Airo International Research Journal January, 2016 Volume VIII, ISSN: 2320-3714 Impact Factor 0.75 to 3.19

UNDERSTANDING THE PATH OF SPIRITUAL QUEST PARALLEL TO THE EXPERIENCES OF THE ASTANĀYIKĀS

Dr. Abhilasha Sharma Assistant Professor in Music (Instrument), Mata Harki Devi College for Women Odhan (Haryana) [email protected]

Abstract

Lots of ancient Indian philosophies think that the human soul is actually the part of the divine soul and also since it's separated from that complete, it's constantly pining to merge with the divine. With this context, all the human souls are actually nāyikās with an ultimate goal to achieve sublimation with the divine soul, and that is the nāyaka. So here in this paper we would study about the Philosophical bases of the Bhakti Sufi tradition and experiences of the aṣṭanāyikās

Keywords: Music, folk, classical, philosophies, etc.

1. INTRODUCTION

The medieval period in received a devotionalism of bhakti. The religious ideas revolution in the thought process of the have been communicated in art through the dominant countries in the subcontinent. This erotic and romantic. The Aṣṭanāanyiks too are phenomenon is popularly called the Bhakti represented in the romantic erotic context by the movement that had been followed by the Sufi scholars. The thought being that there's a divine movement, the two being interrelated to one soul, and we're areas of that whole, there's an all another. All the current religious notions of the natural transposition of this notion in the farm land underwent a change that had been religious seeker too. He experiences the based on devotion or perhaps bhakti. The idea of separation from that divine soul, and wants to be bhakti was also present in the ancient texts of the sublimated in Him once again. He thinks that Puranic and Vedic tradition. Though it was in there's a thing to seek, someplace to go. These the medieval time that the notion of bhakti thoughts of the devotee are very similar to those became the main foundation of the majority of of the Astanayikas. The encounters on the path the religious schools The Bhakti movement is of his of spiritual quest are actually parallel to actually known to have started in the southern the happenings of the Astanayikas in their quest areas of the subcontinent within the Nayanars to consummate the love of theirs. and the Alwars - a Vainavaite and a Shaivite cult respectively. From there the ideas and concepts 2. PHILOSOPHICAL BASES OF THE of bhakti spread to other areas of south, northern BHAKTI SUFI TRADITION and central India and resulted in a new era in the cultural and spiritual heritage of India. In the The understanding of the paramātmā (infinite fabric of old Indian culture is actually woven soul) and the jīvātmā (finite soul) are actually together spiritualism, mysticism, erotism and typical in the concepts of the majority of the music to produce a tapestry of the powerful saints in the Sufi Bhakti tradition. But what's the

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Airo International Research Journal January, 2016 Volume VIII, ISSN: 2320-3714 Impact Factor 0.75 to 3.19 connection between these souls? What's their individual entities. But unlike Sankara, he didn't relationship? The technique of most of the refute the presence of the living souls as maya or bhakti saints are actually completely different perhaps illusion. Based on Ramanuja, the from that of Sankaracarya and also the followers materialistic and the living community are of Advaitavād who considered Brahma (infinite actually though parts of the entire created by the soul) as the sole reality and according to whom Brahma. The living souls are actually the the material world consisting of material and manifestations of Brahma. In the exact same living souls is actually but māyā or perhaps way, the life of Caitanya Mahaprabhu became illusion. Although the Smārta tradition founded the grounds for the 6 Goswamis of by Sankaracarya is also among the pillars of the who propounded the acintyabhedābheda tattva in bhakti tradition, this particular movement the book Ujjval Nīlmaṇi. As outlined by this evolved to experience the acceptance of particular tattva, the paramātmā and jīvātmā Dvaitavādi philosophies. Bhakti saints opposed together create an inseparable entity. The to Advaitavād, on the other hand, acknowledged Paramātmā and the Jivātmā are actually the the truth in the presence of the jivātmā. Among same though they're divided in a way which many, 2 such saints whose lives and concepts can't be understood making use of the strength influenced the Bhakti action to a great level are of thinking (chintan). As a result, it's referred to actually Ramanuja Acarya and Caitanya as acintyabhedābheda. Based on this, the Mahaprabhu. Ramanuja was a remarkable pupil paramātmā created the jīvātmā out of His hlādinī of the Vedanta school since childhood and śakti (bliss) to experience the pleasure of līlā. As evolved into one of probably the greatest a result, it appears the splitting up of the jīvātmā scholars of the śastras. He was opposed to the from the paramātmā happened and so that the Advaita philosophy propounded by former can unite with the latter and experience Sankaracarya and preached the the divine bliss. And this particular union of the Viśiṣṭādtvaitavād. Like Sankara, Ramanuja also jīvātmā with the paramātmā is actually as the reported that Brahma (the infinite or maybe union of the lover with the beloved. divine soul) as well as the living souls isn’t

Figure 1: Forms of Aṣṭanāyikās

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In the exact same way, the seeker of God is establishes a personal connection with Him. actually widely known as āśiq (lover) in the Sufi Here the devotee is actually the lover and God is philosophy and God is actually regarded as the actually the Beloved. Finite self or the devotee is māshūq (beloved). It's the goal of the Sufi saint very thirsty for divine grace, he's keenly to unite with the beloved through love that is interested to unite himself with Divinity. unconditional. Being the ashiq or perhaps lover the Sufi saints, particularly those in the Indian "India has used the theme of passion and love in subcontinent chose the perspective of the female its even, theatre, arts, and literature spirituality. to express the thoughts of theirs in the types of Right from 3000 years ago writers and poet have their artistic and literary works. ―Sufis in the formatted the heavenly emotion of passion and subcontinent always talked in the language of love from the divine to the man. Indian classical females, in which she was constantly art styles are fundamentally religious in nature. empowered . From the early times Indian traditions have taken the assistance of fine arts to immediately 3. SPIRITUAL ASPECT OF connect to the supreme. As art in India is ASTANĀYIKĀ essentially a religious idea, it ultimately results in elevating the performers in addition to the The metaphor of the lover and also the beloved market alike.'' became the reality of the lives of the saints and devotees during the Sufi and Bhakti movement. "As M.S. Randhawa and John Kenneth Even though they recognized that the jīvātmā is Galbraith say in their book Indian painting, actually an inseparable part of the paramātmā, Eastern philosophy seeks god through feeling. they didn't discard the former as illusion. People who seek Him in the sterile sands of Instead, according to them being an inseparable intellectuality, seek him in vain. Nor is actually part of the paramātmā, the jīvātmā is away from simple brilliance of intellect highly regarded; him and the material world is actually the emotion is actually the key to the realization of obstacle in the union of theirs. Hence, there's gods Poetry and music has refinement as the this desire in the jīvātmā to unite with the goal of theirs. Divine love is actually the paramātmā which it's a part of. Likewise, this sublimation of sexual love. It's the music of the drive is seen in the lives of the Sufis that needed man soul its most vivid expression is actually in to unite with their beloved (the God) In the and through sexual union. This glides the vision, majority of the compositions of these saints, the lends an aura of magical enchantment much to pangs of separation from the beloved i.e., the the most prosaic person” paramātmā, the desire to unite with the beloved as well as the hunt for the proper road to do the 3.1 Nāyikā and Nāyaka- Ātmā and same are actually found. By doing this the poets Paramātmā - in all these encounters of grief, wonder, drive to unite and so on - appear to discuss the various Ancient Indian literature has strong connection mental states of the aṣṭanāyikās. Their emotional to spirituality. Consequently, we observe that experiences appear to be congruent to people of though the aṣṭanāyikā in Indian poetics talks the aṣṭanāyikās. In the text of Md. Sirajul Islam about thoughts of man woman relationship and in Medieval Bhakti Philosophy, God is actually emotions resulting the longing for the beloved, referred to as a private Being and the devotee it's been used in the religious context by devotional poets to represent the deeper

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Airo International Research Journal January, 2016 Volume VIII, ISSN: 2320-3714 Impact Factor 0.75 to 3.19 connection of ātmā (soul) to paramātmā destroys the duality. Another example is (supreme or ultimate Soul). The goal of the actually, just as when a container of water is spiritual pursuit of a man being, that the human actually inside the river, there's water inside and soul wishes to merge with the divine is actually outside it. What's separating the water inside and in line with the thought of the aṣṭanāyikā, whose outside? One strike is going to break the pot and aim is also to feel sublimation with her beloved. there'll be no distinction in outside water and the It's well worth exploring why the saint poets inside then. As a result, by getting rid of the have encountered themselves as nāyikās when feeling of individuality, there's total union, talking in relation to their divine counterpart. oneness. In this fashion the religious thinkers When we have a discussion of a spiritual level of have taken advantage of nāyikās to symbolize this particular philosophy, and the connection the union of the human soul with the divine soul. between the between the ātmā and paramātmā, They thought that in order to be a master of it's believed that the human soul is actually a fickle head as well as to attain a sublimation of part of that divine soul. This concept has been the self, is really the experience of sublimation propounded by a number of scholars and is with the divine. In the religious context, when deeply ingrained into the Indian psyche. For the the nāyikā is actually used as a metaphor for the human soul to be a part of the divine soul is human soul, then there's no gender to that perfectly accepted, but why was this relationship nāyikā. With this situation, anybody, female, or described as a love relationship by some? What the male can represent the nāyikā. If the man was the demand for the religious thinkers to give being is actually a part of a divine entity, then a it an analogy of the lover and beloved? Why did part of that divinity resides within him/her. the saint poets take the job of the Nāyikā and set Hence the nāyikā in this context can be in it in the context of the supreme nāyaka? Most relation to even that divine inner self which is likely there seemed to be a reason why they actually inside i.e. the connection of the external discovered that resemblance a simple metaphor physical Self with the internal divine self. The to describe the level of what they desired to outward understanding of this particular episode convey. of līlā is actually the romantic liaisons and escapades of Krishna with the gopīs. But When we talk of dissolution with the divine there's a deeper indication of this particular soul, it's as a drop merging with the ocean. The action in the spiritual world of expertise. As Dr. nāyikā, who's experiencing the like emotions, is Tiwari carries on with the dialogue, he explains totally focused on the nāyaka. If a person is not that the choreographic building of the manḍala in the mindset of love, they might not this way of the rās is actually like that Krishna is actually thought since it's of complete surrender of the in the centre (kendra), and the gopīs have Self. In a way it's akin to dissolving one is ego. created a circle (manḍala) around him. When the For instance, when one drop of water falls into gopī turns inwards in the circle, she thinks that the ocean, it doesn't make a difference to the Krishna is actually with her. When she turns ocean, though the fall of water is going to be outward, she feels a momentary separation from totally lost. It is going to lose the individuality of Krishna. The rās is actually an incredibly its to an extent that it is able to never again be popular motif in all of the channels of Indian art, divided once again. It's that union which lasts music, and dance in addition to theatre. This forever, because how can that drop be individual transposition of the rās of the gopīs with Krishna once again? This particular sort of merging has been given a religious interpretation. The

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Airo International Research Journal January, 2016 Volume VIII, ISSN: 2320-3714 Impact Factor 0.75 to 3.19 spiritual seekers describe it as the internal rās of poems even today is actually since they had a human soul. They explain this rās been sung. At a moment when there were no symbolically, as the rās of the senses (indrīyas) printing presses & publications, these devotional of the entire body with the divine soul within. songs had been perpetuated through musical Our 5 senses of vision, smell, taste, touch and forms which were commonly sung by musicians hearing are interested in experiencing the also as devotees. The emotions of love in union pleasures of the external planet. When these and separation had great scope for musical senses are actually turned inwards, they take an possibilities. Sanyog implies fulfillment thus it's introspective stance. Their focus is actually the quality of ending. Viyog is actually the directed towards that divine presence which is process and there's great scope for elaboration of present within oneself. In such a case, they a broad range of emotional expression. These might be in a position to attain a glimpse of that deep ideas have to be realized by any divine entity existing within, that's the real truth singer/devotee that wants to exhibit these 2 of theirs. This's how the senses (gopīs) perform elements of singer provided by the Bhakti/Sufi rās with the soul (Krishna) within them. Just as saints. For the singer to evoke a mood of there's a rās outside, there's one rās inside too. If devotion, the music portrayal as well ought to be we consider this to be a pursuit of each human spiritually elevated. For this there must be being, then each person is actually a nāyikā complete involvement of the singer and he must urging to commune with the divine. Thus this immerse himself in the rasa and bhava of the particular longing of the devotee for the lord devotional poetry. There must be a lack of self might be an outward quest, or perhaps perhaps projection; instead, the unique character should an internal quest. The concept of the nāyikā and be immersed. Several examples of devotional nāyaka is thus transposed to the religious level. Aaṣṭananyiks provided in the musical form by various saint poets are actually reviewed below. 3.2 Music and Spirituality Some traditional melodies are still common, but many of them have disappeared as it's much Music and humility have usually been more than 600-800 years ago they had been inextricably intertwined. We're aware that all of composed. Oral traditions have prompted a few the saint poets have sung the poetry of theirs. changes in the initial musical compositions, as They've discovered music to be an important well as new composers have used their creative tool in expression of the strong emotion of skill to compose new melodies. It's not possible theirs. Since these Bhakti/Sufi saints had been to collect the big collection of devotional poetry overcome with emotion with the love of theirs present across all the various areas of India. for the divine, their expressions obviously Some relevant poets have been talked about became available in the form of lyrical poetry. herein, and whatever original descriptions Chapter one and two of this particular thesis regarding tala and of the padas were there, mentions exactly how music is an essential have also been pointed out along with for means to express extreme emotions. The reference. majority of the saints had an ample understanding of music as well. They were well 4. BHAKTI TRADITION AND versed with the use and uses of , as well as ASTANĀYIKĀ composed musical poems. An excellent reason behind the presence and acceptance of these

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I) Havelī Sangeet : I) Haveli Sang: The although the popularity has declined due to haveli sangeet is actually a semi classical changing trends in culture. You will kind of North Indian music evolved in the discover very few genuine singers that states of Uttar Pradesh, Gujarat and remain today, and they're widely known as . It uses the music genre of kirtaniys. Music has always been an , and the poetry of haveli sangeet immensely important vehicle for the road are actually called padas. This music was of self realisation and devotion in the sung in the temples of Lord Krishna. The Indian psyche. Music created a fantastic temples had been referred to as haveli as part of the service provided to the lord. there were restrictions on the Hindu Raga is actually among the primary service worshippers at the time of the Muslim rule types offered to ones deity in the devotional in India. The Bhakti action of this era path. Raga (anurga) might be translated as created a number of saint poets, and these love, or even as music. In the 16th century poets had been really well versed in the art devotional renaissance in India, poems had of music as well. These poems or perhaps been sung when recited, and the fantastic padas had been sung as , Dhamars mystic poets of those times were often and in the temples by the excellent musicians. Thus, the poetry Vainava saint poets. The poets with the composed by the 8 Asta Chap poets is verses cited many ragas like Kanhara, actually intended to be sung to music. Its Gouree, Gujree, Bilawal, Dhanashree, essence is actually rhythmic invocation, Ramgiri, Asawari, Kedaro, Sorathi, , and its true meaning is best expressed when , Yaman Gandhar , performed as part of devotional service. Vasantnaari etc., Malhar, which shows they were adept in the art of music as well. II) Meerabai: Meerabai is actually a These rgas had been accorded based on the commonly recognized and cherished figure mood and also the moment of the pada to of the Bhakti movement. She regarded be sung. The padas described the tasks of Lord Krishna as the husband of her and has the Lord. The primary strain was on the authored many love poems in the devotion expression of the bhavas. The pada in of her for Krishna. In the poems of her, haveli sangeet is actually sung with a Krishna is actually a yogi & lover, and she comprehensive awareness of the book, and herself is actually a yoginī prepared to take there are actually strict rules as respect to the spot of her by his side unto a spiritual which pada has to be sung when. A?܏tkl marital bliss. Meera's style combines (winter season) pada can't be sung in the impassioned mood, defiance, longing, summer season, and astbadhi(birth song) anticipation, ecstasy and joy of union, can't be sung with the celebration of holi. always focused on Krishna. nine All these Angara (when the deity is actually bathed) moods belong to the aṣṭanāyikā sentiments. pada can't be sung with the time of bhog Meerabai spoke of a private connection (meal time), and so on. As these padas had with Krishna. She was an embodiment of been so systematically composed, there prem bhakti. She experienced both the was no range for any confusion. This's the elements of love, i.e. love in separation and explanation that the haveli sangit has love in union. In the course of the survived in its purest form even till date, connection of her with the God of her, she

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experiences herself going through all of the time of holi, and she's alone, as her beloved phases of the Nāyikā. Sometimes she's an is far away. abhisārikā that has set off on the eternal quest, often a vsakasajj adorning herself for III) Mahadevi Akka : A saint declaring the her beloved. The Sagunwadi poetry of deity she worships as her husband isn't saints as Meera proclaimed publicly the unusual in medieval India. Mahadevi Akka love connection of theirs with the God of is actually among the saints of the Vaiśnava theirs. The poem, Pyaare darsan dijiyo tradition that declared the love of her for aaye, thhaare bin rahyo na jaaye, clearly Cennamallikarjuna (a type of Siva) at an establishes Meeras job as a Nāyikā with the early age. Although it's thought she was nāyaka who's the Supreme Being. She married to the king Kausika, she usually became a virahotkanṭhitā Nāyikā pining for considered Siva as her single lover. Hence, union with her nāyaka Krishna. She feels there was a conflict in the life of her - the tortured in the absence of his and presence of her mortal husband and also the constantly yearns for uniting with him. supreme love for Mallikarjuna. This's why, Since Meerabai belonged to Rajasthan, the thoughts of a parakiya nāyikā are most of her poems are usually set to the usually shown in her vacanas. Going ragas which were popularly used in the folk through many phases of the sensation of songs in Rajasthan as Raga Maand, Des, separation from the beloved, she eventually , Saarang etc. The idea of Maand left home - the husband of her and the Rāga in Rajasthan is also really wide. parents of her - and went out to seek the There are many types of Maand that are lover of her, becoming an abhisārikā actually sung. Maand is much more signs nāyikā. ―Her search is actually captured in of a color of singing rather than a one-time her vacanas as a search for the love of her, Rāga. But since Meerabai padas offered a following all of the phases of human love mixed range of emotions, the music as set forth by the conventions of Indian, composers found them to be an excellent especially Sanskrit, poetry. The 3 chief chance to compose them in other styles of love, like forbidden, love in love nontraditional rāgas too. Consequently, we and separation in union are expressed in the discover that the contemporary musicians poems of her, frequently one attitude have brought out the ragas of Meerabai complicating and informing another in the poetry in a number of experimental same poem In another vacana she methods. Meerabai padas are incredibly celebrates the homecoming of her husband. common, as the language is actually easy This's among the cases in which she's and the emotions are easily relatable. When declaring Cennamallikarjuna as the Meerabai sings, Kinu sang kheloon Horī, husband of her. She really wants to piya tyaj gaye hain akeli…she's a celebrate the arrival of the husband of her proṣitabhartṛkā who's lamenting that her in the very best way possible. She asks beloved has abandoned her for another, others to use the ideal attire and the very he'd promised her that he will get back best jewels. This indicates, although not though a rather long time has lapsed and stated, that she'd also adorn herself with the there's no sign of the return of his. It's the very best jewelry and clothes to be able to please the Lord of her. It's very clear she's

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becoming the Vāsakasajjā Nāyikā who being an illusion. Although Kabir didn't prepares as well as awaits for the refer to the world of living beings as conference with the beloved. illusory, he thought in the worship of Nirguna Brahma. ―His Bhakti doesn't IV) Andal: Since the so called ―Bhakti count on the thought of the otherness of movement‖ is actually regarded as to have God, but rests on a keen attention of the started in the Southern areas of India, the vital oneness of Man and God. Kabir was a contribution of Andal's poetry can't be follower of Nirguna Brahman and denied at all. Instead, her poetry forms described the God of his as Sunya. Kabir probably the most important pillars of was a householder and continued the Bhakti poetry. Andal is actually among the religious pursuits of his without twelve Alwar saint poets who were abandoning the family life of his or maybe Vaiśnavaite by faith. The two functions or career of a weaver. He found spiritual perhaps collections of poems which truths hidden in the day tasks of living. describes her strategy towards Krishna are Many of his poems had been composed actually Thiruppavai and Nacciyar with the rhythm of his weaving loom Thirumozhi. Professor Archana Venkatesan thumping out in the background. His describes the distinction in approach of philosophy was easily relatable as he spoke these two functions. In the first labor which about experiencing the divine through she wrote at the age of fourteen, she's regular situations. Though he followed the imagining herself as a cowherd female idea of a formless God, in several of the (gopī). ―In the Thiruppavai, bhakti is poems of his he's referred to that formless actually about shared joy, about sharing entity as the nāyaka, and he himself has Krishna and in the Nacciyar Thirumozhi, taken the mindset of a Nāyikā it's about yearning for Krishna and wanting that union on an individual level “I want 5. SUFI TRADITION AND ASTANĀYIKĀ him. He desires me,' and hence, the poem gets erotic at places. Since the love for The Sufi philosophers maintain Iśq-e-Majāzī Krishna in the Nacciyar Thirumozhi is leads ultimately to Iśq-e-Haqīqī, meaning that in actually in the individual level, it'd greater case you like the Supreme Lord, now to range for the aṣṭanāyikās to look for proper appreciate the planet - which is The roles in the poems manifestation of his - will be the very first step towards spiritual and Sufi living. The following V) Kabir : The word ‗nirguṇa' literally means move is actually the total surrender to the divine, one which is actually without a quality. As i.e., the dissolution of the Self, termed as Fanā'. a result, it's used as an adjective to describe Sufism's basic tenet is actually: Raise thy veil Brahma or maybe the supreme god who's and thou shall see thy beloved' (meaning: Raise beyond all the qualities and the curtain of ignorance and you are going to see conceptualizations. Nirguna Brahma is divinity). Sufi literature uses the picturesque actually formless and the supreme reality. imagery of erotic love between the heroine as Based on the Advaitavaad Nirguna Brahma well as the hero to symbolise the love of the is actually the one and only truth, the private soul for the supreme soul, i.e. a human material world inhabited by living souls being and divinity. Love stories offered a great

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Airo International Research Journal January, 2016 Volume VIII, ISSN: 2320-3714 Impact Factor 0.75 to 3.19 vehicle for communicating this particular the divine mashooqa', or maybe their beloved. philosophy to the best and the masses. The poets At this stage, it will be relevant to note the which followed the teachings of Sufi saints have efforts of Amir Khusro, that was a Sufi left an indelible impact on the Indian society and musician, scholar and poet in the 13th century. also these days Indian art and culture uses a Amir Khusro is actually reputed to have combination of Bhakti and Sufism cult both of invented some musical instruments like the which think in the supreme like between the and . He's the originator of the , a ātmā and the Paramātmā. devotional music type of the Sufis, as well as introduced the style of song into India, I) Malik Muhammad Jayasi both of which still exist commonly in Pakistan and India. Both these models of music are Malik Muhammad Jayasi was a Sufi poet that abundant in their literary content. Most likely had authored many love romances, Padmāvat the later Khayāl originated from that being the most and popular most talked about. he created on the lines of . In 1310 But these romances weren't simple tales of love. Khusro started to be close to a Sufi saint of the Deeply connected with these tales is actually the Chishti Order, Nizamuddin Auliya. idea of divine love with God (the beloved). ―To the Sufis the popular romances were no typical III) Bulleh Shah love romances. The beloved to them was God himself, the lover was the devotee or maybe As it's been talked about earlier that the Sufi bhakta, and the ordeals nothing but obstacles in approach of talking in the voice of the female the culmination of the goal of theirs, that is has made space for Aṣṭanāyikās to be discovered union between the person and God. It is also in the compositions of the Sufi saints In the song significant that the popular tales were named mentioned above by Bulleh Shah, a Sufi saint mostly after the heroines. The popular traditional from Punjab, the abhisārikā Nāyikā is actually tales of India being named after the heroines and visible. The despair of the lover in the poem the adoption of those tales by Sufi poets like reflects the state of mind of an abhisārikā nāyikā Jayasi to preach the message of Sufi philosophy who's not being in the position to find the signifies that both the Indian tradition and the beloved although the research is actually on. Sufi philosophy have been Nāyikā-oriented. Bulleh Shah feels he's gone astray while This synthesis of the popular tales with the Sufi searching for the Lord as in case he's been lost in philosophy of seeing God as the beloved and the a desert. Just like the abhisārikā Nāyikā, he's devotee as the lover, gave the concept of Nāyikā also facing a lot of obstacles in the road to unite a new shape altogether opening up many with his beloved. The Mullah and the Qazi are possibilities for the artists to explore the spiritual actually the obstacles in the case of his as they're through the medium of the Nāyikā-nāyaka motif. telling him the incorrect way towards the beloved. Bulleh Shah further uses the metaphor II) Amir Khusro of the river and states that his master is actually on the other side of the river waiting for him The Islamic society brought with itself the though he's found in the gale of greed which different music types of Khayāl, Ṭhumrī, isn't allowing him sail towards Him. Although Ghazal, Nazm, Qawwāli along with other poetic he's near, Bulleh Shah is actually searching for styles as well, which were freely utilized by the him as he's misled by the greed of his along with Sufi poets to voice the intense love of theirs for

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Airo International Research Journal January, 2016 Volume VIII, ISSN: 2320-3714 Impact Factor 0.75 to 3.19 other obstacles of material life. The constant [7]. Rao, Vidya. Heart to Heart. New Delhi: search and journey towards the beloved, the Harper Collins, 2011 38. Rathore, Kanu failure to attain the destination due to obstacles Priya. Pictorial Value in the depiction of as well as the determination in spite of all of the Abhisarika as one of the ashtanayikas in obstacles - these're the special attributes of the Indian painting. Jaipur: IIS University, abhisārikā Nāyikā. And it's intriguing to view 2015 just how the same emotions and thoughts are (http://shodhganga.inflibnet.ac.in/bitstre shown in this specific job of Bulleh Shah. am/10603/106024/9/09_chapter%203.pd f ) 6. CONCLUSION [8]. Rowell, Lewis. Music and Musical Thought in early India. London: The The religious ideas have been communicated in University of Chicago Press, 1992. art through the erotic and romantic. The (scribd.com) Aṣṭanāyikās too are represented in the romantic [9]. Sadarangani, Neeti. Bhakti Poetry in erotic context by the scholars. But because the Medieval India: Its Inception, Cultural bhakti tradition is very deeply rooted in the Encounter and Impact. New Delhi: psyche of the Indian philosophy, the thought Sarup & Sons, 2004 being that there's a divine soul, and we're areas [10]. Shahinda (Begum Fyzee- of that whole, there's an all natural transposition Rahmin). Indian Music. London: of this notion in the religious seeker too. He William Merchant and Co. (scribd.com) experiences the separation from that divine soul, [11]. Sharma, Amal Dash. and wants to be sublimated in him once again. Sangeetayan. Delhi: Arya Prakashan Mandal, 1984 REFERENCES [12]. Shastri, Babulal Shukla. Shri [1]. Purohit, Giridhar. Shringara Manjari. Bharatamunipranita Hindi Natyasastra. Allahabad: Lokbharati Prakashan, 2007 Varanasi: Chaukhambha Publications, [2]. Rahaim, Matthew. Musicking Bodies: 2008 Gesture and Voice in Hindustani Music. [13]. Singh, Jagjit. Indian Music Middletown: Wesleyan University Traditions and Trends, Unistar Books Press, 2012 (scribd.com) Pvt. Ltd., 2009 [3]. Raja, Deepak S. Hindustani Music [14]. Sinha Roy, Jivendra. Today. New Delhi: D. K. Printworld (P) Kavyatattva. Kolkata: De’s Publishing, Ltd., 2012 1986 [4]. Ranade, Ashok Da. Hindustani Music. [15]. Sinha, V.C. and Sharma, P.D. India: National Book Trust, 1997 Indian Culture: An Introduction. [5]. Randhawa, M.S. Kangra Paintings on Gwalior: Kitab Ghar, 1995 Love. New Delhi: National Museum, 1961 [6]. Rangacharya, Adya; The Natyasastra: English Translation with Critical Notes; New Delhi: Munshiram Manoharlal Pvt. Ltd, 1984

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