The Divine Art

Light on the Analogy of the Painted Picture: “Universal Superimposition”

चित्रदीप प्रकरण – पंचदशी का छठा अध्याय

चित्रदीप प्रकरण – पंचदशी का छठा अध्याय

Introduction: The Essence of Panchadasi: 

The Divine Art is an exquisite interplay of creativity, philosophy, and metaphysics, woven into the very fabric of human thought. Throughout history, thinkers, poets, and philosophers have turned to artistic metaphors to understand the nature of reality. The Divine Art is not merely a means of expression but a gateway to deeper truths. Plato, in his Republic, compared the world of perception to shadows flickering on a cave wall, suggesting that true reality lies beyond sensory experience. Similarly, Indian Vedantic philosophy describes the world as Maya, an illusion projected upon the unchanging substratum of existence. The Divine Art is, therefore, both a symbol and a reality—a reflection of the cosmic process of creation, sustenance, and dissolution.

One of the most illuminating texts that explore this theme is Panchadasi, composed by Sage Vidyaranya Swami. This profound Prakarana Grantha (introductory text) on Advaita Vedanta, written in the 14th century A.D., unfolds the mystery of existence through fifteen chapters, divided into three sections:

• Viveka (Discrimination)
• Deepa (Illumination)
• Ananda (Bliss)

The sixth chapter, Chitra Deepa Prakarana, delves into the fourfold process of the universe’s manifestation, using the metaphor of The Divine Art—the process of painting. This unique explanation simplifies the Advaita Vedanta philosophy, helping seekers understand universal superimposition in creation. The Divine Art, in this context, becomes a powerful tool for comprehending the interplay between illusion and reality, form and formlessness.

The Sixth Chapter: Chitra Deepa Prakarana

The Chitra Deepa Prakarana (The Chapter on the Light of Painting) describes the process of creation through four stages, mirroring the artistic process of painting:

1. A pure white cloth serves as the base for the painting.
2. The cloth is stiffened with starch, transforming it into a canvas.
3. The artist sketches an outline based on his imagination.
4. Colors are added to complete the picture.

The Universe as a Painted Canvas

Similar to the painting process, the manifestation of the universe follows a fourfold sequence, illustrating the principle of universal superimposition through The Divine Art.

1. Pure Consciousness (Brahman): The Background of All Existence

Just as a painting requires a cloth as its base, the unchanging, all-pervading Pure Consciousness (Brahman) serves as the fundamental reality behind creation. This is the first stage of manifestation in The Divine Art.

2. Ishwara: The Stiffened Canvas

The starching of the cloth represents Maya, the cosmic power that transforms pure consciousness into Ishwara, where Maya is superimposed upon the absolute. This marks the second stage of creation in The Divine Art.

3. Hiranyagarbha: The Subtle Blueprint

The artist’s outline drawing corresponds to the subtle cosmic framework known as Hiranyagarbha. At this stage, the universe exists as a conceptual form before full manifestation. This is the third stage of universal superimposition in The Divine Art.

4. Virat: The Gross Manifestation

Finally, as colors are added, the universe reaches its gross, tangible state, known as Virat, the physical form of creation. This represents the fourth and final stage of universal manifestation in The Divine Art.

Through this analogy, Panchadasi beautifully illustrates the Advaita Vedanta principle that the universe is merely an appearance, while the unchanging reality remains Brahman alone.

1. Pure White Cloth: The Symbol of Nirguna Brahman

In Advaita Vedanta, Nirguna Brahman refers to pure consciousness, the unchanging, formless reality that serves as the substratum of all existence. This absolute, non-qualified Brahman is best compared to a pure white cloth, which remains untouched and pristine.

Swami Vidyaranya compares pure consciousness (Nirguna Brahman) to a pure white cloth, symbolizing the unchanging substratum of all existence. This represents the first stage of universal projection, where Brahman remains formless and absolute.

2. Maya: The Starch That Transforms the Cloth

In the next stage of the analogy, the pure white cloth is stiffened with starch, transforming it into a usable canvas. This stiffening process represents Maya, the illusory power that veils Nirguna Brahman and makes the universe appear as distinct and diverse.

When Maya is superimposed upon Nirguna Brahman, it gives rise to Ishwara, the first stage of manifested reality. Just as starch alters the nature of the cloth while still depending on it, Maya modifies the way reality appears without changing the true essence of Brahman.

Through this powerful analogy, Panchadasi reveals how the illusion of creation unfolds while Brahman remains the eternal, unchanging substratum.

 

Understanding Maya: The Cosmic Illusion

In Advaita Vedanta, the term Maya refers to the cosmic illusion that veils the true nature of existence. It creates the appearance that the universe is separate from the ultimate reality, Brahman. Through this illusory force, the phenomenal world is projected, leading to the perception of diversity and individuality. However, realizing the non-dual essence of reality requires an understanding of Maya. In truth, the seeming multiplicity is nothing but an illusion, where everything remains interconnected as one undivided whole.

The Role of Maya in Manifestation

Although Nirguna Brahman (pure consciousness) is absolute and unchanging, the universe is projected through the power of Maya. In other words, Brahman does not directly create the world but appears as the universe due to Maya’s influence. A well-known analogy in Vedanta explains this concept: a rope may mistakenly be perceived as a snake, yet in reality, it remains a rope. Similarly, due to ignorance, the universe is seen as distinct, when in fact, it is Brahman alone. Here, Maya plays the role of the illusion that obscures the truth.

Furthermore, when Maya is superimposed upon pure consciousness, the universe is projected, much like an image appearing on a starched canvas. This stage, known as Maya Upahita Chaitanya, represents the second level of universal manifestation. Therefore, understanding Maya becomes essential for realizing the non-dual reality of existence.

3. The third stage indicates drawing of the outline: That is “Hiranyagarbha.”

The same Sat-Chit-Ananda, Nirguna Brahman, with the power of the Maya, associated with the subtle bodies, is projected as “Hiranyagarbha.”. Five subtle elements, known as Tanmatra (तन्मात्र), out of which our mind and intellect in the subtle body (sukshmah sarira) are formed. Pranamaya kosha, ManoMaya kosha, and VijnaMaya kosha are created. Thus, the drawing of the outline is formed. This is the third stage of the projection of the universe.

4. The same Hiranyagarbha with all physical bodies is Virat. 

The Final Stage of Manifestation: Virat – The Gross Universe

Once the outline of a painting is drawn, the painter fills in the colors, completing the final image. Similarly, in the process of universal manifestation, Hiranyagarbha, associated with subtle bodies, evolves into the gross physical universe.

At this stage, Pure Consciousness (Nirguna Brahman), when united with Maya, becomes Ishwara. When further associated with all subtle bodies, it is referred to as Hiranyagarbha. Finally, when connected with all physical bodies, it manifests as Virat, the visible, ever-changing universe. That is the Manifested Universe we see.

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Nirguna and Saguna Brahman: The Unique Analogy

Swami Vidyaranya’s analogy beautifully distinguishes between Nirguna Brahman (Pure Consciousness) and Saguna Brahman (Brahman with attributes).

• The pure white cloth represents Nirguna Brahman, the absolute, unchanging reality (Sacchidananda Brahman).
• The Virat, the gross physical universe, is Saguna Brahman, the cosmic manifestation.

With the power of Maya, Sacchidananda Brahman is termed Ishwara. As it further associates with subtle and physical bodies, it reaches its final form as Virat, the universe we perceive.

This Virat Roopa was revealed to Arjuna in the Bhagavad Gita (Chapter 11) when he requested to witness Shri Krishna’s divine cosmic form.

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The Illusion of Separation: The Oneness of All Existence

At first glance, the universe appears scattered and diverse. Each of us sees ourselves as separate individuals, distinct from the billions of living beings, plants, mountains, stars, galaxies, and microscopic elements. However, despite this apparent diversity, everything exists within one Pure Consciousness.

Vidyaranya Swami’s analogy reminds us that just as a painting cannot exist without its canvas, the universe cannot exist without Brahman.

• The only reality is the pure white cloth—the fundamental substratum of all existence.
• Whether it is before, during, or after the painting process, the cloth remains unchanged.
• Even when nature, animals, and people are painted onto the canvas, they are still just cloth.

A similar analogy applies to a movie screen—the screen remains unchanged, regardless of the images projected onto it. Likewise, the universe is a vast projection of supreme consciousness.

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The Four Great Vedic Statements [ Mahavakyas]

Tat Tvam Asi – You Are That

This realization brings us to the essence of Advaita Vedanta:

“Tat Tvam Asi” – You Are That

This means that at our core, we are all pure consciousness, Brahman itself. The illusion of separation is due to Maya, but in reality, we are one with the Absolute.

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Brahma Satya, Jagat Mithya: The Ultimate Truth

A famous verse from Viveka Chudamani, a sacred Prakarana Grantha by Adi Shankaracharya, states:

“Brahma Satya Jagat Mithya, Jivo Brahmaiva Nāparah.”

This profound statement conveys that:

• Brahman alone is the absolute truth (Satya).
• The world is Mithya—neither absolutely real nor completely false.
• The individual self (Jiva), when stripped of ego, is nothing but Brahman itself.

Thus, Advaita Vedanta teaches that behind all names and forms, there is only one Pure Consciousness—unchanging, eternal, and absolute.

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Swami Vidyaranya’s four-stage painting analogy simplifies deep Vedantic truths:

• Pure White Cloth → Nirguna Brahman (Pure Consciousness)
• Stiffened Canvas → Ishwara (Maya Superimposed on Brahman)
• Outline Drawing → Hiranyagarbha (Subtle Universe)
• Final Colored Painting → Virat (Gross Physical Universe)

Just as the painting relies on the cloth, the universe exists within Brahman. Despite Maya’s illusion, our true essence remains unchanging and eternal—one with Brahman.

Thus, the greatest realization in Vedanta is understanding that we are not separate beings but Pure Consciousness itself—Tat Tvam Asi!

The entire universe you are experiencing—all that you see, living and non-living, around you, and all the events and happenings in your life—are in reality Sat-Chit-Ananda, Brahman, the ultimate reality. We are not bodies made of flesh and blood, not body and mind complexes. We are actually Sat-Chit-Ananda. (Existence, Consciousness, Bliss) appearing as this body and mind. 

We have to see through the experiences in our life. 

Vidyaranya swami explains, there are human beings shown in the picture wearing clothes and painted with different colors. These clothes on human being, are painted on real clothes. Think carefully here. There is a painted cloth, which is a Real cloth. People see the picture and put their comments on the colors, objects shown in the painting and discuss on their look. But nobody talks of clean cloth which first became canvas and then finally a painted picture. Same is true for all of us the human beings, having different qualities, different nature etc., we do not think of Chidatma, Brahman, the Pure consciousness. Reality is: “I am not the body not the mind. I am pure consciousness.” That is true for all of us. Background Consciousness: that is all of us. 

Conclusion: The Divine Art!

Swami Vidyaranya’s analogy simplifies deep Vedantic truths:

Painting Process	Universal Manifestation
Pure White Cloth	Nirguna Brahman (Pure Consciousness)
Stiffened Canvas	Ishwara (Maya Superimposed on Brahman)
Outline Drawing	Hiranyagarbha (Subtle Universe)
Final Painting	Virat (Gross Physical Universe)

Just as a painting depends on its canvas, the universe exists within Brahman. Despite Maya’s illusion, our true essence remains unchanging and eternal—one with Brahman.

Thus, Advaita Vedanta reveals that we are not mere physical bodies but Sat-Chit-Ananda (Existence, Consciousness, Bliss) appearing as body and mind.

Swami Vidyaranya reminds us: people admire the colors and images in a painting but forget the cloth beneath. Similarly, in life, we focus on differences but overlook Chidatma (Pure Consciousness). The ultimate realization is:

“I am not the body, not the mind. I am pure consciousness.”

What is Hiranyagarbha?

Hiranyagarbha: The Cosmic Womb in Vedanta & Science

1. The Concept of Hiranyagarbha in Vedanta

In Vedantic philosophy, Hiranyagarbha (Sanskrit: हिरण्यगर्भ) means “Golden Womb” or “Cosmic Egg.” It is the primordial source from which the entire universe emerges. This concept is deeply rooted in the Upanishads, Vedas, and Puranas, symbolizing the undivided, unmanifest cosmic potential that gives birth to all existence.

• Etymology:
  • Hiranya = Gold (symbolizing divine radiance and infinite potential)
  • Garbha = Womb or embryo (symbolizing gestation, creation, and manifestation)

Hiranyagarbha is often described as the first-born being (Sanskrit: Prathamaja) or the universal seed of creation, containing all souls (Jivas) and elements before they manifest into the material world.

2. Hiranyagarbha in Upanishads & Vedic Texts

• The Rig Veda (RV 10.121) refers to Hiranyagarbha as the cosmic source of creation, stating:
  “In the beginning, there was the Golden Womb, born of the cosmic waters, the one who sustains all beings.”
• In the Mundaka Upanishad (1.1.6), it is equated with Brahman (the Supreme Consciousness) in its subtle, creative aspect.
• The Bhagavata Purana describes it as the first manifestation of Lord Vishnu, through which the material universe emerges.

3. The Scientific Parallel: Cosmic Womb & Hiranyagarbha

Modern cosmology surprisingly aligns with the ancient Vedantic vision of Hiranyagarbha. Let’s explore how:

A. Hiranyagarbha & The Big Bang Theory

• In Vedanta, Hiranyagarbha represents the unmanifest, pre-creation state of the universe, analogous to the singularity before the Big Bang.
• Just as Hiranyagarbha expands into the cosmos, the Big Bang initiated the expansion of space, time, and matter.
• Quantum fluctuations in the cosmic vacuum resonate with the Vedic idea that the universe arises from the subtle vibrations of Brahman.

B. Hiranyagarbha & The Cosmic Egg Theory

• Many ancient cultures, including Egyptian, Greek, and Chinese cosmologies, describe the universe emerging from a cosmic egg—similar to Hiranyagarbha.
• In modern astrophysics, the early universe is sometimes referred to as a cosmic embryo, evolving into galaxies, stars, and life.

C. Quantum Consciousness & The Cosmic Womb

• In Vedanta, Hiranyagarbha is not just physical but a field of intelligence (Mahat-Tattva)—a concept that resonates with quantum consciousness theories.
• Scientists like Dr. Amit Goswami and Dr. Stuart Hameroff propose that consciousness may originate from the zero-point field—a dynamic, intelligent space akin to Hiranyagarbha as the cosmic intelligence.

4. How is Hiranyagarbha Related to the Womb?

Vedanta presents a fractal model of reality—the macrocosm (Brahmanda) reflects the microcosm (our bodies, mind, and existence).

• The Universal Womb (Hiranyagarbha) and the Biological Womb share striking parallels:
  1. Both are the sources of life and manifestation
  2. Both operate through sacred geometry (Sri Yantra in Tantra; Fibonacci spirals in nature)
  3. Both hold infinite potential before bringing forth life
  4. Both nurture, sustain, and transform creation

Thus, just as the sacred womb in a human mother carries and nurtures life, Hiranyagarbha is the cosmic womb that holds the potential of the universe itself.

The act of creation is a divine process, where the unseen transforms into the seen, much like the Sacred Womb: The Divine Gateway of Life. Just as the cosmic womb, Hiranyagarbha, nurtures the universe into existence, every artistic expression emerges from an infinite source of inspiration. To explore how creation flows through both the cosmic and the artistic realms, delve into Sacred Womb: Divine Gateway of Life .

चित्रदीप प्रकरण – पंचदशी का छठा अध्याय

चित्रदीप प्रकरण पंचदशी ग्रंथ का छठा अध्याय है, जिसमें स्वामी विद्यारण्य ने अद्वैत वेदांत के गूढ़ तत्वों को चित्रकला की उपमा के माध्यम से स्पष्ट किया है। इस अध्याय में ब्रह्म, माया, जीव और जगत के संबंध को एक कैनवास पर उकेरी गई चित्रकला के माध्यम से समझाया गया है।

मुख्य उपमा एवं तात्त्विक व्याख्या

1. श्वेत वस्त्र (सूत्रात्मा) – मूल अद्वैत सत्ता
   जिस प्रकार चित्र बनाने से पहले एक श्वेत वस्त्र लिया जाता है, जो निर्दोष, स्वच्छ और अकलुषित होता है, उसी प्रकार निर्विशेष (गुणरहित) ब्रह्म अपनी मूल स्थिति में शुद्ध, नित्य और निराकारी होता है।

2. श्वेत वस्त्र पर मांड (गोंद-स्टार्च) लगाकर उसे कठोर बनाना – अव्यक्त माया
   जैसे सादा कपड़ा गोंद (स्टार्च) से कठोर कर उसे कैनवास में बदला जाता है, वैसे ही माया ब्रह्म पर अपना आवरण डालकर उसे जगत की संभावनाओं के लिए आधार बनाती है। यह अवस्था अव्यक्त माया की स्थिति है, जिसमें संसार की समस्त संभावनाएँ तो हैं, परंतु वह अभी प्रकट नहीं हुआ।

3. कैनवास – उपाधिसहित ब्रह्म (ईश्वर)
   जैसे श्वेत वस्त्र मांड लगने के बाद कैनवास का रूप ले लेता है, वैसे ही जब ब्रह्म माया के कारण जगत का अधिष्ठान बनता है, तब उसे ईश्वर कहा जाता है। इस स्तर पर ब्रह्म अब निर्विशेष नहीं रहता, बल्कि उसमें सृजनात्मक शक्ति आ जाती है।

4. रंग – व्यक्त माया (कार्य रूप)
   जैसे कैनवास पर विविध रंगों के संयोजन से चित्र बनता है, वैसे ही माया कारण रूप से कार्य रूप में प्रवृत्त होकर जगत को प्रकट करती है। यह व्यक्त सृष्टि की अवस्था है, जिसमें समस्त नाम-रूप की अभिव्यक्ति होती है।

5. चित्र – जीव और संसार
   पट्ट पर बने हुए चित्र जैसे भिन्न-भिन्न आकार ग्रहण करते हैं, वैसे ही जीव और समस्त संसार ब्रह्म पर आधारित होते हैं। कोई चित्र स्थिर होता है, कोई गतिशील प्रतीत होता है, परंतु उनकी सत्यता केवल कैनवास पर ही निर्भर होती है।

6. चित्र का ज्ञान – आत्मबोध
   जैसे अज्ञानी व्यक्ति चित्र को ही वास्तविक मानता है, वैसे ही अविद्या के कारण जीव संसार को स्वतंत्र और सत्य मानता है। जब ज्ञानी व्यक्ति पट और चित्र के भेद को समझ लेता है, तब उसे ब्रह्म-तत्व का साक्षात्कार होता है।

तात्त्विक संदेश

• श्वेत वस्त्र (मूल ब्रह्म) निर्विकार, शुद्ध और नित्य है।
• माया (गोंद-स्टार्च) ब्रह्म को जगत का आधार बनाने के लिए उसे उपाधि प्रदान करती है।
• कैनवास (ईश्वर) जगत की संभावनाओं को धारण करने वाला है।
• रंग (माया का कार्य रूप) नाम-रूप की अभिव्यक्ति करता है और संसार को दृश्य रूप देता है।
• चित्र (जीव और जगत) केवल ब्रह्म पर आश्रित हैं, उनका कोई स्वतंत्र अस्तित्व नहीं है।
• आत्मज्ञान से यह भेद स्पष्ट हो जाता है कि ब्रह्म ही सत्य है और जगत एक आभास (मिथ्या) मात्र है।

उपसंहार

स्वामी विद्यारण्य इस अध्याय के माध्यम से यह सिद्ध करते हैं कि जैसे श्वेत वस्त्र से लेकर चित्र तक की पूरी प्रक्रिया में मूल आधार वही रहता है, वैसे ही ब्रह्म ही सबका अंतिम सत्य है। जो इस तत्व को जान लेता है, वह मुक्त हो जाता है और मोक्ष प्राप्त करता है।

🙏 ओम् तत् सत् 🙏