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Viśiṣṭādvaita Tradition
Viśiṣṭādvaita is one of the most popular schools of the Vedānta school of Hindu philosophy. Vedānta literally means the end of the Vedas. Viśiṣṭādvaita ("non-duality with distinctions") is a non-dualistic school of Vedanta philosophy. It is non-dualism of the qualified whole, in which Brahman alone exists, but is characterized by multiplicity.
Sri Ramanujacharya (1017–1137 CE), pioneer of Vishishtadvaita Vedanta and the foremost Jeeyar of Sri Vaishnava Sampradaya. Photo: Debanjon/Wikipedia.Ramanuja, the 11–12th century philosopher and the main proponent of Viśiṣṭādvaita philosophy contends that the prasthānatrayī 1 are to be interpreted in a way that shows this unity in diversity, for any other way would violate their consistency. Vedanta Desika defines Vishishtadvaita using the statement, Asesha Chit-Achit Prakaaram Brahmaikameva Tatvam: Brahman, as qualified by the sentient and insentient modes (or attributes), is the only reality.
The Advaita guru-paramparā (Lineage of Gurus in Non-dualism) begins with the mythological time of the Daiva-paramparā (Nārāyaṇa; Brahmā), followed by the vedic seers of the Ṛṣi-paramparā (Vaśiṣṭha; Śakti; Parāśara; Vyāsa; Śuka), and the Mānava-paramparā of historical times and personalities.
Prominent Viśiṣṭādvaita Gurus
Nammalvar (born 798CE). He contributed 1,296 poems to Divya Prabhandham, out of 4000 hymns written by the Alvar poet-saints.
Writings: Thiruvaymoli (1102 verses)2; Thiruviruttam (100 verses); Thiru Vaasiriam (7 verses); Periya Thiruvanthadi (87 verses).
Disciples: Madhurakavi Azhvar
Nathamuni (823-951CE)
Writings: Compiled Nālāyira Divya Prabandham, a collection of 4,000 Tamil verses composed by the 12 Alvars, the Tamil poet-saints; Yogarahasya (Secrets of Yoga); Nyāyatattva.
Disciples: Pundarikaksha
Yāmunācārya (born early 10th century) also known as Sri Alavandar and Yamunaithuraivan.
Writings: Chathusloki - a popular prayer in praise of Lakshmi; Stotraratnam - a prayer in praise of Narayana; Siddhitrayam - consisting of (i) Atmasiddhi. (ii) Samvitsiddhi and (iii) Iswarasiddhi; Agama Pramanya - stating the authority of Pancharatra agama; Maha Purusha Nirnayam - describing that the ultimate reality is the god-goddess pair Sri and Narayana; Gitartha Sangraha - a commentary on the Bhagvad Gita; Nityam; Mayavada Khandanam.
Disciples: Periya Nambi; Periya Thirumalai Nambi; Thirukkottiyur Nambi; Thirumaalaiyanaan; Dheyvavariyandan; Vanamamalai Andan; Eesvarandan; Jeeyarandan; Alavandar Azhvan; Thirumogur Appan; Thirumogur Nindrar; Devapperual; Maraneri Nambi; Thirukkachchi Nambi; Thiruvarangapperumal Araiyar; Thirukkurugur Dasar; Vakulabarana Somajiyar; Ammangi; Alkondi; Govinda Dasar; Nathamuni Dasar; Thiruvarangaththamman.
Rāmānujā (1017–1137 CE)
Writings: Vedārthasaṃgraha (literally, "Summary" of the "Vedas meaning"); Śri Bhāṣya (a review and commentary on the Brahma Sutras); Bhagavadgītā Bhāṣya (a review and commentary on the Bhagavadgītā ); Vedāntadipa (Light on Vedanta); Gadya Trayam (poems of Surrender), which is a compilation of three texts called the Saranāgati Gadyam (The Large Poem of Surrender), Sriranga Gadyam (The Smaller Poem of Surrender to Lord Ranganatha) and the Vaikunta Gadyam (The Poem of Contemplation on Vaikuntha); Nitya Grantham (Manual of Daily Worship).
Disciples: Swami Mudaliyandan; Koorathazhwan; Kidambi Aachan; Thirukurugai Piran Pillan; Nadadhur Azhwan; Anantazhwar.
Pillai Lokacharya (1205–1311 CE)
Writings: Mumukshupadi; Tatvatrayam; Artha Panjakam; Sri Vachana Booshanam; Archiraadhi; Prameya Sekaram; Prapana Parithranam; Saara Sangraham; Samsaara Saamrajyam; Navarathnamaalai; Navavidha Sambandham; Yaadhruchikapadi; Parandhapadi SriyaPathi Padi Tatvasekaram Thani Dwayam Thani Charamam; Thani Pranavam.
Disciples: Sri Azhagiya Manavala Perumal Nayanar; Koorakuloththama Dasa; Manarpakkam Nambi; Kollikavala Dasa (Azhagiya Manavala Perumal Pillai); Kotturilanar; Vilanjsolai Pillai; Srisailesa;
Vedānta Deśika (1268-1369 CE)
Writings:
• Sanskrit Hymns: Abheeti Sthavam; Achyuta Sathakam; Ashtabuja Ashtakam; Bhagavad Dhyaana Sopaanam; Bhoo Sthuthi; Dasaavataara Stotram; Dayaa Sathakam; Dehaleesa Sthuthi; Devanaayaka Panchaasath; Garuda Dhandakam; Garuda Panchaasath; Godhaa Sthuthi; Gopaala Vimsathi; Hayagriva Stotram; Kaamaasika Ashtakam; Nyaasa Dasakam; Nyaasa Tilakam; Nyaasa Vimsathi; Paramaartha Sthuthi; Raghu Veera Gadhyam (aka) Mahaveera Vaibhavam; Saranaagathi Deepikai; Shodasa Aayudha Stotram; Sree Sthuthi; Sudharsana Ashtakam; Vairaaghya Panchakam; Varadaraaja Panchaasath; Vegaa Sethu Stotram; Yathiraaja Sapthadhi.
• Poetry: Subjashithaanivi; Yaadhavaabhyudhayam; Paduka Sahasram; Hamsa Sandhesam; Samasya Sahasri.
• Tamil Hymns: Amrita Ranjani; Adhikaara Sangraham; Amritaaswaadhini; Parama Padha Sopaanam; Para Matha Bhangam; Mei Vratha Maanmiyam; Adaikkalap Pathu; Artha Panchakam; Sri Vaishnava Dhinasari; Tiruchchinna Maalai; Panniru Naamam; Tiru Mantira Churukku; Dvaya Churukku; Charma Sloka Churukku; Gitaartha Sangraham; MumManik Kovai; Navaratna (aka Navamani) Maalai; Prabhandha Saaram; Aahaara Niyamam; Pandhu; Kazhal; Ammaanai; Oosal; Yesal.
• Drama: Sankalpa Suryodhayam.
• Esoteric Texts: Sat Sampradaaya Pari Suddhi; Tattva Padhavi; Rahasya Padhavi; Tattva Navaneetham; Rahasya Navaneetham; Tattva Maatrukai; Rahasya Maatrukai; Tattva Sandhesam; Rahasya Sandhesam; Rahasya Sandhesa Vivaranam; Tattva Ratnaavali; Tattva Ratnaavali Prathipaadhya Sangraham; Rahasya Ratnaavali; Rahasya Ratnaavali Hridhayam; Tattva Thraya Sulakam; Rahasya Thraya Sulakam; Abhaya pradhaana saaram; Rahasya sikhaamani; Anjali vaibhavam; Pradhaana sathakam; Upakaara sangraham; Saara Sangraham; Muni Vaahana Bhogam; Madhura Kavi Hridhayam; Parama pada sopaanam; Para matha bhangam; Hasthigiri mahaathmyam; Rahasya thraya saaram; Saara Saaram; Virodha Parihaaram; Nigama Parimalam; Thiru Mudi Adaivu.
• Vedanta Texts: Tattva Mukthaa Kalaapam; Adhikarana Saaraavali; Satha Dhushani (aka) Satha Doshaani); Nyaaya Parisuddhi; Seswara Mimaamsa; Mimaamsa Paaduka; Nikshepa Raksha; Sat Charitha Raksha- containing (i) Sudharsana Paancha Janya Vidhi, (ii) Oordhva Pundra Dhaarana Vidhi, (iii) Bhagavan Nivedhitha Upayoga Vidhi; Rahasya Rakshaa; Dramidopanishad Taatparya Ratnaavali (A commentary on Nammalwar's Tiruvoimozhi); Dramidopanishad Saara.
• Commentaries: Sarvaartha Siddhi; Tattva Teekha; Chatus Slokee Bhashya; Stotra Ratna Bashya; Gitaartha Sangraha Raksha; Taatparya Chandrika; Isaavaasyopanishad; Vedaartha Sangraha; Rahasya Raksha (aka) Gadhya Thraya Bashya); Adhikarana Darpanam.
• Rituals: Bhagavad Aaraadhana Vidhi; Yagnopaveetha Prathishta; Hari Dina Tilakam; Vaishnava Dinasari.
• Miscellaneous Texts: Bhoogola Nirnayam; Silpaartha Saaram; Stheya Virodham; Chakaara Samarthanam; Vaadhi Thraya Khandanam; Vaisvadeva Kaarika; Guru Paramparaa Saaram; Dathi Panchakam; Yamaka Ratnaakaram; Daasa Deepikaa Nigantu; Vedaartha Sangraha Vyaakhyaanam; Saara Dheepam; Tattva Sikhaamani.
Disciples:Nainārācārya (Kumara Vedānta Deśika); Brahmatantra Svatantra Jiyar.
Traditions: The Northern School (Vadakalai); the Southern School (Thenkalai).
Tirumalai Krishnamacharya (1888-1989)
Writings: Yoga Makaranda; Yogaasanagalu; Yoga Rahasya; Yogavalli.
Disciples: Indra Devi; K. Pattabhi Jois; B. K. S. Iyengar; T. K. V. Desikachar; Srivatsa Ramaswami; A. G. Mohan.
Vedānta Schools
Sources
• https://en.wikipedia.org/wiki/Vishishtadvaita
• https://iep.utm.edu/ramanuja/
• https://www.dlshq.org/download/hinduismbk.htm
Footnotes
1. Prasthānatrayī, literally “Triad of Foundations”, the set of canonical texts of the Vedānta; it includes: (1) the Upaniṣads, or the instructional texts (Upadeśa); (2) the aphorisms (Brahmasūtra) or logical texts [Nyāya], and (3) the Bhagavadgītā or practice text (sādhana). Commentaries (bhāṣya) of these texts have been written notably by Śaṅkara, Rāmānuja and Madhva; Vallabha added the Bhāgavatapurāṇa to them.
2. Tiruvaymoli, literally ‘word from mouth,’ it establishes emotionally and experientially the supreme truth to be tirumal (Lord Sriman Narayana). Tiruvaymoli, because of its authoritative foundational quality is called ‘Dravida Veda’ (praṇava) and Dravidopanishad (prasthāna). Its poetic beauty and divine deities make it a classic.
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