CHAPTER 2

LITERARY RESEARCH

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 2. LITERARY RESEARCH
2.1 BACKGROUND
Ancient åsis and seers practiced upäsaëä on Yantra and attained peace of mind so

essential in modern life. The çästräs have mentioned about Yantra as an effective tool in
the path towards realizing Reality. They used Yantras as visual tools that serve either as
centering devices or as symbolic compositions of the energy pattern of a deity. As there is
a difference between mind and body, so there is the difference between Yantra and
mantra. Yantra is the body or form of the deity whereas Mantra involves the sound
aspect or the mind, consciousness or spirit [Ramachadnra Rao, S. K. (1988)].

As oil is dear to the lamp, so the body is dear to the spirit and Yantra to the deity, because
Yantra is the external, visual expression through which the deity receives the devotion.

When a Yantra is adopted for worship and the energy is invoked in it, it becomes a
symbolic representative of the deity and actually is the deity himself when the sädhaka
abandons his analytical, critical attitude and the energy circulates in higher centers. Every
Yantra becomes the dwelling place of the deity by whose name it is known. The essence
of the iconographic image of the deity, the spirit, is retained in the Yantra form; yet no
idol or picture of a deity is as powerful as Yantra. An iconographic idol is a personal
thing, whereas a Yantra is universal, because it is composed of archetypal forms that are
common to all existing phenomena. A Yantra is therefore, an archetypal unit, and the
very process of making a Yantra is an archetypal activity that works with the encoding of
the genes, so that the divine revelations repeat themselves during the process. It is a
process by which one moves from concrete reality to abstract truth [Harish Johari
(1986)].

Literary research done by Itagi Ravi Kumar (2003) was on history of pyramids, the
evolution of the pyramidal shape in temples and the pyramids of Egypt.

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

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

pyramidal shapes in temples, structure and placement of pyramid, working of pyramids,
application of pyramids, pyramids – Yantras for health, the concept of cakras in ancient
texts of Yoga and Indian cosmic pyramid – Çré cakra.

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

Summary of the review of literary research and incorporation of factors in the present
study
No. Review of scientific research literature Limitation
1. Literary research done by Itagi Ravi Kumar (2003) The limitation of this study
was on history of pyramids, the evolution of the was that the concept of
pyramidal shape in temples and the pyramids of pyramidal shape in Yantras
Egypt. was not included.
2. Gopinath, R. K. (2005) studied the concept of The limitation of this study
pyramids and Çré cakra. was that the concept of
three dimensional Yantras
was not included.

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

2.2 AIMS AND OBJECTIVES

a. To compile and understand the concept of Yantra according to ancient Indian
scriptures.
b. To study the effects of Yantra on physical and spiritual growth.

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c. To unravel the connections of Yantras with pyramids.

2.3 METHODOLOGY
2.3.1 Sources of Study
a) Ägama texts: Kulärnava Tantra, Tantra-räja-tantra, Mahanirvanatantram,

Samurtarcanadhikarana, Samarangaëa Sütradhara

b) Bhagavatgétä
c) Soundarya-Lahari.

2.3.2 Methods
The classical and authentic information was derived from the verses in these texts, their
commentaries and descriptions about concept of Yantra and pyramids. The information
was first systematically compiled and then sorted out according to the defined structure
of the sections. The relevant references have been cited in the body of the text as well as
in the reference section.

2.4 CORE OF THE STUDY

A. Etymology of the Word Yantra
The word Yantra comes from the root yam, a support or hold [Ramachandra Rao, S. K.
(1988)]. To hold is to contain, to keep, to maintain the essence of an object, a thought, or
a concept. The syllable tra comes from trana, or liberation from bondage [Ramachandra
Rao, S. K. (1988)].

So Yantra is that which preserves the essence and liberates. In general way Yantra means
tool in Saàskåta. When the word yam is used in its symbolic sense (yama is the Lord of
Death) and tra means getting trana, or freedom, then a Yantra is that which gives
liberation from the clutches of death (the cycle of birth and rebirth), which gives mokña,
liberation [Harish Johari (1986)]. The Yantra is in the nature of a field for the spirits to
dwell and to function. Every Yantra is a self-sufficient, self-contained, complete and

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closed realm, well-guarded against outside interference, as indicated by the sharp
boundary lines. The Yantra involving points, lines, triangles and squares represent
energies in various modes [Ramachandra Rao, S. K. (1988)]. The point (bindu) is the
focal aspect of energy. It is the intense concentration of energy from which energy is
derived by the other forms. The seed syllable (béja-akñara) is inscribed on the point. The
point is surrounded by successive enclosure, viz, a triangle, two triangles intersecting, a
circle, and so on; these forms indicate outward manifestation of the spirit as to exert its
influence in the desired manner [Harish Johari (1986)].

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

ymÉUtaidsveR_yae Éye_yae=ip k…leñir,

Çayte sttÂv tÅmad yÙimtIirtm!.61.

Yamabhütädisarvebhyo bhayebhyo=pi kuleçvari|

träyate satataïcava tattmädaà yantramitéritam||61||

Because from all beings like Yama (lord of death), etc. and even from all fear it always
saves (träyate), it is, O Kulesvari! Called Yantra.

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

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

Lord Viñëu as well as Devé Çakti. Çré Yantra is a marvel of geometrical accuracy and
precision composed of nine interwoven isosceles triangles. Five triangles point
downwards and four point up (five triangles are the representation of creation; the four
triangles represent the cosmic wisdom). The connections of the triangles are realized not
through writing but from the insight or revelation from the inner consciousness. Çré

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

Cakra Meru Yantra is shaped like mountain used for Upäsanä [Ramachandra Rao, S. K.
(1989)].

Kulärnava Tantra says about etymology of the word Yantra as below [Ram Kumar Rai
(2010)].

kam³aexaiddae;aeTwsvRÊ>ˆoinyÙ[at!,

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

Kämakrodhädidoñotthasarvadukhaniyantraëät|

yantramityähuretasmin devaù préëäti püjitaù||86||

Because of its being the controller of all the pains arising out of desire, anger and other
failings, it is called Yantra. The deity pleases when worshipped in the Yantra.

B. Construction and Grammar of Yantra

The act of drawing and painting Yantras teaches the mind how to concentrate, how to be
one-pointed on one hand and creative on the other. The geometrical patterns of which a
Yantra is composed are governed by a law which is communicated to one who attempts
to draw it. Attention is needed, for if one becomes a little careless, one makes mistakes.
Yantra drawing requires accuracy, exactness, discipline, concentration, neatness and
patience.

Comprehending geometrical forms and patterns-circles, triangles, squares, and the like –
is the work of the right hemisphere of the cerebral cortex. A person in whom only the left
hemisphere is functional will find it impossible to match geometrical patterns. The
geometrical forms of the Yantra activate the right hemisphere, which is visual and
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nonverbal. Yantra meditation increases inner silence and tranquility. It also creates a
tendency to be attentive to speech. All Yantras used for meditation are done in such a
way that all the linear forms intersect with a central axis or nucleus. This nucleus is either
a point (bindu) or as sound (Bija Mantra).

Generally, a Yantra is composed of a square on the outside with four projections forming
T-shaped structures, circles, a row of lotus petals and some triangular forms inside the
lotus petals. Sometimes there are two triangles overlapping each other, making a six-
pointed star; sometimes, many triangles are superimposed on each other in a pyramid
form; and inside all these geometrical forms is a point or as sound [Arthur Avalon,
(1982)].

The Point: Bindu

A point, called bindu by Tantrics, is the most powerful Yantra. The point is the centre of
the drawing. The entire drawing is a projection around the center. The point signifies
unity, the origin, the principle of manifestation and emanation.

Points are of two kinds; (i) a point having no magnitude, and (ii) a point having the
smallest conceivable or practicable magnitude. A true point has no magnitude, but to
have a point in concrete form, it is given the smallest conceivable or practicable
magnitude.

The bindu is the point of origin and source of all symbolism and the first and basic
primary symbol of the energized Consciousness, which becomes materialized through a
process of gradual change. This point is the source from which everything is created and
into which it all dissolves. It is a symbol of the supreme Consciousness. When it projects
itself, it brings forth the world of names and forms, binds them in one single stream and
serves as a link or uniting force.

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

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A bindu has great metaphysical significance and is the point of union between the
aspirant and the Divine: it makes the unmanifest manifest, and thus, the aspirant is able to
establish a relationship with the unmanifest.

The Circle
A circle is an expansion of a point. The point is the most condensed form of energy, and
a circle is its extension. This expansion is growth in dimension which broadens the scope
of a point, yet it also imprisons the point as an individual unit, making on individual
Consciousness out of cosmic Consciousness. The point is static, the circle is dynamic and
represents the cyclic force. The point is beyond space because it is very compact, and it is
the seed form of all the forms. The circle represents water; a circle with a point in the
centre represents the Sun.

The Triangles
The triangle represents the five elements, a horizontal line represent inactivity and
stability. Upward pointing triangles draw the attention up and away from the world; they
represent male energy. Downward pointing triangles take the attention down and
represent female energy.

The Square
The square symbolizes a materialistic attitude, stability, solidity and stagnation. The
square forms an enclosure, restricting the field of vision, and defining the space of the
Yantras. The square represents the earth element.

The Six-Pointed Star

The six-pointed star is a combination of an upward pointing and a downward pointing
triangle. The upward pointing triangles represent the element fire or male energy, and the
downward pointing triangle represents the element water or female energy. The
superimposition of the two in a symmetrical pattern brings about a balance of the two
energies.

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The Lotus Petals
Lotus petals in a Yantra appear inside a circle, which itself is inside a square. These lotus
petals are known as the Candra Maëòala, and the circle outside is known as the Sürya

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

cosmos; Sürya means Sun. Sürya Maëòala which is portrayed in lotus petals, the number
of the petals is twelve, representing the twelve signs of the zodiac.

The Candra Maëòala is shown with sixteen petals representing moon has sixteen kaläs
(beam). Whenever the number of petals is neither sixteen nor twelve, the symbol refers to
the manifested reality, which is eightfold, representing five basic elements – ether, air,
fire, water, earth plus mind, intellect and ego.

The Concentric Circles

Concentric circles around or inside a triangle represents the three guëas: sattva, rajas and
tamas. When these circles are on the outside of the lotus petals, they represent the three
modes of time-past, present and future.

C. Varieties of Yantras
According to Arthur Avalon (1982),
a. Çakta Yantras

Yantras that represent any form of the Divine mother are called Çakta Yantras. The ten
forms in which cosmic mother appeared on different occasions are represented by ten
different Yantras; Kälé Yantra, Tärä Yantra, Çoòañi Yantra, Bhuvaneçvaré Yantra,

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

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

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Example Kälé Yantra

Figure 1: Kälé Yantra

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

draw Yantra, first of all a hexagon is drawn, then three triangles the eight-petal lotus,
finally the bhupura. The devotee should worship the goddess therein.

The Mantra for recital is:

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

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

huà hréà hréà svähä||

Dhyana verse:

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

suéicramuNmu´kezavilm!,

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

zvkrEdeRvI— Éje kailkam!.

Om Sadyaçichannaçiraù kåpäëamabhayaà hastairvaraà bibhratéà ghoräsyäà

çirasäà srajä surucirämunmuktakeçävalim|

Såkkäsåkpravahäà çamaçänanilayäà çrutyoù çavälaìkåtià çayämäìgé

kåtamekhaläà çavakarairdevéà bhaje kälikäm||

Kālī also known as Kālikā is the goddess associated with eternal energy. "She who
destroys". The name Kālī comes from kāla, which means black, time, death, lord of
death, Shiva. Kālī means "the black one". Since Shiva is called Kāla - the eternal time,
Kālī, his consort, also means "Time" or "Death" (as in time has come). Hence, Kāli is
considered the goddess of time and change. Although sometimes presented as dark and
violent, her earliest incarnation as a figure of annihilation still has some influence.
Various Shakata Hindu cosmologies, as well as Shākta tantric beliefs, worship her as the
ultimate reality or Brahmin. She is also revered as Bhavatārini (literally "redeemer of the
universe").

b. Vaiñëava Yantras

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

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

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Example: Çri Viñëu Yantra

Figure 2: Çri Viñëu Yantra

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

` nmae naray[ay,

Om Namo näräyaëäya|

Dhyana verse

%*TkaeiqidvakraÉminz< zŒ gda< pŒj< c³<

ivætimiNdravsumtIs<zaeiÉpañRÎym!,

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

lsCDIvTsicû< Éje.

Udyatkoöidiväkaräbhamaniçaà çaìkha gadäà paìkhajaà cakraà

vibhratamindirävasumatésaàçobhipärçvaddayam|

koöiräìgadahärakuëòaladharaà pétämbaraà kaustubhoddéptaà viçvadharaà

svavakñasi lasacchévatsacihnaà bhaje ||

Çri Viñëu yantra is used for worshipping Lord Viñëu. Lord Viñëu's power has been
manifested on Earth as ten different Avatars or incarnations to rid the world of
unrighteousness and evil. Lord Viñëu is the aspect of the Divine that preserves the

Universe. Çri Viñëu Yantra is used for achieving success, wealth, preservation of health,
family, and achieving great heights in the world. .

c. Çaiva Yantras

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

Måtyuïjaya Yantra and Måtsaïjévné Yantra.

Example: Mahä Måtyuïjaya Yantra

According to Yantra Mahima [Shasrti, M. H. K. and Laxmi Kant Vashisth (2006)], the
püja yantra of Lord Mahä Måtyuïjaya is eight petal lotus in the inner most area, then

17
sixteen petals one, then twenty four petal one, then thirty two petal one and then forty
petal lotus.

Figure 3: Mahä Måtyuïjaya Yantra

Lord Mahä Måtyuïjaya is the winner of death. On worshipping Mahä Måtyuïjaya one
can escape from miseries and troubles of this materialistic world as well as the problems
related to inner soul. This Yantra is used to free the fear of death, grave dangers, and fatal
diseases and makes one courageous and healthy. It bestows the person with wealth,
health and happiness, good fortune and fame. It is carved on copper plate or gold plate or
it can also be written on bhojpatra and energized with mantras.

The mantra for recital is:

` haE< ` jU< s> ÉUÉRv

u > Sv> ÈyMbk< yjamhe sugiNw< puiòvwRnm!,

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

ÉUÉuRv> Sv> jU< s> haE< `.

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Om haum om jüà saù bhürbhuvaù svaù tryambakaà yajämahe suganthià

puñöivarthanam|

urvärukamiva bandhanän måtyormukñéya mämåtät|

bhürbhuvaù svaù jüà saù haum om||

Dhyana verse

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

sk…MÉaE kraE,

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

ÈyMbkm!.

Hastämbhajeyugasthakumbhayugalädudghåtya toyaà çiraù siïcantaàù

karayoryugena dadhataà sväìke sakumbhau karau|

akñasraìmågahastamambujagataà mürghasthacandrasravatpéyüñonnatanuà

bhaje sagirijaà måtyuïjayaà tryambakam||

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

Chatra Yantras. Maëòala Yantras are engraved on the roof and Chatra Yantras on the tip
of the seat of the goddess.

Architectural Yantras contribute substantially to the conceptual basis of the Hindu

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

architecture provide thirty-two variations. The maëòala represents the diagram of the
ordered cosmos. In Tantric temple rites, Yantras were laid into the foundation of the
womb chamber and were also embedded in cult figures installed in the shrine. Yantras
were also used as compositional diagrams in the execution of sculptural images adorning
the walls of the temple. The architectural Yantra functions as an ideogram, while the
temple is a materialization of the concepts it embodies.

e. Astrological Yantras
These Yantras are used in working with the energy of the nine planets: Sun, Moon, Mars,
Mercury, Jupiter, Venus, Saturn, Rähu and Ketu.

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

Figure 4: Sun Yantra

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Sun stands for power and authority. When one is deprived of happiness through
termination of service, suspension or through opponents or diseases etc., worship of Sun
through Sun Yantra is advised. Sun Yantra enhances the peace of mind, gets favour from
superior, officers and Govt. The Sun Yantra is carved on gold, silver or copper plate and
after püja is worn in neck, kept on the body or is worshipped in temple of your house.
Astroshastra presents the Sun Yantra embossed on copper plate with gold plating in three
different sizes to suit once need. By the use of Sun Yantra enemies are suppressed and
eliminated the malefic effects of Sun.

According to Yantra Mahima [Shasrti, M. H. K. and Laxmi Kant Vashisth (2006)], after
drawing the Yantra install it on a pedestal made of wood and recite the following Mantra.

` AaidTy ivÒhe idvakray xImih tÚae sUyR> àcaedyat!.

Om Äditya vidmahe diväkaräya dhémahi tanno süryaù pracodayät||

Following is the Sun Mantra for recital:

` ÿI— "&i[ sUyR AaidTy ïI.

om hréà ghåëi sürya äditya çré||

f. Numerical Yantras
These Yantras are composed not of basic geometrical forms but of number. Some of
these are composed of magic squares and are used as talismans.

I. Numerical Yantras composed of geometrical forms are divided into two categories.
(i) Béja Mantra Yukta: Here béja sound is engraved or written in the center

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 Figure 5: Bagalamukhi Yantra

(ii) Mantra Varëa Yukta: Here the Saàskåta letters are put in an order to create the
mantra. The alphabet is arranged either in square form or in the circular petals form;
in the center is the béja mantra.

Figure 6: Durga-Besa Yantra

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II. Numerical Yantras classed according to their forms
a Bhu-Prasthäna Yantras: engraved or drawn in a flat surface

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

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

gem stones and shaped like a pyramid, having a broad base and narrowing
gradually toward the top like a mountain.

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

Mahapatra (1994))
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 Sri Yantra geometry takes this triangular formation to its most powerful and
ultimate level. In 2 dimensional form it is a symbol of 9 Intertwined Isosceles
triangles. The Sri Yantra in the 3 dimensional (known as Meru in Saàskåta) is a
multi Pyramid triangular grid signifying unlimited abundance and positive powers.
This Multi pyramidal geometry is with 7 Pyramid steps and 43 petals with base
angle of 51.5032° (http://sriyantra.wordpress.com).

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

Figure 9: Patäla Yantra (inverted Çriyantra)

d Meru-Prastär Yantra: Composed of pieces that are glued or welded to each other
instead of being one solid piece.

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

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 According to Yantra Mahima [Shasrti, M. H. K. and Laxmi Kant Vashisth (2006)],
as mentioned in Çrividyaarnav while referring to Çiva-Çakti dialogue it was said

ïI ckmip deveiz meéêp< n z<sy>.

çré cakamapi deveçi merurüpaà na çaàsayaù||

No doubt devi Çré Chakra is also of Sumeru type.

D. Yantra and Spiritual Evaluation

Different Yantras are connected with different deities and are combined with different
Mantras. The five basic elements of earth, water, fire, air and the sky are related to
Yantras, and by performing püjäs or prayers one can control nature for one’s own benefit,
social and or spiritual. Yantra is a science which is used through the five elements of
nature and by the recitation of Mantras. Deities are worshiped in different forms and each
form is linked to Yantra. The Yantra, in order to yield the desired results, is energized by
a siddha Mantra by a competent täntrika. Thus, Yantra becomes the medium through
which the invisible forces of energy act on an individual.

The Yantra sädhanä is verifiable at every stage as it is a rational science based on a set of
doctrines, which can be tested by any individual at any level. In order to obtain siddhi,
the sädhanä must be done selflessly and with all faith and humility.

With Yantra it is believed that its worship brings spiritual unfoldment to liberate from the
cycle of life and death as well as social desires. All these are possible by worship, if the
sädhaka has true devotion, purity, good intentions and patience. The first stage of the
sädhanä is to choose a deity or Yantra. The next stage is to find a teacher or Guru. The
selection of a Guru- a great task in itself- is followed by initiation and learning the
techniques.

25
The practical steps are sädhanä, çuddhi or purification, uddhära or lifting or elevation and
caitanya or reaffirmation of identity in consciousness. By the first, a thing or an act is
purged of its usual dross of grossness. This is done by reversing the direction of the
ordinary worldly process or pravåtti. In the evaluation of the cosmic principles, a certain
stage is reached where pure or çuddha tattvas cross the line and pass into the impure or
açuddha tattvas. These latter constitute the realm of Nature (the region of Prakåti and her
evolutes), which is like a closed curve in which the Jéva is held a prisoner, and in which
he wanders tracing his own curve of path in accordance with the equation of karma.
Though essentially a centre of Çiva-Çakti, he is caught in the net of natural determination
from which there is no escape, unless the coiled curve which encloses him can be made
to uncoil itself and open for his release and ascent in the realm of the çuddha tattvas. The
hope lies in uncoiling the coil of Nature, technically called the awakening of the serpent-
power of kuëòaliné. Only thus can the impure elements or principles be purified and
elevated from the açuddha or präkåta plane to the çuddha or apräkåta. The face of the
coiled serpent-power is ordinarily downwards; it must be turned upwards. The next step
is uddhära or elevation. The order in which the principles are evolved in the outgoing
activity must be reversed with the starting of the return current; ascent must be made in
the order opposite to that in which descent was made. From the grosser and more limited
elements, we must rise to what are subtler and more general, until ascent is finally made
to the level of perfect experience, which is Çiva-Çakti in one called parä saàvit. The last
step is the reaffirmation and realization in consciousness of the supreme identity
[Prabhananda Swami (2002)].

Mahanirvanatantram says that Mantras and Yantras are capable of securing pleasure and
emancipation, [Gupat J L (2003)].

sTkwalapmaÇÂ n te;a< mnis Kvict!,

26
Tvya k«tain tÙai[ jIvaeÏr[hetve.50.

Satkathäläpamätraïca na teñäà manasi kvacit|

tvayä kåtäni tanträëi jévoddharaëahetave||50||

ingmagmjatain Éui´mui´krai[ c,

devIna< yÇ devana< mÙyÙaidsaxnm!.51.

Nigamägamajätäni bhuktimuktikaräëi ca|

devénäà yatra devänäà mantrayanträdisädhanam||51||

And they will not so much as cast a thought after holding righteous converse. (At this
period) for the salvation of creatures, thou hast created Tantras – Nigamas and Ägamas, -
capable of securing pleasure and emancipation (unto mankind), and furnishing them with
the processes of securing fruition through Mantras and Yantras dedicated to (various)
gods and goddesses.

The Mantra not to be regarded as mere letter and the image through which communion is
established with God- who is the creator, sustainer, and destroyer of the world, if
infinitely manifested, and is also beyond name, thought, and speech- must not be
regarded as stock and stone. If the worship is intelligently done, that is, with an
understanding and appreciation of the principles, then Mantra, Yantra (symbolic
diagram), the offerings, the procedure, and the paraphernalia of worship are all
transformed into forms and expressions of cit- çakti and cid-viläsa. The object involved is
to affect the transformation of the articles and acts of ordinary experience which are the
material, limited, and limiting factors, operative in certain narrow spheres of usage and

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

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

bähya püjä are all calculated to affect this transformation of the worshipper, the
worshipped, and the means and acts of worship into cit or caitanya, which they all are in
their kernel; and thus, they culminate in realizing the essential identification in perfect
experience of the principles of ‘thou’ (tvam) and the principle of ‘that’ (tat). The final
result achieved is the same as in Kuëòaliné Yoga. In fact, the final result cannot be
attained through Mantra, Yantra, and püjä unless thereby kuëòaliné is aroused, the ego-
centric, blinding and binding current is reversed, ascent is made from the plane of
açuddha to that of the çuddha tattvas, and, finally, to pure and perfect experience itself.
The Mantra Yoga or japa is a means of arousing kuëòaliné; so are nyäsa, püjä, etc. with
external or internal Yantras, images, and symbols. The bhakta or the jïänin, some-times,
may not have consciously and deliberately to set himself about the business of arousing
kuëòaliné and making her pierce the six cakras. But this does not mean that kuëòaliné can
be ‘let alone’ by him. She is, and must be, aroused by the power of bhakti or jïäna.

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

zrIrimv jIvSy dIpSy õehvt! iàye,

sveR;amip devna< twayÙ< àitiótm!.87.

çaréramiva jévasya dépasya snehavat priye|

sarveñämapi devanäà tathäyantraà pratiñöhitam||87||

As the body is for the jéva, and as oil or ghåta (clarified butter) is for a lamp, so the
consecrated Yantra is a seat for all the deities.

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Kulärnava Tantra gives the following reasons of worship of a symbol [Ram Kumar Rai
(2010)].

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

twa svRgtae dev> àitmaid;u rajte.75.

gaväà sarväìgajaà kñéraà ratravet stanamukhäd yathä|

tathä sarvagato devaù pratimädiñu räjate||75||

Just as milk pervades the whole body of a cow, but it flows out only through the teats of
her udder; in the same way the divinity though all pervading exists only in the Image and
the like.

AaiÉéPya½ ibMvSy pUjayaí ivze;t>,

saxkSy c ivñasat! siÇxaE devta Évet!.76.

äbhirupyäcca bimvasya püjäyäçca viçeñataù|

sädhakasya ca viçväsät satridhau devatä bhavet||76||

From the worship of divine from in an image and the deep faith of the sädhaka is
obtained the proximity of devata.

Kulärnava Tantra explains the essence of of worship of a symbol in the following way
(Ram Kumar Rai, 2010).

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devSy mÙépSy MÙVyaiÝmjantam!,

k«tacRnaidk< svR VywR Évit zaMÉiv.84.

devasya mantrarupasya mntravyäptimajänatäm|

kåtärcanädikaà sarva vyartha bhavati çämbhavi||84||

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

Mantra and Yantra, becomes O Çämbhavi! fruitless.

yÙ< mÙmy< àae´< devta mÙéip[I,

yÙae sa pUijta deiv shsEv àsIdit.85.

yantraà mantramayaà proktaà devatä mantrarupiëé|

yantro sä püjitä devi sahasaiva prasédati||85||

Yantra are said to be Mantramaya (of the form of Mantras) and deity is of the form of
Mantra. Therefore, O devi! Worshipped in the Yantra she is indeed pleased instantly.

2.5 PYRAMIDAL SHAPE AND TEMPLE ARCHITECTURE

Meru-PrasthänaYantras are three-dimensional form composed of metal or stone or gem
stones and shaped like a pyramid, having a broad base and narrowing gradually toward
the top like a mountain According to Arthur Avalon (1982).

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According to Ramachandra Rao, S. K. (1997). the caves were naturally the earliest
shrines. And caves were also places where the primitive burial relies or the funerary urns
were preserved. The memory of the cave shrines lingered on in the Upaniñadic “heart
cave”. Time has wiped out the artificial caves, but the tiled, sloping and conical roofs of
the temples in the west coast on India may be regarded as survivors. The stupas are the
earliest shrines on records as well as in actual evidence. The expression stupa means ‘a
heap of grain or a mound of earth’. As a heap of grain it was precious; and as a mound of
earth it was a monument. The word is found in the Yajurveda in the sense of a precious
monument (viñnoù stupah). The work agnidreya means vedic stupa. During the days of
Asoka, a large number of stupas are said to have been built, at Barhat, Bodhgaya, Sarnath
and Sanchi, they are all between first and the third centuries BC.

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

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

Figure 11: Vimäna - Çikhara

The çikhara as a monumental spire on top of the sanctum evolved in the fifth century,
probably under the patronage of the Gupta kings. The involvement of the stupa idea is
fundamental to the çikhara notion.

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According to Samurtarcanadhikarana;

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

Aixòan< padvhR> àStr¢Ivkadœ %ip,

izor< StUipka ceit ;fœvgR> pirkIitRt>.

Vimänänäà ca sarvçäà sämänyam idam ucyate|

adhiñöänaà pädavarhaù prastaragrévakäd upi|

çikharaà stüpikä ceti ñaòvargaù parikértitaù||

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

scholars. However, it is evident from the above that it refers to the structure from the
bottom to the top in sadvarga structures.

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

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

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

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

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

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

(2) The curvilinear super structure: It is designated as çikhara, a dome shaped massive
roof, square or circular, six-sided or eight-sided.

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

The history of dynastic Egyptian civilization covers more than 3000 years, of which the
Pyramid age accounts for less than 500, although this form of construction continued, in a
much-debased form, for a further 500. There are more than 90 known Pyramids in Egypt,
some of which are so raised as to appear only as heaps of rubble.

Egyptians saw Pyramid as a “stairway to the heavens” for the dead pharaoh to ascend to
his rightful place alongside the sun god. There is no direct evidence that the Great
Pyramid was the actual burial sites of the kings, as no pharonic remains have ever been
found inside or under a Pyramid. According to Heman/British physicist Kurl
Mendelssohn, the Egyptians built the Pyramids for sake of national importance. Analysts
say that the purpose for which the great Pyramid was built was (i) for rejuvenation of the
people (ii) as an astronomical observatory [Bill Schul and etal (1983)].

Flanagon (1972) states: “The Pyramid of Gizeh generates milli microwave or nanowave
radiation by the simple fact that you have five corners. We have the four base corners and
the apex. These corners are in effect a type of nano wave radiation. The radiation from
the molecules or the atoms of matter in the Pyramid combines the angles of the corners
into a beam which bisects the angles of the corners and transmits a beam of this radiation
towards the center of the Pyramid".

The discussion of this chapter had summarized as

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

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

preserve sanctity of präëa pratistäna of the deity.

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

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d), Powerful deities as Venkateswara fulfills the desires of his devotees as mentioned in
Bhagavadgétä [Swami Swarupananda (1996)] and as given below.

devan! Éavytanen te deva ÉavyNtu v>,

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

Devän bhävayatänena te devä bhävayantu vaù|

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

Cherish the Devas with this, and may those Devas cherish you: thus cherishing one
another, ye shall gain the highest good.

In this Chapter, literary research with respect to Yantra and pyramid are discussed.
Sections 2.1 to 2.3 briefly discuss the background and earlier study of literary research,
aim and objectives and methodology adopted in literary research. In Section 2.4 the core
of the studies is discussed, which includes etymology of the word Yantra, construction
and grammar of Yantras, varieties of Yantras and aboutYyantra and spiritual evaluation.
Concept and history of pyramidal shape and temple architecture are presented in the
Section 2.5.

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

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