Journal of Vaishnava Studies

Abstract

Srî Råma, the divine husband of Sîtå and perfect king of Ayodhyå, has never really been recognized as an actual focus of devotion and worship within the Gau∂îya Vaiß∫ava saµpradåya. That is not to say that Råma is completely disregarded: Caitanya praises the devotion for Råma exhibited by his devotees Muråri Gupta and Anupama in the Caitanyacaritåm­®ta (3.4.45-46). When Caitanya reveals his divinity to Sårvabhauma Bhattåcårya in Purî (Caitanya-bhågavata 3.3.106), he does so by manifesting four more arms: two playing Krisna’s flute, and two carrying the bow and arrow of Råma. Sanåtana Gosvåmin places Råma’s Ayodhyå between the majestic Vaikun†ha of Nåråya∫a and the Dvårakå of princely K®ß∫a in his hierarchy of divine abodes of the Lord (B®had-bhågavatåm®ta 2.4.251-274). Rüpa Gosvåmin, again, recognizes Råma as one of three paråvasthås or high presences of Godhead in his Laghu-bhågavatåmrta (1.134). Still, in a saµpradåya which finds its ideal in the unlawful, paramour-type love of
Krisna and the gopîs, the moral and imposing, even tragic figure of Råma does not seem to have a place. In fact, the only Gaudîya temples I can think of offering regular worship of Råma belong to ISKCON, and as Valpey (2004: 186) points out, the reason for this kind of worship may be more political than theological.