The original Persian Ramayana commissioned by Emperor Akbar and now stored in the Museum of Islamic Art (Qatar). | Photo Credit: S. Anwar
Ramayana across the globe
Ramayana across the globe! Traces of Civilizational Rejuvenation.
China & Tibet - #Dunhuang .
Japan - #Ramaenna or #Ramaensho .
Cambodia - #Reamker .
Bali - #Ramakavaca .
Java - #Kakawin Ramayana, Yogesvara Ramayana.
Sumatera - Ramayana #Swarnadwipa .
Malaysia - #Hikayat Seri Rama, Hikayat Maharaja Wana.
Myanmar (Burma) - Yama #Zatdaw ( #Yamayana ).
Philippines- #Mindanao - #Maharadia #Lawana , #Darangen (Moro).
Thailand - #Ramakien Kingdom of Lan Na - #Phommachak .
Nepal - Siddhi Ramayan (Nepal Bhasa), #Bhanubhaktako Ramayan.
Sri Lanka - #Janakiharan .
Iran (Persia) - #Dastan -e-Ram O Sita.
Credits: @cancerianheart @school_of_vedic_science #swami #indianyoga #Ramayana
Ramayana in West Iran, Middle and South East Asian countries
Valmiki Ramayan mentions the kingdoms of Pahlavas/ Pallava ( located in Uttarapath/ north-eastern Iran - Northern part of Jambudvip)
Bahliks (people of Balkan region, north west Iran).
Kambhoj ( of western Iran).
*Kuru, Anga, Gandhar, Kamboj were amongst the 16 Mahajanpads of those times.
Kurus were one of the Panchnand/ five kuls.
The decendents of Druhu & Anu Kuls were called Malecch & Yavans
Cyrus’s father in old Persian was called ‘Kamboj’ and Cyrus was called 'Kurus'.
Hinduism influenced pre Greek and pre Roman Etruscan civilizations is proved by wall frescoes and terracotta portraits with scenes from Ramayan found in 700 BC.
Greek, Roman, German, French, Scandinavian, Slavic etc languages have rich Sanskrit content.
Even if we were look at it from the point of ancient history,
Southeast Asia was frequented by traders from Kalinga & South India.
Well aware of the monsoon winds & ocean currents, the developed Hindu societ, using north-eastern monsoon winds that blow from mid-November, sailed down the coast to Sri Lanka & taking fresh supplies, crossed the Indian Ocean to the northern tip of Sumatra/ Swarnadwipa & sailed further down the Straits of Malacca towards Palembang and take the sea route to Borneo & Vietnam, alternatively head south touching the western coast of Sumatra to Bali and Java/ Yavadwipa, between 1st & 8th century.
Many parts of southeast Asia, including the southern Philippines, Malaysia, Singapore, Indonesia, Thailand, Laos, Cambodia and Vietnam were dominated by the Hindu culture during the reigns of Sri Vijaya Empire, Sailendra, Majapahit Empire, Khmer kingdom of Cambodia, Sukothai and Champa Empires.
Hence the languages, scripts, literatures, calendars, beliefs system and artistic aspects of these nations have much in common with India.
Source/Credits: Meenakshi Sharan, Ayodhya Foundation, Global Ramayana Connect on Facebook
Ramayana in China
Kiskindha kand of Valmiki Ramayan associates Cinas & Parama-Cinas with the trans-Himalayan tribes of the Daradas, Kambojs, Yavanas, Sakas, the Kiratas, the Bahlikas, the Rishikas & Tañkanas of the Uttarapath( North of Jambudvip)
Valmiki Ramayan states that the Cinas, Khasas, Hunas, Shakas, Kambojas, Yavanas, Pahlavas, Kiratas, Sinhalas, Mlechchas etc. were created by Rishi Vashisth through the divine powers of Nandini/ Kamdhenu.
Mahabharat, refers to 'Yellow coloured' 'China Tribe' & Bhismaparv lists them with the Mlechha tribes
Shanti Parv lists them to the Yavans, Kambojs, Kuntalas, Hunas, Parasikas, Darunas, Ramanas, Dasamalikas.
*A prince of Pallav dynasty, Born in Kanchipuram, Bodhidharma transmitted Chan (Dhyan) Buddhism to China in the 5th century.
A Kalaripayattu expert (the oldest martial art form in the world, given by Shiva to Rishi Parshuram), Bodhidharma trained the Shaolin Monastery monks & Shaolin kungfu was created.
The version of Ramayan in the Yunnan province, west china is, 'Langka Sip Hor'.
The Chinese epic, Journey to the West, is also inspired by Ramayan, particularly the character of Chinese legend Sun Wukong dating back to 600 AD, is believed to have been based on Hanuman ji.
Tales regarding to Ramayan were compiled by Kang Seng Hui in 251.
Translations of Ramayan were done by Kekaya in 472 AD.
His Yii Chii wrote a novel, Kapi, on Hanuman in 1600.
A Chinese version of dance drama based on Ramayan is also enacted in China.
Source/Credits: Meenakshi Sharan, Ayodhya Foundation, Global Ramayana Connect on Facebook
Jain Ramayana
Jains have two main versions of Ramayana. A Swetambara version and a Digambar version. The Swetambara version begins with Vimala Suri’s work Pauma Chariya written in Prakrit language in 1st century AD. It has 118 cantos in Arya meter. The Digambar version begins with Gunabhadra’s Uttarapurna. In all there are 15 books written and preserved by Jains relating to Ramayana. These books are written in three different languages, Prakrit, Apbhransha and Sanskrit.
Jain versions of the Ramayana can also be found in the various Jain agamas like Ravisena’s Padmapurana (story of Padmaja and Rama, Padmaja being the name of Sita), Hemacandra‘s Trisastisalakapurusa charitra (hagiography of 63 illustrious persons), Sanghadasa’s Vasudevahindi and Uttarapurana by Gunabhadara.
In Jain Ramayana, Rama, who led an upright life, renounces his kingdom after lakshman’s death, becomes a Sanyasi and attains Kevala Jnana omniscience and finally liberation moksha.
In addition to these, Ramayana characters have been referred directly and indirectly in several scriptures and stories. For example, the story of Sati Anjana Bala (Hanuman’s mother) describes the birth and strength of Hanuman as an infant child. It describes how Hanuman fell from the Pushpak Vimaan and landed on a rock, for Hanuman is alive and playing on a rock crushed by his fall.
Ramayana in Vietnam
Vietnam was called Nagar Champa from the 1st to the 16th centuries.
The Cham people of Indonesia occupied the central & southern coast of Vietnam from Neolithic times & established the kingdom of Champa. Their capital from 7th to the 9th century was Indrapura/ Tra Kieu.
That Hindu Kingdom of Champa, is now called Vietnam.
Temple inscriptions from Champa indicate that Ramayan was known there by the 7th century CE.
Ram and Krishn are found in the temples that are predominantly dedicated to Uma Maheshwara.
Evidences:
Many ancient inscriptions found in Khmer monuments by numerous rulers were written in Sanskrit or Old Cham & have been found throughout Central Vietnam.
During king Isanvarma and Prakasadharman, an inscription gives tribute to Rishi Valmiki.
Khmer Kings were called Kurung Bnam/ (mountain), meaning Shilaraja, which explains the Sacred Holy mountain that connected them to ancient India.
Source/Credits: Meenakshi Sharan, Ayodhya Foundation, Global Ramayana Connect on Facebook
Ramayana in Burma
Burma is named after Brahma ji.
The Tibeto -Burman Pyu speaking people were the earliest inhabitants of Burma.
The Piyu script comes from Brahmi.
There are 9 literary pieces of Ramayan versions found in Burma, 3 are in prose.
Ramayan is recomposed as Yama Watthu/ Yama Zatdaw
The story of Ram is Yamayana, while zatdaw refers to the acted play or a part of the tales of Theravada Buddhism.
Evidences:
1- Nat Hlaung Kyaung Vishnu Temple is adorned with some stone figures of Ram and Parshu Ram.
2- There are stone inscription in the Mon language.
King Kyanzittha of Bagan dynasty proclaimed that in his previous existence he was a close relative of
'Ram of Ayodhya'.
3- Shri Ram’s story is depicted in the Jatak series of terra-cotta plaques on the panels of Petlcik Pagoda in Bagan.
4- Temple carvings, dances, marionettes, and elaborate applique hangings portray scenes from Ramayan.
Source/Credits: Meenakshi Sharan, Ayodhya Foundation, Global Ramayana Connect on Facebook
Kakawin Ramayana - Indonesia
The epic of Ramayana came to Indonesia around the 8th or 9th century. Written in the old Javanese language, it became known as the Kakawin Ramayana. ... It is believed that the Kakawin Ramayana was written during the Medang Kingdom (732-1006 AD) in Central Java in the old Javanese language.
Filipino Versions of Ramayana - Mindanao Ramayana, Maharadia Lawana and Darangen - A Filipino ‘Ramayana’ dazzles on the Asean stage
Philippine Daily Inquirer 30 Apr 2016
By Walter Ang Contributor
The Integrated Performing Arts Guild’s Maranao take on the Indian epic gets hailed as ‘the best Ramayana in the festival’
The Integrated Performing Arts Guild’s Maranao take on the Indian epic gets hailed as ‘the best Ramayana in the festival’
Philippine Daily Inquirer30 Apr 2016By Walter Ang Contributor
THE INTEGRATED Performing Arts Guild (Ipag), the resident theater group of Mindanao State University-Iligan Institute of Technology, represented the Philippines in the Asean Plus Ramayana Festival held in Bangkok.
Ipag performed at the National Theatre and The Royal Field along with groups from other Asean nations and India. The festival was part of Thailand’s Asean Culture Expo, which aimed to promote the variety of cultures among its member countries.
The “Ramayana” is a Sanskrit epic poem about Rama, an avatar of the god Vishnu, who saves his wife Sita, an avatar of the goddess Lakshmi, after she’s abducted by Ravana, a multiheaded demon king.
Asean countries have their respective versions; the Philippines has Maranao versions which include a portion in the Darangen epic song, from which the singkil dance is derived, and the story of Maharadia Lawana (King Ravana). The Darangen has been declared one of Unesco’s Masterpieces of Oral and Intangible Heritages of Humanity.
Excerpts
Ipag performed excerpts from “Sita: The Ramayana Revisited,” an adaptation of the Maranao versions using Filipino language and setting the story in Mindanao, which it first performed in last year’s Asia-Pacific Bureau Theatre Schools Festival in Singapore.
The production incorporated native dance forms such as pangalay, also known as igal or pansak, a dance found in the Samal, Badjao, Jama Mapun and Tausug cultures; and martial/combat dance forms lanka silat and kuntao.
The libretto and direction was by Steven Fernandez, with choreography by the cast, which included Yvonnie Emit (Sita), Restinil Kim Indino (Rama), Gaspar Cortes (Lawana), Trixcel Emborong (Hanuman) and Primo Bagasol (Sugriva/Lakshamana).
They were facilitated by Trixcel Emborong, with music provided by Geejay Langois and Fernandez, costume design by Tres Canteras, props design by Hermi Dico and set and lighting design by Vicmar Paloma.
Fernandez, Ipag’s artistic director, gathered feedback from different personalities during the festival. He said Thailand’s Deputy Prime Minister Tanasak Patimapragorn called the group’s work “very impressive,” while Saroja Vaidyanathan from New Delhi, founder of Ganesa Natyalaya dance school and bharatanatyam (a classical dance form) teacher, declared it “the best ‘Ramayana’ in the festival! India should see it!”
“Saroja’s stature in India perhaps approximates that of our National Artists,” said Fernandez. “I was floored when she declared to those sitting around our table, and to their agreement, that the Philippines had the best ‘Ramayana’ production among all the countries.
“A knockout because this came from a guru whose country gave birth to the ‘Ramayana.’ She then described the movements, techniques and intensity of our actors-dancers. I amstill awake unbelieving!”
Versions
There have been several Philippine adaptations of the epic for the stage. Ballet Philippines’ dance-musical “Rama Hari” premiered in 1980 and was restaged in 2012, with choreography by Alice Reyes, music by Ryan Cayabyab and libretto by Bienvenido Lumbera.
The Philippine Educational Theater Association staged Rody Vera’s “Ang Paglalakbay ni Radiya Mangandiri: Isang Pilipinong Ramayana” in 1993.
SK Productions staged “Rama at Sita” in 1999, a multi-million-peso musical featuring Ariel Rivera as Rama and Lani Misalucha as Sita, using excerpts from “Rama Hari” and new songs by Danny Tan, Roy Iglesias and Dodjie Simon.
The “Ramayana” has also been used before to bridge Asean countries. In 1998, Asean produced “Realizing Rama,” featuring two dancers from each member country, with choreography by Denisa Reyes and book by Nicanor Tiongson.
Collaborative
For the festival’s opening production, which featured all the participating groups presenting different vignettes from the “Ramayana,” Ipag performed Rama and Ravana’s climactic battle scene and Sita’s fire ordeal scene.
“At least four applauses punctuated the Philippines’ 10minute segment, capped by long hand-clapping during curtain call,” Fernandez said.
He also noted that Thai musician Manop Wisuttipat, the com- poser of a portion in the opening production, had studied at the University of the Philippines under National Artists for Music José Maceda and Ramon Santos.
Ipag performed two more times during the festival. “Epics are not only about heroes and what they confront, but reveal the societies and time these heroes come from,” he says.
“These stories show values and the way people deal with their realities; these narratives reveal how deep people cherish the hopes they strive for. Epics all over the world share truths about humanity, values we all uphold, saying that we are not different from the rest.”
Acclaimed group
Based in Mindanao State University-Iligan Institute of Technology, Ipag has represented the country in over 100 cities worldwide. The group received the 2015 Gawad Pedro Bukaneg from the Unyon ng Mga Manunulat sa Pilipinas. The group’s founding chair, Ligaya Fernando-Amilbangsa, received the 2015 Ramon Magsaysay Award for her work in dance.
Ipag’s participation in Asean Plus Ramayana Festival was supported by a grant from the National Commission for Culture and the Arts. Like Integrated Performing Arts Guild (Ipag) on Facebook.
Ramayana - from across the ASEAN
Buddhist Version Dasaratha Jataka
Jain Version Paumachariyam
Thai Version Ramakien, in Thai oral culture until King Rama II wrote it
Laos Version Phra Lak Phra Ram, national epic by the people of Lao
Malay Version Hikayat Seri Rama, Hikayat Maharaja Wana
Burma (Myanmar) Version Yama Zatdaw
Nepalese Version Siddhi Ramayan, Bhanubhaktako Ramayana by Bhanubhakta Acharya (Nepali: भानुभक्त आचार्य) 1814-1868
Sri Lankan Version Janakiharan
Indonesian (Bali) Version Ramakavaca
Indonesian (Java) Version Kakawin Ramayaba, Yogesvara Ramayana
Indonesian (Sumatra) Version Swarnadvipa
Iranian Version Dastan-e-Ram O Sita
China and Tibet Dunhuang
Japan Ramaensho
Cambodia Reamker
Kingdom of Lan Na Phommachak
Phillipines Version Mindanao Ramayaba
Maharadia Lawana a Maranao epic which tells a local version of the Indian epic Ramayana
Darangen source : Filipino Versions of Ramayana
Jai Sri Ram
Ramayana in South Asia - Article from MEA
The ballet company Rama Hari presents musical version of #Ramayana, an epic narrative that is a shared heritage among the ASEAN member states.
The ancient epic is celebrated not only in India but in other South Asian countries as well. Around 300 versions of the epic poem are known to exist. Generally, the oldest version of Ramayana is attributed to Valmiki. Apart from India, versions of the Ramayana can be found in Burma, Indonesia, Cambodia, Laos, Philippines, Sri Lanka, Nepal, Thailand, Malaysia, Japan, Mongolia, Vietnam and China.
Though most versions revolve around the version written by Sage Valmiki, many versions also focus of peripheral characters and their stories.
YAMA ZATDAW - BURMA (Burmese Ramayana)
The Burmese and Khmerian version of Ramayana is called “Yama Zatdaw”, respectively, and to a great extent, both have been largely influenced by Buddhism.
KAKAWIN RAMAYANA AND RAMAYANA SWARNADWIPA - INDONESIAN
Ramayana is known differently on different islands of Indonesia. It is called Ramakavaca in Bali, Kakawin or Yogesvara Ramayana in Java and Ramayana Swarnadwipa in Sumatra. The Indonesian Ramayana traces its roots to the Sri Lankan version of Ramayana.
RAMAENSHO - JAPAN
In Japan, Ramayan came to be known as Ramaenna or Ramaensho.
Japanese variations were written during the 10th century as Sambo Ekotoba and 12th century as Hobutsushu (Jewel Collection).
Bugaku and Gagaku are two dance styles of 8 to 12 century based on Indian classical dances for depicting Japanese Ramayan.
So smitten by the story of Shri Ram's triumph over the forces of darkness, that Japanese producer and director Yugo Sako read Valmiki's Ramayana in Japanese and went on to study ten different versions and made the most popular award winning animated cartoon on Ramayan.
Among the Japanese 7 Gods of fortune are
Benzaitensama/ Saraswati
Bishamon/ Kuber
Kichijoten/ Lakshmi
Diakokuten/ Shiva
Ganesh is worshipped as She ten Shoden
Varuna, as Sui-ten
Saraswati as Benten, literally, goddess of speech
Shiva as Daikoku
Kali as Diako Kutennyo
Vishvakarma was worshipped as Bishukatsuma
Yama as Emma-o.
Source/Credits: Meenakshi Sharan, Ayodhya Foundation, Global Ramayana Connect on Facebook
MAHARADIA LAWANA - PHILLIPINES
The Maharadia Lawana (sometimes spelled Maharadya Lawana or Maharaja Rāvaṇa) is a Maranao epic which tells a local version of the Indian epic Ramayana.[1] Its English translation is attributed to Filipino Indologist Juan R. Francisco, assisted by Maranao scholar Nagasura Madale, based on Francisco's ethnographic research in the Lake Lanao area in the late 1960s.[2]: "264"
It narrates the adventures of the monkey-king, Maharadia Lawana, to whom the Gods have granted immortality.[2]
Francisco first heard the poem being sung by Maranao bards around Lake Lanao in 1968. He then sought the help of Maranao scholar Nagasura Madale, resulting in a rhyming English translation of the epic.[2]
Francisco believed that the Ramayana narrative arrived in the Philippines some time between the 17th to 19th centuries, via interactions with Javanese and Malaysian cultures which traded extensively with India.[3]: 101
By the time it was documented in the 1960s, the character names, place names, and the precise episodes and events in Maharadia Lawana's narrative already had some notable differences from those of the Ramayana. Francisco believed that this was a sign of "indigenization", and suggested that some changes had already been introduced in Malaysia and Java even before the story was heard by the Maranao, and that upon reaching the Maranao homeland, the story was "further indigenized to suit Philippine cultural perspectives and orientations."[3]: "103"
REAMKER - CAMBODIA
Reamker (Khmer: រាមកេរ្តិ៍, romanized: Réamkértĕ; IPA: [riəmkeː]) is a Cambodian epic poem, based on the Sanskrit's Ramayana epic. The name means "Glory of Rama". It is the national epic of Cambodia. The earliest mention of this epic's manuscript in Cambodia dates back to the 7th century based on Veal Kantel inscription (K.359).[1][2] The surviving text of Reamker dates from 16th century.[3][4][5] Reamker adapts the Hindu ideas of the Ramayana to Buddhist themes and shows the balance of good and evil in the world. More than just a reordering of the epic tale, the Reamker is a mainstay of the royal ballet's repertoire. Like the Ramayana, it is a philosophical allegory, exploring the ideals of justice and fidelity as embodied by the protagonists, King Rama and Queen Sita. The epic is well known among the Khmer people for its portrayal in Khmer dance theatre, called the L'khaon, in various festivals across Cambodia. Scenes from the Reamker are painted on the walls of the Royal Palace in Khmer style, and its predecessor is carved into the walls of the Angkor Wat and Banteay Srei temples. It is considered an integral part of Cambodian culture.
PHRA LAK PHRA LAM - LAOS
'Phra Lak Phra Ram' (ພຣະລັກພຣະຣາມ, pʰrāʔ lāk pʰrāʔ ráːm) is the national epic of the Lao people, and is the Lao adaptation of the Dasaratha Jataka, a story narrating one of the previous life of Buddha as a Bodhisatta named Rama.[2] It was brought to Laos and other Southeast Asia by propagation of Buddhism. The story reached Laos much later than Cambodia and Thailand (Siam) and thus was affected by local adaptation.[3]
Scene from Phra Lak Phra Ram, the Lao form of the Indian Ramayana. Several versions of the story were recorded on palm-leaf manuscripts between the 15th and early 19th centuries.[1]
RAMAKIEN - THAILAND
King Rama II translated the Indian version into Thai language and made it part of Thai culture. King Rama II, , also called Phraphutthaloetla Naphalai, (born Feb. 24, 1768, Rat Buri—died July 21, 1824, Bangkok), the second ruler (1809–24) of the present Chakkri dynasty, under whose rule relations were reopened with the West and Siam began a forward policy on the Malay peninsula. A gifted poet and dramatist, Rama II wrote episodes of the Ramakien and popular dance dramas such as Sang Thong.
In Thailand, this epic in its written form, dating from the 18th century, is called “Ramakien” or “Ramakrti” and Rama is presented as very Siamese.
Thai art and architecture, the story is in the form of mural paintings in the cloisters of the Royal Temple. The statues of enormous Asuras stand around the temple with their clubs to protect the place.
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Vedic divisions of time
Complete Genealogy of the Mahabharata
Complete genealogy of the lines of Bharata including Suryavansha, Somavansha, Saptarishis, Devas,
Asuras etc. Compiled primarily from the Srimad Bhagavat Mahapuran with other Purans and the Mahabharat as secondary sources - Image from scrolls of aryavart website
Gandhi and Rajagopalachari
License
Ramayana and Mahabharata by Anand is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.
Based on a work at ramayanamahabharata.blogspot.com.