Ritual

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IV Ram vanhyatmakam dipam sasaktikasri gurave samarpayami namah. V Vam amritatmakam naivedyam sasaktikasri gurave samarpayami namah. VI Aim sam sarvatmakam tambulam sasaktikasri gurave samarpayami namah. Joining the middle and ring-fingers and thumb of his right hand, and placing it above his head on the Sahasrara chakra, the adept makes a mental offering to the guru: Sasaktikasri gurum tarpayami svaha hrim hrim hrim sasaktikasri gurupddukam tarpayami svaha Sasaktikasri paramagurum paraparagurum paramesthi gurum tarpayami svaha hrim hrim hrim. (3 times) Sasaktika divyaugha sidhayuga manavaugha gurupanktibhyam tarpayami svaha haum hrim hrim (3 times) Sasaktika divyaugha sidhaugha manavaugha garupanktinam sripddukam tarpayami svaha. The yoni at the feet of the Devi (goddess), one of the images in the Sixty-Four Yogini Temple, representing adya-sakti, the primal energy. Bheraghat, Madhya Pradesh, c. 12th century. Stone. 173
174 (12 times: the guru's Gayatri mantra) Om aim guru devaya vidmahe caitanyarupaya dhimahi tanno guru prachodayat om. He visualizes the guru as identified with his (the sadhaka's) ishtadevata (chosen deity) by concentrating on the guru's ideal image (guru-dhyanam): Sudhasphatikasankasam virajitam gandhdnulepanam nijagurumkarunyenav alokitam vamorusaktisamyuktam suklambarabhusitam sasaktim daksahastena dhrtam carukalevaram vame dhrtotpalansca suraktim susobhanam ananda rasollasa lochandvya pankajamdhyayet. He repeats five times the bija mantra Haum, Hrim at the imagined feet of the guru. At this point, it is believed, the power of the guru and his sakti are projected on to the adepts, and they themselves become guru and his sakti. The adepts visualize themselves as identified with the pervading reality, Siva-Sakti, and, having gone through the ritual of the control of the senses by invocation and purifying rites, they submerge themselves into the immensity and appear to be space-clad or naked. The sadhaka then places before him two bowls in the name of the guru and his sakti and pours wine into them: Om jaya jaya vijaya vijaya parabrahma svarupini sarvajanam me vasanaya Hum Phat svaha He gives one bowl of wine to his own Sakti who drinks half and the rest is taken by the sadhaka. Sadhaka imagines that he is sitting on the guru's right lap and his Sakti on the imagined guru's left lap and they embrace each other and utter the following mantra 12 times: Lam - Muladhara Vam - Svadishthana Ram - Manipura Yam - Andhata Ham - Visuddha Sadhaka and his sakti then enjoy the ritual of divine nectar. He sucks in a single breath at each of Sakti's breasts to awaken in himself the sensation known as amrta-pan ('taking of nectar'). This ends the ritual of the guru.
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$9.95 Printed in England The life-a
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Frontispiece: Manuscript leaf illus
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ACKNOWLEDGMENTS Archaeological Surv
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Introduction Tantra is a creative m
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number of tantric texts were assemb
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Saktas (worshippers of Sakti, or fe
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The basic tenets of tantra can be e
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the union of opposites, the male an
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notions concerning time and space,
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Cosmic energy symbolized as the ser
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Tantric asana, or sexo-yogic postur
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The washer-maid represents the prim
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the five ingredients beginning with
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32 but at the same time maintains p
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Om, the cosmic sound, is a combinat
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Brahmanda, cosmic spheroid, a symbo
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Hari-Hara. Painting illustrating Vi
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ART The art which has evolved out o
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spective, tantric imagery is not an
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Symbolism and Imagery Tantric forms
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visible and eventually apprehended.
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figurative representation. The Sukr
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uilt up in stages during the entire
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The Universe and the terrestrial sp
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Point, and signifies the starting-p
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The Sri Yantra is a configuration o
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The Sri Yantra is called 'Nava Chak
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The seventh chakra, consisting of e
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64 The mandala indicates a focaliza
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The Kundalini Sakti, symbol of coil
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The creative spiral, Kundalini. 68
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A cosmographical schema showing Jam
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Cosmogram: an astronomical computat
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Cosmographical scheme showing Jambu
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so they signify the action of karma
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The terrifying aspects of these ima
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Modern research into the compositio
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'Krim', the bijamantra, almost an e
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consciousness, came spontaneously i
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tantric art and their own. Like the
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94 ancient Hindus. Some inferences
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Bindu. The universe in its unmanife
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98 units of energy called tanmatras
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V Astronomical equations, based on
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Samkhya's view that it is possible
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Atoms The atomic hypothesis of the
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matter or the remaining sediment of
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The Siddhayoga of Vrinda is an Ayur
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The science of mathematics was clos
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Solar orb. An astronomical chart us
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Extant astronomical charts were use
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(beginning with the new and full mo
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ecorded in 1954. Though science has
Page 124: Being residing in heaven. The real
Page 127 and 128: 126 Moscow Institute of Oriental St
Page 129 and 130: 128 of realization. Harmony is the
Page 131 and 132: Symbolic marks painted on wooden ma
Page 133 and 134: Yantra with mantra. 132 guru select
Page 135 and 136: Chakras in the etheric body. Rajast
Page 137: IX A practising Tantrika from north
Page 143 and 144: 142 Both mudras and nyasas are exte
Page 145: Schematic representation of how a y
Page 148 and 149: absorbed within the system and a gr
Page 150 and 151: object of concentration. Meditation
Page 152 and 153: After such a survey of various tech
Page 154 and 155: (from the root nad meaning motion,
Page 156 and 157: a red triangle 'radiant like the ri
Page 161 and 162: XVI
Page 164 and 165: to balance the dialectical process
Page 166 and 167: that involves the sperm's odyssey t
Page 168 and 169: inner spiritual urges to flow natur
Page 170 and 171: chaksuratatam'. He then salutes his
Page 172 and 173: Only when she is seen through divin
Page 176 and 177: Sakti worship It is not physiologic
Page 178 and 179: om anaisvaryaya namah om avairagyay
Page 180 and 181: om Im madanaye namah om Im utpadiny
Page 182 and 183: haga, which means both female organ
Page 184 and 185: That Power who exists in all beings
Page 186 and 187: either position, both the adepts en
Page 188 and 189: the Ida and Pingala subtle channels
Page 190 and 191: outgrow the merry-go-round of self-
Page 192 and 193: of beings and forms; (6) Chinnamast
Page 194 and 195: of the discipline may even abandon
Page 196 and 197: chants mantras, nor performs mudras
Page 198 and 199: BHUTA, any of the five elemental co
Page 200 and 201: PARA, last stage of consciousness.
Page 202 and 203: Bibliography Abhinavagupta, Tantras
Page 204 and 205: Panday, K. C, Abhinavagupta, Varana
Page 206 and 207: Index Abhinavagupta, 80 Absolute, 1
Page 208 and 209: Mercury, 19, 73 Mevlevi Dervishes,
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Ritual

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