Baba
Diorama & bhakti
Namaskar,
In His each and every expression and action Baba is goading and guiding our minds towards a more subtle and deeper understanding - in all the spheres of life: physical, psychic, & spiritual etc. This every sadhaka in Ananda Marga 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.
At the same time, it is very intriguing why Baba has created specially designed dioramas which intricately show Lord Krsna tenderly communicating with the young maidens of Vrindaban in such an intimate fashion. And that is what is discussed in this letter.
https://anandamargauniversal.blogspot.com/
AMPS: males & females separate
In our Ananda Marga, Baba is very strict about male-female relations. Everything in our Marga is separated according to gender. First, and perhaps foremost, there is a distinct department in Ananda Marga Pracaraka Samgha 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 Ananda Marga education system, all of the instruction imparted after the primary level is done in single-sex classrooms and homogenous learning institutions. In Ananda Marga schools, males have other males as their peers and are taught by male teachers etc. And females have other females as their peers and are taught by female teachers etc. Plus sadhana instruction in Ananda Marga 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 encouraged to intermingle; rather Baba warns us against such practices. (Ref: CC-1) And, at dharmacakra male and females sadhakas sit in different rows and do their dances separately. Even in the sphere of Guru-disciple relation, things were carried out differently according to 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 protocol.
So, our entire way of life in Ananda Marga is divided according to gender - along male-female lines. Each has their special and distinct role. 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 always dealt very, very seriously with such cases.
So from start to finish, in our Ananda Marga males and females each have their own separate and distinct role. The demarcations between the sexes is very clear-cut.
Keeping all of the above in mind, it is very intriguing 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.
https://anandamargauniversal.blogspot.com/
Traditional Indian society
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 separate. 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. All these codes 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.
Traditional Indian life is not exemplified in other places around the globe such as in certain regions like GT sector etc where males and females are openly seen kissing and touching one another on the streets and gallivanting around town together. In traditional Indian village life, none of this is acceptable.
All this raises the very interesting question: Why is it that the Divine Personality whom religious followers reverently worship and adore as the Supreme God - i.e. as Lord Krsna - extremely close with and compassionately attending to the personal needs of the maidens of Vrindaban. And why are Baba's own dioramas moving along this similar theme. This is a very curious phenomenon. Especially when in the Indian society and in our Ananda Marga such strict mandates about the sanctity of male-female relations have been established - i.e. staunch separation of the sexes.
https://anandamargauniversal.blogspot.com/
Diorama #1: Krsna & females
For a more detailed view of this entire situation and discussion, here is a brief description of 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. In that romantic scene, Krsna is surrounded by no less than 10 young, attractive maidens of Vrindaban - all dressed in beautiful saris. 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 musical instruments. And by looking at the whole scene, one thing seems sure: They all look like they are captivated and enamoured by Krsna's beauty and charm.
Diorama #2: intimacy with young maiden
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 spring season is alive: Two deer are moving along the forested riverbank; beautiful swans are swimming about; lotii flowers are in full boom. And 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.
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. Beside Him, the young maiden Radha 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. Krsna is adorned with flower garlands and seems to be 'lost in reverie' as He is casting a faraway gaze. Altogether the scene is brimming with love.
The above representations are a few of Baba's many magnificently designed dioramas about the early 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.
https://anandamargauniversal.blogspot.com/
Baba showcased dioramas in His 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, these remarkable dioramas were made per Baba’s exact guideline and approval. Each one is beautifully set in a wooden case and enclosed with glass. And all are displayed in Baba's specially allotted museum room. Baba has given great importance to this project. These dioramas are meant to be treasured.
Evaluating the entire subject, it becomes more and more interesting why 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 Ananda Marga ideological teachings, Baba emphasizes that there must not be the free mixing between males and females.
Method of teaching new subject
Here we have to continue one key element: The field of spirituality is very high and quite mystical and esoteric for the common people. Everyone is certainly aware that sadhana and spiritual life are extremely important - this is well-accepted. But the height of spirituality and magnitude of sadhana is not commonly known. In that case, how can it be conveyed?
Let's take a practical example. Suppose you wanted to tell an ordinary citizen from the west about the sweetness of a particular item such as ghur (molasses). In that case one cannot use rasagolla as a comparison or model. Because people in the west do not know about rasagolla. So the term 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 like 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.
Here the key point is that when teaching any person about a new subject, then one must always proceed from what that person already knows and then proceed to that point which they are not aware about. That will make the matter clear; the topic at hand will be better understood.
https://anandamargauniversal.blogspot.com/
Diorama: unveiling the deep secrets of bhakti
The inner depths and hidden meaning of sadhana and spirituality are not commonly known. The greatness and special longing of sadhana and dhyana are mostly an unknown phenomenon. Thus to unveil this and bring the realm of bhakti into the public domain and to present the intimate wonders of sadhana to a greater number of people, Baba had to associate spiritual life with something crude that was commonly known to all.
In every land, human beings understand the crude attraction between males and females. This comes within everyone's realm of understanding. People commonly think that the male-female crude attraction or sexual attraction is one of the strongest forces. 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 spiritual life, in order to explain the tremendous magnetic attraction between bhakta and Bhagavan, Baba has used the well-known subject of crude male-female relations. Because everyone understands that the sensual attraction towards the opposite sex, or even the same sex, is something very strong.
This analogy or this comparison creates a link that enables people to begin to understand that deep sadhana is something far, far greater. By this reference, it can begin to be understood or contemplated that when a bhakta has strong love for their Ista then that type of strong magnetic very sentient and spiritual attraction comes in meditation.
But this type of very sentient and spiritual attraction & realisation is not an ordinary point; many cannot grasp this idea. It is a very high expression that is only known to a few blessed sadhakas. It is something very great to aspire towards - something which is not even experienced by most margiis etc. So without any type of explanation the large majority of the population could never imagine the inner joy and deep sentient and spiritual attraction & realisation of sadhana. But by this type of crude tamasik comparison with human crude sexuality, then that opens the gateway for them to get a shadow, glimpse of understanding about the wonders of mysticism.
Without that type of crude comparison the inner secrets of very sentient and spiritual attraction and realisation in sadhana would remain something out of reach, far away, and unknown.
https://anandamargauniversal.blogspot.com/
Conclusion
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 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 spiritual life and dhyana.
Generally, people turn to God for material boons - not for the attainment of spiritual bliss. If they want bliss, then they seek out sensual pleasures like wine etc. This is the common perspective. Here Baba is guiding us indirectly that one should seek bliss in their spiritual life and relationship with the Divine.
Namaskar,
In Him
Guruseva’
~ In-depth study ~
How artists try to inspire the people
Ananda Marga philosophy says, "The true characteristic of love is supra- physical – beyond the bondage of any limitation. When artists become absorbed in the essence of love and try to convey it to the people through their language, rhetoric and subtle suggestions, the sweetness of their artistic genius reaches the apex of expression. But then this creation of the artist cannot be regarded as popular literature or art, because the subtle sense which is capable of comprehending that transcendental feeling is, in fact, undeveloped in most people. We do find at places in the literature of Rabindranath Tagore some semblances of this pure, supra-physical love, but whenever Rabindranath tried to give expression to it, he became unintelligible to the masses. The transcendental thoughts and ideas of the sweet, graceful shlokas [couplets] of the Upanishads are also incomprehensible to the common people."
"This sublime love has established itself for all eternity beyond the limits of time, space and person. Infinite love is the ultimate ecstatic expression of finite love. This sense that artists try to awaken in the popular mind, when they devote themselves to the task of establishing the link between the finite and the infinite, between the mundane and the transcendental – this awareness, though not purely transcendental, is of the greatest importance in the realm of art. Because it gradually leads that sweetness of the human mind which is apprehensible to ordinary intelligence to a dreamland that is beyond the senses. Rabindranath’s poem “Úrvashii” is a composition of this type. There is no dearth of physicality in the poem, nor is it difficult to understand, and yet its crude material expression gradually expands into a subtlety beyond understanding." (1)
Baba's special teaching about Krsna and Radha
This following teaching by Baba sheds more light on this entire subject.
Ananda Marga ideology guides us, "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." (2)
Summary
In these dioramas which Baba has specially designed, He is most beautifully teaching one and all about the deep and inner secrets of bhakti and dhyana. That solves the mystery and removes any ambiguity about why Baba has depicted Krsna that way in His dioramas. The reason is that was the best way to begin to teach people about the great intimacy, love, and attraction that can be had in sadhana and bhakti.
Here is Baba's gracious assurance that in our own personal sadhana we will all experience the great heights of true spiritual attraction and bhakti.
Ananda Marga ideology guides us, "You will certainly achieve that supreme stance and enjoy divine blessedness. You are sure to enjoy it, my sons and my daughters." (3)
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." (4)
Ananda Marga sadhana is about the cultivation of bhakti. 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." (5)
Ananda Marga ideology states, “कोई भी मनुष्य ऐसा नहीं है जिनमें साधना करने की शक्ति नहीं है, आराधना करने की शक्ति नहीं है | यह जो ह्लादिनी शक्ति, concentric force, इसी की बदौलत मनुष्य आराधना करते हैं—इसलिए इस शक्ति का और एक नाम है राधिका शक्ति अथवा राधा | ये जो परमपुरुष, ये जो ब्रह्मचक्र के बीच में हैं, जिनके लिए आराधना; वे ही हैं सब कुछ | साधना के द्वारा मनुष्य जब परमपुरुष के पास पहुँच जाएँगे, तो राधा शक्ति कृष्ण के पास पहुँच गई | {इसी पर} इसी को कहते हैं—राधा कृष्ण का मिलन | राधा कोई {औ} औरत नहीं है, और कृष्ण कोई दुनियावी मर्द नहीं है | यही है राधा तत्त्व | यही है कृष्ण तत्त्व |” [6]
Ananda Marga ideology guides us, “आराधना मनुष्य जिस शक्ति से करते हैं, इसका नाम है क्या ? ह्लादिनीशक्ति | संवित्शक्ति से होश आ गया कि—”क्या मैंने किया है |” और ह्लादिनीशक्ति से साधना हो रही है | इसको ह्लादिनीशक्ति कहते हैं, या राधिकाशक्ति कहते हैं | और, जो आराधना करते हैं, उनको “राधा” कहते हैं; और बीच में कृष्ण | राधा कोई नारी नहीं है | आराधना जो करते हैं, वे राधा | आराधयति या सा राधा | यही है कृष्ण तत्त्व |” [7]
Divine union and transcending the material world
Radha and Krishna represent the longing for divine union between the soul and God. We all have that longing within us - the soul for the divine. The complications of their relationship represent the challenges that the soul has in reaching that divine union while incarnated as a human here on earth. That longing and frustration and complication which comes from having to live in a restricted world of rules or customs while seeking the freedom of the divine. Radha and Krishna’s secret love represents the need to transcend material existence in order to achieve the divine union. We run into problems when we try to inject our moral judgments or materialistic views into these archetypes. This is about transcendence and not about existing within the limitations of material existence.
These are just symbols and are not meant as value judgment on the morality of married life. Get out of your limited and materialistic viewpoints..The bliss of the divine union supercedes all convention - it breaks down all socially imposed barriers - it silences all moral judgments. It simply is - and will always be. (Courtesy of "She" - Radha Krishna: A Divine Love )
References
1. A Few Problems Solved - 1, The Practice of Art and Literature
2. Ananda Vacanamrtam - 23, p.21
3. Ananda Vacanamrtam - 23, p.76
4. Ananda Vacanamrtam - 7, The True Nature of Bhakti
5. Subhasita Samgraha - 18, Cult, Inference and Propensity
6. DMC 20 March 1966 Muzafarpur
7. DMC 28 July 1963 Kota
* * *
The below sections are entirely different topics, unrelated to the above material.
They stands on their own as points of interest.
* * *
== Section 2: Prabhat Samgiita ==
O’ bhakta, exquisitely decorate the Ever-New Entity, Parama Purusa
PS Intro: In this song Parama Purusa is addressing the bhakta and giving him all sorts of guidelines to gain success on the path of spiritual attainment.
“Cir nútane yatane mánas ratane, paráńa bhariyá sájáye dáo…” (Prabhat Samgiita #0577)
Purport:
O’ bhakta, exquisitely decorate the Ever-New Divine Entity, the inner jewel of your mind, up to your heart’s content. By your kiirtan, japa, sadhana, and dhyana, prepare a place for the Supreme One in Your Guru cakra and serve Him. Forget about the sludge of the past; do not think about those bitter days of old. Welcome the new effulgence, and warmly embrace this bright new era of neo-humanism.
O’ sadhaka, those old worn-out dogmas are like torn rags. Shake off those illogical ideas and cast them away from your mind. Give up all those isms and irrational beliefs. The call of the Ever-New is a message of radiant beauty. Dye your mind with the sweet call of the Supreme, and then colour the whole world. Spread that eternal message to all the four corners. Let everyone bask in the song and bliss of the Divine.
O’ spiritual aspirant, do not try to bring back the dogmas of those lost days of old. Do not dream to be intoxicated by that old wine. Do not waste your time thinking about those good and bad recollections of the past. The vibrant sun rays is like a new tonic. Arouse and awaken one and all with this brilliant new vision of neo-humanism.
O’ spiritual soldier, the journey, which began in the past, marches forward and will never stop. It goes on and on. In the blissful new joy of the rhythmic waves of t'al, fill your heart with the melody of the Ever-New by singing the glory of Parama Puruśa - that Eternal Entity...
PS Intro: In this song Parama Purusa is addressing the bhakta and giving him all sorts of guidelines to gain success on the path of spiritual attainment.
“Cir nútane yatane mánas ratane, paráńa bhariyá sájáye dáo…” (Prabhat Samgiita #0577)
Purport:
O’ bhakta, exquisitely decorate the Ever-New Divine Entity, the inner jewel of your mind, up to your heart’s content. By your kiirtan, japa, sadhana, and dhyana, prepare a place for the Supreme One in Your Guru cakra and serve Him. Forget about the sludge of the past; do not think about those bitter days of old. Welcome the new effulgence, and warmly embrace this bright new era of neo-humanism.
O’ sadhaka, those old worn-out dogmas are like torn rags. Shake off those illogical ideas and cast them away from your mind. Give up all those isms and irrational beliefs. The call of the Ever-New is a message of radiant beauty. Dye your mind with the sweet call of the Supreme, and then colour the whole world. Spread that eternal message to all the four corners. Let everyone bask in the song and bliss of the Divine.
O’ spiritual aspirant, do not try to bring back the dogmas of those lost days of old. Do not dream to be intoxicated by that old wine. Do not waste your time thinking about those good and bad recollections of the past. The vibrant sun rays is like a new tonic. Arouse and awaken one and all with this brilliant new vision of neo-humanism.
O’ spiritual soldier, the journey, which began in the past, marches forward and will never stop. It goes on and on. In the blissful new joy of the rhythmic waves of t'al, fill your heart with the melody of the Ever-New by singing the glory of Parama Puruśa - that Eternal Entity...
== Section 3: Important Teaching ==
How to become family acarya nowadays
Ananda Marga Caryacara says, "Only those persons who are sincere, spirited and endowed with sharp intellect; and who understand and can make others understand the philosophy will be considered eligible to become acaryas." (1)
Note: Sadguru Baba’s above golden guideline is an essential component of developing a strong cadre of acaryas. Eligibility for becoming an acarya is to be based on one’s psychic and psycho-spiritual development, as well as one’s commitment to understanding and propagating Ananda Marga ideology.
Sadly, this high standard is not being upheld these days. One such avenue needing attention is the pathway for becoming a family acarya. In today’s organisational climate of extreme groupism, family acaryaships are not granted on the basis of one’s sadhana and ideological understanding. Instead, people become family acaryas only if they will blindly and obediently follow the group agenda of their bosses, and / or if they are big financial donors to Centre etc. And being a “yes-man” is the main qualification. That means if one is willing to unquestioningly compromise on points of ideology for the sake of of a particular narrow group, then one will be considered a prime candidate to be a family acarya. Unfortunately, this is the chief qualification for becoming a family acarya nowadays.
To truly advance and propagate Ananda Marga ideology, our entire acarya cadre, both family and Wt acaryas, will have to be formed and based on Guru’s guideline: ”Only those persons who are sincere, spirited and endowed with sharp intellect; and who understand and can make others understand the philosophy will be considered eligible to become acaryas." (1)
Reference
1. Caryacarya - 1, Táttvika, Ácárya/á, and Purodhá
== Section 4: Links ==
More About Niilakantha Divas - Feb 12 Recent postings
Other topics of interest
More important letters
Legal Notice: ©2018 Ananda Marga Universal Forum. All rights reserved. Ananda Marga Universal Forum content is the intellectual property of Ananda Marga Universal Forum or its third party content providers. Ananda Marga Universal Forum shall not be liable for any errors or delays in content, or for any actions taken in reliance thereon. Any copying, republication or redistribution, part or full, of Ananda Marga Universal Forum content, including by framing or similar means, is against the court of law and expressly prohibited without the prior written consent of Ananda Marga Universal Forum.
Reply to: anandamargauniversal1@yogasamsthanam.net
2. Posting: Diorama & bhakti
3. IT: How to become family acarya nowadays
4. Links
