Also known as Jnaneshwar, Dnyaneshwar Maharaj, Gyaneshwar
India's Devotional Renaissance
Advaita Bhakti
A Hindi song from the 1964 film Sant Gyaneshwar, lyrics by Bharat Vyas, urging us to spread love and light and see one spirit in all.
Sant Bahinabai's abhanga on the Varkari temple: Dnyaneshwar laid its foundation, Namdev extended it, Eknath raised a pillar, Tukaram became its golden crest.
The daily liturgy of the Warkari tradition: 28 abhangas by Sant Dnyaneshwar harmonizing Upanishadic non-dualism with devotion to Lord Vitthal.
Sant Dnyaneshwar's Mogara Phulala: a jasmine planted at the heart's door climbs to the sky, and its blossoms are woven into a shawl offered to Vitthal.
Sant Dnyaneshwar's Roop Pahata Lochani: the joy of beholding Vitthal's form, the fruit of many past good deeds and the home of every happiness.
Sant Eknath's Majhe Maher Pandhari: Pandharpur as a daughter's beloved maternal home, with Vitthal and Rakhumai as parents and Pundalik as brother.
Sant Janabai's abhanga: with the rope of love she binds the thief of Pandharpur, locks Vitthal in the prison of her heart and will never let Him go.
Sant Muktabai's Tati Ughada: her plea to her brother Dnyaneshwar to open the hut door, teaching that a true saint endures the world's taunts with compassion.
The Pasaydan is Sant Dnyaneshwar's closing prayer in the Dnyaneshwari (18.1794–1802), asking God's grace for the welfare and friendship of all beings.
Sant Tukaram's short prayer to Vitthal: the one boon he asks is never to forget God, with the company of saints preferred to liberation or wealth.
Sant Tukaram's abhanga defining a true saint as one who embraces the distressed as his own, declaring that God is found in such a person.
Sant Tukaram's invocation of Lord Vitthal standing on the brick at Pandharpur, hands on hips, in a Tulsi garland and yellow silk.