La eternidad cotidiana de la India

krishna2

por Omar Arriaga

Entre los muchísimos sucesos contados en el Mahabharata, “la historia poética de la humanidad” ﹘según el poeta Vyasa, “compilador” de esta magna epopeya﹘ se halla la vida de Krishna.

Hay en el hinduismo tres grandes vertientes primigenias, mismas que pueden ser representadas por sus tres grandes dioses tutelares: Brahma, Shiva y Vishnú.

Brahma es el Dios encargado de la creación, el que otorga al universo formas siempre nuevas y quien, asimismo, creó a la Muerte. Shiva, el asceta, el santo, el demoníaco, Dios de la sabiduría, en su danza eterna hace aparecer y desaparecer cuanto existe en el mundo; destruye para que el universo pueda volver a construirse desde sus vestigios. Vishnú, siempre bajo la forma de algún animal sagrado o persona, desciende a la tierra cuando el equilibrio de las cosas está en peligro; es el Dios responsable de la persistencia del universo.

A cada una de estas transformaciones de Vishnú se le llama “avatar”.

Brahma crea, Shiva destruye, Vishnú administra y sostiene; son éstas las tres vertientes de ese hinduismo polifacético, ilimitado y monstruoso al que se ha otorgado el adjetivo “dravídico”.

Dentro de este entramado dravídico, se cuenta que una vez, el demonio Hiranyaksa arrojó el mundo al fondo del océano, por lo que a punto estuvo de colapsar la vida.

En aquélla ocasión, Vishnú cobró la forma de un jabalí, y entre sus colmillos rescató a la Tierra, tomándola de las profundidades de las aguas. La encontró moribunda, mas al fin pudo resucitarla.

Antes, cuando Indra, el rey de los dioses, destruyó a una serpiente celestial que había tomado toda el agua del mundo para sí, suscitándose uno de los muchos diluvios universales de los que habla la mitología de la India, Vishnú se convirtió en pez y salvó a Manu, el primer hombre, y a la familia de éste.

De este modo, los humanos pudieron continuar habitando la Tierra.

Sin embargo, quizá el más famoso de los diez avatares de Vishnú sea el Budha, estado mental que se refiere al despertar de la consciencia más que a la iluminación, como usualmente se le ha considerado, y que es la forma mediante la que Dios baja al mundo a salvar a todos aquellos que sufren.

Entre Budha, noveno avatar, el jabalí sagrado, tercero, y el pez que salva a Manu de la inundación, primero, se yergue su octava transformación: Krishna.

Vishnú adquiere forma humana con la misión de llevar terminar con la guerra entre Pandavas y Kauravas, las dos ramas de la familia real que constituyen el centro narrativo de este relato.

Pero antes de llegar hasta tal punto, el poema describe la infancia de Krishna, la cual transcurre en una calma abundante, llena de alegría.

Krishna, niño travieso habituado a robarse la fruta de sus vecinos, espiar a las muchachas bañándose en los manantiales (y no sólo eso, también a esconderles las prendas), describe una escena que nos hecho rememorar estos breves capítulos.

Krishna niño contempla a unas mujeres lavando la ropa a orillas del Ganges, golpeándola contra las piedras para exprimirla, haciendo saltar chispas de luz por el aire.

La escena se repite incontables ocasiones y, aun así, el niño no deja de verla. Sorprendido, extasiado, comenta que si existe la eternidad, tal debe ser aquélla que en ese mismo momento presencia.

Pese a la violencia que vivimos, pensaba esto la otra tarde en una suerte de burbuja de felicidad, mirando a una amiga que zurcía una camisa a su pequeño hijo, mientras a ambos, los rayos del sol los retrataban de tal manera que sólo las palabras de Krishna niño podían acudir a mi mente: “si existe la eternidad, es ésta”.

OZ

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