SaHridaya Paintings
“Yat bhavam tat bhavati - What you feel and think that you become.”
“Prthivyai cainam agnes ca daiva vag avisati, sa vai daiva vag, yaya yad yad eva vadati, tad tad bhavati.
The speech becomes divine, the mind becomes divine, and the Prana also becomes divine thereby, due to which the capacity of spoken words increases infinitely, because the limitations imposed upon speech by its connection with the present body are lifted on account of the practice of this meditation.”
The term, bhava, I would also interpret as “the ‘feeling’ or emotional response that takes the shape of the thought expressed”. In my practice in creating these paintings comprised of mantras, or sound syllables, I aim to create a form of meditative writing (likita japa) that channels thought activity for the duration of the writing period (at least). This meditative writing, practiced in silence, induces the writer to focus energy within, and there by create coherence within consciousness. A coherence that channels mind to matter (writing) this in turn slows down the in-breath and out-breath of the writer. The writing of Sanskrit mantras as opposed to writing ‘lines’ as a form of punishment metered out to delinquents is quite different.
These sounds of the Sanskrit words closely correspond to meaning as ascertained by ancient seers. This transference of ritual (likita japa) (when an entire production cast/crew or community writes upon the canvases, using a similar theme or specific mantras), produces a collective coherence. This coherence within the collective consciousness of the production cast and crew, corresponds with the precepts of the production especially in sacred theatre, like in the production of Ramayana, Vishwa Vinayaka, Saraswati Mandala dance.
Thus the act of rehearsing and perfecting dance, acting, by actors, dancers (and in all crew that create the modes of expression including lighting design, sound stagecraft etc.) in a theatrical performance, is aligned consistent and cogent. The collective consciousness of the production team is as ‘one’, living, breathing (Prana) together, invoking the sacred within.
“When this meditation is practised, the Prāṇa also gets harmonised with the cosmic Prāṇa, even as it is the case with the speech and the mind of a person. Then the divine Prāṇa enters the person. The Sūtra-ātman takes possession of the individual, and he becomes the vital force, or energy, of everything that moves and does not move, visible or invisible. And then one is not affected by what happens anywhere in the world. The Prāṇa of an individual is subject to limitations on account of the presence of persons and things outside.” (S.Krishnananda)
This then is true ‘Sahridaya’. Where the observer within me, and the observed entity align, and ‘meaning’ is understood and experienced as ‘one’. The sadhana is the polishing or the act of penance (as quoted by Swami Krishnananda from the Upanishad) either by writing upon the canvases, or perfecting dance, acting, singing albeit all modes of articulation of the performance finds fruition or realization in the creation of Rasa in the audience.