In one of my earlier articles – Happiness, Flow, and the Upanishads – I had discussed the meaning of happiness and how the concept of ‘flow’ closely aligns with the Upanishadic view on brahmananda (supreme bliss). The state of ‘flow’ or ‘getting into the zone’ can be defined as a state of temporary moksha.
A documentary on the legendary singer Bharat Ratna M S Subbulakshmi. Today, MS is synonymous with melody and devotion.
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इत्यर्थ-क्वथितं चैवा-
प्येतिभावाख्य-तेमनम् ।
सज्जीकृते सुभुक्त्यर्थं
तुष्यताद्भवदाशयः ॥
The Western tradition uses the word ‘philosophy’ (love of wisdom) to denote the study of the fundamental nature of reality. In the Indian tradition, we use the word ‘darshana’ (point of view) to denote the study of existence, meaning, consciousness, and the ultimate reality. It provides us the means to the same ultimate goal, called by different names – ananda (bliss); moksha (liberation); or oneness with brahman, the Supreme Being.
Raagas have changed and even transformed with respect to the definition given by Bharatamuni. Of course, it is only natural for perspective of arts to change with times. The most ancient forms of music that we can trace goes back to the Vedas. We can experience the early forms in folk, tribal music as well as in some theatrical music such as in yakshagaana or sopaanam. Apart from this, musicologists like Shrangadeva, PandarikaVitthala have theorized and described in detail the lakshana(characteristics) in their works.
“Who am I?”
This question has haunted thinkers and philosophers from the earliest times. It is the question that drove the sixteen-year-old Venkataraman to eventually become Ramana Maharishi. It is the question that pops up every now and then, only to remain unanswered. Once it is answered, the question never recurs, for one would have transcended all questions by answering that one.
So, who are we?
तिन्त्रिणीदलसमानलोचने
देवदुन्दुभिसमानमध्यमे ।
अर्कशुष्कफलव्ध्वनस्तनि
रामवैरिभगिनीव राजसे ॥
Kosambi launches into a polemic against Krishna, considering him as a real person, forgetting that he himself had cast doubts on the existence of Krishna in the first place. Kosambi spews venom against the acharya of the Gita (emphasis is mine):
The Geeta exposition is essentially contained between the words 'अशोच्यान्' (BG 2.11) and 'मा शुच:' (BG 18.66). The central message is quite simply ‘grieve not’; for what really is, is of the nature of pure joy ("नासतो विद्यते भावो नाभावो विद्यते सत:"). How not to grieve is what Krishna seeks to explain.
It is usually thought in the world of classical arts, especially in the Carnatic circles in India that a prodigy is born in a family which is rich with a music tradition, and in most cases, belonging to the lineage of one of the stalwarts. It is rather rare to find a genius being born in an unconnected atmosphere. When the eight-holed bamboo flute was still trying to figure out its place in main stream Carnatic music as a solo and an accompanying instrument and when the playing techniques developed by Mali (TR Mahalingam) were awaiting to be housed in a creative musician, Bangalore N.