To: K-list
Recieved: 2001/10/06 00:31
Subject: [K-list] Tantra : The Art of Philosophy
From: Sanjulag
On 2001/10/06 00:31, Sanjulag posted thus to the K-list:
This elementary piece was put together by me recently. Hope it is
enjoyed.
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Tantra : The Art of Philosophy
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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/madhuban/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/madhuban/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/madhuban/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/sculptures/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.
This article was a sent as a newsletter from the website
http://www.exoticindiaart.com
Nitin G.
http://www.kundalini-gateway.org
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