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2018 February | 2018 | Ithihas

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Monthly Archives: February 2018
Tantra- A Brief Introduction, Part III
February 5, 2018 – 11:36 am
Tantra means a discipline or a system. The meaning includes the sense of a
logically worked out self-consistent discipline. The discipline is both in the field of
philosophy or metaphysics and in the field of religion or practical life. In other words
Tantra means a philosophical discipline as well as a religious and cultural one1.

Tantric method of Worship

Archives
February 2018
Tantras are essentially sadhana shastras. Sadhana be it spiritual or otherwise is
that which produces siddhi or result sought for. The term sadhana comes from the
January 2018
root ‘sadha’ that is to exert, to strive and sadhana is therefore striving, practice,
October 2017
discipline, worship in order to obtain fruits thereof. In religious context it means
August 2017 spiritual advancement with its results of happiness either in this world or in heaven
June 2017 and liberation or moksha, which is free from cyclic orders of karma and rebirth2.
May 2017
March 2017 Tantric sadhana consists of two parts ritual worship (puja) and meditation (yoga).
October 2016 Both are of equal importance to every tantric. Even the siddha or avadhuta
June 2016 recognized to be so highly spiritual that he can afford to disregard rules applicable
January 2016
to ordinary tantrics continues to perform his daily puja along with his yogic
November 2015
practices3.
August 2015
Types of Sadhakas (adepts)
June 2015
February 2015 The Tantras have classified mankind according to their pravrittih or bhava that is
January 2015 natural aptitudes and dispositions. According to Tantras these tendencies,
September 2014 dispositions and reactions to specific situations, environment and circumstances
June 2014 are the products of our past deeds in previous births and rebirths. Tantra places
May 2014
special emphasis on bhava suddhi or citta suddhi. Purification of mind, body,
intellect and emotion is essential and indispensable for spiritual progress and such
April 2014
purification is to be attained by the specific sadhana known in Tantra as Bhuta
March 2014 Suddhi. Thus Tantra has classified mankind under three broad heads according to
December 2013 the pravrittih of the individuals, namely
November 2013
October 2013 1. Pashu or man with animal disposition
September 2013 2. Vira or man with heroic disposition and
August 2013 3. Divya or man with divine disposition4
May 2013
Seven Acharas
April 2013
February 2013 Closely associated with the bhavas, the Tantras have enjoined seven acharas or
January 2013 stages. An aspirant must rise step by step through the different acharas of self-
July 2012 realization till he reaches the seventh or the highest stage of ‘Life Divine’. The
January 2010 seven acharas mentioned in the Kularnava Tantra are Vedachara, Vaishnavachara,
July 2009 Shaivachara, Dakshinachara, Vamachara, Siddhantachara and Kaulachara5.
June 2009
May 2009
In the first stage cleanliness of the body and mind is cultivated. The second stage
is that of devotion (bhakti). The third stage is that of knowledge (jnana). Dakshina
April 2009
which is the fourth stage is that in which the gains acquired in the preceding three
March 2009 stages are consolidated. This is followed by Vama which is the stage of
February 2009 renunciation. The sixth stage namely Siddhanta is that in which the aspirant comes
October 2008 to the definite conclusion after deliberate consideration as to the relative merits of
September 2008 the paths of enjoyment and that of renunciation. By pursuing the pursuing the path

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August 2008 of renunciation the aspirant reaches the final stage of Kaula. This is the stage in
July 2008 which Kula or Brahman becomes a reality to him.
June 2008
The first three of these seven; namely Veda, Vaishnava and Shaiva belongs to the
May 2008
pashubhava, Dakshina and Vama belong to the virabhava and the last two belongs
April 2008
to divyabhava6.
March 2008
February 2008 S.K.Ramachandra Rao gives a different interpretation to the seven acharas.
According to him –

1. Vedachara prescribes non-violent Vedic rites, on contemplation of the

divinities in one’s body and on the repetition of the seed syllable ‘Aim’- all
these being performed only in day time.
2. The Vaishnavachara is an extension of the first one, but relying to a greater
extent on the sacred mythology contained in the puranas, advocating the
observance of vratas (like fasting, vegetarian diet, celibacy, avocation that is
free from violence, restraint in speech, etc.), worship of personal gods (ishta
devata, mostly Vishnu) during day time and repetition of sacred formulae
(japa) during nights.
3. The Shaivachara is likewise an extension of the Vedachara, with a sectarian
variation relying on the smrtis as well as on Puranas which glorify Shiva; it
advocates the observance of vratas and worship of personal gods (mostly
male).
4. The Dakshinachara popular in the southern region of the country, accepts
female forms of divinities (Bhagavati) but conducts worship in accordance
with the prescriptions of the Vedachara. It permits worship in the night in
cemeteries, on the banks of rivers, but prohibits the use of liquor, meat, etc.
and no sexual rites are allowed in any manner.
5. In the Vamachara the female form of divinity is worshipped with the five
makaras (wine, meat, fish, sexual union and parched grains) in the dead of
the night and in communities of initiated male and female devotees.
6. The Siddantachara adopts the Shaivite philosophy and while the usual
tantric rite are performed, great importance is attached to Bhairava (terrible
form of Shiva) the form which the devotees seek to assume.
7. The Kaulachara while incorporating the details of Vamachara defies all rules
and restrictions pertaining even to the sectarian rites. There is nothing that is
barred for the devotee here: no place, no time and no conduct.

While votaries of the Vedic tradition hold the Vedachara as excellent and the
Kaulachara as the least, the followers of Kaula sect hold the Kaulachara as the
most excellent and the Vaishnavachara the least meritorious and is silent about
Vedachara7.

Puja Sadhana

The importance of puja cannot be exaggerated. From the time of his initiation till
the end of his life, every tantric is bound by the duty of performing his daily puja.
Tantrics divide their ritual practices into three groups, nitya, naimittika and kamya.
Nitya covers the group of rites regarded as being compulsory for a tantric to
perform every day. Naimittika rites are observed on particular occasions and
kamya rites are performed to fulfill a special wish or to avert a great misfortune8.

In nitya puja performances of ritual practices include both outward and inner
worship (bahya and antara puja). This include reading shastras, practicing
austerities (tapasya), ratiocination of the bija mantra (japa), recitation of the hymns
(stotra patana), purification of both body and mind (bhutasuddhi and cittasuddhi),
installation of vital energy to the deity (pranapratisthana)9, worship of yantra,
mandala, performing of nyasa, mudra and pancha makaras.

Diksha

The Tantra is obviously not attractive to the common man as it involves

extraordinary effort and possession of attitudes which is different from and
sometimes contrary to those which are normally held. Hence Tantrik practices are
revealed only to the really serious. Thus initiation (diksha) is made an
indispensable prerequisite for Tantrik practices. The importance of a teacher in the
Tantra is very great and a text says that there can be no salvation without initiation
and there can be no initiation without a teacher. The expression diksha is a
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compound of two ideas; di means ‘to give’ or ‘to endow’ divine qualities and ksha
means ‘to destroy’ or ‘to remove’ the sins and obstructions thereby freeing the
individual from phenomenal fetters. Diksha is a personal transmission of unseen
but enormous power from the teacher to the pupil as effectively as possible and as
confidentially as feasible10. Diksha or initiation has been considered to be the
secret part of Tantra sadhana. The tantric mysteries are revealed only to the
initiates. According to Sharada Tilaka initiation is that which gives spiritual
knowledge (divya jnana) and brings the annihilation of baser propensities (papa).
When a sadhaka takes initiation he comes to know the art of stopping further
increase of samskaras. This art is known as Madhu Vidya. Diksha burns out all
karmas, severs the bond of maya and brings the attainment of spiritual knowledge.
Through initiation the Guru imparts the practical lesson to make use of mantra and
yantra. Mantra is imparted during initiation and mantra which has not been
received from a guru bears no fruit. Kularnava Tantra speaks of three kinds of
diksha.

Sparsha Diksha- initiation by touch,

Drka Diksha- initiation by sight and
Manasa Diksha- initiation by thought11.

Mantra

A mantra is any combination of letters believed to be of divine origin and used in

order to evoke divine powers and to realize a communion of man with the divine
source and essence of the universe12 .The expression ‘mantra’ is derived from two
Sanskrit roots, man signifying ‘to reflect’ and rati signifying ‘to protect’. The
significance is that the mantra is a sacred word or formula that is capable of
protecting the person who thinks of it or utters it. The very process of thinking or
uttering is said to generate a saving power: it protects the person from existing or
possible errors, calamities and misadventures13. Mantras are grouped into three
varieties;

Male- when they end with words such as ‘hum’, ‘phat’ and ‘vashat’.
Female- when they end with words such as ‘vaushat’ and ‘svaha’ and
Neutral- when they end with words with ‘namah’.

Male mantras are especially employed in magical rites, in the worship of ferocious
divinities including goddesses and in sorcery. They are said to be vigorous and
quick in effect but their spiritual value is minimal. The female mantras find use in
enterprises with concrete benefits as objectives and the neutral mantras have
spiritual progress as their goal.

Mantras are also classified on the basis of the number of syllables they contain. If
there is a single syllable it is called pinda mantra, if there are two syllables it is
called kartari. If the number of syllables ranges from three to nine it is called bija
mantra and if the number of syllables exceeds nine but is not more than twenty it is
called mantra. If the syllables are more than 20 the mantra becomes a mala
mantra (string mantra) 14. The repetition of a mantra is known as japa and there
are three varieties of japa.

1. Vachika (uttered)- audible to others

2. Upamsu (muttered)- audible to oneself only and
3. Manasa (thought) – in entire silence, visualizing the deity of the mantras15.

Mantra sadhana is the main theme of Tantra. It is the life force of Tantrik cult. With
the help of mantra a sadhaka attunes his individual existence with cosmic vibration
and gets drenched in the divine effulgence. He becomes one with the divine being
after losing his individuality. The realization of the non-dualistic existence is the
main aim of mantra sadhana16.

Yantra

Yantra is a geometrical diagram with abstract symbols inscribed on a flat surface

like palm leaf, paper, etched on a metal sheet or stone slab and is an indispensible
constituent of tantric sadhana17.

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The Sanskrit word Yantra derives from the root Yam meaning to sustain, hold or
support the energy inherent in a particular element, object or concept. The yantra
is a sacred enclosure, a dwelling or receptacle of Ishtadevata (the chosen deity)
and a substitute for an anthropomorphic image of the deity. A deity’s yantra bear
no resemblance to the iconographic image and is its transform (para rupa), its
abstract translation18.

All yantras are inscribed with mantras and the most important mantra associated
with the yantra is generally inscribed in the center of the yantra, while other mantric
letters are arranged in the spaces formed by the intersection of lines, either round
the circle or on the lotus petals or on the outer square band of the yantra. These
mantric letters are condensed with energy and are seen as vested with a spiritual
power beyond human comprehension. Pronounced correctly, with the correct
rhythm, intonation and mental attitude, a mantra becomes the soul of the yantra
and a vitalizing force within the mind of the seeker19.

Pranapratisthana ceremony

In order to be accessible for worship, a yantra has to be infused with the vital force
(prana) and this ritual is called pranapratisthana. The transfer of power to the
yantra is achieved in several ways but one of the chief methods is through the
breathing technique (pranayama). While the adept is in complete concentration,
the devata is exhaled by pranic transmission through the right nostril as he chants
an appropriate mantra. The breadth is exhaled over a red flower which he holds in
his hand. The divine essence is thus communicated through the adept’s body on
the flower. He then places the flower at the centre of the yantra which begins to be
permeated with the spark of consciousness. Another method of infusing vital force
into the yantra is by the means of symbolic finger gestures (Avahana mudra). The
adept exhales his breadth on to the appropriate finger positions which he then
slowly lets his closed hands descend on the yantra. Some ritual manuals also
suggest a ceremony where the yantra is washed with several liquids which is
symbolically suggestive of cleansing away impurities20.

After consecrating the yantra by means of pranapratisthana, the adept begins his
meditation by fixing his attention (concentration) on the yantra’s periphery and
finally proceeds towards the center called bindu21.

Visarjana ceremony

At the end of the puja the yantra is symbolically forsaken in a rite known as
visarjana- the dissolution of the yantra. Using a finger gesture (generally yoni
mudra) and pronouncing the appropriate mantra the adept dismisses the deity
contained in the yantra. The deity is then brought back into the adept’s heart from
where it was first installed into the yantra either by the adept’s inhaling his breadth
or smelling the flower through which the deity was first installed during the
pranapratisthana ceremony22.

Types of Yantra

There are three types of yantras

Raksha yantras- yantras for magical purposes generally called protective

yantras
Pujana yantras or Devata yantras- yantras for actualizing divinites and
Dhyana yantras- yantras that facilitate meditation

Raksha yantras are of two types, beneficent ones (soumya or aghora) and the
malevolent ones (krura or ghora). The former kind of yantras are employed to ward
off evil, cure disease, bring about peace of mind, recover lost property, help growth
of children, facilitate trade or agriculture, gain celebrity and so on. The latter kind of
yantras are meant to kill the enemy or harm him in occult fashion, to confound his
mind and drive him mad, to invoke misfortune on a household and so on23.

The devata yantras are also magical yantras but are deity specific and to be
effective they entail the performance of certain appropriate worship rituals. Only
when they are properly attended upon do they acquire potency. In these yantras
the deities are often represented by the seed syllable (bija akshara) appropriate to
the deity inscribed at the central point (bindu). The mantra that is specific to the
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deity is supposed to be powerful and if properly communicated and assiduously

recited transforms the phenomenal consciousness of the devotee into deity
consciousness. The devata yantras are meant to achieve all mundane and spiritual
aspiration, bring prosperity to the family and eliminate obstacles on the path of
spiritual progress24.

The Dhyana yantras are devices for concentrating the mind, focusing attention and
channelizing consciousness. Meditation on these yantras involves mantras and
mudras. The dhyana yantra represents the field of consciousness and the mantra
as the vocalized formula for repetition represents the expressive faculty of
consciousness (vac) and mudra as physical posture and gesture represents the
material vehicle in which the consciousness is embodied and through which it
works. When a deity is also employed to preside over the yantra it is as a unifying
agent25.

Mandala

Mandala is defined as ‘that which gathers the essential details’. Mandala denotes
an act of concentration of all the significant details of the worlds, or of a doctrine, of
one’s own constitution or of his own mind. It is also the place where such
concentration is facilitated. As an act of concentration it gathers up the inner
energies and as a place of concentration it brings together the outer energies26.

In tantric traditions the term mandala often refers to a space with a special
structure that is enclosed and delimited by a circumferential line and into which a
deity or deities are invited by means of mantras. This space is often a circle, but
may also appear as a square, triangle or another shape. The various shapes and
structures of mandalas are based on the traditions of the different schools, ritual
applications, the deities worshipped and the practitioner’s qualifications, and goals.
Mandalas are prepared from various materials including coloured powders,
precious stones, fruits and leaves and fragrant substances27.

Mandalas are used in ceremonial sequences like consecrating the place of

worship, placement of the ritual jar or kalasha, placement of the lamp symbolizing
god or goddess, preparing the ground for making food offerings or naivedya, in the
initiatory rites (diksha vidhi) and as aids in meditations. The folk design known as
rangoli which has now turned out to be a purely decorative art was originally meant
as a protective device; to protect the house from evil influences, to protect the
place where an auspicious function is to take place from possible harm, to sanctify
the ground on which worship is conducted28.

The ritual pertaining to the mandala which activate the hidden forces both within
the external diagram and in the devotee’s constitution involve the proper
positioning of the tutelary deities (kula devatas) captains (nayika), aids (yogini) and
guards (mudra devatas). Their locations are determined according to the tantric
prescriptions and the purpose for which the mandala is used. The placement of the
retinue divinities is sometimes accomplished by inscribing appropriate letters of the
alphabet in different areas of the mandala. The Sanskrit alphabet is regarded as
the vocal epitome of the entire universe and each letter is transformed into energy
when introduced into the mandala29.

Whether it is called a Chakra, Mandala or Yantra, the instrument is a sphere of

influence, a consecrated ground, an arena for the play of thoughts, feelings and
forces both inside the devotee and outside him. It is an instrument that is employed
to activate energies, stimulate thoughts, harmonize feelings and coordinate inner
and outer forces. It is rightly described as a psycho cosmogram30.

Differences between a Yantra and a Mandala

1. A Mandala is used in the case of any devata whereas a yantra is appropriate

to a specific devata. Mandala represents the microcosm and accommodates
a pantheon of deities who are positioned in it according to rank. A yantra on
the other land is the domain of a single deity but may include that deity’s
retinue.
2. Mandalas are used in secret as well as public ceremonies whereas yantras
have more restricted use

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3. Mandalas are usually objects for temporary ritual use. The deities are
invoked into them and dismissed at the end of the ritual. Yantras on the other
hand are made of permanent material in which a deity has been invoked and
usually kept in the temple or shrine for continued worship. But it must be
added that many yantras are made for temporary use like the mandala.
4. In yantras mantras are inscribed at the time of manufacturing it while
mandalas are first constructed and only later deities are invoked into them
with mantras. However later texts enjoin that yantras be first prepared and
then infused with life in a special ritual called pranapratisthana with the help
of mantras
5. A general characteristic of yantra’s is that they are small in size. In contrast
mandala vary in size and can be large enough to allow for priest or initiands
to enter them through doors and walk around in them; for example during an
initiation ceremony (diksha vidhi)
6. With the exception of yantras installed permanently for worship in temples
and mathas, yantras are generally mobile whereas mandalas are not.
7. While mandalas can employ different colour schemes, the use of colour is
less common if not irrelevant in the case of most yantras.
8. While pictorial representation of deities can appear in mandalas, such
images are generally not found in yantras31.

Mudra

Mudra is another characteristic item in Tantrik ritual. The word mudra has several
meanings, four of which have a bearing on Tantrik practices.

It means a posture in yogic practices in which the whole body plays a part.
It also means the symbolic or mystic intertwining of the fingers and hands as
part of religious worship.
Mudra is also the fourth of the five makaras and means various kinds of
grains mixed with ghee or other ingredient or parched grains.
A fourth meaning of mudra is the woman with whom a Tantrik yogi
associates himself.

According to Kularnava the word mudra is derived from ‘mud’ which means delight
or pleasure. These mudras (ritual finger and hand poses) should be shown (in
worship) as they give delight to the gods and make their minds melt (with
compassion for the worshippers)32.

Mudras (hand poses) according to Pujaprakasha are to be made in worship at the

time of japa, dhyana (contemplation) and when starting on kamya rites (performed
for securing some desired objects) and that they tend to bring the deity worshipped
near to the worshipper. The Nityacarapaddhati says that mudra is so called
because it gives delight to the gods and also puts to flight asuras (evil beings)33.

Raghavabhatta states that the fingers from the thumb to the small finger are
identified with the five elements namely akasha (sky or ether), wind, fire, water and
earth and that their contact with each other tends to make the deity favourable and
delighted and induces the deity to be present at the worship, and that various
appropriate mudras are to be employed in worship at the time japa, in meditation
and in all rites performed for securing some desired objects or benefits. It was
supposed that mudras helped in enhancing concentration on the part of the
worshipper34.

There is a great divergence among the tantras, puranas and yoga works on the
number, names and definitions of mudras. The Sharadatilaka names nine mudras
while the Vishnusamhita says that mudras are innumerable and names about 30.
The Jnanarnave mentions at least 19 mudras and Jayakhyasamhita about 58
mudras35. The Kalikapurana states that there are 108 mudras, 55 for general
worship and 53 on special occasions such as collecting materials, drama and
acting36.

The tantric works provide that mudras should be practiced secretly under cover of
a garment and not in the presence of many people and should not be announced
to another as otherwise they become fruitless37.

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It is likely that the mudras in the Hindu and Buddhist tantric works are based on the
poses that were evolved in ancient Indian dance and drama and we find their
earliest extant description in Bharata natyasastra and that also in later medieval
works on dramaturgy such as the Abhinayadarpana38.

Nyasa

One of the important items in the tantric ritual and worship is Nyasa which means
mentally invoking a god or gods, mantras and holy texts to come to occupy certain
parts of the body in order to render the body a pure and fit receptacle for worship
and meditation. The word Nyasa literally means ‘placing or depositing in or on’ and
it is done by touching the chest and other limbs with the tips of the fingers and the
palm of the right hand accompanied by mantras. There are several kinds of nyasa
such as hamsanyasa, pranavanyasa, matrkanyasa, karanyasa, mantranyasa,
anganyasa, pithanyasa, etc.39 The tantric concept of nyasa became popular in
other forms of Indian religious systems as well and we have Puranic references to
this practices. The medieval digests on the Dharamasastras also show that nyasa
was taken over from Tantrik works in the puranas and other texts for the rites of the
orthodox peoples40.

The aim of nyasa is to stimulate the nerve centre and consequently equitable
distribution of powers (shaktis) so that the spiritual adepts (sadhakas) by shaking
off the discordant notes and distracting tendencies of the mind can keep the bodily
centres steady41.

Pancha Makaras

For the worship of Shakti the panchamakara or panchatattva are declared to be

essential. According to Mahanirvana without panchatattva in one form or another
Sakti puja cannot be performed. The reason of this is that those who worship Sakti
worship divinity as creatrix and in the form of the universe. If she appears as and in
natural function, she must be worshipped there with otherwise as the Tantra cited
says worship is fruitless. The mother of the universe must be worshipped with
these five elements namely wine, meat, fish, gram and woman or their substitutes.
By their use the universe (Jagad Brahmanda) itself is used as the article of
worship. The Mahanirvana says that wine which gives joy and dispels the sorrow of
men is fire, flesh which nourishes and increase the strength of mind and body is
air, fish which increases generative power is water, cereals grown on earth and
which are the basis of life are earth and sexual union which is the root of the world
and the origin of all creation is ether42.

Generally it is thought that in vamachara, woman play an important role. But this is
only partially true in the case of those sadhakas who worship with Shakti according
to vamachara rites. But among the vamacharis there are even brahmacharis,
sadhakas and followers of the Nathas who never indulge in this type of Shakti
worship. The Kalamukhas and the Kalavisas worship the kumaris only up to the
age of nine and the Brahma Kaulas refrain even from wine and meat. All these
means that this kind of worship is restricted to one section of the vamacharis
namely the vira class while the pashu and divya classes are prohibited from
performing it. There are still further restrictions that a sadhaka should perform this
worship with his own wife (svakiya Sakti) and only in the case when there is no
wife he may take some other Sakti for the purpose of ritual worship only43.

According to Tantrics the performance of the panchatattva sadhana helps one

attain siddhi. The panchatattva sadhana are of various types namely pratyaksha
(real type), Anukalpa (substitution type) and Divya (esoteric type). In the anukalpa
type gingers is substituted for meat and coconut water for wine and in the Divya
type materials are substituted by symbols. Only in the Pratyaksha type real objects
are used and even here there are injunction against unrestrained indulgence of
flesh, wine and woman44.

A sadhaka is to practice these rites for gaining the highest object namely the
unification with Shiva or God leading to emancipation. The expression
panchamakaras derive its name from the initial letters of the ingredients, madya
(wine), mamsa (meat), matsya (fish), mudra (cereals) and maithuna (coitus)45 .

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Thought out worldly these rites appear much abhorrent, there is a great esoteric
meaning behind these. All these wine, meat, fish and woman are objects of
temptation and it is very difficult to overcome them. Worship of a young damsel as
a goddess and taking of wine for the purpose of concentrating his mind on the
object of devotion only is something very difficult and requires the training of mind.
The sadhaka has to relinquish his own desire and self and convert the various
pursuits of enjoyment into instruments of spiritual discipline. The esoteric meaning
of the five makaras is like this-

1. Madya- the nectrine stream that issues from the cavity of brain is called
madya or wine
2. Mamsa- by this term we mean the control of speech which is only possible in
case of the yogis
3. Matsya- by fish we mean the system of respiration, drawn in and sent out.
So the worshipper of fish means one who has controlled his vital breaths,
this is called pranayama
4. Mudra- it means the residing place of the soul in the body and one who
acquires the knowledge of this charming soul is the worshipper of mudra
5. Maithuna- the most important of all these is the practice of maithuna. It is
observed-‘cohabitation is at the root of creation, preservation and
destruction; it is regarded as a great principle in scriptures and it achieves all
ends and confers the most difficult knowledge of Brahman. The meaning of
maithuna here is the recitation of various attributes of God or unification with
God.

Thus we can say that this panchamakara worship is not at all corrupt in spirit as it
is supposed to be. The aims are very high and these are various instruments of
spiritual discipline46.

Chakra Puja

Worship with the panchatattva generally takes place when pupils of the same guru
parampara gather together in a close and small circle, each accompanied by his
female partner called shakti. The lord of the chakra (chakresvara or convener)
presides with his shakti in the center. The convener conducts the nitya puja
including a much simpler form of suvasini puja or duti puja (worship of a woman).
Each member of the group performs the rite of purifying the tattvas by drinking a
little alcoholic drink and eating the cooked meat and fish. In this ritual the
worshipper must purify wine, fish and flesh before he dedicates them to the deity
according to prescribed rituals accompanied with proper mantras. The rest of the
puja follows the same pattern as in suvasini puja. After all the rites have been
completed and the food has been eaten sexual acts takes place.

Chakra Puja are of different types like Deva Chakra, Raja Chakra, Veera Chakra,
Bhairavi Chakra, etc. where female agents are worshipped as the great mother by
the devotee unruffled by passions and temptation of meat of birds or beasts which
is nothing but sacrificing of attachment and animality. Chakra Puja is a special
mode of yoga sadhana undertaken only on special occasions in which only the
highly spiritually advanced persons can take part. Persons who have complete
self-control and mastery over senses may gather together in a chakra and worship
the great goddess in the midst of the objects of great temptations such as wine,
women, etc., a fiery ordeal for a worshipper which the Tantra forbid for men of
animal proclivities47.

Shava sadhana or corpse ritual

A peculiar type of Tantric ritual is shava sadhana or corpse ritual. Only a Vira type
sadhaka is entitled to perform this rite. On a selected new moon day a sadhaka
acquires in a cemetery a fresh dead body which is disease free and one who has
died of an accident. The corpse is washed and sanctified with mantras, mudras
and nyasa. The sadhaka then sits on the corpse and pours alcoholic drinks into the
corpse mouth and feeds it with cooked meat. According to Vira Cudamani, the
rituals also involves offering of wine and food to the 64 Yoginis and culminates with
copulation performed by the sadhaka and his female partner over the corpse. It is
said that the sadhaka will experience terrifying sights and sounds during the course
of the rite and if he is not frightened by all these, he will have mantrasiddi- that is
command over every aspect of life48.

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Yoga Sadhana

The second part of tantric sadhana is yoga. Yoga is generally classified into four
categories, mantra yoga, hatha yoga, laya yoga and raja yoga. Each of these
forms has eight subservient called eight limbs or astanga which are yama, niyama,
asana, pranayama, pratiharya, dharana, dhayana and samadhi. The first five are
known as exterior methods (bahiranga), chiefly concerned with the body and the
last three are inner method (antaranga) employed for the development of the
mind49.

Mantra yoga is the simplest form of yoga. This yoga is helpful for an aspirant to
gain control over his mind by uttering the mantras as imparted by his guru and by
concentrating on images of gods, yantras, mandalas, emblems, etc.

Human mind is controlled by prana. When the breadth is kept under control the
outward movement of the mind comes to an end. In this connection Hatha yoga
prescribes a number of asanas, mudras and pranayama; by practicing which an
aspirant can acquire control of his mind and body.

Laya yoga is a higher form of Hatha yoga. It is specially connected with the
functioning of Kundalini and that is why the tantras lay great emphasis on this form
of yoga. Laya yoga corresponds to the fifth, sixth and seventh stages of the
astanga yoga, namely pratyahara, dharana and dhyana. By practicing Laya yoga,
an aspirant rouses his Kundalini and finds his prana merged into vishwa prana.

Raja yoga is the fourth stage in yoga and corresponds to Samadhi as mentioned in
astanga yoga. In this state the sadhaka loses his own entity in paramatma which
he finds pervading the universe. It is the highest form of yoga through which
nirvikalpa Samadhi is attained50.

Kundalini Yoga

The Sanskrit word Kundalini means ‘coiled-up’. The coiled Kundalini is the female
energy existing in latent form in every human being. It is the infinitesimal part of
the cosmic energy (Shakti) which lies asleep in the individual muladhara. The
object of the tantric practice of Kundalini yoga is to awaken her and bring her up to
the point just above the top of the susumna called the sahasrara chakra where the
cosmic energy resides. By merging her with the cosmic energy the individual is
able to obtain spiritual release from the bondage of this world and everything
worldly51.

The fundamental principle of the tantra shastra is that man is a microcosm

(kshudra brahmanda) whatever exists in the outer universe exist in him. All the
tattvas and the world are within him and so are the supreme Shiva and Shakti52.
Hence the yogin’s spine is compared to Meru, the cosmic central mountain and is
called brahmadanda (Brahma’s stick). Thus the centre of the yogin’s mystic body is
the centre of the world. The Susumna is inside it hollow like a bamboo. In the
susumna exists the entire manifest world in concentrated form. Ranged vertically
along it are the six centres called wheels (chakras) each of which is conceived as a
stylized lotus inhabited by a deity and containing the constituents of both physical
and sonic creation53.

The six chakras that lie along the axis of the spine are consciousness potentials
and are to be understood as situated not in the gross body but in the subtle or
etheric body. These chakras are-

1. Muladhara- situated at the base of the spine

2. Svadhisthana- situated around the prostatic plexus (near the generative
organ
3. Manipura- situated around the navel
4. Anahata- situated near the heart
5. Visuddha- situated behind the throat and
6. Ajna- situated between the eyebrows

Situated four fingers breadth above the top of the head is the Sahasrara the
transcendent chakra. The Sahasrara chakra is said to be the region of Shiva, pure
consciousness while the Muladhara chakra is the seat of Shakti whose form here is
Kundalini. Through certain prescribed discipline the Kundalini Shakti rises through
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the psychic centres (six chakras mentioned above) until it reaches its full flowering
that is fusion with the Absolute in Sahasrara as Kula Kundalini, generally bliss
consciousness (Ananda) from the union of Shiva-Shakti54.

The awakening of the Kundalini power is a physic psycho spiritual process which
has the following three aspects-

1. Generate an intense desire to attain cosmic consciousness

2. Chanting a mantra to generate vibrations of appropriate wavelength to
awaken the Kundalini to which she is attuned and send her upward to
penetrate the chakra one by one and
3. Meditation upon a yantra to attain an inner visualization of the process to
guide it through its successive stages55.

Occult powers through Tantric sadhana

A sadhaka acquires siddhis or miraculous powers through tantric sadhana;

especially when the Kundalini is awakened. Some of these siddhis are living
without food, duplicating one’s body, rising from the dead, gaining knowledge of the
heavenly worlds, of planets, stars and the whole cosmos56. The Tantric text
Prapancasara enumerates eight siddhis namely-

1. Anima- that is power of making one’s body as minute as an atom

2. Garima- power of increasing the weight of one’s body
3. Mahima- power to magnify one’s body
4. Laghima- power to levitate one’s body
5. Ishitwa- sovereignty over all things
6. Vishitwa- power of charming
7. Prapti- power of getting anything
8. Prakamya- non obstruction of desire

and states that one who is endowed with these eight siddhis is a liberated soul57.
Another text Sadhanamala mentions eight siddhis like-

1. Khadga- a sword sanctified by spells for success in the battle field

2. Anjana- collyrium which when applied to the eyes enables one to see buried
things.
3. Padalepa- ointment applied to the feet enabling one to move anywhere
unnoticed
4. Antardhana- to be invisible
5. Rasarasayana- transforming baser metal into gold and preparing the drug of
immortality
6. Khecara- to fly in the sky
7. Bhucara- going swiftly anywhere
8. Patalasiddhi- diving underneath the earth

The text also mentions that by means of certain mantras the wealth of Kubera can
be appropriated and gods like Hari, Indra, Brahma and others and also apsaras or
heavenly damsels can be utilized as servants. Even for defeating opponents in
public discussions the mantras are efficacious58.

Lakshmidhara in his commentary on the Saundaryalahari throws light on the

content of 64 Tantras which in general deal with way leading to the acquisition of
certain supernormal powers or siddhis. For instance Mahamaya Tantra and
Shambara Tantra describes the manner in which illusory world is created by the
power of Maya Shakti which is designated as Mohini Vidya. The Yoginijala
Shambara Tantra describes the way to make one tattva appear as the other tattva.
For instance prithvitattva appear as jalatattva or vice versa. Siddhi Bhairava Tantra,
Kankala Bhairava Tantra, Kala Bhairava Tantra, etc. describes the way to
acquisition of worldly treasure (nidhi vidya). There is a group of eight Yamala
Tantra which deal with Kaya siddhi that is making the physical body develop super
human powers59. It is said that Ramakrishna Paramahamsa had acquired occult
powers through practice of tantric sadhana. He had perfected all the 64 tantric
sadhanas belonging to Vishnukranta group within two years60.

Concluded

Bibliography
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1. Kamalakar Mishra- Kashmir Shaivism– The Central Philosophy of Tantrism,

Sri Satguru Publications, Delhi, 1999, p.35
2. Manoranjan Basu- Fundamental of the Philosophy of Tantras, Mira Basu
Publishers, Calcutta, 1986, p.433
3. Sanjukta Gupta, Dirk Jan Hoens, Teun Goudriaan- Hindu Tantrism,
Publishers, E.J.Brill, Leiden, The Netherlands, 1979, p.121
4. Nando Lall Kundu- Constructive Philosophy of India, vol- II (Tantra),
Calcutta, pp:9,10
5. Ibid, pp:11,12
6. Studies on the Tantras– Ramakrishna Mission Institute of Culture, Calcutta,
1989, pp:59,60
7. K.Ramachandra Rao- The Tantra of Sri Chakra, Sharada Prakashana,
Bangalore, 1983, pp:23-25
8. Sanjukta Gupta, Dirk Jan Hoens, Teun Goudriaan- cit, pp:124,125
9. Manoranjan Basu- cit, p.470
10. K.Ramachandra Rao- Tantra Mantra Yantra, The Tantra Psychology, Sri
Satguru Publication, New Delhi, 2008, pp:48,49
11. Lalan Prasad Singh- Tantra- Its Mystic and Scientific Basis, Concept
Publishing Company Pvt Ltd, New Delhi, 2010, pp:117-119
12. Sanjukta Gupta, Dirk Jan Hoens, Teun Goudriaan- cit, p.101
13. K.Ramachandra Rao- Tantra Mantra Yantra, The Tantra Psychology, p.85
14. Ibid, pp:89,90
15. Ibid, pp:87,88
16. Lalan Prasad Singh- cit, p.97
17. Madhu Khanna- Yantra- The Tantric Symbol of Cosmic Unity, Thames and
Hudson, London, 1994, preface, p.10 and S.K.Ramachandra Rao- The
Yantras, Sri Satguru Publication, New Delhi, 1988, p.29
18. Madhu Khanna- cit, pp:11,12
19. Ibid, p.34
20. Ibid, pp:98-100
21. Ibid, p.108
22. Ibid, p.106
23. K.Ramachandra Rao- The Yantras, pp:19,20
24. Ibid, pp:23-36
25. Ibid, pp:27,28
26. K.Ramachandra Rao-The Tantra of Sri Chakra, p.iv
27. Gudrun Buhnemann et al- Mandalas and Yantras in the Hindu Traditions,
D.K.Print World (P) Ltd, New Delhi, 2007, p.13
28. K.Ramachandra Rao- The Yantras, p.15
29. K.Ramachandra Rao- Tantra Mantra Yantra, The Tantra Psychology, p.11
30. K.Ramachandra Rao-The Tantra of Sri Chakra, p.v
31. Gudrun Buhnemann et al- cit, pp:17,18,28,29
32. V.Kane –History of Dharmashastra, Vol V, part –II, Bhandarkar Oriental
Research Institute, Poona, 1962, p.1123
33. V.Kane –History of Dharmashastra, Vol II, part –I, Bhandarkar Oriental
Research Institute, Poona, 1941, p.320
34. V.Kane –History of Dharmashastra, Vol V, part –II, p.1124
35. Ibid, p.1125
36. Ibid, p.1128
37. Ibid, pp:1125,1126
38. Ibid, p.1129
39. Ibid, p.1119
40. N.Battacharyya- History of the Tantric Religion, Manohar, 2005, p.306
41. Manoranjan Basu- cit, p.477
42. Sir John Woodroffe- Sakti and Sakta, 3rd edition, Celephais Press, 2009,
pp:565,566
43. Pushpendra Kumar- Sakti Cult in Ancient India, Bhartiya Publishing House,
Varanasi, 1974, pp:164,165
44. Ibid, p.165
45. Ibid
46. Ibid, pp:166,167
47. Sir John Woodroffe- cit, p.573; Sanjukta Gupta, Dirk Jan Hoens, Teun
Goudriaan- Op.cit, p.155 and Bose & Haldar- Tantras- Their Philosophy and
Occult Secrets, Firma KLM Private Ltd, Calcutta, 1981, pp: 144,145,149,150
48. Vidya Dehijia- Yogini Cult and Temples- A Tantric Tradition, Published by
National Museum, Janpath, New Delhi, 1986, p.59; Sanjukta Gupta, Dirk Jan
Hoens, Teun Goudriaan- cit, pp:161,162; N.N.Battacharyya- Op.cit, p.137
49. N.Battacharyya- Op.cit, p.308
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50. N.Battacharyya- Op.cit, pp:309-311; Bose & Haldar- Op.cit, pp:161-164

51. Sanjukta Gupta, Dirk Jan Hoens, Teun Goudriaan- cit, p.171; Ajit Mookerjee-
Kundalini–The Arousal of the inner Energy, Destiny Books, Vermount, 1986,
p. 9
52. Sir John Woodroffe- cit, pp: 636,637
53. Sanjukta Gupta, Dirk Jan Hoens, Teun Goudriaan- cit, p.171
54. Ajit Mookerjee- cit, pp:11,12
55. Victor M. Fic- The Tantras- Its Origin, Theories, Art and Diffusion from India
to Nepal, Tibet, Mongolia, China, Japan and Indonesia, Abhinav
Publications, 2003, pp: 35,36
56. Ajit Mookerjee- cit, pp:77,78
57. N.Battacharyya- Op.cit, p.148
58. Ibid
59. Deba Brata Sen Sharma- Studies in Tantra Yoga, Natraj Publishing House,
Karnal, Haryana, 1985, pp:16,17
60. Prabuddha Bharata, January 2016, Vol-121, No.1, p. 25

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