• On Navaratri, this is the fifth in a series of nine articles on Women Sants, of Marathi-speaking areas, between the 13-17 centuries. This is a brief feature on the life of Kanhopatra, who belonged to the Varkari tradition. She is the only sant whose samadhi is within the temple precincts.  

 To read article 1 on Mahdambha , To read article 2 on Muktabai , To read about Janabai,   To read article 4 on Soyrabai

Sant Kanhopatra was a 15th-century bhakti poet belonging to the Varkari tradition. She was born in Mangalwedha, a village neighbouring to Pandharpur, as the daughter of a wealthy courtesan named Shyama. Kanhopatra epitomised captivating beauty. Kanhopatra was an accomplished dancer and singer. Her melodious voice would enchant anyone. Kanhopatra possessed all the luxuries, with maids attending to her every need; nevertheless, what she yearned for was a position of respect in society.

Shyama, her mother, desired her to perform before the Badshah of Bidar; however, Kanhopatra declined. As the pressure intensified, she sought refuge in Pandharpur, at the feet of Vitthal. She stayed there, 'married' to Vithoba, and, embracing an ascetic way of life, sang and danced solely for him at the temple. 

Her fame spread as she composed and performed ovis and abhangs in honour to Vitthal with her melodious voice. The devotees congregated for her bhajans to gain profound spiritual insights; however, some were drawn by her beauty.
The news of her beauty and her songs reached the Bahamani ruler, who dispatched gifts inviting her to become his concubine.

Upon her refusal, the Badshah sent soldiers to forcibly abduct her. She requested permission to meet Vitthal one final time and entered the temple. The widely accepted narrative in the Varkari tradition recounts that as soldiers became restless, it was discovered that Kanhopatra had passed away, and in her stead, a tarati tree emerged, which is currently located in the premises of the Viththal temple of Pandharpur and is venerated by devotees.

The other account narrates that the Chandrabhaga River, which traverses Pandharpur, overflowed its banks, flooding the temple, and Kanhopatra’s body was discovered downstream on a rock. Because of her exceptional devotion, she was permitted to be buried within the temple. A tarati tree, which is now known as the “Kanhopatra Tree,” has grown at the place where she was buried. Visitors to the Vitthala Temple in Pandharpur can see this tree, which narrates the tale of Kanhopatra’s devotion. 

The abhang illustrating Kanhopatra’s mental state during this episode is encapsulated in her renowned abhang, in which she articulates: 

नको देवराया अंत पाहूं आतां ।प्राण हा सर्वथा जाऊं पाहें।।१।।

हरिणीचे पाडस व्याघ्रे धरियेलें । मजलागीं जाहलें तैसे देवा ।।२ ।।

तुजविण ठाव न दिसे त्रिभुवनीं । धावे वो जननी विठाबाई ।।३।।

मोकलोनी आस जाहले मी उदास । घेई कन्होपात्रेस हृदयांत ।।४।।

Translation:

O Lord God, I implore you not to test me; my breath is dwindling. As if a deer is entrapped by a tiger, O God, I exactly feel the same way. Other than you, I perceive nothing in the three worlds; please rescue me, Vithabai. There is no hope, thus I am disheartened; please give Kanhopatra refuge in your heart.

She enquires of Viththala why, if he is the guardian of his devotees, they must endure worldly suffering. It is Viththala who must be held accountable for their plight. In some compositions, she appears to be convinced that Viththala is the deity of the oppressed and will invariably safeguard his devotees. She composes:

दीन पतित अन्यायी । शरण आल्ये विठाबाई ।।१।।

मी तो आहे यातीहीन । नकळे कांही आचरण ।।२।।

मज अधिकार नाही । भेटी देई विठाबाई ।।३।।

ठाव देई चरणाशीं । तुझी कान्होपात्रा दासी ।।४।।

Translation:

Humbled, degraded, and sinful; I implore your safeguarding, Vithabai.

I belong to a lower caste and unaware of proper conduct.

I have no authority; (and yet I plead) please meet me, Viṭhabai.

Please give me a place at your feet; I am your servant Kanhopatra

Kanhopatra is distinctive within the Varkari Sampraday in multiple respects.

Among the Varkari sants, hers is the only samadhi within the temple precincts. Most female sants of the Varkari Sampraday are consistently linked to a male sant, either through a guru lineage or familial ties. Kanhopatra is the sole female sant who was not mentored by any male in the Varkari tradition. The majority of the Varkari sants did not adhere to the ascetic lifestyle and were typically householders. Kanhopatra, however, Kanhopatra is an exception to this norm. She escaped from her home, dedicating her life to the ascetic devotion to Viththala.

Let’s pay tribute to Kanhopatra by invoking the following mantra:

या देवी सर्वभूतेषु तृष्णारूपेण संस्थिता।

नमस्तस्यै नमस्तस्यै नमस्तस्यै नमो नमः॥

To that Devi who resides in all beings in the form of thirst,

Salutations to Her, Salutations to Her, Salutations to Her, Salutations again and again.

 Author is Associate Professor, Jawaharlal Nehru University, New Delhi. The opinions expressed in this series are personal. 

References

1. Daukes, Jacqueline. Female Voices in the Vārkari Sampradaya: Gender Constructions in a Bhakti Ttradition. Diss. SOAS, University of London, 2014.

2. Irlekar, Suhasini.  Sant Kavi ani Kavyitri -Ek Anubandh. Pune: Snehvardhan Prakashan, 2006.   

3. Mahipati. Bhaktavijay. Trans. Justin E. Abbott and N.R. Godbole. 1933. Delhi: Motilal Banarsidass, 1999.

4. Mulchandani, Sandhya. For the Love of God: Women Poet Saints of the Bhakti Movement. Penguin Random House India Private Limited, 2019.

5. Pande, Rekha. Divine Sounds from the Heart—Singing Unfettered in their Own Voices: The Bhakti Movement and its Women Saints (12th to 17th Century). Cambridge Scholars Publishing, 2010. 

6. Sellergren, Sarah. “Janabai and Kanhopatra: A Study of Two Women Sants” in Images of Women in Maharashtrian Literature and Religion, edited by Anne Feldhaus, Albany: State University of New York Press, 1996, 213–238.

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