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Archive for November 19th, 2009

Baba says, "The Cosmological Nave is called Krs'n'a, because He attracts everything. Krs'n'a means "the supreme charmer", "the supreme attracter", who attracts everybody towards Him with the help of His -- what? His supreme flute. That supreme flute is Krs'n'a. He creates universal acoustic waves, and those waves bring people towards Him; that is why He is called Krs'n'a

Date: 19 Nov 2009 06:02:37 -0000
From: “Gregory Hamick”
To: am-global@earthlink.net
Subject: Mystery in the Field of Devotion

Baba

“A’ka’shabhara’ a’jake ta’ra’…” (P.S. 2523)

Purport:

The sky of this amavasya night is filled with the stars. The sweet
breeze, like nectar, is blowing mildly. The mind is floating from the known
to the unknown world in divine ecstasy– towards its destination. Ensconced
in His ideation, my mind is getting lost.

The lily flower is constantly looking towards the sky; the aroma of
flowers is emanating all around. They have forgotten their awareness about
their own existence. And remain restless in the attraction of one call.

In Your longing I am sitting alone and counting the stars. I understand
that by Your grace I have lost myself in this beautiful atmosphere and the
attraction of Your love. You are ever gracious You are always remaining by
my side and guiding me. Baba, on this amavasya night my heart is yearning
and longing for You…

== MYSTERY IN THE FIELD OF DEVOTION ==

Namaskar,
In His each and every expression and action Baba is goading and guiding our
minds towards a more subtle & deeper understanding– in all the spheres of
life: physical, psychic, & spiritual etc. This every AM sadhaka knows.
Thus when Baba has personally supervised and guided the best artists of
Bengal to create specially hand-crafted, detailed dioramas depicting the
lives of Lord Krsna and Lord Shiva, then we know that those dioramas must
hold great significance and value.

SAME AS THOSE RITUALISTIC SCENES ABOUT LORD KRSNA

One time, however, I was visiting Tiljala and looking at those very
dioramas of Krsna and Shiva in Baba’s special museum room. On that
occasion, some others present were commenting how many of the dioramas
which Baba designed depicting Lord Krsna were of a similar style as those
ritualistic paintings made by dogmatic Hindu communities.

And as we all know, in those ritualistic scenes, the dogmatic Hindus
regularly portray Krsna as a remarkably charming and attractive youth who
lovingly cared for and maintained close and intimate relations with the
young maidens of Vrindaban. Krsna is commonly shown this way in religious
Hindu pictures.

So when Baba’s own approach in His personally designed dioramas about Krsna
is similar in presentation, then that raises some highly intriguing
questions. Please consider the following.

AM SOCIETY: MALES & FEMALES KEEP SEPARATE RELATIONS

In our Ananda Marga, Baba is very strict about male-female relations.
Nearly everything in our Marga is distinguished and divided according to
gender.

First and perhaps foremost is that there is a totally distinct and separate
department in AMPS exclusively for women– i.e. WWD (Women’s Welfare
Department). That stands as one monumental way in which everything on the
organisational plane is done separately between males and females.

Then in our AM education system, all of the instruction imparted after
primary level is done in single-sex classrooms and homogenous learning
institutions. In AM schools, males have other males as their peers and are
taught by male teachers etc. And same is the case for female students.

Plus sadhana instruction in AM is only given from male to male and from
female to female. Dadas handle the initiations of all the brothers; and
Didis teach meditation to all the sisters. Everyone is well aware that Baba
has very carefully instituted this system.

In addition, at our social functions, males and females are not at all
encouraged to intermingle; rather Baba warns us against such practices.
(Ref: CC-1)

Then, at dharmacakra male and females sadhakas sit in different rows and do
their dances separately.

And even in the sphere of Guru-disciple relation, things were carried out
differently with regards to one’s gender. For example, no individual margii
sister or Didi would receive PC (personal contact) by themselves. Rather it
was always done as a small group– with other sisters present. They did not
go into Baba’s room alone for PC. Whereas with brothers that was the
standard program.

So, in general, our entire way of life in AM is divided according to
gender– along male-female lines. That is, each has their special and
distinct role.

And top of all, Baba was extremely strict if that boundary was crossed.
More explicitly, in the unfortunate event that anyone ever engaged in
illicit relations with members of the opposite sex then Baba became
furious. He always dealt very, very seriously with such cases.

So from start to finish, in our Marga males and females each have their own
separate and distinct role. The demarcations between the sexes is very
clear-cut.

POINT OF INTRIGUE

Keeping all of the above in mind it is very curious to think why Baba has
created specially designed dioramas which intricately show Krsna tenderly
communicating with the young maidens of Vrindaban in such an intimate
fashion. That is a point of intrigue. Here is another aspect of the puzzle
to consider.

TRADITIONAL INDIAN SOCIETY: SEPARATE LIVING STYLE

In general, in Indian culture, there is a long history and established
tradition of very dignified and separate relations between males and
females. For hundreds and thousands of years, male-female relations have
been kept quite distinct. The open and free mixing of males and females is
not condoned in traditional Indian society. And if that boundary is
transgressed, then those guilty parties are shunned by the society– until
the matter has been fully rectified.

So male-female relations in traditional Indian village life are very well
delineated. Indeed, even after marrying, all the males of the household
sleep in one separate structure together. And all the females of the house
stay in an entirely different area. So from this view it is clear that the
Indian subcontinent follows a Tantric oriented life– where males and
females honourably live their lives in a separate fashion. Of course all
these rules and guidelines were originally given by Lord Shiva and Lord
Krsna. And in that way the Indian sub-continent grew up according to the
Tantric code.

NOT LIKE IN THE SEX DOMINATED WEST

So traditional Indian life is not at all like in some other places around
the globe such as in certain western areas like GT sector etc where males
and females are openly seen kissing & touching one another on the streets
and gallivanting around town together. In India none of this is at all
acceptable.

POINT OF INTRIGUE #2

All this raises the very interesting question: Why is it that the Divine
Personality whom religious Hindus reverently worship and adore as the
Supreme God incarnate is, time and time again, depicted in such a way–
Where He, i.e. Krsna, is being extremely friendly with and compassionately
attending to the personal needs of the maidens of Vrindaban. And why are
Baba’s own diorama moving along this similar theme. This is a very curious
phenomenon. Especially when in the Indian society and in AM such strict
mandates about the sanctity of male-female relations are in vogue– ie the
separation of the sexes.

ONE DIORAMA: AN IN-DEPTH LOOK

For a more detailed view of this entire situation and discussion, here is a
brief description of but one of Baba’s beautifully designed dioramas about
Lord Krsna’s days in Vrindaban.

In one particular diorama, the young Krsna with his long flowing hair is
shown sitting under a tree in the forest with one leg delicately crossed
over the other knee. The flowers of the forest are in full bloom and Krsna
is elegantly dressed in colourful gowns. He is also wearing a flower
garland around his neck; in His hand He is preparing to play His divine
flute. And His gaze is very intent and focused. In the background there is
a picturesque flowing river and overhead the brilliant sun is shining
brightly. And in that romantic scene, the young Krsna is surrounded by no
less than 10 young, attractive maidens of Vrindaban– all dress in
beautiful saris. They all look as though they are completely enamoured with
the handsome Krsna. Some of the young maidens are standing very close by
looking at Him directly, while others have their eyes closed and just seem
to be treasuring the moment. Two of the maidens are sitting in line with
Krsna, both playing the sitar. And by looking at the whole scene, one thing
seems sure: They all look like they are totally captivated and enamoured by
Krsna’s beauty and charm.

ANOTHER OF BABA’S SPECIALLY DESIGNED DIORAMAS

Then there is another diorama that shows an even more intimate scene. In
this next diorama, there are huge, majestic mountains in the background and
in the foreground the forest is full of flower blossoms. The whole spring
scene is alive: two deer are moving along the forested riverbank; beautiful
swans are swimming about; lotii flowers are in full boom. And right there
in the front & center, at the confluence of two deeply blue rivers, Krsna
and one young maiden, are standing upon one grand floating lotus flower.

Surely the special maiden along with Krsna is none other than Radha. And
the enchanting Krsna is standing in a beautiful pose– with some toes
pointed toward the ground– and He is playing His divine flute. And beside
Him, one young maiden is intimately holding on to Krsna. Her tender cheek
is up against his broad shoulder, and her arms are around his waist and
torso. And her half-closed eyes are looking up towards Krsna. And Krsna
Himself is adorned with flower garlands and He seems to be ‘lost in the
moment’ as He is casting a far away gaze. Altogether the scene is brimming
with love.

So the above representations are but a couple of Baba’s many magnificently
made dioramas about the days of Lord Krsna in Vrindaban. And as is quite
apparent, Baba is openly showing the beautiful Krsna accompanied by the
close companionship of the young maidens of Vrindaban.

BABA HIGHLIGHTED THESE DIORAMAS IN HIS SPECIAL MUSEUM

Here again it should be emphasized that the above described dioramas are
not something which were brought to Baba as a gift. Rather with His own
precious time, Baba imparted explicit and detailed instructions to the most
talented artisans available to specially craft these dioramas. And
throughout the 1980’s, over the course of many months and years, these
remarkable dioramas were made. And each one is beautifully set in a wooden
case and enclosed with glass. And all are displayed in Baba’s specially
allotted museum room– just outside His own personal bedroom. Plus we can
say that the dioramas are the only pieces in Baba’s entire museum which
were made by Him personally. Everything else in the museum is a gift or
requested item from a near or far distant land. Whereas the dioramas He
personally designed. Clearly then Baba has given great importance to this
project. These dioramas are meant to be specially treasured.

POINT OF INTRIGUE #3

Evaluating the entire subject, it becomes more and more interesting why
then Baba has given such tremendous value to these hand-crafted dioramas
when many of the dioramas strikingly present the young Krsna intimately
engaged in the company of the fair maidens. Because we all know that in AM
Baba emphasizes over and over again that there must not be the free mixing
between males and females.

BRINGING THE MATTER TO LIGHT

After leaving Tiljala that time I stayed with various family acaryas who
shared their thoughts with me about this.

They told me that the field of spirituality is something very high and
quite a mystical thing for the common people. Everyone is certainly aware
that sadhana and spiritual life are extremely important– this is well
accepted. But how the height of that spirituality is expressed and what is
the magnitude of sadhana is not commonly known.

TASTING CHOCOLATE: TEACHING FROM KNOWN TO UNKNOWN

Then they said: Suppose you wanted to tell an ordinary citizen from the
west about the sweetness of a particular item such as ghur (molasses). Then
in that case one cannot use rasagolla as a comparison or model. Because
people in the west are not commonly aware about rasagolla. That rasagolla
will not give them any hint or insight that ghur is also wonderfully sweet.
Because both those items– ghur and rasagolla– are unknown to them.
Whereas if one says to those western citizens that ghur is as sweet as
chocolate, then everyone in the west will easily understand that ghur is
something very delicious and tasty. Because all are aware about the special
sweetness and wonderful taste of chocolate.

In that way, the family acaryas explained, that when teaching any person
about a a new subject, then one must always proceed from what they already
know and then proceed to that point which they are not aware about. Then
that will make the matter clear and the topic at hand will become better
understood.

UNVEILING THE DEEP SECRETS OF DEVOTION

Similarly those family acaryas told, that the inner depths and hidden
meaning of sadhana and spirituality are not commonly known. The greatness
and special longing of sadhana and dhyan is mostly an unknown phenomenon.
Thus to unveil this and bring the realm of devotion into the public domain
and to present the intimate wonders of sadhana to a greater number of
people, Baba had to associate spiritual life something that was commonly
known to all.

And from east to west and from north to south, each and every human being
understands about the great attraction between males and females. This
comes within everyone’s realm of understanding. People commonly think that
the male-female attraction or sexual attraction is one of the strongest
forces on this earth. They see it manifest each and every day of their
lives. It is a common sight in the regular society.

In that case, in order to unveil and display the inner secret meaning of
devotional life and dhyana, in order to explain the tremendous magnetic
attraction between bhakta and Bhagavan, Baba has used the well-known
subject of male-female relations. Because everyone understands that the
attraction towards the opposite sex is something very strong.

This analogy or this comparison creates a link that enables people to begin
to understand that deep sadhana is also like this. By this reference, it
can begin to be understood or contemplated by some that when a devotee has
strong love for their Ista then that type of strong magnetic attraction
comes in dhyan. That is one of the inner manifestations of dhyana.

But this type of realisation is not an ordinary point; many cannot grasp
this idea. It is a very high thing that is only known to a few blessed
sadhakas. It is something very great to aspire to– something which is not
even experience by most margiis etc. So without any type of explanation the
large majority of the population could never imagine the inner joy and deep
attraction of sadhana. But by this type of comparison with human sexuality,
then that opens the gateway for some people’s understanding about the
wonders of devotional life.

So without that type of known reference– i.e. without comparing deep
spiritual sadhana with the attractive force between males and females–
then the inner secrets of sadhana would remain something totally far away
and unknown to the human psyche. Whereas through the analogy of the
attraction of the opposite sex, then some people can begin to understand
that in the practice of deep sadhana there is some special feeling and
force of great attraction. But again this is a very high ideal and cannot
be understood by the entire general public etc– or even by regular sadhakas.

REFLECTING FURTHER ON THOSE DIORAMAS

Considering the whole matter, by thinking deeply on the topic then we can
understand that in those dioramas the depiction of Lord Krsna with the
young maidens of Vrindaban is something totally symbolic. Baba is not
espousing the glories of the free-mixing of the sexes but rather He is so
carefully unveiling the inner secrets of devotional life and dhyana.

BABA’S SPECIAL TEACHING ABOUT KRSNA AND RADHA

This following teaching by Baba sheds more light on this entire subject.
Baba says, “The Cosmological Nave is called Krs’n’a, because He attracts
everything. Krs’n’a means “the supreme charmer”, “the supreme attracter”,
who attracts everybody towards Him with the help of His — what? His
supreme flute. That supreme flute is Krs’n’a. He creates universal acoustic
waves, and those waves bring people towards Him; that is why He is called
Krs’n’a. And microcosms come in contact with Krs’n’a with the help of that
particular expression of sentient vidya’ shakti which is known as Ra’dhika’
shakti. And when with the help of Ra’dhika’ shakti the microcosm comes in
contact with the nave Krs’n’a Purus’ottama, then we say it is the union of
Krs’n’a and Ra’dha’. Krs’n’a is not a male being of Vrindavan, and Ra’dha’
is not a lady. You should understand it properly…it is the divine force,
and it is the devotional principle, it is devotion.” (AV-23, p.21)

SUMMARY

About all this there is much more to be said. Certainly many other sadhakas
have their own special insights to share. Suffice to say here then that in
those dioramas which Baba has specially designed, He is most beautifully
teaching one and all about the deep and inner secrets of devotion and
dhyan. From this perspective, that erases any mystery or ambiguity about
why Baba has depicted Krsna that way in His dioramas. Because based on the
current level of human understanding and awareness, that reference was the
best way to begin to teach people about the great intimacy, love, and
attraction that can be had in sadhana and devotional life.

BABA’S BLESSING

Here is Baba’s gracious assurance that in our own personal sadhana we will
all experience the great heights of true devotional love.

Baba says, “You will certainly achieve that supreme stance and enjoy divine
blessedness. You are sure to enjoy it, my sons and my daughters.” (AV-23,
p.76)

Namaskar,
Gurumurti

Note 1: MUNDANE ATTRACTION VERSUS DIVINE LOVE

Here below Baba makes a clear-cut differentiation between mundane
allurement (ka’ma) and true spiritual love (prema).

Baba says, “If one’s attachment is channelised towards any supra-psychic or
spiritual object it may be called ‘prema’ or love’. But love in the
physical and psychic spheres is called `ka’ma’ and not ‘prema’… Ka’ma
means the endeavour to obtain certain things in the physical and psychic
levels. So bhakti and prema are only applicable in the case of Iishvara.
This ever-flowing mental thought-wave channelised towards Iishvara is the
highest human achievement.” (V-7)

Ananda Marga sadhana is about the cultivation of such devotion or such
prema. And by His grace we will all reach this pinnacled point.

Baba says, “Prema is the attraction for Parama Purus’a overcoming the
attraction for all other finite objects. Those who are endowed with such
divine love are bound to receive the grace of Parama Purus’a — they need
not worry about it. If they practise the spiritual cult regularly…Those
who arouse devotion through action and knowledge are certain to attain the
grace of Parama Purus’a.” (SS-18)

*********************************
Food Problems and Their Solution II

Baba says, “In the event of shortages in the food and accommodation of the
population of the world, people will convert uncultivated land into new
arable land, increase the productivity of the soil by scientific methods,
produce food by chemical processes with earth, water and air, and if this
earth decreases in its productivity, then land seeking human beings will
migrate to different planets and satellites and settle there.” (PNS-13, p.45)

*********************************

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