Allamaprabhu | |
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Personal life | |
Born | Early 12th century [1] |
Died | 12th or 13th century |
Resting place | Mulgund near Gadag, Karnataka (gadduge) |
Known for | Lingayat/Sharana movement |
Religious life | |
Religion | Hinduism |
Sect | Lingayat [2] |
Wherever one steps on earth is a pilgrim place [3]
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Beliefs and practices |
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Allamaprabhu was a 12th-century Lingayat-saint and Vachana poet (called Vachanakara) of the Kannada language, [4] [5] propagating the unitary consciousness of Self and Shiva. [web 1] [6] Allamaprabhu is one of the celebrated poets and the patron saint [note 1] of the Lingayata [note 2] movement that reshaped medieval Karnataka society and popular Kannada literature. He is included among the "Trinity of Lingayathism", along with Basavanna, the founder of the movement, and Akka Mahadevi, the most prominent woman poet. [8]
Allamaprabhu used poetry, now part of Vachana Sahitya literature, to criticise rituals and social conventions, to break down social barriers and to emphasize moral values and devotional worship of Shiva. [9] [10] It is well accepted that though Basavanna was the inspiration behind the Lingayath movement and earned the honorific "elder brother" (anna) at the "mansion of experience" (Anubhava Mantapa), Allama was the real guru who presided over it. [7] [11]
According to the scholars K. A. Nilakanta Sastri and Joseph T. Shipley, Vachana literature comprises pithy pieces of poetic prose in easy to understand, yet compelling Kannada language. [5] [12] The scholar E. P. Rice characterises Vachana poems as brief parallelistic allusive poems, each ending with one of the popular local names of the god Shiva and preaching the common folk detachment from worldly pleasures and adherence to devotion to the god Shiva (Shiva Bhakti). [13]
The biographical details of Allamaprabhu that can be historically verified are scanty, and much that is known about him is from hagiographic legends. [1] Some details of the early life of Allama are available in the writings of noted Hoysala poet Harihara, while other accounts are generally considered legendary. [14] Allamaprabhu was born in Shimoga district of Karnataka, India, in the 12th century, to Sujnani and Nirashankara. [15] He was a contemporary of the other famous Lingayat devotee-poets (sharanas), Basavanna and Akka Mahadevi. [10] According to Harihara's biography of Allama, the earliest account of the saint's life, he was a temple drummer in modern Shivamogga district, Karnataka state, India. He came from a family of temple performers, was himself an expert at playing a type of drum called maddale, and his father was a dance teacher. [16]
Allamaprabhu married a dancer named Kamalathe, but she died prematurely. [7] The grief-stricken Allama wandered aimlessly, arriving at a cave temple, where he met the saint Animisayya (or Animisha, "the open eyed one"). [7] The saint gave him a linga icon, blessed him with knowledge on god, and, Allama was enlightened and transformed into a seeker of spirituality. Allama's pen name, (ankita or mudra), Guheshvara the god who stays with every one in the heart cave (also spelt Guheswara or Guhesvara, lit, "Lord of the caves"), which he used in most of his poems is said to be a celebration of his experience in the cave temple. [10] [17] [18] [19]
Allamaprabhu spread his message with songs, playing a lyre as he wandered from place to place. [16] Most of his compositions were spontaneous and in vernacular language, but some were written in Sandhya Bhasha (a code filled language of secret doctrines understood by Yogi Sidhas), [16] a riddle-filled questions-packed poetry in the Vedic and Upanishadic tradition. [20]
Allama died in Kadalivana near Srishila (Andhra Pradesh), and legend has it that he "became one with the linga". [18]
Sadhguru referred Allamaprabhu as one of a kind in the whole history of humanity. He was an extraordinary being. [21]
Allamaprabhu's poetic style has been described as mystic and cryptic, rich in paradoxes and inversions (bedagu mode), staunchly against any form of symbolism, occult powers (siddhis) and their acquisition, temple worship, conventional systems and ritualistic practices, and even critical of fellow Veerashaiva devotees and poets. However, all his poems are non-sectarian and some of them even use straight forward language. [22] About 1,300 hymns are attributed to him. [1]
According to the Kannada scholar Shiva Prakash, Allama's poems are more akin to the Koans (riddles) in the Japanese Zen tradition, and have the effect of awakening the senses out of complacency. [23] Critic Joseph Shipley simply categorises Allama's poems as those of a "perfect Jnani" ("saint"). [5] Some of Allama's poems are known to question and probe the absolute rejection of the temporal by fellow Veerashaiva devotees–even Basavanna was not spared. A poem of his mocks at Akka Mahadevi for covering her nudity with tresses, while flaunting it to the world at the same time, in an act of rejection of pleasures. [24] The scholar Basavaraju compiled 1321 extant poems of Allamaprabhu in his work Allamana Vachana Chandrike (1960). These poems are known to cover an entire range, from devotion to final union with God. [7] [25]
The poems give little information about Allama's early life and worldly experiences before enlightenment. In the words of the scholar Ramanujan, to a saint like Allama, "the butterfly has no memory of the caterpillar". [26] His wisdom is reflected in his poems–only a small portion of which are on the devotee aspect (bhakta, poems 64–112). More than half of the poems dwell on the later phase (sthala) in the life of a saint, most are about union with god and of realization (aikya, poems 606–1321). [25] His poems use the phrase "Lord of the caves" or "Guheswara" to refer to Shiva, and this practice states Subramanian is because Allamaprabhu received his enlightenment in a cave temple. [27] [28]
I saw the fragrance fleeing, when the bee came,
What a wonder!
I saw intellect fleeing, when the heart came.
I saw the temple fleeing, when God came.
The tiger-headed deer, the deer-headed tiger,
Joined at the waist.
Look, another came to chew close by
When the trunk with no head grazes dry leaves,
Look, all vanishes, O Guheswara.
If the mountain feels cold, what will they cover it with?
If the fields are naked, what will they clothe them with?
If the devotee is wordly, what will they compare him with?
O! Lord of the caves!
Look here, the legs are two wheels;
the body is a wagon, full of things
Five men drive the wagon
and one man is not like another.
Unless you ride it in full knowledge of its ways
the axle will break
O Lord of Caves!
Allama was devoted to the worship of Shiva. [29] He used his vachanas to spread Lingayathism, [30] which is monotheistic and nondualistic, and has a strong egalitarian message. Its philosophy and practice is presented in the Panchacaras , five codes of conduct, and the Shatsthala , six phases or steps toward unity with Shiva. [30] For the vacanakaras (Vachana poets), "first-hand 'seeing' was more important to their poetry than theological formulations." [31] Nevertheless, the Shatsthala system provides a narrative structure to the vachanas, portraying a progress toward the union with Shiva. [31] Later anthologies, with the notable exception of the Shoonya Sampadane, followed this scheme in their arrangement of the vachanas. [31]
Although Allamaprabhu and the Vacanas have been qualified as bhakti poets, [32] [33] D.R. Nagaraj notes that Allamaprabhu was not a bhakti poet. Nagaraj explains that Allama's "insistence on opaque and mysterious modes of metaphor is in stark contrast with the emotionally transparent model of bhakti." [34]
Allamaprabhu used poetry, now part of Vachana Sahitya literature, to criticise rituals and social conventions, to breakdown social barriers and to emphasize moral values and devotional worship of Shiva. [9] [10] The vacanakaras, of which Allama was a prominent spokesman, rejected both the 'great' traditions of Vedic religion and the 'little' local traditions, [35] and questioned and ridiculed "classical belief systems, social customs and superstitions, image worship, the caste system, the Vedic ritual of yajna, as well as local sacrifices of lambs and goats." [36]
During the fifteenth century Virashaiva priests consolidated the Virashaiva lore, over-emphasizing the theological and meta-physical aspects, and ignoring the socio-political aspects. The Shoonya Sampadane is a result of this consolidation, which is "a far cry from the socio-political pre-occupations of the twelfth-century movement." [31]
Allamaprabhu propagated the unitary consciousness of Self and Shiva, [web 1] using poetry to express this unity. The vachanakaras regarded language as a limited means to express "the unitive experience of truth." [31] Yet, the vachanas are seen as an expression of the Divine when, in Allama's words,
All Language is the essence of beyond of one knows oneself. All language is ignorance if one is unaware of oneself. [31]
Allama's poetry and spirituality is "intensely personal and experimental," [31] and the vachanas in general "bear [...] a highly complex relationship to other schools," [31] which makes it very difficult to trace and establish exact influences and independent developments. [31] Nevertheless, Allama's philosophy is described as monism [16] [37] [note 3] and also as non-dualism ("advaita"). [38] [note 4] He de-emphasized the need to perfect difficult feats of Yoga and emphasized overcoming the boundaries between relative and absolute knowledge, between devotee and guru (teacher). [46] He used his poetry to teach others, [37] voicing a spirituality that is Nirguna (without attributes, qualities), yet uses Saguna devotionalism in order to metaphorically express what is inexpressible: [47]
Without the duality – mind and mere bone,
For him who has merged his own Self with the Lord,
All actions are actions of linga alone.
With mind given rest from its usual toil,
For him who has merged his own Self with the Lord,
All thoughts of attainment his knowledge be spoil.
Himself into Self having joined with great yoke,
For him there's no dual, no unity broke,
O Lord of the Caves!— Allamaprabhu, Translated by R Blake Michael [46]
Allamaprabhu was the protagonist of some important writings in the Kannada language. The Vijayanagara poet, Chamarasa, wrote Prabhulingalile (1430) in the court of King Deva Raya II, giving an account of the life and teachings of Allamaprabhu. In this work, Allama is considered an incarnation of the Hindu god Ganapati, and Parvati, the consort of the god Shiva, takes the form of the princess of Banavasi to test his detachment from the material world. [48] So popular was the work, that the king had it translated into Tamil and Telugu languages. Later, translations were made into Sanskrit and Marathi languages. [48] [49]
With the intent of re-kindling the spirit of the 12th century, the Sunyasampadane ("Achievement of nothingness" or "The mystical zero"), a famous anthology of Vachana poems and Veerashaiva philosophy was compiled during the Vijayanagara era. It was compiled in four versions starting with the anthologist Shivaganaprasadi Mahadevaiah in c. 1400. Other versions by Halage Arya (1500), Siddhalingayati (1560) and Siddaveerannodaya (1570) are considered refinements. With Allama as its central figure, these anthologies give a vivid account of his interaction, in the form of dialogues, with contemporary saints and devotees. The quality of the work is considered very high. [17] [50] [51] One of his work was translated in to Tamil by Karpanai Kalangiyam Sivaprakasa Swamigal as "Prabhu Linga Leelai".
Lingayats are a monotheistic religious sect of Shaivism within Hindu denomination. Lingayats are also known as liṅgāyataru, liṅgavanta, vīraśaiva, liṅgadhāri. Lingayats are known for their unique practice of Ishtalinga worship, where adherents carry a personal linga symbolizing a constant, intimate relationship with Parashiva. A radical feature of lingayats is their staunch opposition to the caste system and advocacy for social equality, challenging societal norms of the time. Its philosophical tenets are encapsulated in Vachanas, a form of devotional poetry. The tradition also emphasizes Kayaka (work) and Dasoha (service) as forms of worship, underscoring the sanctity of labor and service to others. Unlike mainstream Hinduism, Lingayats reject scriptural authority of vedas, puranas, superstition, astrology, vedic priesthood ritualistic practices, and the concept of rebirth, promoting a direct, personal experience of the divine.
Basava (1131–1167), also called Basavēśvara and Basavaṇṇa, was an Indian philosopher, poet, Lingayat social reformer in the Shiva-focused bhakti movement, and a Hindu Shaivite social reformer during the reign of the Kalyani Chalukya/Kalachuri dynasty. Basava was active during the rule of both dynasties but reached the peak of his influence during the rule of King Bijjala II in Karnataka, India.
Kannada literature is the corpus of written forms of the Kannada language, which is spoken mainly in the Indian state of Karnataka and written in the Kannada script.
Akka Mahadevi was an early poet of Kannada literature and a prominent member of the Lingayatism founded in the 12th century. Her 430 vachanas, and the two short writings called Mantrogopya and the Yogangatrividh are considered her known contributions to Kannada literature. The term Akka was an honorific given to her by saints such as Basavanna, Siddharama, and Allamaprabhu as an indication of her high place in the spiritual discussions held at the "Anubhava Mantapa". She is regarded to be a major female figure in Kannada literature and in the history of Karnataka. She considered the god Shiva as her husband.
Channabasavanna also known as " Guru Channabasaveshwara " was Basava's nephew and one of the foremost Sharanas of the 12th century. He, along with Basava, Allama Prabhu and Akka Mahadevi, played a pivotal role in the propagation of the Lingayat faith. He was the youngest among the sharana leaders and grew up in the household of Basavanna as he was the son of Nagalambike, Basava's own sister. He also wrote the Karana Hasuge which is one of the most sacred texts of the Lingayats, among many vachanas. He propounded the "shatasthala" philosophy associated with the six holy places of Veerashaiva Lingayat creed. He succeeded to the Shunya Simhasana at Anubhava Mantapa, Kalyana after the departure of Allama Prabhu, circa 1162ad. His young shoulders carried on the legacy of Basava after the latter's departure to Kudalasangama in 1162ad. He is credited to have systematised the entire manual of simple rituals for the followers. He was a strong advocate of the Ishtalinga wearing and expounded the material as well as the esoteric meaning of that divine symbol. He held together the nascent group of Shivasharanas and Jangmas in tumultuous times of clashes with the orthodox Brahmins and heretic Jains. Following the assassination of Kalachuri King Bijjala II in 1167 A.D, Channabasava along with his followers migrated to Ulavi safeguarding the Vachana literature. He attained Samadhi state there at the age of 25 passing on the leadership of the movement to Siddarama.
Anubhava Mantapa, established by Basavanna in the 12th century C.E., is a religious complex located in Tipranth, Basavakalyan, in the Bidar district of Karnataka. It is the first religious parliament in the world, whose name is literally translated as "experience pavilion", and was an academy of mystics, saints and philosophers of the lingayat faith in the 12th century. It was the source of essentially all religious and philosophical thought pertaining to the lingayat, and was presided over by the mystic Allama Prabhu, with numerous Sharanas from all over Karnataka and other parts of India participating.
Hoysala literature is the large body of literature in the Kannada and Sanskrit languages produced by the Hoysala Empire (1025–1343) in what is now southern India. The empire was established by Nripa Kama II, came into political prominence during the rule of King Vishnuvardhana (1108–1152), and declined gradually after its defeat by the Khalji dynasty invaders in 1311.
A large body of Western Chalukya literature in the Kannada language was produced during the reign of the Western Chalukya Empire in what is now southern India. This dynasty, which ruled most of the western Deccan in South India, is sometimes called the Kalyani Chalukya dynasty after its royal capital at Kalyani, and sometimes called the Later Chalukya dynasty for its theoretical relationship to the 6th-century Chalukya dynasty of Badami. For a brief period (1162–1183), the Kalachuris of Kalyani, a dynasty of kings who had earlier migrated to the Karnataka region from central India and served as vassals for several generations, exploited the growing weakness of their overlords and annexed the Kalyani. Around 1183, the last Chalukya scion, Someshvara IV, overthrew the Kalachuris to regain control of the royal city. But his efforts were in vain, as other prominent Chalukya vassals in the Deccan, the Hoysalas, the Kakatiyas and the Seunas destroyed the remnants of the Chalukya power.
Vachana sahitya is a form of rhythmic writing in Kannada that evolved in the 11th century and flourished in the 12th century, as a part of the Sharana movement. The word "vachanas" literally means "(that which is) said". These are readily intelligible prose texts. These writings are notable for their simplicity and directness, often addressing social issues and personal devotion. They were composed in Kannada by saints of the Lingayat faith, most notably Basavanna, Akka Mahadevi, and Allama Prabhu. Vachanas critique rituals and caste discrimination, advocating a form of worship centered on Shiva, envisioned as a universal god.
Religion in Karnataka has played a very important role in shaping modern Indian religions and philosophy.
Medieval Kannada literature covered a wide range of subjects and genres which can broadly be classified under the Jain, Virashaiva, Vaishnava and secular traditions. These include writings from the 7th century rise of the Badami Chalukya empire to the 16th century, coinciding with the decline of Vijayanagara Empire. The earliest known literary works until about the 12th century CE were mostly authored by the Jainas along with a few works by Virashaivas and Brahmins and hence this period is called the age of Jain literature,. The 13th century CE, to the 15th century CE, saw the emergence of numerous Virashaiva and Brahminical writers with a proportional decline in Jain literary works. Thereafter, Virashaiva and Brahmin writers have dominated the Kannada literary tradition. Some of the earliest metres used by Jain writers prior to 9th century include the chattana, bedande and the melvadu metres, writings in which have not been discovered but are known from references made to them in later centuries. Popular metres from the 9th century onwards when Kannada literature is available are the champu-kavyas or just champu, vachanasangatya, shatpadi, ragale, tripadi, and kavya.
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Harihara was a noted Kannada poet and writer in the 12th century. A native of Halebidu in modern Hassan district, he came from a family of accountants (Karnikas) and initially served in that capacity in the court of Hoysala King Narasimha I. Later, he moved to Hampi and authored many landmark classics. Among his important writings, the Girijakalyana written in champu metre is considered one of the enduring classics of Kannada language.
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