Ritual

visible and eventually apprehended. Of necessity, they follow a
specific semantic code, though there may be a variation in
technique and medium. This can, perhaps, be demonstrated by a
parallel. The Mevlevi Dervishes, by their whirling movements,
induce ecstatic states to dispose the psyche to return to its centre.
Here, dance ceases to be an exercise of the muscles or mere bodily
movement and is instead an interpreting medium which brings the
dancer to transforming self-realization. Similarly, in tantric art
ritualized symbols are freed of their illusory existence and acquire a
dynamic potency. They function as a psychic matrix which
ultimately aids the initiate to illuminate himself. In this interaction,
therefore, the relationship of art to ritual becomes clearer: these
forms become vehicles of self-enlightenment. Having arisen from
ritual they are absorbed back into ritual: ritual becomes the sine qua
non of art. By combining with ritual, art assumes a social function,
and it is precisely this aspect which supports the continuity of
tradition. If ritual vanishes from the scene because of changes in the
structural pattern of society, art forms will also atrophy and in the
last analysis will become merely 'history'.
Art's intimate relationship to ritual is not limited to transcendentally
ideal forms but extends to include real objects found in the
natural environment of the Sadhaka (spiritual aspirant). In this
River-bed where the egg-shaped
Brahmandas, or elliptical stones
known as Banalingas, are found.
Their cosmic spheroid shape,
marked with auspicious signs and
with a natural polish, result from
the action of strong water currents.
Those gathered from the bed of the
Narmada river in Western India
are highly prized and are known as
Narmadesvara. They are the
Saivite counterparts of Vaishnavite
Salagramas.
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