Ritual

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om anaisvaryaya namah om avairagyaya namah om adharmaya namah om ajnanaya namah om jnanatmane namah om kriyatmane namah om paramatmane namah. 39 After the recitation of the mantra, the sadhaka places a libation bowl on the yantra and sprinkles wine with the red flower. He then worships his Sakti with the mantra: Om aim kandarpaya namah om hrim kamarajaya namah om klim manmathaya namah om blum makardhvajaya namah om strim monobhavaya namah. and says the following mantra on four sides of his sakti: Om batukaya namah om bhairavaya namah om durgayai namah om ksetrapalaya namah He then uses vermilion paste to draw an upward-pointed triangle with a bindu in its centre on the forehead of his Sakti and begins to worship her from the Ajna chakra region downwards with the following mantra, in which he personifies her as the three aspects of Devi as Durga, Laksmi and Sarasvati: Om hsauh sadasiva mahapreto padmasanaya namah om aim klim strim blum adharasaktisri padukam pujayami namah om Durgayai namah om Laksmyai namah om Sarasvatyai namah. Finally he worships Ganesa, bestower of attainment. Body worship This stage of the ritual implies a sensuous and aesthetic experience which takes into account the ever-present interphysical relationship between man and woman. However transitory its nature, the physical communion is a limitation of the absolutely real. The sadhaka worships his Sakti's hair and face as representing 177
A female figure marked to indicate the Amritakala, which are energized on auspicious days of the white and dark halves of the month. Rajasthan, c. 18th century. Gouache on paper. 178 the essence of the sun and the moon, and then begins the elaborate ritual of Kama-kala, touching all the parts of her body, from her right toe to her head, while reciting the mantra: Om am sraddhayai namah om am kirtyai namah om im rataye namah om im bhutayae namah om um kantaye namah om um monobhavaya namah om rm monoharaye namah om rm monoharinyai namah
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$9.95 Printed in England The life-a
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Frontispiece: Manuscript leaf illus
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ACKNOWLEDGMENTS Archaeological Surv
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Introduction Tantra is a creative m
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number of tantric texts were assemb
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Saktas (worshippers of Sakti, or fe
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The basic tenets of tantra can be e
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the union of opposites, the male an
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notions concerning time and space,
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Cosmic energy symbolized as the ser
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Tantric asana, or sexo-yogic postur
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The washer-maid represents the prim
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the five ingredients beginning with
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32 but at the same time maintains p
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Om, the cosmic sound, is a combinat
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Brahmanda, cosmic spheroid, a symbo
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Hari-Hara. Painting illustrating Vi
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ART The art which has evolved out o
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spective, tantric imagery is not an
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Symbolism and Imagery Tantric forms
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visible and eventually apprehended.
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figurative representation. The Sukr
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uilt up in stages during the entire
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The Universe and the terrestrial sp
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Point, and signifies the starting-p
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The Sri Yantra is a configuration o
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The Sri Yantra is called 'Nava Chak
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The seventh chakra, consisting of e
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64 The mandala indicates a focaliza
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The Kundalini Sakti, symbol of coil
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The creative spiral, Kundalini. 68
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A cosmographical schema showing Jam
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Cosmogram: an astronomical computat
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Cosmographical scheme showing Jambu
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so they signify the action of karma
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The terrifying aspects of these ima
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Modern research into the compositio
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'Krim', the bijamantra, almost an e
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consciousness, came spontaneously i
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tantric art and their own. Like the
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94 ancient Hindus. Some inferences
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Bindu. The universe in its unmanife
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98 units of energy called tanmatras
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V Astronomical equations, based on
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Samkhya's view that it is possible
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Atoms The atomic hypothesis of the
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matter or the remaining sediment of
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The Siddhayoga of Vrinda is an Ayur
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The science of mathematics was clos
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Solar orb. An astronomical chart us
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Extant astronomical charts were use
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(beginning with the new and full mo
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ecorded in 1954. Though science has
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Being residing in heaven. The real
Page 127 and 128: 126 Moscow Institute of Oriental St
Page 129 and 130: 128 of realization. Harmony is the
Page 131 and 132: Symbolic marks painted on wooden ma
Page 133 and 134: Yantra with mantra. 132 guru select
Page 135 and 136: Chakras in the etheric body. Rajast
Page 137: IX A practising Tantrika from north
Page 143 and 144: 142 Both mudras and nyasas are exte
Page 145: Schematic representation of how a y
Page 148 and 149: absorbed within the system and a gr
Page 150 and 151: object of concentration. Meditation
Page 152 and 153: After such a survey of various tech
Page 154 and 155: (from the root nad meaning motion,
Page 156 and 157: a red triangle 'radiant like the ri
Page 161 and 162: XVI
Page 164 and 165: to balance the dialectical process
Page 166 and 167: that involves the sperm's odyssey t
Page 168 and 169: inner spiritual urges to flow natur
Page 170 and 171: chaksuratatam'. He then salutes his
Page 172 and 173: Only when she is seen through divin
Page 174 and 175: IV Ram vanhyatmakam dipam sasaktika
Page 176 and 177: Sakti worship It is not physiologic
Page 180 and 181: om Im madanaye namah om Im utpadiny
Page 182 and 183: haga, which means both female organ
Page 184 and 185: That Power who exists in all beings
Page 186 and 187: either position, both the adepts en
Page 188 and 189: the Ida and Pingala subtle channels
Page 190 and 191: outgrow the merry-go-round of self-
Page 192 and 193: of beings and forms; (6) Chinnamast
Page 194 and 195: of the discipline may even abandon
Page 196 and 197: chants mantras, nor performs mudras
Page 198 and 199: BHUTA, any of the five elemental co
Page 200 and 201: PARA, last stage of consciousness.
Page 202 and 203: Bibliography Abhinavagupta, Tantras
Page 204 and 205: Panday, K. C, Abhinavagupta, Varana
Page 206 and 207: Index Abhinavagupta, 80 Absolute, 1
Page 208 and 209: Mercury, 19, 73 Mevlevi Dervishes,
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Ritual

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