|
Pashyanti or ''Paśyanti'' or ''paśyantī'' (Sanskrit: पश्यन्ति or पश्यन्ती), the Sanskrit term which means 'see' is derived from the word ''paśya'' meaning 'to see' and ''paśyat'' meaning - seeing, beholding, a harlot or a particular sound. In Indian philosophy the notion of individuality, which is the third level of personality and the seed of all thoughts, speeches and actions is called ''Pashyanti'' , meaning 'that which witnesses'. The Shiva-Shakti dance generated a rhythmic spiritual sound which the Vedic Rishis termed as Nāda Brahman, the initial primordial sound of extremely high frequencies that were beyond one’s imagination. They were aware of the subtle secrets of nature and knew that the gross-level sound related to corresponding spiritual, cosmic and semi-cosmic vibrations which were divine sounds. Solving the subtle riddle they found the four states of Vāni (speech or sound) – ''Parā'' (the spiritual sound of Brahman), Madhyama (the cosmic sound of ''Vāstu=Purusha''), ''Pashyanti'' (the semi-cosmic sounds of ''Vibhootis'') and ''Vaikhari'' (the gross-level sounds of gross objects and living beings). The ripples of ''Samashti-Prānas'' produce semi-cosmic vibrations which are visible through cosmic sight alone; the Rishis applied the term ''Pashyanti'' to this observation because they could observe the semi-cosmic colours of the stimulated ''Samashti-Prānas'' corresponding to spoken alphabets, which observation is also known as Darśana, Indian philosophy is called Darśana. They concluded that all vowels are divine alphabets for they produce divine words or Mantras. Thus, ''Pashyanti'' refers to the visible sound which is ordinarily experienced as a feeling or a mental picture. Each level or state of sound corresponds to a certain plane of existence, a certain state of consciousness; the ability to experience the different levels of sounds depends upon the refinement of consciousness. When sound out through the mouth as spoken syllables it is named ''Vaikhari-vac''; the finer sounds that exist as a thought prior to expression are inaudible sounds, the sound existing in between the formation of a thought as an idea, feelings and image, and its expression on the material level as speech or action is named ''Madhyama-vac'' but the sound that leaves its audible nature and manifests as a feeling, a wordless idea or some visual imagery is named ''Pashyanti-vac'' which is intuitive in nature and beyond defined linguistic forms or frameworks. Bhartrihari explains that ''Vaikhari'', the most external and differentiated level of language, on which speech is uttered by the speaker and heard by the hearer has its temporal sequence fully developed; ''Madhyama'' represents the thinking level of the mind; ''Pashyanti'' is the finest relative level where there is no distinction between the word and the meaning and there is no temporal sequence, and ''Parā'' is the fully unmanifest level of language beyond ''Pashyanti''. He associates the ''Pashyanti'' level of language with ''sphota'', representing a meaning as a whole, existing in the mind of the speaker as a unity. ''Sphota'' or the whole-meaning comprises ''dhvani'' (the word-sound) and ''artha'' (word-meaning). Haney points out that the unity of name and form, of sound and meaning, on the level of ''sphota'' in ''Pashyanti'' applies mainly to Sanskrit language, and Artaud is of the opinion that the language beyond speech is the language of nature whose grammar has not yet been discovered; ''Pashyanti'' representing the subtlest level of nature is the closest to nature itself. Even though Bhartrihari considers ''Pashyanti'' to be the highest level of language for it is the word without temporal sequence but ''Pashyanti'' contains the inherent impulse toward expression in time and space. ''Pashyanti'' borders on two dimensions – ''Jagrat chetna'' or refined ordinary waking consciousness which determines the force of expression, and ''Turiya chetna'' or the transcendental consciousness which determines the non-sequenced unity of sound and meaning intimated by the trace; these bring to the fore two kinds of infinity – that of dissemination, of unlimited extension within space, time and causality; and that of Turiya and ''Pashyanti'', of transcending duality through unity amidst diversity. According to Advaita school the access of the unity of language and consciousness on the level of ''Pashyanti'' and ''Parā'' results in the siddhis referred to as attainments or accomplishments in the Yoga Sutras. Pippalada tells Satyakama Jabala that the status of the seeker depends on the depth of meditation, he uses two significant words, ''Abhidhyanam'' (dhyana) and ''Mātrā'' (degree), also used by Patanjali; meditation has three ''matras'' or levels, the one who has gone beyond ''Vaikhari'' and ''Madhyama'' and reached the ''Pashyanti'' stage of meditation can become one with the Absolute and need not be born. Sankara explains that ''Pashyanti'' corresponds to the junction point between the ordinary waking state and pure consciousness. A word spoken or thought in the ordinary waking state is only a partial expression of an eternal meaning or transcendental signified. Tantra, like the Vedas, recognizes four levels of speech. ''Vaikhari'' is the audible speech located in the throat and manifest during the waking state; ''Madhyama'' is thought located in the heart and manifest during the dream state; ''Pashyanti'' is illumined speech located in the navel and manifest during the deep-sleep state, and ''Parā'' is the transcendent located at the root center and manifest during Samadhi. The power of speech must be brought down to the base of the spine to allow the energy of consciousness to ascend upward as Kundalini to awaken higher potentials. ''Pashyanti'' is the state of seeing, the perceptive or the illumined word; it is the sound that perceives and reveals the truth. Tara represents the illumined word. Yogakundalyupanishad III.18-19 tells us that sound sprouts in ''Parā'' (supreme) form, it becomes two-leafed (that is first manifested) in ''Pashyanti'' (radiant) form, buds in the ''Madhyama'' (subliminal) form and blooms in ''Vaikhari'' (acoustic) form; sound thus produced will become unmanifested, when the order is reversed. Shabda Brahman is the source of sound and is in the form of sound which is unmanifest, therefore it is called ''Parā'' and appears to express the kinetic part of the static quiescent eternal reality. ==References== 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Pashyanti」の詳細全文を読む スポンサード リンク
|