Monday, March 04, 2019

Indian Aesthetics - The Poetry of Krishna

- by Deepa Krishnan

Yesterday at The Magic Room, I attended a marvellous session organized by Expansions (curated by Sarayu Kamat). We listened to the very erudite scholar Dr. Harsha Dehejia speak on the many moods of Krishna Kavya.
I do not reside in Vaikuntha, nor in the hearts of yogis.
Where my Bhaktas sing my songs, there I reside, O Narada!
The invitation for the event said: "Krishna’s romantic presence is best understood as kavya and not as a katha, and that too as muktak, or fragmented moment of romantic pleasure. While enjoying the sensuality of Krishna’s shringara, a committed Rasika will endeavour to move it to shringar bhakti. Krishna shringara ultimately should lead to brahma jnana and therefore ananda"

Image may contain: 1 person, smiling, sitting
It was a pleasure listening to Dr. Dehejia, as he led us through the history of Indian Aesthetics, from the Vedas and the Upanishads, down to Brathrhari (Vakyapadiya, Sphota theory), Bharatamuni (Natyashastra, rasa theory), and Abhinavagupta (commentary on Natya Shastra). 

After giving us a better understanding of various expressions of aesthetics - shabda, shilpa, natya - he then took us into the world of kavya (art, music, poetry). Specifically, he took us for an exploration of Krishna Kavya, tracing the major art and poetry movements of northern and eastern India. 

I learnt a lot, particularly about saakar and niraakar concepts of brahman, about bhakti poetry, about the advaita and dvaita concepts that found expression in the literature. I also learnt the answer to a question that had been puzzling me, the question of Radha. I had never understood how suddenly Radha became a major goddess when she is nowhere in the Puranas. I learnt that Radha is a later construct by poets, particularly Jayadeva and Chaitanya Mahaprabhu. It is a great example of how poetry/music seeps into the Indian heart and fills it with emotion, even leading to mass acceptance of new gods and goddesses. I also learnt a lot about the major poets of the Krishna tradition, and developed an appreciation for Pahari and Rajasthani miniature art. 

All in all, a very good way to spend an evening, and I was very thankful to Sarayu, for inviting me to the event. Here are some more photos:

Sarayu Kamat introducing the speaker

Small glimpse of the audience
My Warli saree and jewellery from Indu Diva
I wore a slice of tribal village life yesterday to the event - a handpainted Warli Art necklace and saree. Indu has done such a lovely project with this. The saree has a base cotton weave from Madanapeta in Telengana, and it was the perfect brown to set off the beauty of the Warli pallu. The artist who painted the necklace and the saree is from the Warli people, living in a village about 4hrs from Mumbai. She went to the village and got the jewellery and saree project kicked off. I felt very good to have supported this work, and it is a joy to wear something that has personal meaning. The Kotpad blouse from Odisha was really perfect! I have increasingly begun to make conscious choices about what I buy and wear.