Lila (Sanskrit: लीलाlīlā) or leela (/ˈliːlə/) can be loosely translated as "divine play". The concept of lila is common to both non-dualist and dualistphilosophical schools of Indian philosophy, but has a markedly different significance in each. Within non-dualism, lila is a way of describing all reality, including the cosmos, as the outcome of creative play by the divine absolute (Brahman). In the dualistic schools of Vaishnavism, lila refers to the activities of God and his devotee, as well as the macrocosmic actions of the manifest universe, as seen in the Vaishnava scripture Srimad Bhagavatam, verse 3.26.4:[1]
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."
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.
The relation of Purusa to 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.
The Vedantic yogi never tires of stating that kaivalya, "isolation-integration", can be attained only by turning away from the distracting allure of the world and worshiping with single-pointed attention the formless Brahman-Atman; to the Tantric, however—as to the normal child of the world—this notion seems pathological, the wrong-headed effect of a certain malady of intellect. (...) "I like eating sugar," as Ramprasad said, "but I have no desire to become sugar." Let those who suffer from the toils of 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.
Hindu denominations differ on how a human should react to awareness of lila. Karma Yoga allows a joyful embrace of all aspects of life ("intentional acceptance") while maintaining distinction from the Supreme, while Bhakti and Jnana Yoga advocate striving for oneness with the Supreme. Lila is an important idea in the traditional worship of Krishna (as prankster) and Shiva (as dancer), and has been used by modern writers like Stephen Nachmanovitch, Fritjof Capra, and Alan Watts.
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.[2]
^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 readingedit
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, ISBN0-19-509102-7.
"Playing", Richard Schechner, Play & Culture, 1988, Vol. 1, pp. 3–19.
The Gods at Play: Lila in South Asia, David Mason, Palgrave Macmillan, 2009.
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Lila Sanskrit ल ल lila or leela ˈ l iː l e can be loosely translated as divine play The concept of lila is common to both non dualist and dualist philosophical schools of Indian philosophy but has a markedly different significance in each Within non dualism lila is a way of describing all reality including the cosmos as the outcome of creative play by the divine absolute Brahman In the dualistic schools of Vaishnavism lila refers to the activities of God and his devotee as well as the macrocosmic actions of the manifest universe as seen in the Vaishnava scripture Srimad Bhagavatam verse 3 26 4 1 sa eṣa prakṛtiḿ sukṣmaḿ daiviḿ guṇamayiḿ vibhuḥ yadṛcchayaivopagatam abhyapadyata lilaya 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 Contents 1 Modern interpretations 2 Implications 3 See also 4 References 5 Further reading 6 External linksModern interpretations editBrahman 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 Purusa to 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 Heinrich Zimmer and Joseph Campbell Philosophies of India The Vedantic yogi never tires of stating that kaivalya isolation integration can be attained only by turning away from the distracting allure of the world and worshiping with single pointed attention the formless Brahman Atman to the Tantric however as to the normal child of the world this notion seems pathological the wrong headed effect of a certain malady of intellect I like eating sugar as Ramprasad said but I have no desire to become sugar Let those who suffer from the toils of 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 editHindu denominations differ on how a human should react to awareness of lila Karma Yoga allows a joyful embrace of all aspects of life intentional acceptance while maintaining distinction from the Supreme while Bhakti and Jnana Yoga advocate striving for oneness with the Supreme Lila is an important idea in the traditional worship of Krishna as prankster and Shiva as dancer and has been used by modern writers like Stephen Nachmanovitch Fritjof Capra and Alan Watts 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 2 See also editAvatar Ludus amoris western mystical conception of divine play The Mysterious Pastimes of Mohini Murti Radha Ramana Ramlila Rasa lila Trimurti Brahma Vishnu Shiva References edit 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 editPhilosophies 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 amp Culture 1988 Vol 1 pp 3 19 The Gods at Play Lila in South Asia David Mason Palgrave Macmillan 2009 External links editMaha Lilah Portuguese version of Gyan Chaupad A Here Now glossary entry Shirdi Sai Baba Lila Archived 2016 03 03 at the Wayback Machine Retrieved from https en wikipedia org w index php title Lila Hinduism amp oldid 1205281070, wikipedia, wiki, book, books, library,
