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CHAPTER 2

LITERARY RESEARCH

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2. LITERARY RESEARCH

2.1 BACKGROUND

Ancient åsis and seers practiced upäsaëä on Yantra and attained peace of mind so

essential in modern life. The çästräs have mentioned about Yantra as an effective tool in

the path towards realizing Reality. They used Yantras as visual tools that serve either as

centering devices or as symbolic compositions of the energy pattern of a deity. As there is

a difference between mind and body, so there is the difference between Yantra and

mantra. Yantra is the body or form of the deity whereas Mantra involves the sound

aspect or the mind, consciousness or spirit [Ramachadnra Rao, S. K. (1988)].

As oil is dear to the lamp, so the body is dear to the spirit and Yantra to the deity, because

Yantra is the external, visual expression through which the deity receives the devotion.

When a Yantra is adopted for worship and the energy is invoked in it, it becomes a

symbolic representative of the deity and actually is the deity himself when the sädhaka

abandons his analytical, critical attitude and the energy circulates in higher centers. Every

Yantra becomes the dwelling place of the deity by whose name it is known. The essence

of the iconographic image of the deity, the spirit, is retained in the Yantra form; yet no

idol or picture of a deity is as powerful as Yantra. An iconographic idol is a personal

thing, whereas a Yantra is universal, because it is composed of archetypal forms that are

common to all existing phenomena. A Yantra is therefore, an archetypal unit, and the

very process of making a Yantra is an archetypal activity that works with the encoding of

the genes, so that the divine revelations repeat themselves during the process. It is a

process by which one moves from concrete reality to abstract truth [Harish Johari

(1986)].

Literary research done by Itagi Ravi Kumar (2003) was on history of pyramids, the

evolution of the pyramidal shape in temples and the pyramids of Egypt.

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The limitation of this study was that the concept of pyramidal shape in Yantras was not

included.

Gopinath, R. K. (2005) had done study on Yantra – in Tantric tradition, evolution of

pyramidal shapes in temples, structure and placement of pyramid, working of pyramids,

application of pyramids, pyramids – Yantras for health, the concept of cakras in ancient

texts of Yoga and Indian cosmic pyramid – Çré cakra.

The limitation of this study was that the concept of three dimensional Yantras was not

included.

Summary of the review of literary research and incorporation of factors in the present

study

No. Review of scientific research literature Limitation

1. Literary research done by Itagi Ravi Kumar (2003)

was on history of pyramids, the evolution of the

pyramidal shape in temples and the pyramids of

Egypt.

The limitation of this study

was that the concept of

pyramidal shape in Yantras

was not included.

2. Gopinath, R. K. (2005) studied the concept of

pyramids and Çré cakra.

The limitation of this study

was that the concept of

three dimensional Yantras

was not included.

The present literary research included the concept of pyramidal shape in Yantras and

dimensional Yanatras.

2.2 AIMS AND OBJECTIVES

a. To compile and understand the concept of Yantra according to ancient Indian

scriptures.

b. To study the effects of Yantra on physical and spiritual growth.

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c. To unravel the connections of Yantras with pyramids.

2.3 METHODOLOGY

2.3.1 Sources of Study

a) Ägama texts: Kulärnava Tantra, Tantra-räja-tantra, Mahanirvanatantram,

Samurtarcanadhikarana, Samarangaëa Sütradhara

b) Bhagavatgétä

c) Soundarya-Lahari.

2.3.2 Methods

The classical and authentic information was derived from the verses in these texts, their

commentaries and descriptions about concept of Yantra and pyramids. The information

was first systematically compiled and then sorted out according to the defined structure

of the sections. The relevant references have been cited in the body of the text as well as

in the reference section.

2.4 CORE OF THE STUDY

A. Etymology of the Word Yantra

The word Yantra comes from the root yam, a support or hold [Ramachandra Rao, S. K.

(1988)]. To hold is to contain, to keep, to maintain the essence of an object, a thought, or

a concept. The syllable tra comes from trana, or liberation from bondage [Ramachandra

Rao, S. K. (1988)].

So Yantra is that which preserves the essence and liberates. In general way Yantra means

tool in Saàskåta. When the word yam is used in its symbolic sense (yama is the Lord of

Death) and tra means getting trana, or freedom, then a Yantra is that which gives

liberation from the clutches of death (the cycle of birth and rebirth), which gives mokña,

liberation [Harish Johari (1986)]. The Yantra is in the nature of a field for the spirits to

dwell and to function. Every Yantra is a self-sufficient, self-contained, complete and

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closed realm, well-guarded against outside interference, as indicated by the sharp

boundary lines. The Yantra involving points, lines, triangles and squares represent

energies in various modes [Ramachandra Rao, S. K. (1988)]. The point (bindu) is the

focal aspect of energy. It is the intense concentration of energy from which energy is

derived by the other forms. The seed syllable (béja-akñara) is inscribed on the point. The

point is surrounded by successive enclosure, viz, a triangle, two triangles intersecting, a

circle, and so on; these forms indicate outward manifestation of the spirit as to exert its

influence in the desired manner [Harish Johari (1986)].

Kularnava Tantra says the meaning of Yantra as below [Ram Kumar Rai (2010)].

ymÉUtaidsveR_yae Éye_yae=ip k…leñir,

Çayte sttÂv tÅmad yÙimtIirtm!.61.

Yamabhütädisarvebhyo bhayebhyo=pi kuleçvari|

träyate satataïcava tattmädaà yantramitéritam||61||

Because from all beings like Yama (lord of death), etc. and even from all fear it always

saves (träyate), it is, O Kulesvari! Called Yantra.

Çré Yantra is the best known and geometrically the most complex Yantra [Subramanya

Sastri, S. (1972)]. Çré Yantra is basically of two words Çré and Yantra. Çré is the name for

Lord Viñëu as well as Devé Çakti. Çré Yantra is a marvel of geometrical accuracy and

precision composed of nine interwoven isosceles triangles. Five triangles point

downwards and four point up (five triangles are the representation of creation; the four

triangles represent the cosmic wisdom). The connections of the triangles are realized not

through writing but from the insight or revelation from the inner consciousness. Çré

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Cakra Yantra is of the flat form used in pratistäpanä in temples and places of rituals. Çré

Cakra Meru Yantra is shaped like mountain used for Upäsanä [Ramachandra Rao, S. K.

(1989)].

Kulärnava Tantra says about etymology of the word Yantra as below [Ram Kumar Rai

(2010)].

kam³aexaiddae;aeTwsvRÊ>ˆoinyÙ[at!,

yÙimTya÷retiSmn! dev> àI[ait pUijt>.86.

Kämakrodhädidoñotthasarvadukhaniyantraëät|

yantramityähuretasmin devaù préëäti püjitaù||86||

Because of its being the controller of all the pains arising out of desire, anger and other

failings, it is called Yantra. The deity pleases when worshipped in the Yantra.

B. Construction and Grammar of Yantra

The act of drawing and painting Yantras teaches the mind how to concentrate, how to be

one-pointed on one hand and creative on the other. The geometrical patterns of which a

Yantra is composed are governed by a law which is communicated to one who attempts

to draw it. Attention is needed, for if one becomes a little careless, one makes mistakes.

Yantra drawing requires accuracy, exactness, discipline, concentration, neatness and

patience.

Comprehending geometrical forms and patterns-circles, triangles, squares, and the like –

is the work of the right hemisphere of the cerebral cortex. A person in whom only the left

hemisphere is functional will find it impossible to match geometrical patterns. The

geometrical forms of the Yantra activate the right hemisphere, which is visual and

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nonverbal. Yantra meditation increases inner silence and tranquility. It also creates a

tendency to be attentive to speech. All Yantras used for meditation are done in such a

way that all the linear forms intersect with a central axis or nucleus. This nucleus is either

a point (bindu) or as sound (Bija Mantra).

Generally, a Yantra is composed of a square on the outside with four projections forming

T-shaped structures, circles, a row of lotus petals and some triangular forms inside the

lotus petals. Sometimes there are two triangles overlapping each other, making a six-

pointed star; sometimes, many triangles are superimposed on each other in a pyramid

form; and inside all these geometrical forms is a point or as sound [Arthur Avalon,

(1982)].

The Point: Bindu

A point, called bindu by Tantrics, is the most powerful Yantra. The point is the centre of

the drawing. The entire drawing is a projection around the center. The point signifies

unity, the origin, the principle of manifestation and emanation.

Points are of two kinds; (i) a point having no magnitude, and (ii) a point having the

smallest conceivable or practicable magnitude. A true point has no magnitude, but to

have a point in concrete form, it is given the smallest conceivable or practicable

magnitude.

The bindu is the point of origin and source of all symbolism and the first and basic

primary symbol of the energized Consciousness, which becomes materialized through a

process of gradual change. This point is the source from which everything is created and

into which it all dissolves. It is a symbol of the supreme Consciousness. When it projects

itself, it brings forth the world of names and forms, binds them in one single stream and

serves as a link or uniting force.

Bindu is synonymous with semen or male energy. It represents static energy.

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A bindu has great metaphysical significance and is the point of union between the

aspirant and the Divine: it makes the unmanifest manifest, and thus, the aspirant is able to

establish a relationship with the unmanifest.

The Circle

A circle is an expansion of a point. The point is the most condensed form of energy, and

a circle is its extension. This expansion is growth in dimension which broadens the scope

of a point, yet it also imprisons the point as an individual unit, making on individual

Consciousness out of cosmic Consciousness. The point is static, the circle is dynamic and

represents the cyclic force. The point is beyond space because it is very compact, and it is

the seed form of all the forms. The circle represents water; a circle with a point in the

centre represents the Sun.

The Triangles

The triangle represents the five elements, a horizontal line represent inactivity and

stability. Upward pointing triangles draw the attention up and away from the world; they

represent male energy. Downward pointing triangles take the attention down and

represent female energy.

The Square

The square symbolizes a materialistic attitude, stability, solidity and stagnation. The

square forms an enclosure, restricting the field of vision, and defining the space of the

Yantras. The square represents the earth element.

The Six-Pointed Star

The six-pointed star is a combination of an upward pointing and a downward pointing

triangle. The upward pointing triangles represent the element fire or male energy, and the

downward pointing triangle represents the element water or female energy. The

superimposition of the two in a symmetrical pattern brings about a balance of the two

energies.

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The Lotus Petals

Lotus petals in a Yantra appear inside a circle, which itself is inside a square. These lotus

petals are known as the Candra Maëòala, and the circle outside is known as the Sürya

Maëòala. Candra means moon, and a Maëòala is a circular pattern representing the

cosmos; Sürya means Sun. Sürya Maëòala which is portrayed in lotus petals, the number

of the petals is twelve, representing the twelve signs of the zodiac.

The Candra Maëòala is shown with sixteen petals representing moon has sixteen kaläs

(beam). Whenever the number of petals is neither sixteen nor twelve, the symbol refers to

the manifested reality, which is eightfold, representing five basic elements – ether, air,

fire, water, earth plus mind, intellect and ego.

The Concentric Circles

Concentric circles around or inside a triangle represents the three guëas: sattva, rajas and

tamas. When these circles are on the outside of the lotus petals, they represent the three

modes of time-past, present and future.

C. Varieties of Yantras

According to Arthur Avalon (1982),

a. Çakta Yantras

Yantras that represent any form of the Divine mother are called Çakta Yantras. The ten

forms in which cosmic mother appeared on different occasions are represented by ten

different Yantras; Kälé Yantra, Tärä Yantra, Çoòañi Yantra, Bhuvaneçvaré Yantra,

Cinnamasta Yantra, Tripura Bhairavi Yantra, Dhümävati Yantra, Bogla Mukti Yantra,

Mataìgi Yantra and Kamlä Yantra. These Yantras are used as a tool to enter into ten

different dimensions of knowledge.

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Example Kälé Yantra

Figure 1: Kälé Yantra

According to Yantra Mahima [Shasrti, M. H. K. and Laxmi Kant Vashisth (2006)], to

draw Yantra, first of all a hexagon is drawn, then three triangles the eight-petal lotus,

finally the bhupura. The devotee should worship the goddess therein.

The Mantra for recital is:

` ³I— ³I— ³I— ÷< ÷< ÿI— ÿI— di][ kailke ³I— ³I— ³I— ÷< ÷< ÿI— ÿI— Svaha.

Om Kréà kréà kréà huà huà hréà hréà dakñiëa kälike kréà kréà kréà huà

huà hréà hréà svähä||

Dhyana verse:

` s*izDÚizr> k«pa[mÉy< hStEvRr< ibætI— "aeraSya< izrsa< öja

suéicramuNmu´kezavilm!,

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s&Šas&Kàvha< zmzaninlya< ïuTyae> zval<k«it< zyama¼I k«tmeola<

zvkrEdeRvI— Éje kailkam!.

Om Sadyaçichannaçiraù kåpäëamabhayaà hastairvaraà bibhratéà ghoräsyäà

çirasäà srajä surucirämunmuktakeçävalim|

Såkkäsåkpravahäà çamaçänanilayäà çrutyoù çavälaìkåtià çayämäìgé

kåtamekhaläà çavakarairdevéà bhaje kälikäm||

Kālī also known as Kālikā is the goddess associated with eternal energy. "She who

destroys". The name Kālī comes from kāla, which means black, time, death, lord of

death, Shiva. Kālī means "the black one". Since Shiva is called Kāla - the eternal time,

Kālī, his consort, also means "Time" or "Death" (as in time has come). Hence, Kāli is

considered the goddess of time and change. Although sometimes presented as dark and

violent, her earliest incarnation as a figure of annihilation still has some influence.

Various Shakata Hindu cosmologies, as well as Shākta tantric beliefs, worship her as the

ultimate reality or Brahmin. She is also revered as Bhavatārini (literally "redeemer of the

universe").

b. Vaiñëava Yantras

Vaiñëava Yantras are related to Viñëu and do not belong to the mother worshiping Çäkta

tradition. They are Räm Yantra, Çri Viñëu Yantra, Çré Gopal Yantra and Hanumän

Yantra.

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Example: Çri Viñëu Yantra

Figure 2: Çri Viñëu Yantra

According to Yantra Mahima [Shasrti, M. H. K. and Laxmi Kant Vashisth (2006)], the

mantra for recital is

` nmae naray[ay,

Om Namo näräyaëäya|

Dhyana verse

%*TkaeiqidvakraÉminz< zŒ gda< pŒj< c³<

ivætimiNdravsumtIs<zaeiÉpañRÎym!,

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kaeiqra¼dhark…{flxr< pItaMbr< kaEStuÉaeÎIÝ< ivñxr< Svv]is

lsCDIvTsicû< Éje.

Udyatkoöidiväkaräbhamaniçaà çaìkha gadäà paìkhajaà cakraà

vibhratamindirävasumatésaàçobhipärçvaddayam|

koöiräìgadahärakuëòaladharaà pétämbaraà kaustubhoddéptaà viçvadharaà

svavakñasi lasacchévatsacihnaà bhaje ||

Çri Viñëu yantra is used for worshipping Lord Viñëu. Lord Viñëu's power has been

manifested on Earth as ten different Avatars or incarnations to rid the world of

unrighteousness and evil. Lord Viñëu is the aspect of the Divine that preserves the

Universe. Çri Viñëu Yantra is used for achieving success, wealth, preservation of health,

family, and achieving great heights in the world. .

c. Çaiva Yantras

These Yantras are related to Çiva and the Çaiva tradition: Bhairav Yantra, Mahä

Måtyuïjaya Yantra and Måtsaïjévné Yantra.

Example: Mahä Måtyuïjaya Yantra

According to Yantra Mahima [Shasrti, M. H. K. and Laxmi Kant Vashisth (2006)], the

püja yantra of Lord Mahä Måtyuïjaya is eight petal lotus in the inner most area, then

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sixteen petals one, then twenty four petal one, then thirty two petal one and then forty

petal lotus.

Figure 3: Mahä Måtyuïjaya Yantra

Lord Mahä Måtyuïjaya is the winner of death. On worshipping Mahä Måtyuïjaya one

can escape from miseries and troubles of this materialistic world as well as the problems

related to inner soul. This Yantra is used to free the fear of death, grave dangers, and fatal

diseases and makes one courageous and healthy. It bestows the person with wealth,

health and happiness, good fortune and fame. It is carved on copper plate or gold plate or

it can also be written on bhojpatra and energized with mantras.

The mantra for recital is:

` haE< ` jU< s> ÉUÉuRv> Sv> ÈyMbk< yjamhe sugiNw< puiòvwRnm!,

%vaRékimv bNxnan! m&TyaemuR]Iy mam&tat!,

ÉUÉuRv> Sv> jU< s> haE< `.

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Om haum om jüà saù bhürbhuvaù svaù tryambakaà yajämahe suganthià

puñöivarthanam|

urvärukamiva bandhanän måtyormukñéya mämåtät|

bhürbhuvaù svaù jüà saù haum om||

Dhyana verse

hStaMÉjeyugSwk…MÉyuglaÊdœ"&Ty taey< izr> isÂNt<> kryaeyuRgen dxt< Sva<ke

sk…MÉaE kraE,

A]ö'œm&ghStmMbujgt< mU"RSwcNÔövTpIyU;aeÚtnu< Éje sigirj< m&TyuÃy<

ÈyMbkm!.

Hastämbhajeyugasthakumbhayugalädudghåtya toyaà çiraù siïcantaàù

karayoryugena dadhataà sväìke sakumbhau karau|

akñasraìmågahastamambujagataà mürghasthacandrasravatpéyüñonnatanuà

bhaje sagirijaà måtyuïjayaà tryambakam||

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d. Architectural Yantras

These are used for the ground plans of temples. They are called Maëòala Yantras and

Chatra Yantras. Maëòala Yantras are engraved on the roof and Chatra Yantras on the tip

of the seat of the goddess.

Architectural Yantras contribute substantially to the conceptual basis of the Hindu

temple. An early example is the Vāstupurusa Maëòala, of which Hindu manuals of

architecture provide thirty-two variations. The maëòala represents the diagram of the

ordered cosmos. In Tantric temple rites, Yantras were laid into the foundation of the

womb chamber and were also embedded in cult figures installed in the shrine. Yantras

were also used as compositional diagrams in the execution of sculptural images adorning

the walls of the temple. The architectural Yantra functions as an ideogram, while the

temple is a materialization of the concepts it embodies.

e. Astrological Yantras

These Yantras are used in working with the energy of the nine planets: Sun, Moon, Mars,

Mercury, Jupiter, Venus, Saturn, Rähu and Ketu.

Example: Sun Yantra - Yantra to appease the planet Sun.

Figure 4: Sun Yantra

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Sun stands for power and authority. When one is deprived of happiness through

termination of service, suspension or through opponents or diseases etc., worship of Sun

through Sun Yantra is advised. Sun Yantra enhances the peace of mind, gets favour from

superior, officers and Govt. The Sun Yantra is carved on gold, silver or copper plate and

after püja is worn in neck, kept on the body or is worshipped in temple of your house.

Astroshastra presents the Sun Yantra embossed on copper plate with gold plating in three

different sizes to suit once need. By the use of Sun Yantra enemies are suppressed and

eliminated the malefic effects of Sun.

According to Yantra Mahima [Shasrti, M. H. K. and Laxmi Kant Vashisth (2006)], after

drawing the Yantra install it on a pedestal made of wood and recite the following Mantra.

` AaidTy ivÒhe idvakray xImih tÚae sUyR> àcaedyat!.

Om Äditya vidmahe diväkaräya dhémahi tanno süryaù pracodayät||

Following is the Sun Mantra for recital:

` ÿI— "&i[ sUyR AaidTy ïI.

om hréà ghåëi sürya äditya çré||

f. Numerical Yantras

These Yantras are composed not of basic geometrical forms but of number. Some of

these are composed of magic squares and are used as talismans.

I. Numerical Yantras composed of geometrical forms are divided into two categories.

(i) Béja Mantra Yukta: Here béja sound is engraved or written in the center

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Figure 5: Bagalamukhi Yantra

(ii) Mantra Varëa Yukta: Here the Saàskåta letters are put in an order to create the

mantra. The alphabet is arranged either in square form or in the circular petals form;

in the center is the béja mantra.

Figure 6: Durga-Besa Yantra

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II. Numerical Yantras classed according to their forms

a Bhu-Prasthäna Yantras: engraved or drawn in a flat surface

Figure 7: Çriyantra (courtesy - http://www.salagram.net/sstp-yantras.html)

b Meru-Prasthäna Yantras: three-dimensional form composed of metal or stone or

gem stones and shaped like a pyramid, having a broad base and narrowing

gradually toward the top like a mountain.

Figure 8:Çriyantra - Meru-Prasthäna Yantras (courtesy – Sthapaka Niranjana Mahapatra (1994))

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Sri Yantra geometry takes this triangular formation to its most powerful and

ultimate level. In 2 dimensional form it is a symbol of 9 Intertwined Isosceles

triangles. The Sri Yantra in the 3 dimensional (known as Meru in Saàskåta) is a

multi Pyramid triangular grid signifying unlimited abundance and positive powers.

This Multi pyramidal geometry is with 7 Pyramid steps and 43 petals with base

angle of 51.5032° (http://sriyantra.wordpress.com).

c Patäla Yantra: Deeply engraved-exactly the reverse of the pyramid yantra

Figure 9: Patäla Yantra (inverted Çriyantra)

d Meru-Prastär Yantra: Composed of pieces that are glued or welded to each other

instead of being one solid piece.

Figure 10: Yantra - Kurma (courtesy – Sthapaka Niranjana Mahapatra (1994))

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According to Yantra Mahima [Shasrti, M. H. K. and Laxmi Kant Vashisth (2006)],

as mentioned in Çrividyaarnav while referring to Çiva-Çakti dialogue it was said

ïI ckmip deveiz meéêp< n z<sy>.

çré cakamapi deveçi merurüpaà na çaàsayaù||

No doubt devi Çré Chakra is also of Sumeru type.

D. Yantra and Spiritual Evaluation

Different Yantras are connected with different deities and are combined with different

Mantras. The five basic elements of earth, water, fire, air and the sky are related to

Yantras, and by performing püjäs or prayers one can control nature for one’s own benefit,

social and or spiritual. Yantra is a science which is used through the five elements of

nature and by the recitation of Mantras. Deities are worshiped in different forms and each

form is linked to Yantra. The Yantra, in order to yield the desired results, is energized by

a siddha Mantra by a competent täntrika. Thus, Yantra becomes the medium through

which the invisible forces of energy act on an individual.

The Yantra sädhanä is verifiable at every stage as it is a rational science based on a set of

doctrines, which can be tested by any individual at any level. In order to obtain siddhi,

the sädhanä must be done selflessly and with all faith and humility.

With Yantra it is believed that its worship brings spiritual unfoldment to liberate from the

cycle of life and death as well as social desires. All these are possible by worship, if the

sädhaka has true devotion, purity, good intentions and patience. The first stage of the

sädhanä is to choose a deity or Yantra. The next stage is to find a teacher or Guru. The

selection of a Guru- a great task in itself- is followed by initiation and learning the

techniques.

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The practical steps are sädhanä, çuddhi or purification, uddhära or lifting or elevation and

caitanya or reaffirmation of identity in consciousness. By the first, a thing or an act is

purged of its usual dross of grossness. This is done by reversing the direction of the

ordinary worldly process or pravåtti. In the evaluation of the cosmic principles, a certain

stage is reached where pure or çuddha tattvas cross the line and pass into the impure or

açuddha tattvas. These latter constitute the realm of Nature (the region of Prakåti and her

evolutes), which is like a closed curve in which the Jéva is held a prisoner, and in which

he wanders tracing his own curve of path in accordance with the equation of karma.

Though essentially a centre of Çiva-Çakti, he is caught in the net of natural determination

from which there is no escape, unless the coiled curve which encloses him can be made

to uncoil itself and open for his release and ascent in the realm of the çuddha tattvas. The

hope lies in uncoiling the coil of Nature, technically called the awakening of the serpent-

power of kuëòaliné. Only thus can the impure elements or principles be purified and

elevated from the açuddha or präkåta plane to the çuddha or apräkåta. The face of the

coiled serpent-power is ordinarily downwards; it must be turned upwards. The next step

is uddhära or elevation. The order in which the principles are evolved in the outgoing

activity must be reversed with the starting of the return current; ascent must be made in

the order opposite to that in which descent was made. From the grosser and more limited

elements, we must rise to what are subtler and more general, until ascent is finally made

to the level of perfect experience, which is Çiva-Çakti in one called parä saàvit. The last

step is the reaffirmation and realization in consciousness of the supreme identity

[Prabhananda Swami (2002)].

Mahanirvanatantram says that Mantras and Yantras are capable of securing pleasure and

emancipation, [Gupat J L (2003)].

sTkwalapmaÇÂ n te;a< mnis Kvict!,

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Tvya k«tain tÙai[ jIvaeÏr[hetve.50.

Satkathäläpamätraïca na teñäà manasi kvacit|

tvayä kåtäni tanträëi jévoddharaëahetave||50||

ingmagmjatain Éui´mui´krai[ c,

devIna< yÇ devana< mÙyÙaidsaxnm!.51.

Nigamägamajätäni bhuktimuktikaräëi ca|

devénäà yatra devänäà mantrayanträdisädhanam||51||

And they will not so much as cast a thought after holding righteous converse. (At this

period) for the salvation of creatures, thou hast created Tantras – Nigamas and Ägamas, -

capable of securing pleasure and emancipation (unto mankind), and furnishing them with

the processes of securing fruition through Mantras and Yantras dedicated to (various)

gods and goddesses.

The Mantra not to be regarded as mere letter and the image through which communion is

established with God- who is the creator, sustainer, and destroyer of the world, if

infinitely manifested, and is also beyond name, thought, and speech- must not be

regarded as stock and stone. If the worship is intelligently done, that is, with an

understanding and appreciation of the principles, then Mantra, Yantra (symbolic

diagram), the offerings, the procedure, and the paraphernalia of worship are all

transformed into forms and expressions of cit- çakti and cid-viläsa. The object involved is

to affect the transformation of the articles and acts of ordinary experience which are the

material, limited, and limiting factors, operative in certain narrow spheres of usage and

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convention, into forms of cit-sattä (being), cit-çakti (power), and cid-viläsa (änanda and

play). The nyäsa, bhütaçuddhi, präëäyäma, dhyäna, präëapratiñöhä, and mänasa and

bähya püjä are all calculated to affect this transformation of the worshipper, the

worshipped, and the means and acts of worship into cit or caitanya, which they all are in

their kernel; and thus, they culminate in realizing the essential identification in perfect

experience of the principles of ‘thou’ (tvam) and the principle of ‘that’ (tat). The final

result achieved is the same as in Kuëòaliné Yoga. In fact, the final result cannot be

attained through Mantra, Yantra, and püjä unless thereby kuëòaliné is aroused, the ego-

centric, blinding and binding current is reversed, ascent is made from the plane of

açuddha to that of the çuddha tattvas, and, finally, to pure and perfect experience itself.

The Mantra Yoga or japa is a means of arousing kuëòaliné; so are nyäsa, püjä, etc. with

external or internal Yantras, images, and symbols. The bhakta or the jïänin, some-times,

may not have consciously and deliberately to set himself about the business of arousing

kuëòaliné and making her pierce the six cakras. But this does not mean that kuëòaliné can

be ‘let alone’ by him. She is, and must be, aroused by the power of bhakti or jïäna.

Kulärnava Tantra says that Yantra is a seat for all the deities [Ram Kumar Rai (2010)].

zrIrimv jIvSy dIpSy õehvt! iàye,

sveR;amip devna< twayÙ< àitiótm!.87.

çaréramiva jévasya dépasya snehavat priye|

sarveñämapi devanäà tathäyantraà pratiñöhitam||87||

As the body is for the jéva, and as oil or ghåta (clarified butter) is for a lamp, so the

consecrated Yantra is a seat for all the deities.

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Kulärnava Tantra gives the following reasons of worship of a symbol [Ram Kumar Rai

(2010)].

gva< svaR¼j< ]Ir< rÇvet! Stnmuˆoadœ ywa,

twa svRgtae dev> àitmaid;u rajte.75.

gaväà sarväìgajaà kñéraà ratravet stanamukhäd yathä|

tathä sarvagato devaù pratimädiñu räjate||75||

Just as milk pervades the whole body of a cow, but it flows out only through the teats of

her udder; in the same way the divinity though all pervading exists only in the Image and

the like.

AaiÉéPya½ ibMvSy pUjayaí ivze;t>,

saxkSy c ivñasat! siÇxaE devta Évet!.76.

äbhirupyäcca bimvasya püjäyäçca viçeñataù|

sädhakasya ca viçväsät satridhau devatä bhavet||76||

From the worship of divine from in an image and the deep faith of the sädhaka is

obtained the proximity of devata.

Kulärnava Tantra explains the essence of of worship of a symbol in the following way

(Ram Kumar Rai, 2010).

30

devSy mÙépSy MÙVyaiÝmjantam!,

k«tacRnaidk< svR VywR Évit zaMÉiv.84.

devasya mantrarupasya mntravyäptimajänatäm|

kåtärcanädikaà sarva vyartha bhavati çämbhavi||84||

Any worship performed without the knowledge of mutual pervasiveness of Devatä,

Mantra and Yantra, becomes O Çämbhavi! fruitless.

yÙ< mÙmy< àae <́ devta mÙéip[I,

yÙae sa pUijta deiv shsEv àsIdit.85.

yantraà mantramayaà proktaà devatä mantrarupiëé|

yantro sä püjitä devi sahasaiva prasédati||85||

Yantra are said to be Mantramaya (of the form of Mantras) and deity is of the form of

Mantra. Therefore, O devi! Worshipped in the Yantra she is indeed pleased instantly.

2.5 PYRAMIDAL SHAPE AND TEMPLE ARCHITECTURE

Meru-PrasthänaYantras are three-dimensional form composed of metal or stone or gem

stones and shaped like a pyramid, having a broad base and narrowing gradually toward

the top like a mountain According to Arthur Avalon (1982).

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According to Ramachandra Rao, S. K. (1997). the caves were naturally the earliest

shrines. And caves were also places where the primitive burial relies or the funerary urns

were preserved. The memory of the cave shrines lingered on in the Upaniñadic “heart

cave”. Time has wiped out the artificial caves, but the tiled, sloping and conical roofs of

the temples in the west coast on India may be regarded as survivors. The stupas are the

earliest shrines on records as well as in actual evidence. The expression stupa means ‘a

heap of grain or a mound of earth’. As a heap of grain it was precious; and as a mound of

earth it was a monument. The word is found in the Yajurveda in the sense of a precious

monument (viñnoù stupah). The work agnidreya means vedic stupa. During the days of

Asoka, a large number of stupas are said to have been built, at Barhat, Bodhgaya, Sarnath

and Sanchi, they are all between first and the third centuries BC.

Dharmaraja ratha of Mamallapuram has a Pyramidal and turreted vimäna which provided

the model for all vimänas in the temple of the Dravidian style.

Figure 11: Vimäna - Çikhara

The çikhara as a monumental spire on top of the sanctum evolved in the fifth century,

probably under the patronage of the Gupta kings. The involvement of the stupa idea is

fundamental to the çikhara notion.

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According to Samurtarcanadhikarana;

ivmanana< c sVza¡ samaNym! #dm! %Cyte,

Aixòan< padvhR> àStr¢Ivkadœ %ip,

izor< StUipka ceit ;fœvgR> pirkIitRt>.

Vimänänäà ca sarvçäà sämänyam idam ucyate|

adhiñöänaà pädavarhaù prastaragrévakäd upi|

çikharaà stüpikä ceti ñaòvargaù parikértitaù||

The word vimäna is applied to mean çikhara and the top portion of a temple by some

scholars. However, it is evident from the above that it refers to the structure from the

bottom to the top in sadvarga structures.

The southern texts usually refer to Garbhagrha as vimäna, whereas the northern texts

identify them as a prasäda. Vimäna is Pyramidical and prasäda is curvilinear in outline.

The sadvargas of the vimäna are Adhisthäna, Päda, Prastära, Kantha, Çikhara and Stupi.

According to Samarangana Sutradhara (SS 55.3) Meru type is the prasäda-räja.

According to Samarangana, development of prasäda västu is of two types;

(1) The Pyramidal super-structure: It is designated by the number of its stories

(2) The curvilinear super structure: It is designated as çikhara, a dome shaped massive

roof, square or circular, six-sided or eight-sided.

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So the concept of pyramids existed in India much before Egyptian pyramids came into

vogue.

The history of dynastic Egyptian civilization covers more than 3000 years, of which the

Pyramid age accounts for less than 500, although this form of construction continued, in a

much-debased form, for a further 500. There are more than 90 known Pyramids in Egypt,

some of which are so raised as to appear only as heaps of rubble.

Egyptians saw Pyramid as a “stairway to the heavens” for the dead pharaoh to ascend to

his rightful place alongside the sun god. There is no direct evidence that the Great

Pyramid was the actual burial sites of the kings, as no pharonic remains have ever been

found inside or under a Pyramid. According to Heman/British physicist Kurl

Mendelssohn, the Egyptians built the Pyramids for sake of national importance. Analysts

say that the purpose for which the great Pyramid was built was (i) for rejuvenation of the

people (ii) as an astronomical observatory [Bill Schul and etal (1983)].

Flanagon (1972) states: “The Pyramid of Gizeh generates milli microwave or nanowave

radiation by the simple fact that you have five corners. We have the four base corners and

the apex. These corners are in effect a type of nano wave radiation. The radiation from

the molecules or the atoms of matter in the Pyramid combines the angles of the corners

into a beam which bisects the angles of the corners and transmits a beam of this radiation

towards the center of the Pyramid".

The discussion of this chapter had summarized as

a). The concept of pyramids existed as çikhara of vimäna of sanctum in temples.

b). The purpose of installing çikhara of vimäna as roof of the sanctum may be to

preserve sanctity of präëa pratistäna of the deity.

c). Focusing of präëa on the deity in temples.

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d), Powerful deities as Venkateswara fulfills the desires of his devotees as mentioned in

Bhagavadgétä [Swami Swarupananda (1996)] and as given below.

devan! Éavytanen te deva ÉavyNtu v>,

prSpr< ÉavyNt> ïey> prmvaPSyw.11. ||chapter 3||

Devän bhävayatänena te devä bhävayantu vaù|

parasparaà bhävayantaù çreyaù paramaväpsyatha||11|| ||chapter 3||

Cherish the Devas with this, and may those Devas cherish you: thus cherishing one

another, ye shall gain the highest good.

In this Chapter, literary research with respect to Yantra and pyramid are discussed.

Sections 2.1 to 2.3 briefly discuss the background and earlier study of literary research,

aim and objectives and methodology adopted in literary research. In Section 2.4 the core

of the studies is discussed, which includes etymology of the word Yantra, construction

and grammar of Yantras, varieties of Yantras and aboutYyantra and spiritual evaluation.

Concept and history of pyramidal shape and temple architecture are presented in the

Section 2.5.

In the next Chapter the review of scientific research literature is highlighted and briefly

discussed.