev has a special place in the Swaminarayan Sampraday as Swaminarayan himself referred to Radha Krishna in the Shikshapatri he wrote.[31] Further, he himself ordered the construction of temples in which Radha Krishna have been installed as deities. Swaminarayan 'explained that Krishna appears in many forms. When he is together with Radha, he is regarded as supreme lord under the name of Radha-Krishna; with Rukmini he is known as Lakshmi-Narayana.'[32] The first temple constructed in the sect, built in Ahmedabad in AD 1822, houses the images of Nara Narayana, forms of Arjuna and Krishna, in the central shrine. The shrine on the left of the hall has murtis of Radha Krishna.[33] According to the philosophy of the tradition there were many female companions of Krishna, gopis, but out of all of them Radha was considered to be the perfect devotee. Those who wish to come close to Krishna must cultivate the devotional qualities of Radha.[34] According to theory the sect has set aside Goloka as the supreme heaven or abode (in fact, in some of their temples, such as the Mumbai Temple, the murtis installed are those of Shri Gaulokvihari and Radhikaji), because there Krishna is supposed to be enjoying himself with his Gopis,[35] who according to the Swaminarayana sampradaya the milkmaids with whom Krishna danced; his relations with them symbolize the relation of God with the devotee in reciprocation.[36]
Vallabha sampradaya[edit]
Krishna with Gopis - Painting from Smithsonian Institution
Vallabhacharya, founder of Pustimarga even before Chaitanya, worshipped Radha, where according to some sects, the devotees identify mainly with the female companion (sakhis) of Radha who are privileged to arrange intimate pastimes for RadhaKrishna.[37]
One of the prominent poets of this tradition, which also called Radhavallabhi, named Dhruvadasa was notable for being principally concerned with the private relationships of Radha and Krishna. In his poetry Caurasi Pad and in the commentaries of his followers, the concentration is in meditation on the unique benefits of constant reflection on the eternal lila.
Radhavallabhis share with their Vaishnava co-religionists a great regard for Bhagavata Purana, but some of the pastimes that are outside the scope of relationships with Radha and gopis do not feature in the concept of this school. Emphasis is placed on the sweetness of the relationship, or rasa.[38]
Outside Hinduism[edit]
In opinion of some Hindu scholars as well as scholars of Hinduism, a golden age existed when Muslims and Hindus created a common culture mainly because some Muslim rulers patronized Sanskrit and translations from Sanskrit into Persian, while there were poets with Muslim names who wrote about Krishna and Radha.[39]
Temples[edit]
Banke Bihari temple, Vrindavan
- In India
Temples of Sri Sri Radha Krsna are prevalent throughout India and the world though Braja Mandala including Vrindavan and Mathura are considered to be the centers of Radha-Krishna worship. The most important temples of Vrindavana are
Madan-mohan, Govinddev, Radha-Raman, Radha-Gokulananda, Radha-Damodar, Banki-behari, Jugal Kishor, Radha-Gopinath, Radha Shyamasundar, Radha-vallabha and Iskcon temple.[40]
Shree RadhaVallabh Temple Vrindavan[41]
Shri Radhavallabh Temple is among the 7 most famous temples of Thakur of Vrindavan including Sri Radhavallabh ji, Shri Bankey Bihari Ji, Shri Govind Dev ji, Shri Madan Mohan Ji, Shri Gopinath Ji, Shri Radha Raman Ji and Shri Radha Damodar Ji.
Shri Krishna Movie Video
Shree Radha Ras Bihari Ashta Sakhi Mandir[42]
Outside IndiaThere are number of traditions that spread the worship of Radha-Krishna in many countries, be it associated with migration or preaching activities of sadhus.One such prominent adept, A.C. Bhaktivedanta SwamiPrabhupada opened a number of centers himself wherein he could train mleccha-turned-brahmin students to worship Radha-Krishna murtis and become 'devoted to the service of Godhead'.[43]
Popular songs and prayers[edit]
The Shri Radhika Krishnastaka (also called the Radhashtak) is a hymn. It is said[by whom?] that the reciter can get to Krishna via Radha by chanting it.
See also[edit]
Wikimedia Commons has media related to Radha Krishna. |
Footnotes[edit]
- ^Rosen 2002, p. 50
- ^Rosen 2002, p. 52Chaitanya-charitamritaAdi-lila 4.95Archived 2008-08-24 at the Wayback Machine,
- ^Schwartz 2004, p. 49
- ^Schweig 2005, p. 43
- ^Surendranath Dasgupta, A History of Indian Philosophy (1991) p. 31
- ^Santilata Dei, Del Santilata, Vaisnavism in Orissa (1988) p. 167
- ^Kakoli Basak, (1991) Rabindranath Tagore, a Humanist - p. 11
- ^Rosen 2002, p. 54
- ^Valpey 2006, p. 110
- ^Schweig 2005, p. 125
- ^Schweig 2005, p. 126
- ^Schweig 2005, p. 79
- ^chief ed. K. Ayyappa Paniker. (1997). Medieval Indian Literature: An Anthology. New Delhi: Sahitya Akademi. ISBN81-260-0365-0.p.327
- ^Encyclopaedia of Indian Literature - p. 4290, Amaresh Datta, Mohan Lal,1994
- ^Shanti Swarup (1968). 5000 Years of Arts and Crafts in India and Pakistan. New Delhi: D. B. Taraporevala. p. 272.External link in
|publisher=
(help)p.183 - ^Schwartz 2004, p. 35
- ^'Lord Krishna and Rama in the Primary Vedas – ISKCON Desire Tree - Devotee Network'. www.iskcondesiretree.com. Retrieved 2017-06-09.
- ^Charlotte Vaudeville, 'Evolution of Love Symbolism in Bhagavatism', Journal of the American Oriental Society LXXXII (1962), 39
- ^'Musical Saints of India'(PDF). Retrieved 2013-12-27.
- ^Chatterji, S.K. (1936). 'Purana Legends and the Prakrit Tradition in New Indo-Aryan'. Bulletin of the School of Oriental Studies. 8 (2): 457–466. doi:10.1017/S0041977X00141096. JSTOR608054.literary study of their lyric literature of Bengal Vaishnavism, has given a usefulconspectus of the 'Historical Development of the Radha-Krishna Legend'
- ^Miller, S.B.S. (1975). 'Radha: Consort of Krsna's Vernal Passion'. Journal of the American Oriental Society. 95 (4): 655–671. doi:10.2307/601022. JSTOR601022.
- ^Stewart, T.K.; Caṇḍīdāsa, Baṛu; Klaiman, M. H.; Candidasa, Baru (1986). 'Singing the Glory of Lord Krishna: The' Srikrsnakirtana'. Asian Folklore Studies. 4554 (1): 152–154. doi:10.2307/1177851. JSTOR1177851.
- ^Valpey 2006, pp. 30–31
- ^Valpey 2006, p. 52
- ^Valpey 2006, p. 58
- ^Valpey 2006, p. 75
- ^The penny cyclopædia [ed. by G. Long]. 1843, p.390 [1]
- ^Sharda Arya, Sudesh Narang, Religion and Philosophy of the Padma-purāṇa: Dharmaśāstra. Miranda House (University of Delhi). Dept. of Sanskrit, India University Grants Commission, 1988. 547, p.30
- ^Melville T. Kennedy, The Chaitanya Movement: A Study of the Vaishnavism of Bengal, 1925. 270, p.7
- ^Ramesh M. Dave, K. K. A. Venkatachari, The Bhakta-bhagawan Relationship: Paramabhakta Parmeshwara Sambandha. Sya. Go Mudgala, Bochasanvasi Shri Aksharpurushottama Sanstha, 1988. p.74
- ^'Shikshapatri, verse 109 by Swaminarayan'.
- ^Williams 2001, p. 74
- ^Williams 2001, p. 96
- ^Williams 2001, p. 85
- ^Williams 2001, p. 59
- ^Williams 2001, back matter
- ^White, C.S.J.; Redington, James D. (1990). 'Vallabhacarya on the Love Games of Krsna'. Journal of the American Oriental Society. 110 (2): 373–374. doi:10.2307/604565. JSTOR604565.
- ^Snell, R. (1992). 'Synoptic and sectarian bhakti in the poetry of Dhruvdas'. Cambridge University Press. ISBN0-521-41311-7.External link in
|publisher=
(help) - ^Gaeffke, P. (1992). 'How a Muslim looks at Hindu bhakti'. Cambridge University Press. ISBN0-521-41311-7.External link in
|publisher=
(help)p. 80 - ^Rosen 2002, p. 117
- ^radhavallabh.com
- ^ashtasakhimandir.org
- ^Valpey 2006, p. 109
References[edit]
- Rosen, Steven (2002). The hidden glory of India. Los Angeles: Bhaktivedanta Book Trust. ISBN0-89213-351-1.
- Schwartz, Susan (2004). Rasa: performing the divine in India. New York: Columbia University Press. ISBN0-231-13145-3.
- Schweig, G.M. (2005). Dance of divine love: The Rasa Lila of Krishna from the Bhagavata Purana, India's classic sacred love story. Princeton University Press, Princeton, NJ; Oxford. ISBN0-691-11446-3.
- Valpey, Kenneth Russell (2006). Attending Kṛṣṇa's image: Caitanya Vaiṣṇava mūrti-sevā as devotional truth. New York: Routledge. ISBN0-415-38394-3.
- Williams, Raymond (2001). Introduction to Swaminarayan Hinduism. Cambridge University Press. ISBN978-0-521-65422-7.
Further reading[edit]
- Kakar, Sudhir. 'Erotic fantasy: the secret passion of Radha and Krishna',Contributions to Indian Sociology (New Series) 19, no.1 (Jan-June 1985):75-94.
- Miller, Barbara Stoller. 'The divine duality of Radha and Krishna', in The Divine Consort: Radha and the Goddesses of India, eds. J. S. Hawley and D. M. Wulff. Berkeley: University of California Press, 1982, pp. 13–26.
- Patnaik, Debi Prasanna (1955). 'Concept of Radhakrishna in the Panchasakha Literature'. Proceedings of Indian Oriental Conference. 18: 406–411.
- Goswami, Sri Rupa. Bhakti-Rasamrta-Sindhuh. Vrindaban: Institute of Oriental Philosophy, 1965.
- Prabhupada, A. C. Bhaktivedanta Swami. Krsna: The Supreme Personality of Godhead. [A Summary Study of Srila Vyasadeva's Srimad-Bhagavatam, Tenth Canto.] Los Angeles: Bhaktivedanta Trust, 1970. 2 vols.
- Wilson, Frances, ed. The Love of Krishna: The Krsnakarnamarta of Lilasuka Bilvamangala. Philadelphia: University of Pennsylvania Press, 1975
- Vaudeville, Ch (1962). 'Evolution of Love-Symbolism in Bhagavatism'. Journal of the American Oriental Society. 82 (1): 31–40. doi:10.2307/595976. JSTOR595976.
- Wulff, D. M. The Divine Consort: Radha and the Goddesses of India, Berkeley: University of California Press. 1982
- Refer Wiki Article Radha Krishna Spiritual Portal
- Frédéric Ligier, Annick Le Scoëzec Masson, Les Amours de Râdhâ, Musique et poésie inspirées de miniatures de l'École de Kangra,Paris, Garamond, 2016
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Production company | |
Release date | [2] |
Running time | 187 mins |
Country | India |
Language | Telugu |
Sri Krishna Pandaveeyam (Lord Krishna and the Pandavas) is a 1966 TeluguMythologicalfilm, produced by N. Trivikrama Rao under the NAT & Ramakrishna Cine Studios banner[3] and directed by N. T. Rama Rao.[4] It stars N. T. Rama Rao, K. R. Vijaya in the lead roles[5] and music composed by T. V. Raju.[6] N. T. Rama Rao has portrayed the roles of Krishna and Duryodhana in this movie.[7] The film was recorded as a blockbuster at the box office.[8]
- 1Plot
Plot[edit]
The film depicts the adolescent age of the Pandavas and Krishna and shows the events in the Mahabharatha, focusing on the later chapters of Adi Parva and the first half of Sabha Parva.
ACT I[edit]
The opening shot of the movie shows Kunti praying for Lord Krishna's protection for the Pandavas. Lord Krishna consoles Kunti and promises to ever protect the Pandavas and guide them through troubles and problems that may occur in their life.
The story of Shakuni[edit]
The sons of Pandu and Dhritarashtra's progeny break into an argument. When Duryodhana insults the Pandavas as 'dependents', Bheema counters by saying that, the Kauravas are the progeny of a widow. Duryodhana asks Veda Vyasa for an explanation. He is then told that, since his mother, Gandhari had an astrological defect, she was first married off to a sheep and then married to his father. Duryodhana gains animosity towards the kingdom of Gandhara where the king, the father of his mother Gandhari, rules. He attacks Gandhara and lays waste to the whole kingdom. He also imprisons the Gandhara royal family in his prison. He gives them only one rice grain per prisoner and that too, the leftover food of the Kauravas clan. The prisoners start fighting for the few rice grains thrown at them. The king of Gandhara then stops everyone from grabbing the little food that is provided. He says that instead of everyone dying, they could keep at least one of their princes alive. He chooses Shakuni to be alive. Shakuni takes an oath that he will do everything he can to destroy the entire Kaurava clan. The whole royal family except Shakuni dies in the prison. Shakuni makes magic dice from his father's spinal cord. The magic dice show exactly the number that he would want. Duryodhana takes pity on the lone prisoner, Shakuni after the rest of the Gandhara royal family dies in prison out of starvation. Shakuni joins the evil coterie of Duryodhana, Karna and Dushyasana.
The wax house[edit]
Shakuni schemes an evil plan to kill the Pandavas through trickery. He constructs a house made of wax in Varanasi. The Pandavas are ordered to go on pilgrimage to Varanasi until the troubled affairs of the state are resolved. Krishna sees through the plan of the evil Shakuni. He warns Bheema to keep an eye on miscreants trying to burn the house. He later orders Bheema to dig an underground tunnel from the wax house into a forest nearby, which Bheema does. At midnight, as Krishna predicted, the house is burned on the orders of Duryodhana.
Hidimbi[edit]
Bheema, however, carries his four brothers and mother on his back and races through the tunnel and takes them to the hiding spot. There, a certain cannibalrakshasa named Hidimbasura lives with his sister Hidimbi. He smells the scent of human beings and orders his sister to bring them. Hidimbi, however, falls in love at first sight with Bheema. Unable to wait any longer, Hidimbasura comes to kill the Pandavas himself. Bheema, however, kills him very easily. Hidimbi is married to Bheema. She later gives birth to Ghatotkacha from this union.
ACT II[edit]
Here the movie takes the focus off the Pandavas and instead focuses on Lord Krishna as the primary character for some duration.
The courtship of Rukmini[edit]
Shishupala, the king of Chedi and Rukmi are the kings under emperor Jarasandha. All three have the deep hatred towards Krishna. Jarasandha proposes that Rukmi should marry his sister, Rukmini, to Shishupala, unaware that she is in love with Krishna. Narada acts as the mediator between the loving couple. After a brief courtship, Rukmini elopes with Krishna. Rukmi tries to stop Krishna and challenges him to a fight. Krishna easily defeats him and grants his wife - Rukmini's wish by keeping him alive. He, however, shaves half of his hair to add insult to the injury.
ACT III[edit]
The movie returns to its primary focus on the Pandavas with Duryodhana taking a major share of the screen space towards the end.
The slaying of Bakasura[edit]
Bakasura, Bheema, Keechaka, Jarasandha and Duryodhana are all born with their fate mingled with each other. As a result of that, the first amongst the five to kill another - will eventually kill the other three. Virtua tennis download full game. This secret is known to Krishna alone.
The Pandavas live under the guise of sadhus in a remote town. Bakasura is a very powerful monster who plagues the town. He blackmails them to send two oxen, a cartload of food and a human being every day to quench his hunger. It so happens that, the house owners of the Pandavas get their turn to send the human being on that day. However, Kunti says that she would rather sacrifice her own son instead of their only one since she has five children.
Bheema sets off to the monster's place, but on the way, he eats all the food. After a very ferocious fight with the monster, he does kill it in the end. Bheema emerges as the victor.
Draupadi[edit]
The king of Panchala, Drupada announces an archery contest to win the hand of his daughter in marriage. Krishna tricks Karna into losing the contest. Arjuna, however, shows up as a Brahmin youth and wins the contest. Thus he wins Draupadi as a prize. He goes home and tells his mother that he has won a prize. Unknowingly, his mother asks him to share his prize amongst all the five brothers. Thus all five brothers, marry Draupadi.
Indraparastha[edit]
As the Pandavas have emerged from their disguise, they get a share of the Kaurava kingdom and develop the city of Indraprastha.
The slaying of Jarasandha[edit]
Jarasandha is the nemesis of Krishna. No one other than Bheema or the other three mentioned earlier can defeat him, and the legend is that Krishna escapes to Dwaraka due to threats from Jarasandha, and his repeated failures in defeating the latter. This time Bheema and Krishna go in disguised form, as Brahmins (purohits) into the fortress of Jarasandha. There they request a duel from Jarasandha. Jarasandha chooses Bheema as his sparring partner. During the fight, Krishna signals Bheema to tear Jarasandha vertically apart into two pieces so the latter will be killed for good. However the body parts of Jarasandha rejoin because of a boon he possesses, and he regains his life. After a few failed attempts, Krishna signals Bheema to throw apart Jarasandha's torn body parts in opposite directions. This time, however, Jarasandha dies.
Rajasuya Yaga[edit]
Yudhishthira performs the Rajasuya Yaga, to be crowned as the emperor. The Kauravas, arrive at Indraprastha as guests. Duryodhana visits the Mayasabha, where he is overawed with the beauty of the sculpture and architecture. However, when he is returning, he trips and falls into a pool. He hears some people laughing and sees Draupadi is among the crowd. He then concludes that she is behind all this and vows to avenge the insult in the presence of his brothers, Karna and Shakuni.
The slaying of Shishupala[edit]
Shishupala is a relative of Sri Krishna and he is born with a lot of abnormal features. When Krishna touches him during his childhood, the child becomes normal. However a result of the broken curse, Krishna is destined to kill Shishupala. Krishna however, promises Shishupala's mother that he would give his son a hundred chances before killing him.
When Yudhisthira elects Krishna as the chief guest at the Rajasuya Yaga, Shishupala becomes enraged and foul-mouths Krishna. Krishna counts a hundred absurdities hurled at him by Shishupala. Then after his hundredth mistake, Krishna hurls his discus Sudharshana chakra towards him. Shishupala's head is severed. When Duryodhana calls for Krishna to be arrested, Krishna unveils his Vishwa-avatar.
Cast[edit]
- N. T. Rama Rao as Lord Krishna & Duryodhana (dual role)
- K. R. Vijaya as Rukmini
- Uday Kumar as Bhima
- Kanta Rao as Narada
- Mikkilineni as Bhishma
- Rajanala as Shishupala
- Prabhakar Reddy as Karna
- Mukkamala as Jarasandha
- Sobhan Babu as Arjuna
- M. Balayya as Yudhishthira
- Dhulipala as Shakuni
- Satyanarayana as Rukmi
- Vangara as Agnidyotanudu
- K. V. S. Sharma
- Jagga Rao as Dushasana
- S. Varalakshmi as Kunti
- Ratna as Hidimbi
- Swarna as Draupadi
Crew[edit]
- Art: T. V. S. Sarma
- Choreography: Vempati
- Stills: R. N. Nagaraja Rao
- Fights: Sambasiva Rao, Swamynathan
- Dialogues: Samudrala Sr
- Lyrics: Samudrala Sr, C. Narayana Reddy, Kosaraju
- Playback: Ghantasala, P. Susheela, P. Leela, Jikki, L. R. Eswari, P. B. Srinivas, Madhavapeddi Satyam, Pithapuram
- Music: T. V. Raju
- Editing: G. D. Joshi
- Cinematography: Ravikant Nagaich
- Producer: N. Trivikrama Rao
- Story - Screenplay - Director: N. T. Rama Rao
- Banner: NAT & Ramakrishna Cine Studios
- Release Date: 13 January 1966
Soundtrack[edit]
Sri Krishna Pandaveeyam | |
---|---|
Film score by | |
Released | 1966 |
Genre | Soundtrack |
Length | 37:45 |
Label | SAREGAMA Audio |
Producer | T. V. Raju |
Music composed by T. V. Raju. Music released on SAREGAMA Audio Company.
S. No. | Song Title | Lyrics | Singers | length |
---|---|---|---|---|
1 | 'Mattu Vadalara Niddura' | Kosaraju | Ghantasala | 3:58 |
2 | 'Changure Bangaru Raaja' | C. Narayana Reddy | Jikki | 5:11 |
3 | 'Yemitaya Nee' | Samudrala Sr | P. B. Srinivas | 8:24 |
4 | 'Priyurala Siggelane' | Samudrala Sr. | Ghantasala, P. Susheela | 5:04 |
5 | 'Nallanivadena' | Samudrala Sr. | Jikki, L. R. Eswari | 4:01 |
6 | 'Bhala Bhala Naa Bandi' | Kosaraju | Madhavapeddi Satyam | 4:24 |
7 | 'Swagatam Suswagatam' | C. Narayaana Reddy | P. Susheela, P. Leela | 6:43 |
Box Office[edit]
- The film had run 100 days in 9 centers and garnered positive critical acclaim for its direction and acting prowess.
Other[edit]
- VCDs and DVDs on - Universal Videos, SHALIMAR Video Company, Hyderabad
References[edit]
- ^'Sri Krishna Pandaveeyam (Overview)'. IMDb.
- ^'Sri Krishna Pandaveeyam (Release Date)'. Spicy Onion.
- ^'Sri Krishna Pandaveeyam (Banner)'. Chitr.com.
- ^'Sri Krishna Pandaveeyam (Direction)'. Filmiclub.
- ^'Sri Krishna Pandaveeyam (Cast & Crew)'. gomolo.com.
- ^'Sri Krishna Pandaveeyam (Music)'. Know Your Films.
- ^'Sri Krishna Pandaveeyam (Preview)'. IQLIK.com.
- ^'Sri Krishna Pandaveeyam (Review)'. The Cine Bay.
External links[edit]
- Sri Krishna Pandaveeyam on IMDb
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Sri_Krishna_Pandaveeyam&oldid=896507590'
(Redirected from Shri Krishna Vijayam)
Sri Krishna Vijayamu | |
---|---|
Directed by | Kamalakara Kameswara Rao |
Produced by | M. S. Reddy |
Written by | Pingali Nagendra Rao(dialogues) |
Screenplay by | M. S. Reddy |
Story by | M. S. Reddy |
Starring | N. T. Rama Rao Jayalalithaa |
Music by | Pendyala Nageswara Rao |
Cinematography | Ellappa |
Edited by | B. Gopala Rao |
Production company | |
Release date | |
Running time | 148 mins |
Country | India |
Language | Telugu |
Sri Krishna Vijayamu (English: Victory of Lord Krishna) is a 1971 TeluguMythologicalfilm, produced by M. S. Reddy under the Kaumudi Art Pictures banner and directed by Kamalakara Kameswara Rao. It stars N. T. Rama Rao, Jayalalithaa in the lead roles and music composed by Pendyala Nageswara Rao. The film was recorded as a flop at the box office.
Plot[edit]
The film begins with Lord Krishna (N. T. Rama Rao) sending his brother Satyaki (Ramakrishna) as a mediator to Kalayavana (S. V. Ranga Rao) with a gift of the vessel containing a snake, which indicates dealing with him is playing with a snake. Kalayavana sends it as a return gift to Krishna, where the snake has been killed by ants replying that a snake can be killed by ants. But when they open the vessel the snake is alive and Krishna warns them to be careful. Listening to it, Kalayavana gets ready for the battle when Sage Narada (Kanta Rao) arrives and informs whereabouts of Krishna. Kalayavana reaches there, Krishna cleverly takes him into a cave and makes him kick a saint, Muchikunda (Dhulipala. In anger, Muchikunda burns him into ashes with his vision. Knowing it, Mahodara (again S. V. Ranga Rao) the twin brother of Kalayavana, burns for vengeance, but Narada says that it's not the right time and he requires finesse. Hence Mahodora performs a huge penance for Lord Siva (Rajanala) and acquires a boon that he will not die by any weapon used by others. Meanwhile, on the occasion of Krishna's birthday, his eight wives present eight gems when Narada arrives and stirs a quarrel by telling that it would be more beautiful if it would be one more gem, as an intention that Krishna should have one more wife. Here Lord Krishna assures Narada that his wish will be fulfilled soon. Parallelly, Mahodara wins over the entire universe and creates a lot of atrocities. Hearing miseries of the victims, Goddess Saraswathi (Rama Prabha) asks Lord Brahma (Prabhakar Reddy) when will be the end to this anarchy and he replies that the time is imminent. Brahma creates a beautiful girl called Vasundhara (Jayalalitha) with a ring, by which she will be a girl to women and a statue to men, except for her fiancé. After her marriage, if any other men try to remove the ring, it transforms into a weapon and kills him. After that, Brahma calls Narada and asks him to be her foster father for a few days. Once Mahodara sees Vasundhara and wants to possess her. Being aware of it, Narada takes Vasundhara to Dwaraka and asks Rukmini (Devika) to safeguard her for a few days, when she is hesitating he tells the secret of the ring and she agrees. At the same time, Krishna & Satyabhama (Jamuna) return after defeating Narakasura. Sri Krishna can see Vasundhara because he is her fiancé, every day Krishna silently meets Vasundhara and they love each other. Satyabhama senses it, becomes furious and keeps Vasundhara in prison. Now Mahodara ploy provokes Pundarika Vasudeva (Nagabhushanam) keep Kuchela in his custody to eliminate Krishna. Krishna moves to his rescue and safeguards by eliminating Pundarika Vasudeva. Taking it as an opportunity, Mahodara attacks Dwaraka and grabs Vasundhara when Krishna returns learns regarding the situation. Eventually, Mahodara is making his marriage arrangements with Vasundhara. Krishna reaches there as a Brahmin cleverly marries Vasundhara and puts the ring back on her finger. Angered, Mahodara throws it away, which turns into a weapon and kills him because it is a weapon used by himself. Finally, Krishna reaches Dwaraka along with Vasundhara and the movie ends on a happy note.
Cast[edit]
- N. T. Rama Rao as Lord Krishna
- Jayalalithaa as Vasundhara
- S. V. Ranga Rao as Mahodara & Kalayavana (dual role)
- Kanta Rao as Narada Maharshi
- Mikkilineni as Balarama
- Dhulipala as Muchikunda
- Rajanala as Lord Siva
- Nagabhushanam as Paundraka Vasudeva
- Ramakrishna as Satyaki
- Prabhakar Reddy as Lord Brahma
- Padmanabham as Kudi Bhujam
- Allu Ramalingaiah as Vasanthaka
- Tyagaraju as Indra
- Jamuna as Satyabhama
- Devika as Rukmini
- Hema Malini as Rambha
- Rama Prabha as Saraswathi
- Sandhya Rani
- Prasanna Rani as Chaturika
- Jr. Sriranjani as Vamakshi
- Jayasri as Jambavathi
Crew[edit]
- Art: Gokhale
- Choreography: Vempati
- Dialogues: Pingali Nagendra Rao
- Lyrics: Pingali, Acharya Aatreya, C. Narayana Reddy, Dasaradhi, M. S. Reddy, Kondamacharya
- Playback: Ghantasala, P. Susheela, S. Janaki, Madhavapeddi Satyam, Pithapuram
- Music: Pendyala Nageswara Rao
- Editing: Ellappa
- Cinematography: B. Gopala Rao
- Story - Screenplay - Producer: M. S. Reddy
- Director: Kamalakara Kameswara Rao
- Banner: Kaumudi Art Pictures
- Release Date: 11 January 1971
Soundtrack[edit]
Sri Krishna Vijayamu | ||||
---|---|---|---|---|
Film score by | ||||
Released | 1971 | |||
Genre | Soundtrack | |||
Length | 31:15 | |||
Producer | Pendyala Nageswara Rao | |||
Pendyala Nageswara Rao chronology | ||||
|
Music composed by Pendyala Nageswara Rao. Music released by Audio Company.
S. No. | Song Title | Lyrics | Singers | length |
---|---|---|---|---|
1 | 'Jayaho Nava Neela Megha Shyama' | Dasaradhi | Ghantasala | 4:00 |
2 | 'Joharu' | C. Narayana Reddy | P. Susheela | 5:28 |
3 | 'Haayi Haayi' | Pingali Nagendra Rao | P. Susheela | 4:45 |
4 | 'Aadinchi Jananu' | Pingali Nagendra Rao | P. Susheela | 2:53 |
5 | 'Je Jela Talliki' | Kondamacharya | P. Susheela, S. Janaki | 4:27 |
6 | 'Pillana Grovi Pilupu' | C. Narayana Reddy | Ghantasala, P. Susheela | 5:22 |
7 | 'Krishna Premamaya' | Acharya Aatreya | Ghantasala, P. Susheela | 4:20 |
References[edit]
External links[edit]
- Shri Krishna Vijayam on IMDb
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Shri_Krishna_Vijayamu&oldid=888468259'
Shri Krishna Leela | |
---|---|
Directed by | Homi Wadia |
Produced by | Homi Wadia |
Written by | Bharat Vyas |
Screenplay by | Homi Wadia |
Story by | S. N. Tripathi |
Based on | Lord Krishna |
Starring | Sachin Hina Jayshree Gadkar Sapru |
Music by | S. N. Tripathi |
Cinematography | Anant Wadedakar |
Edited by | Shaikh Ismail |
Basant Pictures | |
| |
131 min | |
Country | India |
Language | Hindi |
Shri Krishna Leela is a 1971Hindi religious film directed by Homi Wadia.[1] It was produced by his Basant Pictures banner. Written by B. M. Vyas, the story and dialogue were by S. N. Tripathi. The music was composed by S. N. Tripathi and had lyrics by B. M. Vyas.[2] The film starred Sachin, Hina, Jayshree Gadkar, Sapru, Manhar Desai and Tabassum.[3] The film was dubbed into Malayalam as Sree Krishnaleela.
The film tells the story of Lord Krishna in his childhood form, from his birth to the killing of his uncle, Raja Kansa.
- 3Music
Plot[edit]
Raja Kansa (Sapru) has been told by an oracle that he will be killed by the eighth male child born to his sister Devaki (Padmarani). He has Devaki and her husband Vasudeva imprisoned and kills off all the children born to them. When the eighth child, a boy, is born Vasudev manages to leave him with Nanda and Yashoda, who become his foster parents. The film shows some miracles with the ogress and serpents. It also focuses on Radha (an older married woman) and Krishna's love story. The film ends with a wrestling match between the boy Krishna and a wrestler, which Krishna wins, and his killing of Raja Kansa. Krishna frees his parents from the prison.
Cast[edit]
- Sachin as Krishna
- Hina as Radha
- Jayshree Gadkar as Yashoda
- Sapru as Raja Kans
- Dighe
- Tabassum as Rasili
- Ratnamala
- Deepak
- Padmarani as Devaki
- Uma Dutt
- Shekhar Purohit
- Dalpat
- Habib as Kaalia
Music[edit]
The music director was S. N. Tripathi with lyrics written by B. M. Vyas. The playback singing was given by Asha Bhosle, Manna Dey, Dolly Davjekar, Sunil and Usha Timothy.[4]
Songlist[edit]
# | Title | Singer |
---|---|---|
1 | 'Sharad Poonam Ki Suhani Rat' | Asha Bhosle |
2 | 'Haathi Ghoda Palki' | Asha Bhosle, Doly Davjekar, Sunil |
3 | 'Naari Ek Doosri Dharti Aut Tisari Gaiya' | Usha Timothy, Asha Bhosle |
4 | 'Chandra Chhupaa Suraj Ugaa' | Asha Bhosle |
5 | 'Palkon Ka Palna Naino Ki Dori' | Asha Bhosle |
6 | 'Satyam Shivam Sundaram' | Manna Dey |
7 | 'Tera Panth Nihar Kanhaiya' | Asha Bhosle |
Shri Krishna Movie Mahabharat
References[edit]
- ^Ashish Rajadhyaksha; Paul Willemen; Professor of Critical Studies Paul Willemen (10 July 2014). Encyclopedia of Indian Cinema. Routledge. pp. 306–. ISBN978-1-135-94318-9. Retrieved 17 September 2014.
- ^'Shri Krishna Leela'. Muvyz, Inc. Retrieved 17 September 2014.
- ^'Shri Krishna Leela'. Alan Goble. Retrieved 17 September 2014.
- ^'Shri Krishna Leela 1971'. Hindi Geetmala. Retrieved 17 September 2014.
Jai Shri Krishna Movie
External links[edit]
- Shri Krishna Leela on IMDb
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Shri_Krishna_Leela&oldid=888081290'