Monday, May 31, 2021

Shailputri, Baramulla

Shailputri, Baramulla

by Chander M. Bhat  

Vande Vanchhitalabhay Chandrardhakritshekharam ! 
Vrisharudham Schooldharam Shailputreem Yashasvineem !! 

[Shailaputri is one of many names of goddess Parvati. She is called Shail-Bala or Shail-Putri because she was born as Himalaya’s Daughter. Himalaya, being a mountain (Parvat or Shail), She is called Parvati or Shail-Putri. Navratra’s first day is devoted to Mata Shailputri. She rides on Vrash (Bull), she has Shool (Trident) in one of her hands, there is half-moon on her crown, and she is beneficial for whatever one wishes.] 

Shaktaism (Mother Worship) represents advancement in the Shaivism. It accepts Shakti as Mother, Who is the Absolute Power behind every act of manifestation. She is worshipped as Mother. The worship of the Mother, in the form of Uma is the most ancient form of worship in Kashmir. There are many shrines associated with Mother Goddess. The shrine of Ragyna Devi is located at Tullamulla; in North Kashmir some 18 km from Srinagar. The shrine dedicated to the worship of Uma Devi is located at Uma Nagri (Brari Aangan) some 18 km from Anantnag. The shrine dedicated to Zyestha Devi is located atop the eastern spur of Shankaracharya hill, on the left bank of Dal Lake. The ruins of the shrine dedicated to Bhima Devi are lying in village Theid near Mughal garden Nishat. The shrine dedicated to Bhaderkali lies deep in forest among tall pine trees on a slope of a hillock, 4 km away from village Wadipora north of Handwara. The shrine dedicated to the worship of Sharika Devi is located at Chakrishor on the western slope of Hari Parvat hill in Srinagar. The shrine dedicated to the worship of Sharda Devi is located in village Shardi in Muzaffarabad now in Pakistan Occupied Kashmir. The shrine dedicated to the worship of Brari Maej is located in village Murran some 4 km to the west of Pulwama town. Bhuvaneshwari (Mata Bhuvaneshwari, is one of the seven sister-divinities and the youngest of them, the other six being Ragyna, Sharika, Jwala, Zyestha, Uma and Sharda) is another shrine in Kashmir at village Chandpora near Harwan. The shrine of Jwala Devi is situated on top of a hillock overlooking village Khrew. The shrine dedicated to the worship of Shiva Bhagwati is in village Akingam near famous Mughal garden Achabal. The shrine dedicated to the worship of Bala Devi is in village Balhama (Bala Devi is the Isht Devi of Dogra rulers). The shrine dedicated to Bedi Devi in near village Keller in Pulwama District. The shrine dedicated to Shailputri is in Baramulla town. 
 
There are many more shrines dedicated to Mother Goddess in Kashmir as Kulwagishori Shrine at village Kulgam, Ragyna Shrine at village Zainapora, Barga Shakha on a hillock at village Mattan, Ksheer Bhawani at village Manzgam, The shrine of Chandika Devi at village Sagam, the shrine of Jaya Bhagwati on a Karewa in village Bijbehara, Katyayani Devi at village Kakran, the shrine of Tripurasundri at Khanbarnen, Mangla Devi at village Wuchi near Zainapora,Gauri Shrine in village Baugam (Anantnag), Ragyna Shrine in village Logripora (Loketpur) near Ashmuqam, Devibal at village Raithan, Devibal at Badipora near Chadura, Sharda Shrine in village Yachhkot, Bhimashori Devi at village Zoonipora, Bumai, Sopore, the shrine of Ganga Mata in village Handwara, Ragyna shrine at village Tikker (Kupwara), Gaurishori Bhagwati at village Geeru, Tral, the shrine of Pingla Devi at village Pinglana near Pulwama, Ragyna Devi shrine at village Trisal (Pulwama), Chandika Devi at village Tengpuna near Pulwama, Devibal at village Ratnipora, the shrine of Tutla Devi at village Wahibugh, Lokeshwari Devi at Maharaj Gunj, Srinagar, Durga Mandir, Kharyar, Maha Kali Asthapan at Feteh Kadal, the shrine of Tripuraganga at village Triphar close to Harwan. 
 
After the self-immolation as Goddess Sati, Goddess Parvati took birth as the daughter of Lord Himalaya. In Sanskrit Shail means the mountain and due to which Goddess was known as Shailputri, the daughter of the mountain.
Goddess Shailputri is worshipped on the first day of Navratra’s.
It is believed that the Moon, the provider of all fortunes, is governed by Goddess Shailputri and any bad effect of the Moon can be overcome by worshipping this form of Adi Shakti.  

The mount of Goddess Shailputri is bull and because of that she is also known as Vrisharudha. Goddess Shailputri is depicted with two hands. She carries Trident (Trishul) in the right hand and the lotus flower in the left hand. The shrine of Shailputri is situated in Baramulla town in Kashmir.

55 km from Srinagar, Baramulla is situated on both the banks of Vitasta. Baramulla is an ancient town sprung around the shrine Vishnu Adi-Varaaha which is located at the lower, i.e. northern, end of the town on the Jhelum near the present Kotitirth. Apart from its strategic importance, being in control of the route leading from the valley to the outside world, especially Hazara, Gilgit, Gandhara, the town enjoyed distinction for being a cultural centre for the Hindus (at Varahakhetra) and the Buddhists at Hushkapora (present Vushkor) were Huien Tsang stayed for two nights. Later he said that some copper plates, on which the proceedings of Kanishka’s council were engraved, lay buried here. The name Varahamula is obviously derived from the Tirtha of the Adi-Varaha, the Boar incarnation. It has been generally referred to as Varahakshetra which includes the shrine and its neighbourhood. Varahamula contracted into Varamul which non-Kashmiri scribes turned into Baramulla.  

There were about 1200 Kashmiri Pandit families in Baramulla prior to mass exodus and was considered second town in Kashmir Valley having such a big population of Kashmir Pandits after Anantnag town. Pandits were mainly residing at Kanli Bagh, Ushkura, Rangwar, Dewan Bagh, Rajghat, Ramghat, Khawja Bagh and Jatti. All the families migrated to other parts of the country on outbreak of militancy in the valley in the year 1990. 
 
Devibal, popularly known as Shailputri or Shaila Devi, is located on the left bank of Vitasta on the National Highway, just 1 km from Baramulla on Baramulla-Uri road at Anapur (present day Khanpur). The shrine is nearly 1000 years old which can be testified from the remains found at the site, placed on the left side under a big Chinar inside main entrance of the shrine. These are six in number and include a unique Shiv Lingam. The main entrance of the shrine is close to the road. One has to step down eight stairs by using staircase to reach the temple premises laid with dressed stones. This beautiful temple is surrounded by four mighty Chinar trees. Some big wild trees also form the part of this complex and it is said that in entire Kashmir valley these types of wild trees are only seen in Shailputri Shrine. There are two walnut and 15 popular trees in the premises of this temple comprising about seven kanals of land. One has to turn right after walking eight yards to reach the main entrance of the sanctum sanctorum and then there is ascend of seven steps to enter. Within the premises is a holy spring, inside which stands a marble temple like the one at Ksheer Bhawani, with a marble icon of Mother Shailputri facing towards south. The premise is 105 feet long and 47 feet wide and has space for circumbulating (Parikrama), with the floor laid with marbles, around it. Holy spring is sixty feet in length and twenty feet in width having crystal clear water?  Water oozes on the right hand side top corner of the holy spring. Kashmiri Pandits hold this Ashthapan in high esteem and consider it next to Ksheer Bhawani. One has to step down seven steps to reach Vitasta Ghat. There is one Dharamshala within the temple premises. Security forces are occupying this Dharamshala at present. 
  
On the other side of the road opposite to Shailputri Shrine there is a big mountain called Bhairav Bal. A small temple has been constructed on the opposite to the main entrance of Shailputri shrine at the foot of this hill near a Shilla. 
 
After mass exodus of Pandit from the valley, the shrine remained without any care and started to wither from its pristine glory. The shrine was burnt to ashes in October 1990. I was posted in Baramulla and I saw with my open eyes the flames in the sky. It was about 8 p.m. Other day there was complete curfew in the town and I enquired from a police personal who was guarding the Dak Bunglow, where we the employees of Postal Department were residing that what had happed. He told that Shailputri temple has been burnt by some miscreants and the icon of Mother Goddess has been shifted to Police Lines. It was later confirmed that the main idol of the Shailputri riding on an ox was attacked and its arms and legs axed. I visited this shrine after some days when curfew was relaxed. The temple was having a devastated look. The Chinar trees which had lost their leaves due to fire were themselves reflective of the grief and sorrow of this shrine. History will not spare the generations of Kashmiris who wrought such havoc to this land. The temple was again constructed by Rashtriya Rifles and was re-opened on 28th November 1995. Master Anoop Singh told me that the temple located at the foot of Bhairav Bal opposite Shailputri temple was also attached and was set on fire but the temple does not catch fire and the same temple is lying intact at present. Two persons who axed the main idol later died due to road accident and by high tension electric shock. 
 
I have visited this temple during my school days alongwith my respect father Pandit Dina Nath Bhat who often used to tell me the stories associated with Shailputri. 
  
The biggest congregation of devotees at the shrine takes place on Ram Navami. People from nearby towns like Sopore, Kupwara, Handwara, Seer Jagir etc. used to come and join the congregation. Koti Tirth (Holiest of Holy Shrine), Bhairav Mandir (amidst an almond orchard at the foot of Gosainteng), Gosainteng (abode of seven springs and a temple sacred to the memory of the heroes of Ramayana, including that of Sita) and Chhatipadshahi (Sixth Sikh Guru has visited this place) are located on the right bank of Vitasta, opposite to Shailputri Shrine. Replica of Shailputri has been constructed by the devotees of the Mother at Munshi Chek, Jammu. 

In dark nights, under the shade of the Chinar, the sacred place present an atmosphere where one becomes one with God and in moonlit nights, devotees experienced something mystic all over in the shrine of Shailputri.  


 

 

Sunday, May 30, 2021

Meera

Meera

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Meera
Meerabai 1.jpg
Raja Ravi Varma's painting of Meera Bai
Other names
  • Mirabai
  • Meera Bai
  • Mira
Personal
Bornc.1498[1]
Diedc.1546, Dwaraka, Sur Empire
ReligionHinduism
Spouse Bhojraj Singh Sisodia
Known forPoet Bhakti movement, Vaishnavism (Lord Krishna)
Other names
  • Mirabai
  • Meera Bai
  • Mira

Meera, also known as Mirabai[2] (मीराबाई; c.1498–c.1546), was a 16th-century Hindu mystic poet and devotee of Krishna. She was originally named 'Mihira' but in her poetry she introduced her name in the changed form Meera owing to the Rajasthani accent and therefore became more popular as Meera. She is a celebrated Bhakti saint, particularly in the North Indian Hindu tradition.[3][4]

Mirabai was born into a Rajput royal family in Kudki, Pali district, Rajasthan, Mira then spent her childhood in Merta, Rajasthan. She is mentioned in Bhaktamal, confirming that she was widely known and a cherished figure in the Bhakti movement culture by about 1600 CE.[5] Most legends about Meera mention her fearless disregard for social and family conventions, her devotion to Lord Krishna, her treating Lord Krishna as her husband and being persecuted by her in-laws for her religious devotion.[1][5] She has been the subject of numerous folk tales and hagiographic legends, which are inconsistent or widely different in details.[1][6] Millions of devotional hymns in passionate praise of Lord Krishna are attributed to Meerabai in the Indian tradition, but just a few hundred are believed to be authentic by scholars, and the earliest written records suggest that except for two hymns, most were written down only in the 18th century.[7] Many poems attributed to Meera were likely composed later by others who admired Meera. These hymns are commonly known as bhajans, and are popular across India.[8] Hindu temples, such as in Chittorgarh fort, are dedicated to Mira Bai's memory.[1] Legends about Meera's life, of contested authenticity, have been the subject of movies, comic strips and other popular literature in modern times.[9]

Biography

Meera's temple to Krishna at Chittor Fort, Rajasthan

Authentic records about Meera are not available, and scholars have attempted to establish Meera's biography from secondary literature that mentions her, and wherein dates and other moments. Meera unwillingly married Bhoj Raj, the crown prince of Mewar, in 1516.[10][11] Her husband was wounded in one of the ongoing wars with the Delhi Sultanate in 1518, and he died of battle wounds in 1521. Both her father and father-in-law (Rana Sanga) died a few days after their defeat in the Battle of Khanwa against first Mughal Emperor Babur.

After the death of her father-in-law Rana Sanga, Vikram Singh became the ruler of Mewar. According to a popular legend, her in-laws tried many times to assassinate her, such as sending Meera a glass of poison and telling her it was nectar or sending her a basket with a snake instead of flowers.[2][10] According to the hagiographic legends, she was not harmed in either case, with the snake miraculously becoming a Krishna idol (or a garland of flowers depending on the version).[6][10] In another version of these legends, she is asked by Vikram Singh to go drown herself, which she tries but she finds herself floating on water.[12] Yet another legend states that the third Mughal emperor Akbar the Great came with Tansen to visit Meera and presented a pearl necklace, but scholars doubt this ever happened because Tansen joined Akbar's court in 1562, 15 years after she died.[12] Similarly, some stories state that Guru Ravidas was her guru (teacher), but there is no corroborating historical evidence for this. Some versions suggest this could likely have happened. Others disagree.[12]

The three different oldest records are known as of 2014 that mention Meera,[13] all from the 17th century and written within 150 years of Meera's death, neither mention anything about her childhood or circumstances of her marriage to Bhojraj nor do they mention that the people who persecuted her were her in-laws or from some Rajput royal family.[14] Nancy Martin-Kershaw states that to the extent Meera was challenged and persecuted, religious or social conventions were unlikely to have been the cause, rather the likely cause was political chaos and military conflicts between the Rajput kingdom and the Mughal Empire.

Other stories state that Mira Bai left the kingdom of Mewar and went on pilgrimages. In her last years, Meera lived in Dwarka or Vrindavan, where legends state she miraculously disappeared by merging into an idol of Krishna in 1547.[1][2] While miracles are contested by scholars for the lack of historical evidence, it is widely acknowledged that Meera dedicated her life to Lord Krishna, composing songs of devotion, and was one of the most important poet-saint of the Bhakti movement period.[2][12][15]

Poetry

Most of Meera's poems are dedicated to God in the form of Krishna (left), calling him the Dark One or the Mountain Lifter. Some Meera songs include Radha (right), the lover of Krishna. All her poems have philosophical connotations.[16]

A number of compositions by Meera Bai continue to be sung today in India, mostly as devotional songs (bhajans) though nearly all of them have a philosophical connotation.[17] One of her most popular compositions remains "Paayoji maine Ram Ratan dhan paayo" (पायो जी मैंने राम रतन धन पायो।, "I have been given the richness of Lord Ram's blessing").[18][19] Meera's poems are lyrical padas (metric verses) in Rajasthani language.[12] While thousands of verses are attributed to her, scholars are divided in their opinion as to how many of them were actually penned by Meera herself.[20] There are no surviving manuscripts of her poetry from her time, and the earliest records with two poems credited to her are from early 18th-century, more than 150 years after she died.[7]

Hindi and Rajasthani

The largest collection of poems credited to her are in 19th-century manuscripts. Scholars have attempted to establish authenticity based on both the poem and Meera being mentioned in other manuscripts as well as from style, linguistics and form.[7][21] John Stratton Hawley cautions, "When one speaks of the poetry of Mirabai, then, there is always an element of enigma. (...) there must always remain a question about whether there is any real relation between the poems we cite and a historical Mira."[22]

In her poems, Krishna is a yogi and lover, and she herself is a yogini ready to take her place by his side into a spiritual marital bliss.[7] Meera's style combines impassioned mood, defiance, longing, anticipation, joy and ecstasy of union, always centred on Krishna.[21]

My Dark One has gone to an alien land.
He has left me behind, he's never returned, he's never sent me a single word.
So I've stripped off my ornaments, jewels and adornments, cut my hair from my head.
And put on holy garments, all on his account, seeking him in all four directions.
Mira: unless she meets the Dark One, her Lord, she doesn't even want to live.

— Mira Bai, Translated by John Stratton Hawley[23]

Meera speaks of a personal relationship with Krishna as her lover, lord and mountain lifter. (Sanson Ki Mala Pe Simru Main Pi Ka Naam) is written by Meera Bai Shows her dedication towards Lord Krishna.The characteristic of her poetry is complete surrender.

After making me fall for you so hard, where are you going?
Until the day I see you, no repose: my life, like a fish washed on shore, flails in agony.
For your sake I'll make myself a yogini, I'll hurl myself to death on the saw of Kashi.
Mira's Lord is the clever Mountain Lifter, and I am his, a slave to his lotus feet.

— Mira Bai, Translated by John Stratton Hawley[24]

Meera is often classed with the northern Sant bhaktis who spoke of Lord Sri Krishna.

Sikh literature

Prem Ambodh Pothi, a text attributed to Guru Gobind Singh and completed in 1693 CE, includes poetry of Mira Bai as one of sixteen historic bhakti saints important to Sikhism.[25]

Influence

Scholars acknowledge that Meera was one of the central poet-saints of the Bhakti movement which was during a difficult period in Indian history filled with religious conflicts. Yet, they simultaneously question the extent to which Meera was a canonical projection of social imagination that followed, where she became a symbol of people's suffering and a desire for an alternative.[26] Dirk Wiemann, quoting Parita Mukta, states,

If one accepts that someone very akin to the Mira legend [about persecution and her devotion] existed as an actual social being, the power of her convictions broke the brutal feudal relationships that existed at that time. The Mira Bai of the popular imagination, then, is an intensely anachronistic figure by virtue of that anticipatory radical democracy which propels Meera out of the historicity that remains nonetheless ascribed to her. She goes beyond the shadowy realms of the past to inhabit the very core of a future which is embodied within the suffering of a people who seek an alternative.

— Dirk Wiemann / Parita Mukta, On Meera[26][27]

The continued influence of Meera, in part, has been her message of freedom, her resolve and right to pursue her devotion to deity Krishna and her spiritual beliefs as she felt drawn to despite her persecution.[26][27] Her appeal and influence in Indian culture, writes Edwin Bryant, is from her emerging, through her legends and poems, as a person "who stands up for what is right and suffers bitterly for holding fast to her convictions, as other men and women have", yet she does so with a language of love, with words painting the "full range of emotions that mark love, whether between human beings or between human and divine".[28]

A modern painting of Mirabai

English versions

Aliston and Subramanian have published selections with English translation in India.[29][30] Schelling[31] and Landes-Levi[32] have offered anthologies in the USA. Snell[33] has presented parallel translations in his collection The Hindi Classical Tradition. Sethi has selected poems which Mira composed presumably after she came in contact with Saint Ravidas.[34] and Meera Pakeerah.

Some bhajans of Meera have been rendered into English by Robert Bly and Jane Hirshfield as Mirabai: Ecstatic Poems.[35]

Popular culture

Mirabai Museum Merta

Composer John Harbison adapted Bly's translations for his Mirabai Songs. There is a documentary film A Few Things I Know About Her by Indian film director Anjali Panjabi.[36]

Two well-known films of her life have been made in India, Meera (1945), a Tamil language film starring M. S. Subbulakshmi, and Meera a 1979 Hindi film by Gulzar. Other Indian films about her include: Meerabai (1921) by Kanjibhai Rathod, Sant Mirabai (1929) by Dhundiraj Govind Phalke, Rajrani Meera/Meerabai (1933) by Debaki Bose, Meerabai (1936) by T. C. Vadivelu Naicker and A. Narayanan, Sadhvi Meerabai (1937) by Baburao Painter, Bhakta Meera (1938) by Y. V. Rao, Meerabai (1940) by Narasimha Rao Bhimavarapu, Meera (1947) by Ellis Dungan, Matwali Meera (1947) by Baburao Patel, Meerabai (1947) by W. Z. Ahmed, Meerabai (1947) by Nanabhai Bhatt, Girdhar Gopal Ki Mira (1949) by Prafulla Roy, Raj Rani Meera (1956) by G. P. Pawar, Meera Shyam (1976), Meera Ke Girdhar (1992) by Vijay Deep.[37]

Meera, a 2009 Indian television series based on her life aired on NDTV Imagine.

Shree Krishna Bhakto Meera, a 2021 Indian Bengali mythological television series based on her life will soon air on Star Jalsha.

Meera Bai's life has been interpreted as a musical story in Meera—The Lover…, a music album based on original compositions for some well known Meera bhajans, released 11 October 2009.[38]

The Meera Mahal in Merta is a museum dedicated to telling the story of Mirabai through sculptures, paintings, displays and a shaded garden.[39]

See also

References


  1. Sengar, Resham. "Experiencing the presence of Meerabai at Meera Mahal in Rajasthan". Times of India Travel. Archived from the original on 13 November 2019. Retrieved 21 February 2020.

Further reading

  • Robert Bly and Jane Hirshfield (2004), Mirabai: Ecstatic Poems, Beacon Press, ISBN 978-0807063866
  • Chaturvedī, Ācārya Parashurām(a), Mīrāʼnbāī kī padāvalī,(16. edition)
  • Goetz, Hermann, Mira Bai: Her Life and Times, Bombay 1966
  • Levi, Louise Landes. Sweet on My Lips. The Love Poems of Mira Bai. Cool Grove PrBrooklyn NY,1997,2003,2016
  • Mirabai: Liebesnärrin. Die Verse der indischen Dichterin und Mystikerin. Translated from Rajasthani into German by Shubhra Parashar. Kelkheim, 2006 (ISBN 3-935727-09-7)
  • Hawley, John Stratton. The Bhakti Voices: Mirabai, Surdas, and Kabir in Their Times and Ours, Oxford 2005.
  • Sethi, V.K.: Mira—The Divine Lover; Radha Soami Satsang Beas, Punjab, India; 1988
  • Bankey Behari (1935). The Story of Mira Bai. Gorakhpur: Gita Press. OCLC 798221814.

External links

https://www.dileawaaz.in/

Languages

  • Usha Nilsson (1997), Mira bai, Sahitya Akademi, ISBN 978-8126004119, pages 1-15
  • "Mira Bai". Encyclopædia Britannica. Archived from the original on 4 December 2018. Retrieved 30 July 2015.
  • Karen Pechelis (2004), The Graceful Guru, Oxford University Press, ISBN 978-0195145373, pages 21-23, 29-30
  • Neeti Sadarangani (2004), Bhakti Poetry in Medieval India: Its Inception, Cultural Encounter and Impact, Sarup & Sons, ISBN 978-8176254366, pages 76-80
  • Catherine Asher and Cynthia Talbot (2006), India before Europe, Cambridge University Press, ISBN 978-0521809047, page 109
  • Nancy Martin-Kershaw (2014), Faces of the Feminine in Ancient, Medieval, and Modern India (Editor: Mandakranta Bose), Oxford University Press, ISBN 978-0195352771, pages 162-178
  • John Stratton Hawley (2002), Asceticism (Editors: Vincent Wimbush, Richard Valantasi), Oxford University Press, ISBN 978-0195151381, pages 301-302
  • Edwin Bryant (2007), Krishna: A Sourcebook, Oxford University Press, ISBN 978-0195148923, page 254
  • Edwin Bryant (2007), Krishna: A Sourcebook, Oxford University Press, ISBN 978-0195148923, page 242
  • Usha Nilsson (1997), Mira bai, Sahitya Akademi, ISBN 978-8126004119, pages 12-13
  • Nancy Martin-Kershaw (2014), Faces of the Feminine in Ancient, Medieval, and Modern India (Editor: Mandakranta Bose), Oxford University Press, ISBN 978-0195352771, page 165
  • Usha Nilsson (1997), Mira bai, Sahitya Akademi, ISBN 978-8126004119, pages 16-17
  • These are Munhata Nainsi's Khyat from Jodhpur, Prem Ambodh from Amritsar and Nabhadas's Chappy from Varanasi; see: JS Hawley and GS Mann (2014), Culture and Circulation: Literature in Motion in Early Modern India (Editors: Thomas De Bruijn and Allison Busch), Brill Academic, ISBN 978-9004264472, pages 131-135
  • JS Hawley and GS Mann (2014), Culture and Circulation: Literature in Motion in Early Modern India (Editors: Thomas De Bruijn and Allison Busch), Brill Academic, ISBN 978-9004264472, pages 131-135
  • John S Hawley (2005), Three Bhakti Voices: Mirabai, Surdas and Kabir in Their Times and Ours, Oxford University Press, ISBN 978-0195670851, pages 128-130
  • Edwin Bryant (2007), Krishna: A Sourcebook, Oxford University Press, ISBN 978-0195148923, page 244
  • Subramanian, VK (1 February 2005). Mystic songs of Meera (in Hindi and English). Abhinav publications. ISBN 8170174589. Archived from the original on 23 November 2018. Retrieved 23 November 2018.
  • "Lyrics - Ram Ratan Dhan Paayo (Lata Mangeshkar rendition)". www.tophindilyrics.com. Top Hindi Lyrics. Archived from the original on 9 December 2018. Retrieved 23 November 2018.
  • The poetry of Meera : a compendium of her songs translated in English (PDF). Poetry Hunter. Archived (PDF) from the original on 23 November 2018. Retrieved 23 November 2018.
  • "Meera ke bhajan (Hindi)". www.hindividya.com. Hindi Vidya. Archived from the original on 23 November 2018. Retrieved 23 November 2018.
  • Edwin Bryant (2007), Krishna: A Sourcebook, Oxford University Press, ISBN 978-0195148923, pages 244-245
  • John Stratton Hawley (2002), Asceticism (Editors: Vincent Wimbush, Richard Valantasi), Oxford University Press, ISBN 978-0195151381, page 302
  • John Stratton Hawley (2002), Asceticism (Editors: Vincent Wimbush, Richard Valantasi), Oxford University Press, ISBN 978-0195151381, page 303
  • John Stratton Hawley (2002), Asceticism (Editors: Vincent Wimbush, Richard Valantasi), Oxford University Press, ISBN 978-0195151381, page 304
  • JS Hawley and GS Mann (2014), Culture and Circulation: Literature in Motion in Early Modern India (Editors: Thomas De Bruijn and Allison Busch), Brill Academic, ISBN 978-9004264472, pages 113-136
  • Dirk Wiemann (2008), Genres of Modernity: Contemporary Indian Novels in English, Rodopi, ISBN 978-9042024939, pages 148-149
  • Parita Mukta (1998), Upholding the Common Life: The Community of Mirabai, Oxford University Press, ISBN 978-0195643732, pages viii-x, 34-35
  • Edwin Bryant (2007), Krishna: A Sourcebook, Oxford University Press, ISBN 978-0195148923, page 245
  • Mirabai, V. K. Subramanian, Mystic Songs of Meera, Abhinav Publications, 2006 ISBN 81-7017-458-9, ISBN 978-81-7017-458-5, [1] Archived 26 June 2014 at the Wayback Machine
  • Alston, A.J., The Devotional Poems of Mirabai, Delhi 1980
  • Schelling, Andrew, For Love of the Dark One: Songs of Mirabai, Prescott, Arizona 1998
  • Landes-Levi, Louise, Sweet On My Lips: The Love Poems of Mirabai, New York 1997
  • Snell, Rupert. The Hindi Classical Tradition: A Braj Bhasa Reader, London 1991, pp 39, 104–109.
  • Sethi, V.K.,Mira: The Divine Lover, Radha Soami Satsang Beas, Punjab 1988
  • Bly, Robert / Hirshfield, Jane,Mirabai: Ecstatic Poems, Boston, Massachusetts 2004
  • "Legend of Mira Bai retold by Anjali Panjabi". The Times of India. 4 October 2002. Archived from the original on 14 July 2013. Retrieved 23 September 2014.
  • Rajadhyaksha, Ashish; Willemen, Paul (1999). Encyclopaedia of Indian cinema. British Film Institute. Retrieved 12 August 2012.
  • "Vandana Vishwas: Home". Archived from the original on 24 February 2020. Retrieved 12 October 2020.
  •