Guest guest Posted August 29, 2002 Report Share Posted August 29, 2002 Tantra : The Art of Philosophy > ============================================= > > 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. > > Illustration : > http://www.exoticindiaart.com/artimages/da41.jpg > (Size > 82 kb) > > 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 > (Size 58 kb) > > 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 : > http://www.exoticindiaart.com/artimages/kaliyantra.jpg > (Size 58 > kb) > > 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. > > Illustration : > http://www.exoticindiaart.com/artimages/yonichakra.jpg > (Size 33 > kb) > > 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. > > Illustration : > http://www.exoticindiaart.com/buddha/ze48.jpg (Size > 27 kb) > > > 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. > > Illustration : > http://www.exoticindiaart.com/artimages/da43.jpg > (Size > 82 kb) > > > 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. > > Illustration : > http://www.exoticindiaart.com/madhuban/pc61.jpg > (Size > 112 kb) > > Once Brahma creates the universe, Vishnu comes to > the world in > one of his ten forms or incarnations, to preserve > order and > ensure justice. > > Illustration : > http://www.exoticindiaart.com/madhuban/pb26.jpg > (Size > 112 kb) > > This is one of the cycles of creation. At its end, > Shiva dances > and the universe is destroyed. > > Illustration : > http://www.exoticindiaart.com/brass/zi70.jpg (Size > 99 kb) > > 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. > > Illustration : > http://www.exoticindiaart.com/artimages/da42.jpg > (Size > 82 kb) > > 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 : > http://www.exoticindiaart.com/artimages/chakras.jpg > (Size 33 kb) > > > 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 : > http://www.exoticindiaart.com/artimages/kundalini.jpg > (Size 56 > kb) > > 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 > 63 kb) > > 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. > Sell you car, by placing a classified ad on India Autos . It's Free!! Quote Link to comment Share on other sites More sharing options...
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