Ritual

Modern research into the compositional pattern of sculpture of
the cave temples in western and southern India (6th-9th centuries
AD) by Alice Boner indicates that they were based on geometrical
principles similar to those on which the yantras are composed. The
structural composition of these figures is based upon a central point
towards which all parts converge; the principle of centrality as a
basis of structural composition is analogous to the tantric concept
of Bindu. The nerve-lines intersecting the centre and developing in
concentric organization can be seen as yantras whose lines are
developed and enlarged into figural compositions. Alice Boner
comments:
The analysis of the sculptural panels in the ancient Cave-temples has
revealed geometrical diagrams of analogous concentric construction.
They have, however, their specific features, different from those of
devotional yantras, which make them suitable for figural compositions.
The difference consists in this that the circular area, instead of being filled
by intersecting geometrical figures, is divided into regular sectors by an
even number of diameters and further subdivided by chords running
parallel to the diameters connecting their points of intersection with the
circle. All forms within the ambit of the circle are placed in
correspondence with some of the diameters or with their parallels, and
The ceiling of Adi Nath Temple,
Ranakpur, is decorated with
crystalline patterns symbolizing
the unfolding of sabda, the sound
element, in a mandala field.
Western India, c. 13th century.
III Kali, annihilation aspect of
Sakti, standing on Rati and Kama,
who personify the primordial desire
which gives rise to all creation.
The garland of human heads
symbolizes wisdom and power. Her
blood-red tongue signifies the power
of Raja-guna, the kinetic force
which gives impetus to all
activities. The sacrificial sword and
the severed head are the symbols of
dissolution and annihilation
directing the Sadhaka to shed his
'ego sense'. The girdle of severed
hands signifies one's Karma, action.
Kangra, Himachal Pradesh,
c. 18th century. Gouache on paper.
IV Chinnamasta, representing
Devi in her destructive and creative
aspects. She is flanked by her two
yoginis, Dakini and Varnini.
Under her Rati and Kama, the
female and male principles, depict
the transcendence of the phenomenal
world and the abolition of the
experience of duality. Rajasthan,
c. 18th century. Gouache on paper.
85