New Delhi- As the Buddhist community worldwide prepares to celebrate Buddha Purnima on May 12, a remarkable story from India’s cultural and spiritual history comes to light, highlighting the contributions of Master Krishnarao Phulambrikar, a gifted composer and singer whose work bridged communities and ideologies.

Known for tuning the iconic Indian national song Vande Mataram in Raag Jhinjhoti, Krishnarao’s legacy extends beyond his patriotic fervor to a profound act of devotion—composing and singing Buddha Vandana at the behest of Dr. Babasaheb Ambedkar. This composition played during the historic mass conversion ceremony in Nagpur on October 14, 1956, remains a testament to his musical genius and his commitment to unity and spiritual harmony.

Master Krishnarao Phulambrikar was born in 1898 in Devachi Alandi, a serene town on the outskirts of Pune in Maharashtra, into a Deshastha Brahmin family steeped in scholarly and spiritual traditions. His father, Ganesh Phulambrikar, was a revered Vedmurti, a master of Vedic scriptures, while his mother, Mathura Bai, nurtured the family with devotion. Growing up in this environment, Krishnarao imbibed a deep respect for Indian culture and music, which would later define his illustrious career. His early exposure to classical music and spiritual teachings shaped him into a versatile artist, capable of blending tradition with innovation. Krishnarao’s talent as a composer and singer earned him recognition across India, particularly for his work on Vande Mataram, which he passionately tuned in an attempt to establish it as the national anthem of independent India.

Between 1947 and 1950, Krishnarao’s dedication to Vande Mataram was evident in his tireless experiments conducted in the presence of the Constituent Assembly in the Indian Parliament. His efforts, though ultimately unsuccessful in securing the song as the national anthem, won him widespread admiration, including from Dr. Babasaheb Ambedkar, a towering figure in India’s struggle for social justice and the architect of the Indian Constitution.

Ambedkar, recognizing Krishnarao’s exceptional talent, was particularly moved by his ability to infuse music with emotional and cultural depth. This mutual respect laid the foundation for a significant collaboration in 1956, when Ambedkar sought Krishnarao’s expertise for a project of immense spiritual and social importance

In 1956, Dr. Ambedkar, accompanied by his followers, visited Krishnarao at his residence in Pune with a heartfelt request—to compose and set to music Buddha Vandana, a sacred chant honoring Gautam Buddha. Krishnarao, ever humble and driven by a sense of service, accepted the task without any expectation of remuneration, viewing it as an offering to Lord Buddha. To ensure authenticity, he immersed himself in learning the Pali language, visiting Siddharth College in Mumbai to grasp the meaning and essence of the sacred chants. As the lead singer, Krishnarao not only composed the Buddha Vandana but also sang it with a powerful chorus, creating a rendition that resonated with spiritual fervor. His meticulous attention to detail and his ability to convey the sanctity of the text through music left an indelible mark.

The result of Krishnarao’s efforts was a 78rpm record of Buddha Vandana, produced under Dr. Ambedkar’s guidance in 1956. This record was played during the historic mass conversion ceremony held in Nagpur on October 14, 1956, coinciding with the auspicious occasion of Samrat Ashoka Vijayadashami. On that day, thousands embraced Buddhism under Ambedkar’s leadership, marking a pivotal moment in India’s social and religious history. The Buddha Vandana record, with Krishnarao’s soulful rendition, became an integral part of the ceremony, its melodies echoing the aspirations of a community seeking equality and spiritual liberation. Dr. Ambedkar himself felicitated Krishnarao for this “pious work,” acknowledging its significance in fostering unity and reverence.

The impact of Krishnarao’s Buddha Vandana extended far beyond Nagpur. The record became a cherished feature at Buddhist events, including lectures, speeches, and ceremonies across India. Its universal appeal was recognized by global Buddhist leaders, including the Dalai Lama and monks from China and Germany, who praised its composition for its authenticity and emotional depth. Krishnarao’s work transcended cultural and religious boundaries, embodying the spirit of harmony that both he and Ambedkar championed. His contribution to Buddha Vandana remains a powerful reminder of how music can serve as a bridge between communities, fostering understanding and respect.