KIRAN ATMA: Search results for Rasa

Showing posts sorted by date for query Rasa. Sort by relevance Show all posts

Hinduism - AESTHETICS OR ALAMAKARA SHASTRA

What Is Aesthetics Or Alamakara Shastra?

Sanskrit aesthetic theory (alamkara sastra) developed in India as a way to explain the aim of play and poetry, and is known as alamkara (ornamentation/beauty).

Early theoreticians interpreted alamkara to mean both beauty and beauty achieved via adornment.

In the first definition, alamkara (virtues/qualities) is innate, but in the second, it is created by the use of words or theatrical gesture to achieve a certain impression.

However, as with Anandavardhana's theoretical works, a philosophical change happened in this understanding of the connection of alamkara to the guna (c. ninth century).

He stated that even someone with minimal technical expertise but an intuitive sensibility may be brought to an aesthetic experience (Krishnamoorthy 1979: 123–25).

He did not dispute the importance of alamkara and guna to aesthetic experience.

This, of course, implies that there is something intrinsic in the work of art, whether it poetry, theater, or painting, that transcends its mechanics.

What Is The Theory of Rasa?

The idea of rasa, which first appears in the sixth chapter of the second-century Sanskrit dramaturgical handbook Natyasastra, is perhaps the most prevalent and influential Indian aesthetic philosophy.

The term rasa literally means "taste" or "appreciation."

In terms of aesthetics, rasa is the consequence of a careful balance of stimulus (vibhava), automatic response (anubhava), and intentional reaction (anubhava) (vyab hicaribhava).

Rasa is likened to the cooking process, in which the components, each different in their own way, come together to create a singular flavor.

The flavor is the rasa aesthetic experience, the components are the different bhavas (emotions), and the person who can experience rasa is called as a rasika.

The Natyasastra lists eight basic rasas, each with its own set of bhavas (emotions).

To put it another way, if bhava is the feeling, rasa may be thought of as the aesthetic experience of that emotion.

The eight rasas are listed here, together with their corresponding sthayi bhavas (permanent/stable emotions) (Rangacharya 1986: 38–39).

Rasa (Bhava)
Srngara (erotic)
Rati (desire)
Hasya (comic),
Hasaaaaaaaaaa (laughter)
Karuna(compassion)
Soka (grief)
Raudra (fearsome)
Krodha (anger)
Vira (heroic)
Utsaha (energy)
Bhayanaka (fearsome)
Bhaya (fear)
Bibhatsa (loathsome)
Jugupsa(disgust)
Adbhuta (wonder)
Vismaya (astonishment)

When rasa theory is applied to an Advaitic philosophical philosophy, a crucial ninth rasa, Santa (tranquility), is introduced.

It was just recently inserted into the Natyasastra text, and it is commonly attributed to the eighth-century philosopher Udbhata.

Santa, on the other hand, is not merely another rasa; it is the basic state of thought from which all other rasas are derived (Krishna moorthy 1979: 206–10).

Another key notion is sadharanikarana (universalizing emotion), which was first proposed by Bhatta Nayaka (ninth century) and further expanded by Abhinavagupta (tenth century) in his commentary on the Natyasastra, Abhinavabharati.

Abhinavagupta is largely speaking in the context of Natya when he comments on Bhatta Nayaka's notion offspring sadharanikarana (drama).

Natya refers to both the text itself and the actual performing that gives the text meaning.

Unlike emotions that one encounters in reality, which link one to the world, the emotions that occur as a reaction to art (or art-like experiences) lead readers/audience to transcend their subjectivity and individuality.

According to Abhinavagupta, a rasa experience is impossible without sadharanikaran. (Krishnamoorthy 1979: 214–15), and hence aesthetic experience correlates to the yogin's mystical bliss.

What Is Bhakti Rasa?

The rise of bhakti as a significant literary and theological movement has led to its classification as a rasa.

Bhakti rasa became the dominating and preeminent metaphor of divine experience, particularly within the intellectual circles of Vallabha, Caitanya, and the Gosvamis.

Bhakti was originally intended as a bhava, not a rasa.

However, two thirteenth-century interpreters on the Bhagavata Puran, Vopadeva and Hemadri, not only promoted bhakti as a rasa, but even replaced Santa to argue for it as the rasa par excellence.

Instead of Santa, the other nine rasas are now variations of bhakti.

The sensation of happiness created by listening, reading, and participating in some manner in the exploits of God and his followers is a basic description of bhakti rasa.

Other Vaisnava schools, especially Caitanya, Vallabha, and the Goswamis, have significant discrepancies in the formulation of bhakti rasa, and these schools have significant disparities among themselves.

Sringara or madhurya (sweetness) was the most effective medium for approximating the ecstasy of mystical connection for them (Krishnamoorthy 1979: 198–201).

What Is Aesthetic theory in Tamil Literature And Philosophy?

The complimentary ideas of interior/exterior, public/private worlds, and inner and outer in Tamil aesthetic theory are referred to as akam (inner) and puram(outer).

It grew up alongside what is known as the Sangam/Cankam era of poetry (first to third centuries).

Puram poetry represented monarchs, battle, and ethics, but akam poetry dealt with love, desire, and yearning.

The universe and emotions were divided into five landscapes (tinai) in the akam world, each of which symbolized a stage in the growth of love.

The hero, heroine, her friend, his friend, and so on were all anonymous and archetypal in the akam world.

The pur.am poetry, on the other hand, included named kings, 'real' events, and bards touring the countryside in quest of a wealthy patron.

Cankam poetry's aesthetic norms had a big effect on emerging Tamil bhakti poetry (sixth to ninth centuries).

These traveling poets stole the structures and genres of the previous literary era to convey a new religious sensibility.

For some ways, bhakti religion brought in a new literary form.

Although identifying the hero (god) and heroine (the poet in his/her persona) broke a basic aesthetic value, the bhakti poem used the form of the nameless hero and heroine of the akam poems.

In addition, the poets elevated the god to the status of monarch in their newly created pur.am poetry, transforming the bard-royal connection into that of the devotee and his chosen deity.

The shattering of the invisible and impassable barrier between the poet and the imagined poetic environment was perhaps the most profound aesthetic change of these new poems.

By identifying their characters and personalizing their poetic narratives, the new bhakti poems brought the listener into the poem in a manner that the antecedent akam and pur.am poems could not (Selby 2000: 26–35).

~Kiran Atma

References And Further reading:

Krishnamoorthy, K. 1979. Studies in Indian Aesthetics and Criticism. Mysore: Mysore Printing and Publishing House.

Rangacharya, Adya. 1986. Natyasastra (English Translation with Critical Notes). Bangalore: IBH Prakashana.

Selby, Martha Ann. 2000. Grow Long Blessed Night: Love Poems from Classical India. New York: Oxford University Press.

Tapasyananda, Swami. 1990. Bhakti Schools of Vedanta: Lives and Philosophies of Ramanuja, Nimbarka, Madhava, Vallabha and Caitanya. Madras: Sri Ramakrishna Math.

Hinduism - Where Are The Vindhya Mountains? What Is The Mythology Of Agastya Muni And The Vindhya?

Central India has a mountain range that runs east to west known as the Vindhya.

Despite their diminutive stature, they have long served as a cultural barrier between northern and southern India.

As per mythological scriptures the Vindhya were long seen as an uncivilized and potentially dangerous place, inhabited by ghosts, demons, and tribal peoples; these dangers were exemplified by Vindhyavasini, the presiding goddess.

The Vindhya Mountains and Agastya Muni

Agastya Muni's stories may be found in the Vedas, Puranas, and Itihaasa.

Both the Ramayana and the Mahabharata tell the story of this episode.

When they visit the tirtha where Agastya Muni once murdered Vatapi in the Mahabharata, Lomasha Rishi informs Yudhishthira about numerous tales from Agastya Muni's life.

Mount Meru used to be circumambulated by the sun.

'O Bhaskara!' protested Vindhya, a rival mountain, to Suryadeva.

Meru is something you constantly go around.

'In the same manner, circumambulate me.' 'O mountain!' Suryadeva answered to Vindhya, the ruler of the mountains.

I don't do it because I want to.

This is the road that the creator of the universe has chosen for me.'

Vindhya was enraged, and he started to grow taller all of a sudden.

He desired to prevent the sun, moon, and stars from orbiting Meru.

Vindhya grew and grew and grew.

The devas were terrified.

All the devas gathered with Indra sought to persuade Vindhya to cease growing, but he refused.

Finally, the devas came to Agastya Muni's hermitage and told him about their dilemma.

They begged him to intercede, claiming that he was the only one who could stop Vindhya.

Agastya Muni and Lopamudra, his wife, set off for Vindhya.

'O greatest among mountains!' said the rishi to the mighty mountain.

I'd want for you to pave a way for me.

For some reason, I need to go to the south.

Indra, king of the mountains! 'Restrain yourself until I return from there, and then you may grow as much as you want.' — p.

86 (399(102)) of Bibek Debroy's English translation of the Mahabharata.

Vindhya consented and shrank in size to allow Agastya Muni to pass through.

While the writings do not go into depth, one may envision the king of the mountains' admiration for Agastya Muni for agreeing to his request while rejecting all of the devas' requests combined.

It is stated that Agastya Muni and his wife left in the direction of the south and never returned.

The Vindhya mountains are still present, but at a lower elevation.

This might be viewed as a simple narrative, a fable attempting to explain a geographical phenomena.

Or, as a fable about the pitfalls of ego, Vindhya has been duped into waiting for the rishi who will never come, unable to reclaim its beautiful heights for all eternity.

A more inspiring and constructive view is that when a person possesses shraddha, or respect, for a knowledgeable entity, he or she will be rescued.

The Vindhya Mountain lives today because to Agastya Muni's protection; if the king of mountains had persisted in his refusal, it would have been destroyed.

He was rescued because the monarch of the mountains showed homage to the great rishi.

There's also one more subtle, interesting component to the story.

In the south, Agastya Muni says he has 'job to do.' He doesn't say what kind of job it is.

However, a rishi's word, especially that of a renowned rishi like Agastya Muni, who is considered one of the saptarishi in certain ways, should never be taken lightly or discarded.

It always contains satyam, or truth.

Is the true narrative about the humbling of a mountain, or about the trek of a rishi with 'job to do' beyond the Vindhya mountains' range?

Why did the devas chose Agastya Muni in particular for this task?

Why did Vindhya choose to rebel at this particular moment?

Were they the circumstances that allowed something else, something more significant, to happen?

Was this simply the beginning of a larger effort to promote the Dharma?

This story may have served as a pretext for Agastya Muni to introduce his Dharma teachings to the southern areas, much as Padmasambhava journeyed from India to Tibet to establish Buddhism in Tibet and Bodhidharma brought Buddhism to China.

A Fascinating Dialogue Begins When Jaimini Rishi Meets The Four Birds Now, let's return to our main narrative.

Jaimini Rishi visits the Vindhya Mountain and enters a tunnel where the four birds are residing.

The stone floor of this hallowed hole is wetted by drips from the Narmada River.

When the rishi sees the four birds, he thinks to himself, 'This is a lovely area.' They have maintained control of their respiration without taking any interruptions.

These magnificent birds are reciting clearly and flawlessly.

These sage's sons have now given birth to a new species, and I believe it's fantastic that Sarasvati hasn't abandoned them.

A person's vast number of relatives and friends, as well as everyone else who is treasured at home, might forsake and leave them.

But Sarasvati remains.' — Bibek Debroy's English translation of Markandeya Purana, p. 19

In their position as Panchama Veda, the Itihaasa and Puranas are tasked with instilling vairagya (compassion) and viveka (discrimination between nitya (that which is everlasting, or more accurately, beyond the purview of Time) and anitya (that which is not).

It does this not just via logical ratiocination, but also through the power of rasa, the development of a field of immersive experience and emotion that we go through when reading or listening to a narrative.

It is stated that there are three ways to learn that fire burns: being informed that it burns, seeing someone else being burnt, or being burned yourself.

The uttama adhikara (the most qualified one) is told once and does not need to be told again; the ones of middling adhikara (which most of us can at least aspire to achieve in this lifetime or the next) can learn from others, including through stories; the unfortunate ones (which would be most of us if we do not engage in sadhana and improve ourselves) will have to learn through suffering again and again.

That is why the Puranas are so important: we may learn knowledge from them without having to go through the same unpleasant experience ourselves.

When we reflect on the pitiful story of these four birds, who were asked by their father to give up their lives and then cursed by him, who were born on the battlefield and spent the first part of their lives hidden in the darkness of a bell that hung around the neck of a slain elephant, we find that only Sarasvati Devi, only that shining light of vidya through sadhana and study of the shastras, remains with us in the end.

The birds are introduced to Jaimini Rishi.

Padya (offering of water to wash his feet) and arghya (offering of food) are two ways they respect him (offering of water to wash his hands).

They cool him by fanning him with their wings.

'We have led excellent lives and our births have been successful today,' Jaimini Rishi says, as the birds welcome her.

We hope that your hermitage's animals, birds, trees, creepers, bushes, bark groves, and grass are all doing well.

Perhaps by asking this question, we have showed you disrespect.

'How could those who are with you not be in good health?' — Markandeya Purana English translation by Bibek Debroy, p.

20 This is the amount of sattva and compassion that our culture embodied.

When kings and rishis met, or when kings met, they inquired about the well-being of the people in their kingdoms, the status of the treasury, and if the dharma was being kept.

Even grass blades are being investigated – no living form is left out.

The sensation of oneness with all existence is referred to as sarvatma bhava.

The purpose of Jaimini Rishi's visit, he says, is to alleviate his misgivings about the Mahabharata.

'If it's a topic we're familiar with, we'll make you hear it without hesitation,' the birds say.

Why won't we tell you what is within our intelligence's scope?

O lord of the brahmanas! Our intellect can comprehend the four Vedas, the Dharmashastras, all the Angas, and anything else that is in accordance with the Vedas.

Despite this, we can't make any guarantees.

So, without hesitating, tell us about your concerns concerning the Bharata.

Who knows about dharma?

Otherwise, there would be a lot of misunderstanding.' ― p. 21 of Bibek Debroy's Markandeya Purana English version Again, notice the humility that lies behind the knowledge.

Even while the birds concede that they understand all of the shastras, or Vedic wisdom, they cannot absolutely guarantee that they would be able to answer his questions.

They also hold him in high regard as a dharma expert.

The first question is how the formless one (Narayana) could take on a human form (Sri Krishna).

The birds begin by prostrating before Vishnu, Brahma, and Shiva.

They go on to say that Vishnu is both nirguna (without characteristics) and saguna (with attributes), and that he exists in four different forms: The first kind is undetectable.

It seems white to those who have studied it.

Yogis envision someone whose limbs are encircled in flame garlands in this shape.

It is distant; it is close; it is beyond the gunas, the shape and colour conjured up by the mind.

Vasudeva is my name.

Shesha, the serpentine one who supports the ground, is the second form.

Tamas are a feature of this type.

Sattva is embodied in the third form.

This is the form that creates and maintains dharma, as well as caring and safeguarding mortals.

Vishnu slays asuras and rakshasas in this form before descending into his avatara forms.

Pradyumna is his name when he descends as the guardian in a form of pure sattva.

Narayana, lying in the sea on Shesha's back, is the fourth form.

This shape is continually in the phase of production, steeped in rajas.

~Kiran Atma

You may also want to read more about Hinduism here.

Be sure to check out my writings on religion here.

Hinduism - What Are The Tanmatras?

The subtle elements, or tanmatras, are the subtle versions of the five gross elements (earth, air, fire, water, and akasha), from which the gross elements are produced.

The senses of gandha (smell) for earth, sparsha (touch) for air, rupa (shape) for fire, rasa (taste) for water, and shabda (sound) for akasha correlate to the subtle elements.

The tanmatras initially emerged in the Samkhya school's description of the universe's development, one of the six schools of ancient Hindu philosophy.

The subtle elements, according to the Samkhya theory, are the stage of development that comes before the evolution of the gross components.

Purusha (spirit) and prakrti (matter) were the two essential ideas of the Samkhya school of atheistic dualism; all of this development was associated with prakrti since, according to the Samkhyas, the purusha never altered.

Other groups adopted the Samkhya theory of evolution, albeit they frequently changed it to fit theistic views that the universe originated from God, and the concept of the subtle components became an established philosophical standard.

~Kiran Atma

You may also want to read more about Hinduism here.

Be sure to check out my writings on religion here.

Hinduism - Who Are Considered Rasik Or Rasik Devotees In Hinduism?

Someone who is intellectual and intelligent who can appreciate a developed artistic mood (rasa).

The term refers to a person who has translated this awareness of aesthetic mood into a devotional setting in the context of religious activity.

Rasik devotees (bhakta) would engage in intricate visualizations and mental accompaniments of their chosen god throughout the day.

These contemplative visualizations were thought to provide the devotee a feeling of involvement in God's presence on earth's divine drama (lila), sharpening his or her appreciation of it.

The Pushti Marg and the Ram Rasik Sampraday, whose objects of devotion were the gods Krishna and Rama, respectively, placed the highest emphasis on this talent.

This kind of devotion is nearly entirely devoted to these gods or other manifestations of Vishnu.

You may also want to read more about Hinduism here.

Be sure to check out my writings on religion here.

Rasa

(“tastes”) The nine emotions that diverse sorts of creative expression might elicit in an audience in Indian aesthetics: sexual, comedic, sympathetic, cruel, heroic, scary, disgusting, magnificent, and tranquil.

Sexual excitement, laughter, sorrow, anger, energy, fear, loathing, wonder, and peace are the nine rasas that correlate to the nine bhavas ("states"): sexual excitement, laughing, sadness, rage, energy, fear, loathing, wonder, and peace.

The nine bhavas are the most fundamental, unadulterated emotions, and although each rasa correlates to one of the bhavas, there is a significant variation between them.

Emotional states in humans come and go in response to events that are mostly beyond of our control.

Such emotional states are seldom maintained, and they are hardly never the subject of artistic satis fication.

Aesthetic mood (rasa), on the other hand, may be sustained since it is intentionally manufactured via creative expression.

In the Hindu tradition, the primary objective of the performing arts is to create and maintain such a mood for an audience.

Hinduism - What Is A Raga Or Ragas In Indian Music?

A concrete melodic mode of at least five notes in Indian music known as Raga.

The constraints of a raga's fixed shape restrict any performer who plays it.

The raga's established note sequence does not follow its musical order, but rather alters depending on whether the note sequence is ascending or descending.

Although there are more than 200 recognized ragas, only roughly thirty are commonly used.

Each raga is said to transmit a certain aesthetic mood (rasa) to listeners by having highly specific symbolic associations—particularly with the time of day or the seasons.

The musician who plays a raga strives to express a specific atmosphere to an audience and to trigger comparable sensations in them, as in other Indian arts.

You may also want to read more about Hinduism here.

Be sure to check out my writings on religion here.

Madhurya Bhava

What Does Madhurya Bhava Mean?

From the serene (shanta) experience that comes from realizing one's total identification with Brahman or Ultimate Reality, to conceiving of God as one's master, friend, child, or lover, the five modes indicated increasing emotional intensity.

The Madhurya Bhava is the last and most intensive of the five devotional forms.

Rupa Goswami - An Example Of Madhurya Bhava.

("Honeyed") Rupa Goswami, a devotee (bhakta) of the deity Krishna and a disciple of the Bengali saint Chaitanya, defined the second of five ways of devotion to God.

To depict the link between devotee and divine, Rupa exploited human ties.

What Form Of Devotion Does Madhurya Bhava Exhibit?

Devotees in this style see their connection with the divine as that of a lover and a beloved.

This method was especially dominant when it came to the deity Krishna (whose model worshippers were the Braj cowherd women) and Radha(who is a symbol for the human soul.)

Because of its emotional proximity, this style is regarded as the most intense and demanding.

It is also regarded as the sweetest for the same reason.

Must Bhakti always have Bhavas?

When a devotee or Bhakta develops in devotion, he or she loses all sense of self. This is known as Bhava.

The devotee and the Lord develop a real connection via Bhava.

The devotee then develops Maha-Bhava, in which he lives, moves, and has his existence in the Lord.

Parama-Prema, or Supreme Love, is the completion of love.

What Are The 5 Different Types Of Bhavas In Bhakti?

Shanta, Dasya, Sakhya, Vatsalya, and Madhurya Bhavas are their names.

Because these Bhavas, or sentiments, are natural to humans, they are simple to cultivate.

Choose the Bhava that best matches your personality.

What Is Shanta Bhava?

The devotee in Shanta Bhava is Shanta, or tranquil.

He does not dance or leap.

He is not a particularly emotional person.

His heart is overflowing with joy and love.

Shanta Bhakta was Bhishma.

What Is Dasya Bhava?

Sri Hanuman belonged to the Dasya Bhakta sect.

He had a servant's mindset, Dasya Bhava.

He dedicated his life to Lord Rama.

In every manner conceivable, he satisfied his Master.

In the service of his Master, he discovered pleasure and ecstasy.

What Is Sakhya Bhava?

God is the devotee's companion in Sakhya Bhava.

This Bhava was directed against Lord Krishna by Arjuna.

On an equal footing with the Lord, the devotee progresses.

As close friends, Arjuna and Krishna liked to sit, dine, converse, and stroll together.

What Is Vatsalya Bhava?

The devotee in Vatsalya Bhava regards God as his child.

Lord Krishna had this Bhava with Yashoda.

Because God is your pet kid, there is no fear in this Bhava.

As a mother would with her child, the devotee serves, feeds, and looks upon God.

What Is Kanta Bhava?

Madhurya Bhava or Kanta Bhava is the final.

This is the most advanced type of Bhakti.

The believer considers the Lord to be his lover.

This was Radha and Krishna's relationship.

Atma-Samarpana or a complete surrender of the soul manifests in this love .

The beloved and the lover merge into one.

The devotee and God are one with each other, yet they must preserve their separation in order to experience the happiness of their love play.

This is oneness in separation and oneness in separation.

This Bhava was shared by Lord Gauranga, Jayadeva, Mira, and Andal.

A word of caution: Madhurya Bhava is not to be confused with worldly conjugality.

One must not be confused with the other. Earthly conjugality is totally selfish and pursued only for the pleasure of one's own self.

However, devotion to God is motivated by God's pleasure rather than the devotee's.

Divine love isn't self-centered.

Sattva gives birth to it.

Earthly desire, on the other hand, is the result of rajas and attachment to bodies.

Earthly conjugality is the result of egoistic self-regarding egoistic emotion, but heavenly communion is the result of non-egoistic feeling.

Strong egoism is the source of worldly desire, whereas heavenly love is the result of egoism's loss.

What Is The Difference Between Kama And Prema?

This is the most significant distinction between desire (kama) and heavenly love (prema).

The two are linked in the same way that light and darkness are linked.

No growth of worldly attachment, no matter how flawless, can lead to the ultimate bliss of divine connection.

Due to the fire that burns at the root of everything, lust lurks in the heart.

The worldly man, no matter how pious, is unaware of divine love.

So long as man is simply a man and woman is merely a woman, the secret of divine love cannot be grasped, and should not be attempted to be understood.

True love for God begins with the austere transformation of the human into the divine.

The Bhaktas indulge the notion of the lover and the adored in Madhurya Bhava.

He sees himself as Rama's or Krishna's wife.

This mentality is also shared by Mohammedan sufis.

A huge number of Bhaktas with Madhurya Bhava can be found in Brindavan, Mathura, and Nadiad.

They dress in ladylike attire and act and converse in a ladylike manner.

They dance a lot till they obtain Murchha Avastha (swoon) and collapse exhausted.

The most intense type of religious love is madhurya bhava.

It is the genuine love for Krishna that the gopis have in their hearts.

There can be no gender discrimination in the pursuit of this most pure kind of bhakti.

Krishna is the sensation (bhava) that develops from the jivatma or soul's relationship with the paramatma (universal soul).

The soul has neither masculine nor female characteristics.

Many famous saints have exhibited their profound madhurya bhava for Krishna, including Chaitanya Mahaprabhu, Narasimh Mehta, and Ramakrishna.

It came easily to them, with little effort on their part.

The ultimate purpose of the devotional path is to develop pure love for Krishna, and what better method to do this than via madhurya bhava?

Why should spirits encased in bodies (male or female) be denied pleasure?

IN THE VRINDAVAN, MADHURYA BHAVA: 'Pancha vidha bhava' signifies assuming all five forms of Bhakti.

The Srimad Bhagavatam and the Narada Bhakti Sutra both tell about them.

To describe the nectars of bhakti, these five forms were developed.

'Bhava' means increasing in self-forgetfulness and devotion.

It is a genuine bond between the worshipper and the devotee.

Maha Bhava is when a devotee lives, moves, and exists in the Lord.

The completion of love, or Supreme Love, is known as Parama Prema.

MADHURYA BHAVA: The Lord is portrayed as a lover in this bhava.

In metaphysics, there is a distinction between form and content.

To comprehend the veracity of this philosophical theory, one must first grasp the core of the notion.

It is the greatest type of bhava, also known as Kanta Bhava.

It is the Atma Samarpana, or union of the atmas, in which the lover and the Beloved are One.

Their separation is for the purpose of enjoying the divine drama of love and bliss, in which the Lord manifests himself as pleasurable power.

This bhava, which is a manifestation of sattwa guna, should not be confused with physical desire, selfishness, or raja guna.

By embracing this bhava, many saints from the jnana path adopted the bhakti path.

This bhava was shown by Radha and Mira.

In the south, Lord Gauranga, Jayadeva, and Andal of the Alvars all did.

Mira and Andal's poetry depicts the tradition of madhurya bhava devotion.

Mira and Andal's lyric symbolism is a summation of their passionate imaginations' sophisticated sexuality.

Was their bhava, however, any different from the devotional culture of mystics poet saints Manickavasagar, Ramalinga Swamigal, and the bhakti par excellence Sri Ramakrishna Paramahamsa, who lovingly caressed Ma Kali's bosom? Without perceiving any form, these celestial individuals attained pure joy.

In the divine thoughts, the shape did not exist.

They never used their minds to speak with God, instead used their emotions.

VRINDAVAN:

Divine madhurya bhava is the result of full submission and the loss of ego.

The distinction between kama-lust and prema heavenly love is highlighted in this bhava.

Only the heart understands the mystery of heavenly love.

In reality, just as Radha's authenticity remains a mystery, it should not be attempted to be grasped.

All of this is sensed and recognized in the pure and magnificent heart.

Madhurya bhava is the Rasa lila in Vrindavan.

It is a celestial love dance between the Lord and the gopis.

The Lord's flute elicits a response from them.

The Bhagavata Purana mentions their sudha-bhakti, or pure loving devotion.

The madhurya lila contains the highest prema in the Krishna lila.

Radharani, whose core is Mahabhava, the whole dispersion of Krishna prema, is the ultimate manifestation of Madhurya prema.

While it is believed that Lord Krishna's rasa lila is the secret of all mysteries, Madhurya bhava, which is the feeling of the lover and the beloved, is the pinnacle of Bhakti.

There is no sensuality, no hint of carnality between Krishna and Radha.

This bhava is beyond the comprehension of ordinary brains.

The essence of Jayadeva's Gita Govinda is also this.

He claims that the gopis are the channel through which He may exhibit the endless diversity of His happiness aspect.

Radha, the embodiment of divine love, represents the ego's surrender in exchange for connection with the Purusha of the Heart.

She didn't even need the Lord's flute indication at one point....

She had transformed into His flute and song.

They'd evolved into ananda-chinmaya-rasa: happiness and awareness' sweetness.

Devotional rituals are used to feel closer to one's god or God.

If one considers God as a personal relative rather than the all-powerful, all-knowing God, one's relationship with God will only grow.

As a result, devotee saints advise practicing devotion in the feelings of a friend, parent, lover, and so on.

The bhava or feelings arise when one's devotion to God grows, or one might practice them according to his eligibility and preferences:

Although devotional service is one, it manifests itself in eleven forms of attachment: attachment to the Lord's glorious qualities, beauty, worship, remembering Him, serving Him, reciprocating with Him as a friend, caring for Him as a parent, dealing with Him as a lover, surrendering one's whole self to Him, being absorbed in thought of Him, and experiencing separation from Him.

This is the most important attachment.

When a person falls in love, he or she is always thinking about their lover.

A devotee who has fallen in love with God will always remember him.

As a result, of all sorts of devotion, madhurya bhava or kanta bhava (a lover's emotion) is believed to be the finest.

Because it allows a person to feel more connected to God.

And the Bible teaches that if one turns his affections towards God, regardless of desire, love, rage, or anything else, he will find Him:

Those who aim their passion, rage, fear, protective love, sense of oneness, and friendship toward Lord Hari will undoubtedly get captivated in Him. [10.29 SB] .15]

Unlike love between two people, where taints of selfish desire may remain, love for God is pure and crystal like the Sun's beams in devotional rituals.

There is no personal want left, simply a wish to see the Lord happy.

Madhurya bhava is the highest level of devotion, and only a few people, out of many, practice it effectively.

And for a select few, God is everything; from mother, father, friend, wisdom, and money, to all other gods (twameva mata cha pita twameva....mama deva deva).

Let us now consider Bhava, as a Devotional Feeling in Mythology and Scriptures.

What is the best way to love or worship Radha Krishna?

As the all-powerful God?

On the battlefield before the Mahabharat War, Arjuna listened to Shri Krishna's lessons from the Gita.

Shri Krishna often alluded to Himself as the ultimate almighty God, saying, "There is nothing beyond Me." Everything started with Me.

Everyone's heart contains me." Arjuna, on the other hand, saw Shri Krishna as a buddy.

"You keep claiming to be almighty God," he remarked.

What makes me believe this? This might be said by anybody.

Show me how God works!"

"How will you view this?" Shri Krishna said.

Your eyes are material, mayic.

They are formed of the same components as the rest of the planet.

Your body and senses are formed of material components, and they will revert to material elements once you die.

However, I am divine.

"Material components do not make up my body."

The Padma Purana argues that all living creatures, even heavenly gods and goddesses, have a distinct body and soul.

God's body and soul, on the other hand, are one.

"How would you perceive My heavenly form with your material eyes?" Shri Krishna questioned Arjuna.

Material eyes can only view the world's material items if the user has adequate vision and enough light.

These two requirements must be fulfilled.

Even with magnification, humans can only see a certain distance, and microscopic things like atoms are undetectable to us.

So, what emotion should we have when we adore God? God in His tremendous appearance terrifies even the heavenly gods and goddesses.

"We must offer praises to Him," all the heavenly gods and goddesses murmured when Narsingh Bhagwan came on this world to slay Hiranyakashipu.

He came into our planet to slay such a terrifying beast.

But He's taking on such a terrifying and enraged appearance! "Who'll be the first to go?"

"Brahma, you are His son," they said.

"You're free." "Not now," Brahma replied.

"Shiva, you have the ability to cast this planet to ashes," they continued.

Please leave." "No, I won't depart right now," Lord Shiva said.

"Send for Prahlad and let him go first," they finally agreed.

After all, God showed up on his behalf.

He'll calm down when he meets Prahlad.

We'll all go to Him then." Lord Narsingh or Nara Simha began to smile when he met Prahlad.

He sat Prahlad on His lap and caressed and stroked him gently, as parents do with their children.

The heavenly gods and goddesses, as well as Brahma, Vishnu, and Shiva, then sang praise hymns.

"First, I will bestow divine vision on you, and then you will see God," Shri Krishna told Arjuna.

Arjuna was given heavenly eyes so that he may glimpse His awesome appearance.

However, Arjuna began to shake with terror.

He closed his eyes.

He began to perspire.

"I don't want to see!" he replied, stuttered.

You really are the all-powerful God! I had no clue till today.

I've always considered you a buddy.

Please pardon me!"

So you won't be able to love God if you adore His omnipotent form.

Instead, you will be terrified.

"My children, don't think of Me as a super omnipotent power," God says.

Connect to Me in the same manner that you relate to others."

Dasya bhava, or a servant's love for his master, is the first sort of relationship experience with God.

Because a master is kind, not furious, our devotional sentiments may now grow.

We see servants in households all around the globe.

A personal assistant is assigned to a prime minister or president.

However, a servant's right to acquaintance with his master is severely limited.

According to the Ramayana, Sir bal chalau dharma as mora, sevak dharma kathora

When Ram, Lakshman, and Sita left Ayodhya to visit the forest, Lakshman would walk behind Ram and Sita so as not to tread in their footsteps.

What a challenging task! Instead, a real servant merely puts his head where his Guru puts his feet.

Does this imply that we must walk on our heads? What gives that this is possible? This means that the position of a servant is quite challenging.

There are several propriety requirements that must be followed.

Beyond this comes sakhya bhava, the friend-to-friend relationship emotion.

What is a friend's role? "Hey, where did you go today?" he says casually as he wraps his arm over his friend's shoulders.

However, a friend's rights are likewise limited.

Beyond that, there's vatsalya bhava, or the bond between a parent and a kid.

God is adored like a kid in this bhava.

You may smack Him, twist His ear, and chastise Him for his misbehavior.

"Son, please bring my slippers..." you may say.

He'll have to deliver them! He's grown into your son.

Even yet, there are certain limitations to this sensation of love.

Madhurya bhava lies beyond this.

This is a lover's and beloved's relationship sensation.

This is not the same thing as a husband and wife's love.

A lover's and beloved's sentiments go much beyond this.

Although a woman's spouse is at home, she secretly loves someone else.

Jar prem is the kind of love that the Braj Gopis had for Krishna.

Madhurya bhava love is unselfish.

This is what makes it special.

Selflessness entails having no personal interest in one's own happiness.

Another distinguishing feature of this bhava is that one might conceive of God as one's lover, child, friend, or master.

Those who love God with any of the lesser forms of relationship affections, on the other hand, may not consider Him with the closeness of madhurya bhava.

This is not their right.

A devotee who regards God as his master is incapable of loving Him even as a friend, much less as a cherished.

"What is this foolishness!" his master would chastise any servant who placed his arm over his master's shoulders.

"Keep your distance!" This kind of intimacy is not appropriate for a servant.

The most intimate feelings are those of a lover and beloved.

The adored must comply with everything the lover requests.

A wife, on the other hand, cannot address her husband in this manner.

She must follow the standards of propriety that apply to her responsibilities as a wife.

This kind of connection is subject to a number of societal regulations.

"Son, come here," a lady cannot say to her husband.

"She called me'son?!" her spouse would exclaim.

He could then decide to take her to the hospital for treatment.