Meditation to a complete life

Nothing else other than experience of absolute in deepest meditation can make the life complete in every sense of the word .

all else are just time pass, tho best illusions

 

No book can give, 

no person can provide, 

no possession can satisfy, 

no achievements can fulfill,

no earning can fill, 

that life really wants

what it wants is the access to the source of 

the sath chith ananad

intelligence energy bliss

it cannot be gained by repeating these words , 

nor by reading great commentaries on these

it can be gained only thru actually experiencing it 

authentically , unmistakably, truly, actually 

the way is thru guidance from master , instantly

or the other way is to wait for eternity indefinitely

 

One can be writing blog after blog

responding , endlessly , staying in the bog

one can be waiting for enlightenment to dawn 

one can be seeking guidance from passersby from dawn to dusk 

with the best sincerity 

with highest earnestness

with great curiosity

with untiring efforts

yet 

none can help

since all need that help themselves 

only master knows

only master gives

      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

    All gender based problems are caused by persistent body consciousness. 

the solution for this is to develop higher consciousness in the individuals and society 

then any sensory distractions will not happen.

human sees the far higher divinity, 

far exceeding divine beauty every where 

not only in the female figure, 

will not be subjected to any baser pulls from instincts, 

like a child

any lesser solution can not give a real cure”

we have moved away , 

hence the need to realign ourselves with the noble life style of 4 ashramas for which brahma charya is the foundation”

“The story of Ṛṣyaśṛṅga has lessons for parents and youth I quote‘’ rishi Vibhandaka, his father was seduced by the celestial danseuse Urvasi ,Rishyasringa. was born However, immediately after the child was born, Urvasi, after completing the duty she was sent for, left the infant child and her lover and made her way to the heavens. The incident left the father with extreme hatred towards women folk, and he raised the boy in a forest, isolated from society. He never saw any girls or women, and was not told of their existence.And this endowed him miraculous powers. at that time the kingdom of Anga suffers from drought and famine. The king, is told that this can only be alleviated by with the powers that come from observance of perfect chastity. The only such person is Rishyasringa. He has to be brought to the city, and be persuaded to carry out the necessary ceremonies

the king sends young women, and later his daughter Shanta, to introduce the boy into normal society. This is done, Rishyasringa uses his powers, the kingdom receives bountiful rains and Rishyasringa marries Shanta. Much of the story is taken up by accounts of the feelings of the young man as he becomes aware of women for the first time’’unquote

lessons

1 kaama , lust is a powerful natural instinct , even great rishis fall , requires rigorous austerities to gain and sustan self control

2 parents can/ should bring up children in a protected environ, away from attractions, so that personality blossoms with all powers and glory , to do good to the world 

3 the nature has it’s own purpose in creating mutual attraction, environ has enough lures, not under one’s control 

4 but man can win over the natural instinct by orienting his attention on the ultimate goal of life , without falling on the way 

5 a proper training and guidance will definitely produces desirable results 

6 the issue deserves all serious concern in life ,not to treat it in casual manner

7 youth and the adults better read good wholesome literature, and lives of rk and Vivekananda, and all such saints and great personality to get inspiration to set themselves on the right track”

“”Those who had and loved a Mother would not do such a disgusting thing.” fantastic cause and solution i too firmly believe that , due to various reasons we are all missing the one basic, ie mother’s love

we are too early thrown out away from her purest love, care, caress. our values have not been properly blossomed in right direction with her due attention , hence all this gender crimes 

“In this state, gradually one becomes so much positively oriented naturally without any effort or control, that any distractions / encounter s of any nature, skin exposures, vulgarities , dress, gestures, talk, provocations, will not affect his composure, he will not become impotent, but highly virile, yet inward directed in thinking talking and behaviour towards higher goals , aesthetic values life, he neither likes nor dislikes, neither resists neither insists, nor runs away, nor closes his eyes and ears but just sees all the happenings in evenness of vision ,accepting and appreciating the ways of the supreme in the universe, does not interfere, does not plead for transformation of the world, he has transformed himself to a level that sails him safely ashore”

“I am talking of much higher consciousness, brahman consciousness, in which one gains the ability to master all his instincts and his behavior naturally getting regulated to fall in line with the evolutionary trend and higher purpose , it is humanly possible and there are examples from past and living in present times .it’s the art leading intelligent life , and a few are in this line already . more must discover such paths and gradually help in raising the world consciousness.even some westerners are in this line seriously”

“This is a matter of direct experience, the truth of which to be verified by each individual , himself reaching that level , never can be really estimated, never can be under estimated in this state, the essential feature that happens is the Real goodness flowing abundantly through grace of God, nullifying the need of any pretense what so ever, life long.and the individual experiences secure against all the undesirable inputs, completely unperturbed. and his tendencies will be just all positive, helpful, friendly, kind, towards all in the universe, and females in particular . his view has become so much expanded that virtually he lives a god on earth 

mine is not a imagination or nor a conjuncture, but it is a practical possibility, —based on my familiarity with this subject on practical level 

—and so is worth attempting in life, instead of doing all patch work of reforming others , which never can succeed. 

why at all some one agrees to others’ dictates whether male or female, each has his / her ability of discrimination and would go by own value system on what is good and bad, and is prepared to reap the consequences too and as long as human beings remain in the lower level of consciousness, what ever they do or do not do will not be successful , though done in extreme sincerity , putting in all the dos and donts my point may not be readily taken , but truth remain irrespective of disapproval”

“Akkamahadevi, lived bare without clothes, slept in open places at temple ruins ———–but safely, happily, joyfully”

“Let’s not isolate to a section, in the growing youth every where , the nature has ways of exciting with slightest hint , it’s biological for all beings , the reproductive instinct”

“Let man learn and elevate himself to be unmoved against all temptations it is a challenge

incidentally, the almighty nature is testing the human beings , even a destructive test, to teach lessons of life and become better , nobler, 

like shiva, passing the test of manmatha, 

like bhasmasura, failing in the test in the farm of mohini’s antics, 

like ram with one wife principle,

like ravan violating and meeting the end despite his tapasya 

now the modern human has to pass this test, no matter what the national police/ judiciary/ legal/ verma contributions in this regard can be 

the severest test is let there be 100 distractions, man must remain unmoved , let him struggle and learn that kind of discipline and pass the nature’s test triumphantly”

no dress code can save a man from instinct 

to man if you want to blame, blame yourself 

lf the nature is so powerfully designed that even a thought of the female is enough to seduce the man if some one blames women for unintended exposure, it’s only to pass buck 

vemana, was visiting the prostitute, his well wishing brother’s wife asked him to request the prostitute to bare herself 

yes he did ask, and she did oblige  

lo !

after seeing her naked body, vemana was completely disillusioned, and turned himself into a transformed man, saw the futility of the temptations and became a saint, beyond body consciousness.

my point is , the control is in your hand , not elsewhere, what ever may be the distractions .i feel that , let sisters and mothers live in the way they want to live, as a class, female is no slave to obey male on how to be , how to dress or how to behave”

“Granted, yes, certainly . there need be no negating , no suppressing the nature , one need not be a life long celibate that is why the system of marriage,gruhastha ashram, at the eligible age, for the fruitful, purposeful fulfillment of unescapable natural instinct and procreation to sustain the race but 

this will be a grand success if only the life’s 4 ashrams are on the strongest foundation of brahmacharya, that is, one must become eligible to get into marriage by graduating thru the first brahma charya, ie gaining the ability of moving in brahman consciousness, consequently , gaining the ability to mould his instincts at will .—failing which, the institution of marriage gets shattered by unruly desire seeking any number of undesirable ways,—like illegal/immoral/ ”keeps” relationships, prostitution, polygamy, polyandry, and uncouth social behaviour , in some cases even with willing consent from spouse and worse still , –like rape, murder, torture, 

my emphasis is on mastery over oneself , by any effective means , traditional or modern which really works 

if not , what ever surface treatment done, the history repeats in one form or the other 

parents hold the key more than others to nurture the good character”

  man is the child of god

he has all that god has

he can access and reap what he wants ,

Man can cheat whenever he wants ,or be jealous ,

cruel, murderer whenever he wants

so he has all liberty to do anything

he has all the choices ,

he has the skills and abilities to do anything.

god has given .

that is why man is doing all kinds of good and bad

and reaping the good and bad results

 

The criminals have great intelligence , no less.

like great professors of maths sciences.

he does what he wants . Because he can do . he has ability

that is his choice that is his consequences

professors do not do , the can if they want ,

 but they choose not to do

so they will not reap the consequences as criminals reap

but all are gods products ,

like good sons/daughters or bad sons/daughters to the one father

     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

    Maharishi said

pure consciousness the absolute pure field of creative intelligence i s the source of thot, in that silent non moving ocean of consciousness, an impulse of it appears as a minute ripple, the most subtle sprout of thot, like a tiny air bubble and gradually it gathers the energy and intelligence of the field and gains momentum, ie ,the energy and direction and grows and comes to the conscious level and appears as fully grown thot, and man perceives it then.What

if there is thot , there is mind

if there is no thot ,there is no mind

As long as thots prevail , we dwell in mind, and experience its all consequences

hence to be free , attempt has been to go beyond and be with pure consciousness, the field of sath chith ananda

Thoughts make us limited , covering/restricting our ability to be with our true nature, and we thus become the individual, bindu

once we go beyond we are in /we are sindhu

can be truly understood if only one gains the glimpse of absolute, thru guidance,

or else all discussion is only reading about mango without ever tasting it , even best photo graph/video of mango is no mango

hence i daringly assert that blog , but after you tasted it

first have it then come and blog

otherwise st will remain a green tree picture before us , not a real tree of true experience we missing the real shade, fruits flowers leaves and the birds singing perched on its branches

of course it's the choice of individual what he wants, but he misses a world, miserably engrossed in debates

sankara and maharishi first attained that essential qualification first and foremost earliest in there life, having been established fully in there deepest self they started to teach/debate , but not before that.

no one can force any one but i have to say the truth, one likes it or not but surely he will not understand the import of my talk , no claims but my guru makes to talk from staying inside and saying what i see

      Art and science  1 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