The earliest text
that documents the six cakras, known to later Kaulism
and yoga traditions, is the eleventh-century CE Kubjikamata-tantra,
where we have for the first time the standard list of the muladhara
(anal region), svadhisthana (genital region), manipura (navel), anahata
(heart), visuddha (throat) and ajna
(between the eyebrows), plus the `centre' beyond the
cakras at the crown (sahasrara), although later
chapters only present five cakras, not linked to Kundalini, as Padoux has observed, but associated with the five elements.
Indeed the humpbacked or crooked Goddess Kubjika of
this text is identified with Kundalini. This list of six is unknown to the
earlier tradition, where instead we find a variety of terms and text-specific
systems the six `seasons'. five `knots' (granthapalh),
five voids (v)'omani), nine wheels (cakrani), eleven wheels, twelve knots, at least three sets
of sixteen loci (adharah), sixteen knots,
twenty-eight vital points (marmani), etc..(see
my introduction for more on this subject.)
The non-Saiddhantika traditions, often referred to as `Kashmir
Saivism', assume the Saiva Siddhanta as their
theological and ritual background.They draw on the
more extreme anti-vaidika and antinomian revelation
of the Tantras of the right and left currents, the tradition known as the Trika and its philosophical articulation in the Pratyabhijna became established within the mainstream of
medieval Kashmiri society.
These non-Saiddhantika traditions assume the revelation of the Saiva Siddhanta and assume its cosmological and ritual schemes,
adding layers of complexity to this already complex system and reading the
tradition through the lens of a monistic metaphysics. As a consequence, their
account of cosmology, while often being terminologically identical (especially
in respect of the tattva hierarchy), differs from the Saiva Siddhanta
in being understood as the manifestation of consciousness itself rather than an
unconscious, material substrate (bindit or mahama)
This entails
the filling out of subjectivity with the absolute subjectivity of pure
consciousness, especially in the works of Abhinavagupta
and Ksemaraja; second, the mapping of the pantheons
of deities on to the body; third, the locating of centres
of power within the body, the systems of cakras; and, fourth, a concern with
sexual experience in the context of ritual. Next for example as presented in a
the key texts of Abhinavagupta and Ksemaraja.
The first-person
pronoun that in the nominative case (namely aham)
refers to the subject of predicates, the `I', is used in the non-dualist
tradition of Kashmir to refer to the supreme subject of consciousness, Siva or Bhairava himself, inseparable from his energy (sakti) and containing within it the totality of
manifestation. Thus it continues in the Tantraloka:
The flowing forth [of
the cosmos] whose nature is energy begins with the incomparable (a) and ends
with ha. Condensing the whole universe, it is then reabsorbed in the supreme.
This entire universe abides within energy and she in the highest absolute. This
is truly an enveloping by the omnipresent one. In this way, the enveloping of
energy [is described] in the revelation of the Trisika.
The universe shines there within consciousness and on account of consciousness.
These three factors combine and unite in pairs to form the one, supreme form
of first phoneme, ha is the mother and in her subtle form the Sanskrit
aspirate or visarda represented by two dots
(transliterated as h), and this emission and manifestation finally retrieve the
condition of the incomparable (anuttara) with the
anusvara (m) or bindu.1
What is referred to
is that the true reference of the first-person pronoun is not the indexical
subject of everyday language, but rather the transcendent subject as the source
of all phenomena. Indeed, to speak of a subject, an
`I', in this way is to use the term such that it does not imply a distinction
between subject and object. While this is a counter-intuitive use of the
first-person pronoun, it is nevertheless at the heart of Abhinavagupta's
thinking. The absolute `I' is yet mediated by a number of levels or realms
within which the identification of the self with the implied self of the texts
also occurs. Thus the supreme I is mediated through the Bhairava,
whose nature is the `I'.
The cosmos emerges
from the `I' and returns to it, although this separation and return can never
be outside of that consciousness. The three elements of the word aham combine to form the totality of the cosmos. The cosmos
is within the absolute subject, as the word aham
contains the first and last letters and, by implication, all between them from
a to ha. The three combinations of a and ha, ha and m, and in and a create a
continuous flow of sound, with aham becoming mnaha, the former being the expansion of the cosmos, the
latter being its contraction: both expansion from a and contraction into anust ara, the in or bindu, are mediated through the energy of ha.b The word aham is therefore
treated as a mantra.
According to the
commentator Jayaratha, this ahain
is unitary consciousness, the supreme beyond everything, the place where all
rests, the light of knowledge, knower, and object of knowledge. The `I' is
Siva, who is both father and mother of the universe, who abides as the
universal agent (karta viszatra
samsthitah), and who penetrates the universe as
phonic resonance (nada).
Further the body is
animated by deities as the emanation of the consciousness itself.These
are the eight mothers of the Kaula tradition,
sometimes listed as seven, namely Brahmani, Sambhavi, Kumari, Vaisnavi, Varahi, Indrani, Camunda, and Mahalaksmi. They are also found, with some variation, in
the Puranic texts, particularly the Devimahatmya, as
forms of Durga' and in the Agnipurana, where they are
framed by Tumburu/Virabhadra
and Vinayaka. In one of the earliest tantric references they are listed in the
Netra-tantra, where they are the entourage of Kulesvara.
The Tantraloka refers to them in the context of the
secret ritual focused on Kulesvara and Kulesvari, where each is in sexual union with a form of Bhairava. In the Isanasivagurudeva
paddhati we find seven mothers in the context of the
worship of attendant deities to Siva, each with her particular visualised form, colour, mount
and so on.
In the stotra, quoted above, we see that the body becomes the text
upon which the deities of the tradition - the goddesses of the senses - are
inscribed. The body is inhabited by the circle of deities; this pantheon
animates the body, which becomes the mandala wherein they reside. One of the
terms for the pantheon of goddesses here represented is `clan' or kula,but one of whose meanings according to a scripture
cited by Jayaratha is, indeed, `body'. These
goddesses are identified not only with the body but with different levels of
the hierarchical cosmos, thereby creating a homology between body and cosmos.
While there is no narrative dimension to this text, set in a broader context of
its liturgy this sacralisation of the body entails a
temporal and so narrative identification of the practitioner with the cosmos.
constructed through text and ritual. We might even say that the story of the
body becomes the story of the cosmos, which is the story of the unfolding of
the essence of experience.
While the kula rite
in the Tantraloka undoubtedly reflects the earlier
tradition of consuming sexual fluids - and this would seem to be a part of the
rite - there is also an emphasis on an aesthetic dimension and the realisation of the bliss of the consciousness of Siva and
Sakti in union.
Establishing a
connection between human sexual experience and trans-human cosmic forces is not
unique to Tantra; it had precedents much earlier in the Indian traditions.
Perhaps the most famous example is from the Brhadaranyaka
Upanisad, where human sexual experience is akin to a
person realising the self: As a man embraced by a
woman he loves is oblivious to everything within or without, so this person
embraced by the self (atman) consisting of knowledge is oblivious to everything
within or without. The same is true of the Chandogya Upanisad, where the vedic
recitation is identified with the sexual act.
While the expansion
of pure consciousness, the filling out of the indexical-I with the I-ness of
Siva, can be realised in ordinary, everyday
transactions, it can also be evoked through ritual. The kula prakriya sets up a situation in which the intention is the
identification of the practitioner and his partner with Siva and Sakti and the
resulting sexual experience with the joy of their union. This identification
can be seen in terms of the remembrance of tradition, always mediated through
sacred text or revelation and through the teacher. To undergo the kula prakriya means that the couple need to have the requisite
qualification (adhikara) which means having undergone
an initiation into the practice showing levels of receptivity, such as the
displaying of signs of possession (trembling, loss of consciousness) during
initiation. The ritual process for the entextualisation
of the body in the kula rite entails the male practitioner (sadhaka)
performing preliminary purifications that include the visualisation
of the rise of Kundalini. Once the female partner, called the `messenger' or dutm, joins him they both perform nyasa,
thereby divinising their bodies. before the practice
of the `three ins' (makaratra ,a), namely consumption
of wine (mad),a), meat (mamsa) and sexual fluids
resulting from their union (nmithuna). The sexual substances
are actually passed from mouth to mouth in the rite (a practice which reflects
Kashmiri marriage custom of passing food from mouth to mouth"). These
three were to become transformed into the famous `five ms'
(pancamakdra) or substances (pancatattva)
of later Sakta Tantrism, with the addition of fish
(mats),a) and parched grain (mudra), which in the Sri Vidya Brahmanical
response to the earlier tradition were substituted with `pure' substances (pratinidhi). The hero (vira) or
perfected one (siddha) who follows the esoteric path (kulavartman)
must perform the rite with complete detachment and without desire, consuming
the probhibited substances as integral to the ritual
process, for otherwise the hero would simply remain as a beast (pasu).
Further it is
important that the practices of vision or visualisation
(dh)'ana), gesture (mudrc) and divinizing the icon (naairti, bimba, vigraha) are shared across the tantric traditions.
Inseparably associated with visualisation are the two
practices of ritual hand gestures or mudras and the utterance of mantra. There
is a variety of madras that accompany ritual, described in various texts
including foundational ritual texts such as the Mrgendragama.
The term mudra,
`seal', is rich, with levels of meaning that exceed the primary reference to
gesture. Its principal designation is to hand gestures that accompany ritual
action; hence it might be seen as the gestural equivalent of mantra. Mudra is
the gestural form of the deity. Yet the term can refer not only to ritual
gestures that seal' and protect the body but to practices that seal power
within it in the form of semen: the practice of the vajroli
mudra in which mixed sexual fluids are retracted into the penis for the purpose
of gaining power,and the khecari-mudra
of hatha yoga, the practice of turning the tongue back above the palate in
order to drink the nectar of immortality dripping from the thousand petalled
lotus at the crown.
The term mudra is
even used for levels of the cosmos, perhaps in the sense that one level is
sealed off from the next. Andre Padoux has outlined
the meanings and contexts of the term's occurrence, especially with reference
to the t azzzakesvarirzzata-tantra and to Abhinavagupta.' Mudra, explains Abhinavagupta,
is of four sorts, done with body, hands, speech or mind and he gives an
etymology (nirukta) of the word: that it `is so
called in the §astras because it is that which gives,
that which bestows, upon the self, through the body (dehadcarena),
a bliss which is the attainment of one's real nature. Mudra is not simply a
ritual gesture but a reflection (pratibimba) of a
deity and energy (sakti) that liberates beings from
all conditions of existence. The Yoginihrdaya gives
ten kinds of mudra as hand gestures which are aspects of the deity Tripurasundari, and indeed only discusses their cosmic
significance as ten aspects of her energy of action.
Mantra is connected
to mudra in that as mudra is the expression of the deity in the body through
gesture, so mantra is the sonic form of the god. In the tantric traditions
mantra is the sound form of the deity empowered by the master and given at
initiation. The inner vision of the deity and retinue, which is the niandala, has an external correlate installed and empowered
as a temporary focus for daily rites or on a more permanent basis as a temple
icon. The temple itself is an icon of the deity and the deity's body. The
identification of the temple with the deity is a standard idea, well documented
in medieval Hindu kingdoms. As vision is to the practitioner's body, so the
icon in the temple is to the temple as a whole. The representation of the body
of the deity at the heart of the temple is a correlate to the inner vision of
the deity by the practitioner, and as the external practice can be seen as an
extension of the inner practice of mental worship, so the temple itself can be
seen as an extension of the icon at its centre - the
extended body of the deity extended in precise ways as laid down in tantric
revelation. The material representation of the deity in the image or icon
(murti, zigraha, bimba) is
the correlate of the deity within the practitioner's body; indeed, the
traditions of the left tend to disparage physical manifestations of the deity
as inferior.
Finally to conclude
part three, and before we continue, I should reiterate that the tantric body
has been established within traditions of specific revelation, ritual practice
and initiatory teachings from which it cannot be separated. Attempts to
identify the tantric body with eroticism in the West are as indicated so far,
distortions of a much more complex tradition.
The distortion
however have taken two routes, one a laudation of an imagined tantric body as
being a way of maximising erotic pleasure, the other
a condemnation of the tantric body as being irrational in promoting `magic' and
`immorality', an attitude found in nineteenth-century scholarship and in
Hinduism itself in the trajectory stemming from the Hindu renaissance.
Yet while the tantric
traditions are attenuated, the traditions that do remain - in Kerala, for
example - will inevitably continue to undergo change and probable erosion. I
suspect that the tantric body is at odds with modernity because it can only be
understood in relation to a hierarchical cosmology.
Clearly as seen,
there are elements within the tantric body that have appeal Western in
modernity but that have been distorted through their extirpation from their
historical and textual locations. This appeal is inevitably linked to the
critique of religion as the history of error.
There are, of course,
Hindu-based traditions in the West, such as Siddha Yoga, the Nityananda Institute, and the Western inheritors of the Laksman Joo's `Kashmir Saivism',
which claim to inherit the tantric traditions, and indeed sometimes guru
lineages can be traced (as in the case of Laksman Joo), but inevitably these traditions are strongly affected
by modernity and the tantric body they promote is not the tantric body of
tradition.
1. Andre Padoux,
L'iniage divine, culte et meditation dans I'Hindouisme, Paris, 1990, pp. 31-88.
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