Gandharva Veda

Gandharva Veda

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            This entire world was once the land of the Veda. The essence of Veda are the Upanishads. Upanishads focus on intellectual reasoning of the ultimate truth - the goal of human birth - Adwaitham. However, Dwaitham is more explicit in the materialistic plane of activity. The practical application of the Veda is the focus of the Dharmasastra. Every activity of man is streamlined and guided by the Dharmasastra.

            According to the focus and discipline, many branches of Dharmasastra exist. For instance; Arthasastra focus on one's positioning and conduct in a society; Krishisastra focus on agriculture; Bhaagasastra focus on preparation of food; Dhanurveda focus on methods of defence and military warfare; Ayurveda focus on healing the human body afflicted with disease, and healthy living. A close scrutiny would deduce that each one of the above has a specific materialistic utility.

            Nevertheless, there also happens to be one specific focus of Dharmasastra that fulfils no such utility. It neither fills our coffers, nor provide us food to satiate hunger; does not heal our body when afflicted with disease; and neither does it guide to protect ourselves from enemies. Such a seemingly trivial concept and its related application, however forms a vital part of Dharmasastra; revered as Upaveda of Samaveda, called 'Gandharvaveda'.

            A refined analysis on the focus of Gandharvaveda would establish substantial reasons for its reverence. In this materialistic world, human activities aim at attaining happiness through the sensory routes of perception. The prominent focus of Gandharvaveda is to qualify and rationalise the attainment of pleasure and satisfaction through the various senses.

            Traditionally, the tangible and perceptible manifestation of Gandharvaveda is called Sangeetham. Bharathasastra is a prominent authority in Gandharvaveda. It includes Geetham and Naatyam. The rules of dance forms - Naatyam followed as laid down in Bharathasastra is popularly called as Bharathanaatyam. Sangeetham predominantly perceived as mere vocal recitation of songs and keerthanas based on Raaga is incorrect and limiting. Sangeetham is defined as -

"Geetham Vaathyam Narthanam Cha Thrayam Sangeetham Uchyathey."

            According to this definition, rendition of songs and keerthanas; dance and drama form an integral part of Gandharvaveda. In the Veda, description of various worlds and life forms are evident; of which, Gandharvas are those who are more closely associated with these art forms. They are also depicted to be singing and dancing in ancient mural paintings. Gandharvas are the presiding deities of the senses, and sensual pleasures. Hence the name Gandharvaveda.

            Gandharvaveda encompasses all kinds of art forms that focus on amusing the human mind through sensual delight. As per this narrative, many activities of the present era would come under the auspices of Gandharvaveda. Some worth mentioning would be drawing, poetry, puppetry, folk songs & dance, magical tricks, verbal games, puzzles, movies and even journalism.

            Of the four Purushaarthaas - Dharma, Artha, Kaama, Moksha; the pointer of Gandharvaveda is Kaama. Kaama indicates pleasure experienced through the senses and Artha indicates earnings necessary. In the ancient model of society, both Artha and Kaama are encapsulated by Dharma and Moksha. Hence, the manifestations of Gandharvaveda are rationalised by Dharma to aspire Moksha.

            Kaama to be disciplined by Gandharvaveda derives importance from two notable facts. The instinctive nature of the human mind to get fascinated by any activity that amuses it; making the person lose proportion of the resources spent. Also, as they are sensual; inherently impermanent; though dignified to an extent; eventually dethrones the mind from spiritual progress. However they are admissible to the scope of effectively relaxing and rejuvenating the mind to perform the traditional activities - individual and moral duties with enhanced vigour and vitality.

            The traditional activities of a person are demanding and intrinsically repetitive in nature. Psychologically, though any repetitive task grants perfection, and since ordained by Dharma escalates the person to higher realms of spirituality; taxes the human mind. Hence the indispensability of Sangeetham, as decreed by Gandharvaveda. This vividly indicates that the prime focus and main itinerary of every person is necessarily one's traditional and moral duties; with Gandharvaveda assisting to unwind and revivify the mind.

            The Purushaarthaas - Artha and Kaama though essential, possess the innate ability to sacrilege the moral and vital requisites of a peaceful materialistic life that bestows spiritual progress. Hence justly encapsulated and pruned by Dharma and Moksha. The cascading effect of which is better sense of esteem, respect and moral dignity of the artists involved. A substantial evidence is the reverence of India as the land of seers; also as a source of multiple tradition and culture.

            The present scenario however is antagonistic. The binding limits  - Dharma and Moksha which so long streamlined the activities appealing to sensual pleasures, are disregarded. Monetary wealth has become the pointer to intelligence and a substratum to demand respect. Happiness is identified with sensual pleasures to an extent that the sole purpose of life is to delve and dwell in it. When the value system migrates from morality to wealth, sense of proportion loses ground. Degradation in every aspect is the result.

            The professionals involved in performing the forms of Gandharvaveda shoulder the prime responsibility of limiting the art forms as stipulated by Dharma. In ancient India, the customary way of life evolved to be called Sanathana Dharma that we have termed now as a religion - Hinduism. In any other religion, one would be able to identify a person to have created or formulated it, but Sanathana Dharma. When Sanathana Dharma was identified as a religion, comparisons commenced; faux intellectual reasoning destroyed humility resulting in the downfall of man. Nevertheless; followers of every religion prescribing the lordship of a singular entity must introspect and ensure their activities adhere to the moral code of social ethics; bearing in mind their liability to their unique lord.

            The manifestations of Gandharvaveda is called Fine Art - 'Lalithakala'. It indicates professional finesse and moral elegance. As it has a direct impact on the mind of the audience; its misuse is more devastating than any other. The terminology per se becomes inappropriate if it eventually recidivates the audience to the wildest of sensual pleasures. Consequently preserving the aesthetic sense of the art form is a vital responsibility of the professionals involved.

            The neglect of one's traditional duties, as stipulated by the Dharmasastra is a prime rationale behind inappropriate content demand, and loss of proportion in resources spent on the various forms of Gandharvaveda. The manifestation of Gandharvaveda possesses remarkable ability to entice the human mind. This effectively makes it a double edged sword - when applied on concepts of moral values in an ethical manner escalates the recipient's mind to higher realms of spirituality else ensures the downfall of moral values in a society; exponentially.

            Understanding and realisation should dawn in the minds of everyone associated on the supply and demand side of these art forms that they actually deal with a vital aspect of the Veda. This should awaken the moral conscience enabling them adhere to the highest level of ethical sense and moral conduct. Adhering to one's traditional routine as stipulated by the Dharmasastra is a vital prerequisite - the only way to prevent the destruction of humanity and downfall of mankind.