Indian aesthetics -The personal and the impersonal

Indian Aesthetics -The Personal and Impersonal
Dr Suvarna Nalapat

The English word language comes from Latin lingua and from the Sanskrit root linga which means the sign ,the toungue and the male generative organ.It denotes any means of expression/revelation or communication of thoughts and feelings.Therefore ,the Sanskrit word for language is Bhaasha ,from the root Bha ,to shine,to express or reveal.Bha is always related to light,so that it is something with a form (roopa)and hence perceivable(darshana)and enjoyable.The heard(sruthy-veda and music)is thus not separate from the darshana or light(the visualized.)What is visualized in the mind of the Rishi(Pashyanthy)comes out as the heard(language,music)so that the listener also get the same images or visions of the rishi.The bhaasha or language are of three classes
.1.The sound(dwani,shruthi,naada)
2.The sign(mudra)
3.The word.(Vaak or varna)
The sound originate from instinct and develop into art of music and consists of inarticulate sounds(termed notes in music)which proceed through vocal chords.The sign originate both from instinct and reason and consists of gestures of the body.The word is based on reason,consists of spoken and written words which require palate,toungue ,teeth,lips and nose .Thus ,in India ,in ancient Tamil speaking territories the development of isai(music),iyal(literature)and naatakam(drama) in the thinking,reasoning,feeling,enjoying and communicating brains of our ancestors happened simultaneously..Natyasasthra of Bharathamuni gives a beautiful description of how it developed as the vrithy(Bharathy,saathwathy,kaisiki and Aarabhaty )from the dance and wars of Vishnu.Since it originated from the lawfull gathi(niyathagathivishesha)of Vishnu they are called Nyaaya.Bharathamuni (1)says he is using this natyaveda for his poetic works also.He received Bharathy from Rigveda,sathwathy from yajurveda,kaisiki from saamaveda and Aarabhaty from Atharvaveda.The rasa for sathwathy are veera,adbhudha and roudra.(no sringara or karuna )Aarabhaty also has rasa like krodha,vega and characters of kapata,vanchana,dambha,anritha etc.(since it is in war).Bharathy is prose .Hence all the three are not used by the Indian classical music.And according to Bharatha these were created out of Vishnu in male form.But kaisiki was created in vishnu’s activity as a woman(mohini)and it is in this we find women participating with beautiful dresses ,dance,music,drama and feelings of eros and agape.In the saivist traditions also this developed from the face of Girija while the others developed from the faces of Shiva. The king of the rasa is sringaara and it is predominantly seen in kaisiki and is the main ingredient of the Indian aesthetics and aesthetical theories. There are four anga for kaisiki related to the different rasa..
1.Narma.
Aasthaapithasringaaram
Visudhakaranam nivrithaveerarasam
Hasyaparavachanabahulam
Narmathrividam vijaaneeyaath
The prominent rasa is sringara and is pure dance without veerarasa,but with sense of humour.This is of three types.Vipralambasringara or love in separation can turn to anger,to criticize,and also to attract.These are the three types of narma in sringara.
2.narmaspunja.
Nvasamgamasambhogo
Rathysamudayaveshavakyasamyuktha
Gneyo narmaspunjo
Hyavasaanabhayaathmakaschaiva

There is fully developed and expressed emotion of eros,and the dresses and bhava of the hero and heroine is attuned to that emotion and there is the first unin with pleasure and then followed by fear of being known to others or of separation.
3.Narmasphotam
vividhaanaam bhaavaanaam
lavairlavair bhooshithobhahuvisheshai
asamagrakshiptharaso
narmasphotasthu vigneya
All the different bhavas are present in different proportions ,but the rasapoorthy or final union does not happen.
4.Narmagarbha
vignaanaroopasobhaa
dhanaadhirbhi naayako gunairyathra
praschannam vyavaharathe
kaaryavasaannarmagarbhosow.
The hero is uthamapurusha excellant in knowledge,beauty,wealth and all the qualities,but he is hiding these qualities due to some reason from the beloved and the rasa is uthamasringara itself .The love in disguise is narmagarbha.
In short,sense of humour,eros or sringara ,are in kaisiki,veera and adbhudha in sathwathy,roudra and bhayanaka in aarabhaty and karuna and bheebatsa in bharathy.
Since music is predominantly kaisiki and partially sathwathy(veera and adbhutha)and partially bharathy(karuna)but never aarabhaty we can assess the rasa or aesthetics associated with classical music from this description.

From sound language arise prose and poetry.In vocal music this consists of the melodic prose part (raga alaapana )and in vocal conversation the natural musical tones peculiar to certain languages.Poetry of sound language is either artistic or artificial.This include melody,harmony expressing external emotions,harmony expressing internal emotions.The sign language also has prose and poetry in it.The prose part of sign language is gestures in conversation,lipreading,manual alphabet,signals used in railway,road,military and naval departments etc.The poetry part is the artistic mudra or gestures used in Indian dance,and artificial are the ones used in physical drill,in organized games and also in European dance.
The word language has a prose part of noisy day to day conversation ,and novels and other critical prose in literature(Scott and kadambari given as examples).It has a poetry part or kaavya (kaalidaasa and Shakespeare given as examples)(2)

From the abovesaid facts ,it is clear that to communicate the aesthetics of the art of classical music certain prerequisites are needed.The aesthetics of the music and information theory(3) or communication theory (which term I prefer)since music is not mere information gathering but communication between the artist and the rasika for enjoyment of rasa.The information value of any symbol,sign and its meaning can be either as aesthetic information or communication(artistic)or as scientific nonaesthetic information.The criteria for aesthetic communication of music are
1.the originality of the music
2.the optimal extent to which people are attracted to the performer and the performance determined by the crowd and by the time (in years)he or she can sustain the attractive effect on the society.(whether momentary or longstanding)
3.whether the people are enthralled by it.
4.What types of rasika are attracted.whether all the types of rasika ar e among his/her followers.Lifelong fans who admire,critics(samaalochak)who evaluate ,criticize,grades and appreciates the performance as well as the performer,and think for the singer and improve the singing.Daarsanika(visionaries)concerned with defining the notion of musical experience,his(listener’s) or her position in it,and the identity as an eternal listener to an eternal singer (metaphysically to God).The daarsanika understand and experience the ecstacy at a yogic level.It stimulates the others including the singer.(4 and 5)
The function of the message or communication from music are different in different individuals
1.Transmitting a new mental image (innovative)
2.integrating the new mental images with already existing ones
3.systematizing the mental images
4.characterizing them so that they obtain a very high degree of specificity for the listener.
For this innovation,integration,systematization and characterization to happen ,the singer has to have a sustaining effect on society and the listeners should have listened to him/her for a long period and thought about and enjoyed his/her music and studied it analytically.That is,saadhana and experience are required for the total aesthetic experience to bloom not only from the side of the singer but also from the listener.That determines the originality,sustained enthrallment and saadhana from the rasika as well and henc e the rasika is not a passive listener but a very active participant totally involved in the singing activity and hence psychologically and physiologically becomes a potential singer or a mute artist(6)Listening to the tonal swara variations ,the rhythmic laya and the form of a particular singer’s music the rasika develop a type of mystical rapport with the singer and towards God and that is how Indian music is spiritual than earthly.It goes from the personal to the impersonal level.and vice versa.
The rasa experience depends upon three factors.The listener,the singer and the inherent properties of the music itself.There are a few excellencies and defects (qualities and faults)described for the voice of a singer ,for the singing style and for the singer as a person in Indian music.(7) which are important for getting the optimum aesthetic bliss.
Geethidosha according to Naaradeeyasiksha

Excellance Defects
Unisonant(suraktha)
Shaky(sankita)
Complete(poorna)
Scared(bheetha)
Embellishment(alankritha)
Agitated(udhrishta)
Happy(prasanna)
Mute(avyaktha)
Manifest(vyaktha)
Nasal(anunasika)
Raised(vikrishta)
Hoarse(kaakaswara)
Smooth(slakshna)
Highpitched(sirasigatha)
Equipoised(sama)
Slipping (sthanavivarjitha)
Delicate (sukumara)
Not in tune(viswara)
Poignant(madhura)
Dry(virasa)

Disjointed(vislishta)

Out of beat(visamaahatha)

Disarrayed(vyakula)

Out of tempo(taalaheena)

Sabda(voice)and its qualities(Bharathamuni)
Excellance defects
Audible,teleaudible(sraavaka)

Phlegmatic(kapila)
Compact(Ghana)
Unsteady(avyavasthitha)
Creamy(snigdha)
Bitten(sandastha)
poignant(madhura)
Crowlike(kaaki)
Attentive,involved creative imagination or meditation (avadhaanavaan)
Baggythroated(thumbaki)
Spanning all the 3 registers(thristhaanasobhitha)



The excellances are the aesthetic subsets which increase the rasa experience and the defects decrease rasa.
There are 22 excellances in the performance of a singer which makes him/her the best among singers since he/she gives the most aananda(rasa or aesthetic experience)to the listeners whether informed or uninformed.
The aesthetic subsets of the best singer
1.attractive voice and good tonal quality
2.adept in initiating and finishing a raga
3.wellversed in singing raga,raagaanga,bhaashaanga,kriyaanga and upaanga
4.expert in singing prabhandha
5.knows different forms of aalaapana(aalaapthy)
6.commands natural access to shakes and graces(gamaka)arising from all the three registers
7.selfcontrolled voice
8.aware of musical time(thaala)
9.attentive(shradha)
10.indefatiguable
11.knows shudha and chaayalaga compositions
12.expert in all intonations
13.commands movements of different sthaayaas
14.who is free of all blemishes
15.whois given to regular saadhana or exercises
16.mindful of tempo(laya)
17.versatile personality
18who is retentive
19. holds praana while singing with great passion
20.who is capable of arresting the attention of the audience
21/who belongs to a good tradition of guruparampara
22.who excels in the exposition of the raga
A mrishta,madhura,trishaanaka ,sukhavaahaka prachura,komala ,and strong voice,sraavaka and karuna,snigda,Ghana ,slakshna or continuous like a vertical flow of oil (without discontinuity)and creating enjoyment and interest and love(rakthimaan)in listeners faultless and bright(chavimaan)is a Godgiven gift to a singer and this suswara is considered the most important quality of a good singer by Vishnu himself,as he tells Naarada (8)

The aesthetic subset for a good listener are

1.pure with unruffled senses(sudha,indriyanigraha)
2.expert in discussing the pros and cons(oohaapohavishaarada)
3.faultless(tyakthadosha)
4.lover of music(anuraagi or better to call raagaanuraagi)
5.Capable of rasaanubhava or aesthetic experience(bhaavaanukarane alankritha)
6.impartial
7.attentive(saavadhaana)
8.good speaker(vaagmi)
9.logical(nyaayavaadi)
10.aware of wrong and right(trutithaathrutithaabhigna)
11.humble(vinaya)
12.prideless(agarva)
13aesthetically sensible(rasabhaavagna)
14.proficient in music and dance(tauryatritaabhigna)
15.One who refutes false stand boldly(asadvaadanishedha)
16 expert(chathura)
17.with no envy(amaatsaryachith)
18intensely sensitive heart(Amanda rasanishyandhi hridaya)

The artist’s creative urge and the listener’s appreciative urge should thus match perfectly and only then the communication is perfect and the aesthetic experience total.It has to follow a behavioural analysis of a artist as well as a involved listener (both are essentially artistic but combine a scientific turn of mind as evaluation and analysis concerened)The conceptual framework for analysis of aesthetic behaviour(9) (behaviour analysis)involves the nature and form of aesthetic behaviour,nature of aesthetic response ,nature of aesthetic stimulus,the artist and the listener as a person .And such study is very very rare since devoted and involved listeners are also becoming a rare commodity. .My attempt to study my musical consciousness as a listener and the effect of two of the greatest singers of my times(M.S.subbulakshmy and K.J.Jesudas)on me and on society happened quite naturally and as my musical life panorama,yet it is scientific, since anyone can assess by hearing the music of the singers mentioned whether I am right,and they can also by assessing my aesthetic musical personality and behaviour see whether I have the qualities of a good listener mentioned.Thus the research on aesthetic of music becomes a behavioural analysis also. Apart from the listener and the musician there is the third factor ,the music and its intricacies itself.This part I am not entering into in the present context,since it is too exhaustive to cover here.And,as an uninformed listener,and an advaithin interested in spirituality and brahma experience ,,since rasa and Brahma experience are twins and are alike ,I would like to concentrate on the naadalayayogi and the yogic experience of samadhi akin to rasaanubhava.Rasa is chamathkaar(transcendental emotional experience of bliss or pleasure and hence is aloukika(not of this world)according to Indian aesthetics but experienced by the people on earth(loukika).The raga has a form ,a form of a divine beauty (raagdevatha)associated with a rithu(season)and the scheme of the musical notes and the lyrics and the music give the expression of an experience related to it.The musical notes as such have no independent existence unless it conveys the embodied form ,personified to evoke a rasa.This Raagdevathadhyaana is exactly like the devathaadhyaana of the thanthric or of the dhyaana of prakrithy by the poets .Rasa is parellel to the theory of Sankara in this way.That is it does not exist in its pure form (like pure satwa,pure rajas,pure thamas)but as a mixture of the thriguna in this world.This is accepted by all arts and sciences of India including Ayurveda.The predominence of one of the guna gives a name of that guna.If sathwa predominates we call saathwik and if rajas predominates rajasic and like that.Brahmaananda with satwodreka(increase and predominance of satwa)is the ultimate aim of a spiritualist.Rasa or aesthetic bliss being akin to it is sathwik in character.The satwa guna is predominant in Vishnu . and as mentioned in Bharathamuni’s Natyasasthra Kaisiki is taken from Saamaveda (music)and In Bhagavad Gita also Krishna says among the veda’s I am saamaveda,denoting his preference for the satwika musical spirituality of the saama singers.That gives prasaada(bliss)and niraamaya(health forever)for the bhaktha(singer and listener both being devotees of God)and Thanmayatha in God who is Love incarnate.
The fact that raaga has a roop(form) the beauty of which one can see or perceive(darshana vision)and enjoy with your own eye(internal/external)has given rise to the science of soundarya(beauty with proportionate anga or parts ) and lavanya (charming personality) or maadhurya(.animated sweet personality)This beauty has a lustrous shine like that of a pure pearl of high quality according to Roop Goswamy and produce rasa experience in the perceiver(10)The rasa come from the bhaava (emotional state)in a sensitive person’s mind (sahridaya)for which aesthetic propensity(vaasana)is essential with previous impressions(sanskarra)which may be of this birth or of previous births is the Indian concept.Therefore,the ability to be a good singer and a good listener and partake in rasa experience is a divine gift carried over due to previous births and its relations.
Right from the Nadabindhu Upanishad and times of the veda the role of the sound and manthra and music in yoga and in awakening the kundalini power in the human body had been discussed in detail(ch 8,9 and 10 Without a stumble A book on spirituality of music .Dr suvarna Nalapat. 2003.)(11)(12)

According to Indian aesthetics and yoga psychology the body of all beings including that of the singer and listener is following the same rule of the cosmos and this golden rule makes it possible for us to become one with the divine experience and since music is the nearest which follows the golden rule of aesthetics it is natural for us to become one with God through the music.Hence ,the structure of the chakra(sreechakra,sudarsanachakra,sangheethachakra)and its form and property and the meditation on it has been an ageold practice to attain rasa experience of God. The personal and impersonal,the jeevathma and paramathma,the bhaktha and bhagavaan become one creating an advaitha

Sreechakra,sangheethachakra upaasana and naadalayayoga for healthy living
The proportions of the cosmic Raasichakra and of the solar system with its living and nonliving things is the same.This aesthetic proportion is the golden rule(suvarna niyama)which we see in zodiac(astronomy)the upaasaka body(here the singer)and the scales of the melakartha raga which is the base for all music and naadalayayoga.Hence the ancient upaasakaas of the devi (and of music)knew how to heal using music.The healing of raagadwesha by raga is mentioned in ayurvedic and yogic texts .The proportions of suvarnaniyama (golden rule)should be understood and invoked within and without and in the raagaas ,using the scale.An adept upaasaka only can do this properly.But how is the test to find out the real upaasaka?You cannot test the ability of an upaasaka in yoga,unless you yourself are a yogi.This is more difficult procedure than a laboratory test and research which everyone can do ,collect data and make a paper and publish,But naadalayayoga is real life practice ,the laboratory is your own body-mind complex,and you yourself are the investigator and it needs years and years of saadhana.A Guru may help you in some stages of the investigation as a guide in the research process.

,I would like to point out the dhyana of devi parasakthy as sreechakra and as sangheethadevi in ones own body.(The similarities and differences can be noted.)Sreechakra is the beautiful mathematical sign language and its word language is the Sreesooktha.(where the devi is meditated as a woman with golden colour,as sun,moon and energy or agni.without form that is both as a cosmic and biological personality and as formless energy state).The meditation process is same for such devatha as well as to the ragadevatha upaasana.
When one does upaasana on each of the raagadevatha of the raagha each raagadevatha is meditated before singing.First a true upaasaka should have the courage to start the upaasana and the selfconfidence that I can do it.Because ,once you finish the 72 raagaas you become merged with the devi and there is a total thanmayeebhava with the devi.Only a son becomes one with the divine mother sakthy.Only a mother can forgive the faults of the son committed during the upaasana.The reason why many singers say that certain raga should not be sung, ,is because they are not true upaasakaas and they do not have the ability to sing as a true upaasaka of the devi,and ofcourse,just like a watchful mother observes every step of a son,the devi is always with the upaasaka maintaining his/her footsteps in life.Even if the son falters,she puts him to straight path and thus she is the true Guru of every saadhaka. And she is a rigourous teacher too ,putting you to severe tests which the upaasaka knows is for his/her ultimate victory .
The body of the singer has shadangaas(6 parts)and in each are chakraas starting from moolaadhaaram to aagna.The 7th is the sahasraara where all the chakraas are existing .The power or sakthi in these sites are awakened by music if sung in the proper way.
How does a sreechakra upaasaka meditate on paraasakthy in one’s own body?The following table gives the names of devatha and the site of the body .(13)
Head
Brahmi
neck
maheswari
thigh
koumari
heart
paraa
thoughts
shyamala
back
vaishnavi
ahamkaara
vaaraahi
arms
mahendri
hands
chamunda
chest
mahalakshmi
sides
nakuli
Nabhi
vijaya
Feet
sarvamangala
The srichakra is the swaroopa of sakthy and it was seen as Thripurasundari by Sankara,Thirumoolar,and Naarayanaguru.The sree is a suffix common to sreechakra ,sreeyanthra,sreeraaga,sreesooktha etc and it denotes light of knowledge,beauty,wealth,boons,the origin,heavenly,the best,and the first to be worshipped,the sweetest ,the deepest and the feminine aspect of Godhead etc.If one draws the figure on a flat surface it is sreechakra.If architecturally arranged (as square below,round or circle middle and triangle above it is sreeeyanthra.Such aavarana are 9 in number(navasakthy)and in each aavarana meditate a hamsadevatha of the devi as adhidevatha.When you start to meditate a devatha you have to start from the paada(foot)of deity and never from the other organs.(paadaadikesam first )Bhoopuram is the paadam and from there slowly ascend in the following way and finally see the omkaaradevi in the top of head(sahasrara)and keep her permanently in the aagnachakra as the thilaka(kumkum)It is the symbol of creativity.
Foot(paada)
Bhoopuram 3 paripoornarekha
Sarvamangalamangalya(Lakshman did only this to seetha)
Thigh
Shodasadalapadmam(16 petalled lotus)
naabhi
Ashtadalapadma(8 petals)
Heart
14 thrikona
neck
bahirdasaaram
Thilakam in forehead
anthardasaaram
forehead
ashtakonam
head
thrikonam
brahmarandhram
bindustaanam
The first 5(from foot to neck)are the outside(puram)of the chakra.The last 4 from the thilakam to brahmarandhram are the akam or inside,the most intimate internal relationship.When we start melakartharaaga kanakangi we are at the padam and when we reach rasikapriya we are at the brahmarandhra stage ,one with the deity.It shows the ability or prowess of a true upaasaka to traverse all the nine aavaranaas of the sreechakra .
Sangheethachakra in raagachikitsa.

Music is the sarvothamakala in which raga is sung in suswara(sweet voice)so that it gives pleasure to the mind(manoranjaka).If the raga is not sung in this way it is not manoranjaka.To put it in other words If there is manoranjakam,one can deduce that the raga is properly sung.Sangheethachakra is a variant of sreechakra where Bharathy is meditated.Medha,santhy,sadguna,wealth,sarvavignasanthy,mangalam,keerthy,etc are inherent in the house of a true upaasaka .Their sankalpa become truth and there is good and prosperity not only to them but also to the entire world.Their thoughts and deeds will not harm others .On the contrary they will give more prosperity to the entire world.Their needs are taken care of by divine intervention.They wont have hatred or envy or dissatisfaction in life and they are always contended.This is because saraswathyhansam is always present in the devotees mind and house .The house where they sit naturally becomes a kalaakshethra or temple of arts and knowledge.They have very good sleep at night.No bad dreams.very good and beautiful dreams come to them.The devi as rajamathangi and rajarajeswary keeps them always healthy.
By meditating the moolamanthra as gayathri ,the upaasaka see her vision and till the last breath they go on breathing music.It is not just living in music but breathing music and music only.The condition is called vidhyasukhasidhi(the ultimate bliss of vidya).The people who attained this state become abhaya and amritha by the predictive darsana which appear in the inner eye.They develop a attractive power and gurukataksham is within their house .Upaasaka gets brahmagnaana .Proficiency in 64 arts especially jyothisha,sangheetha,natya,vaagchathurya and kavithwa are in their houses.Those who meditate on sangheethachakra do not have a next life or janma.Even if they are born,they will be born only as a gnani or artist with rajayoga. Before sunrise ,the upasaka takes bath and meditates on sangheethachakrapooja.If we do 8 mandala(1 mandala is 48 days here)which is 364 days we get the bala and athibala (strength)of a perfect mahayogi..Thirugnaanasambhandar ,Tyagaraja,Mahavaidyanathan sivan etc belong to this group,just to mention a few.Muthuswamideekshithar was very adept in both sreechakra and sangheethachakra araadhana and composed all 72 melakartharaagaas.
Pulippani sidhar has described only 8 aavaranaas for sangheethachakra(not 9 as in sreechakra).The bhoopuram and shodasadalapadma are the same as sreechakra.The others are slightly different as follows

Peetham bhoopuram feet
Shodasadalapadma thigh
Sapthadalapadma nabhi (7 dala instead of 8)
Shadkona (hridaya)
12 triangles neck
downturned triangle forehead
upturned triangle head
The seed of life (uyir)where naadadevi Bharathy sits.She has to be visualized and permanently worn in the thilaka.
Sangheethachakra has its tatwa as roopa and aroopa.(form and formless).With form (saakaaram)she is meditated as naadakaali Bhaarathy ,santhadevi,saraswathy.The formless is not seen to our naked eyes but is the naadathanu Bharathy ,with anantham names ,seen even in an atom,as maaya the one who gives ultimate wisdom of naada as niraakaara,santha and soumya.It is not easy to see this subtle sookshmathanu of the devi for ordinary people.If one who has not done proper upaasana approaches her she doesn’t allow him/her to come near .Because she is asulabha(not easy to get) and reveals all her beauty to only great upaasakas like kaalidasa,thirugnaanasambhandhar,Sankara and the like.But,anyone can be a potential upaasaka if God so wills and if one tries.The different avaranaas of the sreechakra are given in soundaryalahari vyakhyana ( 14)Here the aavarana and the devathas of the sangheethachakra are given.
1.chakrapeetham as bhoopuram is sarvakalaaprapthachakram.chakreswary is vidyamalahari.beejaswaram is nishadam.manovrithy is nirvaanam.Makes the mind of upasaka spotlessly clean.Such mind alone can concentrate on any system of knowledge.There are two devi in between the lines of bhoopura .one is kalavidhi or kamakshi which gives the vidhi for learning arts.she is the mother who satisfies all desires of man and gives poetry,and music through her breastmilk as to Thirugnaanasambhandar..the second is kalavathy or durga and it is this devatha who is propitiated from water (saadhana in jhalamadhya for mahakaali durga )and it is she who gave kalidasa his prowess in poetry.In souparnika ,Kottayam Raja got this experience.Musicians do morning sadhana immersed in water to propitiate her.
Second avarana is sarvakarshanachakram with chakreswary vidyasakthy and bheejaswaram dhaivatham.Manovrithi saswatham .(Attractive power is forever.) The 14 attractive (akarshana)devtas in 14 triangles in this avarana are as follows.
1.kalaakarshini.sreevidya.natya,naataka,sangheetha,kavya,kavitha,alankara,other 64 arts.2.avadhaanakarshini.who gives the avadhanam to do several things at a time.
3.kaamaakarshini.kaama is all desires,not sex alone.she sits on the right shoulder of sadhaka.4.budhy akarshini.one who is needed for aquiring knowledge,wisdom,memorizing what is learned and using it in the proper time ,teaching and creativity.The devi is gayathri.
5.sabdaakarshini.The sruthignaanam to distinguish and enjoy even the subtlest sruthy,of singers,birds,natural objects etc.devi is chandika.
6.sparsaakarshini.the one who bestows the touch of gnana above that of the senses.She touches the heart by knowledge ,not by her hand or body.The devatha is gayathri.
7.roopaakarshini.structure /construction /or form is there for every object,for arts and knowledge.especially for language ,music,literature,etc.We call it a pattern,a bhaani,style etc.The lakshana and raagabhaava ,the thaalagathi,sahityastyle,meanings are also the structural aspects.These forms or beautiful structures are kept in memory by devivajreswary.
8.rasaakarshini is dakshayani giving nine rasa.
9.chithaakarshini .The vidya of sadhaka has to give sidhi,knowledge should give phalasidhi,and vijayam.The success or vijayam comes to sadhaka as rajarajeswary.
10.dhairyakarshini.The vidya should not remain within 4 walls.It should come out.For this sadhaka should have courage and .selfknowledge(which Anjaneyar lacked)of one’s own sakthy.The devi is rajamathanghi.
11.dhanaakarshini .who gives wealth as annapoorneswary dhanalakshmy.
12.dhyanakarshini.dharana,dhyana,samadhi and parabrahma experience is given by saradha as Brahmi.
13.chaithanya akarshini .Chaithanya is pragna.The pragna and prathibha in arts,research,etc.Breathing arts and sciences ,not just loving them or living in them.Devi sreelalitha.
14.naadaakarshini.Naada originated from Bindu or anu.The naadaprapancha from Brahmam is recreated (punarsrishty)by sruthy and darsana as naadaanubhavam of the yogi .Omkaaranaadaakarshini Mahaakaali is the devatha for this.
Avaranam 3.sapthadalakamalam.sarvavidyaparipoornachakram.chakreswary vidyanaadadevi.Beejaswaram panchamam.Here vedavidyabudhi is given by Vaani and the things for daytoday living is given by mahalakshmi.The manovrithy is naadormayam.There are 7 vedadevis.They remove kaama,krodha,moha,lobha,mada,matsarya,papa from mind and gives peace,love,wisdom,dharma,maithry,mrityunjaya,punya etc in their place.
Vedavidyabudhi means dharmasathravihitha life,and nityanityavivekam.Sapthaswra in 7 dala gives this.Brahmi,maheswari,koumari,vaishnavi,vaaraahi,mahendri,chamundi are vedadevis.Seven vedadevis are vaniparam.Wife,husband,relatives,house,daytoday equipments,vehicles etc are mahalaxmiparam.As and when the time for jeevanmukthy comes,the desires for samsaara should cease.
4.shadkonam.sarvabhayakarachakram.chakreswary vidyavivekini.bheejaswaram madhyamaswaram.vagdevi is there forever as the Guru and friend .Guru is none other than saraswathy who sits within the saadhaka.The knowledge comes as revelations .In shadchakra,vaagdevi sits as 12 sarvakalaaroopinis.

They are
1.sarvakalasanjeevani for healing .
2.sarvakalatharanghini who produce gnaana waves always in the oceanlike chith of sadhaka.
3.sarvakalaranjani who makes gnaana sweet (madhura)
4.sarvakalaanidhi.the one who gives all treasures of knowledge of arts
5.sarvakalaroopanghi one who sits as the most beautiful and aesthetic within one’s mind’s eyes
6.sarvakalaajwaalamukhi one which makes the artistic ability of sadhaka known to the world
7.sarvakalaarasaruchiramani.the one who attracts rasika by rasa experience
8.sarvakalaabharani.The one who sits on the jihua of the saadhaka and becomes her/his nityabhooshani.(daily ornament)There is no other bhooshana needed for such upaasaka.
9.sarvakalavardhani who increases arts
10.sarvakalaavinodini one who gives enjoyment by arts
11.sarvakalaahithabhaashini.one who speaks with arts so that whatever she speaks will be for the common good.
12.sarvakalavagheeswary .The one who gives vagsidhy so that every word one utters become fruitful.She is amma who is vaatsalyamayi to all devotees.
Avaranam 5 is sarvakalaaprasaadachakram.chakreswary is vidyaroopadevi.12 thrikona.bheejaswaram ghandharam.Even while sleeping only saarada is seen as sookshmatatwa.Manovrithy is always gurusmaranam.Sadhaka hear the thoughts of devi within mind as swami,swami swami,as the reenkara of bees.Guru should have this naadabhakthy and aathmabalam and devi tests this .The guruthwa of people who have saraswathy as Guru is more than other people.There are 12 naadadevatha in 12 thrikona.They are naadakaali,naadakalaavathy,naadaranjani,naadajyothy,naadamanohari,naadaswaroopi,naadasruthysthutha,naadaomkaari,naadavallabhi,naadamahankusa,naadajayanthy,naadabramaraambha.
Avaranam 6 thrikaalagnaanachakram chakreswary is vidyayogini.Downturned thrikonam with bheejaswara rishabha.The 3 yoginis here are swaragnaanayogini,maargagnaanayogini,and sookshmagnaanayogini(of these sookshmagnaana is the uyirnaadi of gnaana).
7th aavaranam sarvavignanivarthichakram.chakreswary is vidyavigneswary.downturned thrikona with bheejaksharam shadjam.manovrithy nivaaranam.dukhanivrithy 8 nivrithydevi as removing vighna.
Vighnakameswari,vighnavisweswary,vighnajayamalini,vighnavasanthy,vighnavinodini,vighnaparipalini,vighnasarveswary,vighnavallabhi
8th avaranam is sarvakalyanagnaanachakram.chakreswary mahavidyabharathy.Chidroopam bindhu .In a downturned triangle.Maayanaadaroopini who cannot be seen with naked eyes gives all mangala for sadhaka.If the karma of a sadhaka creates damage to others she lovingly objects them and convert them for good of the world.Bheejaksharaswaram is susruthynilayam.(one which resembles a welltuned thamburusruthy)which gives bliss.manovrithy is Sudarsanagnaanam.(sudarsana is the sreechakra in the hands of Vishnu ,so beautiful to see and giving protection from all unwanted things ) For the navaavarana krithy of deekshithar and its relation toDevi upaasana see ref 15 and 16
One who meditates on this should have omkaaradhyana,gayathrimanthra and upaasana of soundaryalahari with true meanings.Sangheethachakramoolamanthra given below has to be sung (meditated)43 times for 43 triangles.
Om hrim klim srim thum
Nityaanandathe niraadhaare
Nishkalaaye nama:
Vidhyaadhaare visaalakshi
Veenaadhaare nama:
Om Bhaarathye nama:
Hrim raajamathanghi devyie nama:
Sreem saraswathyei nama:
Klim thrisakthy aikyaroope mookambike nama:
Thum sangheethasarade nama:
One has to assess the level of the upaasaka from the words,deeds and spiritual progress and not from the worldly possessions or riches..If there is no cleanliness(shudhi)in body,mind and intellect one cannot do sreechakra upaasana.And those without shudhi cannot understand the worth of sreechakra upaasaka either.Sreechakra upaasaka are like children .They are mahayogins and may be either vyakthayogin or gupthayogin.Their leela are not intelligible to those who are with them (relatives,colleagues etc).When two such upaasakaas meet and transfer their energy through mutual understanding the energy is dissipated for the common good of the entire world.Each become the Guru of the other.This is a very rare phenomenon in the world .Therefore when one see such phenomena due to lack of knowledge the sidhas are not properly assessed or recognized.by the world.
In the case of routine musical upaasana such prolonged and difficult sadhana are not needed and it is enjoyed by everyone including women and people who have no accesss to higher learning..Vaasana to sing, bhakthi and rakthi through loving surrender and compassion in God and Guru makes this possible and makes everyone alike ,without differences of birth,caste,creed,or sex differences and Krishna was the embodiment of such universal love.He never said that women or low caste people cannot achieve the ultimate ,on the contrary he proved with his life it is the women,lowborn and the poor who reach him and become one with him easily.That was the practical advaitha of his life.If Krishna was not attainable to the lowborn gopis who were ignorant of scriptures but were the most loving and involved souls with all satwik bhaavaas creating Brahmarasa ecstacy within their minds,if he was not accessibl e to kuchela the poor Brahmin and to Pandavas the forest wanderers who have lost all their property,(if he had been accessible to kings and rich people and men devotees alone)he could not have been a proponent of advaitha.and could not have lasted so long in the psyche of the Indian for such a long period.He would not have been the sweetest singer and friend to thousands of people for generations either.As Kabeer said,do not ask the caste or creed of a devotee of Hari,because he has none.The most beautiful aesthetic experience a human being can get is this advaitha through music.

Following Carl Bergstroem-Nielsen's (17)discussion of Colin Lee's book The Architecture of Aesthetic Music Therapy in the unmoderated discussion forum of the Voices, and his article in the March issue of the same journal,(18) I had given the perspective of Indian aesthetics on music. For the international readers who are interested in the subject.(19)
The fact that Lee thinks the structure of music deserves more attention in music therapy work and research caught my attention in Carl Bergstroem-Nielsen's initial discussion. And also how music inspires a person (the personal) from my own musical life panorama. The fact that the personal experience come from the impersonal (the worldly experiences come from the spiritual) is a theme common to all cultures of the world, of which India is probably the one which has given much thought processes. Indian philosophy has dealt with it in detail and Indian aesthetics has stemmed from Indian philosophy but with its own identity and beauty and originality. Music is spiritual in India, and the spirituality of music inspires the living organisms and awakens the dormant spirituality in them, and this awakening is called inspiration by the modern thinkers. And it is these experiences of inspiration that we call our personal experiences, or in music therapy language, our musical life panorama. But if the music had no structure, if it were not beautiful in itself, if it had not touched our hearts by its beauty and emotional content, we would never have had those inspiring moments. The more complex and beautiful and fascinating the music is, the more deeper, richer and subtler it becomes and only then it becomes soulstirring and such music is very very rare and precious. It is not the common music which each and every one of us can make and sing, but it is the one each and every one of us listen to in rapturous attention, forgetting ourselves in absolute wonder. This is what Lee's patient was trying to articulate when he said that he could not handle that complicated music but it had inspired him. The duty of a musician is to make such deep, aesthetic, universal and spiritual music. Only then he can inspire the universe, and give peace to all. The society is benefited by that kind of aesthetic music. When such music and the aesthetic sense of such music, comes into the therapy room with the therapist, along with love for humanity and respect for "life" (and hence for the client) he gives a chance for responding to the music in an aesthetic way, to borrow Merethe Vadstein Welle's words.
One point that I wish to point out is that Pei-Ju—Tu's and Wolf's patients were old and demented or having psychiatric problems who could not deal with such complicated or complex music. And that was the precise reason for their liking of the simpler music. I too have such patients with me and I use the most common and the least complicated music, and sometimes even nursery rhymes to elicit the necessary emotions in them. But, then we are talking about the "relative" aesthetics of a mentally challenged or demented individual and not of the aesthetics of music at all. A music therapist should have a perfect aesthetic sense so that he can be flexible in every situation depending upon the type of patient and his/her sensibility..
More the aesthetic sense and the flexibility, more the psychological knowledge and musical effects on emotions, the therapist becomes more equipped with the impersonal to bring about the personal change in humanity and in his clients.In Indian music the ecstasy of a musical experience (which may be called an inspiration in simpler language) is equivalent to yogic experience of Brahma (God) one gets in the deep meditation (samaadhi). Hence it is described as naadalayayoga a type of immersing in ecstasy of God through the yoga of music/or sound.
According to Indian aesthetics, genuine art is not made but is a spontaneous flow from the heart filled with rasa. The great artist is also the great art critic. The artform includes diction, versification, and music is determined by inspiration and the laya is important since it determines the meaning of the utterance.
What is Rasa?
Rasa is the source of inspiration for an artist and a listener.
The wordmeaning is the essence or more simply, the taste. The first and foremost artist/poet/composer/singer in Indian aesthetics is God who sings the music of the spheres and the Upanishads describes God as Rasa itself. God is both the rasa (the experience of supreme bliss or ananda) and the one who experiences the rasa (the rasika).That is why Jayadeva in his Gitagovinda calls Krishna as Krishnabhogin(the black serpent,and the great enjoyer krishna with two meanings to increase the rasa of poetics.(20) To get the artistic aesthetic experience (rasaanubhava) the artist has to be unselfish, disinterested in ordinary life dualities, objective, capable of contemplating life experiences without being affected by them. The artist embodies the emotions of life recollected in a state of tranquility. Thus art communicates not the emotions but emotions of an emotion. There is peace and delight in the process which is universalized (impersonal) individual (personal) experience. Pain, pleasure and pathological consequences of stress and anxiety occur due to struggles in life for personal gains of pleasure, power, possessions etc and such personal stresses and strains cause diseases (which the Indian science and art calls samsaara or diseases due to ones own actions). Artistic aesthetics should not awaken such personalized excitement or depression which were the actual causes of the diseased state. It should give peace of mind, tranquility and enjoyment in life as a divine blessing, it should take the patient beyond the dualities of life and hence music as an artform takes the impersonal divine blissful rasa as more important and giving such music is the best method for therapy. Spiritual delight or ecstasy (experience of Brahma) and artistic delight or ecstasy (experience of rasa) are thus considered as equivalent in Indian aesthetics and philosophy. They are called twins. Spiritual bliss is jagrathsushupthy (awakened dreamless deep sleep) while aesthetic musical bliss is jagrath swapna (awakened, dreamy sleep) a waking dream or a vision as Keats put it. The artistic imagination of a musician (prathibha) is a kind of vision (drishty or perception or darshana) which see the world in a different way and thereby transforms it. By his art the artist creates a new golden world, while ordinary people see only a brazen dry world of duality around and get stressed. The artist gives concrete shape to his world through words and rhythms, and melody. It is in an inspired state of impersonal ecstasy that an artist chooses the words, the order of the words and rhythm and the melody. Rather, it is not the artist, but the inspired state which chooses for him the words and the melody. Thus the artist is between the heard and the unheard, the seen and the unseen, allowing the ecstatic state (Brahma or God) to choose the art for him. When such art flows out from the impersonal in the artist, the listener proceeds from the heard to the unheard, from the seen to the unseen, in a reverse order and recover the artist's experience. This is done through a sensitive response to the suggestive power of the heard sounds /the words/the melody. The artist and the listener have to achieve an identity (thanmayeebhava) and hear with the inner and outer ear, feel, think and respond together. Then the bliss of rasa is perfect. Suggestion (dhwani) is a link between words (the heard -or the sruthy) and the seen (visualized/perceived-darsan).
In the uttered/heard music there are three elements: (1) expression, (2) suppression, (3) impressions. Comprehension means comprehending not only the grossly expressed meaning, but also of the hidden or suppressed subtle meanings in the text and the overall impressions from every possible meanings thus suggested. More than denotation, the connotative, suggestive meanings, and the rhythmic repetitive flow of words help us to get the experience. Dhwani (suggestions) functions as both denotative and connotative meanings and the right response help us to make a hermeneutical leap. The beautiful words /thoughts/melodies coming out of a heart filled with ecstatic bliss clothes itself with beautiful coverings (aavarana) without any conscious effort from the part of the poet/musician. And the listener without any efforts visualize and enjoys the beauty of it. Dwani (suggestions) is the soul of art and is related to meaning. Meaning is classified under denotation, indirect indication by metaphor, sphota or meaning of the utterance as a whole and only through suggestion can great art be expressed. The creative and analytical music therapy of the modern music therapists utilizes some of these aspects of ancient Indian aesthetics.
How is Rasa Created? The Personal Experience
Rasanishpathy (creation of rasa) is by combination of three factors. Bharathamuni one of earliest writers on Indian aesthetics calls them as vibhava, anubhaava and vyabhichaaribhaava(21 and 22).
Vibhaava: These are secondary factors which might excite our feelings and hence are personal. Characters or dialogues in a drama, words in a music, etc., may elicit old memories in our life associated with a particular type of music. This is what now the western music therapists call eliciting the musical life panorama of a patient to get a diagnostic as well as therapeutic response from patients. This is important for a music therapist since he/she should know the musical background of the person to be treated, and also it elicits a positive response of interest from the patient which itself has healing properties. The settings, like seasons, gardens, fragrance, moonlight, seeing near and dear ones, hearing their voices etc can also elicit the same response so that vibhaava is only a secondary element .The MLP of different individuals differ.
Anubhaava: The effects of the emotion that develop the main sentiment are called anubhaava. The main sentiment or emotion we want to evoke is love. The emotion of love is sometimes expressed by some people as anxiety, anger, depression, etc. (possessiveness included) and when such emotions become extreme stress and strains of life increases and diseases occur. If on the other hand, love is expressed as loving concern and compassion for the entire creation, tranquility and peace are experienced by the individual and by the people around such individual, and this impersonal love for humanity touches everyone's heart. Music of ancient India considered this as the healing power and created music of such nature. The divinity in the impersonally aesthetic universal love and of music was appreciated by all Indian aesthetics and philosophies. The bliss is against a background of peace (shaanthi), absence of mental agitation, disturbances and stress or anxiety. What actually happens is that apart from secretion of the endorphins from the neurons, and the alteration of the beta to alpha and theta waves during such peaceful, melodious music, the human brain is also having a gate control mechanism of all pains caused by samsara, through the divine intervention of music. This cognitive value of art as a controller of pain and pleasure is recognized not only by Bharathamuni but also by later aestheticians like Abhinavaguptha. Others like Bhaamaha considered Rasa as an ornament (alamkara) to music. Dandin thought lucidity, sweetness, richness and grandeur gives good art its properties. But it was Anandavardhana's dwani (suggestion) which gave perfection to Indian aesthetics. Rasa can be expressed only through suggestions. It can never be explained or spoken by direct speech. Just like the experience of God, which is beyond words. Which is impersonally personal and universal, music also is impersonally personal and divine. It is this nature of good music which heals. The music therapist has to select and create such good music and act as an intermediary in the will of God, in right earnest. The barriers to realization of rasa experience are the selfish, personal and dual feelings of the daily life and to get over them, and realize the transcendal /spiritual bliss the artist/musician develops a rare type of cognition similar to yogic wisdom and realization in samadhi. The nearest to it in western language may be the sublime state
Nine rasa in Indian aesthetics
Rasa
Dominant State
Temperamental signs
1.Shantha
Tranquil, peacefulImpersonal love of a yogin/of God
Physical, mental, intellectual and spiritual health.
2.Erotic sringara
Personalized passionate love 2 types. 1 in separation. 2.in union.
Paralysis of faculties of cognition/sensations
3.Comic hasya
Mirth, laughter
Perspiration
4.Pathetic karuna
Sorrow
Hairs stand out, body trembles.
5.Furious(not in music)
Anger
Change of voice, mental disturbances
6.Heroic
veera
Energy
Trembling of body, hands, etc.
7.Terrible(not in music)
Terror
Change of colour
8.Odious(sometimes with vipralambha)
Disgust
Weeping, anxiety
9.Marvelous adbhudha
Astonishment
Fainting
In healing music the impersonal, tranquil state of physical, mental, intellectual and spiritual health is the goal. And it is this rasa which is ideal for music therapy. The sentiment of love in separation from the God (divine partner) with an optimistic yearning for reunion with Him, is used. The serenity, the sweetness, the satisfaction, the delightful, ecstatic graceful movements and words and rhythms of melodious Indian music has a structure best suited for this purpose. In some special occasions It also uses the heroic sentiments with energy as its base, and presence of mind, perseverance, diplomacy, discipline, strength, reputation for truth and righteousness, patience, charitable disposition and heroism. This is for energizing the system. The other rasas are used on stage performances by dramatic personnel and dancers but not by musicians. Because music is always for healing and peace and love. Anaesthetics is for easing the pains. Aesthetics is for experiencing the bliss. Seemingly opposing words. But they are two sides of the same coin for a music therapist. With the aesthetics of musical bliss, music therapist numbs or blocks the pains and eases the pains.
Indian aestheticians Bharatha,Abhinavaguptha (author of Abhinavabharathy),Bhamaha(author of kavyalankara)and Anandavardhana (author of Dwanyaaloka)and kunthaka (author of vakrokthyjivitha) has given definitions for Rasa in their own style and these definitions are given in detail in Indian aesthetics ,An introduction by V.S.Sethuraman(ed)(22).The sthaayibhaava of rathi(sringar) in a musical performance or a drama is transformed into an aloukika state .The sahridaya identify(thanmayeebhava) with the singer or character in the drama through hridayasamvada but the identification is not complete and a certain aesthetic distance is kept for the enjoyment of rasa.If there are no two,the enjoyer,the enjoyed (like a male and a female in marital bliss)and the enjoyment as separate entities the rasa experience cannot happen.Whereas in the bhakthy of saints like chaithanya and Sankara the oneness with God is total and there is no dwaitha.In the case of both Chaithanya and sankara ,though there is total thanmayeebhava,one has a logical predominence and the other has a rasa and bhava predominence.But we must also remember that sankara though he has a logical predominence has time and again said that it is not logic but the swaanubhoothy or rasa experience of Brahma which is more important in advaitha.This is true of musical rasa also.(Rasa Brahmaananda sahodara)The science of notations and the science of aesthetics and its jargon belong to the logical left brain part of musicians and aestheticians and cannot be avoided to have good music.But ultimately it is the experience of both the singer and the listener which they communicate and enjoy which is the crux of rasa.If this does not happen,there is technically perfect music still ,but it has failed in its ultimate aim,the hridayasamvaada and the rasa experience.which the artist and the listener share and enjoy.,Being communicated through the divine love .
References.
1.Natyasasthra Bharathamuni .Kerala sahitya academi.translator.K.P.Narayanapisharody.vol.1987 chap 22 pge 62-73.

2 The psychology of music.K.P.Krishnarao.Asian educational services New Delhi 1984. pge 1-to 4.

3 Aesthetics of music and information theory .J.L.Broeckx pge 1-21 chap 1 Essays in musicology .R.C.Mehta.Indian musicological society publication.
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4Without a stumble A book on the spirituality of music.Dr Suvarna Nalapat.2003.Nalapat books pg141

5.Musical as a value predicate . (ch 3)Philosophy of music. Rithwik sanyal 1987. Somaiyya publications

6Appreciation response to music Arvind Mangrulkar pge 29.Psychology of music R.C Mehta

7 Musicoaesthetic predicates( ch 5)Philosophy of music.Ritwik sanyal..140-174 Somaiyya publication
.
8 Music in Brihadharmapuraana.V.Raghavan.M.A.PhD,1938.pge 37-39 dialogue of Vishnu to Narada.

9 A conceptual framework for the analysis of aesthetic behaviour ch 3. pge 23 Shyamala Vanarase Psychology of music R.C.Mehta Indian musicological society publication.

10.Raga and rasa Narendrarai N.Shukla pg 31-34

11.Ch 8,9,10 without a stumble.(ref 4) Pge 178-214.

12.Music and sound in yoga .Vimala Musalagaonkar Psychology of yoga ed R.C.Mehta. ch 7. pge 44

13 Padmasindhu. Dr Suvarna Nalapat.Mathrubhoomi publications. Part 3.Commentary to Soundaryalahary of Adisankara.1996.

14 Brahmasindhu 2006 Commentary on Brahmasoothra Dr Suvarna Nalapat pge 407-411.

15.The journal of music academyISSN 0970-3101,vol LXIX 1998 T.S.Parthasarathy pge 99-108

16.Bergstroem-Nielsen, Carl (2006). The Importance of Aesthetics as a Dimension in Music Therapy Activity. Voices: A World Forum for Music Therapy, from http://www.voices.no/mainissues/mi40006000202.html

17. Ref 16 and 18 were articles in moderated discussions following the unmoderated discussion on Voices a world forum of music therapy. titled "What do you think of aesthetics ??" (http://pub45.bravenet.com/forum/show.php?usernum=3862196689&cpv=1

18 .Nalapat, Suvarna (2006). Indian aesthetics in Music therapy -The personal and impersonal. [Contribution to Moderated Discussions] Voices: A World Forum for Music Therapy. http://www.voices.no/discussions/discm58_01.html

19 jayadeva ‘s Gitagovinda.Love song of the Dark God.Barbara Stoler Miller.Motilal Banarasidas publishers.reprint ed 2007.

20 Psychological studies in Rasa Rakesaguptha. Granthayan Aligarh,reprint 1997.

21Acoustic perspectives on Raga-rasa theory suvarnalathaRao.Munshiram Manoharlal Publishers 2000

22.Indian aesthetics an introduction.ed /V.S .SethuramanMacmillan India ltd 1992.