Tukaram

Tukaram, a remarkable 17th-century Marathi poet and devout follower of Lord Shri Vitthal, affectionately known as Tuka, Tuko Baraya, and Tukoba in Maharashtra, India, holds a special place as a saint in the Varkari sampradaya, which is a part of the Marathi-Vaishnav tradition. Revered for his poetic expressions, Tukaram’s verses are considered the zenith of the Bhagawat tradition, which traces its roots back to Namdev. His words resonate with a deep sense of devotion and are cherished as a beautiful testament to the spiritual richness of the region.

About Tukaram

Tukaram was born in the Indian state of Maharashtra. Tukaram Bolhoba Ambile was his full name. The year of Saint Tukaram’s birth and death has been the subject of investigation and debate among twentieth-century researchers.
His parents were followers of Vithoba, a manifestation of the Hindu deity Vishnu (Vaishnavas). Tukaram’s parents both died while he was a teenager. His master was Saint Chaitanya Mahaprabhu of the Bhakti movement.
A 17th-century poet-saint who lived with Maratha ruler Shivaji Maharaj and saints such as Eknath and Ramdas. His poetry was dedicated to Vithoba or Vitthala, an avatar of Vishnu, the Hindu God.
He is most known for his Marathi Abangas (dohas), which are a rich inheritance of Gatha – devotional poetry, and he was also crucial for laying the groundwork for Maratha nationalism. He emphasized community-based worship through spiritual melodies known as Kirtans.
He promoted the virtues of piety, forgiveness, and inner tranquility. He was a vocal critic of caste and gender injustice. Tukaram opposed mechanical rites, rituals, sacrifices, and vows, favoring a direct type of bhakti instead.
While being held in Yerwada Central Jail by the British colonial government for his nonviolent movement in the early twentieth century, Mahatma Gandhi read and translated Tukaram’s poetry, as well as Upanishads, Bhagavad Gita, and poems by other Bhakti movement poet-saints.

Kirtan

Tukaram promoted kirtan as a music-infused, community-oriented form of bhakti singing and dancing. Kirtan, he believed, was not only a way to learn about Bhakti, but Bhakti itself.
According to Tukaram, the greatest value of kirtan is that it not only provides a spiritual road for the devotee, but it also assists in the creation of a spiritual path for others.
Kirtan is a Sanskrit word that refers to the “narrating, reciting, recounting, and describing” of an idea or story in Indian religions.
It also refers to a religious performance art genre unique to the Indian subcontinent, denoting a musical type of narration or shared recitation, notably of spiritual or religious beliefs.

Bhakti

Tukaram is considered to be the pinnacle of the Bhagawat tradition, which began with Namdev.
Tukaram’s abhangas largely cover mythology, saints’ biographies, Shri Pandurang’s panegyric, laudatory descriptions of Pandharpur, autobiography, and self-criticism, moral education, personal explanation, and defense of his religious views.
He was not a fan of complex ceremonies, asceticism, or a fixation on austerities, stating, “Bears have matted fur, and even dogs come in a saffron tint.
If living in caves is spiritual, then cave rats must be practicing sadhana (spiritual discipline).” Tukaram was against the acquisition of siddhis (spiritual abilities), seeing them as impediments to true sadhana.
He urged his audience to throw off the “clothing of traditions,” which he claimed often hindered a devotee’s growth in God’s love. He urged his followers to see God in everything and to put God at the center of their lives.

Vedanta

In Tukaram’s heartfelt writings, he warmly mentions four special individuals who played a major role in shaping his spiritual journey in his work Abhang. These cherished figures are the earlier Bhakti Saints Namdev, Dnyaneshwar, Kabir, and Eknath.
Tukaram, in his own reflective way, perceived his teachings as rooted in Vedanta. However, he felt they lacked a cohesive theme, a central thread that tied them together seamlessly.
Expressing his unique perspective, Tukaram’s abhang takes a stand against monism and instead embraces the dualistic Vedanta theory put forth by Indian scholars Madhvacharya and Ramanuja. Through his poetic expressions, Tukaram weaves a tapestry of spiritual wisdom that resonates with the nuances of duality inherent in these philosophies.

Literary Works

Tukaram, a prolific poet, is celebrated for his Abhanga poetry—a distinctive Marathi literary form that seamlessly weaves together folk tales and profound spiritual themes. Unlike his predecessors like Dnyandeva or Namdev, Tukaram embraced a more informal and folksy style, crafting verses in everyday language.
In his poems, Tukaram expressed himself as a simple man, describing himself as a “fool” who found solace in solitude, tired of the complexities of the world. While he worshipped Vitthal (Vishnu) like his predecessors, he acknowledged a lack of their unwavering faith and devotion, humbly stating that there was nothing inherently holy about him.
Tukaram’s literary legacy is encapsulated in the Tukaram Gatha, a collection of his works likely composed between 1632 and 1650. This anthology contains around 4,500 abhangs and is also known as Abhanga Gatha. The poems cover a broad spectrum of human emotions and life experiences, often intertwining autobiographical elements within a spiritual context.
One notable contribution is Tukaram’s Mantra Gita, an abhang translation of the Bhagavad Gita. This Bhakti-inspired interpretation reflects Tukaram’s deep devotion and spiritual insights.
Despite facing criticism for being “harsh,” “indecent,” and “vulgar,” Tukaram’s sincerity and motivation shine through in his verses. He believed that his poetry was not a product of his own creation but a divine expression, viewing his tongue merely as a vessel for God’s words.

Varkari Sampradaya

Varkari is a sampradaya (religious movement) under Hinduism’s bhakti spiritual tradition, geographically linked to the Indian state of Maharashtra.
Vitthal (also known as Vithoba), the presiding god of Pandharpur and a form of Krishna, is worshipped by varkaris.
The group strictly prohibits the use of alcohol and tobacco. Vari participates in unique events on their annual journey.
Varkaris in the Vari transport the saints’ padukas in palkhis from Samadhi to Pandharpur.
During the pilgrimage, the events Ringan and Dhava are held. Jnaneshvar, Namdev, Eknath, and Tukaram are prominent members of this sect.

Conclusion

Tukaram’s beautiful abhangs have become a cherished part of Maharashtra’s cultural tapestry, deeply woven into the fabric of the state. His poetry, adored in the rural corners of Maharashtra, is steadily gaining more hearts. Tukaram, a devoted follower of Vithoba (Vitthala), an avatar of the beloved God Vishnu with a unique regional touch, has left an indelible mark. His literary contributions, alongside the works of saints like Dnyandev, Namdev, and Eknath, played a pivotal role in catapulting the Varkari tradition into the vibrant landscape of pan-Indian Bhakti literature.

Read Also: Namdev (1270-1350)