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Charyapada

The Charyapada (IAST: Caryapāda, Assamese/Bengali: চর্যাপদ) is a collection of mystical poems, songs of realization in the Vajrayana tradition of Buddhism from the tantric tradition in Assam, Bengal, Bihar and Odisha.[1][2]

It was written between the 8th and 12th centuries in an Abahatta that was the ancestor of the Assamese, Bengali, Bhojpuri, Odia, Magahi, Maithili, and many other Eastern Indo-Aryan languages, and it is said to be the oldest collection of verses written in those languages. Charyāpada written in the script resembles the most closest form of Bengali–Assamese languages used today.[3][4][5] A palm-leaf manuscript of the Charyāpada was rediscovered in the early 20th century by Haraprasad Shastri at the Nepal Royal Court Library.[6] The Charyapada was also preserved in the Tibetan Buddhist canon.[7]

As songs of realization, the Caryāpada were intended to be sung. These songs of realisation were spontaneously composed verses that expressed a practitioner's experience of the enlightened state. Miranda Shaw describes how songs of realization were an element of the ritual gathering of practitioners in a ganachakra:

The feast culminates in the performance of tantric dances and music, that must never be disclosed to outsiders. The revellers may also improvise "songs of realization" (caryagiti) to express their heightened clarity and blissful raptures in spontaneous verse.[8]

Discovery

The rediscovery of the Charyapada is credited to Haraprasad Shastri, a 19th-century Sanskrit scholar and historian of Bengali literature who, during his third visit to Nepal in 1907, chanced upon 50 verses at the Royal library of the Nepalese kings. Written on trimmed palm leaves of 12.8×0.9 inches in a language often referred to as sāndhyabhāṣa or twilight language, a semantic predecessor of modern Bengali, the collection came to be called Charyapada and also Charyagiti by some. At that time, Shastri was a librarian of the Asiatic Society in Calcutta, and was engaged in a self-assigned mission to trace and track ancient Bengali manuscripts. His first and second trips to Nepal in 1897 and 1898 met with some success, as he was able to collect a number of folkloric tales written in Pali and Sanskrit. However, after he rediscovered the treasure manuscripts in 1907, he published this collections in a single volume in 1916. According to some historians, there may very likely have been at least 51 original verses which were lost due to absence of proper preservation.[9] Based on the original Tibetan translation, the book was originally called Charyagitikosh and had 100 verses. The scrolls discovered by Shastri contained selected verses.[10]

Manuscripts

The original palm-leaf manuscript of the Charyapada, or Caryācaryāviniścaya, spanning 47 padas (verses) along with a Sanskrit commentary, was edited by Shastri and published from Bangiya Sahitya Parishad as a part of his Hajar Bacharer Purano Bangala Bhasay Bauddhagan O Doha (Buddhist Songs and Couplets) in 1916 under the name of Charyacharyavinishchayah. This manuscript is presently preserved at the National Archives of Nepal. Prabodhchandra Bagchi later published a manuscript of a Tibetan translation containing 50 verses.[11]

 
Pages from the Charyapada

The Tibetan translation provided additional information, including that the Sanskrit commentary in the manuscript, known as Charyagiti-koshavrtti, was written by Munidatta. It also mentions that the original text was translated by Shilachari and its commentary by Munidatta was translated by Chandrakirti or Kirtichandra.[12]

Poets

 
A sketch of Siddhacharya poet Kanhapada

The manuscript of the Charyapada discovered by Haraprasad Shastri from Nepal consists of 47 padas (verses). The title-page, the colophon, and pages 36, 37, 38, 39, and 66 (containing padas 24, 25, and 48 and their commentary) were missing in this manuscript. The 47 verses of this manuscript were composed by 22 of the Mahasiddhas (750 and 1150 CE), or Siddhacharyas, whose names are mentioned at the beginning of each pada (except the first pada). Some parts of the manuscripts are lost; however, in the Tibetan Buddhist Canon, a translation of 50 padas is found, which includes padas 24, 25, and 48, and the complete pada 23. Pada 25 was written by the Siddhacharya poet Tantripāda, whose work was previously missing. In his commentary on pada 10, Munidatta mentions the name of another Siddhacharya poet, Ladidombipāda, but no pada written by him has been discovered so far.

The names of the Siddhacharyas in Sanskrit (or its Tibetan language equivalent), and the raga in which the verse was to be sung, are mentioned prior to each pada. The Sanskrit names of the Siddhacharya poets were likely assigned to each pada by the commentator Munidatta. Modern scholars doubt whether these assignments are proper, on the basis of the internal evidences and other literary sources. Controversies also exist among scholars as to the original names of the Siddhacharyas.

The poets and their works as mentioned in the text are as follows:

Poet Pada
Luipāda 1,29
Kukkuripāda 2, 20, 48
Virubāpāda 3
Gundaripāda 4
Chatillapāda 5
Bhusukupāda 6, 21, 23, 27, 30, 41, 43, 49
Kānhapāda 7, 9, 10, 11, 12, 13, 18, 19, 24, 36, 40, 42, 45
Kambalāmbarapāda 8
Dombipāda 14
Shantipāda 15, 26
Mahidharapāda 16
Vināpāda 17
Sarahapāda 22, 32, 38, 39
Shabarapāda 28, 50
Āryadevapāda 31
Dhendhanapāda 33
Darikapāda 34
Bhādepāda 35
Tādakapāda 37
Kankanapāda 44
Jayanandipāda 46
Dhāmapāda 47
Tantripāda 25

Nature

The language of the Charyapada is rather symbolic in nature. So in many cases the literal meaning of a word does not make any sense. As a result, every poem has a descriptive or narrative surface meaning but also encodes tantric Buddhist teachings. Some experts believe this was to conceal sacred knowledge from the uninitiated, while others hold that it was to avoid religious persecution. Attempts have been made to decipher the secret tantric meanings of the Charyapada.[13][14]

Period

Haraprasad Shastri, who rediscovered the Charyapada, conjectured that it was written during the 10th century. However, according to Suniti Kumar Chatterji, it was composed between 10th and 12th century. Prabodh Chandra Bagchi upholds this view. Sukumar Sen, while supporting this view, also states that the Charyapada could have been written between the 11th and 14th centuries.[15] However, Muhammad Shahidullah was of the opinion that the Charyapada dates back to an even earlier time. He maintained that it was likely to have been composed between 7th and 11th century.[16] Rahul Sankrityayan thought that the Charyapada was probably written between 8th and 11th century.

Language

Haraprasad Shastri, in his introduction to the Charyacharya-vinishchaya, referred to the enigmatic language of its verses as "twilight language" (Sanskrit: Sandhya-bhasha), or Alo-andhari (half-expressed and half-concealed) based on the Sanskrit commentary of Munidatta. Vidhushekhara Shastri, on the basis of evidence from a number of Buddhist texts, later referred to this language as 'Intentional Language' (Sanskrit: Sandha-bhasha).[17]

The padas were written by poets from different regions, and it is natural that they would display linguistic affinities from these regions. Different scholars have noted the affinities of the language of the Charyapada with Assamese, Odia, Bengali, and Maithili.[18]

Affinities with Assamese

Luipa was from Kamarupa and wrote two charyas. Sarahapa, another poet, is said to have been from Rani, a place close to present-day Guwahati. Some of the affinities with Assamese are:[19]

Negatives – the negative particle in Assamese comes ahead of the verb: na jãi (No. 2, 15, 20, 29); na jivami (No. 4); na chadaa, na jani, na disaa (No. 6). Charya 15 has 9 such forms.
Present participles – the suffix -ante is used as in Assamese of the Vaishnava period: jvante (while living, No. 22); sunante (while listening, No. 30) etc.
Incomplete verb forms – suffixes -i and -iya used in modern and Early Assamese respectively: kari (3, 38); cumbi (4); maria (11); laia (28) etc.
Present indefinite verb forms-ai: bhanai (1); tarai (5); pivai (6).
Future – the -iva suffix: haiba (5); kariba (7).
Nominative case ending – case ending in e: kumbhire khaa, core nila (2).
Instrumental case ending – case ending -e and -era: uju bate gela (15); kuthare chijaa (45).

The vocabulary of the Charyapadas includes non-tatsama words which are typically Assamese, such as dala (1), thira kari (3, 38), tai (4), uju (15), caka (14) etc.

Affinities with Bengali

A large number of Siddhacharyas who wrote the verses of Charyapada were from Bengal.Shabarpa, Kukkuripa, Dipankar Srigyan and Bhusukupa were born in different parts of Bengal.[citation needed] Some of the affinities with Bengali are:[20]

Genitive -era, -ara;
Locative -te, -e/A;
Nominative -Ta;
Present participles – the suffix -ante and -anta is used in Middle Bengali;
Present indefinite verb -ai that transformed into -e in modern Bangla;
Second Person Suffix -asi/si that transformed into -is in modern Bangla;
Incomplete verb forms of participles – suffixes -i and -iya used in modern poetry and Early and Middle Bangla both
Post-positional words
like majha, antara, sanga;
Past and future bases -il-, -ib-;
Nominative case ending – case ending in e is prevalent in many dialects in modern Bangla (even certain situations in standard Bangla) as well as middle Bangla;
Instrumental case ending – case ending -e;
Conjunctive indeclinable -ia;
Conjunctive conditional -ite;
Passive -ia-
Substantive roots ach and thak.

Affinities with Odia

The beginnings of Odia poetry coincide with the development of Charya Sahitya, the literature thus started by Mahayana Buddhist poets.[21] This literature was written in a specific metaphor named "Sandhya Bhasha" and the poets like Luipa or Luipada,Kanhupa,Sarhapa, Kambalamara etc. are from the territory of Odisha.[citation needed] The language of Charya was considered as Prakrita and its closely related to Prakrit languages spoken in the Eastern parts of India and Odra Prakrit is one the oldest among other Prakrit language spoken in Eastern India. In his book (Ascharya Charyachaya) Karunakar Kar has mentioned that Odisha is the origin of Charyapada as the Vajrayana school of Buddhism evolved there and started female worship in Buddhism.[citation needed] Worship of Matri Dakini and the practice of "Kaya sadhana" are the outcome of such new culture. Buddhist scholars like "Lakshminkara" and "Padmasambhava" were born in Odisha.[citation needed] The ideas and experience of Kaya sadhana and Shaki upasana (worshiping female principle) which were created by Adi siddhas and have poetic expressions are found in the lyrics of Charyapada. These were the first ever found literary documentation of Prakrit and Apabhramsa which are the primitive form of languages of eastern Indian origin. The poets of Charyapada prominently are from this region and their thought and writing style has influenced the poems in medieval Odia literature which is evidently prominent in the 14th-16th century Odia poetry written majorly in Panchasakha period.[23] The ragas used in Charjyapada, especially in the songs written by Mahasiddhas whose origin has been described in Odisha (as per traditional biographies), bear great affinity with ragas used in the traditional of Odissi music, starting from the Gitagovinda in the 12th century and classical Odia literature from the 14th to 19th centuries.

The language of Charya Sahitya and its relation to modern Odia language without any translation shows a continuity of the Odia linguistic traditions and an integral character of Classical tag for Odia language.

The language of Kanhupa's poetry bears a very strong resemblance to modern Odia. For example,

.

"Ekasa paduma chowshathi pakhudi।

Tahin chadhi nachaa dombi bapudi ॥"

.

ଏକସୋ ପଦମ ଚଉଷଟ୍ଠୀ ପାଖୁଡ଼ି । ତହିଁ ଚଡ଼ି ନାଚଇ ଡୋମ୍ବି ବାପୁଡ଼ି ॥

Paduma (Padma:Lotus), Chausathi (64), Pakhudi (petals) Tahin (there), Chadhi (climb/rise), nachaa (to dance), Dombi (an Odia female belonging to untouchable caste found in entire Odia speaking tract), Bapudi ( a very colloquial Odia language to apply as 'poor fellow' ).

.

"Hailo Dombi, Tote puchhami sadbhabe । Isisi jasi dombi kahari nabe॥"

Haoila- Addres to women ,Puchhami – (will ask), Sadbhabe –(politely) .

"Nagara baahaare dombi tohari kudiaa । choi choi jaha so brahmana naadiaa ॥"

Nagara-Town,Baahaare –(outside),Tohari-Yours,Kudia-Hut,so – se (he), jaha – jae (goes) etc. .

Translation from Odra Prakrit to English" Your hut stands outside the city

Oh, untouchable maid The bald Brahmin passes sneaking close by Oh, my maid, I would make you my companion Kanha is a kapali, a yogi He is naked and has no disgust There is a lotus with sixty-four petals

Upon that the maid will climb with this poor self and dance.॥"

Some of the writing in Jayadeva's Gitagovinda have "Ardhamagadhi padashrita giti" (poetry in Ardhamagadhi) that is influenced by Charyagiti.[22]

Melodies

From the mention of the name of the Rāga (melody) for the each Pada at the beginning of it in the manuscript, it seems that these Padas were actually sung. All 50 Padas were set to the tunes of different Rāgas. The most common Rāga for Charyapada songs was Patamanjari.

Raga Pada
Patamanjari 1, 6, 7, 9, 11, 17, 20, 29, 31, 33, 36
Gabadā or Gaudā 2, 3, 18
Aru 4
Gurjari, Gunjari or Kanha-Gunjari 5, 22, 41, 47
Devakri 8
Deshākha 10, 32
Kāmod 13, 27, 37, 42
Dhanasi or Dhanashri 14
Rāmakri 15, 50
Balāddi or Barādi 21, 23, 28, 34
Shabari 26, 46
Mallāri 30, 35, 44, 45, 49
Mālasi 39
Mālasi-Gaburā 40
Bangāl 43
Bhairavi 12, 16, 19, 38

While some of these Rāgas are extinct, the names of some of these Rāgas may actually be variant names of popular Rāgas we know today.[23]

Glimpses of social life

Many poems provide a realistic picture of early medieval society in eastern India and Assam (e.g. Kamarupa, by describing different occupations such as hunters, fishermen, boatmen, and potters). Geographical locations, namely Banga and Kamarupa, are referred to in the poems. Two rivers which are named are the Ganga and Yamuna. River Padma is also referred to as a canal. No reference to agriculture is available. References to female prostitution occur as well. The boat was the main mode of transport. Some description of wedding ceremonies are also given.[24]

Translations

Produced below is English translation of the first verse of the Charyapada. It was composed by Buddhist Siddhacharya poet Luipa.

The body is like the finest tree, with five branches.
Darkness enters the restless mind.
(Ka'a Tarubara Panchabee Dal, Chanchal Chi'e Paithe Kaal)

Strengthen the quantity of Great Bliss, says Luyi.
Learn from asking the Guru.

Why does one meditate?
Surely one dies of happiness or unhappiness.

Set aside binding and fastening in false hope.
Embrace the wings of the Void.

Luyi says: I have seen this in meditation
Inhalation and exhalation are seated on two stools.

Sarahapāda says :Sarah vonnoti bor sun gohali ki mo Duth Bolande
 Meaning-It is better than empty Byre than a naughty Cow

Bhusukupā says :Apona Mangshe Horina Boiri
Meaning-Deer is enemy itself by its meat

This piece has been translated into English by Hasna Jasimuddin Moudud.[25]

Luipa and His Poetic Excellence

Luipada is the first poet of the ' Charyapada', the first discovered and recognized manuscript of the Bangla literature. Luipa contributes two poems included in the first and twenty ninth among the 50 poems in the manuscript discovered by Horoprosad Shastri in 1907 from the Royal Library of Nepal. These poems are intended to sing, the reference of the name of Ragas with the pieces of the poems validates the supposition. The poems Luipa contributed are composed to sing on the raga ' Patmanjari'.[26] This raga expresses sad and gloomy mood. A lover expresses his anguish being separated and sings as a form of soliloquy or to the close associates of him or her. This raga retains five notes ( SA, GA, MA, PA, and Flat NA) in the octave. This raga has been made popularized by N. Rajam who recorded a 30-minute soundtrack in 1997 under the title of 'Sounds of Strings' published by Living Media India.[27] The melody excels its beauty in the dead of night.

Luipa like all other 24 songwriters[28] in the manuscript did never expose the emotive aspect of human love, let alone the love to the Supreme Being. The physique is the world to them and their objectives were to reach a state of mind where they feel no biting of five senses. Luipa rather experiences his redemption at the point when he can stand up the beckon of sensuous pyre. The following poetic adaptation is a rendition of the translation of this poem by Muhammad Sahidullah.[29] The thematic aspect of the poem for the modern reader who is alien to the Buddhist esoteric life goes:-  

:Five sensuous leaves a manly tree endows;

All they ripple by the slurs of tempted touch.

That Ashwata stands for its mighty roots unshaken;

Zephyrus is sure to defeat at that foot so beaten.

Is that thou stand out eternal;

Whence thou stooped at that sensuous pyre?

Let never epicurean buds sprout to beguile;

Let thou be hyacinths always sleek, so unshaken.

They know no bend flowing like a floral stream;

As redemption near at hand Lui, the bard, deems.


The second poem of Luipa reaches the supreme difficulty level of human existence. The existential crisis[30] reveals through the poem, but the bard never loses the course of his expiation. Luipa confesses the world is existent; the human life has the color. Again; it is non-existent. The moonlight reflected in the waters is a true reflection of the existent moon; but the lightening water is not the light either. The poet here consoles himself with the realization that 'the world may be permanent or temporary; the poet never cares for delving into the truth; the poet realizes to lead a transcendental life'.[31] The poem is translated thus-      

Where is it and where is it not that entity;

Who is here to be pleased with this duality?

The truth is really far to find

The feelings like senses can never bind.

That is non-perceived by colored forms and signs

The Vedas and Agamas trace only in blind.

The moon reflected in the water

Perceives as true even mirage for sure.

What is for me to think as astray;

The life I lead in transcendental gay?

Thus; the poet, Luipa, has created a poetical paradise that is beyond the reach of carnality.[32]

The Feminine Exuberance in Kukkuripa

Kukkuripa is referred to as having contributed with three buddhist songs- song 2, 20 and 48; songs 2 and 20 are found in the discovered manuscript and the song 48 was missing from the manuscript due to the broken pages. In case of the two songs discovered with the contribution of "Kukkuripa", the Buddhist song maestro has addressed "Feminine ecstacy[33]", and the activity of copulation at such a height that reeminds of the keen observation of a feminine experience re garding the relations in the family, a mother's urge to have a baby boy, a lady's urge to have communion with her husband; and the mad pursuit for sexual drive. The first poem of this Buddhist bard narrates the nightly drive of the daughter-in-law, " At midnight, the rag of the daughter-in-law has been taken by the thief. The father is awake at daytime. So, she cannot go out of the house at that time. But the night brings advantage to that lady and she strides out of the house for satiating her sexual drive as the father goes into deep sleep.[1] The poetic presentation of this translation made by Dr. Muhammad Sahidullah aligns-

You can never suck to drain

Both of the breast milk-laden,

The enticing tamarind so sour in taste

How miracle does the alligator devour at a breath.

The yard with the home conjoins, hey piper,

The wife loses her ring at a nightly ride to a pilfer.

The slumber numbed the parent, but for the wife,

How she claims her ring lost for gaily ride!

The crow is feared in the sun by that maid,

Though she dares so savage a darkened quest.

So intriguing the song that Kukkuri sings,

Might it reach many, though learnt by one.(pp. 32–33).

When the translation [pp. 70–73] is gone through[34] the phrases, 'I have a monk as my Husband, My sexual pleasure cannot be expressed. My first delivery is the boy' reminds the readers of the family perspectives a married woman has to undergo. Whatever mysticism, metaphor and allusion the poet wants to present in the guise of the family drama; the visual images reflect the inner picture of a married girl regarding her longing for the touch of the husband and the bliss with a baby boy.

The poetic adaptation of that translation of the Buddhist song of the Charyapada reflects-

The bottle empties to the lees

Exhausting by union with the clergy sexless.

Rising out of the womb that I saw

Hoped for other though I missed as an awe.

The boy that I wanted as a ma

So ill-fate the boy truly he has flaw.

My youthful passion killed the puberty off

The glittering glow drove the darkening shaft.

All the rivulets meet at the estuary

You know the axiom; you out of the aviary.


Both of the songs use allegory taken from the scenes of everyday sensual life. The Sexual drive is taken as an example to explain the 'Transcendentality' from the part of the monk who are engulfed with the esoteric livings.  

References

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  32. ^ Halder, Deb Proshad (2022). Beyond Carnality: A Journey of a Bard to the Musical Paradise!. Amazon Asia Pasific Holding. pp. 3–5. ISBN 979-8834827092.[unreliable source?]
  33. ^ Gray, David B. (5 December 2016). "Contemporary Tantric Buddhist Traditions". Oxford Handbooks Online. doi:10.1093/oxfordhb/9780199362387.013.40. from the original on 27 September 2022. Retrieved 21 June 2022.
  34. ^ Sahidullaha, Muhammad (2019). Buddhist Mystic Songs (3rd ed.). Dhaka, Bangladesh: Mawla Brothers. pp. 72–73. ISBN 978-9844104754.

Further reading

  • Charjapad Samiksha by Dr. Belal Hossain, Dhaka: Borno Bichitrra.
  • Bangala Bhasar Itibrtta, by Dr. Muhammad Shahidullah, 1959, Dhaka.
  • Dasgupta Sashibhusan, Obscure Religious Cults, Firma KLM, Calcutta, 1969, ISBN 81-7102-020-8.
  • Sen Sukumar, Charyageeti Padavali (in Bengali), Ananda Publishers, 1st edition, Kolkata, 1995, ISBN 81-7215-458-5.
  • Shastri Haraprasad (ed.), Hajar Bacharer Purano Bangala Bhasay Bauddhagan O Doha (in Bengali), Bangiya Sahitya Parishad, 3rd edition, Kolkata, 1413 Bangabda (2006).

External links

  • Caryāgītikoṣa (Fascimile Edition)
  • Caryāgīti-koṣa of Buddhist Siddhas
  • Old Bengali Texts (Caryāgīti)
  • Les chants mystiques de Kāṇha et de Saraha
  • Milansagar

charyapada, this, article, require, cleanup, meet, wikipedia, quality, standards, specific, problem, article, needs, improvement, grammar, clarification, structure, please, help, improve, this, article, june, 2014, learn, when, remove, this, template, message,. This article may require cleanup to meet Wikipedia s quality standards The specific problem is the article needs improvement of grammar and clarification of structure Please help improve this article if you can June 2014 Learn how and when to remove this template message The Charyapada IAST Caryapada Assamese Bengali চর য পদ is a collection of mystical poems songs of realization in the Vajrayana tradition of Buddhism from the tantric tradition in Assam Bengal Bihar and Odisha 1 2 It was written between the 8th and 12th centuries in an Abahatta that was the ancestor of the Assamese Bengali Bhojpuri Odia Magahi Maithili and many other Eastern Indo Aryan languages and it is said to be the oldest collection of verses written in those languages Charyapada written in the script resembles the most closest form of Bengali Assamese languages used today 3 4 5 A palm leaf manuscript of the Charyapada was rediscovered in the early 20th century by Haraprasad Shastri at the Nepal Royal Court Library 6 The Charyapada was also preserved in the Tibetan Buddhist canon 7 As songs of realization the Caryapada were intended to be sung These songs of realisation were spontaneously composed verses that expressed a practitioner s experience of the enlightened state Miranda Shaw describes how songs of realization were an element of the ritual gathering of practitioners in a ganachakra The feast culminates in the performance of tantric dances and music that must never be disclosed to outsiders The revellers may also improvise songs of realization caryagiti to express their heightened clarity and blissful raptures in spontaneous verse 8 Contents 1 Discovery 2 Manuscripts 3 Poets 4 Nature 5 Period 6 Language 6 1 Affinities with Assamese 6 2 Affinities with Bengali 6 3 Affinities with Odia 7 Melodies 8 Glimpses of social life 9 Translations 10 Luipa and His Poetic Excellence 11 The Feminine Exuberance in Kukkuripa 12 References 13 Further reading 14 External linksDiscovery EditThe rediscovery of the Charyapada is credited to Haraprasad Shastri a 19th century Sanskrit scholar and historian of Bengali literature who during his third visit to Nepal in 1907 chanced upon 50 verses at the Royal library of the Nepalese kings Written on trimmed palm leaves of 12 8 0 9 inches in a language often referred to as sandhyabhaṣa or twilight language a semantic predecessor of modern Bengali the collection came to be called Charyapada and also Charyagiti by some At that time Shastri was a librarian of the Asiatic Society in Calcutta and was engaged in a self assigned mission to trace and track ancient Bengali manuscripts His first and second trips to Nepal in 1897 and 1898 met with some success as he was able to collect a number of folkloric tales written in Pali and Sanskrit However after he rediscovered the treasure manuscripts in 1907 he published this collections in a single volume in 1916 According to some historians there may very likely have been at least 51 original verses which were lost due to absence of proper preservation 9 Based on the original Tibetan translation the book was originally called Charyagitikosh and had 100 verses The scrolls discovered by Shastri contained selected verses 10 Manuscripts EditThe original palm leaf manuscript of the Charyapada or Caryacaryaviniscaya spanning 47 padas verses along with a Sanskrit commentary was edited by Shastri and published from Bangiya Sahitya Parishad as a part of his Hajar Bacharer Purano Bangala Bhasay Bauddhagan O Doha Buddhist Songs and Couplets in 1916 under the name of Charyacharyavinishchayah This manuscript is presently preserved at the National Archives of Nepal Prabodhchandra Bagchi later published a manuscript of a Tibetan translation containing 50 verses 11 Pages from the Charyapada The Tibetan translation provided additional information including that the Sanskrit commentary in the manuscript known as Charyagiti koshavrtti was written by Munidatta It also mentions that the original text was translated by Shilachari and its commentary by Munidatta was translated by Chandrakirti or Kirtichandra 12 Poets Edit A sketch of Siddhacharya poet Kanhapada The manuscript of the Charyapada discovered by Haraprasad Shastri from Nepal consists of 47 padas verses The title page the colophon and pages 36 37 38 39 and 66 containing padas 24 25 and 48 and their commentary were missing in this manuscript The 47 verses of this manuscript were composed by 22 of the Mahasiddhas 750 and 1150 CE or Siddhacharyas whose names are mentioned at the beginning of each pada except the first pada Some parts of the manuscripts are lost however in the Tibetan Buddhist Canon a translation of 50 padas is found which includes padas 24 25 and 48 and the complete pada 23 Pada 25 was written by the Siddhacharya poet Tantripada whose work was previously missing In his commentary on pada 10 Munidatta mentions the name of another Siddhacharya poet Ladidombipada but no pada written by him has been discovered so far The names of the Siddhacharyas in Sanskrit or its Tibetan language equivalent and the raga in which the verse was to be sung are mentioned prior to each pada The Sanskrit names of the Siddhacharya poets were likely assigned to each pada by the commentator Munidatta Modern scholars doubt whether these assignments are proper on the basis of the internal evidences and other literary sources Controversies also exist among scholars as to the original names of the Siddhacharyas The poets and their works as mentioned in the text are as follows Poet PadaLuipada 1 29Kukkuripada 2 20 48Virubapada 3Gundaripada 4Chatillapada 5Bhusukupada 6 21 23 27 30 41 43 49Kanhapada 7 9 10 11 12 13 18 19 24 36 40 42 45Kambalambarapada 8Dombipada 14Shantipada 15 26Mahidharapada 16Vinapada 17Sarahapada 22 32 38 39Shabarapada 28 50Aryadevapada 31Dhendhanapada 33Darikapada 34Bhadepada 35Tadakapada 37Kankanapada 44Jayanandipada 46Dhamapada 47Tantripada 25Nature EditThe language of the Charyapada is rather symbolic in nature So in many cases the literal meaning of a word does not make any sense As a result every poem has a descriptive or narrative surface meaning but also encodes tantric Buddhist teachings Some experts believe this was to conceal sacred knowledge from the uninitiated while others hold that it was to avoid religious persecution Attempts have been made to decipher the secret tantric meanings of the Charyapada 13 14 Period EditHaraprasad Shastri who rediscovered the Charyapada conjectured that it was written during the 10th century However according to Suniti Kumar Chatterji it was composed between 10th and 12th century Prabodh Chandra Bagchi upholds this view Sukumar Sen while supporting this view also states that the Charyapada could have been written between the 11th and 14th centuries 15 However Muhammad Shahidullah was of the opinion that the Charyapada dates back to an even earlier time He maintained that it was likely to have been composed between 7th and 11th century 16 Rahul Sankrityayan thought that the Charyapada was probably written between 8th and 11th century Language EditHaraprasad Shastri in his introduction to the Charyacharya vinishchaya referred to the enigmatic language of its verses as twilight language Sanskrit Sandhya bhasha or Alo andhari half expressed and half concealed based on the Sanskrit commentary of Munidatta Vidhushekhara Shastri on the basis of evidence from a number of Buddhist texts later referred to this language as Intentional Language Sanskrit Sandha bhasha 17 The padas were written by poets from different regions and it is natural that they would display linguistic affinities from these regions Different scholars have noted the affinities of the language of the Charyapada with Assamese Odia Bengali and Maithili 18 Affinities with Assamese Edit Luipa was from Kamarupa and wrote two charyas Sarahapa another poet is said to have been from Rani a place close to present day Guwahati Some of the affinities with Assamese are 19 Negatives the negative particle in Assamese comes ahead of the verb na jai No 2 15 20 29 na jivami No 4 na chadaa na jani na disaa No 6 Charya 15 has 9 such forms Present participles the suffix ante is used as in Assamese of the Vaishnava period jvante while living No 22 sunante while listening No 30 etc Incomplete verb forms suffixes i and iya used in modern and Early Assamese respectively kari 3 38 cumbi 4 maria 11 laia 28 etc Present indefinite verb forms ai bhanai 1 tarai 5 pivai 6 Future the iva suffix haiba 5 kariba 7 Nominative case ending case ending in e kumbhire khaa core nila 2 Instrumental case ending case ending e and era uju bate gela 15 kuthare chijaa 45 The vocabulary of the Charyapadas includes non tatsama words which are typically Assamese such as dala 1 thira kari 3 38 tai 4 uju 15 caka 14 etc Affinities with Bengali Edit A large number of Siddhacharyas who wrote the verses of Charyapada were from Bengal Shabarpa Kukkuripa Dipankar Srigyan and Bhusukupa were born in different parts of Bengal citation needed Some of the affinities with Bengali are 20 Genitive era ara Locative te e A Nominative Ta Present participles the suffix ante and anta is used in Middle Bengali Present indefinite verb ai that transformed into e in modern Bangla Second Person Suffix asi si that transformed into is in modern Bangla Incomplete verb forms of participles suffixes i and iya used in modern poetry and Early and Middle Bangla both Post positional words like majha antara sanga Past and future bases il ib Nominative case ending case ending in e is prevalent in many dialects in modern Bangla even certain situations in standard Bangla as well as middle Bangla Instrumental case ending case ending e Conjunctive indeclinable ia Conjunctive conditional ite Passive ia Substantive roots ach and thak Affinities with Odia Edit The beginnings of Odia poetry coincide with the development of Charya Sahitya the literature thus started by Mahayana Buddhist poets 21 This literature was written in a specific metaphor named Sandhya Bhasha and the poets like Luipa or Luipada Kanhupa Sarhapa Kambalamara etc are from the territory of Odisha citation needed The language of Charya was considered as Prakrita and its closely related to Prakrit languages spoken in the Eastern parts of India and Odra Prakrit is one the oldest among other Prakrit language spoken in Eastern India In his book Ascharya Charyachaya Karunakar Kar has mentioned that Odisha is the origin of Charyapada as the Vajrayana school of Buddhism evolved there and started female worship in Buddhism citation needed Worship of Matri Dakini and the practice of Kaya sadhana are the outcome of such new culture Buddhist scholars like Lakshminkara and Padmasambhava were born in Odisha citation needed The ideas and experience of Kaya sadhana and Shaki upasana worshiping female principle which were created by Adi siddhas and have poetic expressions are found in the lyrics of Charyapada These were the first ever found literary documentation of Prakrit and Apabhramsa which are the primitive form of languages of eastern Indian origin The poets of Charyapada prominently are from this region and their thought and writing style has influenced the poems in medieval Odia literature which is evidently prominent in the 14th 16th century Odia poetry written majorly in Panchasakha period 23 The ragas used in Charjyapada especially in the songs written by Mahasiddhas whose origin has been described in Odisha as per traditional biographies bear great affinity with ragas used in the traditional of Odissi music starting from the Gitagovinda in the 12th century and classical Odia literature from the 14th to 19th centuries The language of Charya Sahitya and its relation to modern Odia language without any translation shows a continuity of the Odia linguistic traditions and an integral character of Classical tag for Odia language The language of Kanhupa s poetry bears a very strong resemblance to modern Odia For example Ekasa paduma chowshathi pakhudi Tahin chadhi nachaa dombi bapudi ଏକସ ପଦମ ଚଉଷଟ ଠ ପ ଖ ଡ ତହ ଚଡ ନ ଚଇ ଡ ମ ବ ବ ପ ଡ Paduma Padma Lotus Chausathi 64 Pakhudi petals Tahin there Chadhi climb rise nachaa to dance Dombi an Odia female belonging to untouchable caste found in entire Odia speaking tract Bapudi a very colloquial Odia language to apply as poor fellow Hailo Dombi Tote puchhami sadbhabe Isisi jasi dombi kahari nabe Haoila Addres to women Puchhami will ask Sadbhabe politely Nagara baahaare dombi tohari kudiaa choi choi jaha so brahmana naadiaa Nagara Town Baahaare outside Tohari Yours Kudia Hut so se he jaha jae goes etc Translation from Odra Prakrit to English Your hut stands outside the cityOh untouchable maid The bald Brahmin passes sneaking close by Oh my maid I would make you my companion Kanha is a kapali a yogi He is naked and has no disgust There is a lotus with sixty four petalsUpon that the maid will climb with this poor self and dance Some of the writing in Jayadeva s Gitagovinda have Ardhamagadhi padashrita giti poetry in Ardhamagadhi that is influenced by Charyagiti 22 Melodies EditFrom the mention of the name of the Raga melody for the each Pada at the beginning of it in the manuscript it seems that these Padas were actually sung All 50 Padas were set to the tunes of different Ragas The most common Raga for Charyapada songs was Patamanjari Raga PadaPatamanjari 1 6 7 9 11 17 20 29 31 33 36Gabada or Gauda 2 3 18Aru 4Gurjari Gunjari or Kanha Gunjari 5 22 41 47Devakri 8Deshakha 10 32Kamod 13 27 37 42Dhanasi or Dhanashri 14Ramakri 15 50Baladdi or Baradi 21 23 28 34Shabari 26 46Mallari 30 35 44 45 49Malasi 39Malasi Gabura 40Bangal 43Bhairavi 12 16 19 38While some of these Ragas are extinct the names of some of these Ragas may actually be variant names of popular Ragas we know today 23 Glimpses of social life EditMany poems provide a realistic picture of early medieval society in eastern India and Assam e g Kamarupa by describing different occupations such as hunters fishermen boatmen and potters Geographical locations namely Banga and Kamarupa are referred to in the poems Two rivers which are named are the Ganga and Yamuna River Padma is also referred to as a canal No reference to agriculture is available References to female prostitution occur as well The boat was the main mode of transport Some description of wedding ceremonies are also given 24 Translations EditProduced below is English translation of the first verse of the Charyapada It was composed by Buddhist Siddhacharya poet Luipa The body is like the finest tree with five branches Darkness enters the restless mind Ka a Tarubara Panchabee Dal Chanchal Chi e Paithe Kaal Strengthen the quantity of Great Bliss says Luyi Learn from asking the Guru Why does one meditate Surely one dies of happiness or unhappiness Set aside binding and fastening in false hope Embrace the wings of the Void Luyi says I have seen this in meditationInhalation and exhalation are seated on two stools Sarahapada says Sarah vonnoti bor sun gohali ki mo Duth Bolande Meaning It is better than empty Byre than a naughty Cow Bhusukupa says Apona Mangshe Horina Boiri Meaning Deer is enemy itself by its meat This piece has been translated into English by Hasna Jasimuddin Moudud 25 Luipa and His Poetic Excellence EditLuipada is the first poet of the Charyapada the first discovered and recognized manuscript of the Bangla literature Luipa contributes two poems included in the first and twenty ninth among the 50 poems in the manuscript discovered by Horoprosad Shastri in 1907 from the Royal Library of Nepal These poems are intended to sing the reference of the name of Ragas with the pieces of the poems validates the supposition The poems Luipa contributed are composed to sing on the raga Patmanjari 26 This raga expresses sad and gloomy mood A lover expresses his anguish being separated and sings as a form of soliloquy or to the close associates of him or her This raga retains five notes SA GA MA PA and Flat NA in the octave This raga has been made popularized by N Rajam who recorded a 30 minute soundtrack in 1997 under the title of Sounds of Strings published by Living Media India 27 The melody excels its beauty in the dead of night Luipa like all other 24 songwriters 28 in the manuscript did never expose the emotive aspect of human love let alone the love to the Supreme Being The physique is the world to them and their objectives were to reach a state of mind where they feel no biting of five senses Luipa rather experiences his redemption at the point when he can stand up the beckon of sensuous pyre The following poetic adaptation is a rendition of the translation of this poem by Muhammad Sahidullah 29 The thematic aspect of the poem for the modern reader who is alien to the Buddhist esoteric life goes Five sensuous leaves a manly tree endows All they ripple by the slurs of tempted touch That Ashwata stands for its mighty roots unshaken Zephyrus is sure to defeat at that foot so beaten Is that thou stand out eternal Whence thou stooped at that sensuous pyre Let never epicurean buds sprout to beguile Let thou be hyacinths always sleek so unshaken They know no bend flowing like a floral stream As redemption near at hand Lui the bard deems The second poem of Luipa reaches the supreme difficulty level of human existence The existential crisis 30 reveals through the poem but the bard never loses the course of his expiation Luipa confesses the world is existent the human life has the color Again it is non existent The moonlight reflected in the waters is a true reflection of the existent moon but the lightening water is not the light either The poet here consoles himself with the realization that the world may be permanent or temporary the poet never cares for delving into the truth the poet realizes to lead a transcendental life 31 The poem is translated thus Where is it and where is it not that entity Who is here to be pleased with this duality The truth is really far to findThe feelings like senses can never bind That is non perceived by colored forms and signsThe Vedas and Agamas trace only in blind The moon reflected in the waterPerceives as true even mirage for sure What is for me to think as astray The life I lead in transcendental gay Thus the poet Luipa has created a poetical paradise that is beyond the reach of carnality 32 The Feminine Exuberance in Kukkuripa EditKukkuripa is referred to as having contributed with three buddhist songs song 2 20 and 48 songs 2 and 20 are found in the discovered manuscript and the song 48 was missing from the manuscript due to the broken pages In case of the two songs discovered with the contribution of Kukkuripa the Buddhist song maestro has addressed Feminine ecstacy 33 and the activity of copulation at such a height that reeminds of the keen observation of a feminine experience re garding the relations in the family a mother s urge to have a baby boy a lady s urge to have communion with her husband and the mad pursuit for sexual drive The first poem of this Buddhist bard narrates the nightly drive of the daughter in law At midnight the rag of the daughter in law has been taken by the thief The father is awake at daytime So she cannot go out of the house at that time But the night brings advantage to that lady and she strides out of the house for satiating her sexual drive as the father goes into deep sleep 1 The poetic presentation of this translation made by Dr Muhammad Sahidullah aligns You can never suck to drainBoth of the breast milk laden The enticing tamarind so sour in tasteHow miracle does the alligator devour at a breath The yard with the home conjoins hey piper The wife loses her ring at a nightly ride to a pilfer The slumber numbed the parent but for the wife How she claims her ring lost for gaily ride The crow is feared in the sun by that maid Though she dares so savage a darkened quest So intriguing the song that Kukkuri sings Might it reach many though learnt by one pp 32 33 When the translation pp 70 73 is gone through 34 the phrases I have a monk as my Husband My sexual pleasure cannot be expressed My first delivery is the boy reminds the readers of the family perspectives a married woman has to undergo Whatever mysticism metaphor and allusion the poet wants to present in the guise of the family drama the visual images reflect the inner picture of a married girl regarding her longing for the touch of the husband and the bliss with a baby boy The poetic adaptation of that translation of the Buddhist song of the Charyapada reflects The bottle empties to the leesExhausting by union with the clergy sexless Rising out of the womb that I sawHoped for other though I missed as an awe The boy that I wanted as a maSo ill fate the boy truly he has flaw My youthful passion killed the puberty offThe glittering glow drove the darkening shaft All the rivulets meet at the estuaryYou know the axiom you out of the aviary Both of the songs use allegory taken from the scenes of everyday sensual life The Sexual drive is taken as an example to explain the Transcendentality from the part of the monk who are engulfed with the esoteric livings References Edit The writers of the Charyapada the Mahasiddhas or Siddhacharyas belonged to the various regions of Assam Bengal Orissa and Bihar sites google com Archived from the original on 10 October 2020 Retrieved 14 July 2020 Shaw Miranda Shaw Miranda 1995 Passionate Enlightenment Women in Tantric Buddhism Princeton University Press ISBN 978 0 691 01090 8 Chatterji Suniti Kumar The Origin and Development of the Bengali Language p 80 Chakrabarti Kunal Chakrabarti Subhra 22 August 2013 Historical Dictionary of the Bengalis Scarecrow Press UK p 125 ISBN 978 0 8108 5334 8 Archived from the original on 23 March 2022 Retrieved 15 October 2020 Duggal Gita Chakrabarti Joyita George Mary Bhatia Puja Milestones Social Science Madhubun p 79 ISBN 9789325982673 Archived from the original on 16 September 2021 Retrieved 15 October 2020 Guhathakurta Meghna van Schendel Willem 30 April 2013 The Bangladesh Reader History Culture Politics Duke University Press p 40 ISBN 978 0 8223 5318 8 Archived from the original on 4 August 2020 Retrieved 13 February 2016 Kvaerne Per 2010 An Anthology of Buddhist Tantric Songs A Study of the Caryagiti Orchid Press ISBN 978 974 8299 34 1 Archived from the original on 13 January 2021 Retrieved 13 February 2016 Shaw Miranda 1995 Passionate Enlightenment Women in Tantric Buddhism Princeton University Press p 81 ISBN 0 691 01090 0 Das Dr Nirmal January 2014 Charyageeti Parikroma in Bengali 9th ed Dey s Publishing p 13 ISBN 978 81 295 1600 8 চর য গ ত ক ম হম মদ আবদ ল হ ই ও আন য র প শ সম প ষষ ঠ স স করণ ১৪১৪ বঙ গ ব দ স ট ড ণ ট ওয জ ঢ ক ব ল দ শ Bagchi Prabodhchandra Materials for a critical edition of the old Bengali Caryapadas A comparative study of the text and Tibetan translation Part I in Journal of the Department of Letters Vol XXX pp 1 156 Calcutta University Calcutta 1938 CE Sen Sukumar 1995 Charyageeti Padavali in Bengali Kolkata Ananda Publishers ISBN 81 7215 458 5 pp 29 30 Bandyopadhyay Debaprasad 2014 The Movement Within A Secret Guide To Esoteric Kayaasadhanaa Caryaapada Journal of Bengali Studies 3 1 113 27 Archived from the original on 10 July 2022 Retrieved 13 September 2014 Bandyopadhyay Debaprasad 2012 চর য চর চ য ন রবত র ভ ষ তত ত ব সন ধ ন উপক রমন ক Searching for Linguistics of Silenceme Caryapada In Pranab K Chakroborty ed Interaction VIII Nabadwip West Bengal India pp 23 31 Archived from the original on 10 July 2022 Retrieved 19 September 2014 Sen Sukumar 1991 1940 Bangala Sahityer Itihas Vol I in Bengali Kolkata Ananda Publishers ISBN 81 7066 966 9 p 55 Muhammad Shahidullah Bangala Bhashar Itibritto 2006 Mawla Brothers Dhaka Indian Historical Quarterly Vol IV No 1 1928 CE pp 287 296 Majumdar Ramesh Chandra Pusalker A D Majumdar A K eds 1960 The History and Culture of the Indian People Vol VI Bombay Bharatiya Vidya Bhavan pp 516 519 The Charyapadas of Old Bengali have also been claimed for Old Assamese Some Oriya scholars like those of Assam regard the speech of the Charyapadas to be the oldest form of their language The Maithils have also made the same claim Language and Literature from The Comprehensive History of Assam Vol 1 ed H K Barpujari Guwahati 1990 Chatterjee S K The Origin and Development of Bengali Language Vol 1 Calcutta 1926 p 112 Prusty Dr Subrat Odia as a Classical Language Archived from the original on 27 September 2022 Retrieved 4 September 2022 Parhi Kirtan Narayan May June 2010 Orissa Review PDF Department of Culture Government of Odisha pp 32 35 Archived PDF from the original on 9 November 2013 Retrieved 18 July 2016 Roy Niharranjan Bangalir Itihas Adiparba in Bengali Dey s Publishing Calcutta 1993 CE ISBN 81 7079 270 3 pp 637 Social Life in Charjapad by Anisuzzaman Hasna Jasimuddin Moudud A Thousand year of Bengali Mystic Poetry 1992 Dhaka University Press Limited Exchange Ragamala series Ragini Patamanjari exchange umma umich edu Archived from the original on 18 September 2021 Retrieved 18 June 2022 Raga Patmanjari Full Song N Rajam Download or Listen Free JioSaavn 1 January 1997 archived from the original on 27 September 2022 retrieved 18 June 2022 Hai Muhammad Abdul Pasha Anwar eds 2017 Charyagitika in Bengali 7th ed Dhaka Student Ways pp 10 13 OCLC 44770950 Shahidullah Muhammad 1960 Buddhist mystic songs oldest Bengali and other eastern vernaculars Karachi Bengali Literary Society Dept of Bengali University of Karachi Archived from the original on 17 June 2022 Retrieved 18 June 2022 Calonne David Stephen 15 February 2021 Jean Paul Sartre and the Existential Quest R Crumb University Press of Mississippi pp 128 153 archived from the original on 27 September 2022 retrieved 18 June 2022 Chapter 4 Someone to Watch Over Me Jerome Kern George Gershwin and the Jazz Journey in the Musical Comedy Stairway to Paradise De Gruyter pp 75 97 23 August 2021 doi 10 1515 9783110723168 005 archived from the original on 27 September 2022 retrieved 18 June 2022 Halder Deb Proshad 2022 Beyond Carnality A Journey of a Bard to the Musical Paradise Amazon Asia Pasific Holding pp 3 5 ISBN 979 8834827092 unreliable source Gray David B 5 December 2016 Contemporary Tantric Buddhist Traditions Oxford Handbooks Online doi 10 1093 oxfordhb 9780199362387 013 40 Archived from the original on 27 September 2022 Retrieved 21 June 2022 Sahidullaha Muhammad 2019 Buddhist Mystic Songs 3rd ed Dhaka Bangladesh Mawla Brothers pp 72 73 ISBN 978 9844104754 Further reading EditCharjapad Samiksha by Dr Belal Hossain Dhaka Borno Bichitrra Bangala Bhasar Itibrtta by Dr Muhammad Shahidullah 1959 Dhaka Dasgupta Sashibhusan Obscure Religious Cults Firma KLM Calcutta 1969 ISBN 81 7102 020 8 Sen Sukumar Charyageeti Padavali in Bengali Ananda Publishers 1st edition Kolkata 1995 ISBN 81 7215 458 5 Shastri Haraprasad ed Hajar Bacharer Purano Bangala Bhasay Bauddhagan O Doha in Bengali Bangiya Sahitya Parishad 3rd edition Kolkata 1413 Bangabda 2006 External links EditCaryagitikoṣa Fascimile Edition Caryagiti koṣa of Buddhist Siddhas Old Bengali Texts Caryagiti Les chants mystiques de Kaṇha et de Saraha Mystic Poems of Eighth Century India Milansagar Retrieved from https en wikipedia org w index php title Charyapada amp oldid 1124806824, wikipedia, wiki, book, books, library,

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