The inner-most circle is symbolic of the axis of the cosmos, all known and unknown spaces. According to Tantrika vision, the deity, and according to metaphysical thought, the Supreme imperishable Self, enshrines this axis. While in Tantrism, and in Shaiva and Shakta thought, Shiva and Shakti are perceived as deity enshrining this axis, in Vaishnava tradition, it is enshrined by Radha and Krishna, the Supreme Self and its arch seeker. The middle circle, symbolic of this world, has eight divisions denotative of ‘ashta-yams’ – eight ‘praharas’ or eight parts of the day, by which the time spans this world, and by which Krishna spans the time. The Gopis, the selves endeavouring at uniting with Krishna, with his realisation in them, pervade all eight divisions of the ring and are thus beyond time. The peacock, a being of the earth as also of the space beyond, symbolic of the continuous flow of life, inhabits the outer-most circle.
Visually, Krishna and Radha are seated in the inner-most circle while eight groups of two each of the Gopis are dancing in a ring in the middle circle. In Vaishnava tradition, which perceives love and devotion as the prime means of His –Krishna’s realisation, this form of dance has great significance. Love and devotion get best expressed in ecstasy and ecstasy best reveals in dance. Hence dance is the subtlest instruments of Lord's realisation. As regards Krishna’s dance, it is the manifestation of his 'Brahmandiya lila', cosmic act, and those dancing with him, around him, or for him, are as much the part of this ‘lila’ as is Radha or even Krishna for that matter.
Alike pregnant with meaning is the legend in regard to Rasa or Maharasa. As the Bhagavata Purana has it, one bright moon-lit night Krishna, in absolute ecstasy, played on his flute his divine music. From Yamuna's silvery shores the music reached the lanes of Vrindavana and to the ears of Gopis. Captivated by it whichever Gopi heard it, she headed towards Yamuna. Their husbands obstructed them but they did not heed them. They abandoned their house-hold and reached Yamuna. Here they joined Krishna and danced around him. Each one wished that Krishna danced only with her and loved her only. Krishna assumed as many forms as were the Gopis and danced with each one singly as also in the group with others. In as many forms as were Gopis he descended into Yamuna and made love with each singly. In this act of Krishna is said to manifest his ever first Maharasa.
This description by Prof. P.C. Jain and Dr. Daljeet. Prof. Jain specializes on the aesthetics of literature and is the author of numerous books on Indian art and culture. Dr. Daljeet is the curator of the Miniature Painting Gallery, National Museum, New Delhi. They have both collaborated together on a number of books.
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