Kanhopatra

These accounts typically concentrate on her death when she chose to surrender to the Hindu god Vithoba—the patron god of the Varkaris—rather than becoming a concubine of the Badshah (king) of Bidar. She is the only person whose samadhi (mausoleum) is within the precincts of the temple. Kanhopatra wrote Marathi ovi and abhanga poetry telling of her devotion to Vithoba and her struggle to balance her piety with her profession. In her poetry, she implores Vithoba to be her saviour and release her from the clutches of her profession. About thirty of her abhangas have survived, and continue to be sung today. She is the only female Varkari saint to have attained sainthood based solely on her devotion, without the support of any guru, male Varkari saint, or parampara (tradition or lineage).

• Name — Sant Kanhopatra • Religion — Hinduism • Born — 15th century (exact date unknown) • Birthplace — Mangalvedha, Maharashtra, India • Died — 15th century (exact date unknown) • Place of death — Pandharpur, Maharashtra, India • Philosophy — Varkari • Honors — Sant (संत) in Marathi, meaning "Saint" • Notable Works — Ovi and Abhanga devotional poetry

Kanhopatra's history is known through stories passed down over centuries. Most accounts agree about her birth to Shama the courtesan and her death in the Vithoba temple when the Badshah of Bidar sought her. However, the characters of Sadashiva Malagujar (her alleged father) and Hausa the maid do not appear in all accounts.

• Illustration — Kanhopatra sings to Vithoba Kanhopatra was a daughter of a rich courtesan and dancer named Shama or Shyama, who lived in the town of Mangalvedha, near Pandharpur, the site of Vithoba's chief temple. Apart from Kanhopatra, Mangalwedhe is also the birthplace of the Varkari saints Chokhamela and Damaji. Shama was uncertain about the identity of Kanhopatra's father, but suspected that it was the town's head-man Sadashiva Malagujar. Kanhopatra spent her childhood in the palatial house of her mother, served by several maids, but because of her mother's profession, Kanhopatra's social status was demeaningly low. Kanhopatra was trained in dance and song from early childhood so that she could join her mother's profession. She became a talented dancer and singer. Her beauty was compared to the apsara (heavenly nymph) Menaka. Shama suggested that Kanhopatra should visit the Badshah (Muslim king), who will adore her beauty and gift her money and jewelry, but Kanhopatra flatly refused. Traditional tales narrate that Shama wanted Kanhopatra to marry, but Kanhopatra longed to marry a man who was more beautiful than her. Scholar Tara Bhavalkar states that Kanhopatra's marriage was forbidden, as it was not socially acceptable for a daughter of a courtesan to marry. Most accounts declare that Kanhopatra was forced into the courtesan's life, though she detested it, while some say that Kanhopatra firmly declined to become a courtesan. Some authors believe that she may have also worked as a prostitute.

Sadashiva Malagujar, Kanhopatra's supposed father, heard of Kanhopatra's beauty and wished to see her dance, but Kanhopatra refused. Accordingly, Sadashiva started to harass Kanhopatra and Shama. Shama tried to convince him that he was the father of Kanhopatra and thus should spare them, but Sadashiva did not believe her. As he continued his harassment, Shama's wealth slowly depleted. Eventually, Shama apologised to Sadashiva and offered to present Kanhopatra to him. Kanhopatra, however, fled to Pandharpur disguised as a maid, with the help of her aged maid Hausa. In some legends, Hausa—described as a Varkari—is credited for Kanhopatra's journey to devotion. Other accounts credit the Varkari pilgrims who passed Kanhopatra's house on their way to the temple of Vithoba in Pandharpur. According to one story, for example, she asked a passing Varkari about Vithoba. The Varkari said that Vithoba is "generous, wise, beautiful and perfect", his glory is beyond description and his beauty surpasses that of Lakshmi, the goddess of beauty. Kanhopatra further asked if Vithoba would accept her as a devotee. The Varkari assured her that Vithoba would accept her as he accepted the maid Kubja, the sinful king Ajamila and the so-called "untouchable" saint Chokhamela. This assurance strengthened her resolve to go to Pandharpur. In versions of the legend where Sadashiva does not appear, Kanhopatra immediately leaves for Pandharpur—singing the praises of Vithoba—with the Varkari pilgrims or coaxes her mother to accompany her to Pandharpur. When Kanhopatra first saw the Vithoba image of Pandharpur, she sang in an abhanga that her spiritual merit was fulfilled and she was blessed to have seen Vithoba's feet. She had found the unparalleled beauty she sought in her groom in Vithoba. She "wedded" herself to the god and settled in Pandharpur. She withdrew from society. Kanhopatra moved into a hut in Pandharpur with Hausa and lived an ascetic's life. She sang and danced at the Vithoba temple, and cleaned it twice a day. She gained the respect of the people, who believed her to be a poor farmer's daughter maddened by the love of Vithoba. In this period, Kanhopatra composed ovi poems dedicated to Vithoba.

During this same time, however, Sadashiva—who felt insulted by Kanhopatra's refusal—sought the help of the Badshah (king) of Bidar. Hearing tales of Kanhopatra's beauty, the Badshah ordered her to be his concubine. When she refused, the king sent his men to get her by force. Kanhopatra took refuge in the Vithoba temple. The soldiers of the king besieged the temple and threatened to destroy it if Kanhopatra was not handed over to them. Kanhopatra requested a last meeting with Vithoba before being taken. • Illustration — The chief gate of Vithoba temple, Pandharpur, where Kanhopatra's samadhi lies. By all accounts, Kanhopatra then died at the feet of the Vithoba image, but the circumstances were unclear. According to popular tradition, Kanhopatra merged with the image of Vithoba in a form of marriage—something that Kanhopatra longed for. Other theories suggest that she killed herself, or that she was killed for her rebelliousness. Guy Deleury deduces from the poems of Namdev and other saints, that Kanhopatra did not die but acquired the power (siddhi) of invisibility by embracing Vithoba's image; after this yogic "miracle", the Badshah converted to bhakti. Most accounts say that Kanhopatra's body was laid at feet of Vithoba and then buried near the southern part of the temple, in accordance with her last wishes. In some accounts, the nearby Bhima river (Chandrabhaga) flooded, inundating the temple and killing the army that sought Kanhopatra. The next day, her body was found near a rock. According to all versions of the legend, a tarati tree—which is worshipped by pilgrims in her remembrance—arose on the spot where Kanhopatra was buried. Kanhopatra is the only person whose samadhi (mausoleum) is in the precincts of the Vithoba temple.

Several historians have attempted to establish the dates of Kanhopatra's life and death. One estimate places her life circa 1428 CE by relating her to a Bahamani king of Bidar who is often associated with the Kanhopatra story—although in most accounts, that king is never explicitly named. Pawar estimates that she died in 1480. Others suggest dates of 1448, 1468 or 1470, or simply say that she lived in the 15th century—or in rare instances, the 13th or 16th century. According to Zelliot, she was a contemporary of saint-poets Chokhamela (14th century) and Namadeva (c.1270-c.1350).

Kanhopatra is recorded with the occupation writer. Recorded with the occupation poet. Recorded as a citizen of India.