Ritual

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visible and eventually apprehended. Of necessity, they follow a specific semantic code, though there may be a variation in technique and medium. This can, perhaps, be demonstrated by a parallel. The Mevlevi Dervishes, by their whirling movements, induce ecstatic states to dispose the psyche to return to its centre. Here, dance ceases to be an exercise of the muscles or mere bodily movement and is instead an interpreting medium which brings the dancer to transforming self-realization. Similarly, in tantric art ritualized symbols are freed of their illusory existence and acquire a dynamic potency. They function as a psychic matrix which ultimately aids the initiate to illuminate himself. In this interaction, therefore, the relationship of art to ritual becomes clearer: these forms become vehicles of self-enlightenment. Having arisen from ritual they are absorbed back into ritual: ritual becomes the sine qua non of art. By combining with ritual, art assumes a social function, and it is precisely this aspect which supports the continuity of tradition. If ritual vanishes from the scene because of changes in the structural pattern of society, art forms will also atrophy and in the last analysis will become merely 'history'. Art's intimate relationship to ritual is not limited to transcendentally ideal forms but extends to include real objects found in the natural environment of the Sadhaka (spiritual aspirant). In this River-bed where the egg-shaped Brahmandas, or elliptical stones known as Banalingas, are found. Their cosmic spheroid shape, marked with auspicious signs and with a natural polish, result from the action of strong water currents. Those gathered from the bed of the Narmada river in Western India are highly prized and are known as Narmadesvara. They are the Saivite counterparts of Vaishnavite Salagramas. 47
Auspicious symbols. All the principal divinities are related by association to certain traditional insignia representing the Universal One. Rajasthan, c. 18th century. Ink and gouache on cloth. 48 respect as well tantra art illustrates its synthesizing force by striking a balance between beauty and functionality. For a tantrika, art has a clear-cut purpose within its defined limits, and there is little scope for ambiguities, experimentation or individual mannerism. To understand its pictorial range, tantric imagery can be broadly grouped into (1) psycho-cosmic forms and diagrams such as yantras and mandalas: (2) visual representations of the subtle body or its constituents; (3) astronomical and astrological computations; (4) iconographic images, asanas and certain accessories used in rituals. The purely formal qualities of tantra's diverse imagery can be distinguished into abstract and representational; as we find in the ovoid form as opposed to its
Page 2: $9.95 Printed in England The life-a
Page 5 and 6: Frontispiece: Manuscript leaf illus
Page 7 and 8: ACKNOWLEDGMENTS Archaeological Surv
Page 10 and 11: Introduction Tantra is a creative m
Page 12 and 13: number of tantric texts were assemb
Page 14 and 15: Saktas (worshippers of Sakti, or fe
Page 16 and 17: The basic tenets of tantra can be e
Page 18 and 19: the union of opposites, the male an
Page 20: notions concerning time and space,
Page 23 and 24: Cosmic energy symbolized as the ser
Page 25: Tantric asana, or sexo-yogic postur
Page 28 and 29: The washer-maid represents the prim
Page 30 and 31: the five ingredients beginning with
Page 33 and 34: 32 but at the same time maintains p
Page 35 and 36: Om, the cosmic sound, is a combinat
Page 37 and 38: Brahmanda, cosmic spheroid, a symbo
Page 39 and 40: Hari-Hara. Painting illustrating Vi
Page 42 and 43: ART The art which has evolved out o
Page 44 and 45: spective, tantric imagery is not an
Page 46 and 47: Symbolism and Imagery Tantric forms
Page 50 and 51: figurative representation. The Sukr
Page 52 and 53: uilt up in stages during the entire
Page 54 and 55: The Universe and the terrestrial sp
Page 56 and 57: Point, and signifies the starting-p
Page 58 and 59: The Sri Yantra is a configuration o
Page 60 and 61: The Sri Yantra is called 'Nava Chak
Page 62 and 63: The seventh chakra, consisting of e
Page 65 and 66: 64 The mandala indicates a focaliza
Page 67 and 68: The Kundalini Sakti, symbol of coil
Page 69 and 70: The creative spiral, Kundalini. 68
Page 71 and 72: A cosmographical schema showing Jam
Page 73 and 74: Cosmogram: an astronomical computat
Page 75 and 76: Cosmographical scheme showing Jambu
Page 78 and 79: so they signify the action of karma
Page 80 and 81: The terrifying aspects of these ima
Page 86 and 87: Modern research into the compositio
Page 88 and 89: 'Krim', the bijamantra, almost an e
Page 90 and 91: consciousness, came spontaneously i
Page 92: tantric art and their own. Like the
Page 95 and 96: 94 ancient Hindus. Some inferences
Page 97 and 98: Bindu. The universe in its unmanife
Page 99 and 100:
98 units of energy called tanmatras
Page 101:
V Astronomical equations, based on
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Samkhya's view that it is possible
Page 108 and 109:
Atoms The atomic hypothesis of the
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matter or the remaining sediment of
Page 112 and 113:
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
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Being residing in heaven. The real
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126 Moscow Institute of Oriental St
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128 of realization. Harmony is the
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Symbolic marks painted on wooden ma
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Yantra with mantra. 132 guru select
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Chakras in the etheric body. Rajast
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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
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absorbed within the system and a gr
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object of concentration. Meditation
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After such a survey of various tech
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(from the root nad meaning motion,
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a red triangle 'radiant like the ri
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XVI
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to balance the dialectical process
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that involves the sperm's odyssey t
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inner spiritual urges to flow natur
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chaksuratatam'. He then salutes his
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Only when she is seen through divin
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IV Ram vanhyatmakam dipam sasaktika
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Sakti worship It is not physiologic
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om anaisvaryaya namah om avairagyay
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om Im madanaye namah om Im utpadiny
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haga, which means both female organ
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That Power who exists in all beings
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either position, both the adepts en
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the Ida and Pingala subtle channels
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outgrow the merry-go-round of self-
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of beings and forms; (6) Chinnamast
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of the discipline may even abandon
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chants mantras, nor performs mudras
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BHUTA, any of the five elemental co
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PARA, last stage of consciousness.
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Bibliography Abhinavagupta, Tantras
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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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