| Chapter 3 |
The Wonder that "was" India |
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As A.L. Basham did, most Europeans have often seen at best in India an exalted civilisation of " religious " and artistic achievements. But India's greatness encompassed ALL aspects of life, from the highest to the most material, from the most mundane to the supremely spiritualised. As Sri Aurobindo emphasises: "The tendency of the West is to live from below upward and from out inward... The inner existence is thus formed and governed by external powers. India's constant aim has been on the contrary, to find a basis of living in the higher spiritual truth and to live from the inner spirit outwards". (India's Rebirth, 109) The old Vedic seers said the same thing in a different form: "their divine foundation was above even while they stood below. Let its rays be settled deep within us." The foundations of the Indian society were thus unique, because all the aspects of life were turned towards the spiritual. The original social system was divided in four "varnas", or four castes, which corresponded to each one's inner capacities. In turn the life of a man was separated in four ashramas. That of the student, the householder, the recluse and the yogi. The elders taught the student that "the true aim of life is to find your soul". The teaching was always on the guru-chelas principle, and the teacher being considered as a representative of God, he got profound respect and obedience from his pupils. Everything was taught to the students: art, literature, polity, the science of war, the development of the body -all this far away from the cities, in an environment of nature, conducive to inner growth, which was ecological, long before it became imperative and fashionable. Indian society of that time was neither dry nor ascetic: it satisfied the urges, desires and needs of its ordinary people, paricularly of the husband and wife -the beauty and comfort of Mohenjo-Daro is testimony to that fact. It taught them that perfection could be attained in all spheres of life, even in the art of physical love, where Indians excelled, as vouched so powerfully and artistically by Khajurao and the Kama-sutra. And when man had satisfied his external being, when he had paid his debt to society and grown into wisdom, it was time to discover the spirit and roam the width and breadth of India, which at that period was covered by forests. In time he would become a yogi, young disciples would gather around him and he would begin imparting all the knowledge, worldly and inner, gathered in a lifetime -and the cycle would thus start again. That the great majority did not go beyond the first two stages is no matter; this is the very reason why Indian society provided the system of castes, so that each one fitted in the mould his inner development warranted. "It is on this firm and noble basis that Indian civilisation grew to maturity and became rich and splendid and unique, writes Sri Aurobindo. It lived with a noble, ample and vigorous order and freedom; it developed a great literature, sciences, arts, crafts, industries; it rose to the highest possible ideals of knowledge and culture, of arduous greatness and heroism, of kindness, philanthropy and human sympathy and oneness. It laid the inspired basis of wonderful spiritual philosophies; it examined the secret of external nature and discovered and lived the boundless and miraculous truths of the inner being; it fathomed self and understood and possessed the world"... (Foundations of Indian Culture, p.116-117) How far we are from A.L. Basham's vision of a militant Hinduism and evil Aryans, however brilliant the social and artistic civilisation he describes! For not only did the Hindus (not the Indians, but the Hindus), demonstrate their greatness in all fields of life, social, artistic, spiritual, but they had also developed a wonderful political system. a) The genius of Indian politics Another of these great prejudices with which Indians had to battle for centuries, is that whatever the spiritual, cultural, artistic, even social greatness of India, it always was disunited, except under Ashoka and some of the Mughal emperors -just a bunch of barbarian rulers, constantly fighting themselves -and that it was thanks to the Mughals and the British, that India was finally politically united. This is doing again a grave injustice to India. The Vedic sages had devised a monarchical system, whereby the king was at the top, but could be constitutionally challenged. In fact, it even allowed for men's inclination to war, but made sure that it never went beyond a certain stage, for only professional armies fought and the majority of the population remained untouched. Indeed, at no time in ancient India, were there great fratricidal wars, like those between the British and the French, or even the Protestants and the Catholics within France itself. Moreover, the system allowed for a great federalism: for instance, a long time after the Vedic fathers, the real power lay in the village panchayats. Sri Aurobindo refutes the charge (which Basham levels), that India has always shown an incompetence for any free and sound political organisation and has been constantly a divided nation. " There always was a strong democratic element in pre-Muslim India, which certainly showed a certain similarity with Western parliamentary forms, but these institutions were INDIAN ". The early Indian system was that of the clan, or tribal system, founded upon the equality of all members of the tribe. In the same way, the village community had its own assembly, the "visah", with only the king above this democratic body. The priests, who acted as the sacrifice makers and were poets, occultists and yogis, had no other occupation in life and their positions were thus not hereditary but depended on their inner abilities. And it was the same thing with warriors, merchants, or lower class people. "Even when these classes became hereditary, remarks Sri Aurobindo, from the king downwards to the Shudra, the predominance, say of the Brahmins, did not result in a theocracy, because the Brahmins in spite of their ever-increasing and finally predominant authority, did not and could not usurp in India the political power". (Foundations of Indian Culture p. 326). The Rishi had a peculiar place, he was the sage, born from any caste, who was often counsellor to the King, of whom he was also the religious preceptor. Later it seems that it was the Republican form of government which took over many parts of India. In some cases these "Republics" appear to have been governed by a democratic assembly and some came out of a revolution; in other cases, they seem to have had an oligarchic senate. But they enjoyed throughout India a solid reputation for the excellence of their civil administration and the redoubtable efficiency of their armies. It is to be noted that these Indian Republics existed long before the Greek ones, although the world credits the Greeks with having created democracy; but as usual History is recorded through the prism of the Western world and is very selective indeed. One should also add that none of these Indian republics developed an aggressive colonising spirit and that they were content to defend themselves and forge alliances amongst them. But after the invasion of Alexander's armies, India felt for the first time the need to unify its forces. Thus the monarchical system was raised-up again; but once more, there was no despotism as happened in Europe until the French revolution: the Indian king did enjoy supreme power, but he was first the representative and guardian of Dharma, the sacred law; his power was not personal and there were safeguards against abuses so that he could be removed. Furthermore, although the king was a Hindu, Hinduism was never the state religion, and each cult enjoyed its liberties. Thus could the Jews and the Parsis and the Jains and the Buddhists, and even the early Christians (who abused that freedom), practised their faith in peace. Which religion in the world can boast of such tolerance ? As in a human being, a nation has a soul, which is eternal; and if this soul, this idea-force, is strong enough, it will keep evolving new forms to reincarnate itself constantly. "And a people, maintains Sri Aurobindo, who learn consciously to think always in terms of Dharma, of the eternal truth behind man, and learn to look beyond transient appearances, such as the people of India, always survives " (Foundations of Indian Culture, p.334). And in truth, Indians always regarded life as a manifestation of Self and the master idea that governed life, culture and social ideals of India has been the seeking of man for his inner self -everything was organised around this single goal. Thus, Indian politics, although very complex, always allowed a communal freedom for self-determination. In the last stages of the pre-Muslim period, the summit of the political structure was occupied by three governing bodies: the King in his Ministerial Council, the Metropolitan Assembly and the General Assembly of the kingdom. The members of the Ministerial Council were drawn from all castes. Indeed the whole Indian system was founded upon a close participation of all the classes; even the Shudra had his share in the civic life. Thus the Council had a fixed number of Brahmin, Kshatrya, Vaishya and Shudra representatives, with the Vaishya having a greater preponderance. And in turn, each town, each village, had its own Metropolitan Civic Assembly allowing a great amount of autonomy. Even the great Ashoka was defeated in his power tussle with his Council and he had practically to abdicate. It is this system which allowed India to flower in an unprecedented way, to excel perhaps as no other nation had done before her, in all fields, be it literature, architecture, sculpture, or painting and develop great civilisations, one upon the other and one upon the other, each one more sumptuous, more grandiose, more glittering than the previous one. The Greatest literature ? Mr Basham feels that "much of Sanskrit literature is dry and monotonous, or can only be appreciated after a considerable effort of the imagination" (Wonder that Was India, page 401), which shows a total misunderstanding of the greatness of the genius of that " Mother of all languages ". Sri Aurobindo evidently disagrees with him: "the ancient and classical literature of the Sanskrit tongue shows both in quality and in body an abundance of excellence, in their potent originality and force and beauty, in their substance and art and structure, in grandeur and justice and charm of speech, and in the heightened width of the reach of their spirit which stands very evidently in the front rank among the world's great literatures." (Foundations of Indian Culture p. 255) Four masterpieces seem to embody India's genius in literature: the Vedas, the Upanishads, the Ramayana, the Mahabharata. As seen earlier, the Vedas represent "a creation of an early and intuitive and symbolic mentality" (Foundations of Indian Culture, p.260). It was only because the Vedic rishis were careful to clothe their spiritual experiences in symbols, so that only the initiated would grasp them, that their meaning has escaped us, particularly after they got translated in the last two centuries. "The Veda is the WORD discovering truth and clothing in image and symbol, the mystic significance of life", wrote again Sri Aurobindo. (India's Rebirth, p.95) As to the Upanishads, asserts the Sage from Pondichery, "they are the supreme work of the Indian mind, that of the highest self-expression of genius, its sublimest poetry, its greatest creation of the thought and word.. a large flood of spiritual revelation..." (Foundations of Indian Culture p.269). The Upanishads are Philosophy, Religion and Poetry blended together. They record high spiritual experiences, are a treaty of intuitive philosophy and show an extraordinary poetic rhythm. It is also a book of ecstasy: an ecstasy of luminous knowledge, of fulfilled experience, " a book to express the wonder and beauty of the rarest spiritual self-vision and the profoundest illumined truth of Self and God and the Universe ", writes Sri Aurobindo (Found. of Indian Culture, 269). The problem is that the translations do not render the beauty of the original text, because these masterpieces have been misunderstood by foreign translators, who only strive to bring out the intellectual meaning without grasping the soul contents of it and do not perceive the ecstasy of the seer "seeing" his experiences. But without doubt, it is the Mahabarata and the Ramayana, which are dearest to all Indians, even today. Both the Mahabarata and the Ramayana are epical, in the spirit as well as the purpose. The Mahabarata is on a vast scale, maybe unsurpassed even today, the epic of the soul and tells a story of the ethics of India of that time, its social, political and cultural life. It is, notes Sri Aurobindo, "the expression of the mind of a nation, it is the poem of itself written by a whole nation... A vast temple unfolding slowly its immense and complex idea from chamber to chamber" (Foundations of Indian Culture, p 287). More than that even, it is the HISTORY OF DHARMA, of deva against asura, the strife between divine and titanic forces. You find on one side, a civilisation founded on Dharma, and on the other, beings who are embodiments of asuric egoism and misuse of Dharma. It is cast in the mould of tales, legends, anecdotes, telling stories of philosophical, religious, social, spiritual values: " as in Indian architecture, there is the same power to embrace great spaces in a total view and the same tendency to fill them with an abundance of minute, effective, vivid and significant detail ". (Foundations of Indian Culture, p 288). The Baghavd Gita must be the supreme work of spiritual revelation in the whole history of our human planet, for it is the most comprehensive, the most revealing, the highest in its intuitive reach. No religious book ever succeeded to say nearly everything that needs to be known on the mysteries of human life: why death, why life, why suffering? why fighting, why duty? Dharma, the supreme law, the duty to one's soul, the adherence to truth, the faithfulness to the one and only divine reality which pertains all things in matter and spirit. " Such then is the divine Teacher of the Gita, the eternal Avatar, the Divine who has descended into human consciousness, the Lord seated within the heart of all beings, He who guides from behind the veil all our thought and action ". (Sri Aurobindo; Essays on the Gita, page 17) The Ramayana's inner genius does not differ from the Mahabharata's, except by a greater simplicity of plan, a finer glow of poetry maybe. It seems to have been written by a single hand, as there is no deviation from story to story... But it is, remarks Sri Aurobindo, "like a vastness of vision, an even more winged-flight of epic in the conception and sustained richness of minute execution in the detail (289). For Indians, the Ramayana embodies the highest and most cherished ideals of manhood, beauty, courage, purity, gentleness. The subject is the same as in the Mahabharata: the struggle between the forces of light and darkness; but the setting is more imaginative, supernatural and there is an intensification of the characters in both their goodness and evil. As in the Mahabharata too, we are shown the ideal man with his virtues of courage, selflessness, virtue and spiritualised mind. The asuric forces have a near cosmic dimension of super-human egoism and near divine violence, as the chased angels of the Bible possessed after them. " The poet makes us conscious of the immense forces that are behind our life and sets his action in a magnificent epic scenery, the great imperial city, the mountains and the ocean, the forest and wilderness, described with such largesse as to make us feel that the whole world were the scene of his poem and its subject the whole divine and titanic possibility of man, imagined in a few great or monstrous figures ". (Found of Indian Culture page 290) Does India's literary genius end with the Ramayana? Not at all. It would take too long here to jot down all the great figures of Indian literature and this is not a literary treatise. But we may mention Kalidasa, whose poetry was imitated by all succeeding generations of poets, who tried to copy the perfect and harmoniously designed model of his poetry. The Puranas and the Tantras, " which contain in themselves, writes Sri Aurobindo, the highest spiritual and philosophical truths, while embodying them in forms that are able to carry something of them to the popular imagination and feeling by way of legend, tale, symbols, miracles and parables " (Found of Indian Culture P.312). The Vaishnava poetry, which sings the cry of the soul for God, as incarnated by the love stories of Radha and Krishna, which have struck forever Indian popular imagination, because they symbolise the nature in man seeking for the Divine soul through love. Valmiki, also moulded the Indian mind with his depiction of Rama and Sita, another classic of India's love couples and one that has survived through the myth of enduring worship, in the folklore of this country, along with the popular figures of Hanuman and Laksmanan. "His diction, remarks Sri Aurobindo, is shaped in the manner of the direct intuitive mind as earlier expressed in the Upanishads". But Indian literature is not limited to Sanskrit or Pali. In Tamil, Tiruvalluvar, wrote the highest ever gnomic poetry, perfect in its geometry, plan and force of execution. In Hindi, Tulsidas, is a master of lyric intensity and the sublimity of epic imagination. In Marathi, Ramdas, poet, thinker, yogi, deals with the birth and awakening of a whole nation, with all the charm and the strength of a true bhakti. In Bengal, there is Kashiram, who retold in simple manner the Mahabharata and the Ramayana, accompanied by Tulsidas who did the same thing in Hindi and who managed to combine lyric intensity, romantic flight of imagination, while retaining the original sublimity of the story. One cannot end this short retrospective without mentioning Chaitanya, Nanak, Kabir, Mirabai...All these remarkable writers have often baffled the Western mind, which could never understand the greatness of Indian literature, forgetting that in India everything was centred around the spiritual. 3) Indian art: Turned towards the essential "The highest business of Indian art has always been to describe something of the Self, of the soul, contrary to Western art, which either harps at the superficially beautiful or dwells at the vital-unconscious level." (Sri Aurobindo. Foundations of Indian Culture p.208) This is indeed the great difference between Indian art and other art forms. For the Indian artist first visualises in his inner being the truth of the element he wants to express and creates it in his intuitive mind, before externalising it. Stories of how Indian sculptors of ancient times used to meditate for one year before starting on their particular work, are common. Not the idea of the intellect or mental imagination, but the essence, the emotion, the spirit. Thus, for the Indian artist, material forms, colour, line, design, are only physical means of expression, NOT his first preoccupation. So he will not attempt, as in Western art, which in its heydays continuously recreated scenes of Christ's life or that of saints, to reconstitute some scene of Buddha's life, but instead, he will endeavor to REVEAL the calm of Nirvana. And every accessory is an aid, a MEANS to do so. "for here spirit carries the form, while in western art, form carries whatever they think is spirit".(Foundations p.211) In effect, Indian art, its architecture for instance, demands an inner eye to be appreciated, otherwise its truth will not reveal itself. Great temples in India are an architectural expression of an ancient spiritual culture. Its many varied forms express the manifestation of the infinite multiplicity which fills the oneness of India. And indeed even the Moslem architecture was taken up by India's creative genius and transformed into something completely Indian. Indian sculpture also springs from spiritual insight and it is unique by its total absence of ego. Very few of India's sculptures masterpieces are signed for instance; they are rather the work of a collective genius whose signature could be "INDIA". "Most ancient sculptures of India embody in visible form what the Upanishads threw out into inspired thought and the Mahabaratha and the Ramayana portrayed by the word in life", observes Sri Aurobindo (Foundations, p.230). The Gods of Indian sculpture are cosmic beings, embodiments of some great spiritual power. And every movement, hands, eyes, posture, conveys an INNER meaning, as in the Natarajas for example. Sri Aurobindo admired particularly the Kalasanhara Shiva, about which he said: " it is supreme, not only by the majesty, power, calmly forceful controlled dignity and kinship of existence which the whole spirit and pose visibly incarnates...but much more by the concentrated divine passion of the spiritual overcoming of time and existence which the artist has succeeded in putting into eye and brow and mouth... (Foundations P.233) Indian painting, has unfortunately been largely erased by time, as in the case of the Ajanta caves. It even went through an eclipse and was revived by the Mughal influence. But what remains of Indian paintings show the immensity of the work and the genius of it. The paintings that have mostly survived from ancient times are those of the Buddhist artists; but painting in India was certainly pre-Buddhist. Indeed in ancient India, there were six "limbs", six essential elements "sadanga" to a great painting: The first is "rupabheda", distinction of forms; the second is "pramana", arrangement of lines; the third is "bhava", emotion of aesthetic feelings; the fourth is "lavanya", seeking for beauty; the fifth is "sadrsya", truth of the form; and the sixth is varnikashanga", harmony of colours. Western art always flouts the first principle "rupabheda", the universal law of the right distinction of forms, for it constantly strays into intellectual or fantasy extravagances which belong to the intermediate world of sheer fantasia. On the other hand in the Indian paintings. Sri Aurobindo remarks that : "the Indian artist sets out from the other end of the scale of values of experience which connect life and the spirit. The whole creative force here comes from a spiritual and psychic vision, the emphasis of the physical is secondary and always deliberately limited so as to give an overwhelmingly spiritual and psychic impression and everything is suppressed which does not serve this purpose". (Foundations, p.246). It is unfortunate that today most Indian painting imitates Western modern art, bare for a few exceptions. And it is hoped that Indian painters will soon come back to the essential, which is the vision of the inner eye, the transcription, not of the religious, but of the spiritual and the occult. 4) The Great Civilizations It is upon this great and lasting foundations, cultural, artistic, social and political, that India, Mother India, Sanatana Dharma, produced many wonderful periods. We are not here to make an historical review of them; a few of their glorious names will suffice, for with them still rings the splendour and towering strength of the eternal spirit of the Vedic fathers... The Kashi kingdom of Benares, which was founded upon the cult of Shiva and was the spiritual and cultural capital of India, was, we are told, a great show of refinement and beauty, and that at least ten centuries before Christ was born, according to conservative estimates. Remember that Gautama the Buddha preached his first sermon in the suburbs of Benares at Sarnat. " Kashi, eulogises Alain Danielou, was a kind of Babylon, a sacred city , a centre of learning, of art and pleasures, the heart of Indian civilisation, whose origins were lost in prehistoric India and its kings ruled over a greater part of northern and even southern India ". We may also mention the Gandhara kingdom, which included Peshawar, parts of Afghanistan, Kashmir and was thus protecting India from invasions,as Sri Aurobindo points out: " the historic weakness of the Indian peninsula has always been until modern times its vulnerability through the North-western passes. This weakness did not exist as long as ancient India extended northward far beyond the Indus and the powerful kingdoms of Gandhara and Vahlika presented a firm bulwark against foreign invasion ". (Found. 373) But soon these kingdoms collapsed and Alexander's armies marched into India, the first foreign invasion of the country, if one discounts the Aryan theory. Henceforth, all the theoricians and politicians thought about the unifying of India and this heralded the coming of the first great Emperor: Chandra Gupta, who vanquished the remnants of Alexander's armies and assimilated some of the Greek civilisation's great traits. Thus started the mighty Mauryan empire, which represents the first effort at unifying India politically. A little of that time is known through the Arthashastra of Kautilya, or Chanakya, Minister of Chandragupta, who gives us glimpses of the conditions and state organisation of that time. Chandragupta, who was the founder of the Maurya dynasty, came from a low caste, liberated Punjab from the Greeks and managed to conquer the whole of the Indian subcontinent except for the extreme South. The administrative set-up of Chandragupta was so efficient that later the Muslims and the English retained it, only bringing here and there a few superficial modifications. Chandragupta in true Indian tradition renounced the world during his last years and lived as an anchorite at the feet of the jain saint Bhadrabahu in Shravanabelagola, near Mysore. Historians, such as Alain Danielou, label Chanakya and Chandragupta's rule as Machiavellian: " It was, writes Danielou, a centralised despotism, resting on military power and disguised into a constitutional monarchy ". (Histoire de l'Inde p. 114) This again is a very westernised view of post-vedic India, which cannot conceive that Hindustan could have devised constitutional monarchy before the Europeans. And Sri Aurobindo obviously disagrees: " The history of this empire, its remarkable organisation, administration, public works, opulence, magnificent culture and the vigour, the brilliance, the splendid fruitfulness of life of the peninsula under its shelter, ranks among the greatest constructed and maintained by the genius of earth's great peoples. India has no reason, from this point of view, to be anything but proud of her ancient achievement in empire-building or to surrender to the hasty verdict that denies to her antique civilisation a strong practical genius or high political virtue (Found. 373) In the South the Andhras were dominating from Cape Comorin to the doors of Bombay. Then came the Pallavas, who were certainly one of the most remarkable dynasties of medieval India. The first Pallavas appeared near Kanchi in the 3rd century, but it is only with king Simhavishnu that they reached their peak. Simhavishnu conquered the Chera, the Cholas, the Pandya dynasties of the South and annexed Ceylon. It is to this period that belong the magnificent frescoes of Mahabalipuram which have survived until today. During the Pallavas' rule, great cities such as Kanchi flourished, busy ports like Mahabalipuram sprang-up, and arts blossomed under all its forms. So did the sanskrit language, which went through a great revival period and the dravidian architecture style of Southern India, famous for its mandapams, which has passed down, from generation to generation until today. The Bhakti movement,also developed in South India during the Pallavas and it gave a new orientation to Hinduism. At the same time, the dynasty of the Vardhamana was establishing his might in the Centre of India. Founded by King Pushyabhuti, " who had acquired great spiritual powers by the practice of shivaite tantrism ", writes Jean Danielou, it reached its peak under king Harsha, who, starting with Bengal and Orissa, conquered what is today UP, Bihar, extending his empire northwards towards Nepal and Kashmir and southwards to the Narmada river. Jean danielou feels " that King Harsha symbolised all that was right in Hindu monarchy, wielding an absolute power, but each sphere of administration was enjoying a large autonomy and the villages were functioning like small republics ". The Chinese traveller, Hiuen Tsang, another admirer of Harsha, writes that he was an untiring man, just and courageous, constantly surveying all parts of his kingdom. India's influence was then at its highest, her culture and religions expanded all the way to Burma, Cambodia, Siam, Ceylon and in the other direction to the Mecca, where Shiva's black lingam was revered by Arabians. But In 57O AD, the Prophet Mohammed was born and by the year 632, a few years before the death of King Harsha, the Muslim invasions started overtaking India, wave after destructive wave. |
To continue with Chapter 4.... |
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Introduction Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10 Chapter 11 Chapter 12 Chapter 13 Chapter 14 Chapter 15 Chapter 16 |