Madhava-Vidyaranya: Contributions to Vedanta

The scriptures declare "धर्मो विश्वस्य जगतः प्रतिष्ठा" (तैत्तिरीय-आरण्यकम् – IX-63). Dharma indeed is the foundation of the universe. Sri Vidyaranya saw that dharma, once firmly established, engenders establishment of all that is good.  While dharma refers to cosmic order in the highest sense of the term, it is seen manifold in reality as conduct, practice, punishment and penance(अाचार,व्यवहार,दण्ड,प्रायश्चित्त). This should not be construed as a duplicity or flaw in dharma. To maintain harmony in the diversity of creation, it becomes important for dharma to address hierarchy and variety in this world. If, however, hierarchy and variety are destroyed in this world to achieve an artificially  ‘secular’ and ‘equal’ world, the world would no longer be a fit place to live in. Though dharma is an eternal value according to the Veda, we see that its interpretation and implementation change with time.

Time and again, we see seers who rise up to reinterpret dharma to create Smriti works of which eighteen are the most important. Of these eighteen, those of Manu, Yajnavalkya and Parashara stand tall. Of these, Parashara is the simplest and shortest and is regarded the best fit for this age of Kali ("कलौ पाराशरः स्मृतः"). While the Manu Smriti has notable commentaries by Medhatithi and Kullukabhatta, the Yajnavalkya Smriti has commentaries authored by Apararka, Vishvarupa and Vijnaneshvara. Seeing that the Parashara Smriti lacked a befitting commentary, Madhava composed the Parashara Madhaviya, a detailed and erudite gloss on it.

While the Parashara Smriti covered only the अाचार and प्रायश्चित्त parts, Madhava included an independently composed treatise on  the व्यवहार and दण्ड (civil and criminal law) aspects of dharma into the Parashara Madhaviya. This part, known as the Vyavahara Madhaviya, is not a mere gloss but an encyclopedic exposition of dharmashastra that stands equal to other renowned works such as Chaturvargachintamani (हेमाद्रिः), Viramitrodaya (मित्रमिश्रः), Smritichandrika (देवण्णभट्टः) and Kamalakarakritishreni (कमलाकरभट्टः). This work was recognized as an authority in South India. The list of works referenced in this work is bewildering and demonstrates the extent of Madhavacharya’s study.

Astrology is an important part of dharmashastra that helps in deciding the right muhurtas for Vaidika activities and resolving any doubts in the achievement of the right muhurta. A handbook covering this, Kala Madhaviya, stands as ample testimony to the astrological wisdom, a keen knowledge of climate, and erudition in dharma and shrauta shastras of Madhavacharya.

The concepts of dharma and brahma demonstrate the thoughts of our ancestors about synthesizing knowledge and action, the life here and beyond, as well as worldly desires and renunciation. As if to demonstrate the upanishadic synthesis shown in "अविद्यया मृत्युं तीर्त्वा विद्यया अमृतमश्नुते" (Having transcended death via avidya (works), one attains immortality through vidya (knowledge)), Madhava chose to elaborate on the Purva-mimamsa tradition that focuses on karma (works) as well as on the Uttara-Mimamsa philosophy (Vedanta). To help understand the essence of Purva-mimamsa, Madhavacharya composed works such as the JaiminIya-nyaya-mala and the Vaiyasika-nyaya-mala and produced glosses on the same.

While the prior works were composed by Madhavacharya as a grihastha (householder), the following works were composed after he became an ascetic and took up the renunciate name Vidyaranya in the dashanami tradition. The ten epithets in the dashanami (ten named) monastic tradition of Advaita, that is said to have originated from Sri Shankaracharya, are तीर्थ, वन, गिरि, अरण्य, पुरी, भारती, सरस्वती, आश्रम. सागर, पर्वत. The name Vidyaranya then literally means a forest of wisdom.

Sri Shankara composed commentaries on the ten principal Upanishads of which the biggest is the Brihadaranyaka. Sri Shankara’s foremost disciple, Sri Sureshwara composed an extensive and formidable gloss of around ten thousand verses on the Brihadaranyaka Bhashya known as the Brihadaranyaka-bhashya-vartika. This work is unparalleled for its coverage of different facets of Advaita Vedanta. To make this work approachable, Sri Vidyaranya condensed this work into a well-regarded Vartika-sara  of five thousand verses.

Another of Sri Shankara’s foremost disciples was Sri Padmapada, whose unfinished commentary on his master’s Brahma Sutra Bhashya is known as the Panchapadika. This work deals only with the bhashya of the first four aphorisms. Panchapadika-vivarana is a gloss on the Panchapadika composed by Prakashatman. Sri Vidyaranya condensed this gloss into a well-known work Vivarana-prameya-sangraha, which is invaluable to gain entry into the vivarana and the Panchapadika.

Following the tradition of condensation of existing works, Sri Vidyaranya composed other works such as the Anubhuti-prakasha (condensing the message of the Upanishads), Aitareyopanishad-deepika and the Nrusimha-tapaniyopanishad-deepika (explanatory works on the Aitareya and Nrusimha-tapani Upanishads).

In addition to strengthening the Advaita tradition through explanatory works, Sri Vidyaranya also composed the following independent works on Vedanta.

Drg-drishya-viveka – The discrimination between the seer and the seen -  is a masterful and concise Vedantic handbook of only 42 verses that deals with दृष्टि-सृष्टि-वाद and बिम्ब-प्रतिबिम्ब-वाद.

The most famous of  Sri Vidyaranya’s works (composed in co-ordination with Sri Bharati Tirtha) is probably the Vedanta Panchadashi or the Panchadashi, known as such because of the fifteen chapters in it. The Panchadashi is also one of the most popular works in all of Vedantic literature. This work is divided into three pentads – Viveka-panchaka, Deepa-panchaka and Ananda-panchaka. Its lucid, conversational and poetic style enhances the attraction of this work that is completely in verse. The felicity in language is reminiscent of the style of Sri Shankara, Sri Sureshvara and Jayanta Bhatta. At the outset, the work, using just reason and experience, explains the existence of the Self, the existence of Brahman, the identity of the two, the nature of Brahman/Atman as Existence-Consciousness-Bliss and the unreality of the world according to Advaita Vedanta. In not taking recourse to the Veda, this part is reminiscent of the अध्यास-भाष्य, Sri Shankara’s masterful introduction to the Brahma Sutra Bhashya. Then the same concepts are elaborated via Vedic passages.

The concepts of vruitti, the nature of sacchidananda (Existence-Consciousness-Bliss), the relative nature of Word and Form (nama-rupa), the nature of maya and avidya, the forms of saguna and nirguna brahman and the relative nature of all of creation have been dealt with in this work. Well known techniques of Vedanta such as the analysis of the three states of waking, deep sleep and dreaming (अवस्था-त्रय-विवेक), the discrimination of the five-sheaths (पञ्चकोष-विवेक) as well as an analysis of the four mahavakyas ( तत्त्वमसि, अहं ब्रह्मास्मि, अयमात्मा ब्रह्म and प्रज्ञानं ब्रह्म) are presented in an easily understandable way.

Interested readers can find various detailed expositions of the Panchadashi translated into Indian languages as well as English.

The last work of Sri Vidyaranya is probably the Jivanmuktiviveka that deals with liberation in life. Since the Panchadashi concludes with the topic of Brahmananda and the Jivanmuktiviveka begins with it, the latter is said to be an appendix to the former. The Jivanmuktiviveka, unlike the verse-only Panchadashi has a mix of text and verse. With elaborate references from smritis, itihasas, puranas and other works, this is an encyclopedia of monastic life. This work has five chapters that respectively deal with

1. Scriptural testimony to liberation in life (प्रमाण-प्रकरणम्),
2. The obliteration of latent impressions (वासना-क्षय-प्रकरणम्),
3. The dissolution of the mind (मनो-नाश-प्रकरणम्),
4. The purpose of attainment of one’s own form (स्वरूपसिद्धि-प्रयोजन-प्रकरणम्) and
5. The renunciation of the knowing one (विद्वत्-संन्यास-प्रकरणम्).

Beginning with a two-fold classification of samnyasa as vividisha-samnyasa (the renunciation of the seeker) and vidvat-samnyasa (the renunciation of the knower), the work holds the former as a preliminary stage to the second. Vidvat-samnyasa, that is beyond external emblems of samnyasa and beyond obligatory and prohibitory injunctions (विधि-बिषेध), is the acme of spiritual practice. It is also interesting to note that this work supports the eligibility of women towards formal samnyasa and that there are sufficient scriptural quotes in favor of this eligibility. This shows Sri Vidyaranya’s broad-mindedness, definiteness in knowledge and a keen understanding of society.

Through such Vedantic works, Sri Vidyaranya demonstrated that the summum bonum of life is the attainment of the Atman (Self) or Brahman or the Universal Spirit. This indeed is the final reason for the Indian Renaissance and the establishment of Sanatana Dharma. That all the arts and scriptures, all the sciences and statecraft finally mingle in this ocean of undifferentiated Brahman – is the holistic vision of Sri Vidyaranya, which is in line with the views of his illustrious predecessor, Sri Shankara.

To be concluded...

Author(s)

About:

Engineer. Lapsed blogger. Abiding interest in Sanskrit, religion, and philosophy. A wannabe jack-of-all.

Prekshaa Publications

Among the many contributions of ancient Indians to world thought, perhaps the most insightful is the realisation that ānanda (Bliss) is the ultimate goal of human existence. Since time immemorial, India has been a land steeped in contemplation about the nature of humans and the universe. The great ṛṣis (seers) and ṛṣikās (seeresses) embarked on critical analysis of subjective experience and...

One of the two great epics of India and arguably the most popular epic in the world, the Ramayana has enchanted generations of people not just in Greater India but the world over. In less than three hundred pages The Essential Ramayana captures all the poetic subtleties and noble values of the original and offers the great epic in an eminently readable form that will appeal to the learned and...

The Bhagavad-gītā isn’t merely a treatise on ultimate liberation. It is also a treatise on good living. Even the laity, which does not have its eye on mokṣa, can immensely benefit from the Gītā. It has the power to grant an attitude of reverence in worldly life, infuse enthusiasm in the execution of duty, impart fortitude in times of adversity, and offer solace to the heart when riddled by...

Indian Perspective of Truth and Beauty in Homer’s Epics is a unique work on the comparative study of the Greek Epics Iliad and Odyssey with the Indian Epics – Rāmāyaṇa and Mahābhārata. Homer, who laid the foundations for the classical tradition of the West, occupies a stature similar to that occupied by the seer-poets Vālmīki and Vyāsa, who are synonymous with the Indian culture. The author...

Karnataka’s celebrated polymath, D V Gundappa brings together in the sixth volume of reminiscences character sketches of prominent public figures, liberals, and social workers. These remarkable personages hailing from different corners of South India are from a period that spans from the late nineteenth century to the mid-twentieth century. Written in Kannada in the 1970s, these memoirs go...

An Introduction to Hinduism based on Primary Sources

Authors: Śatāvadhānī Dr. R Ganesh, Hari Ravikumar

What is the philosophical basis for Sanātana-dharma, the ancient Indian way of life? What makes it the most inclusive and natural of all religio-philosophical systems in the world?

The Essential Sanātana-dharma serves as a handbook for anyone who wishes to grasp the...

Karnataka’s celebrated polymath, D V Gundappa brings together in the fifth volume, episodes from the lives of traditional savants responsible for upholding the Vedic culture. These memorable characters lived a life of opulence amidst poverty— theirs  was the wealth of the soul, far beyond money and gold. These vidvāns hailed from different corners of the erstwhile Mysore Kingdom and lived in...

Padma Bhushan Dr. Padma Subrahmanyam represents the quintessence of Sage Bharata’s art and Bhārata, the country that gave birth to the peerless seer of the Nāṭya-veda. Padma’s erudition in various streams of Indic knowledge, mastery over many classical arts, deep understanding of the nuances of Indian culture, creative genius, and sublime vision bolstered by the vedāntic and nationalistic...

Bhārata has been a land of plenty in many ways. We have had a timeless tradition of the twofold principle of Brāhma (spirit of wisdom) and Kṣāttra (spirit of valour) nourishing and protecting this sacred land. The Hindu civilisation, rooted in Sanātana-dharma, has constantly been enriched by brāhma and safeguarded by kṣāttra.
The renowned Sanskrit poet and scholar, Śatāvadhānī Dr. R...

ಛಂದೋವಿವೇಕವು ವರ್ಣವೃತ್ತ, ಮಾತ್ರಾಜಾತಿ ಮತ್ತು ಕರ್ಷಣಜಾತಿ ಎಂದು ವಿಭಕ್ತವಾದ ಎಲ್ಲ ಬಗೆಯ ಛಂದಸ್ಸುಗಳನ್ನೂ ವಿವೇಚಿಸುವ ಪ್ರಬಂಧಗಳ ಸಂಕಲನ. ಲೇಖಕರ ದೀರ್ಘಕಾಲಿಕ ಆಲೋಚನೆಯ ಸಾರವನ್ನು ಒಳಗೊಂಡ ಈ ಹೊತ್ತಗೆ ಪ್ರಧಾನವಾಗಿ ಛಂದಸ್ಸಿನ ಸೌಂದರ್ಯವನ್ನು ಲಕ್ಷಿಸುತ್ತದೆ. ತೌಲನಿಕ ವಿಶ್ಲೇಷಣೆ ಮತ್ತು ಅಂತಃಶಾಸ್ತ್ರೀಯ ಅಧ್ಯಯನಗಳ ತೆಕ್ಕೆಗೆ ಬರುವ ಬರೆಹಗಳೂ ಇಲ್ಲಿವೆ. ಶಾಸ್ತ್ರಕಾರನಿಗಲ್ಲದೆ ಸಿದ್ಧಹಸ್ತನಾದ ಕವಿಗೆ ಮಾತ್ರ ಸ್ಫುರಿಸಬಲ್ಲ ಎಷ್ಟೋ ಹೊಳಹುಗಳು ಕೃತಿಯ ಮೌಲಿಕತೆಯನ್ನು ಹೆಚ್ಚಿಸಿವೆ. ಈ...

Karnataka’s celebrated polymath, D V Gundappa brings together in the fourth volume, some character sketches of the Dewans of Mysore preceded by an account of the political framework of the State before Independence and followed by a review of the political conditions of the State after 1940. These remarkable leaders of Mysore lived in a period that spans from the mid-nineteenth century to the...

Bharatiya Kavya-mimamseya Hinnele is a monograph on Indian Aesthetics by Mahamahopadhyaya N. Ranganatha Sharma. The book discusses the history and significance of concepts pivotal to Indian literary theory. It is equally useful to the learned and the laity.

Sahitya-samhite is a collection of literary essays in Kannada. The book discusses aestheticians such as Ananda-vardhana and Rajashekhara; Sanskrit scholars such as Mena Ramakrishna Bhat, Sridhar Bhaskar Varnekar and K S Arjunwadkar; and Kannada litterateurs such as DVG, S L Bhyrappa and S R Ramaswamy. It has a foreword by Shatavadhani Dr. R Ganesh.

The Mahābhārata is the greatest epic in the world both in magnitude and profundity. A veritable cultural compendium of Bhārata-varṣa, it is a product of the creative genius of Maharṣi Kṛṣṇa-dvaipāyana Vyāsa. The epic captures the experiential wisdom of our civilization and all subsequent literary, artistic, and philosophical creations are indebted to it. To read the Mahābhārata is to...

Shiva Rama Krishna

சிவன். ராமன். கிருஷ்ணன்.
இந்திய பாரம்பரியத்தின் முப்பெரும் கதாநாயகர்கள்.
உயர் இந்தியாவில் தலைமுறைகள் பல கடந்தும் கடவுளர்களாக போற்றப்பட்டு வழிகாட்டிகளாக விளங்குபவர்கள்.
மனித ஒற்றுமை நூற்றாண்டுகால பரிணாம வளர்ச்சியின் பரிமாணம்.
தனிநபர்களாகவும், குடும்ப உறுப்பினர்களாகவும், சமுதாய பிரஜைகளாகவும் நாம் அனைவரும் பரிமளிக்கிறோம்.
சிவன் தனிமனித அடையாளமாக அமைகிறான்....

ऋतुभिः सह कवयः सदैव सम्बद्धाः। विशिष्य संस्कृतकवयः। यथा हि ऋतवः प्रतिसंवत्सरं प्रतिनवतामावहन्ति मानवेषु तथैव ऋतुवर्णनान्यपि काव्यरसिकेषु कामपि विच्छित्तिमातन्वते। ऋतुकल्याणं हि सत्यमिदमेव हृदि कृत्वा प्रवृत्तम्। नगरजीवनस्य यान्त्रिकतां मान्त्रिकतां च ध्वनदिदं चम्पूकाव्यं गद्यपद्यमिश्रितमिति सुव्यक्तमेव। ऐदम्पूर्वतया प्रायः पुरीपरिसरप्रसृतानाम् ऋतूनां विलासोऽत्र प्रपञ्चितः। बेङ्गलूरुनामके...

The Art and Science of Avadhānam in Sanskrit is a definitive work on Sāhityāvadhānam, a form of Indian classical art based on multitasking, lateral thinking, and extempore versification. Dotted throughout with tasteful examples, it expounds in great detail on the theory and practice of this unique performing art. It is as much a handbook of performance as it is an anthology of well-turned...

This anthology is a revised edition of the author's 1978 classic. This series of essays, containing his original research in various fields, throws light on the socio-cultural landscape of Tamil Nadu spanning several centuries. These compelling episodes will appeal to scholars and laymen alike.
“When superstitious mediaevalists mislead the country about its judicial past, we have to...

The cultural history of a nation, unlike the customary mainstream history, has a larger time-frame and encompasses the timeless ethos of a society undergirding the course of events and vicissitudes. A major key to the understanding of a society’s unique character is an appreciation of the far-reaching contributions by outstanding personalities of certain periods – especially in the realms of...

Prekṣaṇīyam is an anthology of essays on Indian classical dance and theatre authored by multifaceted scholar and creative genius, Śatāvadhānī Dr. R Ganesh. As a master of śāstra, a performing artiste (of the ancient art of Avadhānam), and a cultured rasika, he brings a unique, holistic perspective to every discussion. These essays deal with the philosophy, history, aesthetics, and practice of...

Yaugandharam

इदं किञ्चिद्यामलं काव्यं द्वयोः खण्डकाव्ययोः सङ्कलनरूपम्। रामानुरागानलं हि सीतापरित्यागाल्लक्ष्मणवियोगाच्च श्रीरामेणानुभूतं हृदयसङ्क्षोभं वर्णयति । वात्सल्यगोपालकं तु कदाचिद्भानूपरागसमये घटितं यशोदाश्रीकृष्णयोर्मेलनं वर्णयति । इदम्प्रथमतया संस्कृतसाहित्ये सम्पूर्णं काव्यं...

Vanitakavitotsavah

इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।

Vaiphalyaphalam

इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।

Nipunapraghunakam

इयं रचना दशसु रूपकेष्वन्यतमस्य भाणस्य निदर्शनतामुपैति। एकाङ्करूपकेऽस्मिन् शेखरकनामा चित्रोद्यमलेखकः केनापि हेतुना वियोगम् अनुभवतोश्चित्रलेखामिलिन्दकयोः समागमं सिसाधयिषुः कथामाकाशभाषणरूपेण निर्वहति।

Bharavatarastavah

अस्मिन् स्तोत्रकाव्ये भगवन्तं शिवं कविरभिष्टौति। वसन्ततिलकयोपनिबद्धस्य काव्यस्यास्य कविकृतम् उल्लाघनाभिधं व्याख्यानं च वर्तते।

Karnataka’s celebrated polymath, D V Gundappa brings together in the third volume, some character sketches of great literary savants responsible for Kannada renaissance during the first half of the twentieth century. These remarkable...

Karnataka’s celebrated polymath, D V Gundappa brings together in the second volume, episodes from the lives of remarkable exponents of classical music and dance, traditional storytellers, thespians, and connoisseurs; as well as his...

Karnataka’s celebrated polymath, D V Gundappa brings together in the first volume, episodes from the lives of great writers, poets, literary aficionados, exemplars of public life, literary scholars, noble-hearted common folk, advocates...

Evolution of Mahabharata and Other Writings on the Epic is the English translation of S R Ramaswamy's 1972 Kannada classic 'Mahabharatada Belavanige' along with seven of his essays on the great epic. It tells the riveting...

Shiva-Rama-Krishna is an English adaptation of Śatāvadhāni Dr. R Ganesh's popular lecture series on the three great...

Bharatilochana

ಮಹಾಮಾಹೇಶ್ವರ ಅಭಿನವಗುಪ್ತ ಜಗತ್ತಿನ ವಿದ್ಯಾವಲಯದಲ್ಲಿ ಮರೆಯಲಾಗದ ಹೆಸರು. ಮುಖ್ಯವಾಗಿ ಶೈವದರ್ಶನ ಮತ್ತು ಸೌಂದರ್ಯಮೀಮಾಂಸೆಗಳ ಪರಮಾಚಾರ್ಯನಾಗಿ  ಸಾವಿರ ವರ್ಷಗಳಿಂದ ಇವನು ಜ್ಞಾನಪ್ರಪಂಚವನ್ನು ಪ್ರಭಾವಿಸುತ್ತಲೇ ಇದ್ದಾನೆ. ಭರತಮುನಿಯ ನಾಟ್ಯಶಾಸ್ತ್ರವನ್ನು ಅರ್ಥಮಾಡಿಕೊಳ್ಳಲು ಇವನೊಬ್ಬನೇ ನಮಗಿರುವ ಆಲಂಬನ. ಇದೇ ರೀತಿ ರಸಧ್ವನಿಸಿದ್ಧಾಂತವನ್ನು...

Vagarthavismayasvadah

“वागर्थविस्मयास्वादः” प्रमुखतया साहित्यशास्त्रतत्त्वानि विमृशति । अत्र सौन्दर्यर्यशास्त्रीयमूलतत्त्वानि यथा रस-ध्वनि-वक्रता-औचित्यादीनि सुनिपुणं परामृष्टानि प्रतिनवे चिकित्सकप्रज्ञाप्रकाशे। तदन्तर एव संस्कृतवाङ्मयस्य सामर्थ्यसमाविष्कारोऽपि विहितः। क्वचिदिव च्छन्दोमीमांसा च...

The Best of Hiriyanna

The Best of Hiriyanna is a collection of forty-eight essays by Prof. M. Hiriyanna that sheds new light on Sanskrit Literature, Indian...

Stories Behind Verses

Stories Behind Verses is a remarkable collection of over a hundred anecdotes, each of which captures a story behind the composition of a Sanskrit verse. Collected over several years from...