Communication of feelings viz emotion
In Hinduism, emotions are seen as central to spiritual and artistic
expression, especially in devotional traditions, and can be channeled
toward higher consciousness. In contrast, Zen Buddhism teaches adherents to
observe emotions as transient phenomena and release attachment to them,
viewing strong emotional reactions as a source of suffering.
Communication of feelings in Hinduism
Hinduism sees emotions as a powerful and valid part of human experience
that can be directed toward spiritual growth.
The Rasa Theory: Emotions, or bhavas, are codified into nine primary rasas
(aesthetic moods) in classical texts like the Natyashastra. These are used
in dance, theater, and music to evoke deep feelings and create profound
experiences for an audience.
Devotional love (Bhakti): In the bhakti traditions, emotions are seen as
the primary vehicle for connecting with the divine. Feelings of love,
longing, and ecstatic joy toward a specific deity are not suppressed but
are cultivated through worship, chanting, and prayer to achieve a sense of
unity with the divine.
Artistic expression: Feelings are conveyed through a wide range of mediums,
including oral traditions, music, visual arts, and drama. The Shilpa
shastra, a text on the arts, details how actors use facial expressions,
gestures, and vocal tones to express emotional depth.
Inner transformation: While strong, ego-driven desires are viewed as a
source of suffering, higher emotions and sentiments like love and
compassion are seen as virtues to be cultivated. This process of elevating
and refining emotions is an integral part of personal transformation.
Emotions are a vital part of spiritual and artistic life; they can be
elevated and directed toward the divine. Actively cultivates and channels
specific emotions, such as ecstatic devotion, to unite with the divine.
Employs a broad range of verbal and nonverbal methods, including elaborate
artistic and dramatic forms, to express deep emotional states. To
experience unity with the divine, which can be achieved through devotional
practices that involve intense emotion.
Communication of feelings in Zen Buddhism
In Zen Buddhism, feelings are acknowledged as natural phenomena but are not
seen as a basis for long-term happiness. The emphasis is on observation and
non-attachment rather than unrestrained expression.
Mindful observation: Zen teaches practitioners to recognize and acknowledge
their feelings without judgment, holding them tenderly as one would a small
child. Instead of being swept away by emotion, the goal is to create a
space between a stimulus and your reaction, allowing for a more mindful
response.
Non-attachment: Zen aims to liberate people from the suffering caused by
clinging to emotions, whether positive or negative. Practitioners learn to
observe desires, anger, and other attachments as transient phenomena that
naturally arise and cease, thereby preventing them from controlling one's
inner peace.
Right speech: As part of the Eightfold Path, Zen emphasizes "right
speech"—language that is truthful, beneficial, kind, and purposeful.
Communication should not be driven by harmful emotions like anger or
jealousy, but by a deeper wisdom and compassion.
Compassionate action: For an advanced practitioner, the focus shifts from
avoiding negative emotions to cultivating compassion for others. Figures
like Thich Nhat Hanh emphasized that loving speech and deep listening are
crucial for understanding and healing the suffering of others.
Emotions are natural but transient phenomena; attachment to them is a
primary source of suffering. Focuses on mindfully observing emotions
without attachment, letting them arise and pass away naturally.
Prioritizes mindful speech and deep listening, emphasizing that
compassionate communication is about alleviating suffering rather than
expressing ego-driven feelings. To achieve liberation from suffering by
ending attachment and craving, observing emotions rather than being
controlled by them.
RASA THEORY: In the Indian tradition, the aesthetic theories and the
science of dramatics, especially the works of Bharathmuni , have
contributed to the understanding of emotional experiences. There is a
strong emphasis on the experiential aspect of emotions. Concept of rasa or
aesthetic relish or aesthetic mood is central to this approach to
understanding affective experiences as dealt in the Natyashastra of
Bharathamuni (commentary by Abhinavagupta, 11th century). Sage Bharata
conceptualized the rasa theory in the context of drama and theatre, which
was later extended to all poetry and also other performing art forms. In
this ancient Indian text of dramatics, all three components, i.e.,
physiological/behavioral, cognitive, and feelings are dealt with in detail.
Bharatha suggests eight aesthetic moods or rasas corresponding to eight
major emotions or bhavas. These moods are sringara (love), hasya (comic),
karuna (pathos), raudra (furious), vira (heroic), bhayanaka (horror),
bibhasta (odious), adbhuta (marvel). The corresponding emotions are rati
(erotic), hasa (mirth), soka (sorrow), krodha (anger), utsaha (energy),
bhaya (fear), jugupsa (disgust), vismaya (astonishment) Like all
traditional Indian approaches, distinction is made between the major or
basic emotions, and the accessory ones. Major emotions are permanent
emotional dispositions or sentiments or sthayibhava. These transform other
emotions into themselves. These are also considered innate. Permanent
emotions are considered as permanent mental traces (samskaras). These when
accompanied with source (vibhava), transitory emotions (vyabhicaribhava),
and expressions (anubhava) can give rise to rasa. Transitory emotions are
not innate and they give rise to permanent emotions and disappear after the
permanent emotions show up. It is also suggested that transitory emotions
represent the day-to-day normal life where similar emotions are expressed
and experienced in changing situations. Accessory emotions are transitory
states, i.e., vyabhicaribhava and are subordinate to the permanent
emotional dispositions. These theories have dealt with the causes of
emotions and also provide cues for managing heightened affect. The yoga
also differentiates between sentient pleasure and rational happiness
according to which the sentient pleasure arises due to the gratification of
desires and rational happiness is due to the eradication of desires. As
observed by Paranjape “In the spiritual and religious domains, the analysis
of aesthetic experience accounted for the uplifting quality of the
experience of art. Such accounts were based on the capacity of the
relishing of emotional experience for distancing of ego from the mundane
concerns of life and the self-transformation, resulting from such
distancing” on the part of those who participated in the art work. This is
in agreement with the vedantic view that “all experiences of pleasure and
pain, satisfaction and dissatisfaction are due to the involvement of ego or
ahamkara”. This is also true from the spectator point of view. The feelings
involved in aesthetic appreciation and experience does not directly involve
the spectator. These are not directly pleasurable or threatening but the
work of art or the drama touches the person within. They become enjoyable
and are relished without being painful or pleasurable. Even the negative
emotions become enjoyable. This is the state of non-involvement of the ego
with the external event depicted. This is a state close to being a witness
or a saksi. This can explain why dramas focusing on emotions like pain,
sadness, fear, and disgust are also enjoyed and relished. The ability of
art experience to transcend the egocentric emotional experience has been
rightly acknowledged in the Indian tradition of art, music, and dramatics.
According to Sinha,“in aesthetic enjoyment there is a peculiar sense of
make-belief on account of which the emotion felt by the spectator is
experienced as his own and yet not quite his own, and as another's and yet
not quite another.” This is the state of empathy. Work of art, like
classical music and other performing arts (dance and drama) are considered
to be a form of spiritual activity, a kind of “meditation” and are often
used as a means of self-transformation.
Understanding emotions from this perspective can bring some
insights into the process of healing emotional disturbances. Healing and
change to be long lasting should address it holistically. Changing
physiological responses, behavior and/or cognitions, may not bring a
lasting change in unhealthy emotional responsiveness, until the basic wish
or desire is not dealt with. The challenge for the therapist is to help the
person to understand the roots of the presenting emotional experiences,
their transitory nature (vyabhicaribhava), and how they disappear into
permanent emotional dispositions (sthayi bhava). This also implies that
therapy should aim not at strengthening the ego or ahamkara but to
strengthen the real self or atman. Dissolving ego or ahamkara only in the
sense of false identity, identification with the external world or the
non-self (anathman), referred to as abhimana, or attachment is suggested.
This does not advocate losing the discriminating principle or buddhi, which
is essential for maintaining the day to day dealings with the outside world
and to establish and sustain a sense of personal identity. This is not
about being devoid of emotions but is about experiencing them without
attachment and identification and being able to take charge of them.
Questioning, Socratic questioning, tracing backward the source of
transitory emotions and associated desires, meditation may be some of the
techniques to achieve this end. Helping clients to question oneself about
the why of sorrow, searching for the source within rather than outside,
understanding the need for acquisition, need for possessing, and the
attachment without even considering the options, alternatives, and choices
need to be the focus of therapy. Facilitating insight into free will, the
freedom to choose to be either happy or unhappy can go a long way to help
clients deal with their emotions and start developing a state of equanimity.
Human emotions are a complex experiential component of ahamkara.
They are an important aspect of our life and determine what we make out of
the life experiences. The Indian perspective lays emphasis on the
experiential quality, i.e., the rasa, of this experience. It is argued that
ahamkara or ego experiences pleasure and sadness in relation to pleasant or
unpleasant circumstances due to its attachment and identification with the
objects of the outside world or one's own physical body itself. Desires are
the root cause of this attachment and identification resulting in
experience of varied emotions/affect. Hence, the emotions are the functions
(dharma) of ahamkara and not the atman, or the true self and “happiness” or
“bliss” is seen as the true nature of the atman. This perspective has
therapeutic implications in terms of therapeutic goals and the methodology.
(A. PARTHASARATHY VEDANTA TREATISE)
K RAJARAM IRS 161025
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