Abhang - Revision history

Shivam Singh: enhanced intro further and updated info

2025-08-02T07:02:55Z

enhanced intro further and updated info

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	'''~~Abhang~~''' ~~or '''abhanga''' ({{Lang-mr\|अभंग}})~~ is a form of [[Hindu devotional movements\|devotional]] [[poetry]] sung in praise of the [[Hinduism\|Hindu]] god [[Vithoba\|Vitthal]], also known as [[Vithoba]]. The word "abhang" comes from ''a'' for "non-" and ''~~bhang~~'' for "ending" or "interrupting", in other words, a flawless, continuous process, in this case referring to a poem.<ref>Gowri Ramnarayan: [http://www.thehindu.com/arts/music/article870898.ece Eclectic range] at ''[[The Hindu]]'', 8 November 2010</ref> By contrast, the devotional songs known as [[Bhajan]]s focus on the inward journey. Abhangs are more exuberant expressions of the communitarian experience.<ref>Serish Nanisetti, Gowri Ramnarayan: [http://www.thehindu.com/arts/music/article857300.ece A mix of rhythm and melody] at ''[[The Hindu]]'', 7 November 2010</ref> Abhanga is considered a form of the [[ovi (poetry)\|ovi]]. Abhangs are sung during pilgrimage to the temples of [[Pandharpur]], by the devotees.<ref>{{cite web\|url=https://www.swarganga.org/articles/details.php?id=10\|title=Articles – Devotional Music of Maharashtra – by Chaitanya Kunte\|work=swarganga.org\|access-date=22 May 2015}}</ref><ref name="Novetzke2013">{{cite book\|author=Christian Lee Novetzke\|title=Religion and Public Memory: A Cultural History of Saint Namdev in India\|pages=275, 279\|date=13 August 2013\|publisher=Columbia University Press\|isbn=978-0-231-51256-5}}</ref>		{{Short description\|Form of Hindu devotional poetry}}
			'''Abhanga''' is a form of [[Hindu devotional movements\|devotional]] [[poetry]] sung in praise of the [[Hinduism\|Hindu]] god [[Vithoba\|Vitthal]], also known as [[Vithoba]]. The word "abhang" comes from ''a'' for "non-" and ''bhanga'' for "ending" or "interrupting", in other words, a flawless, continuous process, in this case referring to a poem.<ref>Gowri Ramnarayan: [http://www.thehindu.com/arts/music/article870898.ece Eclectic range] at ''[[The Hindu]]'', 8 November 2010</ref> By contrast, the devotional songs known as [[Bhajan]]s focus on the inward journey. Abhangs are more exuberant expressions of the communitarian experience.<ref>Serish Nanisetti, Gowri Ramnarayan: [http://www.thehindu.com/arts/music/article857300.ece A mix of rhythm and melody] at ''[[The Hindu]]'', 7 November 2010</ref> Abhanga is considered a form of the [[ovi (poetry)\|ovi]]. Abhangs are sung during pilgrimage to the temples of [[Pandharpur]], by the devotees.<ref>{{cite web\|url=https://www.swarganga.org/articles/details.php?id=10\|title=Articles – Devotional Music of Maharashtra – by Chaitanya Kunte\|work=swarganga.org\|access-date=22 May 2015\|archive-date=24 December 2018\|archive-url=https://web.archive.org/web/20181224195732/https://www.swarganga.org/articles/details.php?id=10\|url-status=dead}}</ref><ref name="Novetzke2013">{{cite book\|author=Christian Lee Novetzke\|title=Religion and Public Memory: A Cultural History of Saint Namdev in India\|pages=275, 279\|date=13 August 2013\|publisher=Columbia University Press\|isbn=978-0-231-51256-5}}</ref>
	[[File:Abhang.jpg\|thumb\|alt=Abhang\|Abhang]]		[[File:Abhang.jpg\|thumb\|alt=Abhang\|Abhang]]

	==Practise==		==Practise==

	[[Marathi language\|Marathi]] ''[[bhajan]]s'' start with the ''naman'' (invocation of god), followed by the ''Roopancha Abhang'' (Portraying the physical beauty of god by personifying in the human form) and towards the end ~~bhajans giving~~ spiritual and ethical messages are sung.		[[Marathi language\|Marathi]] ''[[bhajan]]s'' start with the ''naman'' (invocation of god), followed by the ''Roopancha Abhang'' (Portraying the physical beauty of god by personifying in the human form) and towards the end of the bhajan, spiritual and ethical messages are sung.

	Some famous musicians for Abhangs are [[Bhimsen Joshi]], [[Sudhir Phadke]], [[Suresh Wadkar]], [[Ranjani-Gayatri\|Ranjani, Gayatri]], [[Aruna Sairam]] and [[Jitendra Abhisheki]]. It is a form of music performed by both classical and non-classical musicians.<ref>{{cite news\|title=Concert conjures up magic of abhangs\|url=http://www.thehindu.com/features/friday-review/music/concert-conjures-up-magic-of-abhangs/article2647381.ece\|access-date=8 December 2014\|agency=Hindu\|publisher=Hindu\|date=21 November 2011}}</ref>		Some famous musicians for Abhangs are [[Bhimsen Joshi]], [[Kishori Amonkar]], [[Sudhir Phadke]], [[Suresh Wadkar]], [[Ranjani-Gayatri\|Ranjani, Gayatri]], [[Aruna Sairam]] and [[Jitendra Abhisheki]]. It is a form of music performed by both classical and non-classical musicians.<ref>{{cite news\|title=Concert conjures up magic of abhangs\|url=http://www.thehindu.com/features/friday-review/music/concert-conjures-up-magic-of-abhangs/article2647381.ece\|access-date=8 December 2014\|agency=Hindu\|publisher=Hindu\|date=21 November 2011}}</ref>

	It has become integral in [[Bhajan]] concerts across India.		It has become integral in [[Bhajan]] concerts across India.

	==History==		==History==
			{{Unreferenced section\|date=November 2024}}
			Bhakti Sampradaya or Namasankeerthana Sampradhaya was pioneered by [[Jñāneśvar]] around 1200. Around that time it was believed that [[Sanskrit]] was required to attain Godliness. Both Jñāneśvar and [[Namdev]] through their works, devotion and [[bhakti]] could initiate a [[sampradaya]] that did not attach importance to [[caste]] or creed but only devotion to [[Lord Panduranga]]. This was the birth of "Bhakti Sampradaya" wherein it was possible to attain Godliness merely through [[Bhakti]](devotion). This could be easily adopted and practised by the masses. Women and children were easily attracted to this new form of worship. Thus was born the Namasankirtana cult and Varkari Sampradaya. All these happened around places like [[Paithan]], [[Vithoba Temple, Pandharpur\|Pandharpur]], Mangal Veda, [[Alandi]] and slowly spread to the entire Maharashtra. Other prominent singers were [[Varkari]] saints like [[Eknath]] and [[Tukaram]].

	Bhakti Sampradaya or Namasankeerthana Sampradhaya was pioneered by [[Jñāneśvar]] around 1200. Around that time it was believed that [[Sanskrit]] was required to attain Godliness. Both Jñāneśvar and [[Namdev]] through their works, devotion and [[bhakti]] could initiate a [[sampradaya]] that did not attach importance to [[caste]] or creed but only devotion to [[Lord Panduranga]]. This was the birth of "Bhakti Sampradaya" wherein it was possible to attain Godliness merely through Bhakti (devotion). This could be easily adopted and practised by the masses. Women and children were easily attracted to this new form of worship. Thus was born the Namasankirtana cult and Varkari Sampradaya. All these happened around places like [[Paithan]], [[Vithoba Temple, Pandharpur\|Pandharpur]], Mangal Veda, [[Alandi]] and slowly spread to the entire Maharashtra. Other prominent singers were [[Varkari]] saints like [[Eknath]] and [[Tukaram]].		Tukaram was a seventeenth century poet who lived in the town of [[Dehu]], which is located near [[Pune]]. He was a popular poet and a leading figure in the [[Varkari Movement]] of the time, which sought to put the emphasis back on devotion and love towards God, in contrast to blind obedience of rituals and arcane religious practices. It is said that over 5000 Abhangas were written by Sant [[Tukaram]]. Many of them were devoted to the God [[Vitthal]] or [[Vithoba]], but mostly criticized social injustices of the time.

	Tukaram was a seventeenth century poet who lived in the town of [[Dehu]], which is located near [[Pune]]. He was a popular poet and a leading figure in the [[Varkari Movement]] of the time, which sought to put the emphasis back on devotion and love towards God, in contrast to blind obedience of rituals and arcane religious practices. It is said that over 5000 Abhangas were written by Sant Tukaram. Many of them were devoted to the God [[Vitthal]] or [[Vithoba]], but mostly criticized social injustices of the time.
	[[File:Syayambhuvithoba.jpg\|thumbnail\|A picture of the Syambhu Vithoba idol at the Pandharpur Temple]][[File:Tukaram 1832.jpg\|thumbnail\|This is the oldest available image of Tukaram, 1832 A.D. It was a cover to a handwritten manuscript of Tukaram's abhangs belonging to a Varkari Haibatbaba Arphalkar]][[File:Jnandev.jpg\|thumbnail\|Sant Dnyaneshwar]][[File:Namdev maharaj.JPG\|thumbnail\|Namdev]][[File:Palkhi 2008.jpg\|thumbnail\|A Varkari journeys from Alandi to Pandharpur. He carries a veena (lute) with saffron flag attached, and cymbals tied to strings in his hands.]]		[[File:Syayambhuvithoba.jpg\|thumbnail\|A picture of the Syambhu Vithoba idol at the Pandharpur Temple]][[File:Tukaram 1832.jpg\|thumbnail\|This is the oldest available image of Tukaram, 1832 A.D. It was a cover to a handwritten manuscript of Tukaram's abhangs belonging to a Varkari Haibatbaba Arphalkar]][[File:Jnandev.jpg\|thumbnail\|Sant Dnyaneshwar]][[File:Namdev maharaj.JPG\|thumbnail\|Namdev]][[File:Palkhi 2008.jpg\|thumbnail\|A Varkari journeys from Alandi to Pandharpur. He carries a veena (lute) with saffron flag attached, and cymbals tied to strings in his hands.]]
	[[Samarth Ramdas]] was instrumental in taking this tradition of Namsankirtan to [[Tanjavur]]. This led to the singing of Abhangs in the classical form in [[South India]] and made it an integral part of [[Carnatic music\|Carnatic]] and Bhajan concerts of South India.

	==References==		==References==
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	==External links==		==External links==
	* [https://~~www~~.~~webcitation~~.org/~~6Hth4LOqO?url=~~http://santeknath.org/home_english.html "Shanti Brahma" Shri Sant Eknath Maharaj] at http://santeknath.org		* [https://web.archive.org/web/20131206060000/http://santeknath.org/home_english.html "Shanti Brahma" Shri Sant Eknath Maharaj] at http://santeknath.org
	* [https://web.archive.org/web/20150719010332/http://www.chembur.com/abhang/]		* [https://web.archive.org/web/20150719010332/http://www.chembur.com/abhang/]

>Hororoka at 23:39, 19 May 2021

2021-05-19T23:39:45Z

New page

'''Abhang''' or '''abhanga''' ({{Lang-mr|अभंग}}) is a form of [[Hindu devotional movements|devotional]] [[poetry]] sung in praise of the [[Hinduism|Hindu]] god [[Vithoba|Vitthal]], also known as [[Vithoba]]. The word "abhang" comes from ''a'' for "non-" and ''bhang'' for "ending" or "interrupting", in other words, a flawless, continuous process, in this case referring to a poem.<ref>Gowri Ramnarayan: [http://www.thehindu.com/arts/music/article870898.ece Eclectic range] at ''[[The Hindu]]'', 8 November 2010</ref> By contrast, the devotional songs known as [[Bhajan]]s focus on the inward journey. Abhangs are more exuberant expressions of the communitarian experience.<ref>Serish Nanisetti, Gowri Ramnarayan: [http://www.thehindu.com/arts/music/article857300.ece A mix of rhythm and melody] at ''[[The Hindu]]'', 7 November 2010</ref> Abhanga is considered a form of the [[ovi (poetry)|ovi]]. Abhangs are sung during pilgrimage to the temples of [[Pandharpur]], by the devotees.<ref>{{cite web|url=https://www.swarganga.org/articles/details.php?id=10|title=Articles – Devotional Music of Maharashtra – by Chaitanya Kunte|work=swarganga.org|access-date=22 May 2015}}</ref><ref name="Novetzke2013">{{cite book|author=Christian Lee Novetzke|title=Religion and Public Memory: A Cultural History of Saint Namdev in India|pages=275, 279|date=13 August 2013|publisher=Columbia University Press|isbn=978-0-231-51256-5}}</ref>
[[File:Abhang.jpg|thumb|alt=Abhang|Abhang]]
==Practise==

[[Marathi language|Marathi]] ''[[bhajan]]s'' start with the ''naman'' (invocation of god), followed by the ''Roopancha Abhang'' (Portraying the physical beauty of god by personifying in the human form) and towards the end bhajans giving spiritual and ethical messages are sung.

Some famous musicians for Abhangs are [[Bhimsen Joshi]], [[Sudhir Phadke]], [[Suresh Wadkar]], [[Ranjani-Gayatri|Ranjani, Gayatri]], [[Aruna Sairam]] and [[Jitendra Abhisheki]]. It is a form of music performed by both classical and non-classical musicians.<ref>{{cite news|title=Concert conjures up magic of abhangs|url=http://www.thehindu.com/features/friday-review/music/concert-conjures-up-magic-of-abhangs/article2647381.ece|access-date=8 December 2014|agency=Hindu|publisher=Hindu|date=21 November 2011}}</ref>

It has become integral in [[Bhajan]] concerts across India.

==History==

Bhakti Sampradaya or Namasankeerthana Sampradhaya was pioneered by [[Jñāneśvar]] around 1200. Around that time it was believed that [[Sanskrit]] was required to attain Godliness. Both Jñāneśvar and [[Namdev]] through their works, devotion and [[bhakti]] could initiate a [[sampradaya]] that did not attach importance to [[caste]] or creed but only devotion to [[Lord Panduranga]]. This was the birth of "Bhakti Sampradaya" wherein it was possible to attain Godliness merely through Bhakti (devotion). This could be easily adopted and practised by the masses. Women and children were easily attracted to this new form of worship. Thus was born the Namasankirtana cult and Varkari Sampradaya. All these happened around places like [[Paithan]], [[Vithoba Temple, Pandharpur|Pandharpur]], Mangal Veda, [[Alandi]] and slowly spread to the entire Maharashtra. Other prominent singers were [[Varkari]] saints like [[Eknath]] and [[Tukaram]].

Tukaram was a seventeenth century poet who lived in the town of [[Dehu]], which is located near [[Pune]]. He was a popular poet and a leading figure in the [[Varkari Movement]] of the time, which sought to put the emphasis back on devotion and love towards God, in contrast to blind obedience of rituals and arcane religious practices. It is said that over 5000 Abhangas were written by Sant Tukaram. Many of them were devoted to the God [[Vitthal]] or [[Vithoba]], but mostly criticized social injustices of the time.
[[File:Syayambhuvithoba.jpg|thumbnail|A picture of the Syambhu Vithoba idol at the Pandharpur Temple]][[File:Tukaram 1832.jpg|thumbnail|This is the oldest available image of Tukaram, 1832 A.D. It was a cover to a handwritten manuscript of Tukaram's abhangs belonging to a Varkari Haibatbaba Arphalkar]][[File:Jnandev.jpg|thumbnail|Sant Dnyaneshwar]][[File:Namdev maharaj.JPG|thumbnail|Namdev]][[File:Palkhi 2008.jpg|thumbnail|A Varkari journeys from Alandi to Pandharpur. He carries a veena (lute) with saffron flag attached, and cymbals tied to strings in his hands.]]
[[Samarth Ramdas]] was instrumental in taking this tradition of Namsankirtan to [[Tanjavur]]. This led to the singing of Abhangs in the classical form in [[South India]] and made it an integral part of [[Carnatic music|Carnatic]] and Bhajan concerts of South India.

==References==
{{reflist|30em}}

==External links==
* [https://www.webcitation.org/6Hth4LOqO?url=http://santeknath.org/home_english.html "Shanti Brahma" Shri Sant Eknath Maharaj] at http://santeknath.org
* [https://web.archive.org/web/20150719010332/http://www.chembur.com/abhang/]

{{Hindustani Classical Music page end}}

[[Category:Hindu music]]
[[Category:Hindu poetry]]
[[Category:Marathi language]]