Ritual

Notes
1 Woodroffe, Principles of
Tantra, II, p. 39
2 Barnett, The Universe and Dr
Einstein, p. 90
3 Schindler, Goethe's Theory of
Colour, p. 205
4 Naranjo and Ornstein, On the
Psychology of Meditation, II
5 D. Bhattacharya, Love Songs
of Chandidas, p. 18
6 Ibid., p. 153
7 Solomon, LSD, p. 69
8 Eliade, Yoga, Immortality and
Freedom, p. 250
9 Mookerjee, Tantra Art
10 Rawson: review of Tantra
Art in Oriental Art XIII, 4,
1967
11 Coomaraswamy, The Transformation
of Nature in Art,
p. 67
12 Lucio Fontana's statement,
1965
13 Zimmer, Myths and Symbols
in Indian Art and Civilization,
pp. 141-2
Glossary
ADHIKARA, a disciple's competency
to practise spiritual
discipline.
ADYA SAKTI, the Primal Energy.
AGAMAS, sacred tantric scriptures.
AJAPA MANTRA, the involuntary
repetition of a sacred formula.
AJNA CHAKRA, centre between
eyebrows in the subtle body.
AKASA, generally, ether, a kind of
matter subtler than air.
ANAHATA CHAKRA, the heart
centre in the subtle body.
ANAHATA SABDA, unstruck sound.
ANANDA, essential principle of
joy, bliss, spiritual ecstasy.
ANIMA, power to become small as
an atom through yoga.
196
14 Jenny, UNESCO Courier,
December, 1969, pp. 16, 18
15 Abstract Art Since 1945, p. 289
16 Tucci, The Theory and Practice
of the Mandala, p. 51
17 Ibid., p. 50
18 Zimmer, Ibid., p. 90
19 Rawson, The Art of Tantra,
P. 139
20 Boner, Principles of Composition
in Hindu Sculpture,
p. 25
21 Quoted by Koestler in The
Roots of Coincidence, p. 63
22 Seal, The Positive Science of the
Ancient Hindus, pp. 40-1
23 Prabhavananda, The Spiritual
Heritage of India, pp. 213-14
24 Ibid.
25 Rola, Alchemy, pp. 20-1
26 Ray, History of Chemistry in
Ancient and Medieval India,
p. 132
27 Walker, Hindu World, I,
p. 286
28 Parker, The Compleat Astrologer,
p. 50
29 Krishna, The Biological Basis
ANJALI, the mudra in which the
two hands extended upwards
are held palm to palm.
AP, the material element of water.
APANA, one of the energies that
goes downwards, controlling
the vital air in the abdominal
region.
ARDHANARISVARA, the androgynous
form of Siva.
ASANA, steady posture, yogic
pose, a condition of balance
and poise.
ASRAMA, a hermitage or dwelling
place dedicated to spiritual
pursuits.
AUM, the three sounds which
compose the root mantra, Om
(q.v.).
AVADHUTA, a rebel renunciate.
AVATARA, a divine Incarnation.
of Religion and Genius,
PP. 42-3
30 Quoted by Reyna in The
Philosophy of Matter in the
Atomic Era, p. 96
31 Rieker, The Yoga of Light,
P. 157
32 Gupta, Laksmi Tantra, p. 189
33 Quoted by Fabun, Dimensions
of Change, pp. 199-200
34 Gupta, op. cit., p. 206
35 Vivekananda, The Yogas and
Other Works, p. 627
36 Rieker, op. cit., p. 36
37 De Ropp, Sex Energy, p. 4
38 Rieker, The Secret of Meditation,
p. 52
39 Documentation of a number
of mantras by Kalyan S. Coll
has been of great help
40 Letter of Aldous Huxley to
Timothy Leary, 11 February
1962
41 Whitmont, The Symbolic
Quest, pp. 164-5
42 Rawson, op. cit., pp. 133-4
43 Kamil V. Zvelebil, The Poets
of the Powers, pp. 101-2
AYURVEDA, ancient Indian medical
system based on the Vedas.
BANDHA, muscular flexion, yogic
practice in which certain organs
of the body are 'locked' in
a position.
BHAGASANA, 'vulva pose', a secret
sexo-yogic posture in which
the male member is 'locked', in
prolonged erection inside the
yoni of a female partner, while
certain internal esoteric acts are
performed.
BHAIRAVA, destructive aspect of
Siva.
BHAVA, emotion: aesthetic state
or feeling which enlivens the
senses, the vehicle of rasa
(q.v.).
BHOGA, enjoyment.