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Ritual

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the five ingredients beginning with the letter M: Madya, wine;<br />

Mamsa, meat; Matsya, fish; Mudra, parched cereal; and<br />

Maithuna, sexual union. The symbolic content of these ingredients<br />

varies for different classes of aspirants. According to tantra, those<br />

who are unable to cut the three knots of 'shame, hate and fear' are<br />

not worthy of being initiated into this path. The fundamental<br />

principle of the left-hand path is that spiritual progress cannot be<br />

achieved by falsely shunning our desires and passions but by<br />

sublimating those very aspects which make one fall, as a means of<br />

liberation.<br />

During rituals, different rites are performed among which,<br />

nyasa, the 'ritual projection' of divinities and elements into various<br />

parts of the body by the adept, is extremely important. While<br />

practising nyasa, often done with mudras or finger gestures, the<br />

adept takes the attitude that mantra-sounds or forces are working<br />

to stimulate the nerve currents for the proper distribution of<br />

energies through his whole body. He thus projects the power of<br />

the divinities and at the same time touches the different parts of his<br />

body in order to symbolically awaken the vital forces lying<br />

dormant.<br />

Tantrikas also perform other group-rituals known as Chakrapuja<br />

or Circle-worship, of which Bhairavi-chakra is the most<br />

important. In this ritual, the female guru, is worshipped, and the<br />

practice of the rite is confined to only the highly advanced initiates<br />

who are generally admitted to the inner circle, which encourages a<br />

group-mind where each initiate shares a 'psychic blueprint'.<br />

These group rituals are an attempt to tie together experiential<br />

and cognitive awareness through in-group practices which have<br />

not only spiritual but therapeutic value for the adepts. Sharing is<br />

essential to understand one's self deeply. These rituals are a<br />

Kundalini in its kinetic aspect.<br />

Rajasthan, c. 19th century.<br />

Gouache on paper.<br />

29

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