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lila hinduism

(...) In the Hindu view of nature, then, all forms are relative, fluid and ever-changing maya, conjured up by the great magician of the divine play. Thielemann, Selina (2000) Singing the Praises Divine: Music in the Hindu Tradition. . The word maya—one of the most important terms in Indian philosophy—has changed its meaning over the centuries. (non-dualism) has three states of being in the individual, universal and transcendental realms (Morey 75). The basic recurring theme in Hindu mythology is the creation of the world by the self-sacrifice of God—"sacrifice" in the original sense of "making sacred"—whereby God becomes the world which, in the end, becomes again God. The epics portray the deities to be part of the teachings of lila, as passed down for many generations. (...) "I like eating sugar," as Ramprasad said, "but I have no desire to become sugar." Thinkers of the Caitanya school disagree, and believe that God acts in sport without thinking of benefiting his creation; therefore the feeling of pleasure is an effect of God’s nature. Lila (Sanskrit: लीला, IAST līlā) or Leela, like many Sanskrit words, cannot be precisely translated into English, but can be loosely translated as the noun "play".The concept of Lila is common to both non-dualist and dualist philosophical schools, but has a markedly different significance in each. In a nondualist perspective of, , nothing exists outside of the creative energies of Brahman, though many manifestation cycles of creation and destruction happen independently within Brahman (Morey 76). The concept of Lila is common to both non-dualist and dualist philosophical schools, but has a markedly different significance in each. One of the most powerful images associated with this tradition is that of the circle (ras) dance, in which Krishna multiplies his form so that each gopi thinks that she is his partner. Let us know if you have suggestions to improve this article (requires login). In the words of the Gita Karma is the force of creation, wherefrom all things have their life. Lila (Hinduism) (Sanskrit: लीला, IAST līlā) or Leela, like many Sanskrit words, cannot be literally translated to English but can be loosely translated as "play" (noun). Different schools of religion and philosophers debate the topic of lila, manifesting a modern interpretation. ... Hinduism Stack Exchange is a question and answer site for followers of the Hindu religion and those interested in learning more about Hinduism. In this Integral Yoga perspective, this. And that is impossible. https://ro.wikipedia.org/w/index.php?title=Lila_(Hinduism)&oldid=9147657, Creative Commons cu atribuire și distribuire în condiții identice. Dehli: Motilal Banarsidass Publishers. Devotion to divine play is one method that leads to salvation (Sax 19). This article was written by: Sharra Fullersmith (Spring 2017), who is entirely responsible for its content. The followers against this illusionist cosmology would accept and maintain their creative skill. These gods are believed to be complete, with no needs or desires. I was under the impression where it is when Lord Krishna marries all the gopis. This article was most recently revised and updated by. Sri Aurobindo Ghose, in his study of the non-dualistic Integral, as the way in which Brahman creates itself in pleasure to see its followers share in the manifestations of the world (Morey 75). Denise Cush, Catherine Robinson, Michael York (Hrsg. The Vendantic yogi never tires of stating that kaivalya, "isolation-integration", can be attained only by turning away from the distracting allure of the world and worshiping with single-pointed attention the formless Brahman-Atman; to the Tantric, however—as to the normal child of the world—this notion seems pathological, the wrong-headed effect of a certain malady of intellect. Within non-dualism, Lila is a way of describing all reality, including the cosmos, as the outcome of creative play by the divine absolute (). REFERENCES AND FURTHER RECOMMENDED READING. is “sport” or “play” in Sanskrit. Lila as a genre of drama is a popular cultural event for celebrating Krsna, such as the performance of the ram-lila (Hawley 57). abhyapadyata līlayā The ideas and stories surrounding lila impact the beliefs and practices of Hindus and their worldview of existence. Multiple epics work to teach these concepts to followers using different manifestations. The devotees are not bound by social conventions and follow inclinations that are sometimes disrespectful (Olson 173). ... Maya is also described in the Hindu scriptures as the play (lila) of God enacted through his creative and dynamic energy or force (shakti). Berkeley: University of California Press. The concept takes on other shadings and plays a central role in Vaishnavism. Bryant, Edwin F. (2007) Krishna: A Sourcebook. The dynamic force of the play is karma, an important concept of Indian thought. Similarly, the dramatic reenactment of the events of the Ramayana are known as Ram Lila, celebrating the deeds of the god Rama in such a way as to draw his devotees into his cosmic play. This theme resonates with other Hindu doctrines, such as Tantra and Sakta. The. Brahman is full of all perfections. There are multiple realities, they are transformable, with blurred definitions between divine play and non-play. There is the the story of Visnu creating the world while dreaming asleep on the cosmic serpent Ananta. From the might, or power, of the divine actor and magician, it came to signify the psychological state of anybody under the spell of the magic play. Lila denumește jocul divin, în care Divinitatea vede Creația drept joc și prin aceasta arată o radicală libertate și spontaneitate. Performances in Vrndavana are a type of less regulated play; with creative characters telling stories simultaneously interpreted by professional declaimers in a way that engages the audience (Sax 17). The concept of lila , divine play, reiterates key elements in understanding the nature of the gods in Hinduism, as well as provides a place for the process of creativity in religious thought. Krsna possesses beauty, relating to play as an end in itself, ornamental and existing without purpose (Kinsley 74). Knapp, Steven (2005) The Heart of Hinduism: The Eastern Path to Freedom, Empowerment and Illumination. The world of maya changes continuously, because the divine lila is a rhythmic, dynamic play. impact the beliefs and practices of Hindus and their worldview of existence. It is created out of Bliss, by Bliss and for Bliss. The creative process and action of lila is real, and the creation is a manifestation of the true nature of God (Sax 15). In the devotional sects, lila has other and more particular meanings. It is the active principle of the play, the total universe in action, where everything is dynamically connected with everything else. This is expressed in the Siva temple in the core image of the sivalinga, an expression of male (linga) and female (yoni) union. It permeates art and religion for the privileged upper classes who intertwine the serious, real aspects of life with creativity, such as switching male and female gender roles (Schechner 35). Schechner, Richard (2003) The Future of Ritual: Writings on Culture and Performance. . The gods themselves had come down and taken birth as men; and when you think of all that took place throughout the wonderful childhood of the Lila of Sri Krishna, you must remember that those who played that act of the drama were the ordinary men, no ordinary women; they were the Protectors of the worlds incarnated as cowherds around Him. Karma Yoga allows a joyful embrace of all aspects of life ("intentional acceptance") while maintaining distinction from the Supreme, while Bhakti and Jnana Yoga advocate striving for oneness with the Supreme.

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