If we begin to do all our physical acts with full awareness, then the identification with the physical becomes broken. If you lift one hand upward with full attention you will feel yourself apart from the hand – because the one who lifts is different from that which is lifted. The feeling of being separate from the physical body is the beginning of awareness of the etheric body. Then, as I said before, you should be fully aware of this second body also.
Suppose there is an orchestra playing. Many types of instruments are played in an orchestra. If there is a man in the audience who has never heard music he will only hear the drums because this is the instrument that makes the loudest sound; he will not be able to catch the softer notes of other instruments. But if he begins to become aware of the music he will slowly catch the softer notes. As his awareness increases he will begin to catch the most delicate subtle notes. Then as his awareness increases further he will not only catch the notes but he will become aware of the gap between two notes – the silence between two notes. Then he will have grasped the music completely. The interval, the gap, is the last thing to grasp. Then it can be said that his grasp of music is complete.
The interval, the silence between the two notes, has its own meaning. In fact, the notes are meant only to accentuate this silence. How much this silence is brought into function is the real thing in music.
If you have seen Japanese or Chinese paintings you must have been surprised to note that the painting is always in one corner; the rest of the canvas is left empty. Nowhere else in the world do we find this method of painting, because nowhere else has the artist painted with such meditativeness. In fact, nowhere except in China and Japan have meditators taken up painting. If you ask this artist why he has wasted such a big canvas for such a small painting when he could have easily used a canvas one eighth of its size, he will reply that in order to bring out the empty space of seven eighths of the canvas he specifically worked on the remaining part. In reality, this is the ratio.
Ordinarily when a tree standing in an open space is painted the whole canvas is taken up. Actually the tree should be in one little corner, as in comparison to the vast skies the tree is very insignificant. This is the actual ratio. When the tree stands in its right spatial proportion on the canvas, then only can it be alive. Thus, all your paintings are out of proportion. If a meditator produces music there will be less sound and more silence in it – because the notes are very few compared to the silence that joins them. The sounds have only one use – to give a hint of the emptiness, the silence, and then to depart. The deeper you move in music, the deeper will become your sense of silence.