Gita Govinda
From Wikipedia, the free encyclopedia
The Gita Govinda (Sanskrit गीत गोविन्द) (Song of Govinda) is a work composed by the 12th-century poet, Jayadeva, who was born in Kenduli Sasan near Puri in Orissa. It describes the relationship between Krishna and the gopis (female cow herders) of Vrindavana, and in particular one gopi named Radha. This work has been of great importance in the development of the bhakti traditions of Hinduism.
The Gita Govinda is organized into twelve chapters. Each chapter is further sub-divided into twenty four divisions called Prabandhas. The prabandhas contain couplets grouped into eights, called Ashtapadis.
The first English translation of the Gita Govinda was published by Sir William Jones in 1792, where Kalinga (ancient Orissa) is referred to as the origin of the text. Since then, the Gita Govinda has been translated to many languages throughout the world, and is considered to be among the finest examples of Sanskrit poetry.
[edit] See also
- Love Song of the Dark Lord
- Jayadeva
- Kenduli Sasan
- Jayadeva birth controversy
- Jayadeva in Sikhism
- List of Sanskrit poets
- Sanskrit literature
- Odissi
- Works of Jayadeva
[edit] External links
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Gīta Govinda
De Wikipedia, la enciclopedia libre
El Guitá Govinda es un texto escrito por el poeta orisano Yaiá Deva (siglo XII).
- गीतगोविन्द, en escritura devánagari.
- gītagovinda, en el sistema IAST de transliteración sánscrita.
- Pronunciación: guitá govinda.[1]
- Etimología: ‘Govinda cantado’, o Govinda (‘que da placer a las vacas’, el dios pastor Krishná) alabado mediante una canción.
Este poema erótico mistico describe la relación entre el dios pastor Krishná y las gopísVrindavan, y en particular una gopí llamada Radha (que supuestamente representa al alma humana). Esta obra tuvo una gran importancia en el desarrollo de las tradiciones bhakti (devoción) del hinduismo. (cuidadoras de vacas) en
El Guitá Govinda está organizado en 12 capítulos. Cada capítulo está subdividido en 24 prabandha. Estos a su vez contienen estrofas organizadas en grupos de ocho, llamadas ashta padis.
El sanscritólogo británico William Jones publicó la primera traducción al inglés en 1792, donde Kalinga (la antigua Orissa) se indica como el país de origen del texto. Desde entonces, el Guitá Govinda ha sido traducido a muchos idiomas de todo el mundo, y se considera uno de los ejemplos más finos de la poesía sánscrita.
Notas [editar]
- ↑ Según el Sanskrit-English Dictionary del británico Monier Monier-Williams (1819-1899).
Enlaces externos [editar]
Wikimedia Commons alberga contenido multimedia sobre Gīta Govinda.
Wikisource contiene obras originales de o sobre Gīta Govinda.- ignca.nic.in (presentación multimedia del Guitá Govinda).
- Odia.org (versión oriya del Guitá Govinda).
En otros idiomas
Category:Gita Govinda
From Wikimedia Commons, the free media repository
Gita Govinda (Sanskrit: गीत गोविन्द) ("Song of the Cowherd") describes the relationship between Krishna and the gopis (cowgirls) of Vrindavana, and in particular one gopi named Radha.
Media in category "Gita Govinda"
The following 4 files are in this category, out of 4 total.
 Git govind large.jpg 105,869 bytes |  Meister des Gîtâ-G... 271,229 bytes |  Radha and Krishna in... 206,209 bytes |
 Westindischer Maler ... 355,931 bytes |
Categories: Krishna | Radha | Hindu art
| Vishnu | gitagovindam | Songs for Lord Krishna | Odia Devanagari |
| GITA GOVINDA | See Also Visvarupa (Cosmic vision of Krishna) |
A multimedia experience on Gita Govinda, a 12th Century epic by Jayadeva was developed with the objective to familiarise audiences on the fundamental concepts of Indian music, dance, art and their inter-relationships and interpretation. The content was conceived by Dr. Kapila Vatsyayan, a scholar of Gita Govinda for over thirty years and an internationally acknowledged authority and pioneer of inter-and multi-disciplinary studies in the humanities, and the arts. She is the author of many definitive monographs on the Gita Govinda including those on the diverse painting schools, specially Mewar, Jaipur, Bundi and Assam. The experience consisted of a network of 13 physical and virtual multimedia spaces that interpreted six songs of the poem spatially, laid out across two circular rings. Arranged on the circular axis were the songs of the poem, showing various emotional situations of Radha and Krishna in love. The two rings represented the poem's meanings through diverse media.
This has involved a major documentation effort in video, audio, photography etc. - in total, forty giga bytes of authored Gita Govinda content was presented. The multimedia experience makes explicit the dynamics of the variable and the invariable in Indian arts and bears testimony to the phenomenon of the underlying unity within the diversity of Indian culture. This was presented to the public in December, 1997-January, 1998. Based on this material CD-ROMs are being prepared. RANJIT MAKKUNI, a researcher at Xerox PARC, USA led the multimedia research and design activities of the Gita Govinda presentation at IGNCA. He had also developed the internationally acclaimed cultural learning exhibit on Tibetan Thangka paintings exhibited at the Asian Art Museum of San Francisco in 1989.
Commentary - Gitagovindam is a lyrical poetry in twelve chapters, sub-divided into twentyfour divisions called Prabandha. The author was Jayadeva of twelfth cenrtury. In this work, the author has tried to combine religious fervour with eroticism. It belongs to the medieval Vashnavism and describes the love sports and pangs of separation of Radha and Krishna. In this poem, according to the author, he has shown his mastery in music and dance, his devotion to Vishnu, his understanding of science of erotica etc. He invites critics to examine these aspects, at the end of the work. Each sub-division called prabandha contain two further division, comprising mostly of eight couplets and hence it is called ashtapadi. These ashtapadis are preceded and followed by verses in different meters, numbering about thirteen. By this he has shown his mastery over the science of metrics and his choice of words are appreciated by all the later poets. There are more than forty commentaries on this work, apart from regional versions and imitations. From this one can understand the popularity of this work. The lyrics of Gitagovinda have been set to devotional music throughout India. They have been adapted in dance and also in painting. All this was due to its capacity to arouse the emotions of the audience. This is the very reason for its translations in all the Indian languages and in modern times into European languages. When you hear the Gitagovinda song or see its depiction by way dance postures, it invokes your interest and conveys a literary flavour and religious significance. It gets mingled into the cultural ethos of the hearer. It lends itself to be adapted to the different musical versions and dance performance. Because of its religious fervour, it was adapted by temple dancers. Originating in Orissa, it has traveled to Bengal, Gujarat, South India and even Nepal. Raga and tala came to be assigned to these lyrics and they used for different occasions to be sung or danced.
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| About Gita Govinda Jayadevva, the twelfth century poet, was a contemporary of several other poets in the court of Lakshmana Sena of Bengal, and even at a young age he attained fame for skill in composing verses in Sanskrit with apt words, as per his own statement in the introductory verses to Gitagovinda. He further says there that his mind has been made the residence of Goddess of Learning and he was the king who made the feet of Padamavati dance to his tunes and beats. The legend goes that Padmavati was the temple dancer at the Puri Jagannath temple and Jayadeva married her and settled down there to serve the Lord and Padmavati simultaneously. This tradition of Devadasi Dance is being continued at Lord Jagannath Temple to this day. This aspect also is discernible in his introductory verse wherein he says that those interested in Hari smarana and those finding pleasure in love sports may read his Gitagovinda kayva. The Gitagovinda kayva is a lyrical poem, dramatizing the love sports of Krishna and Radha on the surface and conveying simultaneously the deep ethos of devotion of the individual soul, its pining for God realization and finally attaining the consummation in service of God. This Bhava is similar in both god realization and eroticism and the cloak fits in well. Since the Gitagovinda was composed specifically for dance performance during the night worship of Lord Jagannatha, the composition is so deftly made as to be sung to the beats of a dancer's foot movements. The author himself at the end of the Kavya again states this fact, where he again emphasizes that the poem was intended to the Kavya again states this fact, where he again emphasizes that the poem intended to be a prop for meditation on Vishnu and it is clothed in Srngara rasa by the kavi Jayadeva pandita immersed in the contemplation of Krishna. The poem became so popular that within a century or so, it spread to all corners of the country from east to south, west and north and was adapted to dance, music, painting and temple worship. The Gitagovinda consist of twelve chapter, further divided into twenty-four songs. Each song consists of eight couplets, it is called Ashtapadi. Chapter one and chapter two, four five and twelve contain two ashtapadi each; chapters three, six, eight, nine and ten contain only one ashtapadi each. Thus there are twenty-four ashtapadis. These ashtapadis can be set to music in different melodious ragas, which were appreciated and followed by the poets later period. On which more than hundred commentaries has been written in Sanskrit and over fifty more than hundred commentaries have been written in Sanskrit and over fifty in regional languages in India also in many foreign languages. In this multimedia production, a limited verses were chosen and discussed from literary point of view are shown as applied in music and dance and their renderings in temples, depicting of Madhura bhava of devotion and how an adept poet can adopt profane ideas to profound height of devotion. The first song has four introductory verses, followed by eleven ashtapadi that describe the purpose of the ten avataras of Vishnu and at the end prostrations are offered for unhindered completion of the work. This is followed by another ashtapadi where the hero of the work is hailed. Here the author has indicated that this ashtapadi is Mangalam - benedictive verse. In the third song the spring season is described with its multifarious features like pleasant smelling and cool winds, and sweet sounds of the bees and cuckoos been thinking of Krishna was being led by her maiden friend to these bowers where Krishna can be found. In this hope Radha follows her friend. In the fourth song, the poet describes the delightful dance of love of Krishna with all gopis in the dark forest of Vrndavana. All the gopis surround him, embracing him with joy and caress him passionately and he praises them hugging one, kissing another passionately, glancing at another and smiling with other maiden in love. Jayadeva says that in reality, Krishna was bestowing bliss on everyone. In the eleventh song, the poet describes the vipralambha srngara. Krishna the God of Love is waiting Radha on the bank of river Yamuna. The poet compares the embrace of Radha and Krishna with the lightning and the black cloud and with white crane and dark cloud. In the twelfth song, the poet describes the pain and distress of Radha on the separation of impertinent Krishna. Seeing the condition of Radha sitting in her bower unable to move, filled by passion and setting her mind on Krishna all the time. The sakhi goes to Krishna to tell of the state of madness Radha, who sees him everywhere, before her mind's eye and she is alive just with the only memory of her lover. The sakhi request him to go quickly to meet Radha; who is waiting fully decked for the arrival of Krishna.
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- Gita Govinda Tika (Jayadeva): 1ª Parte | 2ª Parte | 3ª Parte | 4ª Parte | Gita Govinda Tika (completo sin corregir)
Sri Garga-Samhita | Oraciones Selectas al Señor Supremo | Devotees Vaishnavas | Dandavat pranams - All glories to Srila Prabhupada | Dandavat pranams | Santos Católicos | El Mundo del ANTIGUO EGIPTO II | El Antiguo Egipto I |Archivo Cervantes | Neale Donald Walsch | Sivananda Yoga | SWAMIS | Hari Katha | Hinduismo | Biografías
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