‘Deha-Videha’ is a unique music album on ‘Tantrik Buddhism’, once extensively preached and practiced in Odisha (7th to 12th Century AD). It has been created from the contemporary mystic poems of Sri Haraprasad Das, set to music by Sri Omprakash Mohanty and rendered by Smt. Susmita Das. PadmasriSudarsanPatnaik has prepared sand art animation of the themes of the songs based on the sketches prepared by KaleePatnaik. SP Thakur, IAS, a Buddhist has recited the chants.
Odisha has been identified as the Uddiyan Pitha of Buddhist theology. It is from Odisha that Acharya Padmasambhava went to Tibet and founded “Lamaism” there. Buddhist remains at Lalitgiri, Udayagiri and Ratnagiri bear testimony to the spread of Buddhism in Odisha. Odisha could as well be the crucial missing piece of doctrinaire Buddhism, because it is here that the secrets of most of the esoteric quests of Buddhism lay buried under rites, rituals, symbols, metaphors and pure sounds.
Tantrik Buddhism, is the generic name of the 3 ‘Yanas’ (vehicles) or systems viz. Vajrayana, Kalachakrayana and Sahajayana. The key element of ‘Vajrayana’ is the realization of ‘Shunyata’ or emptiness. The key element of ‘Kalachakrayana’ is the realization of the human body as the seat of the whirl of time and the epitome of the Universe. The key element of ‘Sahajayana’is the realization that ‘Reality’ and ‘Appearance’ are inseparable, comprehended only by intuition.The Siddhacharyas of Odisha (Sarahapada, Sabaripada, Luipada, Vajraghanta, Anangavajra, Indrabhuti, Padmasambhava, Laksminkara, Advayavajra, Birupada, Kahnupada and many others) have left behind much of these secrets in highly complex metaphorical allusions and a maze of euphemisms where body connects the spirit in blinding flashes of sensuous overtures, brought to peace by the somber reminder of deliverance.
The Tantrik Buddhists believe that the union of ‘Prajna’ and ‘Upaya’ leads to formal state of non-duality, the absolute being, the state of ‘Yuganaddha’, resulting in Mahasukha (Supreme Bliss), but it is different from the mundane sexuality and it is in essence the stage of Nirvana, in which the self and the world around are lost in all-pervading oneness. It is here that Tantrik Buddhism differs from Mahayana Buddhism: ‘Prajna’ and ‘Upaya’ of the former are concrete female and male entities, while the namesakes of latter signifying respectively the ‘Perfect Knowledge’ and ‘Universal Compassion’, Sunyata and Karuna, are abstract principles. BodhichittaMahasukha of the former implies a sexo-yogic process, in the latter a mental state in which the involved is resolute for the emancipation of all sentient beings.
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