Issue 14 Volume 04 October 2011

YOGA UPANISHADS R. ALEXANDER MEDIN PAINTINGS MELISSA TOWNSEND Publishers & Founding Editors Robert Moses & Eddie Stern Advisors Dr. Robert E. Svoboda ISSUE 14 VOLUME 04 OCTOBER 2011 Meenakshi Moses Jocelyne Stern 1. UPANIŠADS Editors R. Alexander Medin Meenakshi Moses Eddie Stern 2. SANSKRIT PAINTINGS Design & Production Robert Moses Melissa Townsend Eddie Stern Cover: Sanskrit Painting by Melissa Townsend Diacritic Editors Vyaas Houston Assistance from Deborah Harada Website Development Matt Alexander Kendal Kelly Robert Moses

अ आ इ ई उ ऊ a ā i ī u ū ए ऐ ओ औ e ai o au ऋ ॠ ऌ ॡ अं अः ŗ ř ļ ĺ ał aģ क ख ग घ ङ Sri K. Pattabhi Jois ka kha ga gha ńa च छ ज झ ञ ca cha ja jha ña ट ठ ड ढ ण ţa ţha ďa ďha ņa त थ द ध न ta tha da dha na प फ ब भ म Sri Swami Vishnu-devananda pa pha ba bha ma य र ल व NÄMARÇPA uses diacritical marks, as per the ya ra la va chart shown to the right, for the transliteration of all Saêskäta words. While many of the articles do con- श ष स ह tain these marks, it is not a universal occurrence in the śa ša sa ha magazine. In those cases where authors have elected � � � not to use diacritics, Saêskäta words remain in their kša tra jña simple, romanized form. Chart by Vyaas Houston.

October 2011 1 YOGA UPANIŠADS R. ALEXANDER MEDIN

R. Alexander Medin has written a brief reference to nine of the Yoga Upanišads in the hope that they may shed some light on the subtle teachings of yoga and how it effects us in multiple ways.Nāmarūpa will publish a selection of the Upanišads in each volume, so that, when completed the full set will be available in Issue 14. Śankarācārya adorning a building in Tirupati, South India. Photograph by Robert Moses, January 2007

he Yoga UpaniŠads are a total he traditional practices of of attaining the highest goal of Vedānta, Tof seventeen Upanišads that are THatha Yoga are elaborated upon and their message and teachings are truly included in the Muktikā, a collection in the Yoga Upanišads. Many of the relevant for anybody who is seeking a of 108 Upanišads. The Muktikā Upanišads give a detailed explanation greater understanding of yoga, beyond includes the ten principle Upanišads of the esoteric body and the movements the physical appearance. as commented upon by Śankarācārya. of prāņas with their respective functions In addition we find twenty-one on within the body. The predominant wo adequate translations common Vedānta, twenty-three on teachings feature aspects of prāņāyāma, Tsupported by the Theosophical Sannyasa (renunciation), nine on Devī how to awaken kuņďalinī, pratyāhāra, Society (Adyar) are available. The first, worship, fourteen on Višņu, fourteen higher aspects of dhāraņā, dhyāna and Thirty Minor Upanišads,published in 19141 on Śiva and finally seventeen on Yoga. samādhi, and detailed descriptions is by K. Narayana Swami Aiyer. Later, in The work predates 1656 CE since the on how to awaken higher states of 1938 came G. Shrinivasa Ayyangar’s The Persian Prince Shahzada Dara Shikoh consciousness from a greater absorption Yoga Upanišads. I’ve had the privilege to commented upon it and also translated in prāņava (OM). The Upanišads study them with my teacher Gangadhara fifty of its Upanišads into Persian. claim to teach the of the Vedas V. Bhatt in Mysore. and aim to reveal the highest truth he Yoga UpaniŠads feature through practical experience. All of the R. Alexander Medin is a native of Oslo, Tpractical teachings on yoga in order texts claim to be associated with one Norway. A boxer and ballet dancer, he to reach the goal of Vedānta which is of the four Vedas. This is certainly a was introduced to Ashtanga Yoga in an absorption in the divine, freedom superimposition, due to a language and 1995 and was certified by Pattabhi Jois from suffering, and a realization of style that reflect a work not more than in 2002. In 2004, he completed his the highest truth. They build upon five hundred years old. Some of the post-graduate degree in Sanskrit and the principle teachings of yoga and Yoga Upanišads also borrow verses from Indian Religions. then supersede it with the concepts of the Haţha Yoga Pradīpika and Gorakša Vedānta. The ultimate goal is thus not Śataka, which were probably compiled the cultivation of a clear distinction around the 14th century, although the and separation between Puruśa and tradition of Haţha Yoga certainly goes Prakŗti, but rather a transcendence of back many centuries, if not millennia. physical appearances in order to realize The Yoga Upanišads illuminate the 1Re-published by Parimal Publications one’s inherent soul (ātman). esoteric teachings of yoga for the purpose Delhi: 2003.

2 Issue 14 Volume 04 Varāha UpaniŠad ātman, as the inmost witness, beyond caste driven by sensations or ambition. In and creed, will himself become brahman. the initial stages a whole lot of work he Varāha UpaniŠad is the Whoever sees, through the evidence of needs to be done in order to elevate Tlongest of all the Yoga Upanišads. vedanta, this visible universe as the one’s inner vision, yet as one climbs the The name Varāha means ‘wild boar’ and luminous presence of the Lord, he becomes ladder of internal awareness eventually is associated with the third incarnation liberated instantly (2. 13-14). all thoughts, concepts, practices, rituals of Višņu when he fought the demon and prayers need to be relinquished as Hiranyaska and saved the Earth from n the world of transmigration, one stands naked with the atman alone. destruction. This act symbolizes the Ithe consciousness of brahman is In the third chapter there are more resurrection of the earth from the great the only consciousness that is all elaborations on the inmost principle of flood of despair and how Višņu was pervading, indestructible and eternal. brahman and the practitioner is urged able to establish a new cosmic cycle. What is changing is the world of the to cleanse his mind and whole being The central teachings of this Upanišad phenomena and the practitioner is through repeated effort. The principle features the core principles of Vedanta urged to go beyond this by taking teaching is to learn to renounce all and the practice of yoga is introduced in something that is constant and thoughts and concepts as they appear in the final chapter for the purpose of self-luminous within one’s own heart. in the mind and stall their further jīvanmukta—to become liberated while All great philosophies and elaborated fluctuations by recognizing the inmost living. thought structures on this matter can consciousness of what is. This is The Varāha Upanišad is divided over only reveal an indirect form of wisdom. illustrated in the following metaphor: five chapters. There are 228 verses in Ultimately the experience has to total and the majority are written in the become integrated in one’s own heart As the reflected sun appears to move anustubh meter. There are also some as an immediate source of knowledge, in the fluctuations of water, so the ātmā sections in prose. The story centers a direct experience that reveals the truth becomes visible in this mundane existence around Ŗbhu, who performed penance from within. One’s whole thought through its contact with the ego. Yet this for twelve years and was then approached structure has to be refined; one of the mundane existence has citta [mind] as its by Lord Višņu, in his incarnation as initial practices recommended is to root. The ātmā has brahman as its root! Varāha, to grant him a boon. Ŗbhu has examine one’s thoughts and actions and This citta should be cleansed with repeated no interest in material things and his learn to abandon concepts like ‘me’ and effort (3. 20-21). sole request is to attain the knowledge ‘mine’, considered to be the root of all of brahman and what constitutes the bondage. It is further suggested that In the final two chapters, the Lord essence of this world. one learns to relinquish the six enemies1 is no longer instructing Ŗbhu. Now In the first chapter he is instructed in lurking in the heart and abandon all Ŗbhu is instructing his pupil Nidāgha the knowledge of (the building- sense of duality in order to more clearly on four types of jīvanmukta (liberation) blocks of the universe), the 24-principle perceive the self-illuminating essence of within the seven worlds. In short it is a theory of Sāñkhya, the 36-principle brahman. As salt is dissolved in water, so gradual process that starts with aligning theory of Kashmiri Śaivism and finally, the mind is dissolved when absorbed in to certain principles, reaching a gradual the 96-principle theory of Siddhanta ātman. The definition ofsamādhi is here refinement and then transcending all Śaivism. given as an internal absorption, and the thoughts and concepts altogether. The In the second chapter the many ultimate teachings on yoga here center final goal is summarized as follows: definitions ofbrahmavidyā are explained. on how to find that inmost support Initially the teachings center around from within. The hierarchy of the body, Where is then delusion? Where is carrying out one’s duty, acting on one’s from the gross to the subtle, is here suffering for one who has realized this responsibilities, engaging in religious similar to what is found in Bhagavad whole universe to be nothing but brahman? austerities, serving one’s guru and Gita2 and Hatha Yoga Pradipika: When his [intelligence] is solely learning to practice discrimination as merged in Brahman, that is the end of the primary means to awaken a greater The master of the sense organs is the all experience and one is liberated from receptivity from within. As one learns to mind, the master of mind is prana, the all sins committed through numerous subdue the sensual organs and give up master of prana is nada, the master of lifetimes (4. 42-44). the concept of mind, one may eventually nada is laya; therefore laya yoga should be become fit to experience Consciousness practiced (2. 80). In the final chapter, the practical of the divine, the self-shining principle teachings of yoga finally commence. First that is the all-pervading inmost principle This higher state of yoga (here we are instructed regarding the building of everything that exists. called brahman) is difficult to attain blocks of the body, the five elements That person who experiences his own for ignorant people whose minds are and how these are interconnected 1Kāma, krodha, moha, māda, lābha, matsarya: Desire, anger, delusion, pride, greed and jealousy. 2Within Bhagavad Gita the hierarchy is: senses, mind, intellect, self and god (Krishna).

October 2011 3 due to a network of nāďīs supported of time, yet this can never be attainable of consciousness in all objects and by prāņa. This prāņa has no place to by mere force or physical restraint. It Dhārāņa is centering in consciousness rest and is consistently moving while is rather a new internal support that itself. Samādhi is complete internal gradually consuming the body. Three makes itself more present; as the mind absorption where one looses one’s principle bandhas1 are introduced to and body can be more absorbed in that, separate idea of self. seal the energy within the spine and stopping the breath for hours is said to Passion, anger, exhaustion (lit. prevent the prāņa from dissipating. The be completely natural! breathing out), fear and sleep may strain perfection of the primary limbs of yoga the body. These may be balanced or is supported by the practice of MānĎala BrāhmaŅa UpaniŠad subdued with detachment, forgiveness, yoga and Hatha yoga. The standard moderate food, carefulness, and a eight limbs are referred to. There are ten he Māņďalabrāhmaņa Upanišad spiritual insight into tattvas (inmost yamas and niyamas and eleven postures Tis a work in prose in five short principle of things). Nobody can escape are recommended. The standard size of chapters. It is the only one of the Yoga the suffering of the world, but it can be the body is here also given to be ninety- Upanišads that was commented upon minimized and checked with the proper six añgulas and a further explanation by Śañkarācārya (788-820 CE) and it is practice of yoga that transcends nature is given regarding the seven cakras, the a fascinating read that inquires into the and the functioning of the guņas. twelve principle nāďīs, and how they essence of light and the internal visions are connected. The nāďīs are here also a practitioner may have as he reaches the he subtle teaching introduced compared to woven threads that hold higher stages of yoga. Traditionally this There is called tāraka. Tāraka means a cloth together. The strongest central text belongs to the Brāhmaņa portion to cross over, but it also means a star, portion is the sušumnā and all other of the Śukla Yajurveda. The Brāhmaņas or the light in the forehead. The later is threads/nāďīs are supported and spring are normally concerned with the proper the central teaching of this Upanišad; out from that. The spine, neck and head execution of rituals, but here the to awaken the luminosity in the should be kept in a straight line, while practice of yoga is the internal sacrifice, forehead and allow that to guide one’s practicing prāņāyāma, for the ultimate aspirating for higher experience in the further journey through yoga. We are flow of prāņa. One’s focus should rest realms of light from within. introduced to seven different stages of on the tip of the nose, heart and internal The principle teaching of this internal vision outlined in the table on bindu for the awakening of a more Upanišad is certainly supportive of the opposite page. subtle energy that may eventually result Śañkarā’s view of Advaita Vedanta. Yet From the point of view of in the experience of ātman. this articulate philosophy regarding the ‘enlightenment’ this is an interesting The major practices center around inmost essence of the self can at best perspective, where there is a gradual lifting the prāņa through the help produce an intellectual fascination unless awakening to the greater stages of of prāņāyāma and bandhas. This a genuine experience of it is embodied luminosity from within as one enters is integrated with the practice and in the heart. For that very purpose, the into these and becomes one with them. visualization of praņava (OM) in practice of yoga is here introduced to The practice of yoga is here divided different places within the body. As the refine the body, mind and senses, and to into two stages, tāraka and amanaska nāďīs become purified it is considered provide a direct experience in awakening (beyond mind). The former is divided possible to raise the kuņďalinī up the heart and refining the mind. into mūrti and amūrti (form and no through the internal cakras until it In the opening verses we hear about form). The first stage, mūrti, remains eventually merges in the highest center, sage Yajñavalkya’s journey to the Āditya until one has conquered the sense where Lord Śiva abides and the nectar Loka (world of the sun), where he organs and the second stage — amūrti of immortality is tasted. requests to be instructed regarding the — is when a spiritual light appears in To keep calm and composed while truth of ātman. Since this knowledge is between the eyebrows. In the later state practicing āsanas and prāņāyāma is not possible to gain with mere words, of amanaska a great light appears above always recommended. Brahman is first Lord Nārāyaņa conveys to him the the root of the palate. From seeing it and foremost what is to be contemplated eightfold path of yoga, together with one gets numerous (perfections). in all one’s activity and he is the ultimate jñāna (knowledge). Here there are There are various interpretations in the support of all there is. No matter what five yamas and eight niyamas (quite classical yoga texts on where the essence level of skill and proficiency one may different to the traditional observances). of ātman is situated. Here it is said to be attain in the physical practice, it is worth Āsanas can be any of your choice. in the midst of sahasrāra2 and a person nil unless one can awaken a greater Prāņāyāma is of the traditional 1-4- who comes to experience this transcends receptivity to that inmost principle. 2 ratio. Pratyāhāra is the restraining the world of prakŗti (nature) through In the higher stages of prāņāyāma the of the mind from the objects of sense. the realization that the paramātma (God breath naturally ceases for longer periods Dhyāna is contemplating the oneness Supreme) is the “I” alone that exists.

1mūlabandha, uddiyāna-bandha and jālandhāŗa bandha. 2Crown cakra/ thousand petal-lotus.

4 Issue 14 Volume 04 practice is to eradicate tamasic qualities The final conclusion of the text is n the second chapter, Yajñavalkya and cultivate more sattvic components that, within the inmost essence of the Iconfirms that the he has heard many within the mind so it may raise itself heart, an internal spiritual sound exists, descriptions of this inmost point up to a greater perceptivity of what which manifest as the illuminating light of antarlakšya (concentration), yet is sacred. It is argued that this whole of the mind. As one learns to take help never really personally experienced it external universe is just a delusion and to meditate on these subtle layers or understood it. Nārāyaņa’s reply is within the mind and once the inmost of light situated from within, one may that it is the inmost source of all the essence of caitanya (consciousness) is eventually be absorbed in the highest elements, the essence of light, hidden understood, one becomes liberated and state of Višņu and experience the highest and un-manifest, and that it can only one’s external outlook on the universe state of purity, bliss and exaltation. That be understood through the cultivation completely changes. A real Yogi is one is here the state of Samādhi, the state of right jñāna (knowledge). It is who has realized this inmost essence of beyond all duality. A person who attains beyond nāda, bindu, kāla and agni and Brahman and acts in accordance with this will be free from all confusion and whatever we may physically perceive that only. In this state all sense of duality suffering and naturally have the utmost in the universe. It is rather an internal has been transcended and the mind benevolent influence on his family and awakening that comes gradually as one and the senses literally ‘dry up’; all that the world around him. makes oneself receptive to it. It is the remains is an expression of that inmost As an addendum it is worth inmost form of praņava (OM) and may principle. mentioning that the Yoga Tārāvalli1 gradually be attained as one learns to In the final chapter we are reminded (supposedly written by Śañkarācārya), unite prāņa and apana and restrain the of how a mind influenced by worldly a text glorifying the state of kevala breath for longer periods of time while objects will easily be subject to bondage. kumbhaka, actually means a cluster in kumbhaka. Because the world becomes the object of stars. The purpose of this text is Subsequent to this the traditional of the mind (citta) rather then the also to find a greater absorption in sixteen-stage pūja (worship) is introduced inmost numinous that illuminates it the luminosity of Brahman and a with the symbolic meaning for each of from within. When a mind has been major part of the process is to refine the sixteen steps. Here no external mūrti cultivated through appropriate yogic one’s receptivity to the illuminating (form) is being worshipped, but rather practices it will eventually be fit forlaya , principles within us. the essence of the ātmā; this is articulated the state of absorption where a principle to be the practice for Rāja Yogins. The of divinity is the inmost support.

1The text where the opening verse is ‘Vande gurūņām caranāravinde’ (The first verse of the Asthanga Yoga tradi- tion as taught by Śrî K. Pattabhi Jois).

Point of vision Appearance Internal vision One sees a blue light between the eyebrows and in the heart. External vision Gradual appearance of blue, black, red and yellow spots at a distance of 2-12 digits in front of the nose. Becomes a yogi! Looks at external space When one sees streaks of light at the corner of the eyes, the vision becomes steady. Spiritual light above the head, Experiences the taste of nectar. 12 digits in length. 1st stage of gazing into Space Some distant stars, but mostly darkness. 2nd stage of gazing into A bright luminous fire. Space 3rd stage of gazing into Space Experiences the light of a million suns.

October 2011 5 SANSKRIT PAINTINGS MELISSA TOWNSEND

hese paintings are a product of my thirty plus years of yoga/spiri- Ttual practice, eight years of Sanskrit study, and my work as an artist. Sanskrit is a vibrational language, and is a vehicle for move- ment towards the Self. Hearing it, or simply being around Sanskrit is said to transform and move one forward on the path towards Enlight- enment. These paintings transmit the vibrational power of Sanskrit visually, using color, form (yantras), image, the Devanagari script, and the scriptural text, combined to create an inspirational and de- votional work of art. My teacher’s guru said, “If you want to change your life, just put the Sanskrit alphabet up somewhere where you’ll see it daily.” Visually, as well as audibly, Sanskrit is a remarkable and powerful tool for transformation! These paintings are intended to bring that transformative visual energy into the lives of others. The paintings are of theSiva Mahimna Stotram (“Hymn to the Greatness of Siva” – one of the most beautiful, powerful and trans- formative of all Sanskrit hymns). The paintings are all oil and gold leaf on canvas, each measuring 16”x20”. The seven panels of this series contain the entire forty-three verses of the stotram, written in Devanagari (the written Sanskrit), with a yantra, or devotional im- age, appropriate to Siva super-imposed upon the Sanskrit. All of the works include a bindu, the point that represents the infinitely dense, infinitesimal beginning of all. Most include a circle, which represents Pa n e l 1 of the series is the most somber in the expansion of that point into the form of the world. color, with the deep blue associated with The colors and color combinations are also appropriate in praise of Siva on the interior circle, and the black Siva. Blue, for example, is a color often associated with Siva. He is of Infinite Space without. It includes verses called “Blue-Throated” because of the stain on his throat from drink- 1-9 of the stotram. These opening verses ing (and transmuting) the poison that threatened to destroy the uni- answer the questions: “Why praise God?” verse. “Is it even possible for us to praise God?” Accompanying each panel here is a very brief summary of the “How do we know that there is a God?” meaning of the verses as they are grouped on each of the seven panels and “What is the nature of God?” Here of this series of paintings of the Siva Mahimna Stotram. are the answers: It’s impossible to praise God adequately, but there’s nothing wrong Melissa Townsend lives in San Fransisco. An artist and psychic with trying. We praise God not for God’s who has been practicing yoga asana for thirty years. She has sake, but because we benefit from doing studied Sanskrit for eight years. Her work has been shown wide- so. Some dimwits like to make arguments ly in New York and in San Francisco. that there is no God, but they’re stupid. How could all the vast variety of what IS Artist’s note: Since it is my hope that the transformative vibra- exist, without some force behind it? And tion of the Sanskrit be a presence in as many peoples’ lives as Verse 7 summarizes: There are zillions possible, high quality reproductions are available for purchase. of paths to You, winding and straight. The paintings themselves are not for sale. Please contact me to Each person follows the path best suited purchase a reproduction. to their nature. All paths reach You, just E-mail: [email protected] as all rivers enter the ocean.

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he Si v a Ma h i m n a St o t r a m – Hymn Tto the Greatness of Siva, is one of the most beautiful and transformative of all Sanskrit prayers. It is said to be supremely auspicious to recite, and almost equally auspicious simply to have around, pleasing Siva, and bringing the greatest of blessings on every level: spiritual, emotional, mental, and physical. To pay attention to the Siva Mahimna Stotram in any way is to build a cord of communication between yourself and a force more profound, powerful, expansive and omnipresent than can be humanly imagined or experienced. It is to feel the awe of that and to say to that force, “To the degree that You can be seen by a human being, by me, I am looking, I am willing. I open myself to You. Reach me.” TheSiva Mahimna Stotram connects you to that power, and in so doing, connects you to the power of transformation, forgiveness, vision, and healing. It is an outlet through which you plug into the power of pure Being. If you open to it, it will answer all the questions that you don’t know how to ask, and move you in the ways that you knew and didn’t know that you had to move. As Indira Bulkin, (co- founder, with her husband Shanta, of the East West Sanskrit Institute) says, “It really packs a punch.” Shanta Bulkin calls the Siva Mahimna Stotram, “Otherworldly. Trippy. Like a visitor from outer space.” Their guru, Sri Brahmananda Saraswati, encouraged his students learn it, chant it, study it – over and over again. “This is YOU,” he would say. “This is not about some other thing ‘out “there’. Pay attention! It is YOU – your life, your story – that this stotram is talking about.” Pa n e l 2 includes verses 10-14 and the im- The Hymn to the Greatness of Siva age is of five triangles, alternating between contains forty-three intense, lyrical, pointing upwards and downwards, which poetic, majestic, and at times tongue- form the Yantra of Siva as Destroyer of twisting Sanskrit verses of powerful Desire. These verses begin a section of al- invocation of the force that has no name legorical/mythological stories that primar- – that is beyond all naming, beyond all ily illustrate the boundless nature of Siva reason, sense, measure; that is endlessly and of his generosity and magnanimity. elastic, forgiving, generous and present. “What prosperity (upliftment) does not The whole stotram is a metaphor for result from bowing down to You?” He is us – perhaps especially the central ten Varada, Granter of Boons. Stories include - fifteen verses which recount a number that of Ravana attempting to move Mount of the mythological stories associated Kailasa (Siva’s home) and of Siva acquir- with Siva. Who we are, what we do ing the blue stain on his throat by drink- – good and not-so-good; how we trip ing poison to save the world.

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up, and mess up, and trip up again; how we fool ourselves, and forget who we are and what we are and what is and isn’t real or important; and how in the midst of that, we might forget – or remember! – that there is this enormous, powerful, elastic, generous force that is always, always available. The stotram talks about how we do all that – trip up, fall out of grace – and how easy it is to “find” Grace again – because Grace actually wants to be found. The stotram talks about, or rather to, the absolute source of Grace that is ever-present. The stotram itself, as the story goes, was written by someone who tripped up, who fell out of grace, in a big way. Pushpadanta was a revered sage, who, by virtue of his austerities and devoted to Siva, had superhuman powers, including the power of invisibility. He used this power of invisibility on a regular basis to sneak into the compound of the king and steal the flowers that the king intended to use for his own puja to Siva. Angered, the king at last asked his priests for advice, and for a solution. They came up with a plan whereby funerary ashes were place in such a way that the thief would have to transverse them (a taboo), and would therefore lose his supernatural powers. It happened as they planned. Pushpadanta was revealed as the thief, and in an instant, he went from being supernaturally gifted, in a position of honor and power, to being stripped of all power and honor and gifts. He responded by writing this adoring and ecstatic Hymn to the Greatness of Siva. For any one (non-enlightened) person to try to talk or write about the meaning of the Siva Mahimna Stotram, is like being one of the six blind men, Pa n e l 3 returns to the bindu and its ex- stationed around an elephant, asked pansion (a circle) with bright sky-blue to describe the animal. “It’s like a tree and flame-like colors. It includes verses trunk,” says the blind man stationed by 15 through half of verse 20. These verses a leg. “No, it’s like a snake!” says the one continue to illustrate the greatness, un- by the tail. “You’re both wrong. It’s thin imaginable power, easy generosity and and floppy like a large leaf,” says the one compassion of Siva through allegory and given an ear to touch. mythology. Verse 17 is an ecstatic lyrical Sometimes, one can get a truer ode to the vastness and breathtaking beau- awareness of this stotram (or anything ty of Siva’s body; the entire Universe is but like it) by approaching it through art – a drop of water on his head.

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its visual or its sound vibration. I did this by undertaking to paint the entire stotram. It was an arduous task that seemed to choose me rather than being an undertaking that I consciously decided upon. I barely knew the stotram, had only just started working with it, (and wasn’t even sure if I was happy about that) and, having only begun studying Sanskrit a few years earlier, could read Devanagari, but not easily. Nonetheless, I found myself speaking about the Siva Mahimna Stotram to a father picking up his daughter from a playdate with my son, telling him about the many and wondrous purported benefits of reciting or even being around Sanskrit, generally, and this hymn in particular. It had occurred to me that it would be a great idea for someone to paint the stotram. I didn’t have a place to do such a thing; actually, I had pretty much stopped painting a year or so earlier. In fact, I was in the middle of something of a block as an artist, one that I wasn’t in much of a hurry to remove, either. I still made art – but only things that could be used by, or in the “service” of, my son. I was fed up with “art” and the “art world” and couldn’t find any reason to keep making more things to clutter up my life or the lives of others. I didn’t have a studio separate from the house where I would be able to paint with oil paint, anyhow. Much to my surprise, the father of my son’s friend said, “Wow! That sounds fascinating! I’d love to see that. You know, my wife has a huge studio. I’ll talk to her. You can work there.” It was the easiest rental that ever came my way. (I was offered my own studio in the building, shortly after). I started painting again (which was very painful, actually) incorporating Sanskrit into the work – Pa n e l 4, the central panel, is a square hymns, verses, , stotrams. And, pattern, with red, blue and yellow, very of course, since it had started the whole loosely reflecting a Siva-Shakti yantra. It thing…I actually had to start painting includes the latter half of verses 20 through the Siva Mahimna Stotram. 25. These verses continue to illustrate the It was…hard. It took me years to greatness, unimaginable power, easy gen- complete. The first panel so exhausted erosity and compassion of Siva through me that it was another year before I allegory and mythology. There is a strong could start on the second. But it’s the emphasis on Siva’s love of granting boons. hymn itself that bears attention. My He is easy to please. Offerings or requests experience is only cited to give some made to him from a place of truth always idea of just how powerful it is. bear fruit.

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Pa n e l 5 (verses 25 – 30) is a sky-blue bindu and circle pattern. The pattern and colors are simple, but deep, since this panel includes some of the most poetic and other- worldly verses of the entire stotram. Rap- turous and transcendent images describe what cannot be described. For example, verse 26: ”The learned say, ‘You are the Sun, the Moon, Fire, Air, Water, Space, Earth, the Self; but we do not know that thing which You are not.”

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Pa n e l 6 returns to the Yantra of Siva as Destroyer of Desire: five triangles, alternat- ing between pointing upwards and down- wards. It includes verses 31 through 36. These verses continue the poetry and other- worldliness of the previous five verses, us- ing remarkable metaphors and rapturous, transcendent images to describe the Divine (Siva). Verse 31: “My mind is subject to misery, whereas You are transcendent, in- finite, and eternal. But I possess devotion; that removes my dullness and empowers me to lay this at your feet.” Verse 32 is the last of the original verses written by Pushpadanta. The following verses are palasrut, enumerations of the benefits of recitation of the hymn.

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Pa n e l 7, the concluding panel, is a multi- leveled bindu circle pattern, multicolored with purple, blue, and gold predominat- ing. It includes the final palasrut verses 37 through 43: “If a person reads, or even keeps in the home, this Hymn, which is dear to Siva, He is pleased. All sins are de- stroyed.” “If, with purified heart and great devotion, one reads this beautiful hymn, after death, one becomes like Siva; and while in the world, wealth, long life, and fame are granted.”

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