Execution Process of Ānăddhă Vādyă

                Indian music is profoundly connected to metaphysics, intertwining sound with the very essence of existence. Musical instruments, as extensions of this connection, play a vital role in the creation and expression of music. The syllables that form the foundation of musical notes are believed to emerge from the resonance of percussion instruments, and it is within these syllables that the divine essence, or soul, must reside. Only when this soul is present can a deity truly be represented in sound. At the core of this spiritual relationship lies the Ānăddhă Vādyă, or percussion instrument, which embodies "rhythm," the heartbeat of all music. In the Indian Vaishnavite tradition, there are fifty-nine principal rhythms, each representing a different type of air, symbolizing the breath that sustains life.

Rhythm in Indian music, or Tālă, is structured around ten vital prāṇăs (life forces): kālă (time), mārgă (path), kŗiyā (action), ăṃgă (parts), grăhă (planet), jāti (class), kălā (measure), lăyă (tempo), yăti (progression), and prăstāră (expansion). According to Indian percussionists, these ten prāṇăs correspond to the ten portals (dăśădbārăs) of the human body, which include the eyes, noses, ears, mouth, genitals, anus, and mind. Each portal is associated with a specific pulse or energy center. The right eye is linked to 'Hăstijihvā,' the left eye to 'Gāndhāri,' the right nostril to 'Piṃgălā,' the left nostril to 'Iḍā,' the right ear to 'Prăsărā,' the left ear to 'Yăśā,' the mouth to 'Alămbuṣā,' the genitals to 'Kuhu,' the anus to 'Śăṃkhiṇi,' and the mind, which encompasses the central energy channel from the root chakra to the crown chakra, is connected to ‘Suṣumnā.’ These ten pulses govern the human body and play a crucial role in awakening kuṇḍălini energy. Indian percussionists aim to merge the syllables of the sixth chakra with the cosmic sound (śăbdhă-brăhmă) by integrating kuṇḍălini with the rhythms of percussion instruments, thus connecting the individual with the universe.

The human body, in its essence, is composed of the five basic elements (păṅcătăttbă): Earth (ļiti), Space (byōmă), Wind (mărudă), Fire (tejă), and Water (ăpă). Each element corresponds to a specific sensory experience—Earth is associated with 'perfume,' Space with 'flower,' Wind with 'incense,' Fire with 'light,' and Water with 'offering.' In this metaphysical framework, the cosmic sound (śăbdhă-brăhmă) is revered and worshiped. From Earth (ļiti), the body derives bones, flesh, skin, nerves, and hair. From Space (byōmă), emotions such as anger, affection, infatuation, fear, and shame are created. Wind (mărudă) brings about opposition, sorrow, retention, and contentment. Fire (tejă) gives rise to hunger, thirst, sleep, exhaustion, and warmth. Water (ăpă) is responsible for forming urine, blood, marrow, and sperm.

For a practitioner of this spiritual tradition, it is essential to surrender not only the body but also the consciousness and mind in their practice. Moreover, this journey requires the practitioner to undergo a complex process of purification, cleansing both the body and its pulses. This purification is necessary to align the practitioner's physical and spiritual self with the cosmic forces, allowing for a deeper connection with the divine through the rhythms and sounds of music.

Dhyāyătē iti dhyānăm – Meditation is the process of remembering, contemplating, and thinking deeply. In meditation, one finds not only thoughts but also the essence of forms, tastes, smells, touches, and sounds, all existing within the sacred space of the mind. Through meditation, the entire character of the practitioner unfolds like a blossoming flower, bringing into unity the consciousness, soul, mind, body, and pulse. It is in this union that the percussion practitioner transcends individuality and becomes one with the divine character they seek to embody.

Each rhythm (Tālă) or rāgă in Indian music has its own distinct meditation, guiding the practitioner into deeper spiritual realms. For example, consider the Meditation Hymn (măntră) associated with Ādi or Tri-tālă:

ṣăț strīsaṃgă sămāyuktă dăṇḍābdōlănă saṃsthitām.
pāmāṃkē caikă vāmāsyāḥ sănnidhō cāmărī yuktăm.
pītāmbărădhăraṃ răktăvărṇă kuṇḍălă măṇḍităm.
yăjṅăsūtrădhăraṃ dēvămādi tālămăhaṃ bhăjē.

["She stands, united with six celestial maidens, her scepter swaying in rhythmic grace. A chauri fan graces her left side, near her feet; dressed in saffron robes, her beauty is complete. Adorned with red earrings, her divine form gleams, a sacred thread adorns her, fulfilling sacred dreams. I worship that supreme deity, the primal source of all."

Interpretation:

This verse likely describes a goddess, perhaps a form of Shakti or Devi, given the attributes of celestial attendants, sacred thread, and the emphasis on divine beauty. The imagery of the swaying scepter, the chauri fan, and the yellow robes are all symbolic and evoke a sense of spiritual power and majesty. The final line emphasizes the devotional aspect, with the speaker expressing reverence for this divine being.]

This powerful măntră, dedicated to a specific rhythm, is not merely a collection of words but is deeply rooted in the traditions of sages, verses, and deities. Each element of this măntră carries with it a particular energy and purpose. The process of ignition (nyāsă) and other rituals accompany this măntră, invoking the divine presence. In the realm of music, however, it is not referred to as 'bijămăntră' or seed hymn but rather as "pāțāļără." The rhythm is not just a sound; it is an invocation of the divine through the syllables Tē-ti-gi-dhă Tē-ti-gi-dhă iti. This rhythm spans a sixteenth metre, providing a structured format for spiritual expression.

When engaging with a percussion instrument, the practitioner must chant 'pāțāļără,' infusing the ten vital prāṇăs of the particular rhythm into their performance. This is not a mere physical action but a profound spiritual practice. The practitioner must invoke the deity associated with the rhythm from the solar-zone or the Turīyă state, a state of pure consciousness. This invocation is done using a specific Gāyătri măntră and sacred mudrā, which are gestures or seals that connect the physical and spiritual realms. The deity is then placed within the percussion instrument, sanctifying it and transforming the act of playing into a sacred ritual. Through this process, the instrument becomes a vessel for divine energy, and the music produced transcends the material world, resonating with the vibrations of the cosmos.

The seeker or practitioner, before playing the instrument, traditionally invites the deity. This ancient practice has been deeply embedded in spiritual rituals since time immemorial. A notable example of such an invocation is found in the sixth kāṇḍă of the Ăthărvăvēdă, in the thirteenth ănubākă, first suktă. Here, the invitation of the 'Dundubhi Vādyă' is made through sacred verses, calling upon the divine forces to manifest through the instrument.

Upă śbāsăyă pŗthivīmută dyā purătrā tē bălbătāṃ biṣthitaṃ jăgăt.

Să dundubhē sărjurindrăṇă dēbairdūrādă dăbīyō ăpă sēdhă śătruṇă.. 4..

Ā krăndăyă bălămōjā nă ā dhā ăbhi ṣțănă duritā bādhămānaḥ.

Ăpă sēdhă dundubhē dūcchunāmită indrăsyă muṣțirăsi bīḍăyăsbă.. 5 ..

Pāmuaṃ jăyābhīmē jăyăntu kētumăd dundubhirbābădītu.

Sămăśbăpărṇāḥ pătăntu nō nărōăsmākămindră răthinō jăyăntu.. 6 ..

 

[Verse 4: O Earth, O Heaven, O Vast Space, O Mighty Thunder, we seek your protection. May the enemy's strength be diminished from afar, and may their power be shattered by the sound of Dundubhi. Verse 5: If there is any strength, let it remain unshaken. Let the performer of the ritual face no obstacles or difficulties. May the thunderous sound of Dundubhi, embodying the divine, bring victory and vanquish all adversaries. Verse 6: May the banner of victory, raised by the thunderous sound of Dundubhi, soar high. Let all who fight on our behalf is triumphant, guided and protected by the divine.]

These verses, brimming with spiritual power, illustrate the belief that the sound of the Dundubhi can defeat the silence of the enemy and send its powerful vibrations far and wide, bringing about protection and victory.

The Nāțyăśāstră, the foundational text of Indian music, also emphasizes the worship of musical instruments or the invocation of divine presence. Bharatamuni, in his treatise, meticulously describes this practice in verses 273-285 of the thirty-fourth chapter[1]. These verses beautifully capture the essence of inviting the divine into the musical instruments, transforming the act of playing into a sacred offering.

The secrete ritual are described below –

To properly perform the sacred rituals, one must begin by worshiping the deities with utmost devotion. Once the prayers and offerings have been made, the idols of the deities should be placed gently on the ground, choosing an auspicious day for this sacred act. These idols may be placed either in the palm of the hand or on a white shell, symbolizing purity and divine connection.

The guide for this ritual, known as the Upādhyāya, must embody the highest virtues. He should be a person of pure heart and mind, well-versed in spiritual knowledge, and hailing from a noble lineage. Free from any illness or impurity, the Upādhyāya should radiate brightness, symbolizing his deep understanding of the essence of music, which plays a vital role in the ritual. His nature should be sweet and harmonious, reflecting the divine harmony he seeks to invoke.

On the day of the ritual, the Upādhyāya should observe fasting, his hair neatly tied as a symbol of discipline, and he should be dressed in clean, white garments, representing purity. With a firm vow in his heart, he should proceed to create three sacred mandalas on the ground using fragrant cow dung, an ancient and revered practice. These mandalas are not just simple drawings; they are powerful symbols that connect the physical space with the divine realms. In these mandalas, the idols of Brahma, Shiva, and Vishnu should be carefully installed, each occupying its sacred space, ready to receive the offerings and prayers.

The first percussion instrument, known as the Āliaṃgă, should be placed in the eastern direction within the Brahma mandala. This direction, associated with new beginnings and the dawn, is where Brahma, the creator, should be honored. The second percussion instrument, named Urdhvăkă and representing Rudra (another form of Shiva), should be installed in the upward (northern) direction, symbolizing strength and transformation. The third percussion instrument, called Āṅkikă, which represents Vishnu, the preserver, should be placed in the Vaishnava mandala in a horizontal position, symbolizing balance and sustenance.

These three sacred instruments, known collectively as Puṣkără-Vādyăs, must be venerated with offerings. The offerings include food that has been prepared as a sacrifice, flowers, and other items that hold spiritual significance. Among these offerings, rice pudding mixed with ghee, sandalwood paste, and flowers hold a special place. Additionally, white garments should be offered to the Swayambhu Linga, a self-manifested symbol of divine energy, further sanctifying the ritual space.

As part of the ritual, offerings must also be made to Tryambaka, an epithet of Lord Shiva, and his attendants through the Urdhvăkă percussion instrument. These offerings should include rice, flowers, and eight balls (piṇḍas) made from grains and other auspicious materials, each ball symbolizing different aspects of prosperity and well-being. Symbols like the Swastika should be carefully placed among the offerings, adding layers of spiritual protection and blessing.

The offerings should be adorned with specific flowers that carry deep spiritual meanings. Flowers like Karavira (oleander) and Arka (calotropis) should be used, and particular attention should be given to the use of red Kadamba flowers, which are considered highly sacred. These offerings must be made with care, devotion, and a deep sense of reverence, ensuring that every aspect of the ritual is performed with the utmost respect.

In the Vaishnava mandala, which is dedicated to Vishnu, a symbol representing all seeds (Sarvabīja) should be placed within the Āṅkikă percussion instrument. This symbol embodies the essence of all life and creation, and it should be beautifully decorated with garlands, garments, and fragrant substances. Offerings of cooked food, especially rice pudding (pāyasa), should be made to please the deities, inviting their blessings and protection.

After these preparations, the Upādhyāya should lead the recitation of auspicious blessings, invoking the divine through the voices of the Brahmins. The first oblation should be offered to the eastern and right directions, honoring the cosmic order. Following this, the worship of the Gandharvas, the celestial musicians, should take place. Their divine music is believed to bridge the earthly realm with the heavens, and once they are honored, the sacred music should be played, filling the space with divine vibrations.

The deities Vajreshana, Shankukarṇa, and Prahasta, who is also revered as Mahān, are particularly worshiped through these offerings. These deities hold great prominence and are closely associated with the sacred places of worship for the Puṣkără-Vādyăs, the instruments that play a crucial role in connecting the devotees with the divine.

 

Worship, in the realm of Tantra, is shrouded in an aura of profound mystery. The ancient wisdom encapsulated in the Guru Gita declares the Guru to be the embodiment of the divine, the supreme Brahman. The act of revering a Guru is akin to inviting a cosmic rhythm into one’s life. It is the most potent form of spiritual invocation. Hence, the tradition of seeking a Guru's blessing and receiving an instrument from them is deeply cherished. For a seeker, such an instrument becomes a sacred conduit to the divine.

The disciple's reverence for the Guru transcends the latter's specific musical prowess. Whether the Guru is a master instrumentalist or not is irrelevant. The lineage of musical excellence exemplified by the likes of Ustad Allauddin Khan, his son Ustad Ali Akbar Khan, daughter Annapurna Devi, and disciple Pandit Pannalal Ghosh underscores this tradition. An instrument bestowed by a revered Guru is considered a sacred gift and a harbinger of good fortune.

The neighboring state of Manipur, culturally intertwined with Assam, is revered as the mystical land of the Maglus. History bears witness to the close ties between the Ahom kingdom and Manipur, with matrimonial alliances further cementing the bond. The influence of Vaishnavism is deeply ingrained in Manipuri culture. The majestic Sri Govindaji Temple in Imphal stands as a testament to this faith. Music, an integral part of worship here, has reached unparalleled heights through the art of Manipuri Rasa. The Mridangam, a percussion instrument of profound spiritual significance, is considered the very form of Lord Krishna in this tradition. Its components - the Daina, the Baya, the Tikni or Dowali, the black Rupahi skin, and the Ghera - are all imbued with divine symbolism, representing the eyes, bracelet, complexion, and adornment of the Lord respectively.

The Sacred Preparation

Before embarking on the mystical journey of Mridangam, the Manipuri musician invokes the divine. A solemn Gayatri mantra, addressed to the mridangam-deity, is chanted as a prelude. This sacred verse, "Om kliam mridangaya bidamaha shyamvarnaya dhimahi tanno mridanga prachodayat," serves as a bridge connecting the musician with the cosmic rhythm.

Subsequently, a series of potent syllables, "kliam kliam kliam dhliam dhliam dhliam dliam dliam dliam shliam shliam shliam mridangaya swaha," are chanted while offering the traditional Panchaopasar, a sacred offering of perfume, flower, incense, light, and water. This ritualistic act fosters a profound communion between the musician and the instrument, blurring the lines between the self and the musical vessel.

The sacred process continues with the repetition of the seed mantra, "khriam driam cariam swaha," ten times. This is followed by another invocation of the Mridangam Gayatri, "Om kliam mridangaya bidamaha nirakaraya dhimahi tanno mridanga prachodayat," chanted ten times. The musician's voice and the instrument become one, as the mantra is simultaneously sung and played. Any disruption to this sacred sequence is considered inauspicious.

A final invocation to the Guru is performed by striking specific rhythms on the Mridangam. Three strikes on the right side honor Chaitanya Narayan, while two on the left pay homage to Radha and Krishna. The ritual concludes with a silent prayer to Govinda, accompanied by a gentle touch to the center of the Mridangam.

In stark contrast, the Vaishnava tradition of Assam, deeply rooted in the Sattras and Namghars, does not necessitate such elaborate preparations. Music is an inherent part of daily worship, and the presence of the Guru is a constant, spiritual guide.

 

 

 

 

 

 

 

 

 

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[1]      Dēvătānhyărcănaṃ kŗtvā tătaḥ sthāpyā măhītălē.. 273 ..

Citrāyāmăthăvā hăstē śuklăpăļē śubhēShăni.

Upādhyāyaḥ śucirvidbān kulīnau raugăvărjitaḥ.. 274 ..

Bhătimān gītităttvăjñau mădhurauSbikălēSndriyaḥ.

SaupăvāsauSlpăkēśăścă śuklăvāsā dŗḍhăvrătaḥ.. 275 ..

Măṇḍălătrăyămālipyă gaumăyēnă sugăndhinā.

Brăhmāṇaṃ śaṃkăraṃ viṣṇuaṃ triṣu tēṣu prăkălpăyēt.. 276 ..

Āliaṃgă sthāpăyēt pūrvă kŗtē brāhyēSthă măṇḍălē.

Urdhvăkaṃ tu dvitīyēSsmin rūdrănāmni nidhāpăyēt.. 277 ..

tiryăgutsaṃgikaṃ sămyăg vaiṣṇăvē măṇḍălē ļipēt.

Bălipuṣpaupăhāraistu pūjăyēt puṣkărătrăyăm.. 278 ..

Pāyăsaṃ ghŗtămădhyăktaṃ căndănaṃ kusumāni că.

Śuklāni caivă vāsaṃsi dătvā liaṃgē svăyaṃbhuvaḥ.. 279 ..

Tryămbăkāyă prădātăvyă săgăṇāyōrdhvăkē băliaḥ.

Svăstikairlājikāpuṣpărūpăpiṇḍāṣțăkaiaḥ săhă.. 280 ..

Unmăttăkărăvīrārkăpuṣpairănyaiścă bhūṣitaḥ.

Băliaḥ kāryaḥ prăyătnēnă răktăkaudumbăraiaḥ săhă.. 281 ..

Vaiṣṇăvē măṇḍălē sthāpyaḥ sărvăbījăgătōSṅkikaḥ.

Srăgvăstrālēpănaiaḥ prītaiścărūbhiścă săpāyăsaiaḥ.. 282 ..

Vācăyitvā dvijaiaḥ svăstiaṃ rătvā pūrvă cădăļiṇām.

Pūjăyitvādigăndhărvān păścādvādyaṃ sămācărēt.. 283 ..

Daivătāni că văļyāmi yēṣāṃ tē că bhăvănti hi.

Văjrēļăṇaḥ śaṃkukărṇō prăhăścāpi tăthā măhān.. 284 ..

Ētāstu dēvătā viptāḥ puṣkărēṣu prăkīrtitāḥ.