Vithoba

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Vithoba
Vithoba at Pandharpur
Affiliation	Form of Vishnu or Krishna
Abode	Pandharpur
Consort	Rakhumai (Rukmini)
Mount	Garuda, when associated with Vishnu
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Vithoba (Sanskrit: Viṭhobā, विठोबा), also known as Vitthal (Sanskrit: Viṭṭhal, विठ्ठल) and Panduranga, is traditionally one of the most important Hindu deities in the Indian states of Maharashtra and Karnataka, drawing devotees across several cultures within these states. While generally considered a mainfestation of Vishnu or Krishna, he is sometimes associated with Shiva and Buddha too. Vithoba is often depicted as a dark young boy, standing arms-akimbo on a brick, sometimes accompanied by his consort Rakhumai. Vithoba is the main focus of the monothestic Varkari sect and his main temple stands at Pandharpur, Maharashtra. The legends of Vithoba revolve around the devotee Pundalik, who is credited to have brought the deity to Pandharpur and around Vithoba's role as a saviour to the saint-poets of the Varkari faith, who have written various devotional compositions dedicated to Vithoba.

Contents 1 Etymology and other names 2 Origins and development 2.1 Historicity of Pandharpur temple 2.2 Historicity of Pundalik 2.3 Identifications 3 Iconography 4 Consorts 5 Worship 5.1 The cult: Varkari Panth 5.2 Festivals 5.3 Devotional works 5.4 Temples 6 Legend 7 See also 8 References 9 Bibliography 10 External links

[edit] Etymology and other names

There are numerous, conflicting theories about the origins of the names of the deity.

According to Sir Bhandarkar, "Vitthu" (Viṭhu) is a Kannada corruption of the word "Vishnu", which was adopted in Marathi and the suffixes 'la' and 'ba' (meaning "father" in Marathi) appended for reverence - producing the names "Vitthala" and "Vithoba".^[1] Tagare says this corruption is due to the tendency of Marathi and Kannada people to pronounce the Sanskrit 'ṣṇ' as 'ṭṭh', present from the 8th century.^[2]Hastings thinks Vithoba means "one standing on a brick",^[3] where "Vit" means brick in Marathi. Khare suggests Vithal is derived from a Tamil word meaning arms-akimbo.^[4] The prescribed iconogaphy of Vithoba stipulates that he be shown as standing arms-akimbo upon a brick, which is associated with the legend of devotee Pundalik. According to M. S. Mate, the devotee Pundalik (believing Pundalik to a historical figure, rather than a mythical one) was instrumental in coaxing the Hoysala king Vishnuvardhana to build the Pandharpur temple to Vishnu. The deity "Vitthal" was named upon the builder king Bittidev, the alias of Vishnuvardhana.^[5] Other variants of the name include Viṭhurāyā, and Viṭhāī.

The other popular epithet "Panduranga" or "Pandaranga", meaning "the white god" in Sanskrit, according to Hemachandra is an epithet of Rudra-Shiva. Bhandarkar proposes that Panduranga may be an epithet of the form of Shiva, worshipped in Pandharpur and temple of whose still stands - later transferred to Vitthal, with the increasing popularity of his cult.^[6] Another theory suggests that Vithoba may initially be regarded a Shaiva god and later identified with Vishnu, thus the name Panduranga of Vithoba. ^[7] According to Hastings, Panduranga means "white-coloured" or Sanskitised term of Pandaraga - "belonging to Pandarga - the old name of Pandharpur."^[3]

Another name Pandharinath relates to Vithoba being "the lord of Pandhari (a name of Pandharpur)".

[edit] Origins and development

V. P. Chavan says that "Pandurang Stotra" by Adi Shankaracharya, if geninue, establishes that Vithoba worship existed as early as 9th century AD, the period of it's author. ^[8] The oldest inscription of Vitthal and Rakhumai, dated to 1209 AD, is found in Alandi.^[9] According to Richard Maxwell, the image of Vithoba was first worshipped as pastoral god as early as the sixth century and is similar to Bir Kuar, the cattle-god of the Ahirs of Bihar, who is now aslo associted with Krishna.^[10] He says later Vithoba was assimilated in the Shaiva panthenon and identified with Shiva as most other pastoral gods. The reasons cited are the temple at Pandharpur is surrounded by Shaiva temples, most notably of the devotee Pundalik himself and the head gear of Vithoba being a Linga - the symbol of Shiva. However in the thirteenth century, the poet-saints like Namdev, Eknath and Tukaram recognized Vithoba as a form of Vishnu, making him a Vaishnava deity.^[7] Another theory suggests Vithoba to be a Jain saint as the Pandharpur image of Vithoba is digambar ("sky-clad" or naked), like images of Jain Digambar saints.^[11]

In his book Sri-Vitthal: Ek Mahasamanvay (Marathi), R.C. Dhere suggests Vithoba worship to be more antique than the worship of Krishna, "Vedic or pre-Vedic". Vithoba is an amalgam of various local heroes, who gave their lives to save their cattle and worshipped first as Dhangar deity. Dhere thinks the rise of the Yadava dynasty with cowherd origins lead to the glorification of Vithoba as Krishna, a god who is often depicted as a cowherd. This also led to conversion of Shaiva Pundarika shrine to the shrine of the devotee Pundalik, who brought Vitthal to Pandharpur. Vitthal is also assimilated in Buddhism as a form of Buddha, who in turn in Hinduism is viewed as a form of Vishnu.^[12][4] Despite assimilation in Vaishnavism as Krishna-Vishnu, Vithoba does not inherit the erotic overtunes in dalliance of Krishna with the milk-maids. Vithoba is associated more with "compassion, an infinite love and tenderness for his bhaktas (devotees) that can be compared to the love of the mother for her children...pining for the presence of his devotees the way a cow pines for her far-away calf."^[13]

G. A. Deleury in "The Cult of Vithoba" (1960) proposes the image of Vithoba to be a Viragal (hero stone), which was later identified with Vishnu in the avatar of Krishna and Pundalik transformed the Puranic, ritualistic puja worship into the bhakti-focussed "interiorized adoration prescinding caste distinction and institutional priesthood.."^[14]

Tilak suggests that Vithoba emerged as "an alternative to existing panthenon" of Brahminical deities. The emergence of Vithoba was concurrent with rise of "new type of lay devotee", the Varkari. While Vishnu and Shiva was bound in rigid ritualistic worship and Brahmin control, Vithoba, "the God of the subaltern, became increasingly human". Vithoba is often praised as the protecter of the poor and needy.^[15]

[edit] Historicity of Pandharpur temple

The historicity of Vitthal is examined by scholars with the dating of the chief temple at Pandharpur. The date of establishment of the temple is still unclear to Bhandarkar, but he insists there is clear evidence to suggest it existed in the 13th century.^[16] According to S. G. Tulpule, the Vitthal temple at Pandharpur stood as early as 1189 AD.^[17] A monument dated 1189 records establishment of a small Vitthal shrine at the present location of the temple, thus Tulpule concludes the worship of Vithoba atleast predates 1189.^[18]A copperplate inscription in 1249 AD records a grant being given to a general of the Yadava king Krishna, to the village Paundrikakshetra (the city of Pundarik) on the river Bhimarathi, "in vicinity of" god Vishnu.^[19] Another stone inscription in Pandharpur narrates a sacrifice at Pandurangapura due to which "people and Vitthal along with the gods were gratified".^[20] Thus from the thirteenth century, the city is known as the city of Panduranga. The oldest part of the temple dates to the Yadava period (12-13th century), but most of temple is believed to be built in 17th century and additions still continue.^[21]

Sand concludes from a Skanda Purana version of Pundalik's legend (given below) that there must have been two murtis (images) of Panduranga at Pandharpur. The early one, a "tirtha-murti" (the image near a holy water-body or tirtha), facing west nearer to the Pundalik shrine on bed of river Bhima and the other, a "kshetra-murti" (the image at kshetra or the holy place, where a temple stands) facing east on the hill, where the current temple (built around 1189) now stands. Thus, he proposes that the worship of Panduranga may predate the temple itself.^[22]

[edit] Historicity of Pundalik

The historicity of Pundalik is often disputed. While some scholars believe him to be a historical figure, others dismiss him as a mythical figure. Sir R. G. Bhandarkar considers Pundalik to be the founder of the Varkari cult.^[23] According to Bhandarkar, he was the one who promugalated the cult in Maratha country.^[24] Rev. J. Stevenson (1843) thinks Pundalik was a historical person, possibly a Jain or a Buddhist as Varkari sampradaya (tradition), is a combination of Buddhist and Jain morals and Vithoba is viewed as Vishnu in his form as Buddha.^[25] Frazer, Edwards and P.R. Bhandarkar (1922) suggest that the Pundalik tried to unify Shiva and Vishnu and this cult originated from Karnataka.^[26] Prof. R. D. Ranade (1933) thinks that Pundalik, a Kannada saint, was not only the founder of the Varkari cult but also the first great devotee or first high priest of the Pandharpur temple.^[27] B. Upadhyaya supports the priest theory but declines the Kannada origin theory.^[28] According to M. S. Mate, Pundalik was instrumental in coaxing the Hoysala king Vishnuvardhana to build the Pandharpur temple to Vishnu, placing him in early 12th century AD.^[29]

[edit] Identifications

For Varkaris, Vithoba is not considered an avatar of Vishnu like Krishna, but the "swarup" or original Vishnu himself,^[30] although legends and consorts link Vithoba to Krishna. A. R. Kulkarni feels that Vithoba is not Krishna as there is a Krishna temple in Pandharpur, which the Mahanubhavas ( worshippers of Krishna) visit while they do not visit the Vitthal temple.^[4]

In some traditions though, Vithoba is also worshipped as a form of Shiva. Dhangars still consider Vithoba as a brother of god Viroba and view Vithoba as a Shaiva god rather than a Vaishnava one.^[31] Vithoba's consort is worshipped by the community as Padubai, a protectress of the community and cattle in particular.^[7] Underhill proposes that the shrine of Pandharpur is a combined form of Vishnu-Shiva, established by Vishnu-Shiva worshipping Bhagavata sect.^[32] For Badva brahmins, the chief priests in the Pandharpur temple, "Viṭhobā is neither Viṣṇu (Vishnu) nor Śiva (Shiva). Viṭhobā is Viṭhobā".^[33]

Dr. Ambedkar, an Indian political leader and Buddhist convert, suggested Vithoba was none other than Buddha.^[34] Dhere suggests that Vitthal's image replaces the traditional representation of Buddha, when depicted as the ninth avatar of Vishnu, in some temple sculptures and panchangas ( Hindu astrological almanac) in Maharashtra. Dr. Lokhnade suggested that the saint-poets praise Vithoba as a form of Buddha.^[4]

[edit] Iconography

All images are generally modeled on the central image of Vithoba in Pandharpur. The Pandharpur image is a 3 feet 9 inches tall, black basalt sculpture. He is depicted as dark, often black young boy with a high, conical hat interpreted as Shiva's symbol - a Lingam. Thus, according to Zelliot, Vithoba is believed to represent Vishnu as well as Shiva.^[35] The first Varkari saint-poet Dnyaneshwar states that Vithoba (Vishnu) has lifted Shiva, who according to Vaishnavism is Vishnu's first and foremost devotee, on his own head.^[36]

Vithoba is shown standing arms-akimbo on the brick, thrown by the devotee Pundalik, with the hands on his hips. Vithoba wears a tulsi-bead necklace with Kaustubha gem embedded in it and Makara-kundala (fish-shaped earrings), which saint-poet Tukaram relates to the iconography of Vishnu. He holds a conch in his left hand and a discus or a lotus in his right, all of which are traditional attributes of Vishnu. Other images depict the right hand making a blessing-gesture, as traditionally misunderstood. Although the Pandharpur image is either digambhar (naked) or the loin cloth is very tightly wound around the waist, through which the shape of genitals is visible,^[3][37] other images and pictures depict clothed usually with Pitambhara, a yellow dhoti and various gold ornaments - as the preists of Pandharpur cloth him. Other features of the Pandharpur image include Srivasta (a mark or curl of hair on the breast of Vishnu or Krishna^[38]) on the chest, Trivali (three folds near the navel) on the stomach, a long stick embedded in the ground besides the feet and the symbols of a flag (Dhwaja), goad (Ankusha), Vajra or thundebolt and Yama on the feet.

[edit] Consorts

Vithoba is usually depicted with his main consort Rukmini (Rakhumai - "mai" means mother) on his left side. Rukmini is traditionally viewed as the wife of Krishna who is considered a form of Vishnu and form of Lakshmi - Vishnu's consort. She is depicted in the arms-akimbo posture, standing a brick. Rakhumai has an independent cella in the Pandharpur temple complex. According to Ghurye, Rukhmini - a princess of Vidarbha (a region of Maharashtra) kingdom, was elevated to main consort instead of Radha, due to her affiliation to the region. Apart from Rakhumai, two other consorts Satyabhama and Rahi, derived from Radha, are worshipped too. All these consorts are regarded as Krishna's consorts in Hindu mythology.^[39]

[edit] Worship

The main temple of Vithoba and his consort Rakhumai (Rukmini) is located at Pandharpur in Maharashtra, on the border of that state with Karnataka. Pandharpur is affectionately called "Bhu-Vaikuntha" (the place of residence of Vishnu on earth) by devotees.^[40] Vithoba is a popular deity in Maharashtra and Karnataka, devotees exist in Andhra Pradesh and Tamil Nadu to a lesser extent.^[12] Vithoba "is worshipped and revered by most Marathi people but he is not the family deity of many people".^[41]

There are two distinct traditions revolving around the worship of Vithoba: the ritual worship of the god by Badva brahmin priests in his temple and the spiritual worship by the Varkaris.^[42] The ritual worship of Vithoba by the badava brahmins in the main temple of Pandharpur includes five daily rites. The rituals start with the kākaḍāratī - arati to awaken the god at about 3 am; pañcāmṛtapūjā - puja which includes a bath with five sweet substances (called Panchamrita) after dressing up of the image; madhyāhṇapūjā - puja for redressing and lunch at noon; aparāhṇapūjā - puja for dinner at sunset and śerāratī - arati for putting the god to sleep.^[43]

[edit] The cult: Varkari Panth

Varkari Panth ("The Pilgrims' Path") or Varkari sampradaya is one of the most important Vaishnava cults. It is monotheistic bhakti sect, focussing it's worship on Vithoba, based on traditional Bhagavata dharma.^[33] The sect is believed to have originated in Karnataka and then migrated to Maharashtra, the basis of this theory being Vitthal being called as "Kannada" - belonging to Karnataka, by Dnyaneshwar himself,^[44] although the word is also interpreted as "difficult to understand".^[45] According to Varkaris and scholars who believe Pundalik to be a historical figure, Pundalik is considered the founder of the cult of Vithoba, evident by the glory cry "Pundalikavarada Hari Vitthala" meaning, "O Hari (Vishnu) Vitthala, who has given a boon to Pundalik".^[44] According to Zelliot, the sect was founded by Dnyaneshwar (thirteenth century, a Brahmin philosopher). Varkaris also credit him by saying "Dnyanadev rachila paya" - Dnyaneshwar laid the foundation.

Namdev, (c. 1270-1350) a shudra tailor, also wrote abhangas in praise of Vithoba and used Kirtana to sing of God. This led to the spread of Vithoba faith, which accepted women, shudras and outcaste untouchables - which is forbidden in classical Brahminical Hinduism. In the times of Muslim rulers, the faith faced stagnation, but with the fall of Vijayanagara empire when wars erupted in the Deccan, the Muslim rulers had to accept the faiths of Maharashtra for the support of the people in battle. Eknath (c. 1533-99) revived the Varkari tradition. With the foundation of Maratha empire under Shivaji, the Vithoba-centric tradition was propagated further by Tukaram (c. 1568-1650, a shudra grocer) spreading the entire Maharashtra region.^[46]

All these saint-poets and others like Janabai (the maid-servant of Namdev) have written Marathi devotional poetry (abhangas) dedicated to Vithoba. This poetry advocates pure devotion to Vithoba and refers mostly to Vithoba as father or in the case of female-saint Janabai's poetry as a woman or mother (Vithabai).^[47] A wide variety of people from different castes and backgrounds wrote abhangas in praise of Vithoba: Visoba Khechara - a orthodox Shaiva (worshipper of Shiva) and teacher of Namdev, Sena the barber, Narhari the goldsmith, Savata the gardener, Gora the potter, Kanhopatra the dancing girl, Chokhamela the untouchable Mahar and even the Muslim Sheikh Muhammad (1560-1650).^[48] Anyone who born Shaiva or Vaishnava, considers Vithoba his "maya-baap" (mother-father) and Pandharpur his maher (maternal house of a bride) is accepted as a Varkari by the sect, irrespective of the barriers of caste.^[44] Varkaris often practice the japa of Vitthal's name and observe a fast on all Ekadashis.^[49]

[edit] Festivals

The festivals associated with Vithoba correspond primarily to the bi-annual pilgrimages of the Varkaris to Pandharpur.

The pilgrim Varkaris journey from Alandi (town of Dnyaneshwar) and Dehu (town of Tukaram) with the palkhis of saint-poets, singing abhangas dedicated to Vitthal and repeating his name. Varkaris do not engage in ritual worship, but only take darshan of the deity. The ritual worship by the priests is curtailed around five days each around Ashadha and Kartik Ekadashis (11th day of the Hindu month), when the large number of Varkaris perform their yatra (annual pilgrimage) to Pandharpur. The Varkaris visit the temple on two more Ekadashis in Magha and Chitra too, but in smaller numbers.^[50] Up to 5 to 6 hundred thousand Varkaris travel to Pandharpur for an annual pilgrimage on Shayani Ekadashi (the eleventh of bright fortnight in the Hindu month of Ashadha (June-July)).^[51] Both Shayani Ekadasi in Ashadha and Prabodini Ekadashi in Kartik are associated with the mythology of Vishnu. It is believed that Vishnu falls asleep in Ksheersagar - cosmic ocean of milk - on Shesha nāga, the cosmic serpent on Shayani Ekadashi (lit. "sleeping eleventh") and finally awakens from his slumber four months later on Prabodhini Ekadashi - eleventh day of bright fortnight in Kartik (October-November). The celebrations in Ashaha and Kartik continue til the full-moon day in that month.^[52]

Apart from the 4 Ekadashis, a fair in Pandharpur, is held on Dussera night, when devotees dance on a large slab (Ranga-shila) before Vithoba, accompanied with torchlight processions.^[32] Other observances in Pandharpur temple include Ranga-panchmi, when gulal (red powder) is sprinkled on Lord's feet and Krishna Janmashtami - the birthday of Krishna - when devotees dance and sing in front of Vithoba for 9 days.^[53] Other sacred days include Wednesdays, Saturdays and all other Ekadashis, which are considered all considered holy in Vaishnavism.^[3]

[edit] Devotional works

The texts from the Varkari sect are Bhaktalilamrita and Bhaktavijaya of Mahipati, Pundalika-mahatmya by Bahinabai and a long abhanga by Namdev, all of which describe legend of Pudalik. Sanskrit texts from Brahmin tradition include 2 versions of Panduranga-Mahatmya from Skanda Purana - 900 verses, Panduranga-mahatmya from Padma Purana - 1200 verses and chapter Bhima-mahatmya from Padma Purana.^[54] According to R. C. Dhere, a third Panduranga-mahatmya is found in Vishnu Purana.^[55] The Marathi Panduranga-mahatmya by the local Brahmin Sridhara, and another one by the same name written by Prahlada Maharaj in Marathi - 181 ovis (verses) - originate from what Raeside calls a "third tradition", a dividing line between Varkari and Brahmin traditions.^[56]

Apart from these and abhangas of the Varkaris, there are numerous stutis (praises) and strotras dedicted to Vithoba, the most of which is "Pandurangastaka", attributed to Adi Shankaracharya, though it's genineness is questionable.^[57] The text "Tirthavaligatha", attributed to Namdev, but possibly a collection of writings of various saint-poets, is a text centered on the propagation of Varkari faith and worship of Vithoba.^[13]

The Kannada poet Purandara Dasa (1484–1564), "Father of Carnatic Music" often ended his compositions with a salutation to Vitthal.^[58] Other devotional works include Aratis like "Yuge atthavisa vitevari ubha" by Namdev and "Yei O Vitthal maje mauli re". These aratis sing of Vithoba, who wears yellow garments and is served by Garuda (vahana of Vishnu) and Hanumat (monkey god, devotee of Rama - an avatar of Vishnu).

[edit] Temples

• Vithoba temple, Pandharpur is the main centre of worship of Vithoba. The temple's date of establishment is disputed, though it is clear the temple was standing at the time of Dnyaneshwar in the thirteenth century. Along with Vithoba and his consorts Rukmini, Satyabhama and Radha; other Vaishnava deities like Venkateshwara - a form of Vishnu, Mahalakshmi - a form of Vishnu's consort Lakshmi, Garuda - vahana of Vishnu and Hanuman - the monkey god and Shaiva deities like Ganesha - the elephant-headed god of wisdom and beginnings, Khandoba - a form of Shiva and Annapurna - a form of Shiva's consort Parvati, are worshipped too. The samadhis or memorials of saints like Namdev, Chokhamela, Janabai and of devotees Pundalik, Kanhopatra are in and around the temple.^[59]
• The "Vijaya-Vittala" temple [1], Hampi near Vijaynagara. Constructed in the fifthteenth century, it is aWorld Heritage site. The temple is believed to have housed the central Vitthal image from Pandharpur, which Vijayanagara king Krishnadevaraya had taken "to enhance his own status" - that was later retrieved by Bhanudas (1448-1513) - great-grandfather of Eknath.^[60][61] From 1516 to 1565, most important transactions issued, previously in the presence of the original state deity - Virupaksha (a form of Shiva), were then issued in presence of Vitthala.^[62]
• Temple at Dehu - birthplace of Tukaram, attracts visiters at all 24 ekadashis of the year.^[63]
• Vitthal temple at Kole, in memory of Ghadge Bova. Fair on Magha shukla fifth.^[63]
• Temple at Kolhapur - fair on Ashadha and Kartik shukla eleventh.^[63]
• Temple at Rajapur - fair on Ashadha and Kartik shukla eleventh.^[64]
• Panduranga temple at Thennangur
• Vittaleshwara Temple, Mulbagal
• Birla Mandir, Shahad.

[edit] Legend

First version in Skanda Purana (1,34-67), Pundarika (Pundalik) - an ascetic (muni), is described both a Vishnu devotee and matapitr-bhakta (devotee of his parents) serving parents devotedly. Grazing his cows, Gopala-Krishna comes from Govardhana to meet the muni. Krishna is described as in digambara (naked) form, wearing Makara-kundala (fish- shaped earrings), Srivasta mark, head-dress of peacock feathers, resting his hands on his hips and keeping his cow-stick between his thighs. Pundarika asks Krishna for a boon to stay in that form at that place, where river Bhima would flow, making it both a tirtha and a kshetra.^[65] This place is identified with modern-day Pandharpur, where the river Bhima flows.

The Bhima-mahatmya, second version in the Skanda-Purana, text of Prahala maharaj and abhangas of Marathi saint-poets, notably Tukaram, picture Vithoba as appearing before Pundalik as the five year old, Bala Krishna.^[66]

The last version of the legend appears in Sridhara's Marathi text and Padma Purana. Pundalik, born to a Brahmin, grew ill-mannered and ill-treated his parents. The elderly parents decided to leave for Kashi. Upon hearing of their plans, Pundalik and his wife joined them to the pilgrimage and forced the parents to walk the whole way and groom horses while Pundalik and his wife rode on horseback.

On the way to Kashi, the group reached the hermitage of sage Kukkuta. At night, when all were asleep, Pundalik, by chance awake, witnessed the rivers Ganga, Yamuna and Sarasvati as beautiful, coming to the hermitage to purify themselves. On asking the reason of their appearance, they told Pundalik that Kukkuta serves his parents and thus becomes pious, and by serving the sage they become pure too. Further, they advised Pundalik to do the same. Pundalik devoted in his life to the service of his parents thereafter.

Meanwhile, Radha, the lover of Krishna, once came to Dwarka (the kingdom of Krishna) and sat on the lap of Krishna. Radha did not honour Rukmini - the chief queen of Krishna nor did Krishna hold Radha accountable for the offense. Offended Rukmini left Krishna and went to the forest of Dindivan near Pandharpur. Saddened by Rukmini's departure, Krishna searched his queen and finally found her resting in Dandivana - near Pundalik's house. After a bit of coaxing, Rukmini gave up her anger.^[67]

Then Krishna went to pay Pundalik a visit, seeing his outmost devotion to his parents. When Krishna came to Pundalik's house, he was engrossed in the service of his parents, so he threw a brick outside for Krishna to stand on and wait for him until he finishes attending to his parents. Pundalik asked a boon that the Lord should stand in that form with Rakhumai to bless His devotees forever.^[68]

Other legends describe Vithoba coming to the rescue of his devotees in form of Mahar untouchable or a Brahmin begger.^[69] Mahipati in Pandurangastrotra tells how Vithoba helped female saints like Janabai in their daily chores like sweeping the house, pounding the rice. He tells of how Vithoba came to the aid of Sena the barber. When the king ordered Sena to be arrested for not coming to the palace, due to his prayers to Vithoba, despite the king's orders, Vithoba went to the palace in form of Sena to serve the king and Sena was saved. When another saint Damaji, the keeper of the royal grain store, distributed the grain to the people in famine; Vithoba, came as an outcaste with a bag of gold to pay for the grain.^[70]

[edit] See also

• Vithoba temple, Pandharpur
• Pandharpur
• Marathi literature
• Varkari

[edit] References

[edit] Bibliography

• G. A. Deleury, The cult of Vithoba (Pune: Deccan College, 1960)
• Digambar Balkrishna Mokashi, Philip C. Engblom. Palkhi: a pilgrimage to Pandharpur (translated from the Marathi book Pālakhī by Philip C. Engblom), Published 1987, SUNY Press, 291 pages, ISBN 0887064612
• An Introduction to Hinduism By Gavin D. Flood, Published 1996, Cambridge University Press, 341 pages, ISBN 0521438780
• People of India By Kumar Suresh Singh, B V Mehta, Anthropological Survey of India
• Vaiṣṇavism, Śaivism, and Minor Religious Systems By Ramakrishna Gopal Bhandarkar[2] pp.124-7 Published 1995 Asian Educational Services ISBN 812060122X p.244 (First published 1913).
• The Hindu Religious Year By M.M. Underhill, Published 1991, Asian Educational Services, ISBN 8120605233. Originally published: Calcutta : Association Press, 1921.
• Erick Reenberg Sand, The Legend of Pundarika: The Founder of Pandharpur pp.33-61 [3] inThe History of Sacred Places in India as Reflected in Traditional Literature By Hans Bakker, Joel P. Brereton, Stephanie W. Jamison, Madhav Deshpande
• Mysticism in India: The Poet-saints of Maharashtra By Ramchandra Dattatraya Ranade [4]
• Understanding Karma: In Light of Paul Ricoeur's Philosophical Anthroplogy By Shrinivas Tilak [5], Emergence of Vitthala:divine advocate of the subalternpp.243
• Stories of Indian Saints: An English Translation of Mahipati's Marathi Bhaktavijaya Translated by Mahīpati, Justin Edwards Abbott, Narhar R. Godbole. Contributor Justin Edwards Abbott, Ganesh Vasudeo Tagare. Published 1988. Motilal Banarsidass Publ. 1100 pages ISBN:8120804694.
• "Aisa vitevara deva kothe!" in Marathi by M. V. Dhond (Rajhans Prakashan 2001)

[edit] External links

• Japanese Journal of Religious Studies, 1988, 15/2-3 pp.183- 197 "The Vithoba Faith of Maharashtra" - Shima Iwao
• Pandharpur temple
• Pandurangashtakam

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v • d • e Krishna Forms Radha Krishna • Govinda • Bala Krishna • Jagganath • Vithoba (Note) • Shrinathji • Other names Worship Krishnaism • Krishna Janmashtami Temples Dwarka • Mathura • Vrindavan • Puri Texts Bhagavata Purana • Bhagavad Gita • Mahābhārata See also Hinduism • Avatar • Svayam bhagavan • Krishnology • Vishnu • Radha • Rukmini • Satyabhama • Krishna images Note: Vithoba is also considered a form of Vishnu, Shiva and Buddha.