Khandaker Nafij Imtiaj Himel, Ph.D. Research Scholar, Department of Performing Arts (Music), Sister Nivedita University
Abstract
The study explores the intersection of aesthetic philosophy and spiritual practice. In particular, it analyses how the inner mental state or ‘bhaba’ of an artist runs parallel to the core principles of Sufi mysticism. Focusing on the dawn raga ‘Bhairav’ this study highlights the historical significance of music as a bridge between the earthly and divine worlds.
The main objective of this article is to analyse the conceptual relationship between ‘bhava’ (theory of inner feeling) and the concept of ‘safa’ or purity in Sufi practice. One of the aims of this study is to explore how the ‘Ashtha prahara’ (round the clock) system of Indian classical music is consistent with the ‘fayez’ or level of spiritual compassion in Sufi philosophy. This article is written based on the qualitative research method and using the comparative theoretical framework of ‘Natyashastra’ and Sufi philosophical discourse. This method allows us to examine the process of transition from ‘Ahat Naad’ to ‘Anahat Naad’ in the context of sadhana.
The research results show that Raga Bhairav acts as a unique spiritual bridge, whose tone and vibration awaken the ‘Sattvik Bhaav’ or ‘Nafse Mutmainna’ (tranquil soul) in the mind. The conclusion of the study is that the period of this raga in the morning is directly related to the concept of spiritual energy in Sufi philosophy, which accelerates the connection from the soul to the Supreme Soul. Finally, this article provides a new perspective on musicology, which proves that the main goal of the Guru-Shishya tradition and the Pir-Murid relationship is the same, which is the Purification.
Keywords: Raga Bhairav, Idealism, Sufism, Indian Classical Music, Spiritual Consciousness.
Bridging Musicology and Spirituality: A Conjunction of Bhabbaad and Sufism with Reference to Raga Bhairav
On the one hand, Indian history is very ancient, so is the history of ancient Indian classical music. Music is not just a means of entertainment here, but it is an expression of human emotions, beliefs, pursuits and spiritual consciousness. Over the ages, music has developed as an important art form mixed with religion, philosophy and culture. Indian music originated in the Vedic era through Samagana. At that time, music was a means of worshiping God and self-purification. Singing the mantras of Samaveda and Upanishads in tune created devotion and concentration in the minds of people. This genre later developed as the basis of classical music. Later, a well-organized classical and theoretical framework of music was created in important texts like ‘Natyashastra’, ‘Brihaddeshi’ and ‘Sangita Ratnakar’. In the Middle Ages, Sufi pursuits and deep devotional influence are noticeable in Indian music. Sufi songs and traditional devotional songs awaken a feeling of love and spiritual connection in the mind. According to Sufism the Hindu-Muslim streams of practice are not very different from each other, they are essentially one and the same. Raga is a special element in classical music, which is associated with a specific time and environment. In particular, ‘Raga Bhairav’ is a raga of dawn and is a symbol of devotion and self-discovery. This study specifically discusses the theory of ‘Bhabbaad’ or inner feelings. According to Bhabbaad, the true depth of music depends on the inner mental state of the artist. This paper analyses the interrelationship of Sufi spiritual consciousness and Bhabbaad in Indian classical music. In particular, through the selected verses of Raga Bhairav, it is shown how music creates a deep experience combining spiritual practice and aesthetics.
Bhabbaad ( Idealism- The Theory of Inner Feeling)
‘Bhava’ is a deep chapter of the psyche, which is a special form of expressing the inner feelings of a person. The word ‘Bhaba’, derived from the Sanskrit verb ‘Bhu’, means ‘to be’, indicating that feelings are not just external observations but are enriched through a deep process of consciousness. In Indian aesthetics, Bhava means the inner state of the artist’s mind which reaches the heart of the listener through music. Idealism is a philosophical concept that gives priority to the mind, consciousness or experience over material reality. This view is clearly reflected in ancient Indian Vedanta and Natyashastra. Inspired by Plato’s theory of forms and the transcendental idealism of German philosopher Immanuel Kant, idealism perceives reality primarily through the internal structure of the mind and that the material world is known only through the limitations of the senses. In Indian aesthetics, ‘Bhava’ and ‘Rasas’ are very closely related. Bhava is the inner reaction of the mind; Rasa is the highest expression of that feeling which creates a single or universal aesthetic experience in the heart of the listener. The sages have classified Bhava into three qualities, namely Sattvic, Rajasic and Tamasic. Sattvic Bhava is calm, pure and pure. Rajasic Bhava is energetic and action-oriented; and Tamasic Bhava is inert, anger-prone and destructive. The Rasa arising from this permanent Bhava is the perfect expression of the artist’s inner consciousness according to the Natyashastra. Bharata Muni has mentioned a total of 8 permanent Bhavas in this category – The Erotic, the Comic, the Pathetic, the Furious, the Heroic, the Terrifying, the Odious and the Wondrous- which are later considered the basis of 9 Rasas with the addition of Shanti Bhava.
Sufi Spiritual Consciousness and Sound
Tasawwuf /Sufism is basically a process of purification of the heart and deepening of consciousness. According to scholar Abu Naeem, the meaning of Sufism is “to forget creation and be immersed in the remembrance of the Creator”. In addition, it is derived from the word ‘Safa’, which means purity. Purifying the human heart is the first step to spiritual and aesthetic experience. On the other hand, the word ‘Sawf’ refers to a simple and humble life. The word ‘Suffa’ provides evidence of how the people of Sufism during the time of the last Prophet Muhammad (S) were engaged in spiritual pursuits, which later led to the development of the Sufi tradition. According to various Islamic thinkers and spiritual seekers, the main goal of Sufism is to free oneself from worldly attachments and devote oneself to the remembrance of the Creator. Some have linked it to the concept of purity, while others have interpreted it as a reflection of the simple lifestyle of the Sufis. Despite these different interpretations, at the heart of Sufism is self-purification, restraint, and deep understanding. Sound and music are considered an important medium in this spiritual practice. Sufis used to sing various songs in love with the Prophet. Sufi saints loved the Prophet immensely and sang ‘sama’. Sama refers to music or ghazals that awaken in the human mind a feeling of love, humility and surrender to the Creator. Through this sound, a kind of deep mental concentration is created in the heart of the saint, which gradually helps him to move from worldly thoughts to the level of spiritual consciousness. This state is explained as ‘haal’ in Sufi practice, where the person feels an inner peace and spiritual state.
The call to prayer in the morning holds a special significance in this process. In the early hours of the day, when silence reigns around, the sound of the call to prayer (Azaan) directs attention from worldly pursuits to spiritual contemplation. The slowness, spread and emotionality of this sound are in many ways similar to the discourse of Raga Bhairav. In both cases, an atmosphere is gradually created that has a deep impact on the inner consciousness of the person and accelerates spiritual awakening. In Sufi philosophy, music is never seen as a mere means of entertainment. Rather, it is considered an effective method of self-purification, self-control and self-discovery. It has been mentioned in many religious and philosophical texts that music increases morality, restraint and awareness of the Creator within a person. Such music reminds people of the transience of life, moral responsibility and the need for spiritual development. Imam Ghazali’s thought shows that for those who have a deep attraction to truth and justice in their hearts, Sama is an important means of increasing spiritual power. As a result, a deep bridge is built between Sufi consciousness and the philosophical philosophy of Indian classical music, which is the main topic of discussion in this study.
Raga Bhairav: The Source of Primordial and Pure Melody
In the history of Indian classical music, ‘Bhairav’ is a very ancient raga. Its equivalent raga in South Indian music is called ‘Mayamalabagour’. According to ancient musicians (such as Bharata, Hanumanta or Brahmamat) Bhairav was the main ruling raga. At that time, in the ‘Raga-Ragini’ system, many ragas were imagined as Bhairav’s wives (Ragini) and sons or daughters-in-law. Bhairavi, Ramkali, Gunakali or Sindhu – these were the Raginis under the patronage of Bhairav. In the distant past, Bhairav raga had five tones (Auraba). At that time, Rishabh (Re) and the Pa (fifth tone) were omitted, which many called ‘Adi Bhairav’ or ‘Saraswati Bhairav’. In the Middle Ages, legendary artists like Baiju Baora or Mia Tansen perfected it by composing extraordinary dhrupads on this raga. The Bhairav that we hear today is derived from the Bhairav Thatha and is a complete raga of seven tones. Tone usage: In this raga, the soft tones Rishabh (Re) and Dhaibata (Dha) are used. All the other tones (sa ga ma pa ne) are pure. Speciality the main feature of Bhairav is a kind of vibration or ‘movement’ on the soft tones ‘Re’ and ‘Dha’. This movement creates a serious and mystical atmosphere in the raga.
Ascending: Sa Re Ga Ma Pa Dha Ne
Type- Sampurna Jati.
Time: Sunrise (dawn)
Element: Ga Ma Pa Dha, Pa, Ma Ga Ma Ga Re Sa
Rasa: Devotion (Bhakti), Peace (Shanta) and Solemnity.
Human existence is not limited to his flesh and blood body. According to Sufi and Yoga philosophy, there are two aspects of the human body – one is called ‘Jaheri’ (manifest body) and the other is ‘Bateni’ (unmanifest heart). Although organs like hands, feet, eyes or nose are visible and touchable. Our feelings like joy, pain, greed, lust, jealousy and anger are invisible. The essence of Sufism and Indian philosophy is the purification of this invisible (Bateni) world. There is a famous saying in Sufism – ‘He who knows his Nafs[1] (inner self, ego, or instinct), knows his Creator as well.’ Just as the body needs food, so too does the soul need food. The root of moral decay, conflict and instability in today’s society is the lack of proper food for the soul. The melodies of Indian classical music serve as that “food for the soul.”
The Connection between Ashta Prahar and Sufi Fai
The system of ‘Ashta Prahar’ (eight divisions of the day) in Indian music shares a deep affinity with Sufi consciousness. According to Sufism, the essence of religion is ‘Faiz’ (spiritual grace).[2] Sufi saints believe that different spiritual energies descend at different times (Waqt) of the day. This theory is highly relevant to Raga Bhairav. The moment when dawn breaks is the Brahma muhurta. Raga Bhairav aligns with this silence, helping the individual soul connect with the Supreme Soul.
Sufi saint Syed Abul Fazal Sultan Ahmad describes six specific times of Faiz. The first Faiz occurs at dawn (Fajr), known as the Faiz of Quwat-e-Ilahi (Divine Power). Similarly, Bhairav is sung in the first Prahar of the day (4 AM to 7 AM). During this time, the mind is naturally meditative. Thus, the timing of Raga Bhairav and the Fajr Faiz create a profound union focused on self-purification.
Bandish:
Utha tuma jaago raina sabera
Bholta panase suna Azaan pukara
Allahu Akbara Takabir suna tuma
Wassalatu khairum minannaum
Aalam piya ki jamaat hui kha-ra-um (Kharum).
Analysis: The phrase ‘Wassalatu khairum minannaum’ (Prayer is better than sleep) used in this Bandish is a call to wake the soul from the slumber of ignorance. Music here acts as ‘Guru-mukhi Vidya’ (knowledge from the master). This Sufi Bandish brings the sanctity of the Azaan to the heart through melody, proving how Ahata Nada (struck sound) begins its journey toward Anahata Nada (eternal sound). In Indian classical music Ahata Nada: Sound produced by the friction or striking of objects. This is the music we hear with our ears. And Anahata Nada: The cosmic sound that resonates without any strike. It is audible only to those in deep meditation—yogis and spiritual masters. This theory is inextricably linked to Sufi Sadhana. When an artist practices (Riyaz) with dedication through Swara (Aahat Naad), they eventually enter the realm of Anahata Nada. What is ‘Nada-Brahma’ to a yogi is ‘Ruhani Awaz’ to a Sufi. Raga Bhairav is a powerful medium for this transition from the individual soul (Jivatma) to the Supreme Soul (Paramatma).
Bandish:
Jaago Mohan pyaare tuma
Sabari sunat more man bhaawe
Sundar shyam hamare tuma
Prat samaya utthi bhanu daya bhayo
Goala baal sab bhupati thaare
Darshan ke sab bhukha piyase
Utthiyo nanda dulare tuma.
According to Hindu tradition, dawn or Brahmamuhurta is the time of Sattvaguna (purity). The ‘waking’ mentioned in the Bandish is the awakening of the ‘Latifa-e-Ruha’ (the soul). The sunrise (Bhanu daya bhayo) symbolizes the removal of darkness from the heart. The Supreme Krishna here represents the divine power within every human. The longing for Darshan (vision) aligns with the Sufi concept of ‘Didar’ (longing to see the Creator). The somber notes of Bhairav shake the Batini (unmanifest) entity, removing ego (Nafs) and purifying the soul. In our primitive state, before man learned to speak, the body already possessed Geet (voice), Vadya (heartbeat) and Nritya (movement). Classical music was created when these natural rhythms were organized. In Sufism, the heartbeat (Kalb) is of great importance. When a seeker meditates, their internal ‘rhythm’ aligns with the rhythm of the Supreme Soul. Thus, the three forms of music in the body are transformed from Ahata to Anahata.
Human existence is a combination of the physical body and the subtle soul; similarly, music is not just a collection of melody and rhythm but a deep thirst of the soul. As a ‘Kamil Peer’ (Perfect Master) is essential on the spiritual path to awaken the disciple’s soul, the ‘Ustad’ or ‘Guru’ holds the same height in the world of music. The spiritual power (Faiz) of a Peer influences the seeker’s heart, just as the Gayaki (style) of a true Ustad leaves a divine influence (Noor/knowledge) on the student. Bhairav Raga’s Sadhana is essentially a process of purifying the soul. As a seeker suppresses their lower instincts (Nafs) to reach the state of ‘Nafse Motmainna’ (peaceful soul), a musician purifies their mind through the expansion of the Raga. Thus, classical music remains a vital medium for self-realization and spiritual elevation in human.
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[1] Nafs: The literal meaning of the word ‘Nafs’ is entity or soul. In Sufi philosophy, the original nature of the Nafs is very pure, which is like clear water – so that when poison is mixed with it, it becomes poisonous, and when honey is mixed with it, it becomes sweet. When the Nafs is mixed with evil qualities like lust, anger or greed, it becomes ‘Nafs-e-Ammara’ or intemperate. Again, when it is combined with good qualities, it transforms into a peaceful soul or ‘Nafs-e-Mutmainna’. Basically, it is because of the presence of the Nafs that the status of a person is higher than that of an angel; because it is through this Nafs that a person can reach the highest levels of spiritual pursuits like ‘Fana-Fillah’ and ‘Baka-Billah’. That is, just as the Nafs can take a person to the path of destruction, similarly, through its proper use, a person can become a friend or friend of the Almighty Allah.”
(Reference: Syed Abul Fazal Sultan Ahmad, ‘Nurul As-Rar (Noor Tattva), Vol. 1, page no- 53-54).
[2] Faiz: In Sufi terminology, Faiz refers to the divine grace or spiritual energy transmitted from the heart of a spiritual guide (Pir) to a disciple (Murid). It is a celestial flow felt only by a spiritually awakened inner heart and may manifest through various physical or emotional responses. (Reference: Syed Abul Fazal Sultan Ahmad,Nurul As-Rar (Noor Tattva), Vol. 1).
Khandaker Nafij Imtiaj Himel
Ph.D. Research Scholar
Department of Performing Arts (Music)
Sister Nivedita University
New Town, Kolkata, West Bengal, India.
Email: nafijhimel05@gmail.com
Contact No: +91 9123307340