Vedic Dance, Music And Science - Part (I) - Mathomathis Mathomathis: Connect God By Mathematical Science

In our previous article mathomathis tried to explain about the scientific meaning of GOD where we spoke about a spiritual awakening of spiritual level by taking temple as an example. In case if you have missed it, please read it here.

Now in this article, continuing with the after origin of vedas, we would like to talk about the science behind the music and dance involved in vedic culture. Spare sometime to read the article below

The Vedic Hinduism asserts that all changing manifestations are referred to the Supreme Unchanging God as Source and Substratum. These continuous changes are describes as a dance. The Lord Shiva as King of Dancers (Lord Nataraja) shown in figure below illustrates this principle.

Fig: Lord Nataraja as a Divine dancer

The divine dance posture of Lord Nataraja depicts spiritual bliss obtained by the state of balance achieved through the process of yoga. The drum and the fire in His right and left hands signify the vital forces namely, prana and apana respectively. The union of prana and apana is the goal of yoga. The snake signifies the yogic energy as Kundalini. The blessing of fearlessness to a devotee is indicated by His two hands in the middle. The dwarf-demon being crushed is called as Apasmara representing forgetfulness of one’s innate divinity. The Vedic literature says that, it is this ignorance makes humans unconscious of the indwelling divinity. The actions based on this ignorance are the cause of misery and suffering. The darkness created by Apasmara has to be dispelled by the divine dance of Lord Nataraja, which brings spiritual enlightenment.

A composition by a seer-yogi Swami Sriranga Priya says :

Om namo Natarajaya shudddha jnana svaroopine
Bhaktanam hridaye nityam divyam nrityam prakurvate

Which means, "Salutations to the Lord Nataraja, Whose form is pure spiritual knowledge. His divine-dance is performed all the time in the heart-altar of all devotees". The divine dance of Lord Nataraja also signifies the yogic process. The importance of various chakras in spiritual path is well known. In figure 1 shown below, the production of various seed-sounds in relation to various chakras starting from Mooladhara at the base are shown. The Vedic representation of the human spinal cord as the musical instrument (Veena) is shown in figure 2. 

The 24 frets of the instrument are analogous to the 24 cartilages in the spinal cord. The number 24 also relates to the 24 syllables in the Vedic Gayatri mantra. Thus the inter-relation (figures 2, 3, 5 and 6) between a temple, Goddess Saraswati holding Veena, The production of seed-sounds at the various chakras in the spinal cord and representation of Veena as spinal cord shows the multi-faceted manifestations of Vedic principles and experiences.

Figure 1: Lord Nataraja and speech-sounds (refs 1, 2)

Figure 2: Veena and human spinal cord representation

The rishis and yogis experienced the various manifestations of the Supreme Being not only within themselves but also in the nature and cosmos. Another illustration is the discovery of a natural instrument namely, conch-shell used for rituals and spiritual practices. Figure 3 shows the interior of a conch-shell and its spectral characteristics of the sound.

Figure 3: Spectral characteristics of Sankha (conch-shell)

The interesting feature is the sharpness of the tone, which is even difficult to obtain in a human-made instrument. The superior sound quality of the tone from a proper conch-shell represents the spiritual vibrations of the universal sound of OM. The Garbhopanishat says that an infant in the womb, in its eighth month hears the sound of OM and has the spiritual vision of Light of God. It is for this reason, the Vedic literature says that God is in every being and it is the rediscovery of that vision and knowledge that is needed for spiritual enlightenment.

It is well known that Indian classical music has Vedic origin. The acoustical characteristics such as melodious sound, phonetic quality of letters, proper breaking of words, correct intonation, majesty and proper speed of Vedic chants are precisely transmitted through oral tradition from teacher to disciple. Svaras are common to Vedic chants, music and language. The seven svaras of music are acoustically related to svaras in Vedic chants. It is interesting to note that Vedic chants are effectively played on musical instrument Veena. The Shabda Bramhan encompasses the full range of vibrations such as infra, audio, ultra and electro-magnetic waves. The Amrita Bindu Upanishat refers to two Bramhans namely ParamBramhan and ShabdaBramhan.


Read Origin Of Vedas - Grand Finale
 
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