A matrix of nine interlocked triangles, the Srichakra stands for the diagrammatic representation of the Universe. Siva tattwa and Shakti tattwa homogeneously merge and form this extremely potent and powerful representation of the five-fold forces of creation, sustenance, dissolution, obscuration and deliverance. As a symbolic geometric principle of the sacred essence, this model has been utilised for worship, contemplation and consummation of the individual yearning for union with the duo, Siva-Sakti, Consciousness-Energy, Spirit-Matter, Sound-Light or Paramatman-Jeevatman.
Great artistic minds have been creatively inspired by visualisation and meditation on the mystic dot called Parabindhu which adorns the centre most point of the Srichakra. This pulsating vortex of enormous energy contains the source of every movement, characterised by vibrating sound which translates as thought, word, sentence and art in its various forms — poem, song, dance or painting.
It is from the Supreme Will–Icchasakti, Knowledge–Jnanasakti and Action–Kriyasakti that the seeds of Pratibha or creative impulse descends on an artiste, who has been suffused with devotional love and self-surrender.
Having invoked the blessings of the remover of all obstacles — Ganesha — a dancer begins her journey with a repertoire that marks a gradual ascent from the grossest to the subtlest spheres. Correspondingly, one invokes life forces into the Yantra of Srichakra with the Beeja mantra LAM and simultaneously offers the material that exemplifies the Tanmatra or the sense, of smell (being the exclusive feature of the earth element). The worship accentuates with Ham being the Mantra for space, Yam for wind, Ram for Fire, Vam for water with offerings of the other senses.
While earth possesses all the five senses, space has just sound, wind has additionally touch, fire has three including vision and water has four along with taste. Thereby, one collects the respective ingredients that would compose the experience of these senses and adds a throbbing humanised form to the divine formless. Finally, Sam is for every other aspect that would complete the generation of life, making an idol charged into a deity. These seed syllables have powerful potency when chanted inaudibly within oneself. These sounds have been like individual petals that make lotuses, which are strung together as a pure dance vocabulary or Nritta. The movements of the limbs, consisting of aesthetic gestures or motifs in the traditional dance forms, clearly follow a well-designed pattern which invigorates all the above inherent aspects in the microcosmic being. The body-mind-spirit is nothing but a chip of the entire macrocosm and follows the same orbits of nature.
The great saint poet Muthuswamy Dikshitar contributed towards infusing music and dance with the image of an iconic Yantra. The Thanjavur Quartet, who were pupils of Dikshitar, had devised a Margam that coincides with the formation of a typical place of worship.
Grand entry
Temples themselves were constructed as imprints of a larger Yantra with the space consecrated by rituals that also enlivened the deities. Hence one can visualise a dance Margam as a grand entry with the Alarippu, Jatiswaram, Shabdam, Varnam, Padam and Tillana, penetrating one layer after another, called as the Avaranas. In the Varnam, the soul, in a spirit of unconditional love, is constantly in supplication like a heroine, who is most anxious to unite with her ultimate ‘Hero.’ This is symbolic of the fervent heart of a devotee at the Garbhagruha or sanctum sanctorum of the Temple. Tillana projects the circumambulation of the temple and an exhilarating completion of the course of the dance recital. Through Adavu one taps the latent energy circles or Chakras through the very structure and formation. The Ardhamandala and Poornamandala or half and full sitting postures, with the head and torso held erect, the jumps and swirls, the stretch towards the cardinal directions and the various hand gestures magnify the emergence of the innermost spirit that expresses through every door way, from subtle to gross, back and again.
Bharatamuni had emphasised the consecration of the playhouse with the centre marked with mystical diagrams and every nook and corner given equal importance by positing the deities as guardians of the stage. A stage that would replicate the ‘world drama.’ A sincere benediction, thus becomes highly significant to commence a performance and build up a fruitful journey, not only for the dancer and musicians, but also for the spectators who are collectively conjoined in aspiring for the goal of blissful Consciousness or Rasa.
The author is a Bharatanatyam exponent and researcher
