Moha

Meaning

attachment

A feeling of strong or constant regard for and dedication to someone or something.
delusion

The attachment to an idea which may not have any objective reality.
infatuation

Strong but not usually lasting feelings of love or attraction.

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Interpretation

“Moha”Attachment, Delusion (delusion, attachment) is the cause of vāsanā and bondage. It brings the player time and again to the phenomenal world through births and re-births. “Moha” is the attachment to “māyā” (cell 2). It veils the mind rendering it unfit to perceive the truth. It influences the player to “act wrongly” (“selfishly” instead of selflessly), towards “adharma” (cell 29).

Moha is unique in the arishadvargas as it seems to be present in all the other weaknesses also. Yet, individually it is also quite distinct. It is the first cell the player lands on, when he is “expelled” from Vaikuṇṭha on a throw of 6.

The number 6 is related to inventiveness, creativity, and the fine arts. It is the symbol of Venus. In Hindu mythology, Venus is the “guru” of demons. Those who dwell in “moha” (cell 6) love sensual pleasures, spend their energy in the fulfillment of desires, are victims of anger and greed, act against “dharma” and are selfish.

The story of Nārada requesting the knowledge of māyā also brings out aspects of “moha” which is the “binding aspect” of māyā.

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Story

As Nārada entered the village, he saw a beautiful girl pulling water from a well. He was smitten by her beauty. The scorching heat and his long run, into the village had made him thirsty. He asked her for some water, which she readily gave him to quench his thirst.

Nārada was so taken by her beauty that he quietly followed her to her house. There he announced to her father, that he, the celestial Nārada, wanted to marry his daughter. The father, a rich brahmin, was overjoyed at the opportunity of such a great sage wishing to marryhis daughter. He immediately arranged for her marriage and gave land and cattle as gifts to Nārada, so that he may provide for his family.

Soon Nārada was well settled in the village, raring his cattle, farming and enjoying the company of his beautiful wife. With the passage of time she bore him children and he now enjoyed the feeling of a parent and a successful householder.

Then one day, dark clouds covered the village and there was incessant rain.The villagers all relocated to safer havens, however, Nārada was finding it hard to leave his land and cattle that he had cared for, for so long. Finally, Nārada realised that he too would have to leave the villageand he gathered his belongings and his cattle and decided to cross the river to the other side.

Suddenly as he was crossing the violent river, the current swept away one of his bags, in an attempt to retrieve the bag, he loosens his grip on the cattle which instantly gets swept away. Trying to secure atleast his children, he looses his wife who also gets swept into the raging river. Having already lost much, he stumbles and his children are swept away from him.

He lands on the bank of the river on the other side, having lost everything. In great despair and agony, he cries out to Nārāyana for help from the deepest part of his heart, and suddenly everything vanishes and he finds himself standing infront of thirsty reclining Nārāyana under the shade of a tree, just as he had left him a few moments ago.

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On the gameboard

Moha, is the attachment of the player to everything that she perceives as hers. This is sense of ownership or belonging is the delusion. It influences the player to “act wrongly” (“selfishly” instead of selflessly), towards “adharma” (cell 29). Those who dwell in “moha” (cell 6) love sensual pleasures, spend their energy in the fulfilment of desires and are victims of anger, greed and envy (as aptly predicted by the plane of the mulādhār chakra).

This is the first cell that the player land’s on as she throws a 6 while stationed in the eternal bliss of Vaikuṇṭha. The player finds a beautiful representation of the sloka 7.13 in Srimad Bhagwad Geeta on the game board as she is forced to exit Vaikuṇṭha. The path back to Vaikuṇṭha seems exceedingly difficult and truly veils her perception of the infinite and eternal.

The cells of nullity and bad company directly above, reveal to her, the nature of this delusion. The row of the “child”, the first row on the game board, also reveals the aspect of attachment the child has to her mother. The next cell is that of abhimāna and signifies the small pride the child experiences as she takes her first steps and achieves little goals she sets for herself. Six places ahead lies the cell of ịrṣyā revealing the aspect of self-identity and ownership hidden within this cell.

This painting, a pandit trying to capture the woman just for her beauty, controlling her within her aura is a satire for me, as the pandit is the society and the women being always controlled and tied with its norms. There are stories and rituals in history, some are true some are said to be stories to hide reality. The stories consist of men like pandits tantrik and rishi who used to use the power to conquer women, in order to have her without her consent.

A object of beauty, as they were considered and treated. Maybe the time required that restrictions in the society. But we cannot deny the fact of unjust society.

My nani when she saw this painting said there used to be such beautiful women at that time, men used to loose all of their control on them on one glance, even the strong ones, even those who gave up all for god. This is what i think when i see this painting. Moh for women. How binding it is. How powerful. by Khushi Sancheti