Lila (Hinduism)
Lila (
The concept of lila is common to both
Modern interpretations
Brahman is full of all perfections. And to say that Brahman has some purpose in creating the world will mean that it wants to attain through the process of creation something which it has not. And that is impossible. Hence, there can be no purpose of Brahman in creating the world. The world is a mere spontaneous creation of Brahman. It is a Lila, or sport, of Brahman. It is created out of Bliss, by Bliss and for Bliss. Lila indicates a spontaneous sportive activity of Brahman as distinguished from a self-conscious volitional effort. The concept of Lila signifies freedom as distinguished from necessity.
— Ram Shanker Misra, The Integral Advaitism of Sri Aurobindo
The relation of
Prakrti—the unfolding force of nature—becomes here a relation of male to female. This is expressed in the Siva temple in the core image of the sivalinga, an expression of male (linga) and female (yoni) union. The basic cosmogonic motif of an unfolding or flowering cosmos is expressed here specifically in the relation of male to female, as well as in terms of consciousness and intentionality (in the concept of lila as the divine play of male and female). As such, the core saivite image of cosmogony as the flowering of consciousness and sexual union rather than the sacrificial act. This theme resonates with other Hindu doctrines, such as Tantra and Sakta., Philosophies of India
The Vedantic yogi never tires of stating that
samsara seek release: the perfect devotee does not suffer; for he can both visualize and experience life and the universe as the revelation of that Supreme Divine Force (shakti) with which he is in love, the all-comprehensive Divine Being in its cosmic aspect of playful, aimless display (lila)—which precipitates pain as well as joy, but in its bliss transcends them both.— Rohan Bastin, The Domain of Constant Excess: Plural Worship at the Munnesvaram Temples in Sri Lanka
The basic recurring theme in Hindu mythology is the creation of the world by the self-sacrifice of God—"sacrifice" in the original sense of "making sacred"—whereby God becomes the world which, in the end, becomes again God. This creative activity of the Divine is called lila, the play of God, and the world is seen as the stage of the divine play. Like most of Hindu mythology, the myth of lila has a strong magical flavour. Brahman is the great magician who transforms himself into the world and then performs this feat with his "magic creative power", which is the original meaning of maya in the Rig Veda. The word maya—one of the most important terms in Indian philosophy—has changed its meaning over the centuries. From the might, or power, of the divine actor and magician, it came to signify the psychological state of anybody under the spell of the magic play. As long as we confuse the myriad forms of the divine lila with reality, without perceiving the unity of Brahman underlying all these forms, we are under the spell of maya. (...) In the Hindu view of nature, then, all forms are relative, fluid and ever-changing maya, conjured up by the great magician of the divine play. The world of maya changes continuously, because the divine lila is a rhythmic, dynamic play. The dynamic force of the play is karma, an important concept of Indian thought. Karma means "action". It is the active principle of the play, the total universe in action, where everything is dynamically connected with everything else. In the words of the Gita Karma is the force of creation, wherefrom all things have their life.
— Fritjof Capra, The Tao of Physics (1975)
Implications
Hindu denominations differ on how a human should react to awareness of lila.
In
sa eṣa prakṛtiḿ sūkṣmāḿ
daivīḿ guṇamayīḿ vibhuḥ
yadṛcchayaivopagatām
abhyapadyata līlayā
"As his pastimes, that Supreme Divine Personality, the greatest of the great, accepted the subtle material energy which is invested with three material modes of nature."
Lila also includes Raslila and plays depicting Krishna and Rama's divine play, where human actors re-enact these divine dramas to remember deities and experience their presence.[1]
Lila is comparable to the Western theological position of Pandeism, which describes the Universe as God taking a physical form in order to experience the interplay between the elements of the Universe.[3]
See also
- Avatar
- Ludus amoris, western mystical conception of divine play
- The Mysterious Pastimes of Mohini Murti
- Radha Ramana
- Ramlila
- Rasa lila
- Trimurti (Brahma, Vishnu, Shiva)
References
- ^ OCLC 62133001.
- ^ Vedabase entry SB 3.26.4 Archived 2015-07-01 at the Wayback Machine
- ^ James B. Glattfelder, Information—Consciousness—Reality: How a New Understanding of the Universe Can Help Answer Age-Old Questions of Existence (2019), p. 534: "Within the set of ideas related to panpsychism, one can find variations which too have found a place in the history of human thought. For instance, in Hinduism, the notion of lila is akin to the concept of pandeism".
Further reading
- Philosophies of India, Heinrich Zimmer and Joseph Campbell, Princeton University Press, 1969.
- The Integral Advaitism of Sri Aurobindo, Ram Shanker Misra, Motilal Banarsidass Publishers Pvt Ltd, Delhi, 1998.
- The Domain of Constant Excess: Plural Worship at the Munnesvaram Temples in Sri Lanka, Rohan Bastin, Berghahn Books, 2002.
- Purifying the Earthly Body of God: Religion and Ecology in Hindu Indi, Lance E. Nelson, State University of New York Press, 1998.
- The Gods at Play: Lila in South Asia, William Sturman Sax, ed., Oxford University Press, 1995, ISBN 0-19-509102-7.
- "Playing", Richard Schechner, Play & Culture, 1988, Vol. 1, pp. 3–19.
- The Gods at Play: Lila in South Asia, David Mason, Palgrave Macmillan, 2009.