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.
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