Thread by @vakibs

In this thread, I will discuss about the peculiar symbolism of water nymphs or "Apsaras" and how they were supposed to derail the meditation of Yōgis.

The word "Apsara" itself is a reference to water: "Āpa" and "sara" (to flow).

Apsaras have a mystical symbolism in Hinduism as well as in Buddhism. The classical dances of India depict the movements of Apsaras. The sculptures of many Hindu temples, e.g Angkor Vat, depict Apsaras.

Apsaras are supposed to dance in Swarga (heaven), at the assembly of Indra.

Witnessing an Apsara is a mystical achievement of a very high order. Then why is it considered as an obstacle within Yōga ?

In order to understand this, one needs to know about the symbolism of "Agni" (fire) and "Āpa" (water) that permeates Hindusim.

https://twitter.com/vakibs/status/1053914204669964290

Essentially, Indian sages discovered a duality in how the conscious mind reacts to the different stimuli in deep meditation.

It can either deconstruct the stimulus down, exposing it as an illusion (Agni").
Or it can be nourished by that stimulus and be carried forward ("Āpa").

When one performs a penance ("Tapas") involving austerities and sharply-focused meditation, one would cultivate the capacity of "Agni", which can be felt inside. The supreme deity of meditation (Mahād̄eva), who is nothing but Shiva himself, carries the most intense of such Agni.

This is a capacity to deconstruct anything and expose reality to its bare ("vibhūti"). This capacity is opposed to the nourishing nature of water. As Indian symbolism combines polarities to illustrate the nature of paradox, Shiva is visualized with Ganga flowing from his locks.

Despite this imagery illustrating the paradox, there is always this tension between "Agni" and "Āpa". They are not to be confused with one another.

As one progresses in meditative capacity, one needs to know which capacity he is developing. This lets one measure one's progress.

But as these verses in Mantra Pushpam say, "Agni" and "Āpa" are the source of one another. The one who knows this, will get established in his inner self.

"Agnirvā apāmāyatanam, Āyatanavān Bhavati
Yōgnērāyatanam vēda, Āyatanavān Bhavati
Āpō va agnērāyatanam, Āyatanavān Bhavati"

The epics of Mahābhārata and the Purāṇas illustrate complex esoteric aspects of meditation through extremely beautiful stories.

Perhaps, the most beautiful of the stories is that of the Apsara Ūrvaśi and the king Purūravas, who falls in love with her.

I think the Greeks shared this imagery of water nymphs from their Indian cousins. But probably, the deeper symbolism with respect to meditation is lost by them.

This is the painting by Waterhouse, illustrating a Naiad or a water nymph.

Here is another beautiful painting by Bougeureau, showing nymphs cursing and tormenting a satyr who was spying on them.

I think this imagery traveled across cultures, not necessarily because of its relation to meditation, but probably because of shared astronomical practices.

Water is such a central symbolic element in India, because of the critical monsoon season, that needs to be identified with extreme precision for agriculture to succeed.

A false shower of rain is like an Apsara ruining the penance of a Yōgi trying to align himself with the Ṛta.

As Dharma is understood to be based on the Ṛta, a teacher of Dharma needs to be somebody who cultivated the capacity of "Agni" to the most supreme degree.

Such a teacher usually maintains strict celibacy. Indian epics mention many such teachers: Dattātrēya, Paraśurāma, Bhīshma.

In Mahābhārata, Kṛshṇa advises Yudishṭara to seek the counsel of Bhīshma as he lies on a bed of arrows, preparing to die. Yudishṭara receives counsel on various matters of Dharma and how to rule as a virtuous king. Bhīshma's celibacy is central to his role as a Guru.

This particular symbolism of a celibate teacher is what is invoked in the deity of Śāsta (Ayyappa) who is popular in South India. Devotees maintain a Vrata of strict celibacy to seek counsel on Dharma as applied to their own lives (Śāsta literally means the teacher of Dharma).

It is true that Ayyappa (Śāsta) is worshiped in other forms, as a married deity in other temples. But that is simply the Indian tradition of playing with the paradox, like showing Shiva with Ganga or Pārvati.

The celibate nature of Śāsta is central to this specific Sampradāya.

This Sampradāya (tradition) represents Ayyappa as a combination of both Shiva (the supreme holder for "Agni") and Vishṇu (the supreme holder of "Āpa"). But it is clear that the tradition owes more to Shiva than to Vishṇu. It can be seen in the marks on forehead of the devotees.

There are certain forms of Shiva that are extremely severe, with no balancing element of "Āpa", in the form of Pārvati, Ganga or as the Nāgas (snakes) that are worn as ornaments by Shiva. Such forms have peculiar meditative aspects, which are best known to people who follow them.

My personal opinion is that the deity worshipped by Jews, at least at some point in history, was such a form of Shiva. Probably, a form of Shani (Saturn), known to the Hebrews as the restful one (Shabbatai).

Orthodox Jews have quite similar practices as certain Shaivaite sects.

The mystical experience with fire is one common and peculiar aspect. Also, the strict rules of gender-segregation resemble the practices of certain Shiva temples.

Why should a secular government torment people following such religions, by poking in religious matters ?