Adbhuta Ramayana, traditionally attributed to Valmiki, includes related stories of Rama.
Agastya Ramayana is also traditionally attributed to Agastya.
This ramayana treats the last years of Rama's life and includes Ravana's abduction of Sita and Rama's installation of the Shiva Lingam at Rameswaram. While it briefly recounts the traditional story of Rama, it is composed primarily of stories peripheral, though related, to Valmiki's narrative.
Ananda Ramayana (circa 15th century CE) this is traditionally attributed to Valmiki.
Laghu Yoga Vasishtha (circa 10th century) by Abhinanda of Kashmir, is an abbreviated version of the original Yoga Vasistha.
This version portrays Rama as more of a human than God.
Daśagrīvā Rākṣasa Charitrām Vadham (circa 6th century CE) this manuscript from Kolkata contains five kandas: Balakanda and Uttarakanda are missing.
Vasudevahiṇḍī (circa 4th century CE) authored around 4th-5th century CE by Saṅghadāsagaṇī Vāchaka, in Maharashtra Prakrit.
It includes many anecdotes and illustrative stories, but does not recount Valmiki's story of Rama in detail. It is principally a dialogue between Vasistha and Rama in which Vasistha advances many of the principle tenets of Advaita Vedanta.
Vasistha Ramayana (more commonly known as Yoga Vasistha) is traditionally attributed to Valmiki.
It is organized into seven Kandas, parallel to Valmiki's. While the Valmiki Ramayana emphasizes Rama's human nature, the Adhyatam Ramayana tells the story from the perspective of his divinity. It is thought to be the inspiration for Tulsidas’ Ramcharitmanas in Awadhi.
Adhyatma Ramayana or spiritual Ramayana is extracted from the Brahmanda Purana, traditionally ascribed to Vyasa.
Some primarily recount Valmiki's narrative, while others focus more on peripheral stories and/or philosophical expositions: Angkor Wat in Siem Reap also has mural scenes from the epic Battle of Lanka on one of its outer walls.īelow are a few of the most prominent Sanskrit versions of the Ramayana. In Indonesia, the tales of the Ramayana appear reflected in traditional dance performances such as Sendratari Ramayana and Kecak, masked danced drama, and Wayang shadow puppetry. For instance, the Ramayana has been expressed or interpreted in Lkhaon Khmer dance theatre, in the Mappila Songs of the Muslims of Kerala and Lakshadweep, in the Indian operatic tradition of Yakshagana, and in the epic paintings still extant on, for instance, the walls of Thailand's Wat Phra Kaew palace temple. The manifestation of the core themes of the original Ramayana is far broader even than can be understood from a consideration of the different languages in which it appears, as its essence has been expressed in a diverse array of regional cultures and artistic mediums. Some of the important adaptations of the classic tale include the 12th-century Tamil language Ramavataram, 14th-century Telugu language Sri Ranganatha Ramayanam, the Khmer Reamker, the Old Javanese Kakawin Ramayana, and the Thai Ramakien, the Lao Phra Lak Phra Lam, and the Burmese Yama Zatdaw. The original Valmiki version has been adapted or translated into various regional languages, which have often been marked more or less by plot twists and thematic adaptations. The Ramayana has spread to many Asian countries outside of India, including Burma, Indonesia, Cambodia, Laos, Philippines, Sri Lanka, Nepal, Thailand, Singapore, Malaysia, Japan, Mongolia, Vietnam and China. Narada passed on the knowledge to Valmiki, who authored Valmiki Ramayana, the present oldest available version of Ramayana. The oldest version is generally recognized to be the Sanskrit version attributed to the sage Narada, the Mula Ramayana. Rama (right), seated on the shoulders of Hanuman, battles the demon-king Ravana.ĭepending on the methods of counting, as many as three hundred versions of the Indian Hindu epic poem, the Ramayana, are known to exist.