{"title":"Bhakti, dharma e vairāgya nell’agiografia di Pīpā","authors":"Pinuccia Caracchi","doi":"10.13135/1825-263X/3698","DOIUrl":null,"url":null,"abstract":"Pīpā was the rājā of Gagraun in Rājashān in XV century. According to his hagiography, he went to Banāras, following a divine inspiration, and became disciple of Rāmānanda. He left his kingdom together with his youngest wife, the beautiful Sītā, for living the poor and ascetic life of a sādhu . His sādhanā consisted mainly in humble service of bhakta -s, sādhu -s and poor. Although the figure of Pīpā does not have a great relevance in the history of Indian religions, nor in Hindī literature as a sant -poet, his very adventurous life inspired the hagiographers, so that his legend is one of the more extended and widespread of North Indian hagiography. This article focuses mainly on Bhaktamāl and its two main commentaries. The critical analysis of Pīpā and Sītā’s hagiography reveals how in “ bhakti religion” the concepts of dharma and vairāgya were reformulated and entirely subordinated to bhakti . Moreover, the doctrine of the identity of bhakta and Bhagavān is a fundamental key for understanding how, in bhakti movements and, consequently, in hagiography, bhakta-sevā becomes the meeting point of bhakti , dharma and vairāgya , as in the story of Pīpā and Sītā Sahcarī.","PeriodicalId":37635,"journal":{"name":"Kervan","volume":" ","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2019-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Kervan","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.13135/1825-263X/3698","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q2","JCRName":"Arts and Humanities","Score":null,"Total":0}
引用次数: 0
Abstract
Pīpā was the rājā of Gagraun in Rājashān in XV century. According to his hagiography, he went to Banāras, following a divine inspiration, and became disciple of Rāmānanda. He left his kingdom together with his youngest wife, the beautiful Sītā, for living the poor and ascetic life of a sādhu . His sādhanā consisted mainly in humble service of bhakta -s, sādhu -s and poor. Although the figure of Pīpā does not have a great relevance in the history of Indian religions, nor in Hindī literature as a sant -poet, his very adventurous life inspired the hagiographers, so that his legend is one of the more extended and widespread of North Indian hagiography. This article focuses mainly on Bhaktamāl and its two main commentaries. The critical analysis of Pīpā and Sītā’s hagiography reveals how in “ bhakti religion” the concepts of dharma and vairāgya were reformulated and entirely subordinated to bhakti . Moreover, the doctrine of the identity of bhakta and Bhagavān is a fundamental key for understanding how, in bhakti movements and, consequently, in hagiography, bhakta-sevā becomes the meeting point of bhakti , dharma and vairāgya , as in the story of Pīpā and Sītā Sahcarī.
KervanArts and Humanities-Literature and Literary Theory
CiteScore
0.30
自引率
0.00%
发文量
0
审稿时长
18 weeks
期刊介绍:
The journal has three main aims. First of all, it aims at encouraging interdisciplinary research on Asia and Africa, maintaining high research standards. Second, by providing a global forum for Asian and African scholars, it promotes dialogue between the global academic community and civil society, emphasizing patterns and tendencies that go beyond national borders and are globally relevant. The third aim for a specialized academic journal is to widen the opportunities for publishing worthy scholarly studies, to stimulate debate, to create an ideal agora where ideas and research results can be compared and contrasted. Another challenge is to combine a scientific approach and the interest for cultural debate, artistic production, biographic narrative, etcetera. This journal wants to be original (even hybrid) also in its structure, where academic rigor should not hinder access to the vitality of experience and of artistic and cultural production.