R

 Art and science are two together

Ultimate of science is to become ''all knowing '', omniscient

ultimate of art is to become '' all capable'', omnipotent

-----art n science together both for joy

Misery is due to ignorance

 gyani is always happy 

 YogaratovA bhogaratovA

 sangaratovA sanghavihiinaH|

 yadat brahmani ramate chettam

 nandati nadati nandatyeva||

Art n science together for producing maximum happiness with minimum energy , without wasting ,

for doing less accomplishing more

Science is to know 

 art is to create

Best creation happens in bliss

 anando brahma

''a science is an investigation by means of repeatable experiment to gain useful and testable knowledge'' ----maharishi 

 ''a science is a systematized body of knowledge ''-------usual definition

 knowledge has innumerable branches , each branch with gross and subtle levels

All for generating joy ultimately

Krishna is expert in 64 arts

 

 gita is a great artistic creation, as well as a great science of life 

 

 he presented a comprehensive vision of science technology and art in simplest words 

 

 science is to be ''yogastha'', ie to be come knowledgeable

 

 technology is to ''kuru karmani '' ie to device ways and means of doing the work

 

 art is to ''karma sukaushalam'' , to be performing skillfully , with total mastery on science technology and art of life

Deeper the ocean, stronger, higher and wilder is the rise of the wave

Basis for every artistic creation is the thorough understanding of laws of nature , ie science

A musical composition is created, 

 but expressed thru a musical instruments like sitar tampura tabala etc which are designed and created with best knowledge of science on relevant materials and processes of design and manufacture , finishing, tuning, upkeep, repair maintenance

Basis for every artistic creation is the thorough understanding of laws of nature , ie science

Science is a march knowing laws from gross to subtle and beyond , it is essentially inward march

 art is a march creating master pieces of art , using the basic raw material , ie laws of nature

Art of music is a technique of healing 

 ie music therapy , gandharva veda details

Gandharva veda is the scientific structure of the art of music producing the most beneficial effects on the individual and environ and the universe, , defining the time and raagas scientifically

God is a great scientist and a great artist of life , master of universe, jagannath

Science is analysis

 art is synthesis

Spirituality is both science and art

By realizing the Supreme Reality , it is possible to synthesize science, art, culture, religion and spirituality for the common goal of universal joy and well being

By knowing the ultimate science, one can create a universe of his choice 

 artists dwell in their created art universe

We must know science of being 

 then possible to cultivate art of living

Sa re ga ma is science of music

 a raaga is artistic out put

In the ultimate zoom out level , all will be superbly ok and beautiful 

 hence arjun was asked to view situation in the ultimate zoom out, ie vishva roop , total perspective..

Science is factual on the cause and effect

 superstition is assumption on the cause and effect

Connoisseur is a provocateur

 wisdom =knowledge+intelligence

 knowledge without intelligence misleads 

 intelligence is the basic quality of existence exemplified by the order and purpose of change

Naishkarmyam is the best karma

''Similarities between art and science''

 --rather complementarily, prakrithi and purusha

 art is creation prakrithi, science is knowledge, purusha

''of beauty and creativity...''

 beauty has a lot of science behind it , principles of aesthetics , saundarya shashthra 

 creativity sprouts from knowledge , inner knowledge 

 deeper the artist, more creative he is , more beautiful his creation 

 more of ''sathyam shivam sundaram''

''.even science creates some objects for the benefit or convenience of humanity.''

 --every impulse of creation, artistic/ technological is towards producing more and more joy , towards, ultimate bliss

Music is a art medium 

 but it has the detailed sangeeth shastra behind it 

 every art has a science basis

''but it is the limitless human artistic mind'' sees some insights, some inner beauty, inner chunk of knowledge , and wants to share the findings and the joy of discoveries with one and all , and so '' creates wonders using some science.'' creates/ selects a medium to express the mysteries experienced in the known /unknown language/idiom , and tries to do it with the best of his abilities yet , he may succeed in giving just a glimpse/ a lead of the vision , since the abstract experiences cannot be expressed fully /clearly by any means, these must be experienced directly

 however such leads/ suggestions may click that rare experiences in a few lucky receivers 

 and they reach the source of that mystery within , like the givers inner source

 some writings take one to their own inner depths 

 for some others it's just a casual reading

In various matters of life there remains a combination of science and art

----since, human personality is a total package 

 consisting of all the infinite components,

 each individual is a scientist, an artist, a seer, a poet , a dancer, a singer, a god, a devil, a dr jekil, a mr hide ---all coexisting , but some get activated , some remain dormant as per occasion, context, need, cause etc

Also for the same inputs, different individuals respond in different ways

for example, if one hears a song, a recitation of a poem, audience responds differently , some become fans, some just listen and forget

 also, for the same inputs, the same individual responds differently depending on the situation/ internal or external conditions 

 for example if a movie is seen, first time it will be exciting , likable, but if seen again it may not be that appealing

And when a song is heard, an individual responds in multi-modes, 

 the scientist in him sees the sa re ga ma aspect of it and nodes at the precision displayed

 the poet in him looks at the lyric/ the bhava /meaning and says wah 

 the mystique in him enjoys the song , forgetting the earthly plane for a while 

 the critic / the intellectual in him evaluates the song / rates/ classifies/ appraises

 

 all these processes happen in a synthesized manner, some aspects dominating, some other aspects subdued

 there will not be a situation when art alone is seen or science alone is appreciated, 

 it is a contextual mixed response

The scientist in us 

 after reaching the goal truth, [vedanta ] , ie sathyam

 awakens the artist in us, 

 who starts creating sub-truths,ie ,the veda / vedic richas, 

 ie the retail packages of knowledge ,and contextual creations,

 

 ie upanishads, upakhyanas, kaavyaas , ,udanthas, puranas,

 prabandhas, epics, dramas, stories, novels, essays, literature, 

 sculpture, paintings,

 ,gods, temples, structures, customs, systems, traditions, 

 

 along with goodies, necessities, comforts luxuries

 ---all to bring heavenly existence on earth , in detail, 

 purposeful, useful, need based, result oriented, 

 creates a new civilization , obsoleting the worn out , 

 updating the times to the present moment

The scientist Einstein tearing off the veil of jagath mithya

 peeped into the field of brahma sathyam , 

 unifying the matter and energy with his equation E=m c squared 

 the artist tagore created master pieces, by stretching his existence beyond the visible, local, mundane 

 blessed are the scientists and artists, they did inherit the heavens

Science reveals truth, uncovering layer by layer progressively , it says ''pot is mud'' 

 it removes all illusions, it frees 

 

 art hides truth, art is maya ,it says ''there is no mud, it is a beautiful, colorful , round pot ,, ''

 in the charm of shape, size, color, texture, design, embellishment of the pot , the truth of mud is obscured/covered/

 

 science says what is actual truth

 art distorts , deshapes, flattens, enlarges, elongates, paints, and hides what is there actually 

 art shows some thing that is not there

 it creates a illusion

 it deludes, lures, deceives, entices, enslaves, binds, limits in time space frame

"Art is the lie that enables us to realize the truth." - Pablo Picasso said

 one of agenda should be to standardize terminology and provide precise definitions for several of the vocabulary that all religions use

also, evolve standards like ISI / ISO and a gradation and eligibility criteria to give a open certification to the spiritual leaders/ gurus

also evolve a conversion table like british system to metric system, like 1 inch =2..54 centimeters, or 1 kilogram =so many pounds .so that all teachings from all the saints and babas are understood by properly ''syncing'' them

and there should be a table like periodic table putting all elements metals, gases, etc in their proper place using certain criteria, so that one is able to understand and know relative worth of each saint/ teachings compared to others'

and all conflicts must be resolved in an open forum freely fearlessly without inhibitions are secretes

this is required for new gen not to waste their time and life by groping into the jungle of scriptures and gurus,

but to arrive at the proper grip on ''what is all ''

 this will be resisted since it dilutes the hold of spiritual leaders on their followers and exposes them naked on their hard earned false position and respect

  Art   let’s know  how music and all art forms  mediums evolved

''Geetham, Vadyam, tatha Nrithyam thrayam Sangeethamuchyathe.''

Combination of geetham (song), vadyam (instrument), nrithyam (dance) form sangeetham.

in this context, natya shahtra,and its details mudras, rasas, bhavas become significant,

basically spiritual pursuits lead us to capture the basics every aspect of life

when the basics are grasped, it is easy to comprehend the elaborations , and we get maximum joy in listening seeing the artistic expressions in the capacity of a connoisseur , a rasagna

thus i have developed interest in almost every branch of knowledge, internet sharing is a great help

as you said, there are opportunities to learn more

1 if you can deal ramayan, and mahabharath separately with 9 rasas applicability it will be good

we should not switch from one to other suddenly it causes some disturbance

2 visuals are distractions in the spiritual contemplation, blocks the mind in creating and enjoy its own created images

3 every scripture every episode has deeper meaning, what is the deeper meaning that you are getting out of this blog, and

4 what is the spiritual significance of navarasas in life in attaining mukthi, the prime goal?

5 do rasas require an external medium / stimuli for their manifestation

6 what are the fields in life which rasas have a major role

7 are rasas to be relished encouraged or to be despised and kept at a distance?

According to Bharata’s Natyashastra there are eight fundamental feelings or mental states referred to as Sthayibhavas which can be experienced by human beings. These are: Delight (Rati), Laughter (Hasya), sorrow (Soka), Anger (Krodha), Heroism (Utsaha), Fear (Bhaya), Disgust (Jugupsa), and wonder (Vismaya). Corresponding to these mental states are eight Rasas: the Erotic (srngara), the Comic (Hasya) the Pathetic (Karuna), the Furious (Raudra), the Heroic (Vira), the Terrible (Bhayanaka), the Odious (Bibhatasa), and the Marvelous (Adbhuta). A ninth Rasa, the Peaceful (Shanta) was later added.

The realisation of Rasa is said to result from the union of three interrelated elements – Vibhava, Anubhava and Vyabicaribhava and also the permanent mood called Sthayibhava.

For this question 7 are rasas to be relished encouraged or to be despised and kept at a distance?

 

in the light of your explanation, i tend to conclude,that rasas are inevitable effects and cannot be prevented from happening , so we to welcome them with the help of the permanent mood called Sthayibhava.

this is the correlation of feelings/mental states with rasas and more

“Our emotions are the gastric juices which transform this world of appearance into the more intimate world of sentiments. On the other hand, this outer world has its own juices, having their various qualities, which excite our emotional activities. This is called in our Sanskrit Rhetoric, Rasa, which signifies outer juices having their response in inner juices of our emotions. And a poem, according to it, is a sentence or sentences containing juices, which stimulate the juices of emotion. It brings to us ideas vitalized by feelings, ready to be made into the life-style of nature” Rabindranath Tagore

 

The fusion of Rasa theory and Bhakti is widely attributed to Rupa Gosvami, a disciple of Caitanya, who is credited with two key texts examining emotional devotion – the Bhaktirasamrtasindhu (“River of the Immortal Nectar of the Experience of Devotion”) and the Ujjvalanilamani (“The Effulgent Blazing Sapphire”). Emotional devotion begins with the ‘ordinary’ forms of love and desire felt by human beings, but the intention is to transform the ordinary into the sublime. Thus every devotee (regardless of background, caste etc.) is instructed to perform a set of basic practices. Whilst the Bhaktirasamrtasindhu details 64 Veidhi (“that which is based on rules”), there are five which are deemed to be ‘foundationational’:

* Recitation of the name of Krishna

* Remembering and savouring the exploits of Krishna as revealed in the Bhagavata Purana

* Serving the image of Krishna in temples

* Living in the company of holy men

* Living in the mandala of Mathura or Braj (Mathura is the reputed birthplace of Krishna)

By constantly turning one’s mind towards Krishna, the devotee begins a process which – gradually – becomes profound devotion. The basic human emotions are themselves insufficient, and must be continually refined. The devotee learns, progressively, to recognise all the various factors which either intensify or distract from this divine love. Gradually, the devotee learns how to transform the emotion (bhava) of ordinary desire (kama) into the pure and selfless love known as prema. For the advanced devotee, the 64 sadhanas are not mechanical ritual acts, but spontaneous expressions of love, the experience of which is to taste the Rasa – the pure essence of Love. Krishna is the source of Rasa, and there cannot, for devotees, be any Rasa apart from Krishna.

Any devotee whose mind is completely focused on Krishna will, it is said, involuntarily display evidence of that devotion, so that here, the Sattvikabhavas become markers of intense devotion.

 

Gosvami divides the path of the devotee into three stages. The first is that of Vaidhi-Bhakti, in which the devotee purifies his feelings using the aforementioned practices. The second stage is termed Raganuga-Bhakti – “the devotion of passion”. In this stage, the devotee is said to become a divine participant within the lila of Krishna, and does so by dwelling on the emotional feelings of love exchanged between Krishna and his parents, playmates, and the Gopis. Devotees engaged in Raganuga-Bhakti model their emotions on these divine ideal types. There are five appropriate moods: the Santa-Rasa (peaceful mood, as expressed for example, by meditating sages); the Dasya-Rasa (mood of servitude, as expressed by Krishna’s servants); the Sakhya-Rasa (mood of friendship); the Vatslya-Rasa (mood of parenthood – i.e. Krishna’s parents) and the Madhurya-Rasa (the conjugal mood expressed for example by the Gopis). Through Raganuga-Bhakti, the devotee is able to taste the Rasa (essence) of the players in Krishna’s lila. The final stage of devotion is that of Ragatmika-Bhakti – the perfected love of Krishna as experienced by the Gopis and other actors in Krishna’s Lila.

this is the great implied process of progressive transformation ,,the master key in this ''Emotional devotion begins with the ‘ordinary’ forms of love and desire felt by human beings, but the intention is to transform the ordinary into the sublime''.

Rasa is about human state of mind. Its about what the mind feels and the expression of the feeling thereafter. In the Bharata’s Natyashastra, Rasa is an emotion experienced by the audience created by the facial expression or the Bhava of the actor. In indian classical dance it is referred to as Rasa-abhinaya.

Human life is a rich fabric that is given colour and texture by the many happenings that shape it. The mundane actions that characterize every day as well as the extraordinary happenings that make and keep our lives interesting are all threads that get woven together to form this tapestry. The one thing that is common to all these threads is the fact that they evoke feelings in us, we respond to them with our emotions before they can become a part of our internal life. Indeed, life can be thought of as a continuous sequence of emotions that arise in various contexts and circumstances. These emotions, or rasas, are what give life different hues, shades and colours.

8 how the art of acting on the drama is related to nava rasas

9 is villain in real life is only actor

10 an actor acting a villain role how he feels on the rasa effect on his personality/ on personal life

11 are rasas are artificially induced, or natural responses?

9, 10 depends on how strong the personality the person carries.

 

11)Rasa can be understood as a dynamic experience between the artist, expression, and those who receive it. The artist experiences an emotion and is so overwhelmed by it that he seeks a medium with which to express those feelings. The one who views the artists’ work receives this emotion through the artists’ medium and so experiences the same emotion felt by the creator. The extent to which the viewer experiences the emotion felt by the creator depends on both the creator’s aptitude in presenting the work and the viewers’ aptitude to receive it.

''The extent to which the viewer experiences the emotion felt by the creator depends on both the creator’s aptitude in presenting the work and the viewers’ aptitude to receive it.''

leads me to say it is a factor of ''rasagnatha'' the capacity of the individuals to create , to share, to receive, it is a valuable trait of the personality, beyond the surface /superficiality

A key text which deals with the emotional theory of Rasa is the Natyashastra (the Textbook on Drama), attributed to Bharata Muni (some academics believe that it is more likely to be a compilation by several different authors). Bharata ascribed a divine origin to drama and considered it to be a fifth Veda. The Natyashastra primarily deals with theatre, dance & musical performance. According to the Natyashastra, the major purpose of dance, drama, ritual and poetry is catalytic in that aesthetic performance should provoke an emotion that is already present in members of the audience. The various elements of a performance combine to create a sympathetic response in those who experience them. Moreover, a member of the audience who has cultivated his or her own aesthetic response may experience a transformation of their own emotion into a purely aesthetic, transcendental feeling – an experience of divine bliss. This is the transformation of Bhava (“mood”) into its essence – Rasa. (NB: A scholar or connoisseur is sometimes referred to as a rasika).

---A scholar or ''connoisseur'' is sometimes referred to as a'' rasika''

yes, he discovers the value and enjoys more, in turn inspires the artist

digging deeper into the topic and making it more philosophical !

12 whether self realization , mukthi leads one to become of ''even vision, unpurturbed, unmoved, unaffected, untouched by rasas effect

13 krishna, ''the one yogastha '', excelled in which of the rasas more?

14 ,his way of '' not fighting the battle himself, but causing arjun to fight '' comes under what rasas, if at all ?

15, are rasas characteristic / specific to varnas, brahmana, kshathriya, vaisya, shoodra

16 are rasas characteristic / specific to male , female,

17 whether animals birds have rasanubhoothi or not?, they live in which rasas primarily

 Bhagavan, what who

Bhagavan is the one who has bhaga, the six-fold virtues in absolute measure.

भगः अस्य अस्ति इति भगवान्

bhagaḥ asya asti iti bhagavān

The one who has bhaga is called bhagavan. It is said in the Vishnu Purana (6.5.74)

ऐश्वर्यस्य समग्रस्य वीर्यस्य यशसः श्रियः।

 ज्ञान-वैराग्ययोश्चैव षण्णां भग इतीरणा॥

aiśvaryasya samagrasya vīryasya yaśasaḥ śriyaḥ |

jñāna-vairāgyayoścaiva ṣaṇṇāṁ bhaga itīraṇā ||

1 Total and absolute overlordship,

2 power,..virya;

3 wealth, sri;

4 dispassion, vairagya

5 fame ,yasas;

6 knowledge, jnana

These six absolute virtues, then, constitute bhaga and the one who has this six-fold bhaga is Bhagavan.

To have all knowledge, jnana, is to be free from all ignorance. Thus the one who has all jnana does not require a mind, perception, or a means of knowledge with which to know. If we require a mind to know, there is always ignorance. Thus, whoever is endowed with a mind in order to know cannot be Bhagavan. Bhaga, therefore, is jnana, all knowledge.

Total, absolute, dispassion is also called bhaga. The one who has total, absolute dispassion, vairagya, has no longing, no insecurity. He or she is full.

Virya is absolute power or sakti meaning the capacity to create, to sustain, and to resolve. The one who has this absolute power is called the Almighty.

Absolute fame, yasas, means all fame, including your own or anyone else’s. This is also bhaga. One who is endowed with the ability to sing, for example, may gain some fame, a ray of glory, but that fame belongs to the Lord, the one who has all fame.

The Lord also has all wealth, all resources - Sri. Any wealth you may have really belongs to Bhagavan, the Lord, and you are only a trustee of whatever resources you happen to have

Finally, the one who is not caused, who is not ruled by anyone, who is not subject to the laws of someone else, has the bhaga called aisvarya - overlordship.

We, as individuals have to go by the laws of nature; we cannot go against them. Even an engineer who is responsible for planning, commissioning, and running a thermal plant cannot touch a live wire without facing the consequences. In other words, the engineer cannot behave as he or she likes merely because he or she caused the electricity to be generated. It was because of the laws alone that the engineer was able to generate electricity in the first place

The one who does not subject himself to the law or laws of another is the Lord. If the Lord is ruled by someone else, then that someone else becomes the Lord; and it is this Lord that we are talking about.

These six absolute virtues, then, constitute bhaga and the one who has this six-fold bhaga is Bhagavan.

 Gurur Brahma

gurur brahma gurur vishnu

gururdevo maheshvaraha

guru sakshaath parabrahma

thasmai shree gurave namaha

 how true!

eternal truth

my proof is, i am here

made possible only by guru

i chanced to spot guru, how?

guru spotted me, that is why

who told him to do this?

parabrahma residing in him 

so a friend, very casually referred the name maharishi Mahesh yogi to me

i went, very casually, heard his first lecture

that 's it

i fell for him

my mind, though not my body, fell dandavath before him.

his grace, driven by paramathma, flowed, flooded, drenched, drowned me.

i was just a doll, his commands i followed most willing,

not commands, his words are cajole, a lullaby, a loving touch, a call to wake up, a hand helping me to learn walk. talk, work, 

things happened, on their own ,

circumstances, allowing, unexpected,

results following unanticipated.

eyes got opened

knowledge started revealing, petal by petal ,sprouting

the way is illumined, the speed is picked

the goal came nearer.

journey filled with joy

 

all as per his will

will of god

 

will of my guru

jai gurudev

 Rama and Krishna

Ram is not called Purna Avtar. Only Krishna Avtar is purna. Rama was 14 kala sampurna and krishna was 16 kala sampurna. Shri Ram had first 14 kalas but the last two were missing viz. Paripurna & Swarupavasthit ... here paripurna means complete knowledge of all forms of awakening and swarupavasthit - swarup + awasthit = established in his real true self. 

Shri Rama before, incarnation had decided to hide two kalas....declaring him a God....because of boon to Ravan... in which he was promised that no god would kill him

So Rama intentionally hid his 2 kalas and behaved like a common man... to fulfil the boon that Ravan would be killed by a man. (this has a reply to questions like why Rama cried for his wife,... why he took help from monkeys...etc etc).

Krishna was simultaneously awakened in Jiva consciousness.....God consciousness... and Brahm(Turiya) consciouness.... that is the beauty of Krishna avtar.

Krishna Tattwa is unique.

!6 kalas are as follows:- That only krishna has:-

1) Anna Maya 

2) Pranamaya

3) Mano Maya

4) Vigyanamaya

5) Anandamaya 

6) Atishayini

7) Viparinabhimi

8) Sankramini

9) Prabhvi 

10) Kunthini 

11) Vikasini

12) Maryadini

13) Sanhaladini 

14) Ahladini

15) Paripurna

16) Swarupavasthit 

Krishna was complete and that could be witnessed from his activities-he was a philosopher, politician, diplomat, warrior, yogi, lover, renunciant etc. etc. It is impossible for one person to possess all these and that too in totality. Therefore, Krishna wasn't only the Supreme Person but while descending, he came with all his opulences. Rama didn't because his mission was to establish an ethical govt. and to teach people how to establish Dharma-rajya. 

So it's not that Rama was inferior but his purpose was limited to one aspect of life, namely how a king should be a raja-rishi and establish his kingdom based on dharma.

Krishna's mission was diverse, it was multi-faceted. He descended to teach practically everything under the sun, from politics and diplomacy to the highest flights of Vedanta and yoga. So people say krishna was purna-avatar not because he was superior to Ram (because they were both one and the same) but because his mission was integral and all-inclusive.

one aspect is that rama respected social duties

krsna transcended even them showing that god is above everything

rAma is maryAdA purusottama incarnation.

he accepted limits as to what he can do in his lila.

krishna is pUrna purushottama incarnation.

he had no limits.

 All other avtaars except shri Krishna were not poorna why ?

A poorna avataar is the one where the avatar is full conscious, simultaneously about his Jiva form, his God form and his Turiya (Brahm) form.

Rama was aware of his Jiva form and Turiya form but unaware of his God's form (that too for a purpose)

Shri Krishna is the only avataar who was fully conscious of all the three states of existence, simultaneously

 Lord Krishna was a Purna-Avatara, with sixteen rays (kala) Lord Rama was an Avatara of fourteen rays (kala).

 

 ………….from Swami Amaranandaji lecture notes: