Ubiquitous Sphota Pratibha Model by Dr. Uma Shankar Pandey is licensed under CC BY-NC-ND 4.0

USP Model
Indian Communication Model
Ubiquitous Sphota Pratibha
Communication constitutes a fundamental dimension of human existence, characterized by the dynamic interplay of social interactions and cultural expressions, thereby illustrating the core fabric of society. Within the expansive field of communication theories, the Ubiquitous Sphota Pratibha Model stands out as a significant framework deeply rooted in Indian philosophical thought. This model integrates essential concepts such as Sphota, Pratibha, and Rasa—derived from Indian linguistic and aesthetic traditions—to elucidate the complex processes underlying human communication
Overview of the Model
Imagine two actors on the stage of life, Actor A and Actor B, engaging in a dynamic exchange of ideas and emotions. The Ubiquitous Sphota Pratibha Model illustrates this communication process as a vibrant, cyclical interaction where both individuals participate in the creation, articulation, and interpretation of meaning. The model underscores the pivotal roles of intuition, articulation, and cognition, capturing the delicate interplay between consciousness, language, and emotions that unfolds during communication.
At the heart of this model are six interconnected components:
- Pasyanti & Pratibha (Intuition)
- Madhyama & Vaikhari (Articulation)
- Dhvani & Artha (Sphota/Manifestation)
- Prakasa and Vimarsa (Cognition)
- Rasa (Affect/Emotion)
- Abhidha, Lakshana, Vyanjana (Meaning)
Each of these elements serves as a crucial thread in the process of communication to create a holistic understanding of how meaning is generated, conveyed, and interpreted.
1. Pasyanti and Pratibha: The Spark of Intuition
At the inception of communication lies Pasyanti Pratibha, the intuitive spark that ignites the process of meaning-making. Derived from Bhartrhari’s philosophy of language, particularly from his seminal work Vakyapadiya (Bhartrhari, 1971), Pasyanti is considered the innermost level of speech. It is where ideas germinate in speaker’s consciousness, much like seeds sprouting beneath the soil before breaking through to the surface.
In this stage, Actor A experiences a profound intuitive insight or inner vision, where concepts are deeply conceptualized before they find expression. This level of speech is beyond the realm of ordinary perception, dwelling instead in the subtle dimensions of thought where the boundaries between the knower, the known, and the process of knowing dissolve (Iyer, 1969). Pratibha, often translated as creative intelligence or genius, plays a pivotal role here, representing the spontaneous and holistic apprehension of ideas (Kaviraj, 1923).
2. Madhyama and Vaikhari: The Articulation Bridge
Moving from the silent depths of intuition, the process ascends to Madhyama & Vaikhari, the bridge between inner thought and external expression. Madhyama, meaning “middle” or “intermediate,” refers to the mental formulation of speech, while Vaikhari pertains to the manifested sound (Bhartrhari, 1971).
At this juncture, Actor A begins to shape the intuitive insights into structured thoughts, organizing them within the framework of language. It’s akin to an artist sketching the initial outlines of a masterpiece, translating nebulous ideas into tangible forms. This stage emphasizes the linguistic structuring of thought, where the raw materials of intuition are crafted into coherent mental representations ready for expression.
3. Dhvani and Artha: The Unveiling of Sphota
With the groundwork laid, the communication process culminates in Dhvani and Artha, the stage of Sphota or the bursting forth of meaning. Dhvani, meaning sound or resonance, and Artha, meaning meaning or purpose, together signify the moment when the articulated speech reaches the listener as a unified, holistic entity (Matilal, 1990).
The concept of Sphota, introduced by Bhartrhari, suggests that meaning is not a sequential accumulation of sounds but rather a sudden revelation—a flash of understanding that transcends the linearity of spoken words (Bhartrhari, 1971).
This stage underscores the profound impact of Dhvani, not just as audible speech but as a carrier of deeper aesthetic and emotional resonances (Ingalls, Masson, & Patwardhan, 1990).
4. Prakasa and Vimarsa: The light of Cognition
Upon receiving the message, Actor B engages in the cognitive processes of Prakasa and Vimarsa. Prakasa, meaning illumination, refers to the immediate recognition and awareness of the message. It’s the light that dispels the darkness of ignorance, allowing the meaning to shine forth in the listener’s consciousness (Pandey, 1959).
Vimarsa, on the other hand, denotes reflection or deliberation. It involves a deeper analysis and internalization of the message, akin to contemplating the reflections on the surface of a still lake to understand the depths beneath (Dyczkowski, 1987). Together, these processes represent the cognitive engagement necessary for the listener to fully assimilate and interpret the communicated meaning.
5. Rasa: The Essence of Emotion
No communication is complete without the infusion of Rasa, the emotional essence that breathes life into words. Originating from Bharata Muni’s Natyashastra, Rasa encapsulates the aesthetic experience and the emotive responses evoked in the audience (Bharata Muni, trans. 200 BCE–200 CE).
In the context of the model, Rasa is the affective response that arises within Actor B upon interpreting the message. It’s the heart’s reaction to the mind’s understanding, the flavors of emotion that color the experience of communication. Whether it’s the joy of a shared joke, the sorrow in a heartfelt story, or the awe inspired by profound wisdom, Rasa connects the cognitive to the emotional, enriching the interaction with depth and authenticity.
6. Abhidha, Lakshana, Vyanjana: The Layers of Meaning
Delving deeper, the model recognizes that meaning operates on multiple levels, encapsulated in the concepts of Abhidha, Lakshana, and Vyanjana:
Abhidha: The direct, literal meaning of words—the denotative aspect of language. It’s the surface level, where words are understood in their most immediate sense (Raja, 1969).
Lakshana: The secondary, contextual meaning that emerges when the literal sense is insufficient or leads to absurdity. It’s the realm of metaphors, idioms, and implied meanings that enrich communication (Chari, 1990).
Vyanjana: The suggestive or connotative meaning that hints at deeper, often unspoken nuances. Vyanjana is pivotal for evoking Rasa, allowing language to transcend literalness and touch the subtleties of emotion and cultural connotations (Ingalls, Masson, & Patwardhan, 1990).
These layers are akin to the concentric rings formed when a stone is dropped into a pond—each ripple represents a deeper level of meaning extending outward from the point of contact.
The Cyclical Communication Between Actors A and B
Envisioning the communication process as a harmonious dance, the Ubiquitous Sphota Pratibha Model emphasizes its cyclical nature:
Initiation by Actor A: Actor A begins with an intuitive insight (Pasyanti & Pratibha), which is then articulated (Madhyama & Vaikhari) and manifested through speech or expression (Dhvani & Artha).
Reception by Actor B: Actor B receives the message, undergoing cognitive illumination and reflection (Prakasa and Vimarsa), leading to an emotional response (Rasa) and intuitive understanding.
Response Cycle: Actor B, now embodying the role of the communicator, initiates their own cycle of expression, and the process repeats, creating a continuous loop of interaction.
This cyclical model reflects the dynamic and reciprocal nature of communication, where both participants are active contributors in a fluid exchange of ideas and emotions (Sen, 2005).
The Cultural and Contextual Question
The model addresses the cultural and contextual factors in the communication process. In Indian philosophy, language and meaning are deeply embedded within cultural narratives and practices (Dasgupta, 1991). The intuitive and emotional dimensions—Pasyanti and Rasa—are profoundly influenced by the shared cultural backdrop of the communicators.
Rasa, in particular, serves as a bridge connecting individuals through shared emotional experiences rooted in cultural contexts. The layers of meaning—Lakshana and Vyanjana—ensure that indirect and suggestive meanings resonate with cultural codes, allowing for rich, nuanced communication that transcends mere words.
Implications for Communication Studies
The Ubiquitous Sphota Pratibha Model offers valuable insights for contemporary communication studies:
Holistic Understanding: By incorporating cognition, emotion, intuition, and expression, the model presents a comprehensive framework that acknowledges the multifaceted nature of communication.
Emphasis on Aesthetics: The importance of Rasa highlights the role of aesthetic experience and emotional resonance, suggesting that effective communication is as much about evoking feelings as it is about conveying information (Ingalls, Masson, & Patwardhan, 1990).
Cross-Cultural Relevance: The model provides a counterpoint to Western communication theories that often prioritize clarity and directness, introducing concepts of intuition and affective experience that enrich cross-cultural understanding (Sen, 2005).
Application in Media and Arts: Understanding these principles can enhance practices in media, literature, and the arts, where conveying layered meanings and evoking emotional responses are essential.
Conclusion
The Ubiquitous Sphota Pratibha Model reminds us that communication is not merely the exchange of words but a profound interaction of minds and hearts—an interplay of intuition, expression, cognition, and emotion.
By integrating traditional Indian concepts like Sphota, Pratibha, and Rasa, the model invites us to explore the deeper dimensions of communication. It beckons us to appreciate the silent sparks of intuition, the artistry of articulation, the illuminating flashes of understanding, and the soulful stirrings of emotion.
As we navigate the complex landscapes of human interaction, this model serves as a guiding star, illuminating the pathways to more meaningful and resonant communication. It encourages us to not only share information but to connect on levels that touch the very essence of our shared humanity.
References:
- Bharata Muni. (200 BCE–200 CE). Natyashastra.
- Bhartrhari. (1971). Vakyapadiya. Motilal Banarsidass.
- Chari, V. K. (1990). Sanskrit Criticism. Motilal Banarsidass.
- Dasgupta, S. N. (1991). A History of Indian Philosophy. Motilal Banarsidass.
- Dyczkowski, M. S. G. (1987). The Doctrine of Vibration: An Analysis of the Doctrines and Practices of Kashmir Shaivism. SUNY Press.
- Ingalls, D. H. H., Masson, J. L., & Patwardhan, M. V. (1990). The Dhvanyaloka of Anandavardhana with the Locana of Abhinavagupta. Harvard University Press.
- Iyer, K. A. S. (1969). Bhartrhari: Philosopher and Grammarian. Deccan College Postgraduate and Research Institute.
- Kaviraj, G. (1923). The doctrine of pratibhā in Indian philosophy. Annals of the Bhandarkar Oriental Research Institute, 5(1), 1–18. http://www.jstor.org/stable/44082804
- Matilal, B. K. (1990). The Word and the World: India’s Contribution to the Study of Language. Oxford University Press.
- Pandey, K. C. (1959). Abhinavagupta: An Historical and Philosophical Study. Chowkhamba Sanskrit Series Office.
- Raja, K. K. (1969). Indian Theories of Meaning. Adyar Library.
- Sen, A. (2005). The Argumentative Indian: Writings on Indian History, Culture and Identity. Farrar, Straus and Giroux.
USP Model
Welcome to the Ubiquitous Sphota Pratibha Model. As the proponent of this model, I’ve centered it on sphota—the burst of meaning—and enriched it with pratibha (intuition) and rasa (emotional essence) to connect us on a deep, universal level.
Ubiquitous Sphota Pratibha Model by Dr. Uma Shankar Pandey is licensed under CC BY-NC-ND 4.0
Excellent 👌👌
Dear sir
After Sadharnikaran,
It’s new innovative approach and true representation of Indian Communication System.
Kudos to you USP sir for this USP Indian Communication Model
Thanks and regards
Very interesting Sir.. Innovative approach to Indian linguistics and communication systems..