Tantra : The Art of Philosophy

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This piece was put together by me last month.

 

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Tantra : The Art of Philosophy

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Tantra has developed a system of thought which makes us see the

universe as if it were within ourselves, and ourselves as if we

were within the universe. Further the forces governing the cosmos

on the macro-level are believed to govern the individual in the

micro-level. According to tantra, the individual being and

universal being are one. Thus all that exists in the universe

must also exist in the individual body.

 

One of our major limitations in discovering this essential unity

between the microcosm and the macrocosm is that we are accustomed

to analyze the world into its separate parts, with the result

that we lose sight of those parts' inter-relationship and their

underlying unity. The way to fulfillment is through recognition

of our wholeness linking man and the universe. This hence is the

broad aim of Tantra art, achieved through visual symbols and

metaphors.

 

Encompassing its whole pictorial range, Tantric imagery can be

broadly grouped under three heads:

 

1). Geometrical representation of deities as Yantras,

 

2). Representation of the Human Body as a Symbol of the Universe

 

3). Iconographic images.

 

 

Yantra

 

The Sanskrit word 'yantra' derives from the root 'yam' meaning to

sustain, or hold. Hence in metaphysical terms a yantra is

visualized as receptacle of the highest spiritual essence.

 

A Yantra is a pure geometric configuration, composed of basic

primal shapes. These shapes are psychological symbols

corresponding to inner states of human consciousness. This innate

simplicity of composition is identified with spiritual presence.

The use of such elementary shapes is not simplistic but

represents the highest conception in visual terms, because the

projection of the symbol is then direct and bold, so that even a

small miniature can create a sense of expansiveness.

 

The dynamism of tantric imagery is generated by a quest for

geometric order. A yantra represents a particular configuration

whose power increases in proportion to the abstraction and

precision of the diagram. A yantra gradually grows away from its

center, in stages, until its expansion is complete. Around the

center are several concentric figures which take part in this

expansion. This concentric architecture defines the volume of the

yantra and creates a rhythmic unity.

 

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The predominant elementary forms of which yantras are constituted

are the point, line, circle, triangle, square and the lotus

symbol. All of these forms are juxtaposed, combined, intersected

and repeated in various ways to produce the desired objective.

 

 

The Point or Bindu

 

In the Brhadaranyaka Upanishad there is the metaphor of a spider

sitting at the center of its web, issuing and reabsorbing its

threads in concentric circles, all held at one point. The spider'

s threads symmetrically expand into a visible circumference, but

they can all be traced back to the central point of the web.

 

Illustration : http://www.exoticindiaart.com/artimages/cosmos.jpg

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Like the spider in its web, the center of the yantra is the

power-point from which the entire diagram expands, the radiating

source of energy that generates all forms. It is the divine

essence out of which proceeds the polarized world. It is called

Bindu, the first drop, which spreads unfolds, and expands into

the tangible realm of the universe. Indeed the optical focus of

the yantra is always its center, from which the force lines

radiate outwards in concentric circles and dissolve in the outer

circumference. On a metaphysical level the Bindu represents the

unity of the static (male, Shiva) and the kinetic (female,

Shakti) cosmic principles, which expand to create the infinite

universe of matter and spirit. A meeting-ground of subject and

object, this is exactly the kind of spiritual oneness that the

tantra artist strives for. A region where art and artist, creator

and viewer merge into a single identity, becoming one with the

cosmos as a whole. In the final meditation on the yantra, the

Bindu is the region where the ultimate union of the aspirant with

the divine takes place.

 

For the successful creation of a yantra, the artist must look

beyond appearances and penetrate to the essence. The center, by

virtue of being a dot of zero dimensions, is visualized as the

ultimate entity beyond which a thing or energy cannot be

contracted or condensed. This infinite reservoir of collective

energy is the supremely creative nucleus, and therefore is the

repository of all manifestation. As a center, it controls

everything which is projected from it; hence it is also called

MahaBindu, or the Great Point. It is indeed the starting point of

the mental quest for salvation and also the ultimate point in

this journey.

 

According to another school of logic, when a non-manifest stage

of existence becomes manifest, its manifestation must begin

somewhere, in some point of space, at some point of time. There

must be an instant when it has not yet any extension but has

begun to have location. According to this interpretation, the

first instant when a thing does not yet exist and yet has already

begun is adequately represented by the dimensionless point.

 

The Bindu thus contains within itself the two poles' (zero and

infinity) and all that lies between. Its inherent energy contains

all potentialities and all polarities. In the actual creative

process, the Bindu evolves with the help of straight lines into

the trikona (triangle).

 

 

The Straight Line

 

The straight line is composed of an unbroken series of points.

These points, moving independently, give length (without breadth)

to it. The straight line thus signifies growth and development,

and like time, consists of an infinite number of discreet points.

 

 

The Triangle

 

The triangle is the archetype symbol of a sacred enclosure, since

space cannot be bounded by fewer than three lines. The triangle

is thus conceived as the first closed figure to emerge when

creation emerged from chaos. In this aspect it is known as the

root of all manifested nature. The rhythm of creation is

crystallized in this primal form.

 

Tantra calls the triangle the cone of fire, a reference to its

shape. This is the fire of aspiration which is ever burning in

the heart of the spiritual seeker.

 

The threefold structure of the triangle is interpreted over

multiple levels. Some of these visualizations are:

 

1). Creation, Preservation, and Destruction, i.e. Brahma, Vishnu,

and Shiva.

 

2). The three tendencies: the neutral, the positive and the

negative - Sattva, Rajas, and Tamas.

 

3). The three Vedas: Rig, Yaju, and Sam.

 

4). Past, Present, and Future.

 

5). The three seasons: Spring, Summer, and Winter.

 

6). The three main pilgrimages: Prayag, Gaya, and Kashi.

 

When used in a yantra, a triangle is either inverted or upright.

The inverted triangle is a symbol of feminine power, the creative

essence of the universe, also known as Shakti. It is the dynamism

of this Shakti that gives rise to the creative impulse in nature.

This inverted triangle is generally the first enclosure

surrounding the infinitesimal nucleus of most yantras.

 

Illustration :

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The triangle pointing upwards is symbolic of the male principle

(Purusha). When the two triangles penetrate each other forming a

hexagon, it symbolizes the fusion of polarities, the union of

Shiva and Shakti, male and female. This union is the cause of the

manifested universe.

 

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When the triangles part at the apex, time and space cease to

exist, and all creative activity comes to a standstill. This is

shown in the hourglass shape, which is the shape of the Damaru,

the drum of Shiva, from which all rhythms of manifestation are

said to have emerged. Here it is interesting to note that Panini'

s treatise on the grammar of Sanskrit, the world's most ancient

grammar, states that the Sanskrit language too has proceeded from

the rhythms of Shiva's drum.

 

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The Circle

 

The circle occurs very frequently in yantras and is derived

principally from the motion of the revolution of planets. It

symbolizes wholeness or totality and represents the principle

which has no beginning, and no end, for example time. A perfectly

symmetrical entity, equidistant from the center at all points; it

indicates the realm of radiation that proceeds from the One

center. In other words, a circumscribed field of action.

 

When used in a yantra, a circle is normally placed within a

square pattern, described next:

 

 

The Square

 

The square is the fundamental format of most yantras. There is a

significant, well thought out logic behind it. The phenomenal

world extends into four directions. These four directions

represent the totality of space, and they bind the earth in

order. The square too is the simplest and perfect manifestation

of the number four, by virtue of the four perfect, equal lines

bounding its form. Hence it is visualized as the perfect symbol

to denote the terrestrial world. This mundane, physical world is

the one which must be transcended by spiritual practice.

 

The square pattern has four gates, one in each of the cardinal

directions. They are known as cosmic doors because it is through

them that the aspirant symbolically enters the yantra. They

represent the passage from the earthly realm to the 'inner',

sacred space of the yantra. These gates are an initiatory

threshold which simultaneously opposes the phenomenal and

embraces the noumenal. It is further believed that these gateways

themselves are guarded by divine forces which protect the sacred

precinct within, from negative and disintegrating forces.

 

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The Lotus

 

Potent as it is, in tantric art the lotus is a symbol of the

expanding consciousness, which ultimately raises the aspirant

from the dark depths of ignorance to the radiant heights of inner

awakening. Because of its smooth and oily surface the lotus is

not affected by the water in which it grows. Hence just as the

lotus plant grows in the 'darkness of mud' and gradually blossoms

out to the surface of water, unsullied by the mud and water which

nourishes it, so the inner-self transcends beyond its own

material limits, uncorrupted and untarnished by illusion and

ignorance.

 

The lotus blossom is one of the principal archetypal symbols used

in yantras. Generally centered on the axis with its petals

unfolding towards the circumference, it is the appropriate image

to illustrate the unfolding of power of the divine essence.

Because of its associations with progression, development and the

life-expanding quality, the lotus represents the 'out-petalling'

of the soul-flower in the process of spiritual realization.

Hence in ancient cosmology, the lotus is also associated with

creation myths. It is, for example, often depicted as springing

from Vishnu's navel, supporting and giving birth to Brahma, the

creator.

 

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Once Brahma creates the universe, Vishnu comes to the world in

one of his ten forms or incarnations, to preserve order and

ensure justice.

 

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This is one of the cycles of creation. At its end, Shiva dances

and the universe is destroyed.

 

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Brahma falls asleep, and the lotus closes and goes back into

Vishnu's navel. Vishnu then sleeps on the serpent's coils. The

process eventually begins all over again. The lotus hence here

represents the unfolding of a new age (Yuga in Sanskrit);

similarly in a yantra it signifies the awakening of the inner

self.

 

Since the earliest times, the lotus has always been a symbol of

the citadel of the heart, the seat of the Self. Yogis believe

that there are actual spiritual centers within us whose essential

nature and luminosity can be experienced during meditation. These

spiritual centers are often represented symbolically as lotuses,

and their 'opening up' implies the state of complete repose when

the purpose of yogic meditation is attained.

 

In the final analysis, though a yantra is made up of different

elements, the fundamental aim of ritual and meditation is to fuse

all these dimensions, and to facilitate the adept's spiritual

journey, as follows:

 

The outermost square sanctuary has a landing before each of its

four gates. This is a two dimensional representation of a low

flight of steps leading up from the ground to the raised floor of

the sanctuary. This sanctuary is the seat of the divinity. This

is exactly the model on which the Hindu temple is built. Hence

each Hindu temple is a yantra in itself.

 

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Once the spiritual seeker enters the square enclosure, and starts

moving towards the center, the symbol of the flowering lotus

represents the awakening of his/her inner consciousness to its

maximum potential. As the journey progresses, the adept

encounters the various aspects of manifestation inherent in

nature, symbolized by the male and female principles (the

triangles). These are bounded within a circle. This symbolizes

that all reality is confined within these concepts. The journey

towards the center encompasses both distance and the course of

time. This space time continuum is represented by the straight

line.

 

Finally the devotee reaches the center, the reservoir of all

knowledge and the final goal of his journey. But the spiritual

awareness generated within him during his penetration to the

central essence makes him realize that this point is nothing but

the center of his own heart, the innermost realm of his being.

This realization is the ultimate aim of the yantra.

 

 

Representation of the Human Body as a Symbol of the Universe

 

In Tantric thought the human body is visualized as a microcosm of

the universe. It is believed that the complete drama of the

universe is repeated in this very body. The whole body with its

biological and psychological processes becomes an instrument

through which the cosmic power reveals itself. According to

tantric principles, all that exists in the universe must also

exist in the individual body. If we can analyze one human being,

we shall be able to analyze the entire universe. The purpose is

to search for the whole truth within, so that one may realize one

's inner self, unfolding the basic reality of the universe. A

Tantra text says: "He who realizes the truth of the body can then

come to know the truth of the universe'. The two most important

concepts associated with the human body are the chakras and

Kundalini. In addition to helping realize the abstract

conceptions of Tantra in visual terms, they reveal to the

spiritual seeker the deepest truths of Tantric philosophy through

metaphors and symbols.

 

Illustration :

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Chakras

 

Tantra recognizes seven energy centers in the human body. These

are known as 'chakras'. Chakra means "what revolves" and hence

signifies a wheel. In a physical sense the chakras are visualized

as lotuses, composed of different number of petals. Each chakra

governs a certain sense organ, and has its own presiding deity.

 

The seven chakras are:

 

1). Muladhara Chakra: Muladhara means "root foundation", and is

hence also known as the root chakra. It is located at the base of

the spine. This chakra has four petals and rules the organ of

smell, the nose. Its presiding deity is Brahma.

 

2). Svadhishthana Chakra: In Sanskrit, Svadhishthana means

self-abode. It is situated in the spine in the region just above

the genitals, and is made up of six petals. This chakra governs

the principle of taste, and its presiding deity is Lord Vishnu.

 

3). Manipura Chakra: Manipura means "the city of gems", and this

chakra is thought to be radiant like a city of jewels. It is also

called the 'navel' chakra since it is located behind the navel.

It is made up of ten petals, and its presiding deity is Rudra.

The Manipura chakra rules over the sense organ of sight, the

eyes.

 

4). Anahata Chakra: Anahata means "unstuck sound", and it is from

this chakra that the inner sounds or natural music of the body is

said to arise. It is made up of twelve petals and is located

along the spine at the level of the heart. Its presiding deity is

believed to be Isha. It governs the organ of touch, the skin.

 

5). Vishuddha Chakra: Vishuddha means "very pure", and as such

this center is believed to very subtle. It is made up of sixteen

petals, and the presiding deity is Ardhanarishvara. This chakra

governs the organ of sound, the ears, and is located in the

throat.

 

6). Ajna Chakra: Ajna means command, and this chakra is called

the center of command as it is from here that the other chakras

are guided. It is often called the Third Eye, and is located

between the eyebrows. It is made up of forty-eight petals, and

its presiding deity is Paramashiva. It rules over the mind as a

sense organ.

 

7). Sahasra Padma Chakra: Sahasra in Sanskrit means thousand, and

padma means lotus, this chakra hence is also known as "the

thousand petalled lotus." It is located above the crown of the

head. It is the meeting place of the Kundalini Shakti with Shiva.

It governs the voluntary nervous system, and is said to be the

seat of pure consciousness or ultimate bliss.

 

 

Kundalini

 

The Sanskrit word kundalini means 'coiled-up'. The coiled

Kundalini is the female energy existing in latent form, not only

in every human being but in every atom of the universe. It may

frequently happen that an individual's Kundalini energy lies

dormant through his or her entire lifetime and he or she is

unaware of its existence. The object of the tantric practice of

Kundalini-yoga is to awaken this cosmic energy and cause it to

unite with Shiva, the Pure Consciousness pervading the whole

universe.

 

In the concept of the Yoga Kundalini Upanishad:

 

"The divine power,

Kundalini shines

Like the stem of a young lotus;

Like a snake, coiled round upon herself,

She holds her tail in her mouth

And lies resting half asleep

At the base of the body."

 

The static, unmanifested Kundalini is symbolized by a serpent

coiled into three and a half circles, with its tail in its mouth.

 

Illustration :

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In the microcosm of the human body, the Goddess Kundalini appears

as a dormant energy, but able, when she wakes up, to destroy the

illusion of life and lead to liberation. She can be awakened

through the practice of what is known as Kundalini-Yoga, a unique

branch of esoteric Tantra.

 

When the Kundalini is ready to unfold, she ascends from the

Muladhara Chakra to unite above the head with Shiva at the

Sahasra Chakra. But before this merger she must ascend and pass

through each of the five remaining chakras. As Kundalini reaches

each chakra, that lotus opens and lifts its flower; and as soon

as she leaves for a higher chakra, the lotus closes its petals

and hangs down, symbolizing the activation of the energies of the

chakra and their assimilation in Kundalini. The increasing number

of lotus petals, in ascending order, may be taken to indicate the

rising energy of the respective chakras, each functioning as a

'transformer' of energies from one potency to another.

 

 

Iconographic Images

 

In tantric art, an image created must correspond to the original

canonical text; any omission, error or oversight is attributed to

imperfect absorption or considered a sign of slackening of

attention. In such an event, the image is discarded and the

process of composing is deferred.

 

The process of image-making is an yoga discipline in itself. It

is also believed to lead to spiritual deliverance. This belief

shifts the objective of art from being an end in itself to being

the means of an end. The intention of the artist is to express

fundamental truths which are constant for all, and not just his

own 'personal' truth. His path thus is one of selfless action,

where there is a total annihilation of the ego. In such an art,

it comes as no surprise therefore, that the artist has always

remained anonymous.

 

But it is not that the creative impulse of the artist is stifled.

The artist while undertaking creative activity intuitively

realizes that his own self-expression is part of a universal and

collective expression as a whole. This underlying unity acts as

an awesome catalyst, convincing him of the sacred nature of his

activity, and prompts him to adopt universal symbols in his

creations. The Shiva-linga for example, is a balancing of the

masculine and feminine ways of the world. This archetypal symbol

has been in existence even before the idea of history itself. The

enduring popularity of its essential iconography is a pointer to

its acceptance in the universal psychology.

 

Illustration : http://www.exoticindiaart.com/artimages/za95.jpg (Size

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Because of the vital nature of the task, ancient texts dwell at

length on the qualities an artist must possess before he can

embark on this spiritual journey. A tantric text for example,

enumerates the following six essentials that a stone-carver must

master:

 

1. The knowledge of stones.

2. The compositional diagram.

3. The carving and dressing of stone.

4. The arrangement of the various elements of a sculpture.

5. The representation of the essential mood-character of a piece.

6. The final integration of all its component parts.

 

The making of an iconographic image in Tantra art is considered

the equivalent of the highest form of worship. This activity is

seen as capable of opening up spiritual avenues for those who

seek them. Accordingly the canonical texts set the highest

standards for those who wish to traverse this path.

 

 

Conclusion:

 

The art which has evolved out of tantra reveals an abundant

variety of forms, varied inflections of tone and colors, graphic

patterns, powerful symbols with personal and universal

significance. It is especially intended to convey a knowledge

evoking a higher level of perception, and tapping dormant sources

of our awareness. This form of expression is not pursued like

detached speculation to achieve mere aesthetic delight, but has a

deeper meaning. Apart from aesthetic value, its real significance

lies in its content, the meaning it conveys, and the philosophy

of life it unravels. In this sense tantra art is visual

metaphysics.

 

References and Further Reading:

 

Khanna, Madhu. Yantra The Tantric Symbol of Cosmic Unity: London,

1997.

 

Leadbeater, C.W. The Chakras A Monograph: Madras, 1996.

 

Mookerjee, Ajit. Ritual Art Of India: New Delhi, 1998.

 

Mookerjee, Ajit, and Madhu Khanna. The Tantric Way: London, 1996.

 

Mookerjee, Ajit.Tantra Art: New Delhi, 1994.

 

Rao, S.K. Ramachandra. The Yantras: Delhi, 1988.

 

Rawson, Philip. The Art of Tantra: London, 1995.

 

This article was a sent as a newsletter from the website

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Nitin G.

[Guest guest]

--- sanjulag wrote:

> This piece was put together by me last month.

 

 

Well-written and presented.

Thanks and namaste.

 

This bindu I am is inside of itself

and outside of itself, projecting

itself without moving.

 

The first instant of location is the

bindu within the bindu, and the

last moment of an event is the bindu

moving outside of itself. And yet,

this could be looked at vice versa

just as validly.

 

When it seems to place itself within,

it moves without, and vice versa ...

 

Thus, it is always only here, nowhere.

 

When it seems to move within, it moves

without, and vice versa ...

 

This world of forms is not at all what

it appears to be, and yet, it is

exactly as it appears to be.

 

-- Dan

 

 

 

 

 

Find a job, post your resume.

http://careers.

[Guest guest]

That's right! I agree about the well-written-ness of the Tantra piece.

 

The world of appearance. It's not what it appears to be. Nor is it otherwise!

 

--Greg

 

At 02:03 PM 11/9/01 -0800, you wrote:

>This world of forms is not at all what

> it appears to be, and yet, it is

> exactly as it appears to be.

>

>-- Dan