The Sandarbhas are one of Jīva Gosvāmī's major works. Sandarbha literally means "stringing together." Baladeva explains, "The wise say a Sandarbha is that which possesses various matters of importance which should be known. Bhāgavatam verses are gathered together (sandṛbhyate)."In this case, it is a literary composition consisting of a series of prose sections mixed with verse mainly from Bhāgavatam. It is in six parts which explain Gauḍiya epistemology, theology and philosophy. Tattva Sandarbha deals with the epistemology, while Bhagavat, Paramātmā and Kṛṣṇa Sandarbhas deal with object of worship (sambandha). Bhakti Sandarbha deals with the process or abhidheya, bhakti, and Prīti Sandarbha deals with the goal or prayojana, prema.Tattva Sandarbha first explains the various pramāṇas or methods of proof and concludes that śabda or scripture is the strongest. Using scriptural proofs, finally Bhāgavatam is concluded to be the best among all scriptures. The second part of Tattva Sandarbha explains prameya--what is proved by Bhāgavatam: Kṛṣṇa as the object of worship, bhakti as the method and prema as the goal. These topics are expanded in the other Sandarbhas.

Bhagavat Sandarbha is the second Sandarbha. After showing in Tattva Sandarbha that the principal proof among all scriptures is Bhāgavatam, Jīva Gosvāmī also indicated that the subject presented in Bhāgavatam is Bhagavān. This Sandarbha commences to describe Bhagavān, distinguishing him from Brahman and Paramātmā. Since Brahman is merely an incomplete realization of Bhagavān, a separate Sandarbha is not need to describe it. Paramātmā, however, having special functions related to creation of the material world and manifestation of the jīva, is described in the next Sandarbha.

The historical shift from Vedic traditions to post-Vedic bhakti (devotional) traditions is accompanied by a shift from abstract, translocal notions of divinity to particularized, localized notions of divinity and a corresponding shift from aniconic to iconic traditions and from temporary sacrificial arenas to established temple sites. In Bhakti and Embodiment Barbara Holdrege argues that the various transformations that characterize this historical shift are a direct consequence of newly emerging discourses of the body in bhakti traditions in which constructions of divine embodiment proliferate, celebrating the notion that a deity, while remaining translocal, can appear in manifold corporeal forms in different times and different localities on different planes of existence. Holdrege suggests that an exploration of the connections between bhakti and embodiment is critical not only to illuminating the distinctive transformations that characterize the emergence of bhakti traditions but also to understanding the myriad forms that bhakti has historically assumed up to the present time. This study is concerned more specifically with the multileveled models of embodiment and systems of bodily practices through which divine bodies and devotional bodies are fashioned in Krsna bhakti traditions and focuses in particular on two case studies: the Bhagavata Purana, the consummate textual monument to Vaisnava bhakti, which expresses a distinctive form of passionate and ecstatic bhakti that is distinguished by its embodied nature; and the Gaudiya Vaisnava tradition, an important bhakti tradition inspired by the Bengali leader Caitanya in the sixteenth century, which articulates a robust discourse of embodiment pertaining to the divine bodies of Krsna and the devotional bodies of Krsna bhaktas that is grounded in the canonical authority of the Bhagavata Purana.

Bhakti Sandarbha is the fifth Sandarbha of Jīva Gosvāmī. The first Sandarbha deals with pramāna, the Bhāgavatam. The second, third and fourth Sandarbhas deal with sambandha: defining the Lord in his aspects as Paramātmā, Bhagavān and Kṛṣṇa. The present Sandarbha deals with the abhideya (method), the sādhana of bhakti. This is the means to realize Kṛṣṇa. The same topic is covered in the second chapter of the Eastern Section of Bhakti-rasāmṛta-sindhu of Rūpa Gosvāmī, but is expanded greatly. It discusses the spiritual nature of this process, the qualification of bhakti, the various actions of bhakti, vaidhi and rāgānuga types, mixed and pure forms of bhakti and various types of devotees.

Paramātmā Sandarbha is the third Sandarbha. This work describes Paramātmā, since Bhāgavatam delineates three aspects of the Lord: Bhagavān, Paramātmā and Brahman. One Sandarbha has already been dedicated to Bhagavān. Paramātmā is similar to Bhāgavan, having a form and qualities. However, Paramātmā in its three forms as Mahāviṣṇu, Garbhodakaśāyī and Kṣīrodakaśāyī functions in relation to creation, maintenance and destruction of the material universe. Bhagavān functions in relation to devotees in the spiritual world. As well as describing Paramātmā, this work describes the jīva in some detail, since the jīva-śakti takes shelter of Paramātmā. Some parts, particularly of the commentary, deal with arguments against Māyāvāda philosophy.

What is life for? What may give it meaning? Does it have any meaning at all? A sage in ancient Israel brooded over these questions. In ancient India, too, such questions drove a despairing warrior to seek answers from his divine friend Krishna. The thoughts of the sage became the wisdom book Ecclesiastes; those of Krishna, the Bhagavad-gītā. Their wisdom speaks to our deepest concerns. In Vanity Karma, wisdom meets wisdom as these two perennial classics come together, both offering us profound understanding. And a deep and authentic spiritual understanding, we may find, can infuse our lives with meaning and with joy. Vanity Karma brings you on a journey through the full text of Ecclesiastes, a journey illuminated by traditional biblical scholarship, insights from the Bhagavad-gītā, a dash of autobiography, and a steady spiritual focus.

The Chaitanya Vaishnava tradition is famous for its depth of devotion to Krishna, the blue-hued Deity. Chaitanya Vaishnavas are known for having refined the practice and aesthetics of devotion into a sophisticated science. This imposing devotional edifice was constructed upon a solid foundation of philosophical argument and understanding. In this book, Ravi Gupta sheds new light on the contribution of Chaitanya Vaishnavism to the realm of Indian philosophy. He explores the hermeneutical tools employed, the historical resources harnessed, the structure of the arguments made, and the relative success of the endeavor. For most schools of Vaishnavism, the supporting foundation consists of the philosophical resources provided by Vedanta. The Chaitanya tradition is remarkable in its ability to engage in Vedantic discourse and at the same time practice an ecstatic form of devotion to Krishna. The prime architect of this balance was the scholar-devotee Jiva Gosvami (ca. 1517 - 1608). This book analyses Jiva Gosvami's writing concerning the philosophy of the Vedanta tradition. It concludes that Jiva's writing crosses 'disciplinary boundaries', for he brought into dialogue four powerful streams of classical Hinduism: the various systems of Vedanta, the ecstatic bhakti movements, the Puranic commentarial tradition, and the aesthetic rasa theory of Sanskrit poetics. With training in and commitments to all of these traditions, Jiva Gosvami produced a distinctly Chaitanya Vaishnava system of theology.