134 Chapter - IV Schools and Branches of Tantra and Ntya1.Hindu Tantra ThetermHinduisheterogeneous,asHinduismconsistsofseveralschoolsof philosophiesorDarans.Itencompassesmanyreligiousritualsthatcommonly possessthecommongoalofattainingthedivinebenedictionbutyetvaryin practice.TheHindufaiths,practicesandphilosophieshaveevolvedfromthe Vedic tradition. It has many diverse sects and subsects. In this century ,Hinduism is widely and popularly influenced by Advaita philosophy that believes God to be infiniteandincorporeal.Hinduismisultimatelymonistic,whichconsidersthe One Reality, the Universal and non-dual Brahman, behind all forms.Hindusvenerateanarrayofdeities,consideringthemmanifestationsoftheone suprememonisticCosmicSpirit,Brahman.SomeHindusfocusonasingular conceptofBrahman(God)withoneGodlyformasinVainavism,aivismand aktism.vara,whoisoneandonlyone,isfullofinnumerableauspicious qualities;Heisomniscient,omnipotent,perfect,just,merciful,glorious, mysterious, and yet full of love. He is the Creator, the Ruler and the Destroyer of this universe. ItissaidthatthetermHinduisderivedfromSindhui.e.theIndusRiverin particular.Thereligionliterallyflowslikeanyriverwoulddo.IntheRigVeda, theIndo-AryansmentiontheirlandasSaptaSindhu.Anotherperspectiveon these(i.e.dharma,artha,kma,moka)isthatartha[materialwealth,prosperity etc.]andkma[affinitytofamily,sensualpleasureetc.]aretobepursuedlikea riverwhichisboundedbydharma[rightfulconduct,righteousness,etc]and moka[desiretogetliberatedfromthecycleofbirth,anddeaththroughsingle pointed contemplation to God and self-surrender ] on the two sides. SantanaDharma-EternalDharma,atraditionalnameofHinduism,alludesto theideaofspiritualprinciples,transcendingthemundaneandmaterial,representingarealmofpureconsciousness.Hinduismteachestoleranceofother 135 religions, as expressed in the Rig Veda verse: ekam sat vipr bahudh vadantiTruth is One, but sages call it by many namesRig Veda 1:164:46.Advaitaphilosophyholdsthatinordertoworshiptheformlessshvara,the devotee conceives a physical form of God in his mind for the sake of worshiping Him with love (bhakti).Among the six darshanas, Snkhya is the four runner for Tantra. Purely academic and scientific, Snkhya holds consiousness and matter as thedualentities.TantrareplacesthetermsPuruaandPrakritiwithivaand aktibutwiththecoredifferencethatthesetwobecomeonefinally.Tantrahas morepracticalvalueaswellandismonisticinessencealthoughseveralmyriad rituals and processes that have evolved, prevail.OtherimportantscripturesaretheHindugams,whicharetextsrelatedto rituals and worship dedicated to Vinu, iva and Dev sects.HinduTantrasexistinVainava,aiva,andprimarilytheaktaforms,among others.gams,Vinuism,Bhaktimovements,Panchartra,aivitegamas,Nthas,Pasupats,Datttreyabhakts,Stotrsallformpartoftheliterature. HindutntrikliteratureincludetantrsoftheriKula,theKliKula,mantra stra, Vainava tantrs and tantrs ascribed to other sects, including magic. Sir John Woodroffe, who under the pen name Arthur Avalon seems to have learnt from a number of Bengali tntriks and pandits.Woodroffe who translated several tntrik texts and wrote other books on the subject in the early 20th century, givesanother classification ,the divys (divine), vrs (heroes) and pashs (the herd). It isonlyinvrasdhana,heobserves,thatlatsdhanahasaplaceorworkie- sdhanaintheheroicmodemayincludesexuality.Allthesame,sometantrs, suchastheBrihadNilaTantra,advocateatypeofworshipcalled Mahchinachra, which appears to have no rules whatever.The traditions in different parts of the large sub-continent may vary widely. Many moderncommentatorsdefinetntrikpracticeas well. Hindutntrikpracticesare broadlyclassifiedasRightHand(dakinchra)andLeftHand(vmachra) 136 accordingtotheritesthatareperformed.RightHandedSchoolsaresaidtouse eitherritualsubstitutesortoavoidesotericandmagicalpracticescompletely. Schools of the latter involve rites such as the panchamakra.Cultsofiv,akti,Ganapati,VinuandSryaarepopular.Manyofthetexts describethemselvesasdialoguesbetweenivandakti.TheHindutntrik divisions have one common ,primary factor ie- the importance of the Guru for the discipleorishya.Buddhism,JainismandSikhismallsharecommon philosophical and spiritual traits with Hinduism in varying degrees. Taking a broad outline, "At one end of the Tntric spectrum we have highly unorthodox practices such as blackmagicthatgoagainstthemoralgrainofHindusociety(andthatofmost societies).AttheotherendwehaveTntricmasterswhodecryalldoctrinesand allritualsandinsteadapplaudtheidealofperfectspontaneity(sahaj).Most schoolsfallbetweenthesetwopoles;theyaretypicallyhighlyritualisticbut infused with the recognition that liberation springs from wisdom, which is innate and therefore cannot be produced by any external means." [1] 2.Concepts and practises associated with Hindu TantraThewholeUniverseisacreationofaDivineConsciousness(iv)andhisactive willpower(akti).Mya,theillusorynatureoftheuniverseisconceptualisedas Myaakti-thedivinemotherwhocauseshumanstoidentifywithillusory forms, preventing them from seeing the fundamental reality of their inseparability of the divine. Mya akti is held in considerable regard in Tantr and the attaining of ultimate realisation takes place in active concert with her.The primary assumption is that everything is a manifestation of the divine. What isnormallyconsideredimpureandimmoralarethusacceptedandevenutilised intransgressionalpractises,tofurtherspiritualevolution.Thisresultsin embracingofopposites.Tantriswidelyrecognizedtobeasystemrejectingthe orthodoxy of brahmanism and the hierachy of the caste system. It believes in non-137 acceptanceofthecastesystem,classorgender.TheGuruoccupiesan indispensably divine position in Tantr and the presence of a Guru is an essential conditionforTntricpractise.Tntricpractiseissaidtobeadifficultrouteto enlightementbutcanbesimplifiedbyanenlightenednavigator,anexperienced masterwhowillinitiatetheaspirantandguidehiminhisspiritualjourney.Yet another distinct feature is that the Dik /special training or revelation of Mantr etc .has to be maintained insecrecy .The oral transmission of the tradition by the Gurutoaworthypupilisacoursedemandingdevotion,diligence ,meticulousness and sincerity. Tantrais,yetmouldable.Itchangeswitheachmomentandenvironment.It especially depends on the nature of the practitioner. In traditional pockets of Tntric practice in India, such as in Assam , West Bengal, inSiddhantatemplesofSouthIndiaandinKashmiriivatemplesupnorth, Tantrahasretaineditstrueform.Itsvarianceinpracticeisseenwheremany tntricsareknowntofrequentcremationgroundsinattemptstotranscendtheir worldlyattachmenttolife,whileothersperformmoreacceptableacts.The differencebetweenrighthandandlefthandTantrasisthattheformer propitiatesthefundamentalprincipleoftheuniversalselfemployingsymbolic actsofworshipandritualwhilethelatterendorsesthedirectinvolvementin severalacts,alsoofforbiddennature,thedifferencebetweentherighthandand left hand tantras. But what is common to them all is the intense secrecy in which theirritualsarekeptandthealmostgodlikereverencepaidtotheGuru,whois seen as the pinnacle of mastery inTantra. More wide-spread practices to which allreligiouspeoplecommitthemselvesarepoojaandworshipthroughdevotion .Atthesametime,moreoccultyogicpracticesinvolvingsacredritescontinue. Tantraopenlyrejectsmanyaspectsofthecastesystemandpatriarchy.Despite this, Tantra was accepted by some high-caste Hindus, eg- Rajput princes. 3.Features of aivismaivismisabranchofHinduismthatworshipsivaastheSupremeGod 138 (Brahman.) Followers of aivism are called aivites, aivas and so on. The belief is thattheentirecreationissynonymouswiththecreator,bothactuallymeaning thativaisbothimmanentandtranscendent.Thisconceptcontrastswiththe religioustraditionsinwhichGodisseenasfundamentallydifferentfromthe creationandabovethecreation.aivismacknowledgestheexistenceofmany otherdeitiesbuttheseareallmanifestationsoftheSupremeOne.Thistypeof spiritualviewiscalledMonisticTheism.aivitesbelieveintheformlessand hence,thedevoteesoftenworshipivaintheformofalingam,symbolizingthe entireuniverse.TheanthropomorphicmanifestationisNatarja,theDivine Dancerwhodanceswithdynamismthroughoutboundlesstimeandspaceto create,sustainanddestroytheuniverse.Yetanotherbenevolent,eloquentand meditative form is that of the south facingDakinamurti, the silent teacher. The Dhyna Mudra where the tips of the thumb and index finger touch each other, the moundsofGURUandUKRAarejoined,againsymbolicofunityofmaleand femaleprinciplesresultinginperfectbalanceandcontroloversenses.Thereis alsoHari-Har,half-ivaandhalf-Visnu;andBhairava,whowieldsthetrishula, thetridentsymbolizingdesire,actionandwisdom.ivacancreatetheUniverse byHisSankalpapenance.Fromthefifty-twosoundsofivasDamaru[the hour-glassshapedinstrumentthatHeplays]werecreatedtheoriginalsoundsor bija-mantras which created the Universe. The entire Universe is Natarjas school andplaygroundofdance.Heisthedanceraswellasthespectator.Whenthe dancebegins,itssoundacceleratestheworldsactivityandwhenitstops,the world gets absorbed and HE remains in ATMANAND. It is relevant to note that the twelve Jyotirlingas shrines in our country are among themostimportantforaivites.Majortheologicalschoolsofaivisminclude Kashmir aivism, aiva Siddhanta and Viraaivism. It is believed that the greatest authorontheaivareligionwritinginSanskritwasAbhinavagupta,from Srinagar,Kashmir,c.1000CEwhoisacclaimedforhisequallybrilliant contributions to study of Ntya stra.ResoundingwithmusicanddanceandsurroundedbybandsofYoginisand 139 Siddhs.Thispen-picturehighlightstheimageofAbhinavaguptaasaTntrika and Yogi, teacher and artist.The notions of abda, Nda and Ntya, Dhvani and RasacquireinAbhinavaguptaacharacteristicdepthonaccountoftheir suggestivereverberationswithinthegrandphilosophicaluniversehehelpedto systematizeandelaborate.Infact,itcouldbesaidwithoutexaggerationthat Indianphilosophicalthinkingreacheditshighestpeakinthewritingsof Abhinava.Hispracticalandtheoreticalinterestintheartsledhimtolaydown the abiding foundations of a truly Indian aesthetic. [2] Saiva Siddanta- The Tirumandiram of Sri. Tirumular contains certain chapters which describe the Dance of Shiva in such powerful, devotional and beautiful verses that we can well establishNatarjatheKingofDanceasTHECausalSpiritWHO[givinga personaltouchtotheimpersonal]creates,controls,protects,sustainsand dissolves/destroystocompleteseveralthreedimensionalcycles.Thisyogigave the famous dictum Anbe Sivam, God is love.The religious and spiritual path of thirumular came to be known as Saiva Siddhantam. Nurtured by the Nayanmars, it has played an important role in the development of Tamil culture and the dance form of the Bharatnatyam that evoled from the temples of Tamil Nadu.Central to thisphilosophyisthetriangleofPati,God,Pasu,individualsoleandPasa,the bondage.Thedifferencebetweenthethreeentitiesisrealinexistence,butthey are inseparable from supreme Realty in Tantra to, verses 411 to 420 say that Nandi supporteverythingintheworldandverses431to430saythattheLordisthe creatorofmysteriesTantraNineseemstopresentapictureofthedivinevision whichistheultimateaim.Verses2649to2721describethesupersubtlesound manifestationinthefivesyllablepanchaksharamantrasandthatdarshanofthe dancingpostureoftheLordisthehighestbless.Thedancesareofmanykinds and lead to jnanodayam ( 2813 to 2824), and sat-chit-ananda(2825 to 2834) .Saiva Siddanthapracticesarehighlysystematizeanddeeplymystic.Itseemsthe objective of Tirumoolar and all saints of the same order to be able to see this dance oftheLordthroughdeeppenance,concentrationandyogicposturesand 140 breathing, hand gestures andsubtle communication with divinity. The height at which this dance is placed calls for purest devotion and afine degree of practice indeed. Tirumandiram is an authoritative Sutr and Shstra and has to be read, re-readandunderstoodbydancersofthisdivineartofBharatantyam.Thissaint who is believed to have travelled actually from the north and then settled in the southbeforegivingsuchatextisanotherexampleofayogicscholarjustlike Abhinavagupta, practicing Tantr and simultaneouslywell aware of Ntya. 4.The ritualsAccordingtoaivas,ivaisexperiencedintheNirbijSamdhistateasthe attributelessform,nirgunarupaie-ParamewaraHimself.ivaisthesupreme Godamongthetrinity-Brahma,Vishnuandiva.HisconsortPrvati,hissons GanapatiandMuruganarealsoworshippedinthetemples.Oneofthemost famous hymns to iva in the Veds is the Sri Rudram. The foremost aivite Vedic Mantraisthefive-syllabledAumNamahivya.ThesacredsyllableOmis usedduringtheworshipprofusely.ThefivesyllabledwordNa-ma-si-v-yais consideredholyanddevoteesconsiderittheirdutytorepeatitseveraltimes. CertainportionsoftheVedssuchasRudramandChamakamareadoratoryto iva. The sacred ash, Bhasma, forms an important part of worship. iva is bathed init.Thisisdistributedtothedevoteeswhowearitontheirforeheadandother partsofthebodywithreverence.TheTripundrareferstothethreehorizontal stripes of holy ash symbolic of knowledge, purity, penance and also the three eyes ofivawhicharethesun,moonandfire.WearingtheRudrkshaduring meditationisanotherprominentfeatureinthisschoolofbelief.Therearemany temples dedicated to iva. Their architecture, lay-out, the location of various idols, methodsofworship,areallstrictlyprescribedbybookscalledgamsandthe aivgms fomed the roots of the treatise on dramaturgy. 5.aktism 141 Itisonlywhenivabecomesendowedwithenergy,akti,thatHebecomes active.TheconceptofAdvaitaornon-dualityasperthegamsacceptsmya, illusion as the energy of the supreme Consciousness. aktism is a denomination of Tntric Hinduism that worships akti or Devi while not negating the importance of masculine and neuter divinity (which are however deemedtobeinactiveintheabsenceoftheakti).Inpureaktism,theGreat Goddess,orMahdevi,isworshipedasnothinglessthanthehighestdivinity, SupremeBrahmanItself,the"onewithoutasecond,"withallotherformsof Divinity, female or male, considered to be merely her diverse manifestations. TheaktsconceivetheirGreatGoddessasthepersonificationofprimordial energyandthesourceofalldivineandcosmicevolution.Sheisidentifiedwith the Supreme Being, conceived as the Source and the Spring .She is the Controller of all the forces and potentialities of Nature. This female-orientation is marvelous and unique.ItwasduringdevelopmentofaktismthatthemanyreligiousTantras,were written. In the Tntric view, one could simultaneouslyconsider oneself a akt (a devotee of akti), a aiva (a devotee of iva), and a Vainava (a devotee of Vinu) . TantraisstronglyassociatedwithVedntaandSmkhyaphilosophiesandis ultimatelymonist,thoughthereisarichtraditionofBhaktiyogagrowingall along. The feminine energy (akti) is considered to be the motive force behind all action and existence in the phenomenal cosmos in Hinduism. The cosmos itself is Brahman,theconceptoftheunchanging,infinite,immanentandtranscendent Masculinepotentiality,Puruaisactualizedbyfemininedynamism,Prakriti, embodied in the Goddesses who are ultimately the ONE. DeviMhtmyamisthechieftextwhichcombinesVedic,Upaniadic philosophiesanddevelopstheTntricworshipinalaudatoryformofakti religion. The immanent Mother, Devi, is focused on with intensity, love, and self-dissolving concentration in an effort to focuson the true reality underlying time, spaceandcausation.EgoanddesireoftheSamsra[world]entwinethesoulin maya(illusion)anditisMayaakti,alonewhocanfreethebondedindividual, thusfreeingonefromthekarmiccyclesofbirth,deathandre-birth.Soundarya 142 Lahiri and theLalita sahasranma are other kta texts. These ancient hymns with theirpowerfulsuggestions,invokethepossibilitiesofourdivinedepths.When repeated, they activate our spiritual potentials and bestow benign effects. Kli,DurgParamewari,Bhagawaty,UmaandPrvatiarethefamousformsin which the Goddess is personified in the temples. Durg is an epithet of Mahdevi, orthe"GreatGoddess,"thecombinedpowerofParvatywiththeotherpopular,wealth and wisdom bestowing Goddesses, Sri Lakshmi and Sri Saraswaty. Durg iscelebratedintheDeviMhtmya.Kliisthegoddessofdestructionand transformation, as well as the devourer of time, as her name implies (kla means "time," and also means "black"). 6.kt worshipThis is heavily influenced by the specific science of proper action, the Tantra. akti isworshippedinseveralwaysinthecourseofapuja(worshipceremony), includingofferingsofsweetsandflowers,chantingmantras,usingmudras,and typically offering some sacrifice. Devi is most powerfully worshipped by chanting hercore[bija]mantra,differentforeachgoddess.TheDaaMahVidyas[ten wisdom Goddesses] is itself an intensive study.The ten Mahvidys are popular in Bengal,Assam ,Kerala and some other parts of India. In the Kashmir tradition, whileKlikamaybehailedasthedyaakti,herformsinworkssuchasthe TantrlokaofAbhinavaguptaandtheChidgaganachandrika,entirelydifferin nameandimagefromDaksinaKlika,theKmakalaKlika,andotherofher forms encountered in many Bengali texts.AnimalsacrificeisperformedinsomeplacesinIndia,includingsuchmajor templestiesasKlighatinCalcutta,WestBengal,inKmakhya,Assam.In addition,accordingtovarioustraditions,theanimalissaidtoachieveahigher level of rebirth. The head is offered to the goddess, the blood is used to bless icons and worshippers, and the meat cooked and served to the worshippers and poor as 143 prasad.Thosewhoareagainstanimalsacrificeuseapumpkinormeloninstead, which has become a popular and acceptable substitute. aktism is also fused with localbeliefsinvillagesthroughoutIndia.IntheSouth,she[Mother]isknownas Amma and in parts of rural Bengal,she is known as Tushu.When she, the ultimate akti, of her own will assumed the form of the universe, then the creation of the cakr revealed itself as a pulsating essence.Fromthevoid-likevowelswiththevisargaemergedthebindu,quiveringand fully conscious. From this pulsating stream of supreme light emanated the ocean of the Cosmos, the very self of the three mothers.[3]The most important material that accurately presents the traditional Indian akta worshipandtheposition-oftheKundaliniavailabletodayisSirJohn Woodroffe's(pseudonymArthurAvalon)TheSerpentPower,firstpublishedin 1919andreprintedanumberoftimessincethen. Thisisactuallythetranslation oftwoimportantIndiantextsandtheircommentaries, theSat-Cakra-Nirupana, writtenin1577,andthePadaka-Pancaka,containingdescriptionsofthecenters andrelatedpractices,andGorakshashatakam,whichgivesinstructionsfor meditating on the chakras. Chapter XVII of the treatise says that it is only when KuNdalini is awakened that Mantrapracticeissuccessful.KuNdaliniabidesintheMldhramakingasoft indistinctsound.ByconstantlyleadingheruptotheBrahmarndhraandback againtheminditselfbecomesdissolved(Manolay).ItisbydoingYoNiMudr that Kundalini can be awakened and led up.AlldefectsintheMantraarecuredbythedoingofYoniMudr.Different directionsaregivenastohowthedefectsinaMantracanbecured.Atverse50 directions are given as to how the Sdhaka should pray for the boon for which he has been doing Sdhana. Verse 70 gives the Mantra of Mahishamardini. Verse 100 says that a good kta is she whose conduct in life is in accord with the teachings of Advaita. She should be devoted to the Guru, firm in her resolve and always be ready to do good. Her devotion (Bhakti) should be prompted by Sattva Guna. She 144 shouldbefreefrommalice,beguilelessandkindtoall,skillful,dignifiedand helpfultotheSdhaka;sheshouldbebeautifulandyoung,noblewithfaith deeplyrooted.Agracefulwomanlikethisadornedwithfineclothesand ornaments and the like is alone competent to be a Duti. It is considered only right thattheSdhakashouldemploy,abeautifulandyoungwomantomediate betweenhimselfandhisIshtaDevatasaDutioremissary.Verses118/24give the Mantra of Bhgamlini [4] Commonvariationsinpracticesoftheaktsincludevisualizingthedeityinthe actofsexualunionwithaconsort;visualizingoneselfasthedeity;and/or "transgressive" acts such as token consumption of meat or alcohol. Occasionally , ritualized sex may be undertaken. This accounts for tantra's negative reputation in somequarters,anditsassociationintheWesternworldprimarilyasacollection ofsexualpractices.Tantrahadoriginallybeenlookeddownuponbyorthodox peopleasantisocialandimmoral.Butpositively,manytodayseeitasa celebrationofsocialequityandfeminism.Theancientsymbolicsenseofthe wordsdakinaandvmawasbasedonthedistinctionbetweenthewayof knowledge and the way of nanda. The Lord ofYoga is usually, the Purusha, the conscious Soul who knows, observes, attracts, governs.But in Tantr it is rather Prakriti,theNature-soul,theEnergywhoisthepowerfulexecutiveinthe universe.TheTntricYoginpursuedtheaimsofhisdiscipline,-mastery, perfection,liberation,beatitudethroughmasteryofthisenergywithaspecific form of worship.Instead of withdrawing, he confronts, seizes and conquers. IntheKaulaandVmcharaschoolsoftantrathepancamakra,orfiveMs,isa ritual sacrament in which several Hindu taboos ritually broken in order to free the practitionerfromaconditionedmindcreatedbyconvention.Thefivesubstances involved are: 1madya (wine)2mmsa (meat)3matsya (fish)4mudr (parched grain)145 5maithuna (intercourse)Butoveraperiod,asisthetendencywithPrakriti,TntricYogalargelylostits principles and became a thing of formulae and occult mechanism.Therearedoctrinalaswellasritualdifferencesbetweenthetwodivisionsof akti worshippers :- 1. The followers of Dakinacara believe in the absolute equality of iva and akti and hence their faith is called Samaya mata.During creationand maiantenance of the world,akti element predominates and after Pralaya till creation starts again , ivaelementpredominates.ThefollowersofVamacarabelievethataktiis always predominant and they do not recognize a separate iva-tattva, represented symbolically by the figure of iva lying under the feet of akti. 2.TheSamayinsbelievethatintheKundalini-yoga,sahasraraisthegoaland worship the Devi internally, whereas those who worship in the two centers called Kaulas[MuladharaiscalledKula]believethatafterreachingSahasrra,the Kunalini reurns to Muladhara and sleeps there. 3.SamayinsfollowtheSamhitasofSanaka,Sananda,Sanatkumara,Sukaand Vasista,calledSubhagamaPanchakawhileKaulastextsareParasurmaSutrs and sixty-four Tantras. 4.TheRishiofformerisDakinamoortyandtheirDevatasareKamewaraand Kamewariwhile Rishi of latter is Bhairava and Devatas beingnandabhairava and nandabhairavi. 5. The worship is according to Kalpa-Sutras of Vedic tradition and milk and fruits areoffered.KaulashaveindependentTantricritesandofferPancha-makras.In manycases,harmlesssubstitutesforpanca-makraslikehoney,ginger,coconut are used. In extreme sects, Uttara Kaulas, those abominations which have brought aktism into disrepute are associated.[5] 7.Yogini Cult 146 Tntricmanuscriptsdealingwiththeworshipofextraordinarygoddessescalled Yoginiscontainedworshipincirclesanddirectionstotheroyalpatronsto promote this cult. And Siva said : If aKING worships the Yoginis with total devotion, O Devi : His famewillreachtheshoresofthefouroceans,Ofthatthereisnodoubt[6] The yoginis who are dressed and skilled as dancers, possess magical powers. Yoginicultflourishedasanimportantmanifestationofkta-tntricismandthe propitiatorsacquiredmagicalandsupernaturalfaculties[Ashta-mah-siddhis] throughdamselscalledyoginiswithaviewtothedestructionofenemies.These consistofANIMA[powertobecomeminuteinsize],MAHIMA[become gigantic],LAGHIMA[weightlessness],GARIMA[heaviness],PRAKAMYA [makingotherscomplytooneswishes],IITVA[bodyandmindcontrol], VASITVA[controlovernaturalelements,KMAVAAYITA[fulfillmentofall desires]. Some of these Yoginis possessed forms with tiara of skulls and headdress of snakes. Through the process of transformation over the ages the yoginis[sixty_ fourmostlyandsometimeseighty-oneandforty-two]gainedsupremacy particularly in the eastern zone of India.Matsyendranath has expounded it in his famous work Kaulayananirya which has become the authoritative text of the cult. The different shape of Khajuraho temple was due to the narrowness of the ridge on whichit waserected.Each ofthese templeshas sixty-four niches assigned to sixty-fouryoginis.AtBheraghat,thenumberofnichesisgreaterindicatingthe association of the sakta deities other than the yoginis.The existence of sixty-four yoginis in all these temples prove that the number sixty-four was prescribed here as for the sixty-four Bhairavas, sixty-four art and sixty-four ratibandha (modes of sexual enjoyment). [7] The process of royal patronage in ancient India was a three- cornered aspect with the king, temple and the artist who was the craftsman, sculptor, musician, painter,architect or dancer.On the one hand, artists choose to remain anonymous and on theotherhand,theirsocialpositionrarelyallowedthemthischoiceasthey 147 workedinthebackgroundfortheKing.Inthetemples,itisobservedthatthe dancingfiguresformprotectivecircles(mandala)aroundthecenterwherethe deity,mostlyivaisplaced.TempleslikeKhajurahofollowedaivaSiddhnta sect,thefourfoldwayofjna,charya,kriya,yoga.TheRamappatemplehas twelvebracketfigures,a-geniusclass,dancersintrancewithrhythmic concentrationandseminalintensity.AnothertntricfeatureofGuruoffering religious knowledge to disciples is an important motif in the temples complex and the iconography 8.BuddhismModern Tantra may be divided into practices based on Hinduism and Buddhism.Buddhism(alsoknownastheDharmaorBuddhaDharma,meaning approximately: The Law or Law of the Awakened One) is a practical philosophy, focusing on the teachings of the Buddha kyamuni (Siddhrtha Gautama),dated mid-6thtotheearly5thcenturyBCE.BuddhismspeadwidelyinIndiaand propagatedintoCentral,Southeast,andEastAsia.Today,Buddhismisdivided primarily into three traditions: Theravda, Mahyna, and Vajrayna. Thespiritualdiscoveryiscalledbodhi-literally,"Awakening"(morecommonly called"Enlightenment").Anypersonwhohasbecomeawakenedfromthe"sleep ofignorance"bydirectlyrealizingthetruenatureofrealityiscalledaBuddha. kyamuni is said to have been only the latest of many of these; there were other Buddhasbeforehimandtherewillbeothersinthefuture.Attheageof35,he attained Enlightenment and became a Buddha. Buddhaisgenerallyconsideredtobeapersonwhodiscoversthetruenatureof reality through years of spiritual cultivation, investigation of the various religious practicesofhistime,andmeditation.AccordingtotheBuddha,anypersoncan followhisexampleandbecomeenlightenedthroughtheprinciplesof righteousnessor"Dharma"andputtingthemintopracticewithavirtuouslife, and purifying the mind. The aim of Buddhist practice is to put an end to this mass of suffering we call existence. 148 "Iteachonethingandonethingonly:sufferingandtheendof suffering"(TheBuddha).Toachievethisstate(Nirvna),itisnecessaryto followtheNobleEightfoldPath,andtheMiddleWay,eventuallyarrivingatan understandingofthetruenatureofallthingstoputanend(nirodha)toall ignorance and unhappiness and attaining liberation, Nirvna. Buddhas doctrine of dependent origination is accepted by the various schools of Buddismwhichstatesthatanyphenomenonexistsonlybecauseofthe existence of other phenomena in a complex web of cause and effect. It believes in Flux or change that is the constant permanent truth. Buddhist schools are usually divided into two main branches: Theravda Buddhism and Mahyna Buddhism. Vajraynaissometimesnamedasathird,butismorecommonlyconsidereda form of Mahyna Buddhism. TheMahyna(Sanskrit:"GreatVehicle")branchemphasizesinfinite,universal compassion (maha-karuna), or bodhicitta - the selfless, ultra-altruistic quest of the Bodhisattvatoattainthe"AwakenedMind"(bodhicitta)ofBuddhahoodsoasto have the fullest possible knowledge of how to lead allbeings into Nirvna.Emptiness(unyata)conceptcanbeunderstoodeitherasthelackofafixed natureofsubstanceorphenomenaandtheinherentemptinessofallthatis worldly, nescient and painful 9.TheNoble Eightfold Path Birth is suffering, aging is suffering, illness is suffering, death is suffering; union withwhatisdispleasingissuffering;separationfromwhatispleasingis suffering;nottogetwhatonewantsissuffering.Cravingwhichistheoriginof suffering leads to REBIRTH. ThewayleadingtothecessationofsufferingwhichisTheNobleEightfold Pathwhich consists of: 1.Right View 149 2.Right Intention 3.Right Speech 4.Right Action 5.Right Livelihood6. Right Effort 7. Right Mindfulness8.Right Concentration 10.Emergence of the Vajrayna /Tantrayna/Tibetan Buddism There are differing views as to just when Vajrayna and its tntric practice started. IntheTibetantradition,itisclaimedthatBuddhataughttantra,butastheseare esotericteachings,theywerewrittendownlongaftertheBuddha'sother teachings. These practices, scriptures and theory were transmitted to China, Tibet, Indochina and Southeast Asia. The Mahyana can also on occasion communicate a visionoftheBuddhaorDharmawhichamountstomysticismandcanindeed give expression to a form of pantheism (God). The Vajrayna or "Diamond Vehicle" (also referred to as Mantrayna, Tantryna, Tntric Buddhism, or esoteric Buddhism) shares the basic concepts of Mahyna, butalsoincludesavastarrayofspiritualtechniquesdesignedtoenhance Buddhistpractice.Vajraynapracticeharnessespsycho-physicalenergyasa meansofdevelopingpowerfulstatesofconcentrationandawareness.These profound states are in turn to be used as an efficient path to Buddhhood. Using these techniques, it is claimed that a practitioner can achieve Buddhahood in one lifetime,orevenaslittleasinthreeyears.IntheTntricorVajraynaaspectsof thissystem,byharnessingtheenergiesofthebody,emotionsandmind, including,joy,wrathandsexualenergy,onerealizesnottheendinitselfbuta potent means to the ultimate goal of realizing the true nature of reality, emptiness orunyata.Thisisthepathtoattainingcompletespiritualenlightenmentand 150 relieffromtheendlesssufferingoflife.Itisunfortunatethatmodernageneo-TantraritualizesonlysexualpracticeoftenmisrepresentingTantrawhile authentic Tantra literally sensualizes even a ritual. InadditiontotheTheravdaandMahynascriptures,VajraynaBuddhists recognise a large body of texts that include the Buddhist Tantras.VajraynaBuddhismexiststodayintheformoftwomajorsub-schools:Tibetan Buddhism and Shingon Buddhism. VajraynaispracticedtodaymainlyinTibet,Nepal,Bhutan,Mongolia, Kalmykia,Siberia,areasofIndia,and-intheShingonSchools-inChinaand Japan. Japan's Shingon sect, practices tantric veneration of the deity Vairocana. Theoriginalformofthestupawasasimplehemispherewithitsconvexity upwardsandcrownedbyoneormoreumbrellas.Latertheybecamemore complexand elongated, especially in regard to their capitals.The details of many of the Lamaic Chaitys are capable of an elemental interpretation, symbolic of the five elements into which a body is resolved on death.Thus, vide figure in margin modified from Remusat, the lowest section, a solid rectangular block, typifies the solidity of the earth, above it water is represented by a globe, fire by a rectangular tongue,airbyacrescenttheinvertedvaultofthesky,andetherbyan acuminatedcircle.TheChaitysofSikhimaremainlyoftwoforms.Each chhorten consists of a solid hemisphere the true relic holder which stands on aplinthofseveralsteps.Thehemisphereissurmountedbyanarrowneck bearinginalotus-leavedbasinagradedconeusuallyof13tiers,whichare considered to represent umbrellas the symbol of royalty; they are by others said torepresentthe13BodhisattvaheavensofNepaleseBuddhistcosmography.[8] TheBodhisattvaidealofMahynaBuddhismisrepresentedhistoricallyand mythologicallybyAvaloketishvara,Traandothers.TheDalaiLamaandother Tibetan teachers use this power exclusively to help others. 151 Tibetan Lmas ,the priests use bells,the drum ,a bowl of the skull and other things during ritualistic worship. Having wiped the mandal tray with the right arm or sleeve, take a fistful of rice ineitherhand,andsprinklesomeonthetraytolaytheFoundationofthe UniverseofmightyGold.Thensetdownthelargering,whichistheIronGirdle oftheUniverse.TheninthemiddlesetdownadoleorriceasRi-rab(Mount Meru).Then in the order given in the attached diagram (Plate XI) are set down a few grains of rice representing the 38 component portions of the Universe, each of which is named at the time of depositing its representative rice.The ritual for all sects of lamas during this ceremony is practically the same. During this ceremony itisspeciallyinsistedonthattheperformermustmentallyconceivethatheis actually bestowing all this wealth of continents, gods, &c., & c., upon his lamaic deities, who themselves are quite outside the system of the Universe. [9] 11.Tantric practices in temples of Kerala Malabar School ThepriestsinKeralaincludecategorieslikeTantriandSntikaswhoundergo initiation to the pooja system by a qualified guru or a acharya.Such a Guru must beasdhakawithmentalandphysicalcapabilities,thoroughknowledgeon scriptures,modeofworship,includingtheintricaciesofthetantr.Thepriests havetofollowthedailyroutinelikeyagna,vratha,mandalamantrajap,nysa, mudr,dhynaetc.Theesotericmudrsareincantations,positioningofthe fingersinreligiousworship,possessingoccultmeaningsandmagicalefficacy.Varioussanasofyogaareincorporatedandstepbystepprocedureisfollowed.SpeciallyprevalentmudrsamidsttheKeralaTantris,thereareseveralunique gestures to invoke the deity. These are like Dehashudhdhi (Brahmnjali mudrs), Ganapativandana(Vandanamudrs),Dhyna(Anjalimudrs),Dikbandhana, Naivedya, Anganyasa (Astra mudrs), Anganysa (Hridaya, iro, ikha, Kavacha, Netra and Mriga mudrs). Manasa Puja is through Jala, Gandha, Dhupa, Pushpa, DeepaandSurabhimudrs.GaliniandGarudamudrsareforSankhapurna whileAvhana,SamsthapaniandSannirodhanamudrsareforAvahana. 152 Abhaya,Varada,Padma,ankha,Parashu,Cakr,ula,Gadha,Kapla,Sara, Chpa,Vajr,akthi,Kheta,Khalga,Jnna,Yoni,Ankusha,Yoga,Navanitha, Murali, Vinyaka, Shivalinga and Oordh mudrs are all used for Ayudha Nysa during Peetha Puja. Bhooshana Nysa uses the mudrs of ri Kaustubha, Makuta, Kereeta,rivalsa,Makarakundalaoftwotypes.Lastly,duringtheNaivedya phase of Prnahuti are the Prna, Apna, Vyna, Udna and Samna mudrs. Eventhethreegunsofshruti,sthithiandsamhraarerepresentedintherites throughvariousmudras.Palmsareclappedatthreepoints,theeightdirections arepropitiated,breathingexercisesarepracticedandpartsofthebodyare assumedtobere-born,havingthequalitiesofthedeity.Concludingintothe atmaradhanaortheself-pooja,thiskindofworshipenlightensusonthe importance given to the body and the mind being an integrated instrument, fine-tuned towards self-liberation. The Tntric stra, based on Veds, epics and purnas is called Sdhana tra of liberation.Literally, these words contain mystical formulae while gama sticks to traditionpropagatingworshipofivaandakti.Samhitasarespeciallydevoted toVisnu.Tantrasveryoftenderivefromthesetwoclassesofliteratureanditis theaktswhostrictlypracticeTantra.TantrasrelatingtoVedicclassisthe daksinamrgawhilenon-vedicisthevma-mrga.Amongthethreeimportant SampradysinthecountrytheKeralasampradyaiscertainlymoreVedicthan Gowda(Bengal)andKashmiri.OfallimportantTntricworksinKerala, ankarcryasPrapanchaSraTantraseemsmostpopular.Yetanotherfamous text is Tantra Samuchya by Chennas Narayanan Namboodiripad.This basically deals with the rituals,temple architecture purification rights, meditation, festivals etc.Templesareconstructed,sitesareconsecratedandthedeitiesinstalledonly in accordance with the rules prescribed in the Sstrs.An important portion is the Valiambalam used for conducting Homs, Kalamezhuhuth Ptu (ritualistic dance) andforperformingartsincludingChkyrKoothu,Ottamthullaletc.The mysticalgeometricyantraofriCakrmaybesecretlypreservedinthedark153 chambers in many Bhagavathi devi temples and worship is done meticulously by thosewhohavetraditionallymasteredriVidyadeeksha.Keralatempleshave theuniqueKoothambalaminthefrontandrightsideoftheprincipaldeity.GenerallythesearebuiltonthebasisofoneoftheNtyagruhsintheNtya stra,theVikrushtaMadhyastyle.Theinteriordarknessofthesanctum-sanctorum or the garbha-griha illuminated by air, dim burning of lights inside the parcelofspacesuggestsbeautifullytheideaofmysterythatenvelopesthe universeandthespiritthatmovesbehindtheveilofmystery,apurelytantric concept.Everyspacewithinthetempleformspartofthebodyoftheprincipal deity, both gross and subtle, sthoola and sookshmarespectively.Coming to these sculpturalimagesinthesetemples,itisinterestingtonotetheaestheticvalue givenwhilespeciallycarvingthefigurinesofdeities.Forexample,bowshaped eyebrows,lotuspetalorfishlikeeyes,pupilslikethefullmoon,earlikethe conch,toothaspearl,neckasaconch,shoulderasbamboo,armasasugarcane piece,footastortoise,kneeasthecrab,faceshapedasamongoorfullmoonetc areendless.Everydetailsmeasuredtoperfectionensurestheuniquenessinthe deities.Onecannotbutappreciatetheformsgiventoourgods.Forexample Ganesha sankalpa bears certain characteristics like his weapons which are the axe, chakra or the disc, club, trident, spade and in his hands are sweet meats, flowers and kalass.Most deities possess abhaya or varada poses which offers blessings, protection, fearlessness and boons to the devotees. akthiworshipexemplifiesthetantramodetothemaximum.Thecountless ramificationsofaktiisrepresentedthroughtheidolwiththeweapons,divine dress and ornaments and the manifestation and source of all energies of virtues as wellasevilinnature.Therearetenclassificationsofthegoddesscategorized under mahavidys, vidys and siddha vidys. From the above, we can inter-relate practices in dance, especially the hand gesture with aworshipful gesture of the priests of Kerala. In Kerala ,ritualistic temple arts liketheyyam,thullal,koothuetchaveallalongbornereligiousinfluencesand artistic perception at the same time.Similar to these are also the ritualistic dances 154 or the bhootas in Mangalore district. Many of them have, even today preserved theirtraditionsofbeingverygroundedandperformedinthetemplesorduring religious festivals alone.In these dances practiced in Kerala temples the procedure of tla or rhythmic beat is based on the works of Bharats son, Kohlan.Tla has threeessentialpartswhichareviz.klatime,kriya-actionandmana-measure making it a rhythmic action in stipulated time sequence.Some take the view that Geetaormusicisbrahmaandtlaismya.Itisrelevanttoobservethatthis SopnasangeethaoftheKeralatemplesfollowssomedifferencesfromthe common Carntic music in the mode of Rga and Tla paddhati or pattern. 12.Tntricconnotationsinemergenceofschoolsandbranchesof Ntya Some of the earliest scriptures are the aiva gams relating to the period before 6th Century B.C.and which seemed to have formed the basic philosophy for even the Ntya stra.Although, the concept of the Tantrs were age-old, they actually becameknownmuchlateronlywhichiswhyNtyaastraremainstheearliest treatise on a kind of worship or pja through the medium of Ntya or drama. In the delineation of the ntya, the dancer who portraysthese Gods has to represent eachandeverycharacteristicoftheforminadherencetothesedeitiesofthe temples. The Tiruvilaydal Purnam explains the meaning of Bharata as a combination of Bhva (expression), Rga (musical mode) and Tla (rhythm). It was usual in olden days to begin a Bharata Ntyam performance with a rhythmic recital, which was called melaprapti.The musicians and the nattuwanar conducted this introduction andcertainspecialrgasandtlaswereprescribedforit.Beginningwith drummingonthemridangam,theinstrumentswouldbeplayedandthenthe nattuwanarwouldbeatthetimewiththejalrai(cymbals)andrecitethe sollukattus(rhythmicsyllables).Inbetween,asongofinvocationcalledthe thodaya would be sung.This was followed by more sollukattus and a mangalam.155 Then the four fundamental rhythmic syllabi tha, dhi, nom were recited in various timemeasures,whichendedthepreliminaryritual,beforethedancerentered.[10] DeviBhgavathamsaysthatworshipisoftwokindsExternalandInternal, ExternalisitselfdividedasVedicandTntric,butbothstreamsbeingclosely intermingled. Vedic Yajna and Tntrik Pja have the same aim, Vedic Philosophy andTntricritescomplementeachotheronmanyoccasionsandwecanobserve in this context that a Ntya Pja is derived from the Ntya Yajna. There seems no differencefinallybetweentheVedicBrahmanandtheTntricakthiprinciples. AnalyzingthedivisionsamongPujaswecancategorizeNtyaasonewhichis Sdhra(withabasis),Naimittika(performedonspecialoccasions),Stvikaas well as Rjasika (internally as well as externally based).ThespiritofworshipoftheSvbhvika(natural)type,aimedatBrahman consciousnessisexpressedinSriankarcryasSoundaryaLahariOMother, MaymyprattlebeaJapa,handmovementsbetheMudrs,mybodymovement yourcircumambulation,myfoodyourPrasad,mysleepyourprostrationsand every sense organ be filled with surrender and awareness of your consciousness. AcompletePjashouldhavebothExternalandInternalworshipandNtya SdhananecessitatesthesameifithastofulfillthehighestorderandTruth.In Bharatantyam,theRasisgenerouslyspreadtoconnectwithstoriesrelatingto severaldeitiesinmostperformancesandonlywhenatypicaldancedramais performed,thereisconcentrationupononeortwodeities.InTantr,theIshta Daivam,thefavouritevenerateddeityiseitherivaoraktiorbothorother deities singularly or as couples. Though there are small chants invoking deities of directionsandsmallerdeities,thechiefoneisoneortwoalone.TheSyujya[ Rashere],thejoyisinternal,inconspicuousandcanonlybeinferredbyothers. Suddendisplayofdivinepower,oracularpredictionsorconvulsivedancingor trancesetccannotbeconsideredasperformancesperse.Theexternaltoolsof AbhinayausedinNtyaisnotconspicuous.ngikawiththelimbs,head, gestures[Angsarethemajorlimbsofthebodywhichincludethehead,chest, 156 sides,waist,handsandfeet.Upangsaretheminorlimbs,whichincludethe neck,elbows,knees,toesandheels.Theupangsofthefaceincludeeyes, eyebrows,nose,lowerlipandchin],Vachikawiththevociferoussongs,hrya withthecharacteristicattire,Stvikawithitsemotionalstatesusingthesubtle mind, sensed to portray difficult emotions, all these are not displayed publicly in Tantr but are present in subtle levels, are implicit and not explicit. Ntya stra, thetreatisehasexplicitly,categoricallystatedmanyaspectsofdramatic experience but has also left ample room and scope for improvisation according to changes in times. There are many unsaid truths that are understood from certain passages . The verbal imagery provides the foundation and is the bedrock of the Abhinaya; the movements are the superstructure which a dancer creates. The capacity of the dancertoconjureupawholeworldofsimiliesandmetaphors,distinguishesa competentdancerfromagreatdancer,becauseagreatdancerisapoetin movement.SuchisthepowerofthegreatartistofAbhinaya.TraditionalGurus have spoken about the art of Abhinaya as the art when the human body is capable ofthesmoothnessofbutter.Thedancersmovementisthatprismwhich facilitates the seeing of the spectrum of the colours but it is never complete unless both the dancer and the audience experience the luminosity of the one light [11]

The music of the unstruck mystic sound called Anhata Dhvani heard by Yogis in meditationisthebellduringworshipequivalenttotheghunguruindance.Yet theexternalsymbolisonlysupposedtoleadoneintotheresonanceand reverberationoftheunheardsoundthatisabsorbedwiththeAnhataCakr residingintheheart.Tomakeanypracticesuccessful,itisabsolutelynecessary thattheSdhakaisdeeplyandfullyawareofthemeaningsofthechantsorthe songsaswellasthecorrectprocedureofexecution.Oneshouldbecomeimbued with the spirit of the worship and the corresponding manifestation of experiences ofrituals.TheTntricritualsobservedareakintothoseperformedduring consecrationofplayhouseintheNtyastra.Wenoticethattheportrayalofa 157 deityasacommonman(tomakeiteasyforidentificationwithdevotees)isa featureinbothNtyaandTantr.ThelatterintheformofBharatantyamhas severaldancesongswhichtreattheLordasalovinghusbandorevenconsent otherwise i.e one who has committed breach of faith etc. Hence we can gather that the physical entity, the body form is never negated but itratherusedasaVhana-avehiclethatpromotesspiritualawakening.The embellishment of the body as an Apsar, the use of Abhay and ngik (with its ancilliaries and auxilliaries) Abhinay at the relevant places are all integral part of Ntya.InTantra,gratificationofsensesandmaterialneedswithoutarousing limits of perversity have a definite purpose and meaning too. The Tntric system is in its aspiration one of the greatest attempts yet made to embrace the whole of Godmanifestedandunmanifestedintheadoration,self-disciplineand knowledgeofsinglehumansoul.Dancemeansmovementexternallyand internally, cutting across dimensions, creating a feeling of spacelessness by using space aesthetically and to the best extent. Ntya has a lineage like Tantra, bearing Vedic.Thepjamethodsofthegamstoocameofagearoundthesametime andonecanthelpnoticethesimilaritiesofgamicPjaandtheNtya Prvarangs.Thelatterperformedbypriests,includingtheSUTRADAR emerged as an indispensable part of a programme and is just like a dramatised act takenoutoftheVedicYagnabutwithoutsacrificeorfirebutinstead,with flowers,worshipmaterialsandsymbolicofferings.TheJarjar,theweaponof LordIndrathatisusedforthesuccessoftheprogrammeislikeYupausedin VedictimesandtheDhwajaofthegamictimes.TheLordsrepresentedonitis also the trinities, followed by the serpents like esha and Vsuki. Here again, the similarityisnoticedbetweentheJarjarandtheCakrsthatwereemphasized laterintheTantrs,especiallytheallusiontotheserpentsonthelowerlevelsof the Jarjar and Lord iva at the top . Abhinavabharati,MahesvaraAbhinavaguptacaryascommentary,isabeacon light for the Ntya stra because it has all the qualities of an ideal commentary. 158 Abhinavas study of Ntya stra, aesthetics in particular is most outstanding andgives a Tntric edge which we can trace to hisother opus, Tantrloka. Religiousdevotion,observesAbhinava,impliesaconstantdrivetowardsanend which is outside it and, as such, is the very antithesis of the aesthetic experience, which is perfect self-sufficiency Theimitationtheoryisalsoclearlycontradictedbycertainartsdancing,for examplewhichobviouslydonotimitateanythinginreallife.He[artiste]is immersed in the aesthetic experience to the exclusion of everything else;the task ofgeneralizationcarriedoutbythepoeticexpressionbreaksthebarrierofthe limited "I" and eliminates in this way the interests, demands and aims associated with it. By side with the practical meaning, but one must not forget that, while the mysticalexperienceisperfectfullness,inwhichtheknots of"I"and"mine"are already completely undone, in the aesthetic experience the process of undoing has onlyjustbegun. Oftenaman,saysKlidasainastanzaquotedby Abhinavagupta,"in the act of admiring in happiness beautiful shapes or listening to sweet sounds, feels in himselfa keen disquiet.Doeshe, perhaps, recall, in his soul, affections of past lives, deep within his spirit without his knowledge?"The disquiet to which Klidasa alludes, is, observes Abhinavagupta, an unobjectifieddesire;itcorrespondstowhatis,metaphysically,thedesirewhichinduces consciousness to deny its original fullness and to crumble in time and space.The religiousandtheaestheticexperiencespringfromthesamesource. Thisisthe tenoroftwostanzas,almostcertainlybyNyaka,quotedbyMahimbhatta,a rhetor of the 11th century. A Kashmiri like his forerunners, Abhinavagupta unified thescatteredvoicesofearlierphilosophersintoamasterfulsynthesis,embracing philosophical speculation and mysticism as well as aesthetics [12] AclearinsightintotheCakrsindicateshowthesyllablesinourdance movementslikerecitationofnattuvangamforNRITTAoriginated.Itisobvious thatthebeeja/seedMantrsofeachCakrsaccordingtotntricYogawerevery well known and practiced by the sages of yore and were absorbed into dances. 159

Just asaflowerbornofmagic,has,asitsessence,solelythepresent,itis correlated neitherwithwhatcamebeforenorwithwhatcomes after. Ordinarylifealso,isspeciallyevidentwhenweareassisting,[toa performance ]orduringcertainreligiousceremonies(thetntriccakrs),which mustbecelebratedincommon. Intheseassemblies, thedistinction between one's own Self and the Self of other people, which is founded on the multiplicity ofbodies,mindsandsoon,ceasesforthemomenttoexist,and,beyondthem, takesriseapsychologicalunity,correctlyrealizedasasubjectuniqueandmore powerful than the preceding separated individualities.The consciousness, which, consideredseparatelyalso,isinnatelymadeupofbeatitude,attains,inthese circumstancesduringtheexecutionofdancers,etc-astateofunity,andso enters into a state of beatitudewhich is full and perfect.In virtue of the absence of any cause for contraction, jealously, envy, etc.the consciousness finds itself in thesecircumstances,inastateofexpansion,freeofobstacles,andpervadedby beatitude.Thisisthereasonwhy,duringthecelebrationofthecakr,etc.,noindividual must be allowed to enter who does not identify himself with the ceremonies and thus does not share the state of consciousness of the celebrants; this would cause, in fact, a contraction of the consciousness. The purpose of the yoginis to identify himself with this transcendental object. [13] 13.Elements that broadly classify the schools The Rationale behind the distinct styles Aclassicaldanceschoolisasymbolofpurityandaplaceforworshipasina temple through the medium of dance. Any indisciplinary action in the vicinity of classicaldancetrainingsessionswouldbeclosetobeingsacrilegioustothe puritan minded Gurus who could not easily condone such lapses in those years. 160 In modern Bharatantyam parlance, it is common to ask a danseuse which school shebelongs.BroadlycalledtheTnjore,Pandanallur,Vazhuvur,Mysoreandso on .The basis of these this classifications are as follows- Elegance and grace are the hallmark of this style which originated in the village of Vazhuvoor.Posesareoftenintroducedinthepiecesespeciallyinthetillanato add space in time. The jatis or nritt units have more krvais or gaps than usual to signifyasenseoftimebeingsuspendedandthisgivesthedanceanexciting quality.The body from the waist up is slanted slightly forward to give more dimension to thebody.Theadavusordanceunitsaredonesmoothlywithouttoomanyjerky movementstogiveanimpressionofeffortlessnessandeleganceandbeautiful leaps mark every jati. Abhinayaornarrativeexpressionissubtlewithmorentyadharmiornaturally stylizedexpressionsandthereisnoobviousnessinthepresentation.Thehands, eyes, and expressions are used in unison to express eloquently. Lsya, or grace, is predominantinthisstyle.Traditionally,aperformanceintheVazhuvoorstyle begins with a Thodaya mangalam in praise of Lord Gnna Sabesar of Vazhuvoor. ItwasmadepopularbyVazhuvoorRmiahPillaiwhowasthefirstfromthis traditionInthePandanallurpani,abhinayaismoreritualisticandasperthe Sstra (i.e. in conformity with the rules as set by the ancient texts) than realistic, so the spectators are supposed know the rules to appreciate it. The Pandanallur style ofBharatanatyamstressesondeepsittingpositions,itslasya(femininedance style)ofpadamsisratherslowanddifficulttoperform,itisperformedonthree levels:indeepsittingpositions,ontheground,instandingpositionsandwhile movingorjumping.ThedistinctivecharacteristicsoftheMelatturstyleof Bharatntyam are that the feet are not stamped hard against the floor, a complex varietyofsoundsareproducedbyanklets,theitemsthatwerededicatedto medievalkingsorpatronsarenotperformed,natural(spontaneous)andhighly expressive abhinaya, wide amplitude of movements, emphasis on sringara bhakti, emphasis on crisp adavus, accuracy of jathis/gathis, fluid variations of patterned 161 korvais, dramatic elements (characterisation). Tanjore style or Thanjavur style, the sine quo non of which is " aesthetic grace", is a homogeneous blend of vigourous dynamism and lyrical grace.During the period of the Tanjore Quartet and decades thereafter, Bharatantyam dance was performed both in the temple and in the courts of kings, princes and landed gentry. Apart from being offered as upacra or aritual, the dance was performed in processions in order to tune in the minds of worshippers towards God. In the first half of the 19th century the dance tradition was revitalized and defined anew through the contributions of the four talented brothers (known today as the Tanjore Quartet), Chinniah, Sivanandam, Ponniah and Vadivelu. By coordinating their diverse talents, the four managed to organize all the basic dance movements of pure dance into a progressive series of units of motion called Adavus ,in a systematic order. These blended with sequences in a musical composition. These were well integrated and aesthetically creative and progressive. Temple ritualistic numbers that areperfromed at the beginning like theKavutvams in praise of Ganesha, Subramanya, Natarja, Kli, etc are a distinctcntribution of Tanjore school and the recitation ofthe Nattuvngam syllablesin tthese pieces are quite different from the Sollkattus in other Jatis of Varnams, etc.The rich cultural hub of Tanjore gave the Tanjore quartet and several greatmusicians and composers. Tanjore Quartet's concept ofa Bharatanatyamprogramme's format is meant to resemble thestructure of a Hindu temple: inalarippu the dancer passes through the gopuram (outer gate), then in jatiswaramcrosses the ardhamandapam (midway hall), in sabdam passesthrough the162 mandapam (great hall of worship), and finally enters the heart of the temple inthe varnam. The traditional order of the Bharatantyam recital is certainly thepremeditated and correct sequence in the practice of this art as it unfolds thespirituality inherent graduallythrough accentuating the finer aspects in thecorporeal . The renowned Sri Panchapakesa Nattuvanr who was the SamasthanaVidwan of Thanjavur and Ramanathapuram courts was also honoured by theroyal houses of Baroda and Mysore. An adept in Abhinaya he is credited withcompiling in Tamil the " Abhinaya Navaneetham ", a monumental treatise onAbhinaya, a practical guide specially on Hastbhinaya. His only son Bharata Vidwan Kuppiah Pillai was the prime architect of SriRjarjeswari Bharata Ntya Kal Mandir, regarded today as an institution parexcellence for Bharata Ntyam. His " Kamala Chakram", a lotus wheeledcompendium depicting the matra -based complex 108 talas, besides the popular35 ones, is invaluable to all students of music and dance. TheKalakshetrastyleisaformbasedonPandanallurand,tosomeextent, TanjorestylesandhasbeenpioneeredbySmt.RukminiDeviArundale.Purely onthestyleofpresentationofthetechnique[thescientificaspects]andthetools employedforexpressionbasedonthelargespectrumofthedancestyleitself which, although has these styles, nevertheless, bears a stamp of the common title Bharatantyam.AnArangetramisamilestone,providingthestructureand circumstantial thrust forthe probability of a dance career as long as one does not rest on ones laurel. UpaniadspropundDevoBhutaDeavmYajet-BecomeaGodinorderto worshipGodThespokenwordwasthemannerinwhichlearningwas perpetuated,fortheteacheristhepriorform;thepupilisthelatterform,and knowledgeistheirjunction.Therewererajadsis,whodancedbeforethe 163 dhvajasthambham(thesacredflagstaffofthetemple);alankradsi,who performedatsocialfunctions;devadasis,whodancedregularlyinthetemples andtheswadasis,whoonlyperformedonspecialreligiousoccasionslikethe kumbhbhiekam ( the rite of consecrating by sprinkling water from a pot usually when installinga image). Theyarealso knowsasadukala mahal, natakamahal, and dever kanningayar and used to have sacred duties like fanning the image of God,lightingthekumbharati(sacredlights),infact,manyofthedutiesofthe priest. Whentheyoungdancerwasfirstdedicatedtothetemple,aceremonycalled bottukattal was performed.This implied the marriage of the girl to the deity, and a golden tli, the symbol of marriage, was clasped around her neck. [14] TheevolvedtechniqueincludesNritt-puredancemovements,Abhinayaor expression and Nrity, a combination of abhinaya and nritt which is expressional dancing.TheNtyastra-baseddancestylesweresacredHinduceremonies originally conceived in order to spiritually elevate the spectators. 14 . The Tradition followed by the schools Bharatantyamismostlyasolodance,withtwoaspects,lasya,thegraceful feminine lines of Uma and movements, and tndava , the dynamic dance of iva , masculineaspect.Thedancerhastoconcentrateonthecharacter,situationand emotionsanddepictedwithhelpofabhinayaandstvikabhvasandthenthe rassspreadtospectatortherebyenvelopinghiminemotionthatexpressedby dancer and inacted.The enjoyment of spectator in whom aesthetic joy or ras is createdisthegoal.Actorisdirectlyincontactwithcharacterwhilespectatoris indirectly in contact with character. ThusStvikaabhinaya,mentalconditionofdancer,asmanifestedasStvika Bhva is the root of the intense feeling that generates in dancer while enacting the variousbhvaswhichcreatecorrespondingrasintoheartsofspectator.Nrity 164 dancewithoutStvikaabhinayawouldbesoulless.Justasvarioustasteslike bitterness,sweetnesswhenaddedtofoodcausesitsSwdatobeenjoyedby personwhoseistakingit,itisStvikaBhvathatcreatesenjoymentultimately.Thedancerhastouseappropriatemovementsofangs,upangsandpratyanga [thevariouslimbs]andmodulationoftheVcikaabhinaya[oraltransmission]. Thedescriptive[artisticaspects]partofthedanceschoolsstylemaybesimilaras theyarepoetrybased,yetthecharateristicnuancesandintricaciesvaryinthesensethat some may be moreLoka Dharmi [audiencefriendly]than others that are more Ntya Dharmi [stylized] . These Dharmis are based on stylization of movement. 1)NtyadharmiItisconventional.Ithasgetgestures,formalprinciples whichtheyshouldfollow.Kathakaliisthefamousexampleamongclassical dances.The Pandanallur and Kalakshetra styles follow this to a larger extent. 2)LokadharmiItismorerealistic.Bharatantyamusesbothstylesinvarying degrees,especiallytheThanjavurstyle.Kathakhasmorerealismasitnarratesa story as if in common parlance. Thephysicalandvisualmanifestationvariesfromstyletostyleaccordingto contentaswell.Dailylifeandnaturalbehaviouriscontrastedwithartistic excellence.The concept of theme is applicable to both Ntya and Loka to stylize athemetomakeitsupernaturalinformandcontent.Themoreyoustylizea themeyougethigherdegreeofNtyaandmoreyougottoreality,closeristhe degreeofLoka.Purelytemplearts,evenOdissiareboundbybhaktibhavaand hencethetechniqueneednotbestylizedforafteralltheychoosetodepictthe PremtmaBhakta[Love-filleddevotee]longingtobeonewithultimateandto mergewithHim(JivtmaandParamtma).Thedanceisthereforefullofdeep devotionalfeelinganddancersbodyismerelyavehicletoperformthisgreat Sdhana.Thedancerinsuchcasesisadisinterestednarratorwhopossessa detachedattitudetotheactualnarrationtakingplace.InthePuritemplein 165 Orissa,thedevadsisormahariswhotracetheirrootstothecelestialnymphs Urvashi and Rambh,use to have two years of training and were then married to the God of the temple. Inallsuchtypeofdances,thereisalesserdegreeofNtyaDharmiwhile Kathakaliinspiteofbeingareligiousart,formsatheatreofimagination,where actors dancein their otherwordly and fantastic costume.Thegorgeousmakeup throughextremestylizationinmovementiswhattransformstheminto supernatural beings. Vishnudharmottara Purna ascribes the Supreme Spirit with twostates;thenatureoftheworld(prakriti)anditstaransformationasthe apparent (vikriti).Prakriti is His invisible form and Vikriti is the aspect (kara) in which He pervades the universe. .Today, Bharathantyam has a preponderance of women among the dancers and all these compositions aptly suit them. None of the numbers in a margam repertoire could ever be non-descript or monotonous . Aharyaabhinaycoversallparaphernaliathatadornthedanseuse.InNtya Dharmi styles there is panoply of elegant and appropriate costumes. Today,Atanyika(theeightheroines)isafovouritethemefordepiction.One exampleistheAbhisrika,whoboldlyfacestheignominyofbeingchaffedas fickle minded. Her illicit liaisons provoke insinuations from public. The artist has tremendousscopetosuggesttheexpressionsmorethanopenlydeclare.Laconic speech ,augmented by gestures ,employed with brevity postulates thebenchmark ofagenreofthestylizedclassic.Ostentatiousabhinayissuperfluous;henceit helpstorefrainfromexcesses.Amongsttheheroinesthecommonfeatureisthe element of adoration and love, leading to rancour, which however strong, makes herfinallyrelent.Herobduracyinmostofthesesongswouldendin acquiescence.In the exposition of a khandita nyika, i.e. a heroine who is furious, offendedandhurt,thefinerexpressionswouldbeglancesofanunspoken reproachoratacitcondemnationofthecapriciousdispositionofthelover.The expression of such anger should be incisive and not abrasive beyond the decorous parameters of the customary dance form.166 The kings considered the propagation of arts as a panacea to their kingdoms. The wordPurvaranga,beingatechnicalwordconnectedwiththeproductionofanatya on the stage, shows that the art of abhinaya was quite in an advanced stage at the time of Hla.The Avandnasataka, a Sanskrit Buddhist work describes the performanceofaBuddhistntaka.Thedescriptionofthentakainthisworkis enoughtoshowthattheagewhichproduceditwitnessedconsiderable developmentoftheartofabhinaya.Thementionofthewordnatcaryainthe senseofmaster-nataortheprofessorwhotrainedthenats(andwas consequently the director of a party of natas) gives us good reason to assume that theartofanathadbythistimebecomeimportantenoughintheeyesofthe people to accord to its teacher the venerable title of carya which was generally to begiventoateacherofsacredworksliketheVedsandtheVedangsetc.The treatiseonabhinayawhichcanbecalledtheearliestistheNatasutrsofSillin and Krsasva mentioned by Pnini (ca.600 BC. [15] .InSautavam,thebasicaestheticpostureofBharatantyam,thebackisheld erect,thetorsoisbentalittleforwardfromthewaistkeepingthebodytaut,yet relaxed.Bharatantyamhastwoaspects,Lsya,thegracefulfeminine movements,andTndava,theforcefulmasculineaspect.Typicallyaregular repertoire would traditionally include: 1.GanapatiVandana-AtraditionalopeningprayertoGanesh,whoremovesobstacles. An invocatory prayer to the Adi Devata to remove obstacles.2.Alrippu - Thisisan invocation to the Gods to bless the performance and the Godinthedancersselfaswell,whichiswhatthemovementsdenote.A presentation of the Tla punctuated by simple syllables .3.Jatiwaram-Anabstractdancewherethepercussionsetsthebeat.Herethe dancerdisplaysherversatilityinelaboratefootworkandgracefulmovementsof thebody.Ajoyfulmelodiousdance,thedancerdisplayshercommandoverfootwork and graceful movements of the body.167 4- abdam - The dancing is accompanied by a poem or song with a devotional or love- theme. Mild expression now sets in as Abhinaya gets introduced. The dance, when it has a love theme, could be either Bhakti or Rati Sringra [love for God or Consort] 5.Varnam-Thecenterpieceoftheperformance.Itisthelongestsectionofthe dancepunctuatedwiththemostcomplexanddifficultmovements.Positionsof thehandsandbodytellastory,usuallyofloveandthelongingforthelover. VarnamisthequintessenceofBharatantyam.Thepiece-de-resistance,itshows the command of the danseuse in all the chiefaspectsand provesher mettlewith elaboratemovementsandexpressions.Usually,lovethemesaretaken.Varnam, most important in a repertoire ,musically has special features too.This is a special itemwhichhighlightseverythingimportantaboutarga;notjustthescale,but alsowhichnotestostress,howtoapproachacertainnote,classicaland characteristicphrases,etc.Thoughthereareafewdifferenttypesofvarnams,in essence,theyallhaveapallavi,ananupallavi,muktyiswaras,acharana,and chittaswaras.Theyaresunginmultiplespeeds.DanceableVarnamsarePada VarnamswhilethosesuitableonlyforconcertsareTnaVarnams.Inconcerts, varnams are often sung at the beginning asthey are fast and grab the audience's attention.6.Padam-Probablythemostlyricalsectionwherethedancer"speaks"ofsome aspectoflove:devotiontotheSupremeBeing;orofloveofmotherforchild;or the love of lovers separated and reunited. 7. Jvali or Devarnma Love songs ,short and sweet seperation and union with loversandvariousmoods],songsinpraiseoftheGodsandtheirdescriptions, feats, historical legendary episodes etc; usually the compositions of Haridasas and other saint composers. 8.Thillna - The final section is an abstract dance when the virtuosity of the music isreflectedinthecomplexfootworkandcaptivatingposesofthedancer.-The conclusionfinalsectionisabreezygrandfinalewithaplomb.Accentuationis given to the five Jtis of four beats -Chaturam, three beats -Tiram, seven beats -168 Miram,fivebeats-Kantamandninebeats-Sankirnamandcaptivatingposesof thedancer.Theperformanceopensandconcludeswiththechantingofafew religiousversesasaformofbenediction.Therearemanytypeofcompositions. GeethamsandSwarajatiswiththeirownpeculiarcompositionstructuresas learningexercisesandtherearemanyotherformsofcompositionslikePadam, Jvali and Thillana and the Kritiwhich are Carntic songs varied in structure and style, but generally consist of three units:1.Pallavi. With opening one or two lines.2.Anupallavi. The second verse ,generally also two lines.3.Charanam. The last and longest verse that beautifully wraps up the song.There can be multiple charanas.The performance concludes with the chanting of a few religious verses as a form ofbenediction.Thepoetshavebeautifullywaxedlyricalaboutmanyparables associatedwithmythological,historicalandlegendaryfigures.Odeslike Tirupugazhfollowasetprosodywhiledramaticpresentationsofepics,include prosaicdialogues.TheSanchrisinBhavasareakintoparaphrasesthatamplify themeaningswithvaryinginterpretations.ThejugalbandhiinTillnabuildsup to a fever pitch. This item is performed with a jubilant panache and ardour as the permutationsandcombinationsofwell-alignedstepsfallintandem.Itis analogous to the northern tarana. Varnam is of paramount value in the repertoire. ThevariousSanchrisortransitorymoodsarehomogeneouslybasedonthe predominantSthyiBhava.Thekingsarepraisedfortheirchivalry,being archetyeedheroes.IndirectcontrasttheheroesinsomeoftheJvalisorlove-songscouldbeamererenegadeoraturncoat.Thehero,thenyakamaybe projected as callous and indifferent to the wanton and forlorn heroine who pines in separation and yearns to unite. Two Aspects Bharatanatyamhasessentiallyremainedekhrya,thatis,adancerinasingle 169 costumeportrayingindirectlyordirectlymorecharactersthanone,regardlessof their gender.Ithas two aspects to it, namely: Nritt,orthepurelyrhythmic,whichisconfinedtofootworkandthe movements of the body and the hands; and in which, absent emotion, there is no portrayal of sentiments, scenes or events; and Abhinaya or mime, which is conveyed throughhistrionics, body languageandgesturesandfacialexpressions,thesuggestivelanguageofcreativity and imagination. These two aspects are, however, not unique to this danceform alone. 15.Rhythmic Features of Ntya and the significance of music Rhythmbringsoutthespecialcharmofpuredance.Themovementsrelaxthe dancer'sbodyandthemindcoordinateswithherlimbs.Rhythminducesthe capacity to concentrate and become single-minded.Addedtothisisthejoyofmelodywhich,evenwithoutwordorsyllable,hasa specialpowertouniteuswithourbeing.Melodyandmovementcometogether aswellascompositionswithwordsandmeanings.Allputtogetherwillenable the expression of the myriad moods of Bharatanatyam. ThoughAbhinavaguptawasagreatreligiousfigureandadevoteeofiva,his scientific temperament is seen in his explanation for the term tndava.Thekaransaresaidtobeunitsofdanceperformedbyivaaccordingtothe Natyastra,whenBharataproducedthedramaTripuradaha(TheBurningof the Three Cities) at Kailasa beforeiva, this great God was reminded of his own dance which he performed in the evenings. He asked Bharata to include this in his production and made Tndu teach the art to Bharata. Bharata says that the dance artcametobecalledtandavambecauseBharatasteacherwasTndu.While 170 commentingonthis,Abhinavaguptatakesononapragmaticapproach.While therearesomeauthoritieswhoassociateTanduwithNandikesvara, Abhinavaguptasaysthatthepercussioninstrumentswhichproducesoundslike Bhan,Thanetc.areimportantfornritta.Hereckonsthatthetermtndavais derivedfromthesoundslikeTandoproducedthroughtheaccompanying drums. [16] Inthemythsofantiquity,musicstandsoutamongtheartsasoneoftheprime sourcesofritual.Attheoutset,eachinstrumentappearstohaveclearsymbolic connotations,becausemusiccannotbedissociatedfromlifeorreligion.The stringswereheldtorepresentvariouslevelsofcosmos.Theprinciplesof materialityandspiritualitytuneintowardsaeuphoricvibration.Music symbolized birth, fertility, education, ceremonies and so on.Even the Greek music-god Apollo imposed harmony between desires and reason, bychannelisinghumandrivesthroughaheighteningofconsciousnessand spirituality.Theoriginofthemusicalchordsignifiesblendingmelodywiththe breath and sometimes a soprano and a tenor aulos or double tibia were paired in practice. Apollos seven-stringed lyre evokes the seven vowels of Greek alphabet. ThetripartiteGoddessreigningtheair,earthandnetherworldwereshown through instruments. The lute and harp are both seen to play in heaven and hell, thetwofoldaspects.Theambivalentnature,ofexistenceinbothcelestialand terrestrial led to the division in presentation, emphasizing the superiority of spirit over matter and knowledge over sensuality. In South India, there are many varieties of time measures which are called tls, and tempo which is called lay.The three varied speeds are vilamba kla (slow), madhyamakla(medium)anddrutakla(fast).Inordertomaketherhythmic timesmeasuresclear,sixangs(limbs)havebeendevised:Laghu,drutam, anudrutam,guru,plutamandkkapadam.TheLaghuisperformedbyonebeat ofthehand(ghatam)andthree(ormore)countsofthefingersstartingfromthe little finger towards the thumb.It sign is I. The Drutam is performed by one beat ofthehandandawaveofthehandintheair(visarjam).ItsignisO.The 171 anudrutam is performed by one beat.Its sign is U.The Guru is performed by a beat and a circling movement of the hand to the count of eight.Its sign is8. The Plutamisperformedbyabeat,thenacirclingmovementofthehandanda downward movement to the count of twelve.Its signis 1/8. The Kkapadam is performed by a beat, a waving of the hand on all four sides to the count of 16.Its signis+.ThesevenprincipaltlsareDruva,Matya,Rupaka,Jhampa,Triputa, AtaandEka.Inutilizingthedifferenttimemeasuresthelaghu,drutam,and anudrutamareused.Guru,plutamandkkapadamareusedonlyinsomerare compositions.Thelaghuisutilizedinalltheseventalas,changingaccordingto therhythmicmeasuresorvarietyknownasjti,thatisinUnitsof3,4,5,7and9.ThesejtisarethencalledTiralaghu,Chaturaralaghu,khandalaghu,Mira laghu and Sankirna laghu, in each, a beat of the hand and finger counts according to the time measure. [17] ThreekindsofLays(tempo)areadoptedcalledSthira,MadhyaandDruta (slow,mediumandrapidrespectively)befittingthegaitofthedifferent characters. Bharatantyamisperformedtodayonthewesternizedprosceniumstageinart centers alongside the continuousculturalevents intemplesas in Chidambaram, Brihadeeswara, Khajuraho, Konark, cave temples etc. Hence, the art has assumed both sacred & secular status. Intherecenthistoryofthisart,duringtheheightoftheanti-nautchcrusadein 1925, a seven-year old named BALASARASWATI was presented for the first time atatempleinKanchipuram.Thecognescentipresenttherewereawestruckwith hermasteryatthattenderanage.Intheyearsthatfollowed,Balasaraswati became a role model for dancers as she easily was the greatest classical dancer of hertime.Balasaraswathi,ratedasavirtuosoparexcellencebythecognoscenti used to dance extempore, enriching the audience through exquisite expressions. "Balasaraswati made the public Bharatantyam conscious, not by conscious efforts 172 as a torch-bearer or a reformer but by the beauty and eloquence of her dancing. It waslefttootherstofightprejudicesandstupidity,doresearch,delveintothe past. But Balasaraswati made us aware of the living miracle of Bharatantyam to be seen and to be enraptured."[18]

Balasaraswati highlighted the importance of music and said that the strs have confirmedthatanindividualdedicatedtodancemustbeequallydedicatedto musicandmustreceivethoroughtraininginboththearts.Inaninterview,she has also disclosed that in demonstrating the art of Bharatantyam abroad,she has made a special point of showing audiences how delicately linked is the realisation ofmovementtorgaexpressioninabhinaya,includingthesubtleexpressionof gamak-s,intonationofsruti,andtheunfoldingofimprovisationinniraval.In the sameway that welook forperfect blending ofrga andtla andofrgaand bhva in abhinaya, so also it is essential that the rga and the shitya be perfectly matched and in accordance with the necessities of expression in the dance. 16. The school ofTntric worship of the Chakrs Both the Kauls and the Samayins follow the yoga of Chakr worship with subtle differences. AllreligionsanddisciplinesinIndiawhichuselargelythepsycho-physical method,dependmoreorlessuponitfortheirpractices.WhenonedoesYoga, this force uncoils itself and rises upward to meet.It is by ascending through these inourconsciousnessandreceivingadescentoftheirenergiesthatitispossible ultimately to reach the Supermind.This is the method of Tantra.[19] Thesubtlebodyiscomposedofsevencakrsorenergycentres.Chakrmeans what revolves and hence signifies a wheel.The cakrs are also called lotuses, as theyareshapedlikeflowersandcomposedofdifferentpetals.Eachpetalofa cakrrelatestooneoftheprimelettersoftheSanskritalphabet.Eachchakr governsacertainelement,senseorgan,organofaction,prna(lifeforce),and functionofthemind.Eachhasaphysicalcounterpartthroughaphysiological 173 system, nerve plexus and endocrine organ. 1. Muladhra Chakr TheEarthChakrhasfourpetalsconsistingofthemantrasvam,sam,sam,and sam. It is the seat ofthe earth element or solid state ofmatter, whosegoverning seedsyllable(bijamantra)isLam.TheNattuvangamcymbalshaveoriginated from such Beejakshara Mantras 2. Svdhisthna Cakr TheWaterChakrpossessessixpetalsconsistingofthemantrasbam,bham, mam,yam,ram,andlam.Itistheseatofthewaterelementorliquidstateof matter, whose governing seed syllable is vam. 3. Manipura Chakr The FireChakr possesses ten petals consisting of the mantras dam, dham, nam, tham,dam,dham,nam,pam,andpham.Itistheseatofthefireelementor radiant state of matter, whose governing seed syllable is Ram. 4. Anhata Chakr TheAirChakrhastwelvepetalsconsistingofthemantraskam,kham,gam, gham,nam,cam,cham,jam,jham,nam,tam,andtham.Itistheseatofthe elementofairorthegaseousstateofmatter,whosegoverningseedsyllableis Yam. 5. Vishuddha Chakr 174 TheEtherChakrhassixteenpetalsconsistingofthevowelsoftheSanskritalphabet: am,am,im, im,um, um,rm,rm, Irm, Irm, em, aim, om,aum, am,and ah.It is the seat of space, the element of ether or the etheric state of matter, whose governing seed syllable is Ham. 6. jna Chakr Thethirdeyehastwopetals(bysomeaccountsforty-eight),consistingofthe mantras ham and khsham.It is the seat of the mind-space or mental ether (which underlies the elemental ether).Its seed syllable is ksham, meaning patience, peace and fortitude. 7.Sahasra Padma Chakr TheCrownChakrhasthousandpetalsandistheseatofthespirit(Atmanor Purusha).Its seed syllable is Om.It is the seat of consciousness or consciousness-space that is the origin of the mental and material ethers. 17.The Kundalini akti VedaandVedntaareonesideoftheOneTruth;Tantrwithitsemphasison aktiisanother.TheprocessoftheKundaliniawakenedrisingthroughthe centres as also the purification of the centres is a Tntric knowledge.In our yoga there is no willed process of the purification and opening of the centres, no raising upoftheKundalinibyasetprocesseither.Therefore,thereisaTntric knowledgebehindtheprocessoftransformationinthisYoga.IntheTantrthe centres are opened and Kundalini is awakenedby a special process, its action of ascent is felt through the spine.Here it is a pressure of the Force from the above thatawakensitandopensthecentres.Thereisascensionoftheconsciousness goinguptillitjoinsthehigherconsciousnessabove.Thisrepeatsitself (sometimesadescentalsoisfeltuntil)untilallthecentresareopenandthe 175 consciousness rises above the body.At a later stage I remains above and widensout into the cosmic consciousnessand the universal self. In our yoga there is no willed openingof the cakrs, they open of themselves by the descent of the Force. The ascension and descent of the Force in this yoga accomplishes itself in its own waywithoutanynecessaryreproductionofthedetailslaiddownintheTntric books . [20] In Ntya too ,the power is similarly awakened spontaneously. Kundalini,animportantpartofHinduTantrisbasedontheprinciplethatthe embraceofivaandakticreatedtheUniverse.ThewholeUniverseisapartof iva, and any part of it contains the entire universe. In our body,akti, resides in the Muladhra, at the base of the spine. Due to Tamogun, she is asleep, and must be awakened. The seven cakrs(or energy centers in the body), correspond to the Worldsakticreated.AsthepersonsKundalinirisesthroughthehighercakrs, eversubtlerandvirtuousstatesarerealised.Krmicimpuritiescreateblocks preventing Kundalini from rising. Yogic sans are helpul just as Ntya Viniyogs andprayogsarehelpulinconsciouslyorunconsciouslyraisingtheKundalini akti.Infact,InBharatantyam,thebasicposture,theAraimandishapesupthe body as a yogic Mah Kumbh with all the Cakrs in perfect opened up position, enhancing the flow of energy.thedivineEnergyispolarizedintoastaticorpotentialform(calledkundalini) and a dynamic form (called prana). The latter is responsible for maintaining all the lifeprocessesthatmakeembodimentpossible.Theformeristheinfinitepoolof Energycoiledintopotentialityatthebaseofthecentralpathway,inthelowest psychoenergetic center. Thiscakrais the normally closed plug-hole to the infinite storehouse of Energy (and Consciousness)[21]. TheclassicalIndianmusicscaletheSaptaswarascanbeusedtolocatethe psychic centers. SA Corresponds to Muladhara, RE to Swadhishthana , GA to Manipura,MAtoAnahata,PAtoVishuddha,DAtoAjnaandNIto Sahasrara. 176 It is interesting to follow the author in his discussion of the relevant areas of the Tantra System. He lists seven chakras which are below the muladhara : atala, vitala, bsutala, talatala, mahatala, patala. They represent evolution from basic structures to minerallife,thenplant,loweranimalsandsoon.Hecitesparallelstothe conceptionofchakrasinothertraditions.Hetracesthecorrelationbetweenthe chakras and the kyo shos or pressure points in the Japanese judo (esoteric) as also in the acupunture points in shiatzu ( a therapy from Japan). So also he mentions how KundaliniisknowntotheKungsinSouthAfricaasn/um.TotheChineseit wasknownasspiritualfireandtotheAmericanIndiansashurakan.He quotes,fromAMysticimagebyJosephCampbell,theexperienceofSri RamakrishnaParamahamsa:howtheactivityofKudalinifeelslikethevarious movementsofanant,afish,amonkey,abirdoraserpent.Headdsavaluable chapter onthe system of acupunture and shows a close correspondence between theirtechniquesandtheoperationsofthebandhas,notablythemoola bandha[22] TheTantricsystemisinitsaspirationoneofthegreatestattemptsyetmadeto embracethewholeofGodmanifestedandunmanifestedintheadoration,self-discipline and knowledge of single human soul.The ascent of the Goddess power in the body is associated with the progressive dissolutionoftheelements-aprocessthatiscalledlaya-krama("processof dissolution")orlaya-yoga("disciplineofdissolution").Inthepresentcontext,the technicaltermlayareferstotheresorptionoftheelementsintothepretemporal and prespatial ground of nature (prakriti-pradhana) In principle, laya is effected as thekundalinirisesfromcentertocenter.Itsarrivalcauseseachcentertovibrate intenselyandtofunctionfully,butasitgoestothenexthigherpsychoenergetic center, thedeparture of the Goddesspower leavesthe previous center or centers as if void. The reason for this is that at each center, Shakti works the miracle of a profoundpurificationoftheelements(calledtattva),renderingthemextremely subtle. The final phaseof dissolution occurs when the serpent power reaches the topmostpsychoenergeticcenter,whenthesubtlematrixofnatureisdissolved 177 intothepara-bindu,whichistheintothesupremepointoforiginofthe individuated body-mind. Dissolution (laya) is fundamental to Tantra-Yoga. Hence we can read in the Kula-Arnava-Tantra (9.36): Tenmillionritualsofworshipequalonehymn;tenmillionhymnsequal onerecitation[ofamantra];tenmillionrecitationsequalonemeditation; ten million meditations equal a single [moment of] absorption (laya).[23]. 18. Guru The bestower of Knowledge and Wisdom ,the tree bearing the branches..the Guru. Ateacherinstructs,aGuruinspires.TheGurusetsanexampletoeulogiseand since Ntya is a spiritual pursuit, the teachers are called Gurus after some years of experienceandthroughtheirwelltraineddisciples.TantraGurusare indispensableinordertotreadthebestandsafestpath.BothTantraandNtya openupabroadbasedspectrumgenerousenoughtoaccommodateallpeople irrespectiveofanycaste,sex,orcreedprovidedtheyhavetherequiredpotectial anddedication.Thedisciplesgainknowledgeatthefeet,neartheGuruliterally andintheancientGurukulasystem,thedisciplesoffereddiligentandarduous servicetotheirGurustoreceiveblessings.Thisrelationisuniqueandofhishest value in both Ntya and Tantra. There are twelve types of Gurus according to Swami Narayanananda. 1.Dhatuvadi: One who leads the disciples through the practice of various kinds of sadhanas. 2.Chandana:Like a sandal tree, he transforms others by his sheer proximity. 3. Vichara :He refines the intellect and teaches the disciples to distinguish 178 the true from the false, the eternal from the transient. 4.Paarasa :Like the philosophers stone he reaches the disciple to the goal by his mere touch. 5.Kachchapa : Like a tortoise he effects changes by his mere glance. 6.Chandra : He operates like the rays of the moon on the moon-stone 7.Darpana: His being reflects the Truth to the disciple 8.Chhayanidhi: Like the mythological precious stone of the name, his very voice turns the baser nature into the divine 9.Nadanidhi : Like the mythological precious stone of the name, his very voice turns the baser nature into the divine. 10. Krauchapakshi: This bird feeds its young ones by just thinking of them; the Guru of this type does likewise. 11. Suryakanta: Like the concentrated rays of sun focused on an object, his glance suffices to lift the disciple to his goal.[24] The Guru occupies a godlike position in Tantra and the presence of a Guru isanessentialconditionforTntricpractice.Anemphasisisplacedon secrecy and the oral transmission of the tradition by the Guru to a worthy pupil.Thisprofoundwordleadsustotheluminarieswhobecame immortalizedasGurustoshowthelightandpavethepathfordisciples. Almostallthesegifted,blessed,illustriousvotarieshavetreadedthepath of Tantra and inculcated the spirit of love and devotion by INTEGRATING and aligning aritstic disciplines within their system. This was the best way tobringthemclosetosolvingproblemsofthisworldbycommunicating theirthoughtstocommonmankindandelevatingthem.Wecancitethe recent example of Sri Ramakarishna Paramahamsa who had knowledge of thehighestkindandtranslatedhisdivineexperienceintopoetryand danceditwithgreatmirth.Thereareseveralsaintsinthiscenturywho enjoyed music and dance of the classical and divine kinds and perpetuated them,alsointheinstitutionsstartedunderthem,ifany.ShirdiSriSai 179 Babawasanexpertinallyogicandtntricpracticesbutnevertheless ,taught devotion with Nmasankeertanam . ThePuransaredepictedthroughNtyaandinthemarecontained,a myriadfeatsanddeedsoftheGodswhichareimpossibleand unfathomableunlessthemiraculousSiddhisaremasteredbythem.This underlinestheinherentTantraintheUniversewhichisabsorbedbythe onesonwhomgracehasbeenbestowedbythatONESUPREMETntric magician ,called ISWARA , BRAHMAN or by any other name. Man, being apartofthiswhole,canalsobecomeamasterandTantraisadesignto understand the process ,to understand the Leelas ,their symbolic meanings and enjoythe world ,which is a divine play . Today ,if man can producegadgetsto reach acrossmiles, why is it tough tounderstandthatgadgetsareonlymaterialevidenceandsubstancesto make-believe,whereastheRishis,Munis,theGurusandseersdonot requireanysuchmaterialtoreachacross,eventoothergalaxies,worlds and witness as well as participate in the astral realms and the causal realm, simultaneous with earthly existence. Ordinary men have to shed layer after layer of earthly bondage in order to realize the divine potential and power ,hiddenwithinthem.Inthissense,Ntya,whichcontainsTantraasits nucleus,hasbeendesignedinsuchawaythatitssincerepractice, naturallycleansesboththepractitionersandthesurroundings,asif clearing the mirror to make it easierto grasp the SELF in the reflection . Tantra forms the innermost layer of the truth while Ntya fills up the truth and these Gurus epitomize such TRUTH .They are beyond but have taken human forms ,they are ON this worldand FOR this worlds elevationbut are not IN this world . The way of Tantra and the way of Ntya lead to the samegoalofsupremeself-consciousness.Anadeptineitherorboth 180 streamshastohowevershedtheghostofhisegoinordertoscalethe heights and realize the summit .Hence ,we discuss Tantra and Ntya in the background of the most important Darshans known and followed inthe present times. 181 Notes and references [1]George Feuerstein,Tantr: The Path of Ecstasy (Shambhala, 1998), (Op. cit, Introduction). page 10.[2] Abhinavabharati - Commentary on Chapter XXVIII of N.S. EnglishTranslationwith Critical explanation (Anupa Pande) S. M. Books, YearOf Publication : 2006 ..page 4 [3]Yoginihridaya I, 6-11.This is Sir John Woodroffe's (Arthur Avalon) introductionto a Sanskrit edition of the Kaulavalinirnaya in Sanskrit. [4]This process is described in Serpent PowerArthur Avalon, Sir John George Woodroffe. The Serpent Power: The Secrets of Tantric and Shaktic Yoga , Dover Publications Inc, 1976 [5] Sri Lalita Sahasranama,Edited by Swami Tapasyananda, Pub -Sri RamakrishnaMath , Chennai ,2006...pages 38,39,40 [6]V. TARANATHA & ARTHUR AVALON, Kularnava Tantra for Agamanusandhana Samiti by Calcutta Sanskrit Series [Calcutta, 1941}: Ch.10, v. 93 [7] Tantricism-A Study of the Yogini Cult H. C. Das , page 4 [8] Lamaism in Sikkim L.A. Waddellpage 15, Oriental publishers,Delhi,1973 [9] Ibid Page 84 [10] UNDERSTANDING BHARATANATYAM..Mrinalini Sarabhai, page 4 Darpana Publications-1996 [11]Aspects of Abhinaya.Smt.Kalanidhi Narayanan .. Foreword The Alliance Co. 1998 [12]The Aesthetic Experience According to Abhinavagupta by Raniero Gnoli.. By ChowkhambaSanskrit Series officepages 20,23,25,26,28 [13] Ibid..Page 36,39,41 [14] UNDERSTANDING BHARATANATYAM- Mrinalini SarabhaiDarpana Publications-1996 page 1 , 6 and7, 26, 29/30 [15] Abhinaya Darpanam-Translation by Manmohan GhoshAbhinayadarpanam,by Nandikeswara, Abhinaya Darpanam, edt. &Transl. by Dr. Gosh. M., ManishaGranthalaya Pvt. Ltd., 1981.Page 19/20 [16]Dr. T.N. Ramachandrans Dance karanas of Bharatanatya Sculptures in182 Tanjore & Kumbhakonam Temples - An article in The Mail, Madras, 1970. [17]Understanding B.N. Mrinalini Sarabhai, Darpana Publications-1996 Page 110 [18]Menon, N. BALASARASWATI. New Delhi: International Cultural Centre, 29 pp. [19]Sri Aurobindo on Tantra, compiled by M.P. Pandit , ISBN: 8175090391 ISBN-13: 9788175090392Publisher: Sri Aurobindo Ashram Publication Department,Year: 2008 Page..14, 15,16 [20]Ibid .. . .page39,40,449 [21]See Arthur Avalon (Sir John Woodroffe), Shakti and Shkta(New York: Dover Publications, 1978), pp. 694ff. This volume was firstpublished sixty years earlier. [22]Moola Bandha By Chela Budhananda (Under the guidance of Swami Satyananda Saraswathi). Bihar School of Yoga, Monghyr, Traditionsin Mysticism ,M.P.Pandit ,Sterling Publishers Pvt.Ltd.1987. Page No. 166/167 [23]From the essay Kundalini: Awakening the Serpent Power by George Feuersteinwhich has beenreproduced on yoga-age.com with slight changes from Tantra: The Path of Ecstasy, Georg Feuerstein, Marek Kohn , (published by Shambhala Publications in 1998), [24] Mind Control,The Secrets of Mind Control and Practical Guide toSamadhi by Swami Narayanananda , N.U.Yoga Trust and Ashrama,Gylling,Denmark, Traditions in Mysticism ,M.P.Pandit ,Sterling Publishers Pvt.Ltd.1987.Page No.169