Love in Spiritualism - Unconditional or Sensual?

The term "love" has many depictions in the scriptures, from rapturous sensuality as a form of expression to divine intoxication. The celestial being in our scriptures have either risen to the pinnacle of devotion or they have plummeted into the abyss of sexual satiation. Either way this emotion in its many forms makes or breaks a sadhak's spiritual endeavor. 

Love stems out of chemistry in gross terms and that's possibly the most mundane animal tendency we can see in ourselves. So blinding is the emotion that we as humans, have practically failed to look beyond it. But if and when we do get the chance to transcend this state and move to the next level, the definition of love changes drastically for good. 

Some call it Neela Madhava Bhava, others call it Madhura bhava, I some how relate to Neela Madhava Bhava a lot more. This is a state when love becomes unconditional, where bhakti takes over and rules the emotions. This is when love is not equated with gross sensuality but its a different high, that works more in the mind of course fed by emotion. It has nothing to do with physical attraction but the effect is far more intense in the mind, and lasts longer... possibly for good. 

Neela madhava bhava can be expressed to a celestial being in abstraction, to an idol representing that abstraction within a temple or quite simple to another human being who expresses similar state of mind. This bhava is beyond relationship, beyond rules and so free is its nature that it culminates in unconditional love towards others. Ramprasad Sen, a great poet and tantrik practitioner of his time went through this emotion in great depth, so much so that he practically prayed to Ma Kali to help him seek others who related to her divinity the same way.  

Many misunderstand Kaula tantra as an art form of love. To the uninitiated it may look like a potential orgy, but to the seeker the experience is way beyond words. When one sadhak goes through divine intoxication and relates to another sadhak with a similar mindset, the interaction is potentially that of Shiva and Shakthi, Krishna and Radha, but with one difference - There is complete detachment and yet there is extreme love and there is no sensuality in the picture. Love is a strong emotion that takes both the aspirants through, the gross bodies don't unite but the minds are in union. What results from the interaction is a higher state of bliss, in the mind and in consciousness.

Spiritualism is potent and as much as it offers such fantastic experiences to the mind, and soul it asks the physical body to have self restraint. The earthly definitions of love fall flat in the spiritual space. Attachment, ownership, pride and low grade orgasms have no place in this world. This world is beyond known imagination of love that has been peddled as a great experience, of the gross kind. In the spiritual space, this emotion starts with surrender, deep and pure surrender with no doubts. And when the Gods act on it, they speak to us, through events, through thoughts and through Neela Madhava Bhava.

ललाटचत्वरज्वलद्धनञ्जयस्फुलिङ्गभा

निपीतपञ्चसायकं नमन्निलिम्पनायकम् |

सुधामयूखलेखया विराजमानशेखरं

महाकपालिसम्पदेशिरोजटालमस्तु नः ||६||

- Ravana Tandava Shlokam (Wikipedia)

May we get the wealth of Siddhis from Śiva's locks of hair, 

which devoured the God of Love with the sparks of the fire flaming in His forehead, 

who is bowed by all the celestial leaders, 

who is beautiful with a crescent moon

Its time we unleashed that lesser known emotion to get the best of its potential. We are truly capable of a lot more, we need to believe we are ready for this new wave of emotion, for once it engulfs us, its a flood gate to heaven... in a spiritual space. Remember, even Kama had to be burned in the fire of enlightenment, he didn't survive the intensity of the great Lord Shiva himself. 

Lajja Gauri and the Tree of Life

Disclaimer - Content of this post needs to be understood with an open mind.

The complexity of India art, ritual and belief system can be simplified into two forms of worship and adoration. One is for the miracle of death which is realized in the worship of ancestors in which the quest for afterlife and rebirth are dwelled upon and the other is for the miracle of life that is realized in creation and its constant presence around us in the world. This is pronounced in the depth of both Hinduism and Buddhism.

Indra with a staff

Going back to the ancient days of the Ashoka era, when vedic deities held supreme power, Lord Indra was accepted into both Buddhist and Hindu pantheon of Gods. Indra is often depicted with a staff and is believed to have released life giving waters to earth after slaying the demon and also released the Sun into the sky thereby starting the cosmic cycle. This placed Indra as one of the supreme deities who brings to earth the miracle of life, and his releasing water to the earth is associated with water cosmology. Indra's staff therefore became the potent symbol of life spiritually, and denoted supremacy and proliferation of race and rule politically.

This potent belief of Indra's staff was further explored by Ashoka in the kingdom of Magadha, where he spread his faith on Dharma by placing edicts across his kingdom in the form of Ashoka Pillars. The Ashoka pillars stand for spiritualism and pure living, they teach the value of dharma and exude his imperialism across Magadha. But what were these pillars and what was their significance?

The pillars were not just a list of rules for better living surmounted by a lion signifying imperialism. These pillars in their very construct were the symbolism of the "Tree of Life" that stems from the pot of water placed at the bottom from which rises the shaft( yashti) of the pillar(stambha). The "Tree of Life" flowers into a lion capital or into an architectural unit depicted on temple walls in later years(photo below with pillars marked in white) but primarily re-emphasizing on the root principle of water cosmology.

Airavateshwara Temple, North wall, Darasuram near Kumbhakonam

The "Tree of Life", was symbolized by Ashoka when he erected his pillars with engraved edicts and placed them into the earth by digging a pit and covering it with water or placed an earthen pot full of water at the base inside the pit from which rises the shaft of the pillar. This architectural unit of a water-pot based pillar signifies the potency of the miracle of life and its constant presence in this world as we know it.

Meanwhile far away in the interior forests of the Hindu Brahmanical countryside way back in an era even before Ashoka probably, another version of the potent "Tree of Life" took shape. Going back into the realm of Lord Shiva, there runs a mythical story on Lord Shiva and Parvati (Mother Goddess). After their wedlock they returned to Kailasa and retreated into the caves of this divine mountain. For eons they remained here, in union away from all the worlds. Meanwhile, there was trouble in Devaloka and on earth as the Asuras had again begun to harass the devas and other mortals. This disturbed the Rishis, Devas and other Gods and they came to the cave entrance seeking Lord Shiva's help to vanquish the charging Asuras. Realizing that they were unable to awaken Lord Shiva out of his marital bliss, they decided to step into the cave. Deep within the cave, the Lord and His consort, lay in union. Parvati was taken by surprize on the sudden entry of the heavenly folk, and in order to save her embarassment, she picks up a full bloomed lotus and covers her face.

This moment, of Parvati attempting to cover her embarassment (Lajja) has been depicted in sculpture as Lajja Gauri showing her face covered with the lotus as well as her holding a lotus bud in each hand signifying fertility, life and creation. Her raw beauty has been depicted without any subtlety, her moment of union with Lord Shiva has been captured by the scuptor. Dr. Ramachandra C. Dhere in his book "Lajja Gauri" describes her womb to represent an earthen pot. This representation brings alive the original concept of the miracle of living where the "Tree of Life" is represented by progeny and lineage. The potency of the life giving waters in water cosmology is metaphorically represented by the waters within the yoni of the woman.

This echoes the same symbolism with which Ashoka erected his edicts around Magadha. These waters are considered enpowering and they render the living all powerful and brings prosperity. Such was the depth of belief in Indian iconography and representation in Indian art.

Photo courtesy:
Indra with staff: Christopher Tadgell is Senior Lecturer in Architectural History at the School of Architecture, Canterbury College, Kent Institute of Art and Design 1996, http://www.ellipsis.com/history/
Ashoka Pillar: © Lexicon of Greek Personal Names. All rights reserved.
Lajja Gauri: Naganatha Temple, Naganathakolla, Bijapur District, India. Badami Museum, Item B36 Archaeological Survey of India (ASI), government photograph. Date c. 650 CE. Image scanned by uploader from Bolon, Carol Radcliffe, Forms of the Goddess Lajja Gauri in Indian Art, The Pennsylvania State University Press (University Park, Penn., 1992)
This image is in the public domain in India because its term of copyright has expired.
Airaveteshwara temple: commons.Wikipedia.org