Ardhanarishwara - the god who is half woman by Kalkinath Ardhanarishwara - often referred to as a hermaphrodite or androgynous deity, is one of the principal forms of Shiva. In this essay, I will examine the mythographic dimensions of this deity, and in doing so, discuss the related issue of magical androgyny, particularly within the context of Indian magic & myth. I will also attempt to make some suggestions for appropriate forms of sadhana for magical work with Ardhanarishwara. Ardhanarishwara is described by Daniélou and others as an primordial androgynous deity. The sacred androgyne, both as a deity, and as the human being who crosses or otherwise blurs the gender-divide are related. Daniélou for instance, notes that homosexuals, hermaphrodites and transvestites can be considered sacred beings "images" of Ardhanarishwara.
One: Cosmic Creation The Mahabharata tells us that Brahma failed in his early attempts to create mortals who would both create offspring carnally, and later, die. His mind-born sons were ascetic sages. And, according to the Shiva Purana, Brahma lacked the power to create women. When Rudra sprang forth from his brow, Brahma chose him to create mortals. There are a variety of myths relating to Rudras' responses to the request of Brahma. In one version of this myth-cycle, Brahma created the goddess Gauri to be the wife of Rudra. Rudra was initially pleased by this, but when Brahma asked him to beget progeny, he submerged himself in the waters and performed austerities for thousands of years. When at last, Rudra emerged, he castrated himself, and set his linga ('sign') free. It became a fiery pillar - a sign of cosmic potential. Rudra's actions can be understood as a metaphor for the creation of the manifest Universe. He first withdraws into himself, indicating the formless nature of the Great God, in samadhi. By his action of self-castration, he reveals the sign - the nature - of the Manifest Universe, in relation to that which is Unmanifested. Following these two stages in the cosmic creative process, it is said that Rudra became the mind-born son of Brahma, issuing forth from Brahma's head in the form of Ardhanarishwara - "the Lord whose half is woman" - the right half male, the left half, female. On seeing the Supreme Lord (Shiva), Brahma practised austerities. (It is also said that Ardhanarishwara was terrible to behold, and that Brahma could not look upon him, or was burned by the fire of his radiance.) This form, for Brahma, held the potential for becoming a couple that could unite sexually. Pleased by Brahma's austerities, the Great God divided himself. The Great Goddess, Sati ('the Real') became manifest, (i.e. the 'image' of the Great Goddess) for the sake of the world. All shaktis sprang forth from the Great Goddess.
Thus Ardhanarishwara manifested the 'signs' of both sexes as the prime cause of creation in the world. Also, in taking the form of Ardhanarishwara, Shiva revealed himself, for the first time, in wholly anthropomorphic features. Taking the process of creation further, both manifest god and goddess continued to divide themselves. From Shiva came the eleven Rudras - the eleven 'vital breaths' who carried the fiery essence of Rudra into all forms of life. It is said that Shiva requested that the Great Goddess divide herself into two aspects - black and white - from which sprang the infinite Shaktis, or female powers. One should note however, that no progeny issued from the union of Shiva and Sati neither mortals nor immortals. It is said that, having discharged Ardhanarishwara from his brow, Brahma performed a similar operation on himself, dividing himself into a progenitive couple, Manu and Satarupa, whose issue represented the various conditions, qualities and activities of the total human condition. Ardhanarishwara exists without desire. He is a complete form - a single unity. It was by Brahma's command (i.e. Brahma's desire to create beings capable of sexual procreation) that Ardhanarishwara divided to become God and Goddess. Shiva divided himself and let his Shakti (his power) be apprehended separately by both himself and Brahma. The body of fire, of which erotic pleasure is the sparks, was divided. The Great Goddess sent her glowing ardour, in the form of a woman, into the world of the gods. Thus from Ardhanarishwara's self-division came the essential idea of woman, sex, and sensuality. Thus duality came into the world. Following the act of differentiation, the Supreme Goddess re-entered Ardhanarishwara, once more becoming a timeless, ceaseless image, an image which contains in one body the possibility for sexual awareness of both sexes. "The great god, Maheshvara, never delights with a wife distinct from his own self ... The joy within him is called the Goddess." Kurma Purana, quoted in Stella Kramrisch, 1981 The Desire to Create In the Artharva Veda, Lust or Kama is given as the supreme divinity - the impeller of creation. "Lust was born first. Neither gods nor Ancestors nor men can equal him." In the creation hymn of the Rg Veda, Kama (desire) is the first seed of mind, from which came the entire Creation. It is the arrows of Kama which, in the primordial beginning, inspire Brahma with the passion and lust for creation. Thus Kama is the primal urge of life to become embodied in form. It is the effect of Kama upon Brahma which leads to the manifestation and the division of Ardhanarishwara. Iconography of the image Images of Ardhanarishwara are notable as they are examples of a vertical (rather than the more common horizontal) fusion of male & female characteristics. However, this fusion is not entirely balanced. Some images of Ardhanarishwara possess half a lingam, but the primary emblem of femininity is always the breast, rather than the vagina.
Two: Gender-bending as sadhana The Mythological Dimension The Mahabharata Arjuna, one of the epic heroes of the Mahabharata, is claimed by contemporary Hijras as one of their mythic forebears. Arjuna, the fiercest of the Pandava warriors, spends a year dressed as a member of the 'third sex' living in a harem, teaching women the arts of song and dance. "Yudhishthira said: 'And what office will be performed by that mighty descendant of the Kurus?' Arjuna replied: 'O Lord of the Earth, I will declare myself as one of the neuter sex. O monarch, it is indeed, difficult to hide the marks of the bow-string on my arms. I will, however, cover both my cicatrized arms with bangles. Wearing brilliant rings on my ears and conch-bangles on my wrists and causing a braid to hang down from my head, I will, O king, appear as one of the third sex. Vrihannala by name." A further tale from the Mahabharata is that of King Bangasvana, who was changed into a woman by the god Indra, whom he had offended. According to the Mahabharata, the king implored Indra to remain as a woman, having found the affection and pleasure that women experience, preferable to the state of manhood. The Ramayana It is recounted, in various versions of the Ramayana that a King named Ila, whilst out hunting in a forest, entered an area that was sacred to Shiva. In order to please Parvati, Shiva assumed the shape of a woman and correspondingly, all male creatures in the forest became female, including the king and his retinue. Ila was filled with fear when he realised that his change had been brought about by Shiva. The king then entered the grove where Shiva and Parvati were at play. Shiva allowed Ila to ask for any boon except that of manhood. The king however, addressed himself to Paravati. The Devi gave Ila the boon that he would live half his life as a woman, and half as a man. King Ila suggested to the Devi that he might live as a beautiful woman for one month, and as a man for the next month. The Goddess agreed, but decreed that, whilst male, he would not remember his female form, and whilst female, he would not remember his male form. It is further told that, whilst wandering as a woman, Ila encountered Budha (the planet Mercury), who sought her as his wife. Budha made love to Ila, and she bore him a son, after which Budha petitioned Shiva (with a horse sacrifice) to restore Ila to manhood permanently. Shiva and Vishnu Alain Daniélou, in "Gods of Love and Ecstasy" recounts the myth of Shiva's union with Vishnu, whilst the latter had taken the form of Mohini, the Enchantress. Vishnu, as Mohini, was resting by the ocean of milk when 'she' was approached by Shiva, who expressed the desire to unite with Vishnu. Vishnu, it is said, demurred, saying that union between two persons of the same sex was 'unfruitful'. It seems that VishnuMohini finally submitted to Shiva, as, depending on the version, the 'sap' that they spilled became the river Ganges, a son named Arikaraputtiran, or that the Seven Sages
took the fallen seed and poured it into Anjani, the daughter of Gautama, who subsequently gave birth to the monkey-god, Hanuman. In other versions of this myth, it is this coupling which leads to the birth of Skanda. Gender-bending saints In Kali's Child: The Mystical and the Erotic in the Life and Teachings of Ramakrishna, author Jeffrey J. Kripal discusses Ramakrishna's injunction that, in order to approach a God, the male devotee should take on a female identity. Ramakrishna paired his male disciples up into 'masculine' and 'feminine' couples. According to his teachings, these 'spiritual' genders result in different types of religious experience, the object of the gender-assignation being to awaken desire and devotional love. According to Ramakrishna's teachings, everyone in the world is 'female' in relation to the divine. According to the biographer Datta, Ramakrishna was taught by one of his tantric friends that "if one is to know the Man, one must take the state of the Woman - as a Female friend, as a handmaiden, or as a mother." Ramakrishna spent long periods in a 'handmaid state' - one such period being whilst living in the household of his temple boss, Mathur, and fanning the image of the Goddess with the women of the household. Ramakrishna's biographer Datta records that Mathur would buy Ramakrishna women's clothes, shawls and jewelry for him, and dress Ramakrishna with his own hands. The saint is reputed to have experienced a vision of Radha immediately after Mathur gave Ramakrishna some feminine garments to wear. Another biographer, Saradananda says that Ramakrishna's cross-dressing, and Mathur's gifts caused some people to make "scandalous" interpretations of Ramakrishna's "renunciation." Datta also recounts that Mathur often took Ramakrishna from the temple to his home. On one such occasion, Ramakrishna felt that he had become Sita and that the demon Ravana (i.e. Mathur) was kidnapping him, whereupon he entered samadhi. Kripal notes that the abduction of Sita, the faithful wife of Rama, as told in the Ramayana, implies a sexual abduction. Kripal says that, by assuming this mythological paradigm, Ramakrishna was able to deal with a traumatic event, and also preserve his own 'purity'. The implication here of course, is that there was some degree of homosexual relationship between Ramakrishna and Mathur. Sarananda claims that Ramakrishna's cross-dressing was a conscious Sadhana which enabled the Master to discover nonduality that lies beyond conditioned gender. Ramakrishna often imitated the mannerisms of women, in order to "conquer lust." The logic, as Kripal explains it, is that since sexual desire can only exist between man and woman, then if a man can 'become' a woman, his 'desire' for women will disappear. However, Kripal reveals the secret of Ramakrishna in that: "As a woman, Ramakrishna was ascetic to women and erotic to men" (p234). Kripal goes on to say that 'becoming a woman' for Ramakrishna, inflamed his desire for men, and male deities. Whilst 'being' a woman, Ramakrishna sang to his boy disciples, nursed them at his breasts, and fondled them in his lap. Particular disciples were said to be 'masculine' in relation to the Saint's 'feminine' nature. According to Ramakrishna, the effeminate actors of Bengal, skilled in mimicking the mannerisms of women, should be considered role models for the male devotee. It is Kripal's contention that the Saint's bouts of samadhi should be interpreted contextually - on the one hand, Ramakrishna entered mystical states as an escape from
the threatening sexual presence of women, whilst on the other hand, he experiences bliss whilst looking at the cocked hips of a beautiful English boy. The homoerotic dimension of Ramakrishna's life has hitherto remained hidden, whilst his tendency to enter samadhi at the sight of a woman has been interpreted as evidence of his saintliness. Whilst it may be true that Ramakrishna worshipped the Divine Feminine Principle - as a desexualised mother, able to grant Jnana (Gnosis), he feared and reviled earthly women who entangled men in the entrapments of maya - becoming a householder, having children, etc. Kripal says that Ramakrishna was "absolutely terrified of the polluting substances of the female body and the contact with them that sexual intercourse inevitably brings." The Hijra There are an estimated 50,000 Hijra in contemporary India. Hijra are defined as males who lack male sex-organs, from birth or, as is more common, through castration at an early age. It is thought that the Hijra cult may go back over three thousand years and before the arrival of the British, they had begging rights and land grants from both Hindu and Muslim rulers. They identify as being neither male nor female, but of a 'third nature' (Sanskrit: trhytiyam prakrhytim). Hijra are often regarded with a mixture of disgust, fear, and awe. It is believed that they have the power to foretell the future, bring rain, or utter fearful curses. In modern India, they often appear at wedding ceremonies, offering a blessing which bestows fertility on newlyweds. Many contemporary hijra resort to prostitution, and they are also infamous for their lewd public behaviour. Sociological studies of hijra prostitution indicate that some Indian men 'prefer' sex with hijra as they will consent to sexual practices which women are reluctant to engage in. Interviews with hijras conducted by Serena Nanda (1990) indicate that those who chose to become hijra did so due to their homosexuality: "We dress like girls because of the sexual desire for men." For some hijra, the element of choice does not exist, as young boys are castrated and sold to pimps - a practice which seems to have increased in recent years, according to an article in 'India Today'. Jeffrey Kripal, in his deconstruction of Ramakrishna's biographies, concludes that it is likely that Ramakrishna had an encounter with two hijra whilst visiting Kartabhaja - a tantric community headed by one Vaishnavacharan, who taught that one can worship God in a living man. It seems that this community was made up of homoeroticallyinclined males, hijra, and women. Ramakrishna himself records that Vaishnavacharan liked to look at pictures of men, for they aroused in him feelings of tenderness and love. Ramakrishna, it seems, used a similar technique. Interestingly enough, in view of the 'third state' of the hijra, Kripal recounts that, when asked by a disciple whether he was a man or a woman, the saint replied with a smile, "I don't know."
Three: The Androgyne Androgyne - Greek - Andre=man, guné=woman Ardhanarishvara is acceptable as a stone image, but would look extremely strange as a living being. Ziggy Stardust is an acceptable androgyne, but are heavily-muscled female body-builders? A man with breasts is a common mythical and, largely thanks to modern hormone therapy, an increasingly encountered 'real' phenonemon, but is a morphological woman with a cock a comfortable image? Or a male with a vagina, for
that matter? It seems that the image of the androgyne, when it appears, must be acceptable to men and women, but within the confines of a male definition of what is appropriately feminine. My core disagreement with the whole modern concept of androgyny (at least in the post-Jungian sense) is that 'masculine' and 'feminine' attributes are culturally imposed (in my view anyway). Men can be 'intuitive' and women can be 'logical' without necessarily becoming androgynous. Equally, I've met drag queens who like to fuck and leathermen who's legs fly up like they were on balloons. I also feel that it's too simplistic to transpose androgynous figures from myth directly into 'real' life. As O'Flaherty says, in Indian mythology, there is no difficulty about 'men becoming women', but the Indian psyche has severe problems with women who are too 'masculine'. I've felt for a long time that the Androgyny thing doesn't really speak to women, as it were. I've met several 'Drag Kings' over the years - there was a muchcelebrated incident when a whole group of them 'invaded' the 'Mineshaft' - a leather bar in Manchester, and had lots of fun with their whips and dildoes - causing much horror and shock when they revealed this to the men afterwards. I feel that they wouldn't immediately be recognised as androgynous, though. It seems to me that there is a vast difference between assuming a mythical posture of 'androgyny' and the playful transgression and blurring of sex-roles which happens in the modern sexual subcultures. It's also, I feel, an over-simplification to look at some tribal or ancient culture, find a role which seems to fit the androgyny theory, and then apply it globally to contemporary experience. The Lakota Winkte and the cross-dressing Siberian Shaman are worlds apart from the 'cock in a frock' at the Porchester or Torture Garden. When men 'become' women, I often feel that they are acting out their own projections of how they think women behave - at least this has been my observation with most of the male-female transsexuals I have met. A comment that has stuck in my mind over the years was from a man who said he preferred transsexuals because they were more 'feminine' than modern (i.e. 'liberated') women. Ramakrishna's feints at becoming 'feminine' were, after all, a means for him to heighten his erotic attraction to other men the only means open to him in a culture which kept homosexuality under the carpet. If androgyny is indeed a metaphor for the integration of male & female attributes, then we cannot really say that Ramakrishna was an androgynous individual in this sense. The Dissolution of Categories As the creation myth indicates, Ardhanishvara does not engage in procreation of mortals. The Great Goddess temporarily emerges from Ardhanishvara, in order to fill the universe full of Shakti. Ardhanishvara is an expression of the nondual - of the bliss of samadhi wherein there is no difference made between one thing or another. All that exists flows from, and at the same time is, the union of Shiva-Shakti as represented by the image of Ardhanishvara - the primordial union which is beyond the categories of form and gender. Ardhanishvara is both sensuous, yet also a passive figure - hinting at resolution, harmony and balance. The dissolution of categories through sadhana is a central and enduring theme in Tantric magic. This dissolution is both transcendent and immanent. The goal of the Tantric sadhu is not so much to transcend the world of form, but to immerse himself in it, all the better to enjoy the love-play of the Goddess. In the image of All that exists flows from,
and at the same time is, the union of Shiva-Shakti as represented by the image of Ardhanishvara, the twin poles of Tantric sadhana, renunciation and erotic bliss, are united. The route to superconsciousness - "the realisation that everything is alive and significant" (as William S. Burroughs put it), or, in the words of Ramakrishna, "She Herself has become Everything", requires both asceticism and erotic union. Shiva is both the Mahayogi and the lover of the Goddess, spending thousands of years in ascetic withdrawal, or in blissful union with the Goddess. Tantric texts often take the form of dialogues between the Goddess and the God during, or immediately following, their erotic play. It is often argued that it is through the practice of austerities that the tantric adept supercharges acts of (ritualised) sex. Steps towards Sadhana In seeking a distinct mode of sadhana for magical work with Ardhanishvara, I have drawn the following conclusions. My dissatisfaction with the theme of androgyny, as proposed in the work of Singer, Colgrave, et al, is that the categories of masculinity and femininity themselves are socially created and determined. The tantric uses antinomian practices to go beyond that which society deems proper and acceptable. Hence one might usefully explore and experiment with blurring the categorisation of 'masculine' and 'feminine' behaviour, moods, and expressions, through cross-dressing, bhakti to a goddess or god, uncovering or creating selves of the 'opposite' or 'third' gender - these (and more) are all potentially useful routes to union and integration with the rejected, or 'hidden' other. Ardhanishvara, as I noted above, can be understood as representing harmony, resolution and balance, in union. Also, we should note that this title can be translated as "the god who is half woman". One may read this as Shiva having projected Shakti, or Shakti having projected Shiva, depending on whether one takes a shaivite or shakti perspective of the image. This, I feel, is an important distinction to draw. There is a great deal of literature on the subject of men 'becoming' feminine, but as far as I know, not so much about women becoming 'masculine'. It also strikes me that there must be a significant difference between the male desire to explore or assume a psychic 'feminine' state, (in order to relate to the divine, or other men), and how women might approach the 'masculine' state - if indeed, they feel a need to at all. Theorists of radical sexuality have pointed out that we tend to view ourselves as 'subjects', and others as 'objects'. Western consciousness is based on the 'objectification' of the 'other'. Harry Hay, one of the founders of the modern Gay Liberation Movement, proposed the idea of "Subject-Subject Consciousness". As I understand this principle, it means relating to others as equals - giving the same degrees of latitude - complexity and independence, that we ascribe to ourselves. This strikes me as a useful perspective for anyone, regardless of gender-preference, to work towards and one which I feel, reflects the image of Ardhanishvara. This places the emphasis on sadhana not so much in distinct magical acts in the circle or zonule, but in our everyday lives, in our relationships with others. As for distinct forms of 'magical' work with Ardhanishvara, I would suggest meditation on the form of Ardhanishvara as the primordial flame which may be located variously at the bindu point of a Yantra, or in each of the chakras. This nondual flame, which is
both inward and outward, is the firepit into which all kleshas may be cast, as offerings to Shiva-Shakti. After all, it is these 'obstacles' which prevent us from experiencing the bliss of union which is both transcendent and imminent. Sources The Presence of Shiva - Stella Kramrisch Gods of Love & Ecstasy - Alain Daniélou Myths & Gods of India - Alain Daniélou The Complete Kama Sutra - Alain Daniélou Shiva - Shakti M. Gupta Kali's Child - Jeffrey J. Kripal Queer Spirits - Will Roscoe
Bhairava: The Wrathful by Phil Hine CONTENTS • • • •
The primal forest myth The blazing linga The Kapalikas: Skull-carriers Suggestions for magical work
Bhairava (The Wrathful) is one of the more terrifying aspects of Shiva. He is often depicted with frowning, angry eyes and sharp, tiger's teeth and flaming hair; stark naked except for garlands of skulls and a coiled snake about his neck. In his four hands he carries a noose, trident, drum, and skull. He is often shown accompanied by a dog. In this short essay I will examine this particular aspect of Shiva and the central legend (which has numerous variants) which concerns this deity. Bhairava is Shiva at his most terrifying, at his most fearful. He may be understood as a particular manifestation, or emanation of Shiva, or as Shiva displaying himself at a very high level. In some myths, Shiva created Bhairava as an extension of himself, in order to chastise Brahma. Bhairava is the embodiment of fear, and it is said that those who meet him must confront the source of their own fears. His name describes the effect he has upon those who behold him, as it derives from the word bhiru, which means to become fearful - of feeling great fear. In some sources, Bhairava himself is said to have
eight manifestations, including Kala (black), Asitanga (with black limbs), Sanhara (destruction), Ruru (hound), Krodha (anger), Kapala (Skull), Rudra (storm) and Unmatta (raging). Dogs (particularly black dogs) were often considered the most appropriate form of sacrifice to Bhairava, and he is sometimes shown as holding a severed human head, with a dog waiting at one side, in order to catch the blood from the head.
THE PRIMAL FOREST MYTH The cycle of legends which particularly relate to this primordial god tells of the encounter between Bhairava and a group of forest-dwelling sages. The events which lead up to it can be briefly summarised as follows: Brahma, the Creator, lusted after his mind-borne daughter, and grew four heads in order that he might continually see her. In creating these four heads, Brahma divided the world into the four directions, due to his desire for that which no longer was within himself. It is said by some that Brahma's desire for his daughter was caused by Kama (desire) who was born to madden and delude people, a task for which Brahma gave him magical arrows, which he immediately tested upon the Creator himself. Embarrassed by the attentions of Brahma, his daughter, who is known by many different names, ascended heavenwards. This provoked Brahma to manifest a fifth head, the quintessence of the other four, and reached out to 'cohabit' with his daughter. Upon seeing this, Shiva cut off the fifth head of Brahma with his sword (in some versions of the myth Bhairava merely uses the nail of his left thumb). In this act of murder, Shiva-Bhairava became 'Kapalin' or skull-carrier, a name which also refers to a particular tantric sect which I will turn to shortly. The skull of Brahma's fifth head became stuck to his hand and although himself a god, Shiva-Bhairava had to somehow expiate his sin and, in order to do so, Bhairava became the Supreme Beggar, the archetype of the Kapalika, who is divine, yet debased. Bhairava took upon himself the Kapalika vow, which was to wander the world, begging alms, until the skull fell from his hand. It was whilst he was wandering through a great forest that Bhairava encountered a group of ascetic sages. The sages practiced austerities and tended a sacred fire, and they did not recognise Shiva-Bhairava, who appeared as a naked mendicant, carrying only the skull-bowl. He howled and danced, appearing as a madman with a black face. Not only did this startling apparition disturb the rites of the sages, he also attracted their women to him. The sages cursed the lingam of this supreme beggar, and it fell, transformed into a pillar of fire. Some variants of the legend say that another linga appeared to replace that which had fallen, and when the sages saw it, it too was cursed, and fell to earth in a blaze of fire, only to be replaced instantaenously by another linga, which in turn too was cursed, and so on. In another, after the linga fell, Bhairava vanished. In a third version, Bhairava leaves the forest, accompanied by the frenzied women of the sages. He appears at the house of Vishnu, whereupon his passage is barred by Visvaksena, Vishnu's doorkeeper, who does not recognise Bhairava. The unfortunate doorkeeper is slain by Bhairava, using a trident (the weapon commonly associated with Shiva). Vishnu then caused blood to spurt from his forehead, in an attempt to fill the skull-bowl which Bhairava carried. Bhairava dances on, carrying the corpse of Visvaksena and a skull full of the blood of the preserver, until he reaches the holy city of Varanasi (Banaras), after which he is liberated from the skull vow.
This legend, complex as it is, is woven around the crime of brahminicide - the killing of a Brahmin. A study of the vedic law books will show that the prescribed penance for the killing of a Brahmin involves the criminal living alone in the forest, living on alms, confessing his deed as he begs, and carrying always a staff and a skull - occasionally it is specified that such an individual should use as an alms bowl the skull of the brahmin he has killed. Such a penance could last for twelve years. Such penances sound very similar to the vows of ascetic, forest-dwelling sadhus. Bhairava is one of those paradoxical figures of Indian myth - he has broken all fetters. He has severed one of the heads of the Creator, killed the doorkeeper of Vishnu, the preserver; he dances naked, accompanied by women (and in some versions of the myth, Vishnu), and he appears as a figure of horror and ecstasy. The forest myth- cycle also clearly displays the wild aspects of Siva. He humiliates the ascetic sages in the forest, who are practising austerities; he seduces their wives and, by the falling of his lingam, causes holy places to manifest on the earth. "On the mountain there is a wonderful forest called the forest of Dâru, where many sages live … Shiva himself, assuming a strange form, came there to put their faith to the test. He was magnificent, completely naked, his only ornament the ash with which his whole body was smeared. Walking about, holding his penis in his hand, he showed off with the most depraved tricks." "…. Sometimes he danced lasciviously; sometimes he uttered cries. He wandered around the hermitages like a beggar. … Despite his strange appearance and his tanned colour, the most chaste women were attracted to him. … They let their hair fall loose. Some rolled on the ground. They clung to each other and, barring [Rudra's] path, they made wanton gestures at him, even in the presence of their husbands. The sages cried, this Shiva who carries a trident has a body of ill omen. He has no modesty. … He is naked and ill-made. He lives in the company of evil spirits and wicked goblins."- (Shiva Purana, quoted in Daniélou p55-56).
THE BLAZING LINGA One of the key elements of the forest myth is the sages' curse against Shiva's phallus, which in some versions, strikes the earth as a blazing pillar, and is then regenerated by the god. The sages curse again, and another flaming pillar strikes the earth whilst Shiva's phallus is 'reborn' - which again, in turn, is cursed. In another popular version, the cursed phallus becomes an immense pillar which pierces and fills all of the Three Worlds. (The 3 worlds - again recalls the importance of triplicities in Tantric magic. The 'piercing' of the 3 worlds or cities is a theme which recurs time and time again in tantric magical texts & practices.) According to the Shiva Purana, the sages, once they had recognised Shiva, approached him reverently. Shiva replied that: "The world shall not find peace until a receptacle is found for my sexual organ. No other being except the Lady of the Mountain may seize hold of my sexual organ. If she takes hold of it, it will immediately become calm."
(op cit, p63) In The Linga Purana, Brahma himself instructs the sages in the reverence of Shiva's phallus: "As long as this phallus is not in a fixed position, no good can come to any of the three worlds. In order to calm its wrath, you must sprinkle this divine sexual organ with holy water, build a pedestal in the form of a vagina and shaft (symbol of the goddess) and install it with prayers, offerings, prostrations, hymns and chants accompanied by musical instruments. Then you shall invoke the God, saying 'You are the source of the Universe, the origin of the Universe. You are present in everything that exists. The Universe is but the form of yourself, O Benevolent One! Calm yourself and protect the world.'" In the Tamil Kanda Puranum, Shiva tests the forest sages by appearing with a beautiful courtesan, Mohini, by his side. This courtesan, Daniélou explains, is actually the God Vishnu, whom Shiva has commanded to take this form ( Shiva had commanded Vishnu to take on this form on an earlier occasion, in order that Shiva might seduce Vishnu). In this form of the legend, the sages abandon their austerities to follow the disguised Vishnu everywhere, whilst Shiva, as the divine Beggar, seduced the women of the sages. In this version, the sages and their wives are brought together in the forest and realise that they have been tricked by Shiva and Vishnu. The sages summon a tiger which springs forth to attack Shiva. He kills the tiger and seizes it's skin to use as a garment. There then came a fire, which the god made into a trident; an antelope, which he took with his left hand, and snakes, which he used to adorn his head-dress. Demons then sprang at Shiva. He calmed them with a hand-gesture, and they agreed to serve him. All the magics of the sages could not prevail against Shiva, and the sages finally agreed to practise the rites of Shiva's cult. The forest sages have lost sight of the goal of their austerities and rites - release from bondage. They have become bound up by conventions. The sages, interrupted by Shiva, are outraged by his behaviour. They are performing their rites and austerities out of a sense of lust for the power and 'merit' they will gain from doing so, not as a means to liberation. They do not see that Bhairava-Shiva breaks all boundaries and conventions precisely because he is beyond them. Stella Kramrisch notes that not all who behold Shiva as the Supreme Beggar see him in quite the same way. By turns, Shiva baffles, enrages, seduces, sows confusion, and illuminates. He reveals to his devotee, his bhakta, in the shape and extent to which they are 'ready' to experience him. "Having severed the head of the Creator and killed the guardian of of the house of the Sustainer of creation, Bhairava had cut through all fetters. Horrendous, abject, naked, or in rags that emphasized his nakedness, self-contradictory and consistent with his unspeakable being, with an entrancing smile on his lips he bared his fangs. The images of the Lord show him young and in glory as Bhiksatanamurti, the Supreme Beggar. They show him as Kankalamurti, carrying the impaled by of Visvaksena; or emiacated and deathlike in his image as Bhairava; or stern, bloated, his matted hair surrounded by flames, fiercly ponderous, and black as Kala or Mahakala."- Stella Kramrisch, The Presence of Siva
In his display of contradictions, his suffering of the curse of the sages and their subsequent illumination, Shiva-Bhairava is expiating his Kapalika vow - that of carrying the head of Brahma. When Bhairava reaches the holy city of Varanasi, the skull falls from the hand of Shiva, and shatters into a thousand pieces. The ecstatic pilgrimage over, Bhairava is released from the fetters of his own making. Bhairava is also said by some to be a gambler's deity. R.N Saletore (1981) recounts the following prayer addressed to Bhairava, by a gambler: "I adore thee that sittest naked with thy head resting on thy knee; thy moon, thy bull and thy elephany-skin having been won at play by Devi. When the gods give all powers at thy mere desire and when thou art free from longings, having for thy only possession the matted locks, the ashes and the skull, how canst thou suddenly have become avaricious with regard to hapless me in that thou desirest to disappoint me for a small gain? Of a truth, the wishing tree no longer gratifies the hopes of the poor, as thou dost not support me, Lord Bhairava, though thou supportest the world … Thou hast three eyes, I have three dice, so I am like thee in one respect; thou hast ashes on thy body, so have I; thou eatest from a skull, so do I; show me mercy."
THE KAPALIKAS - SKULL-CARRIERS The Kapalikas were a sub-sect of the Pasupatas. They went naked, used a human skull as a food-bowl, bathed in the ashes from cremations, and were believed to commit human sacrifice. Naturally, they inspired fear and distaste in the orthodox. The term 'Kapalika' can be translated as "bearer of the Skull-Bowl," and these sadhus worshipped Bhairava, as the Supreme Beggar and emulated his kapala vow. Perhaps, like other Indian Sects, the Kapalikas believed that great magical power could be transferred by taking on the penances of Bhairava. Through this identification with the god, the Kapalikas took on his powers. Like other sects who focus upon one deity (or aspect thereof), the Kapalikas held Bhairava to be the creator-preserver-destroyer of the Universe, and chief of all the gods. R.N. Saltore recounts a legend that Bhairava once took up residence in the mouth of Goraknath (co-founder of the Natha Sect of Tantrikas and credited with laying the foundations of Hatha & Kundalini Yoga) and performed 'religious austerities' there. Goraknath was almost choked, and only managed to expel Bhairava by extolling his glory. Saletore takes this legend as an indication of a possible connection between the Nathas and Kapalikas, which is also noted in passing by M. Magee (author of Tantra Magick, Tantric Astrology, and numerous translations of tantric texts) in his Natha FAQ [see
[email protected]]. It seems that yogis of the Kapalika sect were somewhat feared, having a reputation for possessing awesome magical powers, but reputed to carry off women and ensnare victims for human sacrifice. In the Prabodha Chandrodaya, the following words are attributed to a wizard of the Kapalikas:
"My necklace and ornaments are of human bones; I dwell among the ashes of the dead and eat my food in human skulls. I look with eyes brightened with the antinomy of Yoga, and believe that the parts of this world are reciprocally different, but that the whole is not different from God. ...After fasting we drink liquor out of the skulls of Brahmans; our sacred fires are fed with the brains and lungs of men mixed up with their flesh, and human beings covered with the fresh blood gushing from the dreadful wound in their throats, are the offerings by which we appease the terrible god (Maha Bhairava)." In classical literature, Kapalikas are occasionally mocked, appearing as drunkards or evil sorcerors. This view of the Kapalikas as drunkards is, at least on the surface, reinforced by the following quote from the Kulanarva Tantra: "The adept should drink, drink and drink again until he falls to the ground. If he gets up and drinks again, he will be freed from rebirth. His happiness enchants the goddess, Lord Bhairava delights in his swooning, his vomiting pleases all the gods." The skull carried by the Kapalika devotee was identified with that of Brahma, and used for eating and drinking from. David Lorenzen, in The Kapalikas and Kalamukhas (1972), feels that it was unlikely that the Kapalika devotee would resort first to brahminicide in order to obtain the 'right sort' of skull, although he does say that the skull carried had to be that of a man of noble caste. However, bearing in mind the Kapalikas' reputation for conducting human sacrifice, and their occasional martial ardour, we might draw our own conclusions as to the possible role of ritual murder in the cult's rituals. The basis of Kapalika devotion appears to have been bhakti in the form of personal devotion to Bhairava. If the critics of the cult are to be believed, then the foremost method of ritual propitiation of Bhairava was through animal or human sacrifice. It was (and probably remains) widely believed that a human sacrifice, being extremely gratifying to primordial deities such as Bhairava or Candika, removes all transgressions from him who makes the offering. Self-sacrifice through austerities, practice of mental and physical disciplines and occasional self-mutilations, also appear to have been practised within the Kapalika cult. Since Bhairava, in the legends, appears to be very much of an ecstatic figure, one might conclude that his worship also included dionysiac revelry. There are also numerous allusions made to the effect that puja employing corpses was part of the cult's practice. Whilst many of these reports are doubtless biased, such practices are well within the corpus of legends relating to Shiva-Bhairava's love of corpse-grounds, and the legions of ghouls, spirits, ghosts and demons who attend him therein. In addition, it is clear that Kapalins practiced Sex-magical rites and sought the siddhis (achievements - i.e. magical powers) through the practices of Hatha yoga, and, as already noted, were known as sorcerors of much (though often ill-) repute.
FINAL THOUGHTS I would suggest that the forest myth is central to unravelling the mysteries of ShivaBhairava. Daniélou uses this myth-cycle to draw our attention to the similarity of Shiva's primordial cult and the Dionysian mysteries of ancient Greece. It should also be noted that some Tantric sects have always mocked the practice of extreme austerities or conventional rituals for their own sake, and this is again reflected in Bhairava's testing of the forest sages. Also, like many divine dramas, the consequences of the Lord's acts
have wide ramifications. By severing the head of Brahma, Shiva must, in order to expiate his sin, manifest in the world. As a result of his visit to the forest, Shiva's cult is strengthened and holy places exist upon the earth. Deliberately acting drawing upon oneself the disfavour of others, as an aid to one's own liberation (and that of others) is an ancient technique in Indian magic, as practiced for example, by the Pasupati Sect of Shaivites, to whom the Kapalikas have been historically related.
SUGGESTIONS FOR MAGICAL WORK In considering the question of magical work with Bhairava, we might take a bone from the corpse of Kapalika sadhana, as it were. Intoxicated identification with the god through dance, perhaps whilst visualizing oneself undergoing the forest encounter with the sages and their women would seem to be an obvious basis for Bhairava devotion, ending in exhaustion. As in all forms of bhakti, all acts of will and gnosis may be offered to the god, particularly sexual gnosis. Whilst one may deduce from the above that Bhairava devotion requires a healthy attitude to sensual hedonism, especially in terms of drinking and screwing, it should be remembered that such elements are not without their 'initiated' levels of interpretation. The Kapalikas were often characterised as licentious hedonists, but like many other tantric sects, there was much more to them than met the eye. I would also suggest that offering oneself (i.e. ego-complex or core identifications) as sacrifice to Bhairava could become the basis for a monasticism based around the deliberate transgression of personal taboos and boundaries. In general though, one should avoid too literal an emulation of Kapalika practices and vows; for one thing, you just can't get the parts these days!
Sources Indian Mythology - Jan Knappert The Presence of Siva - Stella Kramrisch Gods of Love and Ecstasy - Alain Daniélou Gorakhnath and the Kanphata Yogis - George Weston Briggs The Kapalikas and Kalamukhas - David N. Lorenzen Shiva - Paul Fouce & David Tomecko Tantra - Indra Sinha Indian Witchcraft - R.N Saletore Natha FAQ - M. Magee
Dattatreya
by Danny Lowe based on a talk at Treadwells bookshop given on 11 October, 2004
This talk is about the Hindu Deity and yogi figure, Dattatreya. I wanted to talk about him because he's an interesting and little known figure (at least in the West), who I find fascinating and well deserving of our attention. Also because I felt that talking about Dattatreya would provide many useful jumping off points for discussing some aspects of the tantric traditions, Indian religion and my own practice, which might provide some insight into what it means to be thinking about and practising Tantra in the UK in the 21st Century. Before moving onto him, I thought it might be useful to talk a little about why how these talks came about - basically, this series of talks have arisen out of the meetings of the London Tantra discussion group, which is a loose informal group that arisen from a mutual interest in Tantra - this interest usually but not exclusively sparked off by some involvement or contact with the old AMOOKOS network. AMOOKOS was an East-West order that arose out of the contact between Mike Magee and a guy called "Dadaji". Dadaji was an Englishman who, after contact with Crowley in the thirties, had eventually gone to India in the early 1950s and taken up the sadhu lifestyle, this being the life of a homeless holy man. Dadaji received initiation into the Adi-Natha sampradaya (sampradaya is a Sanskrit word which means line of initiation it implies a lineage of initiates, most lineages traces themselves back to various semilegendary yogis) and he passed this onto Mike, who founded AMOOKOS in this country. We've been meeting fortnightly (more or less) now for more than three years to discuss different ideas arising from studying and practising Tantra. There's quote from the Kulanarva Tantra that serves as a kind of "statement of intent" for the group which is "direct personal experience and good company are the two clear eyes of the seeker" so, firstly, one's own experience is what's important and as such this supersedes what you've read, or perhaps imagined or idealised about practices - and secondly, this quote emphasises that it's important and useful to have some kind of social context within which to share and discuss this experience and these ideas for all sorts of reasons friendship, support, encouragement, someone to offer constructive criticism and new insights and to point out your blind spots - we learn best with other people around us, I think. A practice we've used a lot is that of attempting small, ongoing meditations as a kind of "homework" and bringing our experiences back to the group for discussion, One of the main things this reinforces for me is how different everyone's experience is, even of the simplest practices, time and time again, our experience varies hugely - this brings home that in this work there's no one, right, definitive way. Everyone's experience will vary but everyone's experience is equally valuable - it cuts away the idea that there's one big authority to kowtow to and conform with. We're trying to get away from the idea that there's one central authorial voice and position that is correct, the notion that there's "one right way" to do things and practice, and also from the idea that knowledge is produced in isolation from other people. As I said, our best learning experiences are often with others, and I think with something that should be a lived and experiential process like Tantra, this is essential. I think to really get to grips with something you've got to try and live it a bit. One way we've done this for instance is to work on
collaborative documents with more than one interpretation of an exercise, the use of a group wiki etc. This relates to this talk, and Dattatreya, in terms of the way in which he's been appropriated and interpreted by so many differing facets of Indian religion - what's now known as Hinduism. When I was researching this talk (my main source has been Antonio Rigopolous's excellent book Dattatreya: The Immortal Guru, Yogin and Avatara) I wondered if there was an area of Indian religion that Dattatreya wouldn't crop up in. Rigopolous actually refers to him as a "honeybee" yogin, as he seems to move around from sect to sect. So just as I believe there's no one right way for everyone, there's no one single unified definitive vision of Dattatreya. What I'm going to do here is present some of this history alongside my own experience, to attempt to present a picture that takes into account of some of this complexity.
Who is Dattatreya? I first encountered the figure of Dattatreya in a book called Tantra Magick which was a collection of AMOOKOS papers. In a sense, this whole talk is a spin off from that encounter. A brief meditation was given which introduced Dattatreya - he's a naked man, sitting in front of a sacrificial fire meditating, surrounded by four black dogs. He's got matted hair, a necklace of rudraksha beads and is smeared with ashes. The meditator in encouraged to identify with the figure of Dattatreya and offer up one's conditioning to the black dogs and the fire as a sacrifice. So firstly, what can we tell from this image? What could I glean from this with my cursory knowledge of Hinduism? Well, the matted hair and the lack of clothing indicate that he's rejected a lot of the niceties of society. This, and his meditative pose, point him out as a devotee of Shiva, who's often reported as meditating in cremation ground surrounded by all sorts of ghouls and goblins. The ashes obviously refer to the cremation ground and the fact someone would smear himself in them points to an unusual relationship with death, and given that death is such a taboo, an unusual relationship with society itself. In Hindu culture/ religiosity, death itself is often seen as polluting so we've got someone who has embraced polluting symbols. Doing some further reading, I discovered that in Dattatreya's iconography shows that he's often accompanied by a cow. I probably don't have to talk too much about the cow and it's sacredness in Indian - the source of milk, and dairy products, it's sacredness resting on it's role as great provider, often likened to a mother, with a huge taboo against the eating of beef. Just in the comparison of these two bytes of information, I think there's already an interesting contrast emerging - between the orthodox societal values of Indian society - commonly referred to as Vedic or Brahmanical - and antinomian, anti-society characteristics. This is something I'll be examining later.
Sadhus So, with the absence of clothing and the yogic pose, Dattatreya appears to be a part of a tradition (or to be more accurate, variety of traditions) that have been part of the Indian cultural and religious landscape for thousands of years, that of the ascetic or mendicant, the renouncer, someone who to one degree or another has given up on society and it's rewards for a spiritual search. I'm not going to talk very much about these traditions, as they've a long and complex history all of their own, I just wanted to situate Dattatreya within them. There are early descriptions of naked ascetics in the Rg Veda which has
been dated back as far as 1500BC, a hymn here describes a group of naked long-haired sages undergoing ecstatic trances which sound very much like later descriptions of renouncers. The Upanishads, which date from roughly 600-300BC, make clear mention of ascetic traditions, so we know that they existed from at least this time, both on the fringes of Vedic society, and outside of it in the religions of Jainism and Buddhism. Even if Dattatreya's origins can't actually be traced this far back, it's certainly part of his mythology and the set of ideas around him. Dadaji, for instance, places him back as far as 4000 years ago, with his nakedness a sign of his naturalness, a remnant of an earlier pagan age. I should also point out that the reasons behind renunciation are complex and varied, having nothing to do with Western notions of individualism, protest or dropping out, and they change and evolve as Indian society changes. Amongst this complexity, the thing I found fascinating is the notion that the withdrawal from social life for a hermetic or spiritual existence is socially sanctioned. Some authorities present renunciation as the final stage of one's life, once one has completed one's social duties and economic life. The Manu Smirti states that when one becomes old and grey and sees ones grandchildren, one should retreat into the forest to become a hermit "constantly devoting himself to the recitation of the Veda, he should be friendly and mentally composed, he should always be a giver, not a taker and compassionate to all living beings". One map I like, which points to the same socially sanctioned spirituality, but which doesn't wait till you're old and grey, can be found in the lore of the Sri Yantra, which is a yantra representing the Goddess Lalita - it is surrounded by four "oceans" which are the aims of life - dharma, artha, kama and moskha - these being social duty, the acquisition of wealth, sensual pleasure and spiritual fulfilment respectively. I like the idea that achievement in the world is balanced with other goals - there's no total turning away from the world in favour of spiritual - it simply exists as a balanced component of the overall picture. With his nakedness as a sign of "sainthood", his sadhu staus, we can connect Dattatreya to that constellation of ideas. (I should add here that there's a huge time difference between the composition of the Manu Smirti and the texts of Sri Vidya just because they refer to a similar idea, doesn't in any way mean they're talking about exactly the same thing. There are a multitude of different constructions of meaning around renunciation, asceticism and sainthood. In a religious context as wide, diverse and just plain old as India, nothing is ever straightforward).
The Guru and Initiation As well as being a renunciate, Dattatreya is also a guru figure, a spiritual teacher. He's a kind of archetype of the guru, the legendary founder of the Nathas, the Nathas being a grouping of various different yogic lineages, including that expressed through AMOOKOS. Although the word Guru has passed into English usage, it's still an alien concept to our culture and it's perhaps difficult to get our heads around. Two of the most common associations would be that of authority figure (i.e. the pope) or object of extreme devotion (such as various of the Eastern gurus who're regarded as living incarnations of the gods by their disciples i.e. Sai Baba). Both of these associations are a bit unappealing to the more critical of us - perhaps rightly so, as there are numerous reported abuses of power and scandals involving spiritual teachers, their teachings only serving as a key to get into their disciples wallets or knickers. However, I don't think these negatives are the solely the fault of the Guru institution in
itself. While I would concede one can find a lot of thoughtless deification of gurus by both Eastern and Western disciples, a bit of digging will bring up another more critical perspective. If we go back to the Kulanarva Tantra again, we can find the following: ''Gurus as numerous as lamps in every house, but, O Goddess difficult to find is a guru who lights up everything like the sun. Gurus who rob their disciples of their wealth are numerous, but, O Goddess, it is difficult to find is a guru who takes away his devotees suffering.'' In a more contemporary work about woman saints in India, Women in Ochre Robes by Meena Khandelwal, the process of shopping around for gurus is mentioned and likened to how one would shop for a car. So, still in contemporary India, a selective perspective is encouraged. And as part of this selection, one might opt to have more than one teacher. Most of the descriptions of lives of Indian sadhus I've read has them learning from a variety of teachers. This is perhaps part of the purpose of their wanderings - to absorb teaching from differing individuals. Dadaji for instance, had numerous gurus in a variety of different traditions including Taoism, Thedervara and Mahayana Buddhism, picked up in circumnavigations all over South Asia. Gurus are teacher figures, but this ties in for me with the idea of knowledge and the production of knowledge in a social context that I've already mentioned, the way you learn something bouncing it about a group gives a whole different perspective than that we'd reach on ones own. Guru is a kind of recognition of the shared and collective quality of our learning. This also relates to Indian social models for me - in contrast to the notions of the self in the West as very self-determined and individualistic, Indian ideas of self can be very much about where you are in society - in terms of caste, family. I think guru relationships have to be seen as part of this as well. Considering the whole subject of the production of knowledge and understanding, it seems vital to have some sort of context in which this is assisted. If Guru in it's broader sense, refers to understanding, and the realisation and application of knowledge (something I will address below), the process whereby Tantra becomes more than a collection of dry books and facts and become personal and experiential, living truths - then the group is one of its many faces. I'll say a little about initiation traditions in Tantra. To look at these in the abstract, they can seem quite formal - such and such initiated by such and such, a very easy, traceable progression. A guru appoints a successor who has sole authority for his lineage and so on. However, in real life, the way things actually occur, there's never this neat progression - people fall out, die, fall prey to factionalism and argument. There's never this easily traceable lineage - so I think what's really important, what really matters is the quality of the living relationships between individuals. People get very hung up on who initiated who, and so on but a lot of the time this seems to me and obsession with outer forms rather than inner meaning. What really matters, the heart of the lineage, is the relationships which isn't something that will conform with the historians family trees. This is part of the meaning of the word sampradaya to me - line of initiation. My own closest and most intense relationship within the lineage was with someone other than the person who formally initiated me. I see the lineage as reaching back from the connections I've had with people in it, these living relationships, reaching back through those I don't know, moving back through history, back into the realms of myth, with Dattatreya as archetypal source. As guru, Datta is a symbol of these differing kinds of
relationships. He's a symbol of the external guru, and he is also a symbol for the inner guru, which I'll come to later.
History Before doing so, I'm going to look at his actual historical origins and history. My purpose in doing this is both to give you some backstory to Dattatreya and origins, to give you some information about his origins - some specifics with relation to Dattatreya, the variety of different ways he's used and appropriated between traditions, to give a more rounded picture. I have to dip into the ocean of Indian mythology, which is a bit daunting - not just because there's so much of it, but because the fine lines between myth and history just aren't there. Firstly I'm going to be quoting from one of the Puranas and these aren't just collections of myths - they are better thought of as collections of oral traditions which also contain are genealogies of both deities and kings, cosmologies, law codes and descriptions of rituals and pilgrimages. Also, these texts are distanced from our current understanding by extreme age, the differences in culture, the variety of interpretations that have accrued around them. A quote from Dadaji seems appropriate here: Non Indians, and even Indians themselves, making an investigation into the spiritual life of this land, soon find they have stumbled onto the most complex and outwardly confusing pattern of thought which has existed at any place in the world, or at any time throughout history. It's scriptural texts are enormous, it's deities so numerous, it's teachers so diverse, and in a land of teeming millions everyone seems to belong to a separate sect of which they are the only member. This has certainly been my feeling several times on looking at the sea of Indian myth and ritual. Dadaji reassuringly goes onto say that a "golden thread" underlies and unites all this material, which is perhaps a slight exaggeration on his part. I'm going to look at three texts, the first two more orthodox, the final one tied more into the yogic traditions that I'm interested in. So where does Dattatreya first occur? There are a few references to him in the famous Hindu epic the Mahabharata. He doesn't just spring out of the blue - he's born as part of a family and a lineage. His mother is Anasuya and his father is Atri, who's been linked to early forms of the fire god Agni. To narrate every single reference to Atri or Datta would be beyond the scope of this talk. He has two brothers, Soma and Durvasas. The phrase "Datta" actually has the meaning of "given" or "granted" and one common etymology for Dattatreya's name is "he who was given" (Datta) to Atri (Atreya)- as Atri desired a son, and the gods were pleased with his penance and austerity, the god Vishnu gave himself up and was born to Anusuya. Another popular explanation is he has "given up" (Datta) the three - treya. "The three" here is a reference to the three gunas of Indian philosophy - rajas, sattavas and tamas - which is a tripartite schema for classifying the physical world. This etymology implies Dattatreya is beyond these mundane categories.
The Markendeya Purana
One of the earliest and most developed account is in the Markendeya Purana - possibly one of the oldest of the puranas, dated to the 7th century BCE (although there is some speculation that the stories contained within date to the 3-4 century). In Chapter 17, Datattreya is introduced as a sage who to escape the attentions of his disciples and to free himself of all attachments is said to have plunged into the bottom of a lake. The Munis, his disciples (a bunch of naked forest dwelling sages) wait on the bank to worship him, but when he arises he is accompanied by a beautiful woman and is drinking liquor and playing a musical instrument, all three things which are breaches of orthodoxy and ritual taboo. Despite this, the Munis do not abandon him, but rather curiously interpret his behaviour as demonstrating his supreme dispassion and detachment. They worship him as he continues to perform austerities accompanied by his woman. Chapter 18 also contains a tale which has a similar theme of immorality behind it. It tells of king Arjuna Kartavirvya who resolves to rule worthily. He's advised by his courtier, Garga, to offer worship to Dattatreya and told the following tale. The gods have fought several battles with the demon Jambha but have been defeated - this is a very common theme in Indian myth, an upset of the cosmic equilibrium which the gods are unable to readdress, so they have to call on or create some kind of supernatural readdress - they are advised to approach Dattatreya, who is known for his perverted outer conduct - they find him "at sport" with a woman, while drinking wine and listening to music. He protests he is unable to help, as he is unable to subdue his sense. But the gods state that they recognise Dattatreya as actually "stainless", that is, these impure actions aren't touching his essence, that he's a God, and that the fallen woman is actually Lakshmi, mother of the world, and continue to beg his assistance. He asks them to bring the demons before him - so he can destroy them with his fiery gaze. The demons have actually penetrated his hermitage, where the Gods, utterly defeated. have taken refuge - seeing Dattatreya's wife, they fall prey to lust, seize her and carry her off. Because of this Dattatreya renders them powerless, and the Gods are now able to slaughter them. In Chapter 19 King Arjuna offers worship to Dattatreya who again refuses to help him, pleading much the same reasons. Arjuna worships him by massaging his feet, makings offerings of food, water, honey, perfume and garlands - and says to him "why dost thou beguile me, my lord, resorting to illusory desires? Sinless thou art and this brahman lady is the path of all existence". Dattatreya is thus pleased and states that whoever worships him will gain gratification, children and wealth especially if they worship with meat, strong drink and musical instruments. He grants King Arjuna a number of the boons he asks for - knowledge of the customs of others, to be irresistible in fights, the dexterity of 1000 arms, death only from a superior man and freedom from impoverishment for his people. This Purana also goes on to give the story of Alarka which is used as a jumping off point for Dattatreya's exposition of yoga. Over, several chapters he details the nature of Yoga, the results of yoga, suggestions for practice and gives information on the life of a yogi, and interestingly, the natural phenomena and dreams with which the yogi is able to predict his own coming death. Now, one way of reading these immoral actions is much in the way that the stories do that it's possible to commit immoral actions and be free from the consequences of one's
deeds is possibly through the practice of yoga. One can commit a sinful act if one is untouched by self-interest. That's one interpretation. However, I think there more going on in these stories than that. We can see the attempts to justify Dattatreya's behaviour in the name of his underlying purity, as a strategy, for explaining away the antinomian and blasphemous content of his myths. Rigopolous argues that the elements of the stories referring to sex and booze are tantric characterisations. Possibly the original or protoDattatreya would have been a yogin - perhaps a historical figure who became legendary whose myths are sanitised by later more devotional orientated and pollution conscious sects. I've already mentioned he's seen as an incarnation of Vishnu, but there's something of a collision of this identity with the whole idea of him as a yogi - as yogins are normally linked to Shiva. It's possibly that what we're seeing here, in the earliest of written records, is the manipulation of his identity with an older, more heterodox layer explained away, to tie in with something that fits ideas of ritual purity etc.
The Guru Caritra I'm going to skip forward quite a few centuries to get to one of the most significant Dattatreya texts in contemporary worship - the Guru Carirtra (the Life of the Guru). This was written in the middle of the sixteenth century in Maharastra. It's still a very popular text in this area. It's basically a dual hagiography about the life of two holy men, Sripada Shrivallabha and Nrshima Sarasvati. Both are regarded as avataras of Dattatreya - an avatara being a "descent form", kind of embodiment, a living incarnation of the deity. There's a doctrine that throughout the ages, Vishnu reincarnate so reestablish the dharma (dharma can be translated as "law" but also has the connotations of "social duty" i.e. the correct performance of Vedic rituals). In the Bhagvada Gita Vishnu is quoted as saying "For whenever the dharma languishes and adharma flourishes, I take on existence from aeon to aeon for the rescue of the good … in order to re-establish the law". So an "avatara" is connected with the idea of periodic renewal. Even though Datta is regarded as an avatar of Vishnu, he's also regarded as a deity in his own right and there are lots of Gurus and saints who are regarded as his avataras, even outside of the sampradaya (line of initiation) that descends from Sripada and Nrshima that I'm describing here. The text links Datta to the birth of each of these gurus. In the first story, Dattatreya visits the home of a pious Brahmin couple, Apalaraja and his wife Sumati, disguised as a beggar, and is served with such honour even though the couple are in the middle of a Vedic ceremony, that he reveals his true identity and grants them a boon. Sumati asks that she might become the mother of a son worthy of such a deity - and it is so, and Sripada is born. The accounts of the lives of the two saints given in the Caritra contain a lot of similarities, such as being able to recite the Vedas from an early age, and renunciation of life to go pilgrimage, the refusal of marriage - announcing that they are already married to yoga, and the performance of various miracles and acts of healing. This is popularly explained by the fact of Nrshima being a reincarnation of Sripada. A story is narrated of a village widow, Ambika, who is on the point of suicide because her son is foolish and cannot support them through work. Sripada takes pity on them and instructs them to undertake vows and continuously worship Siva - and a result the foolish boy is transformed into a wise and learned man. Sripada promises Ambika that in her next life she would have a son like himself, foretelling his birth as Nrshima Sarasvati. Some of
stories given in this work, acts such as reviving the dead and feeding 3000 from a small pot reminded me of a certain famous healer from another tradition. These two figures came to be regarded as actually founders of the Dattatreya cult as a "religion" which was and is still very popular. Dattatreya and Islam The Caritra is actually quite an orthodox text, which places a strong emphasis on Vedic religion and orthodox values. It emphasis karma and dharma - ritual observance and duty - rather than the path of knowledge and yoga. This can be seen as largely due to the cultural context of the time, when the Maharastrian region was under Islamic rule, and had an encroachment of sufi religion - so there's a traditionalist revival, as a counter movement. However, funnily enough, if we actually look at the tradition as it occurred and we look back at the gurus in the Dattatreya sampradaya, there's a conflicting trend going on, in that many of them are clearly sufis or pirs. Why this confusion then? I believe this goes back to Datta's original antinomian nature as mentioned before. Outside of the Caritra, this orthodox text, Dattatreya had been adopted by groups such as the Naths, who had connections with Islam, and was attractive to various other unorthodox groups - his appeal to fringe groups and orders such as the Nathas made it "natural" to a degree for him to cross over to Islam. So an orthodox move against Islam actually cuts counter to the popular mood of the time of the text's composition, which was one of cross-cultural synthesis. We can see this in the accounts of the visions of Eknath, an important sixteenth century poet and religious thinker. An account is given Eknath's darshana (vision) of Dattatreya, in the company of his guru, Janardan. He appears as a Muslim solider on horseback, covered in weaponry and "speaking the language of the Muhammedans" - Ekanath distrusts this vision, doesn't believe it can be his guru's God and is also worried about sharing food with a Muhanmmedan - object of pollution - therefore, he makes the vision disappear. However, later Dattatreya reappears as a Muslim faquir, accompanied by a women and a dog. Eknath hangs back doubtful and while he eats, then Dattatreya invites him over and feeds him and blesses him - the women turns out to be Lakshmi, and the dog is another Hindu saint. Dattatreya feeds Ekanath and blesses him before disappearing. Eknath is an interesting figure actually - whose aim was to find practices and beliefs that unified Islam and Hinduism into a higher, mystical truth (ekavata). He was against conversion, regarding it as a product of ignorance, and was once summoned to Varanasi to appear before the Brahmin authorities, due to his translation of the a sacred text into the language of the sudras (the low castes). He's seen as one of the last great cultural synthesists, Hinduism and Islam seem to fall into a more oppositional relationship after his time. One final note on Dattatreya and pollution regards the links with Islam. There are actually a number of Dattatreya temples in contemporary Maharastra, where he's still a very popular God. These temples are renowned as healing centres, with the healing process is to call on the power of the God to rid oneself of the attention of malevolent spirits or bhutas/pretas, or black magic. Visits to Dattatreya's temple, and circumnavigation his shrine, is believed to initiate a healing current in ones life and force the bhutas out. This is interesting as such contact with alleged demonic forces and possession phenomena is thought of as highly polluting - such work is normally left to
Muslim healers or pirs, so Dattatreya's linkage to this tradition arises in part out of his Islamic heritage.
The Tripura Rahaysa One of the most important texts associated with the name of Dattatreya is the Tripura Rahaysa, which translates as the "Secrets of Tripura". This is an important text as it connects Dattatreya to the worship of the Goddess and the Shri Vidya, Tripura being another name for Lalita, the beautiful and beneficent Goddess of the Shri Vidya. One translation is that of the name Tripura is "the one of the three cities" and there are various stories of Her destroying the three cities of the demons, but the phrase is commonly broken down to "she who is beyond (pura) the three (tri). There are a number of trinities in Hinduism to which Tripura is as being held superior to - Brahman, Vishnu and Siva for instance, the three gunas etc. The text appears to have been composed between the eleventh and seventeenth centuries though its origins are largely unknown. It appears to have been isolated to Southern India until recent times. It's contemporary renown is largely due to the early twentieth century Tamil saint Ramana Maharsi. The text takes the form of a series of stories narrated by Dattatreya to his disciple Parasurama. Datta doesn't actually feature in the stories himself, but I'm going to give some extracts to give some of the flavour of this particular tradition linked to him. The charm of the text is that it actually uses a variety of different stories to get over its philosophical points, rather than abstract reasoning. One of my favourite stories in the book is that of Hemalekha who narrates an elaborate tale about her handmaiden, to her husband Hemachuda. She tells how the handmaiden is led astray by one of her friends, is trapped in a bad marriage with contrary and disobedient sons, who take the handmaiden and her husband through a number of hallucinatory episodes, finally leading to her being trapped in a city and tortured, until Hemalekha encouraged her to escape. When pressed for an explanation by her disbelieving husband - who has no recollection of her handmaiden, let alone his wife's participation in elaborate escape attempts - she responds that her mother (who is pure consciousness) gave her a handmaiden that was her intellect, her wicked friend was ignorance (advidya), though she comes under the influence of her inconstancy which gives birth to delusion, and her other sons, the five senses. The city was the human body and constant association of the mind with passion and greed was the torture. The "escape" is an inward turning, back to meditative contemplation. The stories to continually refer back to the source of the self - a part of us without qualities, the part that is the perceiver, which perhaps can't be thought and talked about the same reason we can't look into our own eyes but perhaps can be experienced. A metaphor that is repeatedly used throughout the text is that of the universe being the same as an object in a mirror - with consciousness as the light generating the reflection. This is a very abstract concept, so I should probably say what I've taken out of it, in practical terms the stories suggest to me, to attempt to be aware of the root of ones consciousness and our own part in generating our perceptions and circumstances. In meditation, one might look backward for that sustaining part. To return to the name Tripura as "she who is beyond the three" - as I said, there are many triads in Hinduism but I think it's best to try and make this a living analogy what's actually being referred to here is the three worlds of dreaming/deep sleep/awakening. Similarly the three worlds of head, heart and genitals, our
intellectual/physical/emotional selves - what unifying factor could be said to run through all of this, to unify and underlie them? This is the point these stories are continually referring back to. There is a similar richness to be found in many of the other stories, which explore other facets of Advata non-dual philosophy, all emanating from this central point. Another of Dattatreya's guises then, is the expounder of these traditions.
My Own Experience Well, I seemed to have started talking about my experience again. As I mentioned earlier - I first encountered Dattatreya in the Amookos materials. To talk about my own experience a little I'm going to backtrack a little and detail a little of my history. I was going through a phase which many of us go through, that is reading every occult book I could get my hands on, and I just happened to pick up Tantra Magick. It was one of the first books I'd picked up which was very different from the Western tradition and Chaos Magic books which I'd read. I recall thinking "where's the gnosis? Where's the sigils?" However, despite this initial bafflement, two things about it really intrigued me. The first was a curriculum of exercises given for working with the senses - use your sight to notice differences in colour you'd normal disregard, noticing scents, listening to people closely, noting background noises that sort of thing - at the time I'd never seen anything quite like this. The second was that it emphasised that we in the West emphasis our intellects while holding our emotions and bodies in low regard. Recognising myself as quite a cerebral person, both of these suggestions really struck a chord with me. I finally got around to trying this work a few years later - I'd been meditating on and off for a couple of years at this point but it was usually a separate half an hour or so before work that gave me a bit of calmness, but not much else. Meditation in the Amookos papers was presented as developing an awareness of ones internal dialogue, the internal dialogue being the conversations that one is continually having with yourself, and freeing yourself from this if possible. Using this material finally made the connection between meditation and my day to day life. Beginning to use my senses I went about my day to day activities provoked all kinds of insights, the most striking of which is how little I sensed, compared to what I'd previously thought. I liked to think of myself as quite aware, but I found I was frequently substituting words and thoughts or internal images for my experience - I notice how quickly I abstracted myself into an irrelevant and unconnected train of thought at any time, just walking down the road, and you'd be completely "off".. I found I was walking around half asleep most of the time, frequently lost in streams of association of thought triggered by quite random external events. To give an example of what I mean - one morning having breakfast, I ate the same sort of cereal as I'd eat on a camping holiday I'd been on when I was a kid. Before I knew it, I'd drifted off into a recollection of an argument I'd had with my uncle on this holiday, and I was replaying it with all the emotions I felt at the time activated - anger, a sense of injustice etc. This is a small perhaps silly example but I found my day filled with these fantasies and recollections. The intention underlying this work was to centre oneself in the present, to cultivate a state of awake-awareness, to reflect on what's occurring to you and act appropriately, rather than going off on some kind of half awake hair trigger. With awake-awareness we can determine whether a desire and action is a product of our conditioning and hangups or whether it's coming from some deeper source. This is the thread I talked about which runs through the three worlds. We can also find this state of mind in the works of Gurdjieff, where he refers to it a state of mind called self-
remembering which is absolutely essential to his system - "life is real only then, when "I am" ".In addition, this work lets you notice again some of the richness of experience available to us through our five senses. This is, in part, where Tantra's reputation for sex and sensuality comes from - from an attitude of enjoying the world. The thing I liked about the Amookos work is that you're very much encouraged to use your senses and the day to world as your magickal sphere - it isn't a separate thing. The four quarters of your circle are the four twilights of the day - dawn, midday, dusk and midnight - and the four quarter guardians and goddess in the centre are your body the various yantras in your body and the five senses. In the various classificatory schemes of yoga - this work would be described as a "yoga of action" in that your using the fruits of your day to day activity as the subject of your meditations. To bring this back to Dattatreya, I've already cited him as an aspect of the external guru, there's also the idea of the internal guru. What is this? It's basically yourself - awake, aware and open to possibilities. In the Guru Gita, Shiva says: The absolute is nothing other than guru... the Vedas, shastras, puranas, historical accounts and other writings, science of mantra, yantra and so on, the shavia and shakta treatises and other various writings bring about in this world the downfall of those minds that are deluded. Those people are fools that engage in sacrificial rites without knowing the guru principle. The guru is not different from the conscious self. Therefore the wise should make an effort to seek him. I think that's a very important point. The guru is not different to the conscious self. The awake and aware individual is his own guru, his or her own highest teacher. Any external guru should only be a prop or reminder of this. In the meditation I mentioned earlier one is encouraged to identify with Dattatreya - this is the reason why, as a reminder of your own awareness. In this meditation one offers up ones' kleshas, or conditioning to Dattatreya's companions, the black dogs and the sacrificial fire in front of him. A klesha is a Sanskrit term meaning obstacles or knots or blockages. Some of you might be familiar with this meditation from a version presented here and the phrase klesha smashing seems to have passed into occult parlance. Reference is made in the Amookos work to five key obstacles - these being Ego, Ignorance, Attachment, Repulsion, Clinging to life. Ego the false ideas and opinions we hold about our self, Ignorance - that which is slipping by our awareness , attachment - possessions, labels or self identifications that we cling to, Repulsion - that which we're scared by, and can't face. One of Shiva's name is aghora, which means, the "a" serving as a negation in front of the word "ghora" - horrible. The name thus means "nothing is horrible, there is no part of ourselves or the world we should not be able to face. Clinging to life - holding on, being unable to let go, refusal to accept the inevitable. I don't necessarily see these as separate discrete phenomena, little problems to be resolved, one by one. They're more as a continuum. They're common points of blockage or points of tension and hangups in all of us which will return and disappear, rising and falling over the course of our lives - perhaps depending on how awake, centred and balanced we are.
In my practice, what I would do is try and carry the awareness of the kleshas throughout the day and at any time something reared it's head, see if I could get through it or let it go, and I would offer it's memory in the form of visualisation to the black dogs in my meditation space. I have to say this practice is difficult - it's very challenging, and writing these talk reminded me of how much work I still have to do in this area. What you're trying to do is challenge the habits of thought which generate your customary limitations and self centeredness. I might find myself pissed off or annoyed at someone because they've done something I perceive as a challenge, a slight or a blow to my ego. I might be envious of their success and generating furious fantasies to compensate while indulging in the related self-flagellation at my own perceived inadequacy. Practising awake-awareness sometimes, and it is only sometimes, lets me see these things as they are, just ideas and conversations with myself, linguistic phantoms that don't have much reality. Sometimes I can see these as just thoughts that are possessing me, say "wake up" and step right out of them, just like waking up from a bad dream. Not always, but sometimes. Moving out of these spaces and sets of thought can sometimes put you in a state of mind it's hard to describe - something open, more expansive and relaxed than my usual closed perspective. In a sense the kleshas are different little strategies with which we define ourselves, to delineate and defend a space. When you attack them, you give up this bit of territory you're defending - you're saying I'm more than that. This, and my other meditations, cause me to feel like I'm not only the territory defended, but also the ground on which the whole drama is playing out. As well as recognising the kleshas, one might also chose to work in ways which attack them directly. We might work with the kleshas of attachment for instance by giving away a prized possession. As you prepare to do so, one might monitor the internal dialogue and feelings that this brings up - the desire to hold onto the object, the excuses one presents for not doing so, the rationalisations afterward that you can get another one etc.- and at moments you can just let all this go. I might chose to go and talk to a group of people I'd otherwise avoid - and contemplate my reasons for doing so - the thoughts, reactions and false judgements I've made of them beforehand. A practice I've been trying lately is the generating of compassion, or boddhicitta, as it's referred to in the Tibetan tradition. It's perhaps a little taboo for a man in our culture even to talk about something "soft" like compassion. In the Tibetan Buddhist tradition, nying je or compassion is actually commensurate with consciousness itself, central to our functioning, if we are only open enough to allow it. I have found this an excellent (though, again, difficult) practice for challenging ones own self-centredness. For instance, I have noted the low level hostility I run as background "stay away from me" programming as an inhabitant of the big city, on the tube and in the streets. I've tried to open up a little, accepting those around me, dropping my ever so slight anger and pushiness. I have similarly tried to summon up the images, thoughts and feelings and people who've fucked me off, annoyed or offended me in some way, and tried to see the situation concerned from their perspective, to forgive if I can and acknowledge my own role in causing such situations. Surprising sensations can arise. One can feel a little voice inside that doesn't want to that will justify hanging on to the negative feelings, a little "war" begins internally before release. Both of these practises have brought on strong somatic sensations at various times, a sensation of "opening" around my chest, rushes of energy and pleasure, even tears.
I briefly mentioned the sacrificial fire earlier - the fire into which the kleshas are offered. Fire is a huge symbol in tantra, occupying a whole complex of meanings. I assume that originally it was as a solely an external symbol, referring to the fire sacrifices which occupied so much of the Vedic religion. However, as these things do, it gradually began to take on other meanings. In the context of this Tantra, I think of fire as a symbol of consciousness. How is consciousness like fire? Well, it is bright and luminous nature, and is ever fluxing. It consumes and transforms all that flows into it, all thoughts, all impressions, indiscriminately. These flow back out again forming the basis of our actions, but, as I hope I have shown, the goal of the Amookos work is tot try and cultivate awareness and control over this outward flow. As I said above, consciousness sometimes feels like an underlying "ground" and the kleshas tiny bits of territory we mark of in this open space. And also, something about flickering, all consuming nature of fire says something about the passage of life and time. All is consumed in the end, leaving only ashes - so perhaps it is best not to cling too hard to that which is only transient, rather enjoying things while they are here, then letting them go. To close, some lines attributed to Dattatreya from the Avadhoot Gita: With fuel and without fuel, I am always burning; With smoke and without smoke, I am always glowing; with flame and without flame, I am always shining; I am immortality in knowledge, I am equality in essence, I am like the sky. I burn the faggots of action and inaction; I burn the faggots of pleasure and pain; I burn the faggots of him who adores his body, I burn the faggots of him who ignores his body; I am immortality in knowledge, I am equality in essence, I am like the sky. I am fire that burns religion and irreligion, I am fire that burns merit and sin, I am fire that burns bondage and privilege, I am immortality in knowledge, I am equality in essence, I am like the sky. References Most of the historical material above is taken from Dattatreya: Immortal Guru, Yogin and Avatara by Antonio Rigopoulous (SUNY) I am indebted to Vishvanath for some of the ideas on guru and the quote from the Guru Gita. Taken from an essay published by in Wyrdglow, June 1995 Avadhoot Gita. Translation by Shri Purohit Swami, Edited by S. Mokshi- Punekar. (Mumshiram Manoharial Pubs. New Delhi, 1988) Tripura Rahaysa, trans. by Sri Ramananada Saraswathi, (TN Venkataraman, Pondicherry 1994) Tantra Magick (Mandrake of Oxford, 1989) The Amoral Way of Wizardry Dadaji
The Destroyer of Obstacles by Phil Hine
Let us think of the one-toothed, let us meditate on the crooked trunk, may that tusk direct us. One tusk, four arms, carrying noose and goad, with His hands dispelling fear and granting boons, with a mouse as his banner. Red, with a big belly, with ears like winnowing baskets, wearing red, with limbs smeared in red scent, truly worshipped with red flowers. To the devoted a merciful Deva, the Maker of the World, the Prime Cause, who at the beginning of creation was greater than gods and men. He who always meditates thus is a Yogin above Yogins. Hail to the Lord of Vows, hail to Ganapati, hail to the First Lord, hail unto you, to the Big-Bellied, One-tusked, Obstacle-destroyer, the Son of Shiva, to the Boon-Giver, Hail, hail. From the Ganesha Upanishad Ganesha, the elephant-headed one, is one of the most popular deities of India. All auspicious events begin with an invocation to him. He is invoked before an act of business or trade, or before laying the first stone of a new building. Images of Ganesha may be found in many different places - at the entrance to villages, drawn on the pavement in cities, or in wayside shrines on lonely roads. Reverence and devotion to Ganesha has spread from India, Tibet and Nepal, throughout south-east Asia and as far as Mexico. Ganesha is usually portrayed as having the head of an elephant and the body of a hugebellied man. In some depictions he is standing, whilst in others he may he dancing or sitting. As with the iconography of other Indian deities, the number of heads or arms an image of Ganesha possesses may vary. Ganesha is often shown wearing a serpent for a girdle and riding a mouse. Significantly, unlike other deities of the Hindu pantheon, there are no strict rules or canons binding the form his worship may take. He may be revered in any form. Ganesha is addressed in hymn and prayer by many different titles such as Vinayaka (remover of hindrances), or Vakratunda (of the twisted trunk). Prayers to Ganesha ask for the removal of obstacles from the path of the devotee, and for success in one’s endeavours. We can read "Ganesha" in several ways. Firstly, he is the Lord of the Ganas - the host of Shiva’s spirit-horde. It is suggested that he rules the Ganas primarily by his great wisdom and intelligence. Secondly, we can read "Ganesha" as Lord of the categories of existence - i.e. of everything in the manifest universe.
The origins of Ganesha It is generally agreed by scholars that the origins of Ganesha predate the Vedic era, and the theory has been advanced that the elephant-headed god was first worshipped as both a scribe and a harvest deity by the tribes of the Nagas - the ancient pre-Vedic peoples who once ruled over most of India. The earliest forms of Ganesha are to be found in the
Deccan region of Southern India, where sugarcane was, and remains, a major crop. These images are often related to the Seven Mothers the Saptamatrika, a group of fertility goddesses. Primitive images of Ganesha, particularly those found under trees, are often accompanied by Naga stones depicting coiling snakes. The Naga tribes were animists, worshipping countless nature spirits known as Yakshas or Ganas. Both the Mahabharata and the Grihyasutras describe these nature spirits as being malevolent and evil-natured. Hidden within such descriptions are the echoes of the clash between the fair-skinned, sun-worshipping invaders, and the dark, mysterious peoples of the forests and mountains. The Vedic tradition is permeated by an ambivalent attraction and repulsion towards the mysteries of nature, magic and the unknown. Ganeshas relationship to the Ganas is particularly interesting, as these dwarf-like entities (often misidentified as demons) are part of the host of Shiva. One legend has it that the Ganas were once humans, who had won the favour of Shiva by austerities and pilgrimages. They often attended Shiva in the cremation ground, and loved music and dancing.
The birth of Ganesha There are many legends describing the circumstances of the birth of Ganesha. In one of the Puranic tales, the Devas approached Shiva asking for help, as they were under attack by demons. Shiva graciously consented to aid them and out of his mind there appeared the glowing figure of a child with the head of a powerful elephant. It is said that Parvati, on seeing this beautiful child, placed him on her lap and decreed that no endeavour, whether it be by mortal or god, would be successful if prayers were not offered to the child. Shiva made the elephant-child lord of his Ganas. Another version of the birth of Ganesha has it that Ganesha was formed from the sweat of Parvati as she rubbed herself with sweet oils and powders. Parvati lowered the child into the River Ganga, whereon he grew into a large being. Here Ganesha is given the title Dvaimatura - the son of two mothers, as he is both the son of Parvati and the river Goddess Ganga.
Attributes of the God Attempting to provide a clear interpretation of the symbolic attributes associated with Ganesha can be a daunting task, and much depends on whether one is examining the god from a Brahmanic or a Tantric viewpoint. However, the following general comments can be made. All the qualities of elephants are signified by Ganesha’s head. These are the qualities of strength, auspiciousness, and wisdom. Like the elephant, Ganesha can be powerful and destructive, yet he is similarly loyal, kind and may be swayed by the affection of his devotees. His large ears - like winnowing baskets - sift truth from untruth, and recall the Vedic axiom that learning may only take place at the feet of the guru. A tantric interpretation of this idea is that learning can only take place when one has quelled the internal dialogue and learnt to listen attentively to the world as it is, rather than how one
would like it to be. To Ganeshas trunk is attributed the quality of discrimination - the primary quality required for any kind of spiritual progression. The elephant uses its trunk to perform both delicate and brutal tasks. Ganesha’s trunk may also represent the root-mantra OM. Ganesha’s most unusual facet is his single tusk, the other having broken off. This assymetrism goes against the Hindu obsession with balance and orderliness. There are several legends which account for this. In one legend, Ganesha’s tusk is broken when he is struck at by Parashurama, an avatar of Vishnu whom Ganesha had prevented from entering the chambers of his father, Shiva. However, another legend harks back to Ganesha’s pre-Vedic roots as a sacred scribe, as the story tells of how Ganesha wrote the Mahabharata. According to this legend, the sage Vyasa, the author of this epic, was advised by Brahma to ask Ganesha to be the scribe. Ganesha agreed to this, on the condition that Vyasa would dictate continually, without pause. Vyasa agreed to this, adding his own condition that Ganesha should understand every word and phrase and its implications before writing it down. This gave Vyasa time to compose a few stanzas mentally and dictate them when Ganesha was ready. Ganesha used his broken tusk as a quill.
Another unusual aspect to Ganesha is his vehicle or mount, the mouse. Unlike other vehicles such as Garuda, who are venerated in their own right, Ganesha’s mouse seems to be largely ignored. One interpretation of the relationship between Ganesha and his mount suggests that the god is paired with a mouse or rat to signify that one of his attributes is the power to keep pests under control, in the same way that Shiva is often shown dancing atop a squirming asura (demon). One of the Puranic legends tells how Ganesha fought with the demon Gajamukha, and defeated him by breaking off his right tusk and hurling it at the demon, cursing him to change into a mouse. Ganesha then made the mouse his vehicle, thus keeping it under control. This having been said, there is also a positive side to the mouse. The mouse is able to gnaw its way past, or slip under seemingly impassable obstacles. Thus the mouse may represent the qualities of cunning or subtlety. There is also an undeniably comic aspect to the images of Ganesha seated upon a mouse, recalling once more that Ganesha is very much a playful god, a divine child beloved of gods and mortals alike.
Circling the World Ganesha’s playful wisdom is perhaps best illustrated in the story of his race with his brother Kartikeya. The story is that Shiva and Parvati had been given a fruit which contained the nectar of divine knowledge and immortality. Both Ganesha and Kartikeya coveted this fruit, and so Shiva and Parvati decreed that the brothers should race for it. The first of the two to circle the world three times and return would receive the fruit. The warrior-like Kartikeya at once leapt upon his peacock mount and sped off, stopping off at all sacred places to offer up devotions. Now Ganesha knew that he would never beat Kartikeya riding on his mouse, so he merely walked around his parents Parvati and Shiva three times. When asked why he was not circling the earth with his brother, Ganesha replied that his parents - Shiva and Shakti have the whole universe within them, and that he need go no further than this. Charmed by his wisdom and cunning, Shiva and Parvati granted him the fruit, thus pointing to the importance of intelligence and wisdom over strength or physical achievements. In another version of this story, Ganesha wins for himself his consorts or Shaktis -Siddhi (achievement) and Buddhi (wisdom).
Ganesha worship Puja (worship or ritual) is the most common way of propitiating Ganesha. Tuesdays and Fridays are days that are seen as being particularly good for Ganesha Puja. Young girls in Tamil Nada perform Tuesday Ganesha puja for a year, as it is believed that this will bring them a good husband and home. Sankarahara Chaturthi is a special day for rituals to remove sorrows. There is also the tantric equivalent of a magical retirement whereby puja is performed daily for 41 days. Ganesha may be invoked here in his form, Mulahadra Ganapati. Mulahadra is the rootsupport chakra, whose symbolic vehicle is an elephant, and which is the seat of Kundalini-Shakti - the serpent power which binds all forms in equilibrium. The aim here is not so much to force the arousal of Kundalini, but to strip away the veils of conditioning and illusion until one feels the power of Kundalini working through you. Obviously, one way to explore this further is to meditate on Ganesha seated in the muladhara, and to meditate on how Ganesha’s qualities relates to that chakra - both in its inward and outward action. Katon Shual, in Sexual Magick (3rd revised edition, 1996) gives an outline of an ‘astral temple’ space which features Ganesha. In India, the great celebration of Ganesha Chaturthi takes place once a year on the fourth day of the bright fortnight of the moon-month Bhadrapada (near the end of August). Huge images of Ganesha are specially made, and after several days of celebration, then are taken in procession to be left in the sea or rivers, where they are ‘sacrificed to become one with the elements. Ganeshas filled with sweets are also popular, and on his day, one may look at the moon. This injunction hearkens back to a legend which tells that one day, Ganesha was riding home on his mouse after partaking of a huge meal of puddings and sweets. Suddenly, his mouse was frightened by a snake and stumbled. Ganesha tumbled from his mount’s
back and his over-full belly split open, spilling all the sweets and puddings. Ganesha picked up the snake and tied it around his belly as a belt. He then heard the Moon laughing at him, so he hurled his right tusk at the Moon, cursing it never again to shine at night or appear in the heavens. Without the Moon there was no night or twilight, and soon all the gods pleaded with Ganesha to relent. Ganesba then allowed the Moon to reappear, but from now it would wax and wane. It is said that if one sees the moon during Ganesha Chaturthi, one will become the victim of scandal.
The 32 aspects of Ganesha Lists of the 32 aspects of Ganesha may well differ according to source. The aspectnames are usually followed by "… Ganapati", hence Bala Ganapati can be read as "The Lord of the categories who is childlike." Title
Meaning
Title
Meaning
Bala
"Childlike"
Taruna
"youthful"
Bhakti
"devoted"
Vira
"Heroic"
Sakti
"Powerful"
Dvija
"Twice-born"
Siddhi
"Accomplished"
Ucchishta
"Lord of Blessed Offerings"
Kshipra
"quick-acting"
Heramba
"protector of the weak"
Lakshmi
"giver of success"
Maha
"great"
Vijaya
"victorious"
Nritya
"dancing"
Urdhva
"elevated"
Ekakshara
"single lettered" [i.e. Gam]
Varada
"boon-giver"
Tryakshara
"Lord of the 3 letters" [i.e. A-U-M]
Kshipra Prasada
"quick rewarder"
Haridra
"the golden one"
Ekadanta
"single tusk"
Srishti
"Lord of manifestation"
Uddandu
"enforcer" [i.e. of dharma]
Rinamochana
"Remover of humanity’s bondage"
Dhundi
"the sought-after"
Dvimukha
"two-faced"
Trimukha
"three-faced"
Simha
"riding a lion"
Yoga
"Great Yogi"
Durga
"Saviour"
Sankatahara
"dispeller of sorrow"
For example, one might meditate on "Dvija Ganapati" (Lord of the Twice-born) and in doing so try and find out more about the phrase "twice-born" and it’s significance in Hindu/tantrik esoterics. Ganesha may be propitiated to remove obstacles from the path of the devotee. In Tantrik magic this is known as klesha-smashing. The Kleshas (blocks) are the bindings of conditioned belief and response - habitual patterns of attitude and emotional loops which maintain the boundaries of our achievable reality. In the Natha tradition, the root Kleshas are Ignorance, Ego, Revulsion, Attachment, and Clinging to Life. Invoke Ganesha to illuminate the dark corners of your psyche, to open the doors marked "I dare not enter here". Ritual is not enough. What matters is thought, world and deed - action in the everyday world. The results of each act of magic must be made flesh. Each knot unbound is a release; an orgasmic realisation of the dizzying freedom open to us beyond the artificial limitations we set up for ourselves. The Mudgala Purana lists 8 forms of Ganesha who mastered 8 demons or weaknesses:
Dhumravna [smoke-coloured]
vs Abhimana [pride]
Vaklatunda [twisted trunk]
vs Matsurya
[jealousy]
Mahodra
[big belly]
vs Moha
[infatuation]
Gajanana
[Elephant face]
vs Lobha
[greed]
Lambodara
[corpulent belly]
vs Krodha
[anger]
Vikata
[deformed]
vs Kama
[lust]
Vighnaraja
[King of Obstacles] vs Mamata
[ego]
A short puja Obtain an icon or painting of Ganesha and place it on a small pedestal facing the rising sun. In front of the image, draw a swastika in red paint on paper, and light candles and joss sticks around the image of Ganesha. A simple and effective invocation of Ganesha is to meditate upon him taking form within your belly, and reflecting upon the qualities he embodies which you wish to emulate. A simple mantra such as OM GANAPATI NAMAH (obeisance to the Lord of the Categories) can be used. This meditation is known as "Internal Worship" and is followed by "External Worship" - breathing out the Ganesha within into his image or icon. The Ganesha indwelling the image may then be worshipped, by offerings of fire, incense, sandalwood, red paste, red flowers, water, music and of course, sweets. You may also offer him your experiences - "Om Ganapati, I offer the great laugh which burst from me when I listened to Howard Stern this morning." In return for your heartfelt offerings, Ganesha might well grant you a boon.
Useful Books Ganapati: Song of the Self - John A. Grimes (State University of New York Press) Loving Ganesha - Satguru Sivaya Subramuniyaswami Ganesha … the Auspicious - the Beginning - S. Jagannathan & N. Krishna Sexual Magick - Katon Shual, Mandrake of Oxford Tantra Magick - AMOOKOS, Mandrake of Oxford This essay is based on "The Sacred Elephant" first published in Talking Stick magazine, issue 28 (Spring 1995) and "The Destroyer of Obstacles" first published in Chaos International No.15.
Devotions & Demonesses by Phil Hine Taken from a series appearing in Talking Stick magazine For this issue, I did originally intend to look at some of what I considered the key charactistics of Tantric practice, and then to go on to discuss some of the magical practices in Tantrism. However, I've decided to, for the moment, concentrate on discussing the magical work, and will return to the key characteristics in part three. The difficulties of approaching Tantric practice have been compounded by what might be termed the pseudo-imperialistic attitude to non-Western magical systems. Francis King's Tantra for Westerners is a case in point. King asserts that there are (at least on the surface) many similarities between Tantric concepts and Western Qabalah. Hence his book presents a 'qabbalized' perspective on Tantra. Fitting the unfamiliar into familiar models may well be useful up to a point, but it becomes a limiting exercise. An analogous situation would be the efforts of early anthropologists to characterize shamanic behaviour as 'epileptic'. It might well fit the theory, but it doesn't tell the whole story. I feel that, to approach Tantra, it is necessary to, at some point, examine orthodox Hindu culture, in terms of history, religion, and psychology - in order to get a grip on the context from which Tantrism springs. There is a tendency for Westerners to treat Tantrism as an 'added flavour' to spice up familiar magical practices, or for that matter, one's bedroom antics (which is the concern of many populist books on the subject).
Devotion and Magick The generic term for ritual in India is Puja which can be translated as 'worship' or 'magic'. According to Tantric doctrine, the purpose of ritual is to use special techniques in order to make contact with the higher states of being which we call gods and other supernatural beings who can guide and assist us in our efforts to progress. The different
worlds are in harmonic relation to each other; and through ritual action, they can be made to respond, just as a stringed instrument will respond when one of its harmonics resounds. Ritual, combined of sound, forms, rhythms, gestures, flowers, lights, incense and offerings carries the operator toward the world of the divine, whilst the deity, also enchanted, is brought nearer. Ritual is thus a bridge to establish and maintain this contact. It is further held that, since the subtle worlds are many, the effects of ritual may not always be apprehended, and that results quite contrary to the intent may result. Ritual is therefore a potentially dangerous instrument and, whether internal (mental) or external (puja), should follow a systematic ordinance. All elements of puja are based on correspondences and subtle levels of relation. In Indic magical psychology, man becomes what he worships, and his desire (kama) shapes the form of his becoming. Those who worship the gods become gods; those who worship Ancestors become Ancestors. those who worship the elements master the elements, and those who worship me gain me. Krishna, The Bhagavadgita When considering Puja, we must bear in mind that in Tantric Magical Psychology, all deities are manifestations of self. This is not to say, however, that we should regard deities in the sense of mere aspects of our psyche in the sense that Jungian psychologists or New Agers might. Thus, by performing Puja, we: (a) receive the blessing of the deity (b) develop awareness of our own inner divinity. Another point that should be borne in mind is that Indic magic is heavily based on the interplay of levels of correspondences, in very much a similar way to how modern qabbalah has developed. Careful study and personal research with these correspondences and concepts will enhance the experience of Puja considerably. I would go as far as to assert that study of these concepts within the context of what they mean in puja is superior to mere study of them in isolation, since in puja, you can begin to gain insights into how correspondences and concepts relate to each other. The Primacy of Three-fold Experience The Three-fold nature of experience is a primary concept in Tantric Magical Psychology. For example, the tantric understanding of perception is three-fold: The measure - The object to measure - The act of measuring. Other significant triplicities include: Creator (Brahma) Preserver (Visnu) Destroyer (Siva); The three worlds, the three times, the 3 gunas, Sun Moon Fire.
Thus, by performing puja, we are moving through a three-fold relationship with the chosen deity; (a) Identifying the deity as originating from within Externalizing the deity, in order to experience it as separate from us (c) Re-Identifying with the deity in the light of the above. The object, or aim of Puja is to establish communion between devotee and deity. I occasionally hear the comment that Tantric magic is 'too devotional' in its character. This, I feel, springs from a misunderstanding of the nature of devotional magic and the tantric conception of the relationship between practitioner and deity. In Puja, I was taught by my guru (50p in the swear box!) to firstly to internally identify with the chosen deity, through meditation, visualization, mantra, and Nyasa (the identification of different parts of the body with deities, through touch). Secondly, to externalize the deity by breathing or projecting it into a form (a statue or other image) in order to 'worship' the god or goddess, and finally, to reabsorb them after the completion of worship. The tantric conception of deities is that they are both transcendent and immanent. From a tantric perspective, the Universe is the embodiment of the transcendent Shiva and the immanent Shakti. Existence flows from, and is, their union. In performing puja, my aim is often to offer a sacrifice to a deity, in order that she or he will grant a boon. Litanies to deities often speak of them 'making the gestures of dispelling fears and granting boons'. I currently interpret the word 'fears' as the obstacles ('Kleshas') which hold me back from attaining the bliss of the god-state (more on this in a mo'); the phrase 'granting boons' is the power of the god or goddess to assist me in the removal (or, more accurately, integration ) of those fears. The underlying process in this approach to puja is similar to that which underlies most forms of ritual magic. A desireform is made conscious (i.e. stated), and separated from the ego-complex by offering or sacrificing it to the god or goddess who is the focus of the puja. Finally, the god-form is reabsorbed, and the realization of the desire-form takes place organically (some might prefer the term, 'unconsciously' here, but I feel this is too limiting a concept). So how does this work in practice? Last year, I performed a Ganesha Puja with the general aim of finding myself the 'right' job. Not merely, 'a job', but the most appropriate for me. Since I'm now writing this article at work, you can be assured that this was successful. However, what I feel is just as significant here is that the puja, and daily meditation on Ganesha enabled me to 'dispell the fears' around not finding a job, and everything that goes with that - which naturally involved a good degree of willed self-work as well as the relaxed certainty that 'something would turn up'. To worship a deity, a man must become the Self of that deity through dedication, breath-control, and concentration until his body becomes the deity's abode. Gãndharva Tantra I feel that some of the squeamishness that surrounds this kind of devotional magic is due to the general background of monotheistic Christianity in modern occultism. After
all, it's one thing for magicians to invoke one god for one purpose, and another god for another, but once you start invoking the same god for everything, it starts to look like religion (or mania) - which raises hackles in some quarters. The major Indian deities however, are so multivalent in their aspects and forms that it is quite possible to do this. It also means that the tendency of western occultists to categorize gods on the basis of the Tree of Life becomes unstuck. Ganesha is a good example. One might argue that he has a Jupiterean aspect, as he is associated with wealth. However, he is also Mercurial, since he is a scribe. He also battles demons (Mars), rules obstacles (Saturn), and is often given as the guardian of the Muladhara Chakra (Earth). He has at least 32 popular forms and there are more that can be discovered through practical experience.
Sorcery and Demons I have discussed devotional puja at length since it is the major approach I have used to Tantric ritual so far. This is not to say that there are no other forms. In The Earth Mother (1989), Pupul Jayakar describes a "Witches' Spell" from the Atharva Veda which involves familiar elements such as the creation of an image of the target of the spell, the recitation of mantra over a period of days, and so forth: "To propitiate the goddess, rites were enjoined for the preparation of a Kunda or firepot, which took the form of a yantra, symbolic of the yoni. An oblation of Ghee (Clarified Butter) and brown sugar was offered to the Kunda. The witch put on garlands of red, sweet-smelling oleander, wore red garments, and lay facing South. The mantra, called the whisper spell, was then used to invoke: 'Om reverence Rudra, Om, O pungent one, thou of the pungent leaf, blessed, Asuri reddish one, thou of the red garment, O daughter of Atharvan, none-terrific one, nonterrific wonder-worker, smite, smite, burn, burn, cook, cook, crush, crush, so long burn so long cook until you have brought (name) into my power. Svaha.' Jayakar, p60. The above litany is used to invoke the 'Asuri Woman' - a form of the goddess Durga. A more extreme form of ritual is related in Sudhir Kakar's "Shamans, Mystics & Doctors" (1991). This is sadhana (practice) directed towards a demoness named Karna. The sadhna is carried out over three days before the new moon. It requires ten days of preparation, and a further ten days of ritual after the sadhana is completed. For ten days the practitioner abstains from all the sacred acts prescribed for a Brahmin. He did not clean his teeth, change his clothes, and used the same dirty plate for each meal. In the three days of the sadhana itself, the practitioner satisfies his thirst by drinking his own urine, and satisfies his hunger by eating his own feces. On the first night of the sadhana, the practitioner locks the doors of his house. He lights eleven large oil lamps in his room. He wears a string of fifty-four bones which he has dug up from the cremation ground at night, and holds a similar string in his hands. Facing south, he begins to recite (japa) a mantra 115 times. He urinates and defacates without breaking the repetition, and rubs the shit and piss over his body. Finally, the practitioner relates how he is visited by "an attractive woman, twenty-five to thirty years old, completely naked…". She sits next to him, fondles his penis, smears both their bodies with his feces, and disappears when he has finished the recitation of the mantra. On the third day, she
"incited" him to have intercourse with her. Upon commencing his final period of japa, she appears again, sits down on his lap, and defecates & urinates all over him, again, smearing him body with her urine and feces. She then tells the practitioner "Whenever I want intercourse I'll come to you and you will have to satisfy my desire. Whenever you ask a question I'll whisper the answer in your ear." Kakar's correspondent writes that, as a result of this sadhana, he can no longer perform the sacred tasks and rituals of a Brahmin, but that his astrology business has boomed, due to the powers of the demoness in giving him knowledge of his clients' past and future and in drawing more clients towards him. This ritual is interesting for several reasons. Firstly, it violently confronts and trangresses orthodox Hindu taboos concerning cleanliness and ritual purity - in fact I would think it would have a similar effect on most westerners! Secondly, this sadhana is based again, on identification which the entity which is the focus of the practice. The practitioner behaves in such a manner as to become acceptable to the demoness, his practice culminating in a kind of hieros gamos which, for the Brahmin, is as shameful as it is ecstatic. The result of this sadhana is that, while he becomes prosperous, he has effectively become an 'outcast' in society.
Ananda and Lila The term 'lila' is used to denote divine play, sport or dalliance, and the gods are often referred to as being in this state in their relationship to the Universe. In aspiring to the divine play of the gods, the tantric seeks to become unfettered and unconditioned. In playing, you leave behind the perception of the 'ordinary' world, and enter a magical world. As divine players in this world, the gods are joyous, graceful and spontaneous beings, taking delight in the universe. Related to this idea of divine play is that of 'ananda' - which is usually translated as meaning 'bliss'. When we try and approach bliss in this sense, we need to be quite careful with terms and distinctions. For example, many people think of bliss states such as samadhi as being characterized by a fugue-like withdrawal from the world. But the tantric goal is not about retreating from the world, but enjoying it. For myself, I rather like the definition of Ananda given in Kakar, p166167, by a correspondent: "The true tantrik is always in a state of nonsuppression and enjoyment. The purpose of every moment of life is to experience ananda. Ananda is active enjoyment of everything that comes your way. … A tantrik has only those desires which the environment is ready, willing and in a position to satisfy. This is not because he denies any of his wishes or rationalizes them later, but because he has developed his capacity for attention and is intensely aware of where he is and what he is doing at every moment of time." Hence Tantric magic places great stress on enhancing awareness of one's senses, of one's physical presence, of the world around us, of identifying and integrating the fetters of habit, restriction, attachment - the 'obstacles' which impede us from experiencing ananda. Tantra is a path of Psychosomatic Alchemy, which starts with the basic premises of sensuality and worship, pleasure, energy and compassion. This alchemy is dynamic, demonstrating that the body is a seething cauldron of activity: neural firestorms flicker across the brain in milliseconds; complex molecular transactions take place within an instant, the heart sheds energy like a furnace. Tantric magic encompasses all the so-called techniques of Gnosis, from silent contemplation of a
cobweb at dawn to frenzied ecstasy. One of the core virtues of Tantra is Compassion, arising out of empathic identity with the species, the Earth, and beyond. This embedded 'openness' to the world is metamorphic, deepening vision, strengthening the heart. As such, systems of control based on fear and blind obedience have always viewed Tantra as suspicious, if not seditious. Sources The Earth Mother - Pupul Jayakar, Penguin Books The Tantric Tradition - Agehananda Bharati, Rider Books Tantra Magick - Mandrake of Oxford Kali's Child - Jeffrey J. Kripal, University of Chicago Press Shamans, Mystics & Doctors - Sudhir Kakar, University of Chicago Press The Tantras: Part One - Katon Shual, Nuit-Isis No.#9 The Sword and the Flute - D. R. Kinsley, Motilal Banarsidas Publishers The Yoga of Power - Julius Evola, Inner Traditions
The emergence of Devi as an aspect of the supreme deity by Nandi Virakanath The Goddess tradition in India has a rich and vibrant history. She is often seen as ambivalent and contradictory, on the one hand benevolent and on the other terrifying and fierce. In attempting to explore how Devi has emerged and developed as a symbol of the supreme I will firstly look at how goddesses have appeared in the Vedas and discussions around pre-Vedic goddess worship. Then briefly look at the epic and classical periods and explore the Devi -Mahatmya in a little more detail as a principle example of the Devi in the Puranas. Finally I will discuss the worship of Devi focusing on pilgrimage, sacrifice, tantric sadhana and possession. Devi is the name for the great goddess in Hindu religion. She is seen by her followers as the ultimate, the one the supreme creatrix of the universe. There is a distinction between Devi the great mother goddess and the pantheon of goddesses that exist within the Hindu 'tradition'. Many of these Goddesses are identified with Devi, as she is seen to appear with many names and forms whilst always remaining the single supreme being. Wendy O'Flaherty divides Indian goddesses into two categories, goddesses of the tooth who are erotic, ferocious and dangerous, and Goddesses of the breast, auspicious, fertile and bountiful. The former forms of the Goddess would include Kali, Tara, Bhairavi and Chinamasta. Whilst the later would include Laksmi, Sita, Sarasvati and Tripurasundari.
Lynn Gatwood however adopts another perspective arguing that there are two distinct types of divine female principle in India. One, which she refers to as Devi, being free from divine male control and the other who is defined by such control. The later she refers to as the Spouse Goddess. David Kinsley points out that whilst there are Hindu texts and traditions asserting unambiguously that the various female deities are all manifestations of the Goddess, and that various scholars have approached the goddess with this basic theological assumption, it may not be an entirely useful approach. In seeing the goddess in this way we may be prevented from: '...viewing such goddesses as Laksmi, Parvati, and Radha as deities containing individually coherent mythologies of their own.' Personally, I think that the interrelation between the various goddesses and the idea of Devi as the one goddess is the result, like much of Hindu religious thought and practice, of a complex set of relationships and cross fertilisations that have emerged over a long period of time and in a wide variety of settings. The Rig Veda mentions many goddesses but none of them are as central to the text as the male deities Agni, Soma or Indra. Indeed with the exception of Usas, the dawn, none of the other goddesses mentioned are even as important as the secondary male gods. This does not mean however that the Rig Veda is unimportant in understanding the Hindu goddess. Kinsley points out that some scholars have argued later Hindu goddesses to be the same deities as appear in the Vedas but with new names. Personally I feel that given the possibility of pre-Aryan goddess worship, discussed below, it may be more useful to think of a continuing tradition that grew up alongside Vedic religion. Further more there are signs that elements of the Vedic goddesses merged with Goddess worship of later times and helped to make the religion of Devi acceptable to those who followed the Veda. Klostermair identifies four goddesses from the Rig Veda who could be seen as important elements for the later development of Devi worship (saktism). These are Prthivi the earth, Usas the dawn, Aditi mother of the gods and Vac, speech. Prthivi is associated with the earth and is seen as stable, fertile and benign. She is addressed as mother and regarded as warm, nurturing and a provider of sustenance. In the Rig Veda she is linked with the male god Dyaus but appears as an independent being in the Artharva Veda and other later Vedic literature. Usas is identified with the dawn in the Rig Veda, praised for driving away the darkness, she rouses life and sets things in motion. She also gives strength and fame and like Prthivi is called mother. She is refered to as 'she who sees all' and in this regard is invoked to drive away or punish enemies and as a skilled huntress who wastes away people's lives. Perhaps in this figure of Usas there is a hint of the goddess as both nurturing and fierce. Aditi is interesting in that she almost featureless physically. She is described in the Rig Veda as the mother of the gods, the mother of kings and the mother of Indra. She is invoked for protection and wealth. Her name means the unbound one. It is also of note that though she is mentioned nearly eighty times in the Rig-Veda she at no time appears as a consort to any of the gods.
Vac is the goddess associated with speech, which is a concept of central importance to the Vedas. She is associated with the power of the rsis; 'She is the mysterious presence that enables one to hear, see, grasp and then express in words the true nature of things. She is the prompter of and vehicle of expression for visionary perception, and as such she is intimately associated with the rsis and the rituals that express or capture the truths of their visions.' From the above, I think it is possible to see strong elements within the Vedas that may have contributed to how Devi developed and was perceived by later moments in Hinduism. However this alone may not account for such a strong tradition of goddess worship in Hinduism. Whilst the goddesses in the Vedas were still relatively minor figures, there may have been a tradition of Goddess worship predating any possible Aryan migration and the Vedic religion. Many small figurines have been found which belonged to the pre-Aryan peoples of the Indus valley. Some of these represent a small standing female figure with an elaborate headress. According to Brockington, if there is to be any religious significance attached to these figures then it may be that they point to a cult of a Mother Goddess. He points out that while such a feature is largely absent from the Vedas it is a feature of many early religions. Parpola has argued that an image of a figure battling with lions may have continuities with the Goddess Durga battling the buffalo demon. Ernl summarises the argument for an Indus valley goddess cult along the lines that the pre-Aryans worshipped primarily female fertility goddesses due to their primary reliance on agriculture. The Aryans on the other hand being nomadic cattle herders and warriors focused more on male sky deities. In the earliest known traditions of India, the Indus Valley civilisation and the Aryan Vedic religion, there may have been currents of goddess worship. These aspects of the feminine divine in turn may have interacted upon each other in various ways. Further more Parpola has argued that there are iconographic and linguistic continuities between south Indian, Dravidian forms of Hinduism and the Indus valley civilisation. This is significant in that South India has played an important role in the development of goddess worship. Whilst we can really know little about how goddesses were thought about or worshipped in ancient India, there is a large amount to be considered about how Devi in her various forms appeared within later Hindu traditions. From the time of the Vedas to that of the Puranas there is little literary material relating to goddess worship. Some references to the goddess appear in the Kena and Mundaka Upanishads which date to the last few centuries BCE. 'The Black, the terrible, the Swift as the mind, The Blood-red, the Smoke-coloured, the sparkling, And the glittering Goddess - these are the seven flickering tongues of flame.' More evidence begins to emerge from the early part of the common era. The Tamil Cankam literature mentions the Goddess Korravai, a goddess of the mountain who accepted animal sacrifice especially buffaloes. She was also seen as a goddess of war and victory to whom battle itself was a sacrifice , with the forest warriors, the Marvars, being exhorted to ritual suicide. He later myth of Durga slaying the buffalo demon may be a northern adaptation of Korravai. There are also Jain and Buddhist monuments
which depict female divinities, including a Buddhist monument at Sanchi dated to the first century BCE, and a temple to the Goddess Kanya Kumari, situated on the southern tip of India which dates to the first century CE. Erndl argues that the period of the epics, the Mahabharata and the Ramayana (400 BCE -400 CE), is transitional in the process of integration of goddesses into the Hindu pantheon. The goddesses appear strongly in a mythological way but not yet as major deities. They are portrayed as wives of the Gods, with little elaboration of their role, and are not yet fully absorbed into or legitimised by the Sanskrtic tradition. Gatwood sees this process as 'Epic Spousification' arguing that a central purpose of the epics was to teach Brahmanic and Kshatriya values and codes of behaviour. Ultimately Gatwood sees this as part of a process whereby local village goddesses and a non-Brahmanical Devi cult are absorbed and to some degree tamed by male Brahmanical orthodoxy. Saktism can be considered to exist as a specific orientation within Sanskritic Hinduism from the period of the Puranas onwards, (400 CE onwards) It is in the puranas that a developed Sakta theology and mythology emerges that emphasises the idea of a single Great Goddess, who includes within her self other forms of the goddess and indeed many of the aspects previously associated with male deities. Most significantly subsuming the roles of creator, maintainer and destroyer, normally associated with Brahma, Vishnu and Shiva respectively. Its main focus is upon the feminine power, sakti, as the energy which empowers the deity . It is closely associated with tantrism but is not an exclusively tantric doctrine. At the beginning of the fifth century it interacted closely with Vaisnavism and Shaivism, Gatwood states that Shaktism had influenced Vaisnavism in the development of Bhakti as the main form of worship. She also argues that Saivism was highly influenced by Saktism, incorporating tantrism and 'marrying' Devi to Shiva, giving Shiva legitimisation to a claim of equal statues to the Devi. Devi's independent nature however gave way to an orthodox raising of Shiva over his wife now seen in the image of Parvati. Arguably the most important text within the Sakta tradition is the Devi-Mahatmya from the sixth century CE .The Devi-Mahatmya is made up of chapters 81-93 of the Markendeya Purana. However it has had a considerable existence as an independent text outside of the purana and is one of a small number of puranic texts to have had commentaries written on them, having at least sixty seven , more than any of the others. The text itself focuses on three stories illustrating the greatness of the Goddess. In the first story, which takes place before the world is created, Brahma sees two demons approaching to kill him and Vishnu. Vishnu is asleep and Brahman dwells in his navel. Realising that the Goddess dwells in Vishu's eyes as Yogidra (sleep of yoga ) sings a praise to her . In this praise the Goddess is refered to as the creator, the destroyer, Prakrti, the great Goddess and the Great demon. After this Hymn has been recited the Goddess appears and presents her self to Brahma. Vishnu awakes and slays the demons. Erndl points out that whilst the killing of the two demons is also to be found in the Mahabhararta the Devi -Mahatmya version is different in that Vishnu's capacity to act is dependent upon the Goddess.
The second story is probably the most famous and is the one most popularly associated with the Goddess. Here we see another demon, Mahisa, the buffalo demon, defeating Indra and the other gods. Mahisa takes the place of Indra and the thirty three gods have to go to Shiva and Vishnu to tell them what has happened. Upon hearing the news Vishnu, Shiva and Brahma, through the power of their concentration, emit a 'great fiery splendour' likewise the other gods do the same. From this the Goddess is formed and each of the Gods give her a weapon. Shiva gives her a trident drawn from his own trident, Krishna gives her a discus also drawn from his own discus, Indra a thunderbolt, Varuna a noose and so on. Filling the whole of space and mounted upon a fierce lion she engages in battle with the demon. There then follows a long description of the battle and how the Goddess destroys the army of asuras. Eventually the Goddess is face to face with Mahisa and every time she tries to kill him he changes his form. First he becomes a lion, then a man, then a great elephant and then a buffalo again . At this point: '....the angry Candika, mother of the world, quaffed a superior beverage, and again she laughed with reddened eyes.' Then, after drinking more, she springs forward, pushes him down with her foot, beats him with her spear and as he tries to exit the buffalo form through the mouth she cuts off his head. The Gods sing a hymn to her in which they request that she return whenever they think of her. They also ask that she will appear whenever a mortal praises her with the hymn they have just sung and be concerned with his material happiness through her power. She agrees and disappears. Erndl makes a number of points about the image of the Devi in this part of the Devi Mahatmya. Firstly she states that the image of the goddess seated upon a lion whilst being difficult to trace in earlier Sanskrit literature may have been common in folk tradition. She goes on to link the creation of Devi here with the parallel creation of a king by the powers of the gods in the Laws of Manu emphasising the Goddess' role as supreme ruler and protector . Finally she states that the Goddess' primacy is obvious as she accomplishes that which the male deities do not. The final part of the text contains a number of stories within it and I do not intend to recount them here. However what is of most relevance is that in this part of the text a number of individual goddesses make appearances and are integrated into the overall image of the Goddess. Erndl sees the text as being important in that it shows a process of indigenous religious forms going through the process of sanskritisation. Further more the text itself, she argues, can be seen as a means through which further sanskritisation can take place. Local goddesses are easily identified with the Goddess who is central to the Devi -Mahatmya . The Devi - Mahatmya is an important text because it represents the first time that a theology and mythology of the Goddess as supreme being is represented in the Sanskrit language. There are many styles of worship within the Hindu tradition. Pilgrimage, the making of offerings (puja), recitation of mantra, sacrifice, either symbolic or actual, various rites of passage, festivals and so on. Here, however, I would like to focus on three areas of worship which are strongly associated with the Goddess. These are pilgrimage, sacrifice, tantric worship and possession.
Pilgrimage is a strong tradition within Hinduism and Goddess worship is no exception in this area. There are a huge number of pilgrimage sites associated with the Goddess and or with local goddesses. The most well known however are probably the Sakti Pithas, places of power. The Pithas provide a powerful idea of Mother India as identified with the Goddess herself. An important point about pilgrimages is that people often report feeling 'called' to them. According to Kinsley there was an attempt sometime during the middle ages to unify all the pithas associated with goddesses in to a single scheme which represented the idea that Devi underlies all the various forms of the goddesses. This idea was expressed in the mythology by an episode added to the end of the myth of Satis' destruction at Daksa's sacrifice. Shiva, in grief, picks up her body and wanders all over India slicing off parts of her body, each part falling on a particular site, until he realises that her body is gone and then regains his composure. For followers of the Goddess these places of pilgrimage are highly important and so pilgrimage has become an essential component of goddess worship. According to Erndl: 'Pilgrimage to places sacred to the Goddess is one of the most vigorous and visible aspects of the cult - indeed one could call it the focal point.' A strong feature of Goddess worship is the use of sacrifice. The sacrificing of a buffalo to the Goddess can be seen as connected to Devi's slaying of the buffalo demon. The Goddess' drinking of wine whilst she slays the buffalo demon is also seen as representing her drinking the blood of the sacrifice. In Brahmanical forms of Hinduism the idea of the sacrifice is extracted out of the ritual, as it would be polluting. Brahmins make offerings of blood substitute to local or family goddesses. In the popular religion of the villages however, and especially amongst the lower castes, blood sacrifice is an integral part of the worship of the local goddess. An important aspect worship in relation to Devi is that of tantra, especially in the Sakta tantric schools, who view the Devi as supreme, such as the Srividya . Tantric sadhana, spiritual discipline, has two parts. Firstly that which is described as 'external' ritual which includes the use of material substances and secondly 'internal' contemplative practices such as the recitation of mantras. The Tantric adept tries to gradually internalise the external acts. Tantric practices can be seen therefore as essentially esoteric as they represent an 'additional' class of practices, concepts and traditions outside of the accepted Hindu sources and norms. Finally I would like to briefly turn to a more popular practice relating to the worship of Devi , possession. Possession is normally thought of as part of the 'little tradition' and confined to low caste and poor people in rural areas. Goddess possession, however, takes place in urban as well as rural areas, by low and high castes and amongst the educated as well as the uneducated. It also can occur amongst men as well as women, though the later is the most common. Possession is a way that the Goddess makes herself manifest in the world and becomes available to her devotees. It allows verbal communication between the devotee and the Goddess and also allows the human vehicle participation in her power. In conclusion I feel that worship of the Goddess may have existed and been popular in the Indus valley before the Aryan migration and the advent of Vedic religion. Throughout the first to fourth centuries various goddesses where incorporated in to the Brahmanical religion as a way of extending and developing power over those who did
not still accept their authority. In this process a rich and complex theology, saktism, developed around the Goddess which began to see her as the highest principle underlying all creation. This theology may have been informed by popular mythology and possibly influenced it in turn. Finally Goddess worship in India is a living tradition practised across all castes and social divisions and as such has been deployed in ways which can have both negative and positive messages in the lives of women and men.
The Erotic Body Alchemy of the Chakras by Kalkinath Meditations on the chakra system tend to focus on abstract symbolism or the commonly-held notion that they are centres of subtle body energies, and related to nerve or glandular plexuses and so forth. Here are some suggestions for erotic alternatives to exploring the chakras, prompted by one of the experiences of Sri Ramakrishna: "Just before my attaining this state of mind, it had been revealed to me how the Kundalini is aroused, how the lotuses of the different centers blossom forth, and how all this culminates in samadhi. This is a very secret experience. I saw a boy twenty-two or twenty-three years old, exactly resembling me, enter the Sushumna nerve and commune with the lotuses, touching them with his tongue. He began with the center at the anus and passed through the centers at the sexual organ, navel, and so on. The different lotuses of those centers - four-petalled, six-petalled, ten-petalled, and so forth - had been drooping. At his touch they stood erect. When he reached the heart - I distinctly remember it - and communed with the lotus there, touching it with his tongue, the twelve-petalled lotus which was hanging head down, stood erect and opened its petals. Then he came to the sixteen-petalled lotus in the throat and the two-petalled lotus in the forehead. And last of all, the thousandpetalled lotus in the head blossomed. Since then I have been in this state. The Gospel of Sri Ramakrishna, pp.829-830. This vision of Sri Ramakrishna has a distinct erotic (particularly homoerotic) subtext. It suggests a range of possibilities for erotic meditations on the chakras. You could visualise yourself as entering each chakra in turn and stimulating it into ‘wakefulness’, perhaps visualising the ‘lotuses’ as labia or phalluses. As a variation, you might visualise an appropriate god or goddess-form (Shiva, Mohini, etc. or even succubi & incubi) doing the same, or a lover, or an ‘ideal type’ lover-image. Alternatively you might visualise the goddess Kundalini (in female or male form) entering each chakra and making love to it, in whatever manner you find appropriate. This sequence could be further enhanced by masturbation, oral sex or intercourse. The lotuses could be imagined as pulsing, erotic landscapes of sensitive tissue and structures which require careful and loving attention as opposed to the sexual meditations based on Aleister Crowley’s Liber SSS where the chakras are visualised as vaginas (or anuses!) which are successively (and aggressively) ‘pierced’ by the phallic fire-snake. The symbolic association between the phallus, the snake and the tongue is of course, well-known. You could, for example, visualise yourself being enfolded by each chakra - or each chakra becoming a tangle of Shaktis (or Shivas - or indeed both) with which you become
drawn into the myriad permutations of divine and erotic orgia. It might be useful to retain some level of the orthodox symbolism of each chakra in structuring visions imagine for example, what Ganesha might get up to with his trunk! I would suggest the dream-like sequences in some of the works of Angela Carter (in particular, The Infernal Desire Machines of Dr. Hoffman) or the "phallic garden" sequence in William S. Burroughs’ novel, The Wild Boys might provide sources of imagery for ‘fleshing out’ such meditations. For a magical retirement, one idea would be to take a day (week, month even) to concentrate on each chakra in turn, using whatever forms of sensual stimulation appropriate to create an atmosphere of erotic languor. I would also suggest, particularly if one is working with a partner or three, that one does not restrict any one chakra to the bodily region that they are commonly associated with. Let your whole body become that chakra and let the sensation flood through you. The benefits of this kind of meditation include enhanced bodily awareness and sensitivity. This is particularly useful in widening the erotic sensitivity of the flesh beyond the primary and secondary erogenous zones. Further, the deep relaxation and lassitude induced by this kind of exercise can be helpful in ‘loosing’ oneself from one’s Kleshas (attachments) - particularly those relating to sexuality, self-love, and bodily awareness. For more details on the erotic aspects of Sri Ramakrishna’s visions, I refer the reader to Jeffrey J. Kripal’s Kali’s Child: The Divine and the Erotic in the Life of Ramakrishna. (University of Chicago Press). A lengthy exposition of the qualities of the different chakras can be found in Arthur Avalon’s classic, The Serpent Power. This work, a translation of the Sat-Cakra-Nirupana Tantra, contains some beautiful lyric passages which one tends to miss if one is only using the oft-quoted ‘lists’ of chakra correspondences which seem to pass from book to book without, as Peter J. Carroll once put it "any intervening thought." Remember that in invocation, nothing succeeds like excess!
The Ganas: Hooligans of Heaven by Ganna Chakra
The Ganas (categories) are the host of spooks, hobgoblins and spirits who accompany Shiva. Some are said to dwell with him on Mount Kailasa, whilst the more fearsome and terrifying Ganas are confined to the cremation grounds. It is told that Uma once asked Lord Shiva why he liked to reside in cremation grounds, which were the abode of demons, jackals, corpses and vultures, when he had so many more beautiful places. Mahesvara replied that he had roamed the world, looking for a pure place to meditate in. Unable to find one, he, out of anger and frustration, he created the terrible pishachas, flesh-eating ghouls and terrible rakshasas, intent on killing people. Out of compassion however, he kept this terrible horde in the cremation ground. As he did not want to live without the bhutas and ganas, he chose to live in a cemetery. When the ghosts stayed with him, they caused no harm. The presence of the terrible Ganas also acted as an honour guard to Shiva and a bar to the impure. Those who feared the awful ghosts and goblins were destined to remain outsiders. Only heroes could be near him in the cremation ground, heroes who had defied death and liberated themselves from passions and fear. These were the true devotees - those who had nothing to fear, who had mastered the onslaught of the multiple categories of threatening powers that were fatal to those who were less than heroes and could not control the frightening phantoms because they had not controlled themselves.
In one sense, the Ganas can be thought of as emanations of Shiva. They are described by Stella Kramrisch in her book The Presence of Shiva as "prognostications or caricatures of possibilities of the human condition." Whilst some of them were created by Shiva, others attained the status of Ganas after being defeated in battle by Shiva.
Myths in which the Ganas appear Ganesha One version of the birth of Ganesha tells of how Ganesha was created by Parvati to act as a dvarlapala - a guardian of her threshold. When Shiva came to his wife's apartments, not only did Ganesha refuse to admit him, he had the audacity to strike Shiva. Shiva ordered his bhutaganas to kill Ganesha. Not only did Ganesha successfully oppose the ganas, he also defeated all the gods who came to their help. With the help of Vishnu's power to create a dazzling illusion, the gods managed to take Ganesha unawares, and struck off his head. Parvati, furious at this, began to fight Shiva herself. Eventually, Paravti agreed to make peace, on the condition that her son was restored to life. Shiva agreed and ordered the devatas to travel north and bring back the head of the first animal they came across - which happened to be the head of an elephant. Thus Ganesha was restored to life and Shiva, impressed at his fighting prowess, made him chief of his troops, the Ganas. Jalandhara In the myth of the Daitya king Jalandhara, Jalandhara sends Rahu with a message to Shiva, demanding that he surrender Parvati to Jalandhara. Shiva was angry at this message, and this anger took the form of a terrible creature which sprang from his brow.
It had the face of a lion, flaming eyes, a body which was dry and rough to the touch, long arms and a tongue which lolled with anger. The creature rushed at Rahu, ready to devour him. Shiva apparently said something along the lines of "we don't shoot the messenger" whereon the gana pleaded to Shiva that it was tortured by hunger. Shiva told the gana that if it was so hungry, it should eat its own flesh. This the gana did, until only its head was left. Shiva, pleased with such devotion, appointed the gana as his door-keeper, ordering that it create terror for all wicked people. Shiva also ordained that the gana be worshipped along with his worship, and gave it the name Kirtimukha. Jalandhara was furious when he heard what had transpired and commanded his army of daityas to beseige Mt. Kailash. A fierce battle broke out between the diatyas and the ganas. But each time that a daitya was killed, it was revived immediately by their preceptor, Shukra. The ganas told Shiva about this and he was furious. A terrible form called Kritya came forth from his mouth. Her calves were as stout as trees and her mouth was huge and deep like a mountain cavern. She rushed upon the battlefield and began to devour the enemy. She was so big and strong that a push from her breasts uprooted trees and the earth split beneath her feet. She picked up Shukra, stuffed him into her vagina, and vanished. When Shukra was seized, the daityas were frightened and were scattered from the battlefield. In another version of the Jalandhara myth, Shukra is swallowed by Shiva himself. Shukra spent hundreds of years wandering round in the belly of Shiva. Finally he resorted to the Yoga of Shiva and, after repetition of a special mantra, asssumed the form of Shiva's semen and emerged out of the god's body through his penis. He bowed to Shiva and Parvati accepted him as her son. Shiva made him a chief among his ganas. Andhaka In a related myth, Andhaka, king of the Daityas, is defeated by Shiva and made into a leader of his ganas. This is however, somewhat complicated by the fact that Andhaka is a son of Shiva & Parvati, born when Parvati, in play, placed her hands over Shiva's eyes. The contact of her hands over his eyes brought forth perspiration, from which was born a terrifying-looking creature. Ungrateful, with a bad temper, blind, deformed, and black in colour. He had hair all over his body, matted locks, and behaved like a madman. Shiva named this being Andhaka and ordered his ganas to guard him. Shiva was later approached by the daitya Hiranyasksha, who performed many penances in order that Shiva grant him the boon of a son. Shiva gave Hiranyaksha Andhaka to be his adopted son. Vishnu, in his form of Varaha the Boar, warred with and finally destroyed Hiranyaksha, crowning Andhaka as chief of the daityas. Descriptions of the Ganas vary from the wholly abstract – representing the fundamental categories of existence, to somewhat negative descriptions of them being deformed, grotesque, dwarfs or night-walking spirits of gross and lustful appetite. It is said they had acquired the capacity to change shapes whenever they liked, could move about invisibly and fly. They flung Shiva's enemies into ravines and dashing them to the ground in their rage. Moreover, they were fond of music and dancing, and occasionally enticed women into their embrace. The Pishachas were often propitiated by people in order that they spare children from their attentions. In some myths, Skanda was originally reckoned as among the Pishacha hosts.
However, it was also deemed possible for human beings to become Ganas. From Indian Witchcraft by R.N Saletore comes a description of the ganas: "...a princess Rupinika was advised how to look like a Gana. She had to shave her head with a razor in such a manner that five locks were to be left, then she was to wear a necklace around her neck of skulls and stripping off her clothes, paint one side of her body with lamp-black and the other with red lead so that in this way she could resemble a Gana and find it easy to gain admission into heaven." In her book Shiva, Shakti M. Gupta provides a long description of the ritual of Mahashivaratri - the Festival of Repentance, which falls on the 14th night of the New Moon, during the dark half of the lunar month of Phalguna. It is said that one who performs this sacrifice successfully, with all the rituals & rules laid down, obtains his most cherished desires, achieves liberation, and is accepted as one of Shiva's Ganas dwelling on Mt. Kailas. The image of Shiva in the cremation-ground, surrounded by ganas, ghosts, goblins and ghouls, offers a paradigm for his devotees, and the sadhana (practice) associated with the cremation-ground is highly prevalent in Tantra. In essence, the heroic devotee, by practising the rites of the cremation-ground, emulates Shiva and becomes one of his family of ganas or becomes Shiva and is lord of his or her own categories. In some regions of India, the Nathas are identified with the hosts of Ganas. Alain Daniélou, in Gods of Love and Ecstasy likens the Ganas to both the Greek Korybantes (supernatural followers of Dionysus) and the Celtic Korrigans (fairies' sons) or the Wild Hunt. He notes that the followers of the god tend to identify themselves with his heavenly companions and to imitate their behaviour. In ancient Greece, the Korybantes were imitated by the Kouretes. Danielou notes that the practitioners of the ecstatic rites of Shiva were called bhaktas - which he translates as "participants" and says there is no difference in concept or practice between the Dionysiac bacchantes and the Shivaite bhaktas. He notes that a hymn in the Rig Veda describes the mad ones who are wild and naked, having drunk from Rudra's cup. According to Danielou, the Ganas mock the rules of ethics and social order - they personify the joys of living, courage and imagination. "These delinquents of heaven are always there to restore true values and to assist the "god-mad" who are persecuted and mocked by the powerful. They personify everything which is feared by and displeases bourgeois society..."
Notes for Magical Work It is interesting to note how many ganas etc., are born out of the anger or rage of the gods. The myths of the creation of Kali or Durga would be apposite examples also. The name Rudra - the primal form of Shiva - means to howl or cry out. These manifestations are spontaneous, rather than willed acts of creation on the part of Shiva. Kramrisch notes that the anger of Shiva was a ‘creative component of his samadhi.’ The premise which we have chosen to work from initially, is that Shiva as the archetypal Yogi-magician has not repressed or willed his desire-forms into silence - he manifests them spontaneously, regards them as separate beings, and acknowledges them, as can be seen in the case of the Gana Kirtimukha, above.
This suggests ideas for working with our own complexes of desire-forms/demons - i.e. to allow them free reign, grant them name & form, acknowledge them as born of us rather than trying to banish or suppress. This I feel is rather like saying "yes I am jealous, paranoid, stupid, mistaken etc., sometimes - these are true parts of me" rather than trying to cling to some idealised view of self or what self should be. This approach can be viewed as part of the sadhana of Klesha-smashing.
Hail to the Mother of Contentment by Phil Hine, 2005
She is called Santoshi Ma, the Mother of Contentment. Dadaji, The Star Path I first came across a reference to Santoshi Ma as a colour postcard in issue 25 of Azoth magazine, and I was inspired to 'work' with her as part of a sadhana using the Major Arcana of the Tarot which I later used as the basis of a freeform pathworking at a public workshop. At the time, I assumed that Santoshi was one of the many Hindu devis I had not come across before, and it was only later that I discovered that she was considered by some to be a 'new' addition to the company of devis and devas. Santoshi seems to have 'emerged' (if that's the right word) between the mid-1950s & early 1960s. According to art historian Michael Brand, five temples to Santoshi Ma were dedicated at seperate sites in North India in the early 1960s. Brand notes that the 'cult' of Santoshi Ma spread through word of mouth, poster art and puja pamphlets. It has also been claimed that it was filmaker Vijay Sharma's wife who encouraged him to spread the message of the goddess through film, following her own pilgrimage to a Santoshi Ma temple in Jodhpur. I have seen a couple of unsubstantiated references to Santoshi Ma being known as early as the 15th century, but have so far been unable to substantiate this. Certainly Santoshi Ma occurs as an epithet of Lalita in Sri Vidya texts
such as the Five Limbs of Bala (part of the larger Devirahasya Tantra - see www.shivashakti.com).
Jai Santoshi Ma Santoshi Ma shot from relative obscurity to stardom virtually overnight due to a highlysuccessful film made in 1975. The film Jai Santoshi Ma ("Hail to the Mother of Satisfaction") did not feature any Indian film stars, and was considered low-budget in terms of set design and special effects. Philip Lutgendorf (Who Wants to be a Goddess?: Jai Santoshi Ma Revisited) characterises the film as belonging to the mythological genre of Indian film, a genre which, by the 1970s, was generally considered to be 'downmarket' and not of interest to sophisticated audiences. Unlike the other hit films of that year, the plot was dominated by female characters. Yet Jai Santoshi Ma became a runaway hit, packing audiences in cinemas both in the major cities and provincial towns alike. Audiences treated the screenings as events of religious devotion. Stanley Kurtz (All the Mothers Are One: Hindu India and the Cultural Reshaping of Psychoanalysis) notes that during showings of Jai Santoshi Ma: ''the theater is transformed into a kind of temple, and the act of seeing the film is often taken as an act of worship.'' Kurtz does point out that the commerciality of the cinema means that it may be regarded as a 'less pure' form of worship. He also notes that Santoshi is not considered to be 'new' by devotees, and that she is equated with other Hindu goddesses such as Durga or Lakshmi. The film begins with the birth of Santoshi Ma in the world of the gods (more of which later), and shifts to introduce the maiden Satyavati, Santoshi Ma's most fervent devotee, leading a group of women in a ceremony of praise to the goddess. Through Santoshi Ma's grace, Satyavati marries the handsome Birju, the youngest of seven brothers. But through the marriage, Satyavati comes under the baleful influence of two of Birju's six sisters-in-law, Durga and Maya. To complicate matters further, the sage Narada stirs up the jealousy of Lakshmi, Parvati and Sarasvati against the 'upstart' Santoshi Ma, who conspire to demonstrate that worship of Santoshi Ma is worthless by making life difficult for Satyavati. After a row with his relatives, Birju leaves home in order to seek his fortune. The jealous goddesses cause his ship to be lost at sea, and it is only through Santoshi Ma's intervention that he escapes drowning. Nevertheless, Parvati et al convince his family that he is dead, and Satyavati becomes a widow - treated as a slave by the sisters-in-law and subjected to various indignities. In answer to her pleas, Santoshi Ma manifests in human form and rescues Satyavati several times. Satyavati thinks of suicide, but Narada appears and tells her about the sixteen-Fridays ritual in honour of Santoshi Ma, which can grant any desire. Satyavati undertakes the ritual (with yet more difficulties) and Birju returns to her, laden with wealth, building a palatial home with a Santoshi Ma temple within it. The couple's human and divine foes make one last attempt to ruin Satyavati by squeezing lime juice into the food prepared for Satyavati's udyapan (festival of completion following the granting of her wish) Santoshi Ma's wrath falls upon the sisters-in-law and their sons who eat the tainted food are struck dead. Birju's
kin naturally blame Satyavati for this, and she implores Santoshi Ma - by the invocation of the bond between devi and devotee, to right all wrongs. The goddess manifests, and lifts her curse on the sisters & restores their sons to life. Meanwhile, in heaven, Narada leads Parvati, Lakshmi and Sarasvati to take refuge at the feet of Santoshi Ma. The three say that they were merely testing Satyavati's devotion, and Parvati acknowledges that Santoshi is her granddaughter. FInally, Santoshi Ma is elevated on her lotus throne, flanked by the goddesses and their husbands, and by her father, Ganesha. Narada solicits from the assembled devas a benediction: Now all of you give a blessing to Goddess Santoshi so that her name too, like yours, will live eternally. Drawing on an observation made by sociologist Veena Das (Shakti versus Sati: A Reading of the Santoshi Ma Cult), that Santoshi Ma has particular appeal to lower-class urban women seeking respite from the everday tensions of existence through devotion to a goddess who is gentle, benevolent and dependable, Lutgendorf explains Santoshi's appeal in relation to her being the daughter of Ganesha. 'Santoshi' has connotations relating to satisfaction, contentment and fulfillment. Thus, like Ganesha, she is primarily oriented towards the devotee's worldly endeavours - emotional contentment, wealth, happiness, health - rather than spiritual liberation or salvation. Santoshi Ma's association with the worldly needs of her devotees is reflected in the following litany: Glory, all glory to you, O Primordial Power, worshipped in every age. Devotion to you is now a universal phenomenon. Without a beginning a middle and as you are, your movements and activities are mysterious and incomprehensible. Selfless and unblemished regard shown to you pleases you most; a trifling faith in you is enough to satisfy you. Although you are bright as fire and visible, you are called Santoshi in this Kali age. To you we owe the arts, knowledge, strength and learning for there is no foster-mother as simple and comforting as you; and to you owes everything, moving and unmoving, its existence; but you are a big terror to ghosts, fiends and Death's messengers. While you kill and destroy the wicked, you sustain and uphold the universe. As Saraswati, Lakshmi and Kali you are a mysterious and unique reservoir of immeasurable power. Whosoever seeks your protection, finds all his desires fulfilled. You are the virgin mother of Ganesha and it is you who made the earth a supremely favoured place. O Mother, you are the daughter of Riddhi and Siddhi, the two most munificent bestowers of propitious boons and embody the triple wisdom of Brahma, Vishnu and Mahesha. On your head is a beautiful golden coronet studded with a cluster of splendid jewels; your soft, tender face possesses the beauty of mingled sweetness and charm aided by a beautiful wreath of flowers and a lock of black hair. Your young divine body decked out with ornaments, looks elegant in its red ochre as does the wreath of your beautiful garments which bewitch the minds of all who behold them. Bow to the four-armed goddess who holds a lotus and a conch-shell in tow of her hands. In front of her is a flagon filled with nectar and beside her the much coveted cow of plenty. Before you is kept a golden pitcher for blessing the devotees with good fortune. O Mother, age does not wither him nor Death kill the person whom you bless with disinterested love and devotion. I bow to you again and again, O deliverer of the world and entreat you to be so good a mother as to relieve me of my penury and misery. Fridays are all favorable to you for
the observance of Santoshi's Vrata-the vow kept in honor of you; it is the root of all blessings. Let the devotee worship the Mother in as many ways as possible and listen to the story of her miraculous acts; let him offer her jaggery and non-fried gram and forgo one meal. He should be particularly careful not to offer nor taste anything sour. Failure to observe this rule so enrages the Mother that she, in her fury, destroys the family of the transgressor. Continuously for sixteen Fridays should the vrata be observed and with great pomp and ceremony must it close. If these instructions are followed, every desire of the devotee will be fulfilled without delay. Endowed with miraculous powers, the wonderful goddess relieves her votaries of their anxieties and sufferings in trice. Whosoever is blessed by the compassionate mother becomes invincible. She doles out wealth, knowledge, happiness and peace to her supplicants for she is the harbinger of a new awakening (renewed vitality) in this age. I am convinced that there is none in the three spheres comparable to her in might and compassion. A poor helpless housewife, bereaved of her husband was extremely distraught and was so unlucky that she has a coconut shell from which she drank water and eased her hunger by eating bread made of husks and chaff. When she observed the vow consecrated to Santoshi, she was blessed with prosperity and her husband was restored to her. O Mother, you are the gracious donor of the eight accomplishments and nine treasures; I supplicate you to relieve me of my worries and sufferings. He who observes fast enjoys both wealth and happiness. Your glory, which permeates all space, beggars description. Maidens if chaste and devoted to you, get husbands of their choice and married women if faithful and virtuous receive the boon of lasting coverture. Consider it a indubitable truth that devotion to Santoshi leads to the fulfillment of all desires and yields happiness, prosperity and a large family. He who repeats this hymn a hundred and twenty-five times is relieved of all his afflictions and is blessed with great felicity and riches. Santoshi, a veritable embodiment of miraculous feats, is the dispeller of all crises and obstructions caused by evil stars. I entreat her to fulfill my cherished hopes. As far as I am aware, Santoshi Ma is an Saptasindhavah ("independent") goddess - i.e. she is not portrayed with a male consort, a common feature of many Indian goddesses, such as Durga, Sitala and the ten Mahavidyas. The litany establishes her as a primordial goddess, and though it does not explicitly state that she performs the triple functions of creation-maintenance-destruction, I feel nevertheless that the implication is there. Madhu Kishwar (Traditional Female Moral Examplars in India) points out that Santoshi Ma, does not 'establish herself' through defeating demons or coming to the aid of the gods as in the case of goddesses such as Durga or Lalita, but comes to the aid of her devotees against harassment by other human beings.
Vow Stories Lutgendorf locates the worship of Santoshi Ma as belonging to the Vrata ("vow") tradition which is sometimes described as a form of 'folk' worship that developed in
parallel to the mainstream sacrificial and ascetic practices, and which has, historically, been primarily an oral tradition. According to Pupul Jayakar, (The Earth Mother) the vrata tradition has its roots in the Arthava Veda, although many vratas have been influenced by Brahmanic orthodoxy particularly those that relate to the duties and obligations of women. Jakayar believes that the vrata kathas are a later addition to what was originally a magical tradition involving mantra, ritual, and yantra. Dr. Robert Svoboda, in an article entitled Family vows notes that vrata katha ("vow stories") can take the form of traditional tales from the Vedas or the Puranas, or folktales handed down by families. According to Svoboda, most vratas have tales attached to them, and part of the vrata worship is that the tale is told with devotion and sincerity, and that a vow tales' content is less important to its effect than is the sincerity and fervour with which it is told. Vratas can take many forms, such as fasting, only eating certain foodstuffs, or avoiding particular substances. Santoshi Ma's vrata is observed on a series of Fridays - the film specified a period of 16 weeks for example(1)- or until one's desire is granted. Santoshi Puja involves worshipping an image of Santoshi Ma with flowers and offering her raw sugar and roasted chickpeas and a recitation of the vrat story. Lutgendorf says that these food offerings underscore Santoshi's benevolent character and her accessibility to poor devotees. Following the puja, the foodstuffs may be offered to a cow or distributed as the goddess' prasad. The worship also contains the discipline that the devotee should eat only one meal during the day, and should not eat or offer bitter or sour foods to anyone else. When the devotee's desire is granted by the devi, the devotee should perform a ritual of thanksgiving and serve a festive meal (of sweet foods) to eight boys. Lutgendorf summarises Santoshi's vrata katha as follows: An old woman's seven sons were all hardworking except the youngest, who was irresponsible; hence his mother served him each night, without his knowledge, the leavings of his brothers dinners, food that was jutha or polluted. His wife became aware of this and told him; horrified, he left home to seek his fortune. He found work with a wealthy merchant and became prosperous, but forgot about his wife. Years went by and the abandoned wife was abused by her in-laws, forced to cut wood in the forest, and given only bread made of chaff and water served in a coconut shell. One day she saw a group of women worshiping Santoshi Ma; they told her about the sixteen-week vrat that fulfills wishes. The wife successfully performed it, wishing for her husband's return. As a result, Santoshi Ma appeared to him in a dream and told him of his wife's plight. By her grace, the husband quickly closed his business and returned home with great wealth. Angry at his wife's mistreatment, he set up his own household, where his wife conducted the udyapan ceremony. But his in-laws contrived to have sour food served to the eight boys, offending the goddess; as a result the husband was imprisoned for taxevasion. His wife prayed for forgiveness and performed the vrat and udyapan a second time, successfully. Her husband was released from prison and she soon gave birth to a handsome son. Later, Santoshi Ma paid a visit to the family, assuming a fearsome form. The couple's in-laws fled in terror, but the pious wife recognized her patron goddess and worshiped her. Her in-laws then begged for forgiveness, and the whole family received
the goddess's blessing. As Santoshi Ma gave to this daughter-in-law, so she will give to all. The film Jai Santoshi Ma is loosely based on this vrata katha. An early scene in Jai Santoshi Ma shows the birth of the Goddess. Ganesha and his family(2) are celebrating the festival of Rakhi (which involves sisters honouring their brothers). Ganesha's sons are pleading with him to give them a sister when the sage Narada appears, and reminds Ganesha that the fulfiller of wishes should not disappoint his own sons. Ganesha is initially displeased, but after more pleading (his wives and his sister Manasa(3) join in) he makes the boon-giving gesture and flames leap from the breasts of his wives where they take the shape of a young girl. Narada says: This mindborn daughter of Lord Ganesh will always fulfill everyone's desires, will cause the Ganges of gratification to flow, and known by the name of 'Mother of Satisfaction', will promote the wellbeing of the whole world. Hail Santoshi Ma! This mind-borne birth narrative, Lutgendorf notes, is not untypical of the praising of deities through their lila (play) - which stresses their human-like qualities - and exists alongside of the formal worship and philosophical of deities which emphasises their greatness and otherness. Other elements of Jai Santoshi Ma which reflect characteristic Indian religious practice are its use of music and gaze. In the film, the heroine Satya sings praises to Santoshi Ma and music becomes the 'place' where devotee and devi meet. In response to Satya's musical praise, Santoshi Ma manifests on earth to assist her devotee with her misfortunes. For example, when Satya's husband, Birju, is lost at sea, she implores the goddess: I am caught in midstream / Steer my boat ashore / Change the course of my destiny / Perform this miracle / If you so desire it, I can be saved. Lutgendorf, in his analysis of Jai Santoshi Ma, highlights the way that the film makes use of the experience of darshan - of seeing and being seen by the goddess: ''The camera repeatedly zooms in on Satyavati's face and eyes, then offers a comparable point-of-view zoom shot of the goddess as Satyavati sees her. Finally, it offers a shotreverse shot from a position just over the goddess's shoulder, thus approximating (though not directly assuming) Santoshi Ma's perspective, and closing the darshanic loop by showing us Satyavati and the other worshipers more or less as She sees them.'' Contemporary Santoshi Ma devotion also features possession oracles (usually female) known as Kalasis ("helpers"?). See Possession oracles of Santoshi
Notes 1. Sixteen is an auspicious number often related to the Mahadevi, particularly within the Sri Vidya tradition. For example, the sixteen-petal arvana of the Sri Yantra is inhabited by the sixteen nitya ('eternal') kalas and is known as 'the fulfiller of all desires'.
2. Ganesha's family, in this narrative, consists of his wives Riddhi - prosperity & Siddhi - success, and his sons Kshema - health and Labha - fortune). 3. Manasa is an ancient Bengali snake-goddess, sometimes said to be mind-born of Rudra, or the 'untouchable' daughter of Shiva. She is sometimes associated with the waters of Mount Kailasa, the abode of Shiva. She is commonly worshipped in order to prevent snakebites, and it is believed that disrespect to her will lead to the person so doing being killed by a snake.
In what sense are the Upanishads associated with 'esoteric knowledge'? by Nandi Virakanath In approaching the question of the esoteric nature of the Upanishads I intend to give a brief explanation of the meaning of the word Upanishad and to place the Upanishads within their context as part of the Vedas. I will then move on to discuss issues surrounding the authorship of the Upanishads and the social context within which they arose especially with reference to the Srmana or renounciant movements that took place between 800-400BCE a time contemporary with the composition of the Upanishads ( sometime between 600-300BCE.) Then I will be looking at new ideas the Upanishads introduce into the Vedas. I shall briefly discuss the esoteric concept of correspondences and the internalisation of the ritual, followed by an exploration of the central concept of Brahman and atman. I will then focus on the idea of rebirth and karma as they first appear in the Brhadanyaka Upanishad before moving on to my conclusion. The word Upanishad literally means 'to sit near' and is derived from the Sanskrit roots upa, near ni, down and sad, to sit. The association is of groups of students sitting around a wise teacher in order to here spiritual truths. This in itself implies a certain sense of something esoteric which is passed from teacher to student. An alternative meaning is it is itself a word which means 'connection' or 'equivalence', from the word bandhu which means kin. This idea of correspondences is itself a central plank of esoteric thought as I shall explore below. The Upanishads are a part of the collection of texts referred to as the Vedas. They appear as the final part of the Vedic collection and are often refered to as Vedanta which literally means coming at the end of the Veda. Although there are a wide variety and number of texts within the broad Hindu tradition which are refered to as Upanishads, there are fourteen major texts that are more or less closely incorporated into the Veda. This collection of early Upanishads are the texts which I will be referring to as Upanishads throughout this essay. There are four collections of Vedas: Rgveda, Yajurveda (which itself has two sub divisions the Black and the White), Samaveda and the Atharthaveda. In General each of these collections is divided into four categories: Samitas, which are ritual/ liturgical texts, concerned mainly with the ritual formulas which are to be performed by the priests; Bramanas, explanatory material relating to the Samitas; Aranyakas, ritual texts for forest hermits which also contain commentaries on the Samitas and Bramanas and
the Upanishads which are also commentaries upon the Samitas and the Brahmanas. There is not necessarily a clear distinction between the Aranyakas and the Upanishads. In many places they blend into each other. The Upanishads are however later than the Aranyakas and generally place metaphysical and cosmological questions to a more central position. In general the Vedic rituals and commentaries within the first two divisions are concerned with gaining rewards in this life. Vedic rites in the early period where based around the idea of a ritual sacrifice, as Gombrich has pointed out: 'The early parts of the Rg Veda offer no evidence that at the beginning there was any elaborate theory of the sacrifice: it was a matter of giving things to the gods and getting sons, cattle and long life in return.' On the other hand the Upanishads, and to a lesser degree the Aranyakas, begin to raise questions of a more 'transcendental' nature. They are concerned primarily with understanding the existential questions relating to life and death, and ultimately with the attainment of spiritual knowledge rather than with ritual action. In examining the Upanishads however it is I feel important to point out that they do not represent one single unified theory or approach to the religious problems they address. They are texts written over a period of several centuries across a wide variety of regions. Further more even within the collections of the early Upanishads there is a distinct movement from pantheistic monism through monism to monotheism. This is not necessarily a linear progression however. Rather than one set of ideas superseding the next they seem to interact and overlap in a wide variety of ways. The Upanishads present many new ideas into the Indian religious milieu. The content of the Upanishads and the nature of the ideas they present will be examined below. First however I would like to look at how these texts and the ideas they contain arose. Issues of the authorship of the Upanishads are difficult to establish as they are anonymous documents. Furthermore the earliest Upanishads are compilations of texts that may have had an earlier independent existence and where compiled by a series of editors. If we look to the internal evidence of the Upanishads for authorship then many references to kings and other members of the Ksatriya (warrior) class appear. Indeed Brockington argues that the passages containing the greatest innovations are those associated with the Ksatriyas. On the surface therefore it is possible to assume that the ideas exposed in the Upanishads are those of the Ksatriyas, however as Olivelle points out the relationship between the Brahmins and the Ksatriyas was extremely complex, with both groups being dependent upon each other and simultaneously in conflict with each other for social influence. It may well be the case that some Brahmins put forward the ideas contained within the Upanishads but disguised the authorship by putting words into the mouths of Ksatriyas . On this basis then the new ideas which appear within the Upanishads may have arisen from within the Brahmanical tradition. Indeed this idea has been put forward by Heesterman in his 'orthogenetic theory' which suggests a gradual development of thought within Vedic culture.
Another idea which has been put forward is that the 'new' ideas of the Upanishads have non-Vedic origins and in fact represent a totally new development that may have initially challenged Vedic orthodoxy. Indeed Bronkhorst has argued this point and puts great emphasis on the Srmana (renouncer)tradition as having it's roots outside of the Brahmanical Orthodoxy. These Srmana traditions are of two kinds orthodox (astika) and heterodox (nastika). The heterodox movements rejected Brahmanical and Vedic authority completely. These movements include Buddhism, Jainism and the Aryajivikas, it is possible that there where many more similar movements at the time which were not so successful and so have left no mark, indeed the Aryajivikas have not survived into the present time at all. These new religions where closely associated with the Ksatriyas and Romill Tharpa points out that the heterodox and the orthodox movements where mutually hostile. Olivelle however presents a third position,. He argues that the development of these new ideas comes about as a result of changes within the Brahmin community and arises due to a conflict between those who continue to support the sacrifice and those who are moving in the direction of support for the idea of renunciation and the ideas that go along with it. He sees the movement which gave rise to new religious ideas as being '...either non-Aryan or even non-Brahmanical.' The growing trend towards renunciation, represented by the Srmana movements and the new ideas they where developing happened at a time contemporus with the composition of the early Upanishads. It has been argued that these movements represent a turn within society away from the early Vedic religion of a predominantly agrarian society and arise at a time of increased urbanisation and trade. Developments which themselves inevitably lead to a large increase in the movement of people, allowing more cross fertilisation of ideas, along with an increased sense of individuality and individual freedom. As Ollivelle says: 'What is important, however, is not whether a particular doctrine originated among the Ksatriyas, but that the new religious climate in northern India, of which the Upanishads were a part, was created through the intellectual interaction among 'new thinkers' within both groups.' So what are the new ideas presented within the Upanishads? As has already been pointed out above the Upanishads form part of the Vedas, as such they are regarded as orthodox (astika). Whilst Brahminism rejects the Srmana traditions the Upanishads elaborate ideas that are very close to those of the heterodox movements. These ideas as Gombrich points out are ones which today are commonly excepted as part and parcel of Hinduism . They are rebirth, karma and liberation (moksha). There are also two more ideas that are found within the Upanishads which have great bearing on how it is possible to think of the Upanishads as esoteric texts, these are the internalisation of the ritual and the concept of Brahman and Atman. The Brahmanas and Aranyakas aim to interpret the meaning of the Vedic rituals. These texts become increasingly concerned with the importance of the knowledge of correspondences based on the ritual actions. The knowledge of the correspondences seem to take greater precedence over the ritual actions. The Brahmanas maintained that knowledge of the correspondences between the cosmos and the ritual is a source of power. This knowledge however is hidden and so is not available to ordinary people.
Whilst the Brahmanas and the Aranyakas are concerned with the correspondences between the ritual and cosmic spheres, the Upanishads shift the emphasis to the person, the correspondences sought are now interpreted as being between the cosmic reality and the parts of the human organism. It is this search for secret hidden correspondences which is one of the features that make the Upanishads esoteric. Only that which is carried out with this knowledge is powerful: 'Those who know this and those who do not both perform these rites using this syllable. But knowledge and ignorance are two very different things. Only what is performed with knowledge, with faith, and with an awareness of the hidden connections (upanishad) becomes truly potent.' Furthermore it seems that many of these correspondences are established through a process of phonetic similarities between two words within the Sanskrit language, or two words that have the same number of syllables. Internalisation of the ritual is the way in which the Upanishads realise this idea of human/cosmic correspondence. By identifying aspects of the ritual practice to both the human being and the cosmos the Upanishads point to an underlying principle that is the essence of the ritual, the cosmos and the self. This essence is called Brahman. As Olivelle points out the Brahman principle is not easy to pin down and in translation and discussion of the Upanishads the Sanskrit word is often kept as it is difficult to translate, indeed it has a number of meanings. In the earliest Upanishads the Brahman principle is identified variously from a materialistic point of view as either food or breath or both. From this early speculation however Brahman comes to be seen as the inner essence of the world and the world as manifesting from Brahman. Brahman therefore is the ultimate reality. If the Brahman is the essence in the world then this essence must also appear in man. This essence is the atman. Atman while having many meanings within the Upanishads can broadly be identified with the 'self'. For the early Upanishadic thinkers then the aim is to realise the self (Brahman) in the self (atman), the macrocosm and the microcosm are identified as one: 'In the beginning this world was only brahman, and it knew only itself (atman), thinking: 'I am brahman.' As a result, it became the Whole. Among the gods, likewise, whosoever realized this, only they became the Whole. It was the same also among the seers and among the humans. Upon seeing this very point, the seer Vamadeva proclaimed: 'I was Manu, and I was the sun.' This is true even now. If a man knows 'I am brahman' in this way, he becomes this whole world. Not even the gods are able to prevent it, for he becomes their very self (atman). So when a man venerates another deity, thinking, 'he is one, and I am another', he does not understand.' This realisation of the self leads to liberation (moksha) one of the central ideas that arises around the same time as the composition of the Upanishads in the Srmana traditions. Whilst these traditions disagreed on points of doctrine and practice they all accepted the basic idea that the world is suffering (duhka) and that the only way out of this suffering is through liberation (moksha). This liberation is a form of gnosis or direct
spiritual knowledge (jnana). For the Upanishads this gnosis is the realisation of the unity of atman and Brahman. The world however is not just suffering, it is the constant repetition of suffering an endless cycle of birth and death (samsara) .Within this cycle our actions determine the type of rewards we will reap in the next life and the actions of our last life are influencing us in this life. This in essence is the doctrine of Karma. It is unclear if the doctrine of Karma originally comes from within the Srmana traditions, both Buddhism and Jainism have developed sophisticated ideas about karma and the transmigration of the self from one life to another, or emerged from with in the earlier Vedic texts. Gombrich points out that the term karman was used as a term for a religious act. In Brahmanical literature it refers specifically to significant acts, especially rituals. Therefor ethe idea of causality, inherent within the early Brahmanical idea of the sacrifice, may easily have been widened to include certain moral qualities and applied to the new modes of thought within the Upanishads. Another possibility is that the transmigration theory may have it's roots in the tribal religions of the Ganges valley or in the Dravidian culture of south India. The one thing that does seem fairly certain is that the earliest textual mention of the law of karma appears in Brihadaranyaka Upanishad. Here is also another point where the Upanishads are esoteric. Artabhaga after questioning the sage Yajnavalkya about the fate of someone after death, is lead away by Yajnavalka and told the secret of karma in a secluded place: Yajnavalkya replied: 'my friend we cannot talk about this in public. Take my hand , Artabhaga lets go and discuss this in private.' So they left and talked about it. And what did they talk about?- they talked about nothing but action. And what did they praise? - they praised nothing but action. Yalnavalkya told him: ' a man turns into something good by good action and into something bad through bad action.'Thereupon, Jaratkarava Artabhaga fell silent.' Here it appears that Yalnavalkya cannot publicly tell Artabhaga about the law of Karma, and when the later finally hears this teaching he is lost for words. This information is clearly secret and only to be shared amongst a few. In conclusion then it is possible to see that the Upanishads have developed at a time of great cultural upheaval. Within this period it has been necessary to develop ideas that have religious significance and meaning for people finding themselves in a new situation. Within this context there are a variety of movements which are challenging the established order of the Brahmins, and the beginnings of a number of new religious movements. Within this context, a number of Brahmins, perhaps interacting with nonAryan trends, may have began to question the validity of the ritual sacrifice and in trying to answer the new religious questions they are faced with (and possibly in light of religious experiences) begin to develop a world view sees the sacrifice as symbolic of a greater truth. The truth of Brahman a universal essence which permeates every thing in the world. In trying to return to this original state the emphasis shifts from ritual action to knowledge and indeed gnosis as a path towards the realisation of the truth. The world now seen as a fetter, is a constant source of suffering to be escaped from. This ideas are
original kept secret and circulated only amongst a few people until they are formulated into the text that are now known as the Upanishads.
Kundalini: a personal approach by Phil Hine I am the flame that burns in every heart of man, and in the core of every star. I am Life, and the giver of Life; yet therefore is the knowledge of me the knowledge of Death. AL II: 6
1. Introduction The Awakening of the Kundalini or Fire-Snake is a central feature of contemporary Magick, which has assimilated the concept from its original Tantric source. Although the concept of Kundalini was first introduced to Western occultists by Theosophists such as Alice Bailey and C.W. Leadbeater, it took the more detailed writings of Arthur Avalon and Aleister Crowley to launch significant numbers of Western occultists in search of this experience. It was Crowley in particular who provided a synthesis of Western and Eastern magical practices, and left for future occultists an integrated approach towards Kundalini experience, identifying it as the central 'magical power' in the human organism. Crowley's (enthusiastic) experiments with both drugs and sexual magick were a far cry from the "spiritual asceticism" expounded by many of his contemporaries. While "spirituality" was generally seen in terms of philosophies that reject the bodily or somatic experience, Crowley laid the foundations of a Western approach to development which integrated both the psychic and somatic areas of experience. It was not until the 1960's, and the arrival of the "Psychedelic Era" that such an approach received widespread (and serious) attention. The 1960's ushered in the beginnings of what Timothy Leary terms "hedonic technology" - the discovery of pleasure over restriction via drugs, sexuality, dance, music, massage, yoga and diet. The "Psychedelic Era" also brought with it a great "Occult Revival", with particular interest in hedonistically-orientated magick, such as Tantra and Crowley’s cult of Thelema. Out of this explosion in consciousness came the developments in magical thought and practice of the 1970's, particularly Kenneth Grant's exposition of Crowley, Tantric doctrine and the works of Austin Osman Spare. Thelemically-oriented magazines such as SOThIS, Agape and The New Equinox provided focal points for the evolution of magical techniques and considerations. Awareness of the physiological nature of intense states of consciousness was growing, and magick was increasingly becoming viewed as an approach to development that integrated both inner, mental experience and bodily awareness. The placing of "potentia" was within the individual rather than any external power. Since the 1960's, The "awakening" of Kundalini has become an experience that many Westerners seek. Magick is one of the major routes, yoga another, also ecstatic cults presided over by various gurus. There is a great deal of Information written on the
subject, ranging from extremely technical writers such as Kenneth Grant, to popular works on Kundalini-Yoga and Tantrik-derived sex-manuals. Like many other occult subjects, there are now many books written "from the armchair", where a writer perpetuates a particular view of a subject, rather than writing from direct experience. This has led to much confusion and misconception concerning the whole nature of Kundalini and its attendant experience. The power of the experience to transform consciousness in varying degrees seems to be almost universally recognised, but some writers warn against practising Kundalini-yoga, whilst others give the impression that little more is required than a few basic yoga asanas, and a willing partner of the (usually) opposite sex. Is your Kundalini rising or are you just pleased to see me?
2. Personal Experience So what is meant by the term Kundalini experience? Kundalini is a Sanskrit word that can be translated as "coiled up". Kundalini is represented in many Tantrik illustrations as a sleeping serpent, coiled 3½ times, at the base of the spinal cord. The popular view of Kundalini is that it is a dormant power that lies waiting to be unleashed, by means of various practices. The "serpent power", once awakened, is coaxed up the central channel of the spine, entering the chakras (psychic energy centres) until it reaches the Crown chakra - and the yogi achieves "illumination". Sounds straightforward doesn't it? But the Kundalini experience is a much more complex phenomenon. There seems to be no general consensus view of Kundalini, once one begins to delve into the subject. Western scientists and Eastern mystics, ancient sages and modern researchers - all have produced widely-varying explanations of what Kundalini is all about. As with any other kind of "occult" experience, the most useful way to proceed is from personal experience; and for Kundalini - direct experience of it changed my attitude towards it (and many other things besides) and set me on the track of finding my own answers. When I first encountered the subject of Kundalini, in the writings of Kenneth Grant and Gopi Krishna, I developed the misconception that this was something to definitely avoid until I was "more advanced" as regards magical and yoga abilities. So what happened? I had a Kundalini experience. Shock-Horror! It came following a long period of Bhaktiyoga upon the goddess Kali, which culminated in a vivid "death-rebirth" vision of being burned alive on a stone slab, then being remade anew. The Kundalini experience occurred seven days later. I had been experiencing acute discomfort all day, without being able to pinpoint any particular source. In the evening, I was meditating with the Priestess Raven. Suddenly I experienced what I can only describe as a fit - muscles went into spasm, my teeth began chattering, I felt hot and cold flushes, and, with spine arching backwards, began to hyperventilate. Raven held me down and helped me to relax and "go with it". The "fit" lasted for about twenty minutes, and as it faded I felt quite weak and dizzy. Raven, a qualified yoga teacher with over 20 years of experience in Hatha and Raja yoga, remarked that she thought it was "the Serpent beginning to shift".
This occurrence was abrupt, extremely physical , and beyond my conscious volition. All the preconceptions I had about Kundalini (and about being in control of experience) were suddenly shattered. Underneath all the confusion though, there was an intuitive certainty that what was happening was "right". Over the next 28 days, both the Priestess Raven and I experienced "acute" Kundalini activity - characterised by muscular spasms around the base of the spine, euphoria, outof-the-body experiences and hallucinations. Here is a report of one of the most disorientating experiences (5/10/84, beginning approx. 11.30 pm): It began as a scream in my head - "Kali's scream" - I thought. It echoed on and on, for what seemed like forever, until I no longer heard it but felt it and saw it - a white light which shot down my spine into the base chakra, which opened with a blaze. A cold sensation spread slowly around my body - it felt like each individual nerve was alight. A very "jarring" sense of dissociation built up. When I closed my eyes, this rapidly became a sensation of whirling at high speed, accompanied by swirling patterns of colour. I was soon oblivious of other people in the room, and adopted the lotus asana as the best posture to keep myselt "together". This went on for over an hour." Roughly at the same time, the Priestess Raven experienced a vision of Kali, coupled with a feeling of extreme rage. She "heard" wolves howling, and her cat became terrified of her and would not approach her. Once the acute phase of Kundalini had abated, we then had to try and make some sense of it, which led me to examine Kundalini in a new perspective. The first point to be made is that Kundalini isn't an isolated area of occult experience. Though It is often written about in a way that suggests this. That Kundalini can be "awakened" through a variety of techniques such as yoga, dancing, drumming, Intense devotion (Bhakti), sexual asanas, various meditations and use of psychoactive agents Indicates that it is a core feature of magickal/transformative experience. When I had my first acute Kundalini experience, I hadn't been working for such an event, so it must have been "triggered" by other factors. A close study of tantric texts reveals that Kundalini is, rather than being a dormant "potentia" sleeping until consciously raised, rather a kind of organising priciple that maintains systems in equilibrium at all scales - from the subatomic to the cosmic. In the "Sat-Cakra-Nirupana" text, Kundalini is referred to as the "world-bewilderer" - the root of the physical world. Kundalini is seen as a particular form of Shakti (energy) with dominion over matter. "coiled" Kundalini is often referred to as "sleeping" - but sleeping as in the sense of Sushupti - the thought-free state of no-mind. It is coiled Kundalini which maintains the physical universe. The activity of Kundalini in Individual systems (i.e. organic beings) is guided by the Jivatman - the embodied lifespark. To use a holographic analogy, the Jivatman is a holographic encoding within each individual system to replicate the holoverse, or Brahman in Tantrika. It is the Jivatman which carries the evolutionary "program" for each individual entity. So it is the Jivatman which "rules" Kundalini activity, not the "earthbound" ego-complex. This could account for the many instances where individuals pursue Kundalini experiences through yoga and other means without ever getting any spectacular results; while the sceptic next door can have a powerful "bliss" experience whilst hanging out the washing
Many Eastern yogis do In fact warn Western students against trying to consciously "raise" Kundalini as a specific end. Sri Aurobindo's "Integral Yoga" in particular, is concerned with "living appropriately" and transformation within the physical world, rather then rejecting it. Integral Yoga is not concerned wIth seeking "liberation" from existence, but fulfilment within the world, whereby tlie Kundalini rises "in its own time." This idea bears out my own experience. The only times when I have used exercises specifically designed to affect the Kundalini (such as Crowley's ‘Liber SSS’) is during periods of acute Kudalini activity, when the experience became too disorientating. Any kind of occult practice or powerful transformative event will affect the Kundalini. It "awakens" when conditions in the system it organises become conducive to its arousal. Many models whIch seek to explain the phenomena of Kundalini posit the existence of cosmic inner planes and psychic centres - the chakras. Kundalini, in these systems, is conceptualised as a "spiritual awakening". Fair enough, but such models as expressed by Western authors (such as C.W. Leadbeater and Alice Bailey) tend to maintain the spiritual-mundane, mind-body division, exhorting students to reject the material and seek the "spiritual" life. I find this idea somewhat suspect, preferring not to make such distinctions. At the time of the initial Kundalini experience, I was studying neurological medicine and consequently became Interested in evolving a neurological (and later, Neuromagical) model of Kundalini activity.
3. Trigger Factors In describing the onset of intense states of awareness, many people use the word "trigger" to attempt to explain how the experience came about. Trigger factors do not cause the experience in the usual linear fashion, but somehow facilitate it. When such an event occurs spontaneously, we can only perceive It, and are not aware of the microscopic patterns of which it is the peak. The trigger to a Bliss/Kundalini experience could be the final push which allows all the various microscopic interactions in the individual system to pass a critical threshhold, thus bringing about a change in awareness. Bliss researcher Nona Coxhead has investigated trigger factors in transcendental experiences and outlined some commonly-occurring situations: Listening to Music
Sensation
Response to Nature
Relief from Emotional Pressure News of Terminal Illness
Childbirth
Achievement
Grief or Loss
Sports
Acceleration
Life-threatening Situations
Devotion and worship Happiness
Suicidal Feelings
Clinical death
To these can be added the techniques of yoga and magick - the various ways of achieving gnosis; protracted bodily exercises such as Hatha Yoga or T'ai Chi; visualisation; ritual magick; contemplation; meditation: use of drugs, and others. The
transformative experience (of which Kundalini is one conceptualisation) can occur spontaneously, or in relation to a systematised set of practices. Intense emotional arousal, any technique to focus awareness upon one stimulus, and extreme physiological states appear to be key factors. Kundalini-related experiences are intensely body-oriented, with subjects reporting muscle spasms spatial disorientation, and feelings of being filled with energy. Many people. such as Gopi Krishna, report strange sensations around the base of the spine - the site of the root-chakra Muladhara (root-support). Kundalini is often spoken of in poetic or mystical terms as moving up the spinal canal, entering the spina1 chakras in turn. I personally however, am more interested in what could be happening within the Central Nervous System. During periods of intense Kunda1ini-arousal 1 experienced great "rushes" of energy moving up the spine. Looking at what occurred during such episodes in physiological terms, I was struck by two points: Firstly, that my body seemed to be showing the kind of involuntary muscle patterns displayed during orgasm - only much more pronounced; and secondly, showing an extreme stimulation of the autonomic nervous system - hence the hot and cold flushes, for instance. Just because one feels "strange sensations" at the base of the spine does not necessarily mean what is occurring originates in that area. Kundalini arousal could be an entirely neurological event which gives rise to a variety of bodily sensations. So how does this relate to or trigger factors? The kinds of predisposing factors outlined above all have a powerful effect on the human nervous system. It is interesting to note that many ways of achieving gnosis are also used In torture and brainwashing - such as sensory deprivation, sleeplessness, fasting and pain Aldous Huxley, in his book "Heaven and Hell" (1956) points out how the spiritual discipines of mystics affected their biosystems: … it is a matter of historical record that must contemplatives worked systematically to alter their body chemistry, with a view to creating the Internal conditions favourable to spiritual insight. When they were not starving themselves into low blood sugar and vitamin deficiency, they were beating themselves into intoxication by histamine, adrenallin and decomposed protein in uncomfortable positions in order to create the psycho~physical symptoms of stress. It does appear to be the case that some psvchotechnologies (such as magick) replicate, in a more controlled and volitional manner, the kind of intense states of arousal brought on by emotional stresses. Emotional arousal brings about fluctuations in both endocrine and nervous systems to such an extent that the changes can become a permanent pattern, with subsequent effects on perception, thought patterns and behaviour. Perhaps, in terms of Kundalini-type experience, the trigger factor(s) relate to the individual's current neurological state at the time of the experience’s onset. The trigger factor for my first Kundalini experience was a dyadic meditation performed with Raven, aimed at blanking out the mind. Predisposing factors could be both long-term influences such as general and magical development, and more "recent" influences such as the developing relationship between Raven and myself, the prolonged Bhakti on Kali and the deathrebirth vision, and work stresses. I don't believe that such experiences happen "by accident" but that the patterns leading up to them are not always immediately obvious.
The neurological basis of meditation has been well-researched by neuroscientists who have produced some intriguing accounts of how meditative techniques affect the brain. In particular, there is the phenomena of "habituation". Habituation is a neural response to the repetition of one particular stimulus. Focusing awareness on a single input (be it a visual or mental image, sound, chant or pattern of ritualised movement) dampens down sensory input and serves to inhibit the activity of the cerebral cortex. A simple example of habituation at work occurs when you go into a room where there is a clock ticking. At first it is a new stimulus so you will hear it clearly. Eventually, especially if your attention is taken up by something else, you "stop" hearing it. The neurones firing in response to the clock ticking have effectively become "bored" and the sound slips below conscious awareness. Inhibition of cortical neural activity leads to the inward-turning of awareness. The habituation response is mediated from a group of cells in the brainstem known as the Reticular Activating System, - R.A.S.. This group of cells serves to ‘censor’ sensory input so that only "meaningful" stimuli reach the cerebral cortex (which relates to conscious awareness). A similar state can be induced by intense emotional arousal or shock, as if all inputs are momentarily ‘frozen’ by the R.A.S..
4. Awakening the Kundalini As noted earlier, Kundalini awakens in its "own" time - when the human biosystem/bodymind complex reaches a certain critical threshhold. Some modern researchers into Kundalini experiences are trying to understand this process in terms of the build-up of key levels of chemical transmitter substances (both endocrine gland secretions and neurotransmitter substances) which relate to the physical and emotional stresses that the individual is undergoing. An allied theory is that of "neural coherence". This theory posits that conscious experience is generated by the highly complex activity of millions of neurons in the brain. conscious experience depends on the coherence and patterning of this activity. The more ordered the neural activity across the cerebral cortex, the stronger (more intense) the conscious experience. We know that a great deal of information processing within the brain does not reach waking consciousness. Two factors that mediate thIs selection of stimuli could be the reticular system discussed above, and the level of "noise" in the brain. Noise, in cybernetic terms, is random background activity as opposed to coherent "signals". A high degree of noise across the cortex means that the individual is only aware of the strongest signals, such as sensory information. Signals that are less strong will be masked by the noise. Any kind of situation which "clears" the cortex of a large degree of stimulus input reduces the general level of neural noise. Any kind of activity which produces the kind of neural activity characterised by the habituation response therefore reduces neural noise. As this occurs, patterns of neural activity that are usually masked by noise come into conscious awareness. In other words, we become aware of more subtle aspects of experience which do not necessarily depend on our space-time bound senses. This could include psychic perceptions, and the core mystical experience of being enmeshed within a large "whole" - be it characterised as God, the Tao, or Chaos. Also, we become aware of aspects of somatic experience that do not normally pass the threshold of awareness. A difficulty with using "spiritual" models of Kundalini-type experiences is that it is often difficult to account for "spontaneous experiences (such as happened to Gopi Krishna) and also, drug-induced states. Basing all such experiences within a
neurological framework is not merely an exercise in reductionism, but an attempt to provide a basis of understanding which includes these two situations (and others). Many self-proclaimed authorities decry the idea that drug-induced states are as powerful (in spiritual terms) as those attained through more long-term techniques. Writers on the occult often warn against using drugs as a spiritual short-cut". However, research into LSD and similar agents indicates that subjects do, as a result of drug-induced experience, go through the profound life-changes, change in aspirations and "spiritual" awakening that occurs as a result of more orthodox disciplines, or traumatIc life-events. However, an American researcher, W.N. Pankhe, notes that: The hardest work may come after the experience, in the effort to integrate the experience with everyday life. This is probably true for "trippers" who do not have a coherent belief-system with which to make sense of the experience - witness the number of "acid casualties" who end up as born-again Christians. The statement is also true for those who have "spontaneous" experiences. The major distinction between the drug-induced experience and the "disciplined" approach is that the latter is much slower, usually more controlled. Moving back to the "critical threshold" hypothesis at the beginning of this section, I would suggest that psychotechnologies such as magick or yoga, over time produce changes In the human biosystem that eventually trigger the Kundalini experience. These changes relate to the establishment of patterns of neural cohesiveness - so that the practitioner becomes increasingly aware of the subtler aspects of experience and changes in other internal systems. Long practice of breath control, for example, lowers the CO2 level in the blood, which also "smooths out" cerebral activity across the cortex. Although the hardware of body organs doesn't change, the software does: i.e. the patterns of neural activity, chemical messengers, and transport of vital substances. All these factors can equally, of course, be affected by life-stresses, emotional trauma and repeated drug experience. In these terms, Kundalini could be an organising principle that maintains the harmonious interaction of all human biosystems. When we become more aware of it, we are becoming more receptive to the internal dynamics of our own systems and at the same time, opening (as Aldous Huxley put it) the "Doors of Perception". It's less that we "awaken" Kundalini, more that Kundalini awakens us. The riot of body-systems going into extreme activity often experienced as a part of early Kundalini shifts" could be a result of the progressive software changes discussed above. It could represent a "peak" In the internal evolution of the bodymind complex, establishing new patterns of neural organisation in the brain. In subjective terms, this replaces previous "imprints" about the world and ourselves with the awakening of intuitive faculties, psychic perception, creativity, new aspirations and a sense of being a part of a greater whole. I do feel that my own Kundalini experience in 1984 marked the turning-point in my own development. I had to throw out many previously-held conceptions and learn to listen to and trust my own intuition. Acute peaks in Kundalini activity since that time have not been so disorientating, but have still released further potentia for activity and creative output. Indeed, during such periods of activity, I have found that the best way
for me to manage the ‘energy' is to direct it towards some kind of project, rather than "bottling it up" with meditation and yogic practices.
5. Kundalini and Evolution Kundalini actIvity in Tantric cosmology relates to the evolution of physical forms, the maintainence of the physical universe, and the spiritual evolution of entities in their return to Brahma - the noumenal source. It is the Jivatman, the spark of Brahman within each individual, whIch carries the instructions for our spiritual evolution. Some Western scientists now regard the DNA-RNA structure as the genetic equivalent of the Jivatman. The suggestion has been made that the capacity to have Kundalini and similar experiences is encoded at the genetIc level. Surprisingly, this hypothesis has come from research into schizophrenia. Research in the last ten years Into the various syndromes collectively referred to as schizophrenia indicates that the subjective states reported by sufferers of the illness are similar, in many ways, to those reported by individuals undergoing "mystical" experiences. An individual's liability to develop schizophrenia is partially genetically determined. It has been said that schizophrenia is a gun primed by genetic factors, loaded by upbringing, and fired by some kind of trigger experience. Why such genes have survived is a puzzle, but it could be that the same genes which predispose towards schizophrenia also mediate the internal evolution of consciousness. Mystically-oriented commentators on schizophrenia such as R.D. Laing and Jung have drawn attention to the links between madness and the psychictransformative journey. However, while the magician or shaman is "swimming", the schizophrenic is "drowning". If the genetic coding of such experience is the case, then there are a multitude of other factors which impinge on the Individual to facilitate neurological evolution -"illumination", neurological systems "crash"- schizophrenia, or many shades of either extreme. Many people now believe that the next evolutionary step for humanity will be the evolution of consciousness. This is extant in current magical ideas such as the "gestalt consciousness" of the Ma’at Current, and In "new age" scientific paradigms as developed by Rupert Sheldrake (Morphogenetic Fields), David Bohm (Holoverse) and TImothy Leary (S.M.I2:L.E. formula). Leary’s 8-circuit model of neurological evolution in particular provides another way of interpreting the kind of process I have discussed. Briefly, Leary's theory states that since the design of the nervous system is encoded within the DNA-RNA structure, then the evolution of human beings in neurological terms is also contained therein. As the individual develops, there occur critical periods during which the brain accepts imprints which then become core elements of subsequent learning. The first four circuits ensure genetic transmission and variability, establishing humanity as a continuing species. The next four circuits are the DNA-RNA "Keys" to species evolution and adaptation. These "higher" circuits are opened when internal conditions are conducive. They represent states of consciousness which, after a certain intensity of experience is reached (either by repeated access to them or by a very powerful single experience), become hard-wired programs - a new basic ‘reality' from which the individual acts. Once a circuit "opens" in this way, it becomes a powerful motivator for further development. For example, once bodily rapture (cIrcuit V) has been experienced, It gives the individual a foretaste of what is beyond the basic survival circuits and their attendant conditioning. This could spur the individual on to accessing and imprinting the "higher" circuits.
This sounds similar to the Kundalini cycle, doesn't it? It is certainly an area which merits further investigation, and some magicians are now turning to neurologicallybased models to integrate and understand their experiences.
6. Conclusions Although much of what is presented here is done so from a scientific viewpoint, much of it is built from very tenuous findings - there is still a long way to go in understanding Kundalini in neurological terms. It's a start, however. My own attitude towards Kundalini remains 5i the lines of - "Well, it happens, and then I have to integrate and evaluate the experience after it passes". I still don't work actively for Kundalini experience, since I now hold the view that any kind of magical work will do this, and I find it more appropriate to work for specific projects and goals. Peaks in Kundalini activity with their attendant changes in awareness do result in the kind of new imprints that Leary is talking about. I have tended to find that whatever "map" of this experience you impose over it - whether this be Leary's model, Qabalistic power-zones, Hindu chakras or Taoist chi-zones, the experience will fit them. This leads me to feel even more that the brain is the central ares of the Kundalini experience. Kundalini is, Indeed, the root magical power, since it is the potentia which can take us, once we are aware of it, beyond the limitations of cultural conditioning and space-time.
Bibliography • • • • • • • • •
Arthur Avalon - Serpent Power Nona Coxhead - The Relevance of Bliss Kenneth Grant - Aleister Crowley and the Hidden God Aldous Huxley - Heaven and Hell Timothy Leary - Exo-Psychology Mary Scott - Kundalini In the Physical World Douglas & Slinger - Sexual Secrets John White (Ed) - Kundalini, Evolution and Enlightenment Robert Anton Wilson - Prometheus Rising
[This essay was first published in Chaos International #3, 1987.]
Lal Diddiji - notes on a naked yogini and avadhut by Vishvanath Lalleshwari was a sadhvini or naked female wandering devotee of Shiva who was hailed as a great Siddha or enlightend master of her time. As a poet her poetry is still influential, especially in Kashmir. She spent life wandering throughout northern India and renounced the householder life while still very young.
"I lost you out of ignorant attachment to my body. Then I wasted my time searching high and low. Finally I found you within, O Shiva, then we united in Bliss. Only though the grace and compassion of Siddhanath could this have happened." "When the mirror of my mind became clear, I realised the fundamental principle that resides in my relatives and others dear to me. And this non-dual knowledge completely destroyed all thoughts of 'you' and 'I'. I came to know that the entire world is not different from the divine". Lalleshwari was born into a Brahmin family in Kashmir in the medieval period. Independent by nature she married early to young man of the same caste. Her husband was apparently was very much under the influence of his mother and according to legend the mother hated her daughter-in-law intensely. Not content with acting maliciously towards Lalli, the mother poisened her son's mind against her and it has been suggested that this may have been because Lalli never became pregnant. Finally her mother-in-law turned her out of her house. Instead of returning to her family home, Lalli took up the life of a tantric naked sadhvini or Yogini and completely rejected the Brahminic way of life. She was indifferent to social and religious laws and norms and following 'left-handed' practices ate meat and drank wine. Her solitary and unorthodox life may at first have brought her criticism, and in some of her poems she refers to this but there is no record of her being molested as a woman wandering alone. In her sadhana or daily practice Lalli seems to have depended largely on her own judgement and her poems never mention any person as her initiating Guru. Her philosophy and practices as recorded in her poems show a deep understanding of the central tenets of the Shaitive non-dual philosophy. "Passionate, with longing in mine eyes, searching wide, and seeking night and days, Lo! I beheld the truthful one, the wise Here in my own house to fill my gaze". "That was the day of my lucky star. Breathless I held my guide to be. So my lamp of knowledge blazed afar, fanned by slow breath from the throat of me. Then, my bright soul to myself revealed, winnowed I abroad my inner light, and with darkness all around me sealed Did I garner truth and held him tight". (Temple 1924: 167) "Think not on the things that are without, Fix upon thy inner self thy thought; So shallthou be freed from let or doubt. Precept these that my preceptor taught". "Dance then Lalla, clothed by the air; Sing then Lalla, clad but by the sky. Air and sky; what garmant is more fair? 'Cloth', saith custom; ' doth that sanctify?'". (Temple 1924: 173) There is no doubt that Lallishwari commanded and commands great respect among the Shaiva sects but the great Sufi's of her time also revered her. Among the people she was given the title Ded (Grandmother), and this reflects the affection and respect with which the common people regarded her. Source: Temple, Sir Richard Carnac. 1924. The words of Lalla, The Prophetess: Being the sayings of Lal Ded or Lal Diddhi of Kashmir. Cambridge University Press.
The Navadurgas
by Kalkinath The fourth section of the Skanda Purana - the Kashi Khanda (which has been approximately dated to the 14th century CE) mentions various groupings of goddesses, amongst which are the Nine Durgas - protecting goddesses related to the Eight Directions and the centre. During the October Navaratri festival, each of the Nine Durgas are worshipped on successive nights: Shailaputri - the daughter of the Himalaya mountain. Holding a trident and a lotus, she rides a bull. She is identified with Sati. Brahmacharini - greatly devoted to Tapas, she holds a rosary and a water pot. She is said to inspired devotion and is identified with Parvati and Uma. Chandraghanta - bearing the crescent moon on her forehead, she is of a golden complexion, has three eyes, ten hands, and makes the gesture of being ready for war. She wears a necklace of bells which terrifies demons. She rides a tiger and protects devotees. Kushmanda - She has eight hands bearing weapons, rides a lion, and is said to be particularly pleased by blood sacrifices. Skandamata - the mother of Skanda. She is depicted holding Skanda in her lap. She has three eyes, eight hands, wears a large crown, and has been described has having a face composed of eight types of burnished metal. Katyayini - three-eyed and eight-armed, she is said to be the daughter of the sage Katyayana. Kalaratri - of dark complexion with dishevelled hair, with a fiery breath, riding a donkey. She grants auspicious boons to devotees and enables them to become fearless. She holds a flaming torch and a cleaver. Mahagauri - depicted as an innocent young girl of eight years, whose ornaments, garments and complexion are all white. She rides a bull. Siddhidatri - granter of the eightfold Siddhis and said to be worshipped by all, even Shiva. In the city of Bhaktapur, Nepal, there is a tradition of masked dancers becoming possessed by the Nine Durgas: "This tantrically-inspired dance eulogizes Asta Matrika, the eight mother goddesses, who supposedly sit around the city's eight corners to give a watchful guard on it. It is staged all throughout the old city area in turn, which goes from January till June, closely following the lunar calendar. The places and the lunar dates of its staging are specific with no rooms of alteration."
(quoted from: Harmonious hobnobs between heritage and tourism: The success story of Bhaktapur) Links • •
Nine Durga Photo gallery Trance-dancers of the Goddess Durga
On the Adoration of the Lingam by Kalkinath "He who desires perfection of the soul must worship the lingam." Linga Purana "Suck cock until you can’t think." Daniel Suders, The Fourteen Steps Tantra, as a form of spiritual practice, has received much attention from advocates of Gay Spirituality. Some writers are concerned with the need to demonstrate that, despite the heterosexual structure and language in Tantric texts and practices, that homo-erotic practices did exist historically, albeit as Jeffrey J. Kripal puts it, as ‘secret sadhanas’ (sadhana = practice). This search for ‘historical proofs’ has its place, and is fascinating for those of us who have an interest in the recovery of gay & bisexual archetypes and myths, but we should not forget that Tantra is a living discipline – and a practical one at that. The test for modern practitioners is not merely to rely on old texts and practices, but to draw on the spirit of Tantra and make it viable for our contemporary needs and desires. This article presents a Tantric dimension to fellatio, and describes a puja (ritual) for dedicating blowjobs to Shiva.
The Lingam of Shiva The term Lingam, in Sanskrit, means ‘sign’. Shiva, as the Absolute - that which is unmanifest, can only be perceived by the means of his creation - the source of life from which the world is issued. This is the principle upon which the veneration of the phallus is based in Shaivite mysticism. "Shiva is without sign, without colour, without taste, without odour, beyond the reach of words or touch, without qualities, immutable and immovable." "The distinctive sign by which one can recognise the nature of something is therefore called lingam." Linga Purana In some legends, the Shivalingam ‘pierces’ the three worlds or cities. In one version, it is related that the gods Brahma and Vishnu were debating which of the two of them was the ‘greater’, when there appeared before them a vast column of light. Brahma, mounted on his swan, flew upwards to find its peak, whilst Vishnu, taking the form of a boar,
descended to find its foundation. Although they searched for thousands of years, they could find neither peak nor foundation. Finally they found a Ketaki flower which had fallen from the lingam’s head. The flower told them that it had been falling for ten eons and that no one knew how much more time it would take it to reach the ground. Thus we may understand the lingam as being a primordial axis mundi - a form of worldtree or shaman’s ladder which passes through all of the known worlds. In the microcosm, the lingam springs forth from the bindu (point) within the triangle formed by Iccha-Kriya-Jnana Shaktis (the powers of ‘think-decide-act’) and rises, piercing the chakras. A central concept in Tantra is that of divine immanence – that one can experience the divine through the worship of god or goddess in a living form. This commonly appears in the forms of tantric puja (ritual) where a goddess is worshipped in the form of a living woman. Jeffrey J. Kripal notes the teachings of Vaishnavacharan, a nineteenthcentury tantric contemporary of Ramakrishna, whose Kartabhaja sect of tantrics practised the method of "delighting in God in the forms of man." That is to say, Vaishnavacharan’s followers sought to experience divine ecstasy by making a living man the subject of their adoration. Kripal infers that this would have included sex-play.
Blowjob Bhakti One of the central homo-erotic interludes in Hindu myth is Agni’s swallowing of the semen of Shiva, which led to a chain of events culminating in the birth of the god Skanda. Skanda is considered by some writers to be the object of devotion by a homoerotic cult in India and elsewhere. "Then from his linga Shiva released his perfect seed which had the fragrant perfume of jasmine or the blue lotus. Agni took it into his hands and drank it, rejoicing, thinking, ‘Elixir!’ and then Shiva vanished." Saura Purana, quoted in Conner, Sparks & Sparks, p44 Semen is the purest form of sacrificial elixir – the Soma offering given to the fire of desire. The Vedic texts contain many references to semen as a form of food. On an esoteric level, the ingestion of semen is a form of eucharist whereby the deity resides in the semen and enters the body of the practitioner. The magical properties of ingesting semen appears in a wide variety of cultural contexts. Sucking cock is an act of worship. Kneeling before a man is an adoration, or an abasement. Accepting the semen of a stranger or lover is immensely powerful. There’s a power in yielding, in abandoning oneself, and a power in one’s ability, through passion and skill, to bring about the pleasure of another. In the Kama Sutra, fellatio is referred to as auparishtaka – ‘superior coition’, and associates its practice with hijras or male prostitutes. Although describing the ‘eight ways’ of performing fellatio in some detail, Vatsyayana warns against its practice. Such injunctions however, do not apply to practitioners of tantra.
Jivantalingapuja – Worship of the Living Lingam
This is an outline, using tantric principles, for a sexual puja employing fellatio. This ‘rite’ may be performed externally – which is to say, with a magical partner, or internally – wherein the other participant is unaware of the ‘magical’ elements of the act. This is contrary to those texts which avow that acts of sexual magic may only legitimately take place between consenting ‘magical partners’. This is a matter of taste and personal preference. There is a lot of gushing in the magical community about the ‘dangers’ of performing sexual magic with someone who is unaware of the magical dimension of the act. I can only say to this that I’ve been ‘used’ in this way by both male and female partners without being aware that they were using me to power or receive a sex-magical intention and it’s not a matter that worries me. Salutation to Ganesha A salutation to Ganesha, whom Shiva decreed should be worshipped prior to the beginning of any auspicious act, is made. This is also appropriate as Ganesha is the guardian or doorkeeper of the Muladhara Chakra. The penis, (particularly if flaccid), may be adored as Ganesha’s trunk. Om, I salute the Lord of the Twisted Trunk Om Ganapati Namah Bathing the Phallus Bathing the phallus is a ritual act of purification, preparing it to become the vehicle of the indwelling deity. This may be done as a ritual oblation or by tongue-bathing. Nyasa Nyasa (placing) is the ritual act of identifying the body (or part, in this case) with the indwelling deity. Again this may be done ritually, or silently, through massage and stroking. Om, I salute Shiva in the balls Na, I salute Shiva in the root Ma, I salute Shiva in the shaft Shi, I salute Shiva in the crown Va, I salute Shiva in the tip Ya, I salute Shiva in the eye Invoking the Deity Invoking the chosen deity (i.e. Shiva) into the vessel is traditionally performed by the practitioner identifying with the deity through internal meditation and then externalising the indwelling deity into the vessel via the breath. Here, it may be appropriate to identify oneself with Agni (see above) before simultaneously breathing onto and stroking the penis so that it becomes a vessel for divinity. Adoring the Lingam
Having installed the deity into the penis, it may now be adored. One may choose to use the delightful prose of the tantras or something more contemporary, depending on circumstances. Some partners might be somewhat alarmed to hear their cock described as "shining with the light of ten thousand suns." Superior Coition The Kama Sutra describes the ‘eight ways’ of performing fellatio: Casual Clasping the penis with one hand, bringing the lips close, rounding them over the mast, whilst pressing, releasing and shaking. Nibbling the sides Covering the end of the penis with one hand, pressing the lips to the sides and nibbling slightly at the same time. External Pinching Bringing his lips close to the penis, he presses the mast and kisses it whilst sucking. When the sex has been stimulated by being nibbled along the sides, he himself, excited at the first contact with his lips, lets the end of the penis penetrate into his mouth, pressing it and sucking and, having bared it, he releases it. Internal Pinching On request, he then lets the penis penetrate further, and, pressing it between his lips, causes an ejaculation. The Kiss Encircling the penis with his hand instead of his lips, he kisses it. Let the tip of the tongue wander and titillate the meatus opening, cleaning it carefully. This is called polishing. Browsing Having done this, with the tip of the tongue, licking the mast all over and titillating the opening, is known as browsing. Sucking the Mango Having bared the mast, pressing the organ hard, passionately, whilst half inside, and sucking whilst pressing, is known as sucking the mango. Devouring
Having understood the man’s desire and in order to satisfy his wish to come, he makes him ejaculate by the pressure of his tongue until the sperm gushes out. Consuming the Soma Assuming one wishes to do this, the divine essence may be held in the mouth whilst one meditates on the force of Shiva, before being swallowed or shared. Alternatively, a spunk-filled condom can be retained for later burial or use in anointing. Also, as Katon Shual has pointed out, dried semen can be burnt, and the ashes imbided safely. The physical act may be accompanied by appropriate visualisation – for example, if one is taking on the role of Agni, then the heat of one’s desire may be visualised and felt as burning away the ‘impurities’ of the body or the ‘kleshas’ (knots) which prevent spontaneity. The puja may be closed ritually, or simply with a ‘hmmm’ (Aum) of satisfaction. The duration of this puja is dependent on time and circumstances. In it’s external form, it could be quite a lengthy exercise. The practised adept however, may perform the internal rite quickly, using whatever opportunities are presented to him. Sources Cassell’s Encyclopedia of Queer Myth, Symbol and Spirit, Conner, Sparks & Sparks, Cassell, 1997 The Complete Kama Sutra, Alain Daniélou, Park Street Press, 1994 The Myths and Gods of India, Alain Daniélou, Inner Traditions, 1991 The Phallus: Sacred Symbol of Male Creative Power, Alain Daniélou, Inner traditions, 1995 Rebels & Devils: The Psychology of Liberation, Christopher S. Hyatt (ed), New Falcon Publications, 1996 Kali’s Child: The Mystical and the Erotic in the Life and Teachings of Ramakrishna, Jeffrey J. Kripal, University of Chicago Press, 1995 Women, Androgynes, and Other Mythical Beasts, Wendy Doniger O’Flaherty, University of Chicago Press, 1980
Reflections on Tantra, part 1 by Phil Hine, based on a talk at Treadwells bookshop, London 2004 This article is based on a recent talk presented at Treadwells Bookshop in London (2004). After talking for just under an hour, there was lively discussion on some of the issues raised. What I've attempted to do here is blend together some of the themes I outlined in the talk itself, together with further reflections post-presentation, and some fleshing out of the texts - issues I wanted to touch on but didn't have time (or just
forgot). This isn't a direct transcript of the talk, but is based on some of the notes I made in preparation. One way to begin would be with a short, snappy definition of Tantra - however, for reasons that will (I hope) become clear, I'm not going to do that. I think that a better starting point would be to consider how Tantra is imagined. The dominant imaginery is that Tantra is about SEX. Sacred sex, spiritual sex, the 'cult of ecstasy'. Spirituality through pleasure-seeking. Liberation via multiple orgasms. Coaxing the Kundalini-serpent through the spinal chakras, meditation, achieving sartori, nirvana, liberation - oh yeah, and dubious goings-on in cremation grounds too becoming a "spiritual dissenter" through the deliberate use of antinomean practices and smashing taboos - these too are ideas associated with Tantra. Many modern "New Age" books seem to take the position that anything remotely 'erotic' in Indian culture is "Tantric", which has led to a cobbling together of information from erotic manuals (i.e. the Kama Sutra), massage techniques, Ayurvedic medicine and yoga postures - the goal of which is 'better sex' with the added bonus that the quest for longer or more orgasms is in itself, 'spiritual'. All of this tends to be presented as 'ancient teachings'. Tantra is one of those categories of discourse which is widely pervasive, appears in all manner of contexts and yet, proves annoyingly elusive when one attempts to say exactly what it is. Benyotosh Bhattacharyya commented (in 1932): "The definitions of Tantra given by students of Sanskrit literature are not unlike the descriptions of an elephant given by blind men." And Herbert Guenther described Tantra as "one of the haziest misconceptions that the Western mind has ever evolved" To my mind, one of the major underpinnings of the problem of saying what Tantra is is that "Tantra" as a "thing" - a a single, coherent "system" if you like, is a relatively recent concept. It's also a category that - until relatively recently, was used by outside observers - an etic, rather than an emic entity. The concept of Tantrism (as a distinct category) originated with 19th century orientalists who believed that the practices they were identifying via Hindu and Buddhist texts called 'Tantras' was something very distinct from the general respectable - field of Indian philosophy and religion. 'Tantrism' became, if you like, a 'box' into which could be circumscribed "the most horrifying and degenerate aspects of the Indian mind" - everything that smacked of black magic, licentiousness, and paganism. There are Indian texts called "---- Tantra" which aren't about tantra (in the sense that we understand it), and equally, the majority of texts which are said to be 'tantric' don't use the term Tantra as a descriptor. Sometimes, the word 'tantra' is used to imply exoteric teachings rather than more esoteric ones. Western audiences have had a long fascination with Indian esoteric practices. In some ways, the New Age Tantra phenomenon that focuses almost exclusively on "sacred Sexuality" isn't so different from the first western writers - missionaries, Imperial
administrators and Orientalists - who wrote about the 'debauched ways of the Hindoos'; for example the Reverend William Ward: "Hinduism is the most material and childishly superstitious animalism that has ever masqueraded as idealism. It has no morality, and the absurd object of its worship is a mixture of Bacchus, Don Juan and Dick Turpin. It is not a religion at all, but is a pit of abomination, as far set from God as the mind of man can go." Ward, writing of famous tantric texts such as the Yoni Tantra, reverted to asterisks occasionally whilst describing : "...things too abominable to enter the ears of man, and impossible to be revealed to a Christian public..." Also, there is the Abbé Dubois, author of the seminal work on Hindu life, "Hindu Manners, Customs and Ceremonies" (1807), who wrote in much detail of the "abominable debaucheries" of 'sakti worship'. The Abbé's work contained the first detailed account of the orgiastic ritual that came to be known as 'cakrapuja' (circleworship), and his book did much to fix the European notion that Hindus were depraved. And in 1874, Talboys Wheeler defined Tantra as "essentially a cult wherein nudity is worshipped in Bacchanalian orgies which cannot be described." What's interesting about texts such as these is that whilst on the surface, they are expressions of moral outrage, they also serve to entice the reader - allowing the reader to project their own fantasies, and mentally 'fill in the blanks' as it were. The earliest accounts of what came to be known as tantric practice focused on sexual licentiousness/freedom, and over the last 200 years or so, there have (according to David Gordon White) been 3 major reactive strategies to the 'discovery' of tantra: 1. Denial - Tantra is nothing to do with 'orthodox Hinduism - or it's a 'degeneration' from orthodox Brahminic Hinduism. 2. Rehabilitation - including the attempt to distinguish between RHP (acceptable) and LHP (transgressive) tantras 3. The New Age Tantra product-peddlars and self-styled Gurus. All 3 of these can be viewed as 'legacies' of the colonial 'discovery' of tantra as a category of Indian religion and its subsequent misrepresentation. Let's look at Denial and Rehabilitation in more depth.
Denial Here I examined the idea - again arising in the 19th century (and still alive and kicking today) - that Tantra was nothing to do with the noble, Brahmanic, sanskritised 'Hindu Tradition' as imagined by orientalists - descriptions of which sound not dissimilar to the idealisations of Classical Greece. For those taking up the 'denialist' position, Tantra was a collection of 'degenerate' practices which to varying degrees is responsible for the current moral laxity and idolatry found by the British in India - and hence another
reason why it was neccesary to export Victorian values and standards to India. However, as Hugh Urban points out, the strategy of 'denial' did not just come from European orientalists, but also informed the way some Indians - particularly those with various reformist agendas - came to understand their own traditions - and in so doing joined in the making of scathing attacks on Tantra. Some Indian reformers believed that it was the upsurge of interest in Tantra effectively 'weakened' the Indian psyche and left it vulnerable to foreign invasion - first by the Muslims, and secondly, by the British. For these voices, Tantra was part of India's 'superstitious past' which needed to be shrugged off if the nation was to advance. For some, it was unthinkable that anything so degenerate and licentious as Tantra could have originated from within India, and so Tantra was imagined as a corrupting influence from barbaric Central Asia or the licentious practices of Tibetan Buddhists. Of course, Buddhist scholars have returned the 'favour', and argued that Buddhist Tantra arose from Hindu influences, or that unlike Hindu forms of Tantra, Buddhist Tantras had only pure and enlightened aims, rather than mucking about with black magic.
Rehabilitation In the talk I briefly outlined Sir John Woodroffe's role in the attempt to 'rehabilitate' Tantra, and repeated the story (possibly apocryphal?) that John Mumford relates in his book A Chakra & Kundalini workbook of how Woodroffe became interested in Tantra. Woodroffe (aka 'Arthur Avalon' - a composite personality comprising of Woodroffe and his Bengali translator, Atal Behari Ghose) has been called 'the father of modern Tantric studies'. Woodroffe believed that the different forms of Hindu religious expression formed a unified whole. In contrast to the writings of orientalists such as William Ward, Woodroffe believed that Tantra, rather than being a sign of cultural degeneration, was a sophisticated philosophical system in full accordance with the Vedas and the principles of Vedanta. Woodroffe's work has had a massive influence on the contemporary Tantric imaginary. Firstly, it is his book, The Serpent Power - a translation of the Satcakranirupana Tantra which has become the primary source for most modern western overcodings of "the chakras." Secondly, Woodroffe was an early exponent of what is now called "Vedic Science". For Woodroffe, Tantra was not only fully in accordance with the principles of the Vedas, but its principles also echo the discoveries of modern, western science. Woodroffe was one of the first western writers to make connections between a system of chakras and glandular or endocrine organs. Thirdly, in his desire to demonstrate that Tantra had a lofty, 'spiritual' aim (as opposed to its 'sleazy' reputation of being associated with night-time orgies and dubious goings-on in cremation-grounds), Woodroffe went to great lengths to rationalise some of the more worrisome manifestations associated with Tantra. He criticises orientalists such as Dubois and Ward for finding evidence for Tantric immorality in passages from Tantric texts such as "Having drunk, drunk and again drunk, and having fallen, let him rise again and attain liberation" - instead, Woodroffe maintains that passages such as these require a metaphorical interpretation. Furthermore, he denies that Tantra's aims are related to black magical practices or the acquisition of worldly powers. For Woodroffe, the siddhis (accomplishments) are obstacles on the path to spiritual liberation that must be avoided - again, an idea that has become pervasive both for Westerners and Indian practitioners of yoga - particularly those influenced by Indian spiritual reformers such as Swami Vivekananda. But even a cursory glance at texts such as the Kaulajnana-
Nirnaya Tantra will show that the attainment of siddhis is very much a concern of the text. And that's where I'm going to hold it for the moment.
Post-talk Reflections On Refusing to define Tantra At the outset of the talk, and later, even when directly asked to, I refused to offer a 'thumbnail' definition or summation of Tantra. One of the core features of Tantra for me is complexity, and I feel that for entities to remain complex, we must resist the temptation to 'define' them in simplistic terms. Perhaps a useful analogy (I think I mentioned this) is that attempting to define Tantra is rather like attempting to come up with a simple definition of modern paganism or Wicca - as 'entities', both are highly diverse, heterodox collections of practices, concepts, 'traditions' - continually mutating and shifting categories of discourse, and extremely difficult for outsiders to appreciate. It's a similar situation with Tantra, I feel, except that given the complexities of history, culture, and the all-pervasive imaginary it's even harder. In the talk I occasionally likened trying to grasp Tantra like grabbing at a piece of soap in the bath - as soon as you think you've got it, it slips out of your grasp. Reflecting on this brings up a further point - "do I need to define myself as something specific?" Something I mentioned in the talk was that I don't tend to think of myself as a practitioner of Tantra per se, and that it might be more appropriate if I thought of myself as a Natha, or a practitioner of Kaula, or even a Vishvanathi (sorry Andrew!). Of course, in the discussion group, we periodically return to the question of "just what is tantra" it's never an easy question and it always brings up lots of issues. This also led me to reflect on how occult practitioners selectively define themselves. How are chaos magicians different from Wiccans? Is it important for me to define myself? I don't think so. Gurus & Religion Thinking back to some of the questions that were raised in the discussion, two issues that seemed to me (and some fellow naths who were in attendance also) to be somewhat contraversial were the religious angle of Tantra and the necessity of having a guru. Someone asked me did I think Tantra had a religious element? I replied that yes, in my opinion it did, and that this was one reason why I felt so drawn to it. I felt that there was some surprise over my response here. There is a degree of antipathy to the idea of religion amongst modern pagans or, more particularly, those who think of themselves as 'occultists'. This is interesting in relation to Tantra, which I feel, in occult circles, has, as part of its imaginary, the idea that it is innately bound up with antinomean - 'outsider' practices which place the practitioner in opposition to the mainstream culture. Another possibility which came up for me is the idea the religious 'devotion' - identifying as a devotee of, say Kali or Ganesha, is viewed as submissive - as though one is losing some degree of individuality (perhaps there's an equation being made between 'religion' and 'mainstream religion', i.e. Christianity or Catholicism). There's also the concept I
referred to earlier, that Tantra is 'scientific' in its approach, which I also feel is still seductive. Modern occultists like to use the language & concepts of science of course, but I think there's more to it than that - 'science' is still seen as 'real' knowledge in a way that religion isn't. The responses to the question about Tantric religiousity also came up when someone asked me if I thought it was necessary to have a guru. Earlier in the talk, I'd mentioned that Tantra was not, at least historically, a book-bound tradition; that the transmission of knowledge was primarily oral rather than textual. I'd also drawn attention to the idea that in many ways, Tantra, rather than something that was done by individuals, was at some stage in its development, structured into 'spiritual families' - hence the use of the term kula in denoting a tantric 'clan' or extended family. Anyhow, I said that having a guru was very important for me in my own development, and I went on to describe our relationship and how important it was for me. Someone asked the question "how do you know whether or not someone's a genuine guru?" which drew some discussion - what Christina said was that the way it works in Wiccan circles is that you don't just accept someone as a guru uncritically; that you ask other people you respect about them first before making a commitment. Tracey also made the very moot point that you learn from whatever's around you - that if you want to learn about grass, then your guru should be a blade of grass, or perhaps a gardener. Some occultists are very resistant - or wary, about the idea of having a guru, and the notion that in order to practice a particular esoteric approach - like Tantra for example, seems to some, to be anathema. I feel this kind of reaction, and the responses I felt came from my advocation of tantric religiosity are both bound up with attitudes around autonomy. At some point I was asked about 'good books' on Tantra i.e. could I recommend a good general, practical introduction to Tantra? I couldn't. (One of my friends reccomended Tantra Magick, which, though out of print, is still possible to aqcuire) and someone at that point said it was possible to get some material off the internet, and the rest you could pretty well work out for yourself. I thought this comment was interesting as it illustrates an occult subcultural dominant - the idea that all one needs is a book (or website) and you can work it out for yourself - so the production of knowledge becomes a matter for individuals, rather than something which arises out of dialogue & conversation with others. It's as though people want occult knowledge to be 'scientific' - in the sense that it's an 'objective' form of knowledge that can be acquired individually and maintained without any loss of personal autonomy. And, from a rather cynical stance, I'd add that this form of knowledge production doesn't involve much in the way of belief-risk either. There are plenty of good books coming out at the moment on various aspects of Tantric studies - but they don't seem to be popular with contemporary occultists - probably because they challenge so many occult 'sacred cows' about Tantra.
Reflections on the "Tantra of blowing the mind" by Vishvanath
The following is not intended for instructional purposes. Its aim is to stimulate experiment and meditation. One of Dadaji’s earliest published essays was the enigmatic "Tantra of Blowing the Mind". I say enigmatic because, like many of Dadaji’s writings it did not say the things that I expected it to say. As a result, for many years I dismissed it from my mind. In this essay Dadaji briefly discusses the following issues. • • • • • •
Kaula Amrit or Nectar that is presided over by the Goddess Kundalini The role of think, decide and act in the yoga of enjoyment and liberation A more or less standard introduction to the chakras The relationship of chakras to granthis or knots He then launches an attack on Xristian and Vedic ignorance Finally he points out the intimate connection between Tantrika, Taoist magic and other esoteric streams and in particular shows how the process of development is illustrated by the I Ching hexagram "Creative"
It is the final detailed discussion of the creative hexagram that always put me off. The rest of the text is quite general but in places becomes quite tantalising. But what does the "creative" hexagram have to say specifically about "blowing the mind"? In addition to his whole-heartedly tantric lineage, we know that Dadaji was also an initiate of the Taoist magical tradition and the Ch’an methods that developed from it in China with the work of Bodhidarma or Ta Mo. We also know that Dadaji had great respect for these systems and saw strong connections and parallels with what he had learned through tantra. Observations on the alchemagic of Mahendranatha The text deals with the trigrams and the nature of the rising nines in the first hexagram of the I Ching. "The science of the Kaulas is not for everyone". Its aim is to attain the "supreme festival of union when Shiva and Shakti unite in the Brain Chakra". The arrangement of trigrams shown in the first edition of this treatise was the primal arrangement. This arrangement forms the basis of what in Taoist alchemy is called the "lesser heavenly circulation" and contains for the natha several familiar themes. In the "lesser heavenly circulation" the trigram Li and K’an are spoken of as the sun and moon respectively. They drive the first alchemical process in which sexual energy is distilled and harnessed in the process of transformations. The six remaining trigrams represent phases in the process of distillation of the nectar. These phases are the rising nines which Dadaji discusses. The I Ching observes that where all the lines are nines one "observes the law of heaven" and the "earth is set to right". Union of the microcosm and macrocosm occurs.
The lesser heavenly circulation is none other than the sport Iccha, Jnana and Kriya Shakti (think, decide and act) over which Kula Kundalini presides. But beyond the "lesser" is the "greater heavenly circulation" in which the nectar so far prepared is further refined. Dadaji gives SOME indications of what this process involves in the remaining observations. He says that while the Dragon Lord or Lady retains a body, life will contain perils and that the highest earthly values must be sacrificed to the divine. It is in the sphere of the greater heavenly circulation that we approach the aim of Kula Tantra, the "supreme festival of union when Shiva and Shakti unite in the Brain Chakra". The lesser heavenly circulation is a prerequisite for "blowing the mind".
Santoshi Ma's Garden by Phil Hine This meditation account was extracted from a series of 22 workings related to the Major Arcana of the Tarot. 3. THE EMPRESS Attributions: Daleth, Venus Virtue: Pleasure WORKING: SANTOSHI MA PATHWORKING SI: "It is my will to experience the delights of Santoshi Ma, Goddess of Contentment." Seated in Dragon asana, I stepped into the Empress card and vibrated the name SANTOSHI MA x7. …The card swung open to reveal a rippling cornfield, with a forest in the distance. There was a vague scent of strawberries, & a faint waft of musk. Santoshi Ma sits in the centre of the Garden of Earthly Delights, which is her veil. She has long black-blue hair, fair skin smeared with yellow paste, dark eyes ringed with mascara & the dust of powdered gems. She is dripping with jewels & precious gems. She has four arms and holds in her hands a conch, a noose, a flower, and gives the gesture of giving boons. She is benevolent & wise. I made my way towards Santoshi Ma, through the garden, noticing that many desireaspirations of mine were present - awaiting my enjoyment - from sexual partners, computer systems, from acclaim and recognition, to peace and privacy. Moments of remembered pleasure, relaxation and success flashed through my awareness. I reached the centre of the garden, where Santoshi Ma sat, surrounded by desire-forms.
She said: "All that you desire, all fulfillment for your happiness is here - all things that would bring you pleasure - will you not enjoy them?" I replied: "Oh bounteous one, to be engrossed in one desire is to be distracted from the whole. In your gardens, I can relax and see my attachments as distractions." She said: "Do you then seek the ascetic path of renunciation? I can remove your desire for things, if you wish it." I replied: "O beautiful goddess, it is desire which drives me to success. Yet I know that success is relative and conditioned. My joy is in the journey, not the destination." She said: "You have seen my nature beneath my veil - success and pleasure are states of being, distinct from attachments. Here..." She blew me a kiss, which settled upon my forehead. A wave of relaxation and global contentment settled over me & spread throughout my body, and the working was closed. Comment: Now this is interesting for two reasons. Firstly, prior to gating through the card, I knew little of Santoshi Ma, saving her name & attribute, so the above is a result of Sahaja Pathworking rather than preconceived ideas. Secondly, I do not think the conversation is an injunction to be 'content with my lot', but more of a neither/neither state related (possibly) to the PLAY gnosis work I have been doing.
The Tantric Body by Kalkinath This is a work in progress - it'll be added to as it develops. One of Tantra's most fundamental teachings is the primacy of the body. Unlike Western philosophies of Judeo-Christian bodily denial, the various Tantric schools assert that just as the world is real, so is the body; that if the world is, essentially, divine, then so too is the body, and therefore just as the world is honoured as a creation of the divine power, then so too must we honour the body. While the practices of asana and pranayama commonly associated with Hatha Yoga have become popular (trendy, even) in the West, there is a diverse range of other practices & concepts relating to the body in the Tantric systems. Tantric practice sadhana continually directs attention back to the body. A brief example of this is given in the Sat-Cakra Nirupana Tantra, wherein it is stated that the top lip is Sakti, the bottom lip is Siva, and the lips smacking together is the union of Siva-Sakti.
The Senses Most of the Tantric traditions feature the veneration of the senses. Often, the senses are personified, identified with deities and venerated as surrounding and attending upon the presiding goddess or god. It is said that the saktis of the senses are continually agitated moving around in search of the most pleasing sensations in order to offer them to the presiding devata. The sense-offerings are often described as flowers (and the offering of flowers in ritual can reflect the senses (although flowers has many contexts): thus buddhi (intellect) offers the flowers of certainty; Sambhavi (ego) offers the flowers of egoity; Manas (mind) offers the flowers of thought; Vaisnavi (the ears) offers sound; Varahi (the skin) offers the flowers of tactile sensation; Indrani (sight) offers the flowers of forms; Camunda (tongue) offers tastes; Mahalaksmi (the nose) offers smells. All sensations, all pleasures are essentially emanations of the Divine. The sadhaka however, does not merely react blindly to sensations, but cultivates a mode of mindful awareness whereby the senses feed consciousness with wonder and delight. By cultivating mindfulness and willed intention towards heightening sensitivity to the beauty of everything around us, we can, according to Tantric teaching, move closer and closer to the sustained awareness of the wonder of the pulsation of consciousness that pervades all experience. At first, it is easier to experience this state of wonder through the medium of objects that are pleasing, but eventually, one may discern that same sense of wonder even when confronted with things that are repugnant, or painful.
The Severed Head The severed head is a recurrent theme in Tantric iconography, and is generally interpreted as symbolising the annihilation of the ego whereby practitioners rid themselves of false notions of identity. One of the most striking depictions of this process can be seen in images of Chinnamasta, the self-decapitating goddess, who cuts off her own head in order to feed her devotees with her blood. Offering one's own head as a sacrifice to the goddess is a theme that often recurs in Indian mythology. One popular folk tale tells of Dhyanu Bhagat, a devotee of the goddess Vindhyavasini, who offered her his head as a sacrifice. The goddess appeared to Dhyanu Bhagat, restored him to life, and granted him the boon that in future, she would accept a coconut as an offering of equal value to a head. There are a group of male devotees of Dhyanu who, each spring, gather at the village of Vindhyachal (where the shrine of Vindhyavasini is located) and, becoming possessed by the goddess, pierce their tongues and cheeks with long metal spears, without drawing blood or apparently, without feeling pain. Like Dhyanu, they are honoured for this expression of their devotion.
The Feet There is a great deal of symbolism related to the feet in Indian culture. Excavations at Harrapa have indicated that ritual purity through washing and bathing were an important feature of the early Indus Valley civilisation, and that cleanliness was considered necessary to ward off malign spirits. It is still customary, particularly in rural areas, to wash both hands and feet before entering the inner areas of one?s home. This is so much a part of Indian body culture that specially-designed prosthetics have been
developed to allow amputees to engage in this social practice. Washing a person's feet is associated with attitudes relating to service and selflessness. There is a popular story of a young man, a devotee of Krishna, who was famed for his tireless devotion and service to his parents. So devoted was he, that Krishna himself came to the young man?s home to witness this for himself. When Krishna arrived, the young man was busy washing his parent?s feet, and could not tear himself away from the task to greet the god, and Krishna was enthralled by the young man?s service to his parents. In traditional Indian marriage ceremony, the bride's parents wash the couple's feet with milk and water to purify them for their new life together. Foot-washing is also related to purification and is usually required of visitors to Indian temples. Some Brahmin castes prescribed ritual foot-washing as expiation for defiling events such as coming into contact with a menstruating woman. Another common practice in India is that one should remove one's shoes before entering any place where a deity has been placed for worshipping. Traditionally, to appear barefooted was a mark of respect, and in South India and Bengal, women were, until a few years ago, brought up not to wear shoes, as not wearing shoes was seen as respectful behaviour to their husbands. Given the importance of the feet in Indian body culture in general, there is equally a wealth of meanings attached to the feet in Tantra. The feet are the point where the human and the divine intersect. By touching the sacred foot of the guru or devata, the human worshipper touches the divine. For example, washing the feet of the Guru (and drinking the water afterwards although this is usually taken as metaphorical rather than literal!) is traditionally a feature of guru-puja, as is touching the feet of the guru (or an elder) as a sign of respect and devotion. In some texts, the devotee is enjoined to worship the sandals of the guru in absentia. Equally, in ritual litany, there are many references to the lotus feet of deities such as Ganesha, Lalita or Kali. There are also particular meanings related to the feet of various deities. For example, as Jeffrey Kripal observes in Kali's Child, Kali's feet have an erotic dimension, as seen in iconography where she is depicted standing upon the corpse of Shiva. The implication is that Kali's feet causes Shiva's lingam to rise.
Tantrum Magick by Phil Hine The following is the notes for a workshop which was held at the London Ananke conference of Global Ritualism and Magick on the 10th April, 1999. This workshop demonstrates some ideas which have recently come up in the work of the Ganna Chakra – the Tantric magical group that I work in. Basically, it starts from two related premises: 1. That gods & goddesses – and by extension – Guru-figures – don’t always behave in the ways that we might expect them to, and 2. The Ganas – the horde of hobgoblins, spooks and spirits who accompany Shiva.
There seems to me to be a general perception that ‘spiritually advanced’ beings – or if you like, people who are ‘making progress’ in their magical development - have somehow ‘conquered’ their egos – so that they appear calm, placid, and not given to outbursts of temper, irrational behaviour – that they have ‘overcome’ their passions – or have worked with them to the extent that they can ‘control’ or ‘subdue’ them – at least in public or everyday social situations. Of course, this isn’t always the case – examples such as Aleister Crowley and Dadaji spring to mind – and when we look at Deities, we can find numerous examples of ‘Gods behaving badly’ in ways that draws disapproval even from their fellows. Shiva is a good example (or a bad example, if you prefer) for those of us seeking to pursue a tantrik lifestyle. Although Shiva is called the great Yogi, he is, in the myths, always throwing ‘wobblies’. Here are some examples. It is told that the god Daksha, Parvati’s father, held a big bash – a sacrifice, and invited all the gods and sages to come along. He did not invite Shiva however, since he did not approve of his wild ways. Shiva turned up with his Ganas in tow and started a big fight. There’s also a myth related to the birth of Ganesha which says that Ganesha was originally created by Parvati to act as her doorkeeper – the guardian of her threshold. Shiva turned up one day and Ganesha tried to throw him out. Shiva was outraged, summoned his Ganas, and again a huge battle ensued. Ganesha held his own against Shiva, his ganas, and the other gods. It was only when Vishnu created an illusion to distract Ganesha that Shiva managed to knock his head off. Parvati was in turn pissed off at this and started on Shiva herself. She only agreed to peace when he agreed to restore Ganesha to life, which he did, using an elephant’s head. What does come across from Indian myths is that there is a link between the expression of passion – particularly rage – and creation. In some creation myths, Rudra is born from the ‘wrath of Brahma’. Further, it is said that Brahma, following his own unsuccessful attempts, insisted that Rudra create living creatures (i.e. mankind) but refused, creating mind-born sons – a host of turbulent spirits. In some traditions, Rudra’s response to Brahma’s order that he create living beings subject to death, was to plunge into water and castrate himself! So Brahma made Daksha the creator of all living things. When Rudra emerged from the water and saw the living creatures, he tore off his penis and went off to practice asceticism. It is said that he roared and flames shot forth, and ghouls, ghosts and other spirits appeared. Other examples include Durga, Kali, etc. The Ganas Which brings us round to the Ganas – the Hooligans of Heaven. The Ganas are basically hosts of spirits who accompany Shiva (and some of the other deities). Some of them dwell on Mount Kailasa – Shiva’s Abode – whilst some of them – the more wild ones, live in the cremation ground.
Some of the Ganas were beings whom Shiva had defeated in battle, others were sages, and it is clear that some devotees of Shiva could aspire to becoming Ganas themselves. Siva explained his liking for cemeteries to Uma when she asked him the reason for his dwelling in cremation grounds, which were full of hair, bones, and skulls, jackals and vultures, and the smoke rising from corpses, when he had so many beautiful residences. Mahesvara, the Great Lord, replied to the Goddess that in the past he had been lookiug for a long time for a pure place to dwell in. He could not find one, was frustrated, and out of anger against procreation he created the terrible pishachas, flesh-eating ghouls and goblins, and the rakshashas, intent on killing people. Out of compassion and to protect people and alleviate their fear, however, he kept these ghosts and fiends in cremation grounds. Since he did not want to live without the bhutas and ganas, he chose to live in a cemetery. The brahmins worshipped him in daily sacrifices, whereas those who desired liberation took the terrible Rudra vow. Only heroes (vira) could stay in such a place. It was not fit for seekers of long life or the impure. None but Rudra could free people from fear. When the ghosts stayed with him, they caused no harm. This image of Shiva in the cremation-ground, surrounded by ganas, ghosts, goblins and ghouls, offers a paradigm for his devotees. In essence, the heroic devotee, by practicing the rites of the cremation-ground, emulates Shiva and becomes one of his family (Kula?) of ganas. It’s also clear from the myths that Shiva creates Ganas as expressions of his passions. Here’s some examples: The Jalandhra Myth In the myth of the Daitya king Jalandhara, Jalandhara sends Rahu with a message to Shiva, demanding that he surrender Parvati to Jalandhara. Shiva was angry at this message, and this anger took the form of a terrible creature which sprang from his brow. It had the face of a lion, flaming eyes, a body which was dry and rough to the touch, long arms and a tongue which lolled with anger. The creature rushed at Rahu, ready to devour him. Shiva apparently said something along the lines of "we don't shoot the messenger" whereon the gana pleaded to Shiva that it was tortured by hunger. Shiva told the gana that if it was so hungry, it should eat its own flesh. This the gana did, until only its head was left. Shiva, pleased with such devotion, appointed the gana as his door-keeper, ordering that it create terror for all wicked people. Shiva also ordained that the gana be worshipped along with his worship, and gave it the name Kirtimukha. Jalandhara was furious when he heard what had transpired and commanded his army of daityas to beseige Mt. Kailash. A fierce battle broke out between the diatyas and the ganas. But each time that a daitya was killed, it was revived immediately by their preceptor, Shukra. The ganas told Shiva about this and he was furious. A terrible form called Kritya came forth from his mouth. Her calves were as stout as trees and her mouth was huge and deep like a mountain cavern. She rushed upon the battlefield and began to devour the enemy. She was so big and strong that a push from her breasts uprooted trees and the earth split beneath her feet. She picked up Shukra, stuffed him into her vagina, and vanished. When Shukra was seized, the daityas were frightened and were scattered from the battlefield.
In a related myth, Andhaka, king of the Daityas, is defeated by Shiva and made into a leader of his ganas. This is however, somewhat complicated by the fact that Andhaka is a son of Shiva & Parvati, born when Parvati, in play, placed her hands over Shiva's eyes. The contact of her hands over his eyes brought forth perspiration, from which was born a terrifying-looking creature. Ungrateful, with a bad temper, blind, deformed, and black in colour. He had hair all over his body, matted locks, and behaved like a madman. Shiva named this being Andhaka and ordered his ganas to guard him. Shiva was later approached by the daitya Hiranyasksha, who performed many penances in order that Shiva grant him the boon of a son. Shiva gave Hiranyaksha Andhaka to be his adopted son. Vishnu, in his form of Varaha the Boar, warred with and finally destroyed Hiranyaksha, crowning Andhaka as chief of the daityas. In another version of the Jalandhara myth, Shukra is swallowed by Shiva himself. Shukra spent hundreds of years wandering round in the belly of Shiva. Finally he resorted to the Yoga of Shiva and, after repetition of a special mantra, asssumed the form of Shiva's semen and emerged out of the god's body through his penis. He bowed to Shiva and Parvati accepted him as her son. Shiva made him a chief among his ganas. All this gave me some ideas about how one could approach working with the Ganas. Basically, the Ganas can be viewed as expressions of our desires – not so much conscious desires (i.e. they are not, in my view, like servitors who carry out statements of intent) – but our unconscious or fleeting desires which we are rarely aware of, may be reluctant to acknowledge and hesitant to act upon. A tantrik ideal is to live spontaneously, in a state of non-suppression. It strikes me that, in order to achieve this we perhaps need to be more in touch with our desires – particularly those which we might be reluctant to acknowledge, as they don’t fit our self-image. Dattatreya Rite Outline The meditation we’re going to do is an ‘opening meditation’ which the Gana Chakra has worked with a lot. It’s basically a progressive identification with Dattatreya as an avatar of Shiva. It usually ends with a meditation before a firepit. This time, however, as you sit and meditate, instead of suppressing or letting go of any thoughts or desires which enter your mind, try and project them out of yourself so that they take on the form of ganas – leaping and cavorting around you. You might find that some Ganas might try and fight each other, or play with each other or copulate to spawn new forms between themselves. The idea here is that you are accepting these parts of your being – not suppressing them or attempting to control them, but acknowledging and honouring them. If, during this time, there is a Gana that attracts your particular attention, observe how it moves around – if there is a characteristic gesture or movement which it makes, feel free to copy it. If it has a name to give you, or a sound it makes, then vocalise it. We’ll close this meditation with an HUMMM – so join in when you hear it. HUMM is a mantra sometimes associated with ‘banishing’.
Ideas for Developing Gana Work Externalising ganas can be done anywhere – as un-self-consciously as picking your nose. You could also identify with Shiva and enter into dialogue with a Gana, or identify with a particular gana and enter into dialogue with a conflicting one. The physical expression of ganas brings up issues relating to taboos and what is socially acceptable. The ancient sadhus such as the Aghoris and Pasupatas deliberately courted the disfavour of others by behaving badly. We have to be prepared to take the responsibility for letting our Ganas out. It also strikes me that having a tantrum could lead to a tantrik version of seething – so let’s have one! For further information see: The Ganas: Hooligans of Heaven Dattatreya Rite
A Bhairavi Meditation This short meditation has been extracted from the work of the Ganna Chakra, a Londonbased group of magicians exploring Tantric magic.
"I bow to that Devi who is red like the splendour of a thousand rising suns. She is garlanded with skull, rosy breasted, her hands held in the gestures of granting boons and dispelling fear. The crescent moon rests on her forehead. Three-eyed, she dwells in the heart of the sun. I bow to that Bhairavi from whom emanate the fearful thunderous sounds of dissolution, and who is surrounded by the white ashes of the cremation ground; she wears garlands of skulls on her breasts and in her ears. She is Narayani, who helps us go beyond. She is Gauri, the quencher of all sorrows." "Softly smiling, you shine with a crimson glow that may be compared to a thousand newly risen suns. You wear a silken veil a garland of skulls. Blood smears your breast. Three voluptuous eyes adorn your lotus face; the moon is your diadem. Your lotus hands show the gestures of victory, of wisdom, the granting of boons, and the allaying of fear." For this meditation, Bhairavi is identified with the Dakini of the Muladhara. Seat yourself in a lotus-circle of four petals, within which there is a yellow square. Muladhara means "root-support" - meditate upon the root - who planted it, how does it
grow, what might it grow into? What does it support? Meditate upon the principle of solidity. Of the Earth. Of being rooted. Of being Supported. What do these things mean to us? Try and relate the body-zone of the chakra to feelings, thoughts, sensations. You may find it useful to vibrate the Bija (seed) mantra LAM. When you feel ready, turn your attention to venerating the Shatki - the 'power' the mysterious mistress of the chakra. Call her by the names you know her. Offer her litanies (see those given above as examples) and give her offerings that you think will please her. If she is pleased with your offerings she may be willing to interact with you in some way. If she does so, thank her and breathe her and the chakra into yourself to close the meditation. This is a simple astral sequence which may go towards establishing some kind of personal rapport with Bhairavi. Note that this meditation leaves it entirely open as to how Bhairavi will manifest for you - will she appear before you (within the chakra), in your body, above you, etc - this is open, as is the manner in which she may communicate with you. Feel free to elaborate this as you will. Comments & feedback are welcome.
Dattatreya Rite by Vishvanath & Kalkinath This rite has been developed from the original format created by Lokanath. It has been found to be useful both as an opening rite, or as a daily practice.
PREPARATION The leader should prepare by having all participants seated in a circle in the Temple Space. The Altar should be prepared and incense offered. The leader opens the working by hand-claps to the 8 directions. He then leads the group in the following guided visualisation:
Allow your breathing to become slow and regular. Be aware of your body and how it feels... You are floating in darkness ... you feel safe and calm ... in the distance you can see a flickering light. Your eyes focus on the light, and you move towards it. As you move nearer to it, you begin to see clearer. The flickering light is a fire. Seating in front of the fire, legs crossed in the lotus asana, is a naked man. His hair is long and matted. Upon his forehead, arms, legs and breast are smeared lines of tumeric and red paste. This is Dattatreya, Supreme Magician and
Mahayogi. His body is still as a rock, his mind floats freely, like a leaf blown on the wind. He sits calmly, at the centre of the Universe. You are taking on the form of Dattatreya. You are sitting before the Firepit. Aware of all that is around you. Calm, and detached. You extend your awareness outwards to the Four Cardinal Points. Four shapes begin to coalesce - before you, behind you, to your left, and to your right. The shapes become Four huge, black hounds, facing towards you. You can smell their breath, the heat rising from their bodies, see their curving fangs as you look upon them... The black hounds are your guardian protectors, wrathful and alert, yet you must offer them something for their vigilance. You reach into yourself, and rip from your inner self a lump of bloodied flesh - this is your Ignorance, which you offer to the hound before you. What is Ignorance? it can take many forms - Thinking we know what is real when we have no basis for such a thought. Making Assumptions about things. Keeping experience at bay by maintaining a pride in our ignorance. Give your Ignorance to the Guardian Hound and watch it swallow it with one gulp. And now you turn to the Hound on your left. You reach into yourself and pull out a lump of putrefying, rotting flesh - this is your Revulsion, which you offer to the hound. Nothing is horrible - it is our minds which make such distinctions. How many of the things which you dislike are the result of unthinking conditioning. Conditioned by revulsion we set ourselves artificial limits. You offer your revulsion to the Hound at your left, and it swallows your offering greedily. Now you turn to the Guardian-Hound to your Right. You reach into yourself and pull out a lump of cloying tissue, which trails cords of snot and mucus as you draw it forth. This is your Attachment, and you offer this Attachment to the hound at your Right. What is Attachment, but the false idea that we possess something. Identification with things, ideas, people, beliefs. You offer up your Attachment to the great black hound, and it rips the lump of flesh apart with relish. Then you turn to the Guardian-Hound at your back. Reach into yourself and draw out a mass of stinking, decaying guts. This is that part of you which Clings to Life. What is "Clinging to Life" ? - it is the inability to give - to let go of a situation or ourselves; the refusal to surrender to anything or anyone. Refusal to accept that whic is inevitable. Refusal to to admit the obvious. Let go of this Clinging to Life and watch the Guardian Hound fall upon it with relish. These four Black Hounds now guard you at each quarter, lest some noisome spirit or soul disturb your meditation. You stare into the flames before you, watching them crackle and leap, feeling the heat dance lightly across your limbs. What have you yet to let go? Your Ego. Take a deep breath, and as you breathe out, catch your ego in your cupped hands - ask yourself how you could have given birth to such a monster? Let go of your imaginary opinions of yourself and cast them into the firepit before you.
Feel your body to be an empty vessel. The flame before you also leaps within your breast. Each experience, each flicker of thought, each burst of emotion feeds this inner flame, which burns up the world. Meditate for a moment on the power of this flame, which sheds illumination as it incinerates your attachments. Should the MT wish to close the rite at this point, have the celebrants meditate upon their inner flame until they are aware of nothing else. Then take them back into the void and from here, to the temple.
A Durga Meditation by the Ganna Chakra This is an active meditation for calling on the power of Durga. Wherever you are, imagine the form of Durga coalescing out of your surroundings - out of the sky, earth, furnishings, drawing crackling strands of electricity out of nearby power sockets, a corona of energy about her. Visualise the form of Durga forming above you. Feel her feet upon your head, sending shockwaves of power through your body, and imagine yourself to be seated on the back of her tiger. Feel the power of Durga coursing through you and meditate upon her qualities. The weapons which Durga bears (given to her by the gods) can be taken, in this meditation, as ‘attachments’ - things which you think you need; tools which you perhaps rely too much on. As Durga defeated Mahisa by herself, so too, your power and poise resides in you, rather than your tools and attachments. The legend of Durga and Mahisa1 Mahisa was a son of Rambha, an asura2, and Mahisi, the goddess Gauri in her form of a female buffalo. Mahisa, chief of the asuras became, through austerities skilled in magical prowess. Invincible, he threatened the gods who were powerless to defeat him.3 In desperation, they invoked the goddess for assistance. To resounding incantations and mantras, the goddess appeared as a mountain of light, the colour of gold, with the brilliance of a thousand suns. Her eyes were like the nilotpala flower, the blue lily; her hair was black as night; her high, round, prominent breasts proclaimed her feminine divinity. To her, each god contributed his fiery essence and weapons. Siva, his trident; Visnu, his disk; Varuna, his conch; Agni, a dart; Yama, an iron rod; Vayu, a bow; Surya, arrows; Kubera, a mace; Indra, a thunderbolt; Brahma, a rosary and waterpot; Kala, a sword; Visakarma, an axe; Himavan, a lion.3 Thus armed, Durga went to her home on the Vindhya mountains,4 where she was worshipped by the tribes of the Savaras and the Pulindas. Mahisa, hearing of her intoxicating beauty, sent a message to her, claiming her as his own, for was he not Lord of the three worlds? Durga smiled and replied that she would only wed the hero who defeated her in battle. Boastful Mahisa accepted the challenge and first sent his asura army to war with her. Katayayani5 lifted her bow and arrow, and mounted on her Sarabha,6 she defeated the asura hosts. Seeing the slain, she seized a vina and a damaru and laughing in joy, played music. Then Mahisasura advanced, assuming his form of a deep-black, maddened,
buffalo, now bellowing, now running, now stamping the ground with his hoofs. A cataclysmic battle commenced. The mountains were rent asunder, the oceans trembled and the clouds scattered in the sky. In vain the goddess used her god-given weapons, but the buffalo hero escaped her. At last, filled with engulfing anger, she flung aside her weapons, dismounted, and with her bare hands, sprang on the back of Mahisa; with her tender, fragrant foot she smote his head. The asura, immune to the weapons of all the gods, fell senseless at the touch of the goddess’ feet.7 And she, poised in the serene knowledge of her all-consuming power, took her sword and cut off the head of Mahisa. Then, making the gesture that dispels fear with her hand, the goddess appeared smiling. Seeing her victorious, the male gods of the Puranas hailed her: Whatever gentle forms of thine, And whatever of thy terrible forms wander in the three worlds, By these forms protect us and the Earth.8 (Arthur Avalon, Hymns to the Goddess, p.118)
(Based on the variant recounted in: The Earth Mother, by Pupul Jayakar, Penguin Books 1989) Notes 1. There are many variations of this legend - we prefer the versions whereby Durga is self-existent prior to being called on by the gods, rather than created from their essence. In some versions of the myth, Mahisa is said to become invincible via a boon granted by Brahma - that no man could kill him - and that he could not believe that any woman could kill him so he neglected to include this eventuality in his boon - which of course led to his downfall. 2. The asuras are usually taken as demons. This is not necessarily the case and some commentators have it that they were wild tribes who were hostile to the Aryans. 3. In some variants, Durga’s mount is a tiger. Or see 6, below. 4. Vindhyadevi - goddess of the Vindhya (mountains) is a title of Durga. This region was considered to be populated by wild, hostile tribes and inaccessible to all but the most heroic. 5. ? Presumably a title of Durga. 6. The Sarabha - a mythical animal, half-elephant and half-tiger. 7. The significance of the foot is discussed at some length in Jeffrey J. Kripal’s Kali’s Child. The foot is the transmitter of divine power or grace - further examples being the depiction of Shiva-Nataraja with his foot holding down a dwarf-demon; the tradition of worshipping the feet of a guru, and Ramakrishna’s ‘scandalous’ practice of placing his foot in the lap of one of his youthful disciples.
8. Durga is not only a goddess who responds to threats to the established cosmos, but responds directly to the petitions of her devotees. Moreover, Durga, like all deities, acts from the position of lila or play. She battles Mahisa because it pleases her to do so. As a battle-goddess, Durga reverses the Puranic stereotype of women as submissive wives or daughters. See Hindu Goddesses by David Kinsley for more details.
Elements of Puja by Kalkinath This is a work in progress - it'll be added to as it develops. Tantric teachings stress that purely external rituals (puja) are of no value, unless their inner significance is understood and symbolism is mirrored by internal conscious activity. The relationship between the inner conscious process and the outer ritual action needs to be understood and mastered. The supreme goal of the sadhaka is to dissolve the false distinction between subject and object, and to perceive reality directly as an undivided unity. Of this process, the Saivite master Abhinavagupta says: Oblation is effortlessly offered in the fire of (Siva's) intensely flaming consciousness by offering fully all of the great seed of internally and externally created duality. The various ritual manuals associated with Tantric deities also contain elaborate detail about the bodies of the gods & goddesses, which again simultaneously stresses the relationship between symbolism and the body. For when a practitioner is engaged in magical ritual directed towards a deity, he or she is also identifying with that deity. The Sri Lalita Sahasranama, (the thousand names of Lalita) is a ritual manual of the Sri Vidya tradition which gives an extensive description of the goddess Lalitas' attributes, in a very lyrical manner, which is excellent for visualisation and meditation: "In the ocean of Her Beauty, her eyes are sparkling fish The brilliance of her nose-ring diamonds puts the stars to shame Salutations to She who has the Sun and Moon for her ear-rings Salutations to She whose teeth shine as seedlings of pure knowledge Salutations to She, whose feet dispel the darkness Salutations to She whose gait is like a female swan Salutations to She who is the great ocean of beauty Salutations to She who is red all over The ten avataras of Visnu emerge from her fingernails Salutations to She whose conversation is the sweetest of all music Salutations to She whose smile overwhelms Sri Kamesvara (i.e. Shiva) Salutations to She, whom the brilliance of her toe-nails dispels the ignorance of her devotees" Whatever the form, the dynamics of external ritual serve to remind the practitioner that ultimately, there is no difference between worshipper and worshipped. For example, in
the Sri Vidya lineage, the devi Lalita Tripurasundari (the lovely goddess of the three cities) is venerated through the complex relationships of the Sri Yantra. The Sri Yantra is both a form of the goddess, and the body of the practitioner. The complex groups of saktis arrayed within the yantra are both manifestations of Lalita and elements of the practitioner's body. Some lineages make a distinction between three forms of puja, the gross, the subtle, and the supreme. External puja is considered the gross form, internal puja the subtle form, and supreme worship is attained when the dualising tendency of the mind is stilled, and settles into silence. Those who worship the gods become gods; those who worship ancestors become ancestors; those who worship the elements master the elements, and those who worship me gain me. Krishna, The Bhagavadgita As noted above, the main concept in Tantric puja is that the goddess or god is made present before the sadhaka - indwelling in a yantra or murti and is treated as an honoured guest. The goddess/god is venerated with offerings, mantra, litanies, etc. Tantric puja can be approached in a modular fashion, in that one can begin with fairly short puja sequences, and, as one comes to understand the use and meaning behind ritual techniques such as Mudra or Nyasa, (see below) these too can be incorporated into one's ritual practice.
An Example Puja sequence Purification/Protection One method of beginning a puja would be to establish the local space as 'sacred'. In Western approaches to ritual magic, a Banishing Ritual is often used in the context of creating a demarcation between the 'ordinary' and the 'magical'. This kind of thinking is alien to Tantra, where all space is a emanation of Shakti and hence 'sacred' and ritual serves to 'condense' the sacredness of a space. Approaches to 'condensing' sacred space include: establishing the 8 directions using the weapon-mantra Phat; rattling a drum; invocating the sadhaka's guru-line (i.e. acknowledging respect to one's guru, the guru's guru, and so forth); visualising the local space being swept by fire; stamping on the ground (done to ward off evil spirits). Once this has been accomplished, the next stage might be to prepare one's body to be a vehicle for the goddess or god (or quality) to which the puja is directed. To worship a deity, a man must become the Self of that deity through dedication, breath-control and concentration until his body becomes the deity's abode. Gandharva Tantra Again, techniques such as nyasa can be used at this point. Another appropriate practice might be that of Bhuta Suddhi.
antaryaga (internal worship) The practice of antaryaga involves visualising one's chosen deity taking shape within one's own body. The visualisation may be accompanied by appropriate litanies, nyasa and mudra. bahiryaga (external worship) In bahiryaga the internal form of the deity is 'placed' (sometimes by an exhaled breath) into an external receptacle such as a statue or picture which is then regarded as the living presence of the goddess or god. Offerings are then made to the deity indwelling the image. Following the offerings, the deity may be further offered repetitions of mantras; recitations of the deities qualities (as in the example given above from the Lalita Sahasranama); and requests for boons made or acts of magic made under the auspices of the deity.
Mudra The term mudra is often translated as 'to seal'. One explanation of 'to seal' is that mudra comes from a joining of mud - bliss and dhra - dissolving - thus mudra is that which dissolves duality and brings together deity and devotee. Like many other Indian terms, mudra has a variety of meanings according to the context in which it appears. For example, mudras in Hatha Yoga often refers to particular body postures - sometimes, but not exclusively, involving hand gestures. In Buddhist Tantra, mudra can refer to the female partner of a male practitioner. In Hindu iconography, gods & goddesses are often depicted with their hands making mudras (for example, the twin gestures of dispelling fears and granting boons). Mudras are also widely used in various stages of Tantric ritual and various deities have mudras which are associated with them. According to some texts for example, Ganesha has seven mudras used in ritual worship, one of which is: "Hold middle fingers straight and the forefingers anchored with each other at the middle joints. The forefingers should bend a little and pull one another. This is the Ankusha (goad) mudra."
Nyasa Nyasa can be translated as 'imposition' or 'placing' and refers to a major technique within tantric ritual practice whereby the practitioner sadhaka touches various parts of the body whilst at the same time pronouncing a mantra, and visualising a particular god/goddess (or sometimes an aspect of a god with a particular shakti). Nyasa is one of the techniques for 'divinising' the body. There are many types of Nyasa, some of which are highly complex and elaborate and involve effectively incribing a yantra on one's own body. Sometimes the 50 letters of the Sanskrit Alphabet are placed on the body, and the practitioner may also use Mudra to accompany the placing. Some tantric deities have particular modes of Nyasa associated with their ritual forms.
A Ganesha Puja The following is provided as an example of a Ganesha Puja. There is much more which can be put into the rite, such as installation of a yantra, etc., but this version is suitable for general use. This version of the puja has been used at open meetings, with as many as forty people participating.
Requirements: votive image (such as a small statuette of Ganesha, a picture, or an image created for the rite) 3 small bowls - one contains water, the other 2 are empty Incense or joss sticks Perfume Freshly cut red flowers Red Candle Pot of Red Paste Mala (for counting repetitions of mantra) Food Offering Instrument for making music (i.e. drum, rattle, bells) Preliminaries: Set up place of ritual. The above items may be tastefully arranged around a small altar, if desired. Participants may wish to begin with a relaxation exercise, followed by any preferred opening ritual (i.e. the Shiva Opening Rite or the Dattatreya Rite). Obviously, all participants should have some knowledge of the shape, attributes and qualities associated with Ganesha. As part of the preliminary opening rite, participants may have ritual marks placed on them using the red paste. The Sequence: Internal Installation of Ganesha External Installation of Ganesha Offerings to the god indwelling the image The 108 Salutations to Ganesha 108 repetitions of the chosen Mantra Reading of the Ganesha Upanishad closing Internal Installation of Ganesha The aim of this part of the puja is to meditate upon an image of Ganesha within, and to identify with the qualities associated with the god.
"Feel your belly to be a void within you. As you breathe, see this void beginning to fill with a scarlet mist. Gradually, the mist begins to form a shape - the shape of the Elephant-headed one, Ganesha." "Ganesha, vermillion-coloured, with the head of an elephant and the body of a man, whose vehicle is a mouse. Big of belly, with ears like winnowing baskets, he holds a pomegranate in his trunk, and the crescent moon is upon his forehead. In his four hands he holds a tusk, an elephant goad, a noose, and gives the gesture of granting boons." "The tusk he holds represents service The goad prods us along our path The noose reminds us of that which binds us To his favoured he grants all boons His ears, like winnowing baskets, sift truth from non-truth His twisting trunk shows us the power of strength and discrimination His vehicle, the Mouse, is for cunning, and subtlety." "Meditate upon the qualities of the Ganesha within you - he has the strength and wisdom of an elephant; the intelligence of man; the cunning and subtlety of a mouse. He is the Lord of the Gannas, the demon-horde of Shiva. He is the bringer of luck, the remover of obstacles. Son of Shiva and Parvati, beloved of gods and men alike." This internal meditation may last for as long as is deemed desirable by the ritual leaders. The litanies above are given as examples only. External Installation of Ganesha The next step is for all participants to externalise their internal Ganeshas into the image which has been chosen as a receptacle for worship. In a small group, this may be done by passing the image to each person who, upon receiving it, takes a deep in-breath and breathes out their ‘internal Ganesha’ into the form. In a large group however, an alternative approach is for all participants to focus attention upon the chosen form, and, at a signal from the ritual leader, all simultaneously project their internal Ganesha into the form. Offerings to the Image The next phase of the puja is to make offerings to the form which contains the power of Ganesha. Gam, Obesiance to Ganapati (pour water from 1st bowl into other two) Gam this water. Gam Gam Gam Hum Hum Om Gam Ganapati Namah [Offer first bowl to Ganesha] - Gam, this is for sipping [Offer second bowl to Ganesha] - Gam, this is for bathing [Dab perfume on head of Ganesha] - Gam, this is perfume [Cense Image around Ganesha] - Gam, this is incense, this is for prayer [Offer Candle to Ganesha] - Gam, this is flame, this is for sacrifice [Offer Food to Ganesha] - Gam, this is food, this is for sustenance
[Offer Flower to Ganesha] - Gam, this is flower, this is for experience [Make music to Ganesha] - Gam, this is music, this is for enjoyment Take these offerings O Sri Mahaganapati, bestow siddhi upon us! Following this formalised sequence of offerings, we often like to relate one or two of the adventures of Ganesha. This provides a further opportunity for meditation on the God for the participants, also giving a further exposition of the god’s various attributes and qualities. The 108 Salutations to Ganesha The 108 Salutations is a call-and-response sequence, i.e. one person calls out the Salutation and the other participants repeat it back. Salutations to him who is our refuge Salutations to the one with the wondrous form Salutations to the foremost presider Salutations to him who is the fire within Salutations to the first born Salutations to the unborn one Salutations to him who is without impurity Salutations to him who is worshipped by all Salutations to the manifestation of the unmanifest Salutations to the inexhaustible one Salutations to the inexhaustible one Salutations to the granter of devotees’ desires Salutations to the destroyer of devotees’ obstacles Salutations to the one who loves pomegranates Salutations to him who is celibate Salutations to him who is free from aversion to the Divine Salutations to the foremost knower of Brahman Salutations to him whom intelligence is dear Salutations to him who is powerful Salutations to him who wields the discus Salutations to the wearer of the moon on his head Salutations to the ingenious one Salutations to the one with four arms Salutations to the skilful one Salutations to the self-controlled one Salutations to the compassionate one Salutations to the resplendent one Salutations to the courageous one Salutations to him who is fond of durva (grass) and bilva (tree) Salutations to him who has two mothers Salutations to him who is fond of the twice-born Salutations to the one with a single tusk Salutations to the lord of the multitudes Salutations to him who has an elephant’s face Salutations to him who wields the mace Salutations to the son of Gauri
Salutations to the lord of planets Salutations to him who transcends all qualities Salutations to him who is lion-like Salutations to the rapturous one Salutations to him who hold the sugarcane bow Salutations to the bestower of Indra’s power Salutations to the one with matted locks Salutations to the embodiment of wisdom Salutations to him who works incessantly Salutations to the bestower of absolute happiness Salutations to the destroyer of Kali’s impurity Salutations to the embodiment of time Salutations to him who is love Salutations to the beloved one Salutations to him who upholds the mountains Salutations to the one with the big belly Salutations to the source of all illusory power Salutations to him who is praised by sages Salutations to him whose vehicle is the mouse Salutations to he who wears a cobra as a sacred thread Salutations to him who is without blemish Salutations to the destroyer of wickedness Salutations to him for whom there is no other Salutations to the wielder of the noose and goad Salutations to him who is feared by ambitious men Salutations to the blissful one Salutations to the pure one Salutations to the God worshipped by Rama Salutations to the creator Salutations to him whose form is existence/ knowledge/bliss Salutations to him who is fond of playing with his mother Parvati, daughter of the mountain lord Salutations to the powerful one Salutations to him who is fond of the Sama Veda Salutations to the attentive one Salutations to the supporter of the worlds Salutations to the dearest son so Shiva’s spouse Salutations to the bestower of all perfections Salutations to the bestower of all fulfilment Salutations to the son of Siva Salutations to the omnipresent Self Salutations to the peaceful one Salutations to the peaceful one Salutations to the unchanging one Salutations to him whose lotus feet sage worship Salutations to the bestower of fulfilment Salutations to the auspicious one Salutations to the first-born, Skanda’s brother Salutations to him whose eyes are the sun and moon Salutations to the bestower of prosperity
Salutations to him with the beautiful throat Salutations to him who manifests prosperity Salutations to the lord of Lakshmi Salutations to him who has a stout neck Salutations to he who is pleased with praise Salutations to the pure one Salutations to him with ears like winnowing fans Salutations to him who is a vast ocean of sweetness more charming than the god of love Salutations to him who acts independently Salutations to the self-established one Salutations to the content one Salutations to him who holds the blue lotus Salutations to the lord of speech Salutations to the bestower of boons Salutations to the bestower of speech Salutations to the lord of the wise Salutations to the controller of destiny Salutations to the lord of obstacles Salutations to the remover of obstacles Salutations to him who is free from fear Note "Gam" is the ‘Seed-Mantra sacred to Ganesha. All of these offerings can be infused with power through meditation on their subtle levels and significance. Repetition of Mantra Participants then begin the chosen mantra, such as "Om Ganapati Namah" which is repeated 108 times. During the mantra, each participant may, if desired, approach the altar or image in order to perform individual devotions to the God (making personal requests for granting boons or removing obstacles from their path, for example), afterwards returning to their place and continuing the mantra. The Ganesha Upanishad A reading of the Ganesha Upanishad closes the formal proceedings of the Puja. Om Lam I bow to Ganesha You are clearly the Tattva. You alone are the Creator. You alone are the Maintainer. You alone are the Destroyer. Of all this you are certainly Brahma. You plainly are the essence. Always I speak Amrita. The Truth I speak. Protect me. Protect the speakers. Protect the hearers. Protect the givers. Protect the holders. Protect the disciple that repeats. Protect that in the East. Protect that in the South. Protect that in the West. Protect that in the North. Protect that above. Protect that below. Everywhere protect. Protect me everywhere!
You are Speech. You are Consciousness. You are Bliss. You are Brahma. You are Being-Consciousness-Bliss. You are the Non-Dual. You are plainly Brahma. You are Knowledge. You are Intelligence. You create this world. You maintain this world. All this world is seen in you. You are Earth, water, Fire, Air, Aethyr. You are beyond the four measures of speech. You are beyond the Three Gunas. You are beyond the three bodies. You are beyond the three times. You are always situated in the Muladhara. You are the being of the three Shaktis. You are always meditated upon by Yogins. You are Brahma, you are Vishnu, you are Rudra, You are Agni, You are Vayu, You are the Moon, You are the Sun, You are Brahma, Bhur-Bhuvah-Svar. 'Ga' the first syllable, after that the first letter, beyond that 'm', then the half-moon all together. Joined with "Om" this is the mantra-form. letter Ga the first form, letter a the middle form, m the last form. Bindu the higher form, Nada the joining together, Samhita the junction. This is the Vidya of Lord Ganesha. Ganaka is the seer, Nricad-Gayatri the metre, Sri Mahaganapati the God. "Om Ganapataye Namah." Let us think of the one-toothed, let us meditate on the crooked trunk, may that tusk direct us. One tusk, four arms, carrying noose and goad, with His hands dispelling fear and granting boons, with a mouse as his banner. Red, with a big belly, with ears like winnowing baskets, wearing red, with limbs smeared in red scent, truly worshipped with red flowers. To the devoted a merciful Deva, the Maker of the World, the Prime Cause, who at the beginning of creation was greater than gods and men. He who always meditates thus is a Yogin above Yogins. Hail to the Lord of Vows, hail to Ganapati, hail to the First Lord, hail unto you, to the Big-Bellied, One-tusked, Obstacle-destroyer, the Son of Shiva, to the Boon-Giver, Hail, hail. He who studies this Atharva Shira moves towards Brahma. He is always blissful. He is not bound by any obstacles. He is liberated from the five greater and the five lesser sins. Evening meditation destroys the unmeritorious actions of the night. At both evening and morning he is liberated from the bad and he attains Dharma-Artha -Kama and Moksha. He who wants something may accomplish it by 1000 recitations of this. He who sprinkles Ganapati with this becomes eloquent. He who recites this on a 4th day becomes a knower of Vidya. This an Artharva saying "He who moves towards Brahma Vidya is never afraid." He who worships with fried grains becomes famous and becomes intelligent. He who worships with sweet-meat (modaka) gains the desired fruit. He who worships with samit and ghee by him all is attained, all is gained by him. He who makes eight Brahmanas understand this becomes like the sun’s rays. In a solar eclipse, in a great river, or in front of an image having recited this he gets accomplished in the mantra. He becomes liberated from great obstacles. He is freed from great misfortunes. Closing We like to close a puja by moving into diverse feasting and revels. Following the puja, any image created specifically for the rite may be immersed in one’s local stream or river. Making this a processional the following day can be a nice way of rounding off the puja.
Green Tara by Nandi Virakanath This meditation practice has been prepared from a number of traditional Mahayana and Vajrayana sources.
Establish the ten directions by using the mantra 'Phat' or snapping fingers. Adopt a comfortable meditation posture and allow the breath to flow freely, you may wish to use the mantra 'HamSa'. Once the breath is steady and the mind becomes clear of discursive thoughts allow your normal surroundings to fall away as all becomes an open clear blue sky. In front of you appears a upala flower, upon which is a sun and a moon mat. in the centre of this is a green syllable TAM. You become one with this syllable. From the letter TAM rays of translucent rainbow light emanate into the ten directions. These rays of light receive the blessings of the hosts of Dakinis, Gurus, Spirits, Deities both fierce and peaceful of the three worlds and the three times. The light rays return and as they merge with you in the form of the green Tam, you find your self in a new body. You are now in the form of a beautiful sixteen year old girl, your body is made of a clear soft green light. You are seated in the centre of the upala flower floating in the clear blue sky, around you on the sun and moon mat is inscribed the mantra; OM TARA TU TARA TURA SVAHA. In your heart centre is also a upala flower, and within it is also inscribed the mantra This begins to rotate and as it does you hear the sound of the mantra emanating from within your heart. As each recitation of the mantra rings out it turns into rainbow light filling your entire body. In front of you and above appears a clear white cloud. Upon this cloud stands Avalokitesvara purest white with four arms. In his lower pair of arms he holds a vase of
nectar to his heart, his upper arms are making the gesture of granting boons and dispelling fear. He is surrounded by a host of Bodhisattvas. The beams of rainbow light now begin to pour out of the top of your head and as they do so they take the form of beautiful dakinis carrying gifts to Avalokitesvara and his company of Bodhisattvas. Avalokita is very pleased, and responds by pouring the nectar from the vase into the crown of your head.. the nectar descends filling your whole body. Now the mantra in your heart begins to rotate again, and this time light rays radiate forth and extend to every being on the earth below, each ray of light transforms each being into the image of the beautiful Lady Tara. Rest for a few moments and gradually allow the image to fade as you merge into your everyday self. Recite the mantra Aum x 3 Say 'May all achieve Peace Freedom and Happiness, Om Shiva-Shakti'. Note; Avalokitesvara is often identified with Matsyendranath and/or Shiva. The nectar from the vase could have any particular transformative effect you wish but is normally associated with wisdom-knowledge.
Notes on the Ganesha Upanishad Kalkinath The Ganesha Upanishad is one of the central texts of the Ganapatya Sampradaya, the groups of devotees for whom Ganesha was the central divinity, who are thought to have become established in India from the 6th Century onwards. There are thought to have been at least six groups of Ganapatyas, including one Tantric grouping, although relatively little is known about them. The Ganesha Upanishad belongs to the class of Hindu Vedic texts that are considered to be revelatory - sruti - "that which is heard", and in some quarters, are held to be without 'origin'. It is a manifestation of a particular 'Truth'. It should be noted that the Ganesha Upanishad, like other Upanishads, is not merely to be studied as a written text, but to be spoken - the text not only functions as instructive scripture, but also as a performative liturgy - the act of speaking the Upanishad becomes a revelatory experience. It's important to note that in the Tantric traditions, written texts have only a secondary importance in relation to their oral utterance and interpretation.
The the aim of the following commentary is to shed some light on some of the verses in this Upanishad. It is in no way intended to be authoratitive, merely to help those readers who are unfamiliar with some of terminology and concepts revealed in the texts. Ultimately, it is for each devotee to meditate and comment on the Upanishad as revealed through experience. This is merely a starting-point. Please forgive any errors. 1. Om Lam I bow to Ganesha Om "Om" (AUM) is the primordial word of creation, itself signifying the absolute - it means "I accept", or "I assent". All devotional acts begin with the chanting of "Om". Om serves to focus the attention of the Divine towards the devotee, and the attention of the devotee towards the divine. It is further held by some commentators, that Ganesha is the personification of the primal Om. Lam "Lam" is the seed-mantra of the Muladhara Chakra, of which Ganesha is the gatekeeper or Deva. 2. You are clearly the Tattva. You alone are the Creator. You alone are the Maintainer. You alone are the Destroyer. Of all this you are certainly Brahma. You plainly are the essence. Ganesha is praised as the Tattva. This word can be translated as "principle" - so Ganesha could here, be identified as the 'Eternal Principle' underlying reality. Further, Ganesha is identified as the personification of Trimurti - the Creator (Brahma), the Maintainer (Visnu), and the destroyer (Siva). As Brahma, he continually creates; as Visnu he holds those creations together in equilibrium; as Siva he breaks down those combinations of matter. Furthermore, Ganesha is identified as the Absolute (Brahma), and the eternal indwelling "essence" - the Atman (Self). 3. Always I speak Amrita. The Truth I speak. The speaker asserts that he speaks "Truth" which to him is experiential & revelatory spoken from his heart, rather than just parroting or reciting lines. Further, "Amrita" means "imperishable" - i.e. that this is an imperishable truth. 4. Protect me. Protect the speakers. Protect the hearers. Protect the givers. Protect the holders. Protect the disciple that repeats. Protect that in the East. Protect that in the South. Protect that in the West. Protect that in the North. Protect that above. Protect that below. Everywhere protect. Protect me everywhere! 5. You are Speech. You are Consciousness. You are Bliss. You are Brahma. You are Being-Consciousness-Bliss. You are the Non-Dual. You are plainly Brahma. You are Knowledge. You are Intelligence. Being (Sat) - Consciousness (Chit) - Bliss (Ananda) - or, Reality-ConsciousnessExperience - the three aspects of existence. This denotes the Supreme Power. Ganesha is further identified as the "Non-Dual" - Brahma dwells within him. Here is an
indication that Ganesha can lead his devotee towards that experience of bliss which is realisation of one's inner divinity. Dissolving the difference between devotee and deity is the object of puja. 6. You create this world. You maintain this world. All this world is seen in you. You are Earth, water, Fire, Air, Aethyr. You are beyond the four measures of speech. You are beyond the Three Gunas. You are beyond the three bodies. You are beyond the three times. Here, Ganesha is also identified as both finite and infinite: as the 5 elements; as the embodiment of the 4 stages of speech (para, pasyanti, madhyama, vaikhari); as the three Gunas (Rajas, Sattva and Tamas); as the three bodies (physical, subtle, causal); as the three times (past, present, future). Moreover, Ganesha is beyond these finite forms. You are always situated in the Muladhara. Ganesha is identified as the Deva of the Muladhara Chakra - the "root-support" of all beings. Equally, the elephant is the 'vehicle' associated with Muladhara. You are the being of the three Shaktis. Ganesha is here related to the three Shaktis (powers) of Will (Ichha), Knowledge (Jnana) and Action (Kriya), possibly in the sense of being the causal agency behind the inter-relation of these three powers, or the embodiment thereof. It should be noted that none of the threefold agencies in Tantrik philosophy can be divided from each other. Will does not exist without some degree of Knowledge and Action; nor is Tamas present without some degree of Sattva and Rajas. You are always meditated upon by Yogins. You are Brahma, you are Vishnu, you are Rudra, You are Agni, You are Vayu, You are the Moon, You are the Sun, You are Brahma, Bhur-Bhuvah-Svar. Again, Ganesha is identified as Trimurti. Rudra is a primordial aspect of Siva. As Agni he is fire; as Vayu, the wind. He is the Moon (Candra); the Sun (Surya); Space (Brahma) - whilst this last name is formed from the ritual utterances "To Earth" (Bhur), "To Space" (Bhuvas), "To Sky" (Svar). 7. 'Ga' the first syllable, after that the first letter, beyond that 'm', then the half-moon all together. Joined with "Om" this is the mantra-form. 8. Letter Ga the first form, letter a the middle form, m the last form. Bindu the higher form, Nada the joining together, Samhita the junction. This is the Vidya of Lord Ganesha. These verses present the sacred mantra of Ganesha. The Seed (Bija) sound for Ganesha is "gam". The Varada-Tantra, Chpt. 6 says: "Ga, I speak unto Thee, means Ganesa. Bindu means Dispeller of sorrow. Thus, O Mahesvari, the meaning of Gam-bija is spoken to Thee out of love for Thee."
These verses are telling the devotee how to proceed with the worship of Ganesha, giving the correct use of the Bija-Mantra: Gam is uttered, prefixed with "Om". The Bindu is the essence (i.e. higher form) of all sounds. The Nada (Cosmic Sound) is the utterance [of the mantra] - John Grimes adds that "the sounding of it is its enjoyment" (Grimes, p27) - at the moment I would posit that "joining together" refers to the unification of deity and devotee through the latters recitation of the seed-mantra, which is the essence thought-form of the god. As for Samhita - it is usually translated as "scripture", so I take the phrase "Samhita the junction" as a reference to union with the god through the study/meditation of the holy scripture. All this is the wisdom (Vidya) of Lord Ganesha. Note: I tend to equate Vidya with Gnosis in the sense of being knowledge or wisdom gained via revelation. (According to Sir John Woodroffe, the terms Bindu and Nada represent two particular stages in the process of the manifestation of Shakti. Bindu is generally understood as meaning a 'point'. "Nada" is etymologically derived from 'sound'. Woodroffe, in The Garland of Letters, says that Sakti moves from Nada to Bindu. Nada is the maithuna (congress) or yoga of Siva-Sakti, which in turn produces the bindu, which again differentiates into threefold aspects, although in denser form.) 9. Ganaka is the seer, Nricad-Gayatri the metre, Sri Mahaganapati the God. "Om Ganapataye Namah." The first perception of a mantra is held to arise from a human-divine contact of some kind; hence the first person to utter the mantra is known as its Seer (Sage). In the case of "Gam", the Upanishad says that "Ganaka is the seer". A "Gayatri" is a particular form of mantra, which may consist of a meter, or rhythm which has three stanzas consisting of eight syllables each. A Gayatri mantra is also Devi - the power which one invokes. Whilst mantra alone relies on the Sakti (power inherent in sound) for its effectiveness, a Gayatri mantra is both mantra and prayer. The syllables of the Gayatri mantra are so arranged as to enable the devotee's breathing to fall into a natural pattern, facilitating the arousal of Kundalini-Sakti. Ganapati is the divinity of the mantra - "Om, salutations to the Lord of the multitudes." 10. Let us think of the one-toothed, let us meditate on the crooked trunk, may that tusk direct us. These stanzas should be meditated upon by the devotee, for they contain, in condensed form, the core philosophy of the worship of Ganesha. 11. One tusk, four arms, carrying noose and goad, with His hands dispelling fear and granting boons, with a mouse as his banner. 12. Red, with a big belly, with ears like winnowing baskets, wearing red, with limbs smeared in red scent, truly worshipped with red flowers. 13. To the devoted a merciful Deva, the Maker of the World, the Prime Cause, who at the beginning of creation was greater than gods and men. 14. He who always meditates thus is a Yogin above Yogins.
These verses give the general form of Lord Ganesha for worship and meditation. 15. Hail to the Lord of Vows, hail to Ganapati, hail to the First Lord, hail unto you, to the Big-Bellied, One-tusked, Obstacle-destroyer, the Son of Shiva, to the Boon-Giver, Hail, hail. This verse is a restatement of some of the titles of Ganesha: Ekadanta - One-tusked one Lambodara - Big-bellied Varadaya - Bestower of Boons Sarvatanaya - Son of Siva Vighnavina - Destroyer of Obstacles 16. He who studies this Atharva Shira moves towards Brahma. He is always blissful. He is not bound by any obstacles. He is liberated from the five greater and the five lesser sins. Evening meditation destroys the unmeritorious actions of the night. At both evening and morning he is liberated from the bad and he attains Dharma-Artha-Kama and Moksha. According to John Grimes, the phrase "Atharva Shira" suggests "firmness or singlepointedness of the intellect as directed towards one's realization of the Divine." (Grimes, p22). Thus, we are told that study of this text leads one to realization of the Divine. Dharma, Artha, Kama and Moksha are the four legitimate life-goals: Dharma can be translated as 'righteousness' or 'duty'; Artha as prosperity; Kama, as sensual pleasure, and Moksha, as liberation. 17. This Atharva Shira should not be given to those not pupils. If from delusion a person so gives, he is a bad person. 18. He who wants something may accomplish it by 1000 recitations of this. He who sprinkles Ganapati with this becomes eloquent. He who recites this on the 4th day becomes a knower of Vidya. This an Atharva saying "He who moves towards Brahma is never afraid." He who worships with fried grains becomes famous and becomes intelligent. He who worships with sweet-meat (modaka) gains the desired fruit. he who worships with samit and ghee by him all is attained, all is gained by him. He who makes eight Brahmanas understand this becomes like the sun's rays. In a solar eclipse, in a great river, or in front of an image having recited (this) he gets accomplished in the mantra. He becomes liberated from great obstacles. He is freed from great misfortunes. Note that "1000 recitations" does not necessarily indicate that the text be recited 1000 times as an exact count. Modaka is the sweet flour or rice balls traditionally favoured by Ganesha and offered to him by devotees. In some myths it is said to have similar qualities to the divine Soma. These verses declaim the spiritual benefits from regular study and repetition of the text.
Sources
Ganapati: Song of the Self - John A. Grimes (State University of New York Press) Loving Ganesha - Satguru Sivaya Subramuniyaswami Ganesha … the Auspicious - the Beginning - S. Jagannathan & N. Krishna Tantra Magick - AMOOKOS, Mandrake of Oxford The Garland of Letters - Sir John Woodroffe The Myths and Gods of India - Alain Daniélou Ganesa: Lord of Beginnings, Lord of Obstacles - Paul B. Courtright The Amoral Way of Wizardry - Sri Gurudeva Dadaji Mahendranath 999
Meditations on Dattatreya from Dattatreya: The way and the goal, Sri Jaya Chamarajendra Wadiyar Bahadur, Allen & Unwin 1957
He who would meditate in accordance with the mode laid down in the Upanisad on the deity Dattatreya, the Lord of Lords, Dattatreya the Lord, the gracious - Siva - the tranquil - Santa, the Lord who is lustrous like sapphire in complexion - Indranilanibha, the mighty one - Prabhu, delighting in his own marvelluous power - Maya, the Lord whose activities are his sport - Lila, the Lord who is the one philosopher - Avadhuta, the Lord who has the cardinal directions as his garments - digambara, the Lord whose limbs are smeared with holy ashes - bhasmoddhulita-sarvanga, the Lord who wears the crown of matted hair - jata-jutadhara, the glorious Lord - vibhu, the Lord four-armed caturbahu, and invested with distinguished limbs - udaranga, the Lord with eyes opened wide like full-blown lotus flowers - praphulla-kamaleksana, the Lord who is the treasure-trove of knowledge - Jnana, and discipline - Jnana-yoga-nidhi, the Lord who is the world-teacher, visvaguru, the Lord who is dear to the Yogis - Yogijanapriya, the Lord who is tender to his devotees - bhaktanukampin, the Lord who is the witness to all - Sarvasaksin, the Lord who is served by accomplished adepts - siddha-sevita, such a one, released from all sins will attain beatific bliss. Thus aum! the Truth. Thus the Upanisad.
Aum Salutation to the Lord Dattatreya [who is] the dispeller of great fears, [who] bestows the highest knowledge, who has the character of knowledge and bliss, who is in the guise of a child, a madman, and a devil; who is a great yogin, who is a philosopher, who is the enhancer of the joy of Anasuya, his mother, and is the son of the sage Atri, who bestows the fruit of all desires to the devotee's heart. Aum.
Obesiance to the redeemer from the fetters of worldly existence, hrim Obesiance to he who bestows all kinds of power, krom Obesiance to he who attracts all kinds of accomplishments, sauh Obesiance to the agitator of all minds, srim Obesiance to the long-lived, vasat Do thou attract, hum Do thou antagonise, phat Do thou drive away, tha tha Do thou paralyse, kha kha Salutations to the highly accomplished one, avaha You nourish my body. You destroy the spells of my adversaries. You counteract the influence of all malignant spirits. You cure all ailments. You drive away all anguish. You nourish my body. You fill the mind with joy. You are the real form of all incantations. Aum. Salutations to Shiva. The preceptor is Brahma. The preceptor is Visnu. The preceptor himself is Mahesvara. Salutations to the preceptor Dattatreya. I offer salutations to the Lord Dattatreya, the Divine Thee that satisfies those that are devoted to him, ocean of bliss which is no other than himself. The divine and the remover of the ignorance that causes bondage. Auspicious am I! Siroham.
Meditations on Muladhara Chakra by Kalkinath Muladhara can be translated as "root-support". This in itself tells us something about the nature of this chakra. It is the "root" as in the root of a tree. Where did this root come from? Who planted it, and in what does it grow? GENERAL SYMBOLISM OF THE CHAKRA The following is a list of the symbols which make up the chakra - they are often given, but rarely explained. 4 Petals 8 Arrows Yellow Square - Tattva of Earth Presiding Deities: Red Dakini, Animal: King of Elephants Triangle, enclosing Lingam & Coiled Kundalini
Bija Mantra: LAM The following verses from the "Sat-Cakra-Nirupana Tantra" give a great deal more insight into the nature of the chakra. THE VERSES 1. Now we come to the Adhara Lotus. It is attached to the mouth of the Susumna, and is placed below the genitals and above the anus. It has four petals of crimson hue. It’s head hangs downwards. On its petals are the four letters from Va to Sa, of the shining colour of gold. 2. In this is the square region of Prthivi, surrounded by eight shining spears. It is of a shining yellow colour and beautiful like lightning, as is also the Bija of Dhara which is within. 3. Ornamented with four arms and mounted on the King of Elephants, He carries on His lap the child Creator, resplendent like the young Sun, who has four lustrous arms, and the wealth of whose lotus-face is fourfold. 4. Here dwells the Devi Dakini by name; her four arms shine with beauty, and her eyes are brilliant red. She is resplendent like the lustre of many Suns rising at one and the same time. She is the carrier of the revelation of the ever-pure Intelligence. 5. Near the mouth of the Nadi called Vajra, and in the pericarp there constantly shines the beautifully luminous and soft, lightning-like triangle which is Kamarupa, and known as Traipura. There is always and everywhere the Vayu called Kandarpa, who is of a deeper red than the Bandhujiva flower, and is the Lord of Beings and resplendent like ten million suns. 6. Inside it is Svayambhu in His Linga-form, beautiful like molten gold, with His head downwards. He is revealed by Knowledge and Meditation; and is of the shape and colour of a new leaf. As the cool rays of the lightning and of the full moon charm, so does His beauty. The Deva who resides happily here as in Kasi is in forms like a whirlpool. 7.
Over it shines the sleeping Kundalini, fine as the fibre of the lotus-stalk. She is the world-bewilderer, gently covering the mouth of Brahma-dvara by Her own. Like the spiral of the conch-shell, Her shining snake-like form goes three and a half times round Siva, and Her lustre is as that of a strong flash of young strong lightning. Her sweet murmur is like the indistinct hum of swarms of love-mad bees. She produces melodious poetry and Bhanda and all other compositions in prose or verse in sequence or otherwise in Samskrta, Prakrta and other languages. It is She who maintains all the beings of the world by means of inspiration and expiration, and shines in the cavity of the root Lotus like a chain of brilliant lights.
8. Within it reigns dominant Para, the Sri-Paramesvari, the Awakener of eternal knowledge. She is the Omnipotent Kala who is wonderfully skilful to create, and is subtler than the subtlest. She is the receptacle of that continuous stream of ambrosia which flows from the Eternal Bliss. By Her radiance it is that the whole of this Universe and this Cauldron is illumined. 9. By meditating thus on Her who shines within the Mula-Cakra, with the lustre of ten million Suns, a man becomes Lord of Speech and King among men, and an Adept in all kinds of learning. He becomes ever free from all diseases, and his inmost Spirit becomes full of great gladness. Pure of disposition by his deep and musical words, he serves the foremost of the Devas. SUMMARY The Muladhara is a Lotus of four red petals. In the pericarp is the square dhara-mandala surrounded by 8 spears and within it and in the lower part is the Dhara-Bija (Lam) who has four arms and is seated upon the Elephant-King, Airavata. He is of yellow colour, and holds the thunderbolt (Vajra) in his hands. Inside the bindu of the Dhara-Bija is the Child-Brahma, who is red in colour and has four hands with which he holds the staff, the gourd, the rudraksa rosary, and makes the gesture which dispells fear. He has four faces. Alternatively, Ganesha may be understood as Lord of the Senses. In the pericarp there is a Red Lotus on which is the presiding Divinity of the Chakra, Sakti Dakini. In the pericarp is also the lightning-like triangle inside which are KamaVayu and Kama-Bija, both of which are red. Above this is the Svayambhu-Linga, and above and around this Linga is Sakti-Kundalini coiled three and a half times. The Muladhara reflects the principle of Solidity. BODY ALCHEMY As we have seen, the symbolism of the Muladhara Chakra alone is extremely complex I have only touched on some of the basic elements of it.
What I would like now to do is present some ideas for working with the Muladhara Chakra magically. Firstly, there is the matter of Paying Attention to the Body. Relaxation Exercises, breathing techniques, calm meditation, simple yoga asanas, T’ai Chi - all are useful for stilling the mind, loosing oneself from external distractions and learning to be aware of our immediate physical presence from one moment to the next. Secondly, there is the matter of Earthly Wisdom Ganesha can be understood as the ‘Guardian of the Threshold’ of the Chakra. As such, he can be invoked as the Guru of the Biogram. Pete Carroll, in an early edition of Liber Null, described the Biogram as: "....the instruction manual for the human body. Few people trouble to consult it. It says simply that my body and everyone else's body needs freedom from danger, food, shelter, warmth, sex and transcendance. Transcendance, the urge to union with something greater is variously satisfied by seeking love in a partner or in humanitarian action or by seeking truth and knowledge in mysticism, magic, science or the arts. Our whole culture is shot through with logograms which, by exageration and perversion, nullify the biogram. In order to liberate himself the magician must first feel his way back to the biogram for it is that which is more wise and trustworthy than all the sages. There is more wisdom in one's body than the average library."
Thirdly, there is the matter of the Senses Learning to make effective use of one’s senses is a primary requisite for magical development. The Muladhara Chakra is concerned with Earth - with our immediate physical surroundings. Just as paying attention to body sensations is important, so too is paying attention to our external environment through smell, touch, taste, hearing, sight. Fourth, there is the matter of the Shakti of the Chakra. Meditate upon the Red Dakini who is the Shakti of the Muladhara. Visualise her as separate to yourself. Place her within your heart. Seek union with her in whatsoever manner you choose. The Red Dakini is the Queen, or in another sense, the ‘doorkeeper’ of this chakra - the presiding deity of this region or zone. By meditating on her, as part of Yoga practice, one acquires Knowledge of the chakra.
"Meditate on her, the red, the red-eyed Dakini in the Muladhara, who strikes terror into the hearts of the unillumined, who holds in her two right hands the Spear and Skullstaff, and in her two left hands the sword and a drinking-cup filled with wine. She is fierce in temper and shows her fierce teeth. She crushes the whole host of enemies. She is plump of body and fond of rice pudding. It is thus that she be meditated upon by those who desire immortality." Fifth, there is the matter of the 3 principles: To recap, these are Iccha - Will; Jnana - Knowledge; Kriya - Action. These three are not abstract concepts but shaktis themselves, and in turn, each has their own subsidiary shaktis. Learn to integrate the action of these shaktis within your own life. Sixth, there is the matter of Kama - desire. Work on mastering your desires. This is probably a lifetimes’ work in itself. Kama is one of the Universal Principles, or Visvadevas. In the Artharva Deva, Lust or Kama is given as the supreme divinity - the impeller of creation. "Lust was born first. Neither gods nor Ancestors nor men can equal him." Lust is said to be self-born or unborn, springing from the heart of Bramha or from the Primeval Waters. Kama is the presiding deity of the mind. He is pictured as a proud adolescent, riding a parrot. He has two or eight arms. He holds a bow made of sugarcane, the bowstring being a line of bees; his five arrows are made of five fragrant flowers which inspire lust. On his red banner is the dolphin and he is attended by heavenly dancers, the Asparas (Essences) and celestial musicians, the gandharvas (Fragrances). Kama is worshipped by Yogis, for he alone, when pleased, can free the mind from desire. It is not pleasure, but desire - attachment that fetters. As the Gopala-uttara-tapiniUpanisad has it: "The sage partakes of sensual pleasures as they occur, with a detached mind, and does not become addicted to desire." Seventh, there is the Matter of Shiva. Meditate upon Shiva in his aspect of the Great Yogi or Ascetic - self-contained and untouched by the play of the world. Eighth, there is the matter of Kundalini-Shakti Kundalini-Shakti is everywhere. It is not so much a matter of awakening something which lies ‘dormant’, but of becoming aware of her presence in every aspect of creation. Take enjoyment in simple pleasures.
A note on mudras
by Phil Hine (2004) In ritual practice, a mudra is an intricate configuration of the fingers of one or both hands; in yogic practice, it is an inner "hydraulic" seal effected through breath control and other techniques. In Hindu Tantra, mudra is one of the five makaras: in this context, the term is often translated as "parched grain." In Buddhist Tantra, mudra is one of the terms used for a male practitioner's female consort. The thick hoop earrings of the Nathas are called mudras. Tantra in Practice, David Gordon White (ed), Princeton, 2000, p630 The nature of mudras and their use in tantric sadhana is something I've known about for a long time, but their versatility is something that I've only really begun to appreciate fairly recently. For the 2002 Summer Solstice, a group of UK Naths held a weekend retreat, partly to mark Vishvanath's (who had initiated some members of the group) was about to emigrate to New Zealand. One morning, we had rather an acrimonious exchange of views round the breakfast table, and Vishvanath, acting as an arbitrator, talked about the qualities of effective communication in terms of dispelling fear and granting boons for each other - and at the same time gave the mudras of these actions. Now these were mudras that I had seen many times before as they feature strongly in the iconography of popular Hindu deities such as Ganesha or Lakshmi, and deities are often invoked in terms of both dispelling fear and granting boons for their devotees. But at that moment, listening to Vishvanath talk about how we can grant boons to each other in conversation - in the sense of giving space to another person's point of view and making the gesture, I was suddenly struck, in a way I had never been before, about how a mudra - a simple gesture, can eloquently demonstrate a much more complex idea, and one that can be seen to apply to a wide variety of situations. The term mudra - usually translated as 'seal', has, like many other Tantric terms, a multitude of meanings, dependent on the context in which it appears. In Shakti and Shakta, Sir John Woodroffe gives three meanings of the term: a. In ritual, it refers to the elaborate use of gestures. b. In Yoga, it refers to postures in which not only the hands, but the whole body takes part. c. In the 'secret worship' of the 5 'm's it refers to various kinds of parched cereals. One explanation of the term is that it is a joining of mud (bliss) and dra (dissolving). Mudra is that which dissolves duality (i.e. between worshipper and deity) and thus 'seals' the relationship. Mudras bring the chosen deity closer to the practitioner, and vice versa. Mudra has also been described as 'finger play' - echoing, on the human level, the divine play or lila of Shiva-Shakti. Gestures are an important part of non-verbal communication and have a powerful and immediate impact. In Tantric practice, mudras express directly the form of a devata, quality or inner state. Mudras have become incorporated into the iconography of sacred art; into martial arts and Indian dance forms. Some mudras are said to have therapeutic qualities and Georg Feuerstein has noted that they indicate an overlap between Tantra and Ayurvedic medicine.
Tantric deities have particular mudras associated with them, and practitioners may develop their own mudras as part of their continuing practice. Mudras often represent the interaction or relationship between different categories of existence. For instance, if the five fingers are equated with the five elements, then mudras become the expression of the relationship between those elements. Mudras are also used extensively in ritual in building up the practitioner's subtle form of the chosen deity. Sanjukta Gupta, in her article The Worship of Kali according to the Todala Tantra notes how, whilst a practitioner utters the litany of the goddess - giving her special attributes - the practitioner also, at the same time, makes gestures which recall and express those attributes described in the mantra. Having recently seen mudras employed in such a way by a Hindu Tantrika in the performance of a Devi puja, I can certainly attest to their efficacy. The priest seemed to 'sculpt' Devi from the air, using a series of traditional mudras to reinforce the attributes of the Goddess he was invoking through mantra, shaping her form and associations so that her form was readily apparent to his audience. The experience demonstrated for me how mudra (gesture); mantra (speech/thought) and yantra (form) are interrelated in Tantrik practice and expressed through puja. Such ritual mudras can also have multiple meanings within the context of a puja. For example, one of the special attributes of Lalita is that in some of her aspects, she holds a book. So in a ritual, one could make the gesture of opening a book. But here, one is not simply stating just that Lalita holds a book, but also bringing to mind that Lalita acts with that book in the sense that she grants vidya (direct knowledge or revelation) to her devotees. So, an apparently simple gesture can simultaneously refer to many shades of meanings within the context of a ritual. The following quotation from Arthur Avalon's Shakti & Shakta illustrates this further: We all know how in speaking we emphasize and illustrate our thought by gesture. So in welcoming (Avahana) the Devata, an appropriate gesture is made. When veiling anything, the hands assume that position (Avagunthana Mudra). Thus again in making offering (Arghya) a gesture is made which represents a fish (Matsya Mudra) by placing the right hand on the back of the left and extending the two thumbs finlike on each side of the hands. This is done as the expression of the wish and intention that the vessel which contains water may be regarded as an ocean with fish and all other aquatic animals. The Sadhaka says to the Devata of his worship, "this is but a small offering of water in fact, but so far as my desire to honor you is concerned, regard it as if I were offering you an ocean." The Yoni in the form of an inverted triangle represents the Devi. By the Yoni Mudra the fingers form a triangle as a manifestation of the inner desire that the Devi should come and place Herself before the worshipper, for the Yoni is Her Pitha or Yantra. During a period of Sri Vidya practice with the Earth Square of the Sri Yantra, I developed a series of eight mudras to represent the eight Siddhis or accomplishments. My intention here was to use each mudra to 'invoke' the siddhi - at least my ideations related to that Siddhi - into the Earth Square Yantra I was using, in order to reflect on each siddhi, and its relationship to the other elements of the Yantra.
Overall, a mudra can be understood as the outward expression of inner resolve, the performance of which intensifies one's resolve.
Sources Tantra: the path of ecstasy Georg Feuerstein, Shambhala Publications, 1998 Tantra in Practice David Gordon White (ed), Princeton, 2000 Shakti and Shakta Arthur Avalon (Sir John Woodroffe) Dover Publications, 1978 The Roots of Tantra K.A Harper & R.L Brown (eds), SUNY, 2002
The Wine Ocean Meditation by Vishvanath A powerful concept in some tantric sadhana (exercises) is non-duality. The concept is close to the old Hermetic idea of the union of the Microcosm and the Macrocosm. in order to loosen the boundaries of self, the self is submerged in a bigger image and asked to visualize paradoxical conditions, i.e. being in a flower, the ocean and physically doing something, all at the same time. There are various oceans in which sadhana can be undertaken. These include: oceans of milk, clarified butter, sugar, and many others. Each has particular difficulties and effects which can be explored. Often these meditations are ritualised. In India, for many people, alcohol is taboo. For initiates of many left-handed tantric sects, wine is regarded as a goddess and drinking as a sacred rite. This meditation should be viewed in this context. "Imagine that your spine is the stem of a flowering plant growing in an ocean of the purest red wine. The long stem flowers above your skull and the red flower floats on the surface of the wine. Place an image of yourself, dressed in red clothes, in the centre of the red flower. The ocean glints and shimmers in the strong light. You see a long way on thelimitless ocean of wine. Feel that the stem is tugged gently from below the surface. The flower is slightly submerged and wine pours in over the petals and syphons down the stem, slowly filling up your body, making it indistinguishable from the ocean in which it is submerged. When you are ready to finish, feel that the pressure on your stem is released. The red flower bobs up to the surface and wine ceases to pour into your body. Place the image of yourself back in your heart and allow yourself to focus again on the place where you are working."
Notes from Kalkinath
a) The concept of alcohol as a Shakti is discussed in Aghora II: Kundalini, by Robert Svoboda. b) The ritual symbolism of Flowers is discussed in Ganapati: Song of The Self, by John A. Grimes. c) The colour Red is often associated with Kama (lust/desire)
Yantra by Maria Strutz, based on a talk at Treadwells bookshop, London 2004 I first became interested in Yantras a few years ago when a friend of mine asked me to do a painting of the shaktis relating to the central triangle of the Sri Yantra - Jnanna, Iccha and Kriya. Whenever he'd talked previously about Yantras, I was unable to relate to what he said, as I found it too abstract. What I needed was artistic involvement, action and interpretation in order to transform my understanding of Yantras. The root of the word yantra means to 'sustain'. Originally the term yantra referred to a kind of machine or mechanical device; the meaning of the term then expanded to religious practices. Yantra in that context is an abstract geometrical design intended as a tool or aid for meditation and increased awareness. It refers to the Devi (or Goddess) in her linear or geometrical form.
Elements of a Yantra the Bindu The Bindu is the centre of the yantra, a radiating source of energy, origin of the supreme consciousness from which everything issues and to which everything returns and that generates all forms. It is a: • tool for harnessing concentration • symbol for the source of consciousness • in a 3D yantra it is the axis of the meru, joining together the levels of the yantra. the Earth square On the periphery of yantra you find a square, the earth city with four gateways. Outside of the gateways lie four oceans, the sugarcane ocean of dharma (duty), the salt ocean of artha (wealth), the ghee ocean of kama (bliss) and the milk or wine ocean of moksha (Liberation); this is only one small example of what I like about tantra, its sensual evocative images, goddesses floating in oceans of wine, you becoming the goddess and the goddess becoming you.
So if you view a yantra like a city you've got the four oceans on the outside of the city walls; you enter the city by passing the guardians of the gateways and moving inwards, you encounter lotus petals, each petal inhabited by a shakti (who each has her own yantra in turn!). You can imagine every intersection of geometrical figures, each corner of a triangle being occupied by a shakti or shakti-shiva, each shakti being a vibrant manifestation of another quality of the devi or deva, the queen or king reigning over their city, the yantra. Looking at yantras this way they are a lot more exciting than just viewing them as geometrical images. Yantras may be drawn on paper, in coloured sand, spices or rice paste, drawn on floors or walls, engraved on metal, wood or rock crystal. Temporary yantras are destroyed after puja or meditation (paper yantras are burnt; yantras made of sand and spices are brushed together and disposed of in a river, or offered to Shoshika - the Goddess of leftovers. There are also 3D yantras; these are called merus referring to Mount Meru, the mythical world mountain on whose summit the gods live. These 3D yantras can take the form of small scale sculptures or expand to the size of architectural buildings, where a temple is built on the yantra of the deity whose temple it is, using the yantra as a blueprint, where you have the core energy pattern emanating from the foundations and walls throughout the entirety of the temple. Each element of the Yantra has many levels of meanings and can be approached from different angles. They can be seen as internal yantras of the subtle body, used in temple plans as sacred geometrical patterns or used in practical magic, where you might want to choose the yantra of a goddess appropriate to your intent. Whichever form yantras take, they encourage the practitioner to self-transcendence. However, you need a map to the layers of meaning of a yantra, otherwise the complexities remain hidden and it remains a flat image rather than unfolding into layers of intricacy and beauty. This opening up process may happen through meditation and insights gained therein or by the aid of a guru's guidance.
What attracted me to the Sri Yantra? I first started being interested in the Sri Yantra when a friend asked me whether I had ever attempted to draw the Sri Yantra. I hadn't but was immediately interested as I had painted other yantras previously and I love geometry. And I was convinced that I could do it easily. It wasn't. Just looking at the Yantra made me dizzy, the multitude of triangles dancing and whizzing in front of my eyes, trying to work out how the yantra was actually formed. Once I sort of figured out that it consisted of 5 downward facing triangles and 4 upwards facing ones I started on the angles. And I was confused to find that there was no western type of numerology involved. No 45, 60, 90 degrees anywhere. But really
awkward angles that I had never come across previously in geometric designs, like 71.5 degrees and similar. I finally came up with a construction method that I then attempted to teach to the London Tantra discussion group and failed miserably because it was far too complicated and people gave up in frustration after only a few steps. At the time I was fixated upon and obsessed with the perfection of Sri Yantra, the intermingling of triangles and the exact intersection of lines to form new triangles. One thing a friend said to me at the time was: the Sri Yantra does not have to be perfect, it is about being human, so it can be imperfect and still beautiful. And that struck a chord within me and still is one of the themes I keep coming back to. Although I have to admit that I am still quite intolerant of badly or lazily drawn Sri Yantras.
The Three Shaktis of the triangle The shaktis of the central triangle only started being meaningful to me once I painted them. I used the descriptions of the three shaktis in Tantra Magick as the basis:
Jnanna, embodiment of knowledge, a lithe woman with skin the colour of freshly fallen snow, straddling her Shiva, on an island, surrounded by trees, the trees being made up of the letters of all the alphabets in the world. The trees' seed is awake-awareness, their roots pure sound.
Iccha, the embodiment of free independent will, naked as space, golden red like the setting of ten million suns and ten million fires of dissolution;
Kriya the embodiment of action, black as jet, her radiance and aura the colour of shimmering darkness. Both she and her Shiva are smeared with the ashes from the cremation ground and they are surrounded by corpses and skulls.
By painting these three images I realised connections and meanings I had not previously understood and that I only was able to get via the creative process as that is my medium of understanding and self-expression; and I began to grasp the complexity of yantra. As every corner of the central triangle is inhabited by a shakti, so is every petal, every triangle, every intersection. By painting the images of the shaktis with their shivas I also realised that they are not about male female duality, about heterosexist iconography, but about union, the mingling of influences and powers, about bliss and pure consciousness.
Sri Yantra as a whole
Looking at the Sri Yantra as a whole you have five downwards pointing triangles (shakti) and four upwards pointing ones (Shiva), creating a predominance of Shakti. Shiva and Shakti representing potentiality and actuality. They represent the interaction, mingling and mutual influence of two forces. There are nine layers of the Sri Yantra - quite easy to discern on the painted yantra as they are done in different colours and in the 3D yantra they are the levels of the pyramid - so: there are 9 levels, 9 mandalas, each occupied by a different manifestation or aspect of Lalita, with different attributes, and each layer has a separate mantra. 9 is a key number in tantra. 'Close examination of the details relating to the nine mandalas of the Sri Yantra reveals that the shaktis of the whole circle represent the human being, who, in potential, is Shakti-Shiva united. The aim is for a person to realise that all powers, energies and manifestations are shaktis of consciousness, pure awareness.' Mike Magee
Earth Square The Earth city, or Earth square, is made up of three layers and is painted in yellow on this yantra. I went on an intensive Karate summer course on Mersey island in 2002. The camp was directly by the sea. I got up at four one morning to see the sunrise. The tide was fully in, waves crashing at the seawall. I did a mediation and visualised Tripura, goddess of the Earthsquare. As she is made of pure rock crystal I was able to see the sea through her, the waves breaking around her, glittering in the smoky pink twilight, gently lapping against her. Mersey Island from that point onward has in my mind been linked with Paradise Island, abode of Sri Tripurasundari and the image has stayed with me.
The three layers of the Earth square On the Outer layer are the eight gods, the Obvious Ones, the Lokapalas. I visualized myself sitting in the bindu and the gods unfolding around me; Indra (West) with his thunderbolt, cloaked in a rainbow, Agni (Southwest) riding a ram surrounded by seven flames, Yama (South) as a black crystal skull sitting on a buffalo, Nirriti (Southeast), mistress of witchcraft, as a hag and a young woman, clad in green, riding a horse and laughing manically, Varuna (East), riding a fish-monster in the middle of an ocean, a cobra rising behind him, Vayu (Northeast), engulfing me in wind stirring on my skin, Soma (North), a very small man, sitting on a lotus, shimmering from within like a lightbulb suspended in a glass of milk, and Ishana (Northwest), having five faces, a manifestation of Mahadeva Shiva. 'They have the function of promoting confidence because I know they protect… I just thought of them literally as the skin-shield which keeps me in and infection and danger out.' Vishvanath on the Lokapalas The Middle layer of the Earthsquare is the Siddhi layer. Again one places them at the eight corners, starting from the West, going anti-clockwise; Siddhis are often described as supernatural attributes like flying through the air, weightlessness, becoming invisible, etc. I feel that the Sri Yantra is linked to human-ness not super-humanness or overcoming human limitations. I rather see these siddhis as attributes that are inherent in the human body. Something to be remembered, strengths that we all have at all times but that we can only find if we are in our centre. So it's nothing to strive for on the outside but on the inside. Not to be attained by austerity, asceticism, or self-denial but by delving deeply within. The siddhis are smallness, bigness, heaviness, lightness, quickness-or-efficacy in obtaining objective, wilfulness, creativity and subjugation. Smallness for me is linked to feeling small, feeling vulnerable but also allowing that rather than subjugating it. Allowing that little girl in me to be heard rather than shouting at myself for feeling small, vulnerable, fearful, not knowing what I want. I'm very good at neglecting that 'small' personality in me and pretending to be grown up yet not having a clue how to behave in this world. And actually by doing that cutting myself off from a real power, because if I truly listen to that part, she knows exactly what she wants. And by cutting off that link I end up sad, angry and joyless; feeling flat and defeated. And truly small and powerless. A vicious circle that has no end unless I am honest with myself. Bigness to me is linked to bigness of heart, allowing others to be with their insecurity and anger, vanity and ego. Bigness is allowing myself to feel small, paying attention to my sadness and needs. Bigness is about being grown-up, not in a 'Brazil' kind of way, being overwhelmed by bureaucracy, rules and fear but in a joyful, active way, taking responsibility for carving out the life that I want for myself, paying homage to the dreams I had as a child and that are still available if only I listen. Heaviness, not moving from my position, being firm, solid yet not pugnacious.
Lightness, moving lightly, with a spring to my step. Walking in beauty and moving in harmony. Lightness of touch vs. heavy-handedness. Quickness/efficacy in obtaining objective: I want something, once I've made up my mind, I move for it swiftly, by the quickest, most direct route. Wilfulness - linked to the former, moving quickly, with absolute focus. Creativeness: no censorship or intervention, direct flow; playing around with different media, enjoying the process and riding the wave. Subjugation: For me this is linked to a Karate technique called 'ossai uke' or 'suppressing block', subjugating a punch or an attack, stepping aside and deferring. On a broader level this to me refers to subjugating influences that negate any action, process or activity; these might be my own ideas or they might originate in others or my interpretation of what I think others expect of me. It's about allowing myself to follow my instincts and being true to myself. The Inner layer, the mudras, placed at the corners of the earthsquare, anti-clockwise, starting in the West: These are named as desire, anger, greed, delusion, euphoria/smugness, jealousy, merit and demerit. I didn't really know how to view merit and demerit, until I asked my friend Vishvanath about it and his answer was: 'In day to day life our activities can either confuse the hell out of us (demerit) or not (merit). Perhaps merit in the earth square is self compassion/self-understanding? Could liberation (as in enjoyment and liberation) perhaps be our awareness of our own humanity and the ability not to be too attached or hard on ourselves about human weaknesses? Is this why the Goddess is described as conquering the demon called Tripura (Three Cities - head, heart and genitals)?' The challenge I repeatedly faced was not to be judgemental about my emotions, not to see them as the 'negative' but as a by-product of being alive when interacting with the world, as part of the metabolism like eating or excreting.
Sixteen Petals Moving on to the Shaktis of the sixteen petalled lotus, again starting in the West and moving anti-clockwise): they are earth, air, fire, water, aether( or spirit/space), ear, skin, eye, tongue, nose, speaking, hands, feet, anus, clitoris-or-penis, wavering mind. They are the elements that we swim in, breathe, exhale, that make up the earth we walk on and that at the same time make up our bodies. This brings to mind a quote from Ambassador Delenn, Babylon 5: 'The molecules of your body are the same molecules that make up this station and the nebula outside, that burn in the stars themselves. We are star stuff! We are the universe, made manifest, trying to figure itself out.'
So the sixteen petals are the shaktis through which we experience and explore the world around us, our bodies, our senses, the means through which we experience and connect to the world; hands, feet and genitals, the means through which we explore our surroundings and express ourselves.
Eight petals The shaktis of the eight petals are speech, holding, walking, excreting, pleasure, abandoning-or-rejection, concentration-or-acceptance and detachment. They link in closely with the 16 petals; if you view the practitioner as the one who explores and experiences and the 16 petals as the means of exploration, the 8 petals could be viewed as that which is explored and experienced. A notion I have come across not infrequently was that 'the 16 petals veil our existence, blind our spiritual sight and keep us spellbound in our infatuation with ourselves'. This defines our senses and sensual selves as something to be overcome and cast aside. I believe, rather, that via our senses our experience becomes true experience, being alive, awake and aware. Everything around us is connected through and with us. This summer I went to Slovenia for a week on a Karate training holiday. In the mornings we would train and in the afternoons we were free to do whatever we wanted to do. I ended up exploring the landscape a lot. One day I came to a place in the forest where two mountain streams met, a crossroads of rivers, clear and icy cold water, the streams murmuring and gurgling, swirling and rushing - incredible shades of translucent turquoise. I stayed there for two hours, safely surrounded by mossy trees and painted the scene until the rain stopped me. It was on my way back, climbing up a canyon through a short stretch of wood and coming out onto a meadow, the Julian Alps in the background that I suddenly was startled by the intensity of colours, the sharpness of every detail. Everything was clear, bright, a multitude of detail forming a complexity of sparkling beauty. Every sense in my body seemed to have awakened and I cherished details that previously I had not noticed and I thrilled in the totality of it. Everything felt alive, significant, meaningful, connected and I suddenly understood that this was Sri Yantra, the totality of experience, the senses chiming together all at once into awake awareness. It wasn't the world that had changed but my perception of it. So we have a somewhat puritan worldview on one side that the senses are something to be overcome vs. a tantric worldview that embraces the senses and relishes in them. 'Transcending limitations of physical self' vs. being alive in the physical body and living in it rather than fighting it. Sri Yantra is about being human, not about stripping away our humanness and turning into elevated spiritual ascetic beings, about turning 'other' than who we are. It is about accepting who we are, seeing where we are in life, what limitations there are in terms of conditioning and body armouring, accepting ourselves with compassion and from that place change can occur if we truly so wish. Embracing the senses and embracing one's limitations and humanity.
Pulsating yantra, mantra, unblocking The further you move into the layers of the Sri Yantra the more abstract they become. The 14 nadis, the ten breaths, the ten internal fires, etc. and finally the bindu, the centre of the yantra, the centre of the practitioner. Entering the Bindu means leaving behind the world of natural and ordinary mental images. Bindu; the centre of the heart, Pure Consciousness, the Ultimate Devata Lalita. I have mainly used mantra to explore the inner triangles. Mantra and yantra complement and reinforce each other. Both used together are very powerful. Looking at the yantra for a while you can sense it vibrating and zigzagging in your vision. Using the mantra, especially when spoken out loud this pulsating effect becomes very pronounced throughout your body. Pulsating, Yantra, Mantra within ones body. This is Nasika Shakti, the zigzag goddess. Pulsating, unblocking. Awakening aspects of your body or being that are dead. Shut off due to past pain or trauma. Breaking through armouring and conditioning. Reawakening the senses. Nasika shakti, the zigzag shakti, awakening the practitioner to feeling alive again. Or making the practitioner aware of existing blocks and offering the opportunity to start the unblocking process, the process of letting go of armouring and conditioning. The following quote is by Shihan Akio Minakami, a Japanese Karate master I have had the honour to train with and to me this summarises what Sri Yantra is about: 'When we come into this world we have one hundred percent strong and good feelings. Whether boy or girl, we don't cry half-heartedly. We are completely free and confident. We don't care what people think of us. We just do our own thing. We cry with all our might. Our first kiai is the loudest. As we grow up, we change slowly according to our experience. By observing our surroundings and through our intelligence, we learn how to act. Don't be an actor. Don't act cool. Don't act tough. Be true to your original self. Be true to your heart. Live like your baby-time kiai, with no hesitation, with all your might. Abandon smallminded images of who you want to be. Don't waste time pretending to be somebody that you're not. Just get on with your life NOW! This is genuine confidence. This is your true self. Like a baby, you are free. When we first begin, our loudest kiai is far from when you were a baby. Be patient. It is a lifelong task. Our original confidence may take a few years to find.'
