राधाकृ�ण https://sanskritdocuments.org/doc_vishhnu/krishna8k.html?lang=sa Radha Krishna Radha-Krishna (IAST rādhā-kṛṣṇa, Sanskrit: ) are राधा कृ ण Radha Krishna 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 Radha Krishna 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] Contents Name Shakti and Shaktiman Philosophy Traditions Bisnupriya Manipuri Vaishnavas Bhagavata Gaudiya Vaishnava Nimbarka sampradaya Swaminarayan Sampradaya Vallabha sampradaya Outside Hinduism Temples Popular songs and prayers See also Footnotes References Further reading Name Vigneshwara cannot be broken into two – Krishna (Devanagari: कृ ण), 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 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, 14th-century fresco of Radha Krishna 'betterhalf' or Shakti and in Udaipur, Rajasthan without this Shakti, is sometimes viewed being without essential Shree Radha Krishna Ashta Shakthi Mandir at Parashakthi Temple, power.[6] It is a not uncommon feature of Hinduism when Pontiac, USA 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 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 Radha and Krishna pastime on a Caitanya and quotes, among other texts, a verse from Chaitanya swing, while Krishna plays his flute. Charitamrta 2.8.100, before he goes on to describe her role in the Bronze, probably 20th century. 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 Radha Krishna are worshiped in the following traditions of Hinduism: Bisnupriya Manipuri Vaishnavas 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] Radha-Krishna, a depiction of The Manipuri Vaishnavas do not worship Krishna alone, but Bhairava Raga in Ragamala [14] Radha-Krishna. With the spread of Vaishnavism the worship paintings 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 In Vedic and Puranic literature, Radhas and other forms of the root Radh have meaning of ‘perfection’, ‘success’ and even ‘wealth’. 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 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 Drawing of the image of Middle Bengal historical figure; the date of his poem Radharaman,1542 (http://www.salagr Srikrsnakirtana is still under question however the text remains am.net/sstp-RadhaRamanVrindavan. html) seen as not only Krishna but one of the most important evidences of early portrayal of the also as Radha-Krishna. 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