The Rhythm Of Freedom; “The Phenomenal Good Rebels and the Larger Degree of Aesthetic Intensity”
The seasonal roaring rain with its gravitational pull makes the huge rocks spiking down by the fast and constant push of the raging torrential water, gushing and going down along the steep slopes of the thick wooded and rocky mountains, further bringing down along the babbling streams making them smoother and round big boulders, and further to smaller stones and pebbles and ultimately grains of sand. That is the destiny of the conglomeration of different colourful indigenous people of ignorant and innocent fate and a cloistered life carrying along the strata of entwine aesthetic of sonorous thrumming and the spectrum of variegated impressions of the nature.
The everyday colliding of particle of thoughts upon another particle of thoughts in the conscious and subconscious mind of the populace of the human race is like the “Brownian Motion” or “The Random Motion of particles colliding each other ceaselessly in fluid particles contained in a Glass Beaker”.
Let us say that, these particles in the random motion with constant collision with one another develop an intensity varying in degree with one another, that is, higher the degree of intensity, they emanate and transcend their luminous impulse to the other particles – the surrounding particles in random motion.
In a higher and larger level of intensity, one among the particles permeates emanating its luminous transcending intensity and reacts with the particles in the fluid particles which also in the random motion and contained in “another Glass Beaker”. This level of higher and larger degree of intensity is in “Beyond Brownian Motion” and is called “The Aesthetic Intensity” and the particle is in aesthetic emissary state and one can put as charged with the tiny God’s particles.
The Salvatore Mundi” painted around ca1500, is one of the last Aesthetic Art of Leonardo Da Vinci. It becomes the costliest painting and treasured by one of the wealthiest. The painting reflects emanating the phenomenon of a perfect aesthetic nature. It depicts the aesthetic and magnanimous nature of individuals who serve the human race like the artist himself who encompasses in Knowledge of Arts and Social Movements with extraordinary scientific temperament and reflection of transcending an intent of ceaseless dialogue with himself and the posterity that describes the realm of aesthetics that directly proportional to the larger degree of Wisdom, and, it is called the larger degree of “Aesthetic Intensity”. They are in unmoved state but mover of all. They are the Phenomenal Good Rebels.
Leonardo Da Vinci’s “The Salvatore Mundi” expresses the endowment of the Rhythm of Aesthetic Intensity with its unique and the ideal frequency that permeates transcending the dialogue and the aspiration of the artist to the posterity.
The Salvatore Mundi is a painting of Christ with his golden and long hair hanging loose down the shoulders, clad in royal blue renaissance dress with golden embroidered border, holding a rock crystalline orb by the left hand resting on the palm keeping in the heart line symbolising the aesthetic nature and the embodiment of a peaceful global scenario - and the right hand raising in the breast line showing the finger symbol of divine blessing, yet, all shown in the calm and serene facial expression that cannot be told in thousand pages but inscribes emanating deep inside and into the oneness of calm peaceful medium of human nature, a place in every human heart sitting there and germinating the tiny God’s particle.
Leonardo Da Vinci channelizes dialogue through his art painting “The Salvatore Mundi”, and one among to a media man Dev Chaudhury of “The Wire” media platform, that, Dev Chaudhury expresses and talks about the cross cultural influence in the ancient world indicating that the benediction hand gesture of Christ in the painting is the Buddhist mudra, “The Aradhapataka” – a hand gesture of little and the ring finger bending while the middle and the index finger hold straight with the thumb. “The Ardhapataka” is one in the many hand gesture mudras to keep oneself in the cosmic sphere of serenity and wisdom, and, it is a special mudra to free oneself from unwanted nuisance that created in one’s life and who seek to take advantage of one’s generosity.
Rituals or the burning of the rich-oils with recitation of the name of objects in higher aesthetic intensity or names of the Godheads in the Hindu way of life is to fashion the physical world in the light of the eternal ideas already developed by the higher aesthetic intensity orders. Rituals are a medium of art unfolding the human understanding giving to further go forward and walking up the epochs of life like climbing a mountain and feel what the peak is and beyond. And any ritual which has no knowledge input and dominated by the priestdom is making the religious foundation doom bringing a paradigm shift of human religious philosophy to a bounded impulsive force of expansionism as the priestdom is entrenching and giving way to surface the controlled spectrum of the Brahminism, the Papalism , the Imamism, etc. Rituals are meant to crystallize the aesthetic intensity in a temporal state in order to bring the surrounding objects charged with aesthetic intensity creating vibration of the unique frequency attaining to the Pantheism state or in a realm that are in a temporal state of God’s particle cloud.
Among the Rituals, the “Manipur Nat Sankirtana” in the land of the Meiteis/Meeteis, is a performing art ritual that the Object itself charges with the unique fusion blend of sonorous musical play of Meetei thick bright brass cymbals and Meetei pung percussion with recital hymns along with the rhythmic swing of dance by the Palachoir in their white loin clothes with white traditional headgear ‘koyet’ and with the interval penetrating sound of conch blow opens the door to departed soul. The performing place becomes a Shrine.
In the ideal and unique pitch of the sonorous performing rhythm, the performing objects attain the aesthetic emissary state and form a realm of passage that living being can transcend their unfulfilled accomplishments and the good wishes to the Ashiba, the Death, to reach the unmoved energy, the eternal soul. Like the application of the unique golden mean ratio in the Leonardo Da Vinci’s ‘Salvatore Mundi’ painting and other works of art, the performing art ritual of the Meetei carries along the aesthetic energy into the higher degree of intensity sparking out the tiny particle of civilization. The outward manifestation may reflect different colours just like the rainbow but the origin and the energy is the same as white realm. Civilization is intact......and kindling, aflame, unravelling, spreading to the human race through the unique institutions has been the task of the Good Rebels with their higher aesthetic intensity becoming the Salvatore and saving from the degradation of human ethics.
The Good Rebels of the Meitei known as the Maichous are the clairvoyants and the possessor of the crystal ball and one of their utmost duty is to make the king enter the crystal ball and to open their spiritual realm only to find that he is the crystal ball itself and to enable emanating peaceful and powerful order of life in the human populace he governs..
In this land of the nine surrounding ranges and one valley called Kangleipak, the crystal orb has been illuminated in the form of literature of ancient writing called the “PUYA”. “PU-YA” means “Agreed by all and carrying on by generation to generation”. The etymology of “Puya” (PU-YA) is itself the epistemology. Invoking the knowledge and massage for mankind wrapped in the Puya or crystal ball for the medium itself is agreed by all and will not be able to destroy by any whim or irrational impulse of human race.
Among the Puyas emerged out the “Khagembana Sidayai Nadayai Phangkhibgi Liklam Puya” is one. One entering this Puya will find and can feel the rhythm of the tiny God’s particle that resolves king Khagemba’s material life making to evolve it and come to enable to embrace the realm of spirituality that he becomes an aesthetic emissary and subsequent acknowledgement of the good rebels, the Maichous and their larger degree of aesthetic intensity.
King Khagemba is endowed with the crystal ball of wisdom by the five Maichous under the Maichoupurel Apoinanamacha. This Puya is an aesthetic dialogue medium that the king Khagemba approaches the 5 Maichous to lead and take him to the place where God is there. It is a dialogue of material and immaterial world and initially the king thinks that God can be seen and touched. As the wish of the king to see the God, as an obligation the five Maichous and the king walk to the place Oknsang in Kangla. On reaching the place, from a mystical happening, Maichou Salam Sanaba is fainted dead from a fallen log overhead. The soul of the dead resurrects into a huge tiger in the thick wooded gorge of a hill. And it is attacking the nearby villagers killing and injuring. It further attacks and kills the men and women in the market place and further down to the palace killing the seven queens of the king.
King Khagemba’s heart burns with rage witnessing all these gory and gruesome sequence of happenings. The king thinks all these happenings are the handiwork of the Maichoupurel Apoinnamacha and thinking so he strikes the top of the head with a wooden peg found nearby driven it into the head of the Machoupurel head. The Machoupurel falls on the ground. On seeing that, Maichou Yumnam Tomba in a very calm and serene mood tells the king that the head Maichou cannot be died. So it is asked that let the king‘s hand take out the pointed rod from the head of the head Maichou. So the king pulls out the pointed peg from the head Maichou’s head. To all strange and surprise the head Maichou stands up with a big sigh murmuring ‘Sidaba Sidaba’as if nothing has happened.
So gradually the dead Maichou, the villagers, the men and the women in the market place all wake up and continue their daily affairs. But the seven queens of the king do not wake up. So the king asked the Maichous why the seven queens are still not awaken. To this the Maichou asserted that as they are nearer to the king they will wake up little later and it is further explain to the king that everything that has happened is nothing but to extract the ego in His Majesty. And so the king finds a protruding thing hanging down like a fleshy chicken tail in his navel. And the Maichou tell the king that it will disappear as the ego of the king disappears.
With all this happening the king is under the impression that as long as these Maichous are alive the king will not be able to have his absolute power. With a nefarious thought, the king requested the five Maichous to go together with him to offer flower to the Luwang Ningthou temple. Along the way in a thick bushy place called Lamphel, the king asked the Maichous to stop for a moment for rest and in that instant the king is standing surrounded by the five Maichous all in their all white old aged appearance with the white traditional cloaks. Perfect evil and monstrous designed desire of the king develops and with this instant advantageous situation the king unsheathes and swings his long and curve sword. But the five Maichous suddenly jump over and fly like rock doves and disappear leaving behind the swinging sword in the air. The king is in nonplus and fainted. After some time the king sighs and wakes up. The king understands that the Maichous are already aware of his intent. After pondering for a moment and contemplating his action the king’s conscience brings about a true apology and complete surrendering to the Machos. When the king is returning towards the palace in the Kangla he met the Maichous in a place called Singjubung where the Maichois pronounce that the king is totally free from ego. And the Maichou started the narration of whereabouts of God. That in order to reach the place of God one has to go through many chambers . . . the first is Chinkheiron Chongba ...the cleansing of physical body with certain stretching exercise like the flying of swan just before sunrise turning towards the sun rise direction with sigh deep breathing blow sound saying the words KE KREK KE, TOKPA, NGANBA, MEICHUNGBA, NUNG, FRANG, FRUNG. Through the aesthetic dialogue and the experience, the king Khagemba embraces the blessing of the Maichous that it is convinced that one’s body is the temple and same God stays inside it. And to know the god one must attain the wisdom state by going through and experiencing the eight paths that lead to know the god. The paths are Straight thinking, Humbleness, Magnanimous, Calmness, High thinking, Patience, Benevolence, Contentment and subsequent development of “Shamefulness in the Dark”.....that is “knows oneself”....and so to attain the wisdom state becoming the Good Rebels with the larger degree of aesthetic intensity to be able to spread the Rhythm of the instinct of appreciation and evolve of all the compartments of beatitudes of aesthetic or the eight paths – and forming the only one the Absolute, the one and the only one, the source through the Ethereal Absolute Ritual to feel the Rhythm of Freedom. . . . a phenomenal wave opening up that ‘the Nature is you’ and the source of the wave is the embodiment of Absolute, of the spectrum of the Legends, of the Phenomenal Good Rebels.
With Most Regards : Ningombam Nilamani, Thangmeiband Kabrambam Leikai, Imphal West.
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