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planetary signs found their way into cosmograms, giving tantric<br />
diagrams a great diversity of geometric patterns. As astronomical<br />
charting crystallized, there was a total denunciation of pictorial<br />
imagery and a shift of emphasis to the delineation of the elements<br />
of natural phenomena. Space, time, light and motion were<br />
conceived of against the background of atmospheric phenomena.<br />
Astrological computations, like most tantric diagrams, are also<br />
marked by mathematical proportions: grid patterns of flat colours<br />
have a mosaic-like simultaneity; kinetic curves encircling solar and<br />
lunar orbs create powerful gestalt sensations. Planetary signs<br />
abound: the sun as a red solar disc; the moon as an opalescent<br />
crescent; Mars represented as a vermilion triangle; Mercury as a<br />
sap-green droplet; a yellow straight line represents Jupiter; a blue<br />
five-pointed star denotes Venus; and Saturn is represented as<br />
purple, the densest of all colours. Innumerable other biomorphic<br />
shapes and voidal spheres resulted as a fusion of primary shapes in<br />
an attempt to record astronomical concepts. Among the<br />
observatories, the Jantar Mantar of Jaipur and Dakshina Vritti<br />
Yantra, engraved in lime plaster on a wall in the Ujjain<br />
observatory, built in the early 18th century, not only achieve a<br />
functional beauty, but are remarkable examples of abstract forms.<br />
Surya or Sun-mandala. Rajasthan,<br />
c. 19th century. Ink on paper.<br />
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