Mircea Eliade YOGA IMMORTALITY AND ... - Brihaspati.net

3rd ed., Madras-London, 1931). See also the Saktisangana Tantra, Ediciones B.
Bhattacaryya, 4 vol. (GOS, Baroda, 1932), Arthur Ewing, The Saradatilaka-tantra
(Jorn.Amer. Orient. Soc, 1902, vol. 23, p. 65-76).
General works on Tantrism: Sir John Woodroffe, Shakti and Shakta (3rd ed .. Madras-
London, 1929), idem, The Garland af Letters (Madras, 1922), P. H. Pott, Yoga Yantra
(Leiden, 1948), J. Evola, The Yoga detto Potenza. Saggio sui Tantra (Milan, 1949)
Shashi Bhusan Dasgupta, An Introduction to Tantric Buddhism (University of Calcutta,
1930, idem, Obscure fieligious cults as background of Bengali Literature (idem, 1946).
He consulted with every advantage: Sir John Woodroffe, Kundalini Shakti (Yoga Int
Zeit. Wissensch fur. Yoga-Forschung. I, 1931, p. 65-73), Heinrich Zimmer, "Zur
Bedeutung des indischen Tantra-Yoga (Eranos-Jahrbuch , I, 1933, p. 9-94), Ananda
Coomaraswamy, The Tantric Doctrine of Divine Biunity (ofBhadarkar Oriental Research
Institute Annals, 19, 1938, p. 173-183).
Note VI, 2: About Tantrism and iconography
Recall that the non-ritual demanded veth'co no temples or statues of the dieses. The
worship of images is recorded quite late in the texts (rv century BC), according to the
Indian tradition, would have desarroflado among the Sudra. J. N. Farquhar, Temple and
Image Worshipin Hinduism (Journal of Royal Asiatic Society, 1928, p. 15-23), sees in
the Sudra to aboriginal Aryanizing-two, who admitted in Vedic society, contributed their
particular rituals. Hypothesis possible if we consider the structure of religiosity rborigen,
see p. 398 et seq.
Regarding the influence of ideas on the tantric Buddhist art. see L. Bachofer;
Ostasiatische Zeitschrift, 24, 1938, p. 74 et seq. Tantrism e! A-boron one original
conception of the nature of the gods. Mahasukhapra-kasa in Advayavajra
(Advayavairasamhraha, HP Shastri edition, p. 50-51) states that the gods are
manifestations of universal Vacuum (sumja) and poi with "EXT ontol6gica have no
existence. The Sadhanamala explains the origin of deities from "Empty" by a process
involving four stages: 1 *) the correct perception of Sunyata, 2 ') the link with the bijamantra;
39) the conception of an image - icon, 4 ') the objective representation, projected
out of divinity (Introduction of Sadhanamala, II, p. 122 et seq.). On the tantric
iconography, see: A. Foucher, Etudes tur Viconographie bouddhique of I'Inde (Paris,
1900-1905, second estudto, p. 59, 101)) Gopinath Bao, Elements of Hindu Iconography
(Madras, 1914), Alice Getty, The Gods oi Sort-hem Buddhism (Oxford, 1914); B
Bhattacaryya, The Indian Buddhist Iconography (Oxford, 1924); A. K. Gordon, The
Iconography of Tibetan Lamaism (1939) Ditto, Tibetan Religious Art (New York, 1952).
For a better understanding of architectural and iconographic symbolism Indian, to consult
the great work of Paul Mus, Borobudur (Hanoi, 1935), and the work of Coomaraswamy:
Elements of Buddhist Iconography (Harvard University Press. 1935), The Philosophy of
Mediaeval and Oriental Art (Zalmoxis, I, Bucharest, 1938, p. 20-49), Figures of Speech
or Figures of Thought (London, 1945) Indo-series also Tibetiana Giuseppe Tucci (mainly
volume-tions III - IV, / Tempi of Western Tibet and U parrot artistic symbolism, Rome,
1935). See also: Marcelle Lalou, Iconographie des etoffetpeintes (leg) in Manfusrimulakalpa
(Paris, 1930); Auboyer Jeanine Le Trone et son Xlnde sym-bolisme dans
ancienne (Paris, 1949); senorita Maflmann, Introduction to Vetude d ' Avalokitesvara
(Paris, 1948) Stella Kramrisch, The Hindu Temple, 2 vol. (Calcutta, 1946).
About the cult of Tara, see Waddell, The Indian Buddhist Cult of Avalo-htta and his