Ritual

Figures on the Surya temple in the
yoni-asana (sexo-yogic pose).
Konarak, Orissa, AD 1238-64.
I Cosmogenesis. Detail of a scroll
painting depicting the evolution of
the universe from dense matter,
symbolized here by elephants
gradually ascending into the
ethereal spheres of the cosmos.
Kangra, Himachal Pradesh,
c. 18th century. Gouache on paper.
II Vishnu-Pad, the imprint of
Lord Vishnu's feet (upper and
lower, left) and Hastakara Yantra
(upper and lower, right) with signs
and symbols. Rajasthan, c. 18th
century. Gouache on paper.
80
Furthermore, the figures carved on both sides of the upper portion
of the temple may be symbolically taken from the tantric point of
view as the path of the two psychic nerve channels, Ida and
Pingala, on either side of the Sushumna, the central channel,
leading to the inner chamber of the temple. In true tantric
tradition, these figures depict the ascendence of sexual energy
when it leaves its customary seat in the ordinary plane and moves
to a higher level, changing into sublimated energy which awakens
the latent Kundalini. So eloquent are these interlocking figures that
their sinuous curves far surpass mere sensual enjoyment. They
clearly suggest tantric yoga asanas for attaining realization through
union with a female partner, Sakti, and that is why, perhaps, the
poses are so unconventional and intricate.
The mithuna sculptures of Konarak are equally magnificent,
their sculptural values in formal aspect, the fullness of their forms,
the highly rhythmic quality, their feeling and three-dimensional
quality which perhaps for the first time were shown with complete
mastery of the material apart from the ritual values. Thus, both the
beatific and the terrifying imagery of tantra art have given to
Indian art some of the most dynamic and sublime representations.
The Indian aesthetic theory of 'rasa' developed by Abhinavagupta
in the tenth century AD provides a useful key to the
understanding of various moods and emotions invoked by tantric
imagery. 'Rasa', for which there is no precise English equivalent,
means 'flavour', 'taste', 'mood', or 'emotion'. All works of art,
however limited, have the ability to evoke certain emotional
states. The theory of rasa stresses the importance of this
experiential value of a work of art by stressing the very experience
itself. When a particular emotion is aroused, a corresponding rasa is
experienced. All classical images in Indian art, including those of
tantra, can be broadly grouped under one of the nine principal
abstract rasa. Terrifying images arouse tamasik, the quality allied
to the emotion of fury and awesomeness; diametrically opposed to
these are silence and compassion, associated with sattva, the quality
of purity. The ovoid and spheroid Brahmandas, considered as
fragments of spiritualized matter commanding imperishable calm,
fall into this class. The rasa of love, valour, laughter and wonder
stem from rajasika tendencies. The asana series, primarily oriented
to showing the tendency of the dynamic opposites to union, can be
grouped under rajasika. These divisions, though not absolute,
emphasize how the wide-ranging aesthetic expressions of tantra
are perceivable by our senses since they have the quality to strike
our inner moods.