The embodied Jeeva is like a bottled quantum of elixir cast into an ocean of elixir. There are many such bottles so cast into the ocean by a playful Divinity.
The ocean is also subject to the play of waves, and unseen sub-surface currents. These bottles then, sometimes bump into one another, and move about together for a time, to be tossed apart later; perhaps to meet again, perhaps not. Sometimes too the bottles clash – one group against another; - or even an isolated bottle against another, and get broken in the clash. Often the bottles are helpless in these movements, though they may be under the elusion that they are independent in their volition, sometimes the elixir, imprisoned, (or housed and protected, according to the point of view, ) in the bottle, may have become somewhat ripe and mature, and so eager and able to participate in the movements of the ocean. Such bottles possibly enjoy a modicum of discretion in their volition.
While the bottle emphasizes its individual existence and functioning, the elixir inside the bottle is separated from the ocean outside the bottle, conscious only of its own existence, its own individuality, and hardly interested in anything outside its own being.
At some point in its adventurings, the tiny bottle becomes aware of its inadequacy to control and order the mass of the ocean around it, or even of the other bottles, near itself. Then dawns an aspiration to extend the sphere of its influence, and of its awareness of the forces beyond itself. And thus, gradually comes an aspiration to meet and mix with the mass of the ocean.
In order to establish communion between the individual being, and the Macrocosmic mass outside itself, two courses are open to the bottle, after abandoning the cork, which holds separate, the microcosm from the Macrocosm. Either the Elixir inside the bottle can flow out in order to meet the Macrocosmic mass in the Ocean, or it can invite and induce the oceanic Elixir, undifferentiated, and Macrocosmic, to enter its tiny being, - so to become ONE with IT again.
Both these modes are in vogue in DAHARA VIDYAA. But if the Elixir in the bottle flows out to meet the mass outside then its return to the bottle for shelter, and for further Life of individuality, for further adventurings towards perfection, will have to be at the discretion of the Cosmic Will, which may, or may not, sanction the return. Thus, in their Jalakreeda, Gopees discarded their bottles and plunged into the Cosmic Stream. And the Lord took away their bottles and would only give them back at His Will, when they had learnt to forget and negate their Self-Consciousness, and to remember their ONE-NESS with HIM, and when they had agreed to participate in His Play.
This way of flowing out to meet the Divine, discarding one’s sheltering person, is perhaps possible for adepts, who no longer care for individual existence, perhaps to a Ramakrishna.
The other way is easy and safe, and very fulfilling. The Way of Communion by inviting the Macrocosm to enter the bottle and mix with the being in it.
These movements of the Undifferentiated Macrocosm within ITS mass, is possible within the continuum by a shifting of the stresses and fluxes for some mysterious purpose of its own, and are described in Rg Veda I / 22/ 17-22 as the VAST MOVEMENT OF VISHNU.
When by infinite patience and practice the waves in the internal structure of the bottle are stilled, when the separating cork is removed, and the individual being tuned to vibrate with the Harmony of the infinite, tuned to sing with the melody and music of the stars, the Jeeva may experience this Cosmic Play and Movement.
The Descent of the Macrocosm into the microcosm- the entry of the Ocean into the bottle, is envisaged in the Rg Veda I/35/2.
The motivating forces for this Great Cosmic Movement are called :
Ichchaa Sakthi, Gnaana Shakthi, and Kriyaa Shakthi.
Cosmic Love, Cosmic Wisdom, and Cosmic Will, Life or Action.
In the symbolism of Manthra Saasthra, we know these as AYM, KLEEM, and SAUH.- LIGHT,LOVE AND BLISS.
The CHAKRAM resorts to Geometric Symbolism:
THE BINDU AND THE VRITTAM - Or, THE POINT & THE CIRCLE .
The Bindu, or Point indicates The totally Sublime, Minute, Dimensionlessness described in the Scriptures thus -
‘Sadeva Somya, Idam Agra Aasiit’ - In the beginning there was just the Existence.
‘Ekam eva, Advitiyam’- The ONE without a second.
(Chaandogya Upanishad 6/2/1)
‘Yat SAT adresyam, agraahyam, agothram, avarnam, achakshuh-paani- paadam
nithyam, Vibhum, Sarvagatham, susuukshmam, Tadavyayam, Yadbhuutha-yonim’.
THAT is invisible, inapprehensible, unborn, unconditioned, - without limiting qualities, without eye, ear, hand or feet,
Eternal, Glorious Lord Almighty, omnipresent, Subtler than the subtlest, smaller than the smallest, imperishable, immutable, Origin of All Creation.
(Mundaka Upanishad – (1/1/6)
‘TAD antarasya sarvasya’ - THAT is within everything.
(Ishaavaasyam – 5)
Thus the BINDU is the CENTRE around which all Creation is circumscribed. It is the Centre from which EVERYTHING starts out, - all creation proceeds. IT is the CENTRE to which all Manifestation returns to merge and disappear. IT is the CENTRE on which all Creation finds support and sustenance.
‘Yate vaa imaani bhuutaani jaayante,
Yatraiva yanti cha
TAD ETAD AKSHARAM PARAM BRAHMA.
(Ganesa Purva Taapini Up. 1/3)
‘Yate vaa imaani bhuutaani jaayante/ yena jaataani
jeevanti/ yat pratyanti/abhisamvisanthi/
tad vijignaasasava/ TAD BRAHMA/
Such is the mystic concept of the BINDU, represented by the geometrical POINT.
In geometry, the point has no dimension, but has a position. The position has been indicated in two ways from immemorial times
As the Centre of a CIRCLE (THE BIINDU WITHIN THE VRITTA. )
The point of intersection of two lines.
When these intersecting lines are straight, and normal to each other, we have † the CROSS.
The lines, being but the loci of the point in motion, indicate the dynamic Cosmic movement of Vishnu.
When the CROSS is horizontal, Internal pervasion is indicated, is the four cardinal directions – as in the four faces of the FOUR-FACED CREATOR, BRAHMA, and in the first FOUR FACES adored in PANCHA BRAHMA VIDYAA, Sadyojaatha, Vaamadeva, Aghora, and Tat-Purusha.
When the Cross is Vertical, the Descent of the Logos, and the Ascent of the Sacrifice, are indicated.
When the entire triune consciousness of the Jeeva are oriented to the apprehension of THAT in The Great Beyond, then the horizontal arms are bent upwards, towards the Great Beyond, and we have then the TRISUULAN,- Eesaana Vidyaa.
When the Cosmic whirling of the Divine Forces in the Clock-wise, or Pradakshina direction is pictured, the four arms of the Cross are shown bent to the left at the ends, and we have the Left-handed Swastika, Eternal Life in evolution.
When the same whirling is seen in the opposite direction the arms of the Cross are bent at the ends to the right, and we have the Right-handed Swastika, Eternal Life in involution.
When the point of intersection descends, the Lines intersecting are no longer shown as normal to each other, but are now X, giving us the Cross of St. Andrew, and when horizontal, indicate the principal intermediate points between the Cardinal points of the compass, and when vertical, show a votary, standing four-square on earth, and reaching out to the heavens.
In the first Mode of indication, by a point within a Circle, -
‘Yo veda nihitam guhaayaam parame vyoman
So’snute sarvaan kaamaan saha Brahmanaa Vipanchiteti’
He who knows IT as established in the Cave of Infinite Space, his every desire is fulfilled in Brahman, the Omniscient. (Taittiriya Upanishad – 2/1)
Thus the Subtle Immanence of God is indicated.
The circle shows Infinity because the radius is Infinite. The Circle shows Eternity for, as the points in its circumference, move in the locus of the circumference, being under constant attraction to the Centre which is Infinite Love, always thus return to the point of starting, and the locus is never broken. Unending. Therefore Eternal.
Being Infinite, and containing EVERYTHING in it, IT includes also the faculty of External Expansion: Brahmattvam.
The Point is not inhibited to a static status. Thus it moves throughout Infinite Space, in every direction. This is pithily described thus –
‘The Infinity of God is like a Circle with a CENTRE everywhere, and Its Circumference nowhere.’
The Infinite MANITUDE AND MAGNIFICENCE of the CIRCLE reveals GOD as greater than the greatest; even as the smallness of the POINT reveals that HE is smaller than the smallest.
‘Anoraneeyaan, Mahite Maheeyaan’
It will be remembered that both the POINT and the CIRCLE, have no dimensions but only positions ascribed to them and the Cosmic Movements are indicated both by the Infinity of their locations, and by their infinite variations of their loci. They are, therefore, as yet inapprehensible, incomprehensible; Uncognisable.
Thus, THE PRIMAL TRUTH beyond THE GREAT BEYOND - beyond thought, beyond word, beyond darkness, beyond everything, is indicated.
The Vedic Seer proclaims IT thus,
‘Asad eva idam agra aaaseet’ – only The Incomprehensible Non-Existence was there in the beginning.
When THAT becomes THIS, and comes within the orbit of our cognition, the Seer proclaims –
‘Veda aham Etam Purusham Mahaantam,
Aaditya-Varnam Tamasah parastaat’.
I know this Immanent Glory and Bliss, This magnificent manifesting Like the Resplendent Sun beyond the Darkness.
(Swetaaswatara Upanishad 3/7)
Thus, the Bindu and the vrittam give us a complete but abstract concept of –
GOD THE INTANGIBLE IMMANENT.
To symbolize the cognition of This Immanence within our consciousness, a diagrammatic Square – the BHUU-PRASTAARAM is now added concentrically to the Bindu and the vrittam.
The Square symbolizes BHUUMI, the Refulgent Glory, The Tangible Manifestation of The Divine in Immanence. This is THE PRATIBHAA, The Invisible Glory captured and presented to us, much as the screen intercepts and interprets the movements of light and shadow on the invisible beam projected in the bioscope. The BHUUMI is the Screen that captures, with maternal solicitude, the Divine Glory for our delectation, within the orbit of our cognition.
The SQUARE is also a symbol of Strength, of stability and the firmness of the firmament. THE PRATISHTNAA. The Divine Establishment of the Cosmos out of the Chaos.
BHUUMI is PRITHIVI, - The Vast, Infinite. = BRAHMAN. In this sense, the Square is a symbol of The Most High, - God.
BHUUMI is AVANI – The Saviour. Therefore the Square symbolizes God: Omnipotent, Almighty, Merciful, Gracious.
In the CHAKRAM the Bhuu –Prastaara or square is only shown at the four corners: BHUU - 1,2,3 and 4. To recognize the square by the normality of the angles, and to show the Dawn of Manifestation, is the purpose of these corners.
To indicate the Infinity of its magnitude, the four sides of the Square, are opened out at the four cardinal points, and Doors are provided for the entry of the four faces at these cardinal points, - the faces of Pancha Brahman; Sadyojaata, Vaamadeva, Aghora, and Tat-Purusha: Which enter, enliven, energise, and excite the Bhuumi, and the creatures in the Bhuumi.
And thus do we cognise THE IMMANENCE as a REALITY, - a TANGIBLE TRUTH to which we may reach out.
From another aspect:-
The POINT is PERFECT IIMANENCE, penetrating the tiny being of the microcosm, and enlivening it from the inside. As VISHNU.
THE CIRCLE is INFINITE TRANSCENDENCE, enveloping the microcosm, and cherishing it from the outside. It is Bliss. SIVA.
THE SQUARE is REFULGENCE in MANIFESTATION, the coming of GRACE into the orbit of microcosmic cognition.
And these Three Elements of the Chakram adequately present a perfect concept of Divine Presence.
COSMIC SACRIFICE THE mighty voltage of the Power generated in a
Power House, would be frightfully large for use in a house-hold. It has to be stepped down by suitable transformers to a harmless diminution before being presented for service to the house-wife.
The mighty flood of Gangaa had to be intercepted on Siva’s matted locks, before the Earth could receive it.
The Glory of the mighty sun has to be shut off and diminished by the fond mother, before the little baby may open its eyes to the light of day.
The scalding heat of boiling milk has to be cooled down before the baby can drink it safely.
Thus the Boundless Infinity of Cosmic Glory has to be veiled before tiny man may become conscious of the PRESENCE.
This is the Prayer of the Seer-
‘Pusan Eka Rise Yama Suurya Praajaapatya
Vyuuha, Raşmiin samuuha
Tejo yat Te Ruupam kalyaanatamam TAT Te pasyaami’.
Lord, O Nourisher, Thou Only Seer,
Thou Supreme Ruler, Thou Divine Revealer,
Thou Cosmic Creator, -Collect Thou, and
Limit Thy Rays of Glory, that I may see
Thy charming and Effulgent Face’
(Kaanva Samhita 40/16)
This limiting of The Cosmic Glory for manifesting in Creation, is pictured as The Divine Sacrifice in The Purusha Suuktam –
‘Yat Purushena havisaa devaa yagnam atanvata’
‘Devaa Yad Yagnam Tanvaanaa abadhnan Purusham Paşum’.
‘Yagnena Yagnam ayajanta Devaah’.
With Purusha as the Offertory, the gods performed the sacrifice.
In performing the Sacrifice, the gods bound Purusha as the Sacrificial Offertory.
With The SACRIFICE the gods performed the sacrifice.
(Vaajasaneya Samhitaa -31/14-16)
Thus, although the whole mountain is marble, we take a small mass of it, and sculpture a beautiful form out of it, and adept it as our Centre of Contemplation.
Thus, although all Space is Cosmic Glory, we enclose a tiny bit of it and make it the Object of our Meditation.
This limiting of Space is indicated in our diagram by the enclosing Lines which define a modicum of Space.
When the Static Point moves, its locus traces a Line. The simple straight movement gives us the straight line. But apart from a shifting stress in the Cosmic Continuum, there is no evidence of Self-Consciousness in the Chaos. With the dawn of that Self-Consciousness, when IT sees itself a two-fold movement in Space results. One may be called the Siva aspect, and the other, the Sakthi aspect. Both proceed from the point, as two Infinite Radii in different directions But as yet, no space is enclosed. A further limiting line is therefore necessary, across these divergent radii, to enclose Space. Thus we have the Triangle as the Primary figure enclosing Space on a Plane.
When the three lines are straight, and equally inclined towards one another, we have the Equilateral Triangle.
THE TRYASRAM This Primary, Central, Equilateral Triangle, D E R, with The Apex R pointing down to the East, represents the Unmanifest above the line D E, and the Triune manifestation presented by the sides and angles of the Triangle D E R. The Bindu O is equi-distant from the three corners D, E and R.
How the Bindu leaves the Plane of the Triangle and ascends to a position vertical above the centre to form an Equilateral Triangular Pyramid, enclosing multi-dimensional space, and so to symbolize, more perfectly, the limitation of the Cosmic Infinity within this Primary solid.volume.
When the Centre is raised to much a position that each ridge from the peak of the pyramid to the corners of the Base Triangle, is equal to one of the sides of the base, we have the perfect pyramid, The Perfect, or Ideal Primary solid. At the peak the red ruby symbolizes the RATNA-SAANU, The Golden Meru with the Precious Ruby at the Peak, round which Suurya and Chandra eternally play hide and seek.
The Ruby also indicates the PARAA BINDU where Siva and Sivaa are Manifest as Bliss. Siva, being colourless and transparent, is invisible, but Sivaa, resplendent in the Red Glory of Her Love, shines and smiles. Only Sivaa is seen.
Just as a lightning arrester reaches out into the sky and traps the Static Electricity down to earth, so does the Ratnam at the Peak catch the Descent of the Logos and lead the Divine Flux down to The RATNA-SUU or Bhuumi, thence to spread over the whole world.
The Primary Triangle forming the Base of the Pyramid is the MAHAA-MADHYA-TRIKONAM, or THE TRYASRAM, or THE A-KA-THA CHAKRAM. (This is the Mountain of Bliss, leading Amritham down its slopes to flood the world, this pyramid)
In this Pyramid, vertically seen, -
The Red Ruby at the Peak is SOMA, The Red Glory that is Amritham; Chandra or Heaven’s Light and Delight; the Ever-full MOON which gleams with a crimson sheen; Divine Love that is Eternal Life; Supreme Bliss.
The Cave of the Mid-regions is within the body of the Pyramid, where Indra’s Rays of Light are imprisoned, along with the Atma Lingam. Here is the World of the Suurya, The Secret Monitor who activates Inner Monition unseen.
The Base Triangle is the Region of Agni, The Leader, Agni the Pervader.
Seen horizontally, at the right top corner E, reigns Suurya; at the left top corner, reigns Agni; While Chandra showers His Gleaming Red Nectar and Eternal Life at the Eastern Apex R. At the Centre O is the Paraa Bindu.
Seen horizontally, the Base of the Pyramid, is also the A-KA-THA CHAKRAM. That is, along the exterior periphery of the Triangle, are shining, the Eternal Imperishables, THE AKSHARAS. The sixteen vowels, (Swaras) from A to AH along the side of R E; The first sixteen consonants Ka to Ta along the side of E D; The next sixteen letters, consonants, half-vowels and mutables, etc along the side D R. The three last letters HA LA KSHA are just inside the periphery, one at each corner.
In the trapeziums A,B,C, abutting the Base Triangle are respectively housed the Cosmic Weapons or Instruments of Action for the exercise of Grace and bestowal of Bliss on the votary; PAASAM or Attraction, LOVE, in B. ANKUSAM or the Awakener, The Instrument of Cosmic Wisdom, in C. The Dhanus AND THE BAANAS in A. Here the DHANUS stands for Cosmic Sound, the Pranavah, The Music of the Stars, of the Heavens, The Song Celestial. DHANUS also means The Cosmic Movement, The Movement of Vishnu sung in the Vedas. (e.g.- R.g Veda 1/35/2, 1/22/17-22)
PANCHA BAANAAH With the DHANUS is the Superior Armoury A, are the Five Arrows. The Dhanus is Pranava.
‘Pranave Dhanuh, Sara Aatmaa, Brahma Tallakshyamuchyate’
Pranava is the Bow, The jeevaatma is the Arrow, and the Target is Brahman.
(Mundakopanishad – 2/2/4)
‘Pranve hi Aparam Brahma. Pranavascha Parah Smrithah’
Pranava is Brahma Immanent. Pranava is Brahma Transcendent.
‘Yaam ishum Girisanta haste bibharsi astave’
The arrow that Thou holdest, Lord, in Thy Hands
(Yajus Samhitaa – 16/11) Thus The Lord Himself is The ARCHER.
The Lord Himself is The BOW.
The Lord Himself is The TARGET.
The Arrow is the creature in The Lord’s own hands.
The PRANAVA is the Primal Expression of Cosmic Energy vibrating as The Macrocosm, and cognised as Music of the stars, and as Supernal Light, The Aurora of The Northern Sky.
Let us now consider the Arrows –
BAANA MEANS – (1) arrow, (2) sound, (3) voice, (4) Siva, (5) Agni and (6) Lightning.
VISIKHA, a synonym for Baana, means – without Sikhaa or crest. It means the light of
Personality. The Individuality.
It also means the highway –The Path.
ISHU is another synonym for BAANA.
Ishu is a derivative from the verb ISH which means –
6(P) – To wish, desire.
To endeavour to obtain
To be willing
To be favourable
To assent or consent
4(P) – To move
To cause to move
To let fly, cast, throw.
9(p) - To cause to move quickly
To impel, urge, incite, animate, promote
To perform frequently
1(U) - To go
ISH the adjective means –
A draught, refreshment, food (Vedic)
Strength, Power, sap, freshness,
Refreshing waters of the sky.
ISHU the noun means –
The Soma Ceremony.
From the preceding etymologiztion of the words Baana, Visikhaa, and Ishu, emerge the following concepts –
The individual creature is, in miniature, Divine, a spark of lightning from the Great Beyond.
Though he now evinces an individual vibration, an individual idiosyncrasy in his harmony, he has but emanated from The Cosmic Pranava, into which he must ultimately merge.
But before that event, he must have been divested of his individuality, and must be totally sublimated to be in tune with the Infinite.
He must be a Seeker, on the Highway to The Divine.
He must, of his own free will and accord, wish to seek and obtain, to willingly receive, Beatitude.
He must be eager, strong, vigorous, happy on the Path; he must be dynamically Receptive, greedy for the Waters of Eternal Life and Delight.
THE SOUND In Tantric Symbolism, the Baanas are:-
SYMBOLS OF DRAAM, DREEM, KLEEM, BLUUM, SAH.
DRAAM means the element of Truth and Eternal Life that is in the Seeker, invokes Agni to lead It Home by the Path of Love and Devotion.
DREEM now shows the Seeker led by Agni, joyously accepting and acknowledging the Sovereignty and Supremacy of God Most High, in the Form of the Loving Mother.
KLEEM pictures the conversion of the Jeeva into just a mass of LOVE.
BLUUM now indicates the Absolute Penetration and Pervasion of the entire being of the Jeeva by The Divine.
SAH only SUPERNAL LIGHT AND ETERNAL DELIGHT remains.
Thus the very symbolism of the Baanas reveals the gradual absorption of the individual into the Infinite.
THE PHYSICAL SYMBOL OF BAANA The Physical Symbols of the Baanas in Tantric Symbolism, are – PUSHPAs = flowers.
The word PUSHPA is derived from the verb PUSH.
PUSH means –
1,4,9, (P) – To nourish, foster, nurture
To support, maintain, rear
To cause, to thrive, grow, unfold
To increase, augment, promote, enhance
To get, possess, enjoy
To show, exhibit
To magnify, extol
To bud, to bloom, to blossom
To shine, beam, gleam
10 (U) To nourish, bring up, maintain
To increase, promote
To take care of, to provide for
To put on, to wear
PUSHPA means Flower.
From this etymologiztion we see that Almighty God holding us in His Mighty Hands, -
Nourishes, supports, and cherishes our being.
He causes us to bloom, and shine even with His Glory.
Thus in magnifying and extolling Him we grow in His Image, and Increase in BRAHMATTVAM, spreading Divine Fragrance around us.
‘Yathaa vrikshasya sampushpitasya, duuraadgandho vaat –
Thus sings the Upanishadic Seer (Mahaa Naaraayanam -8/2)
So the flower blooming on earth, spreads its fragrance over the skies, far and wide. Thus the entire range of the elements of Earth, Aapah, Tejah, Vaayuh, and Aaakaasah is covered by the flower in bloom. Thus in symbolizing the Jeeva by a flower, the entire gamut of the individual being is comprehended, and this totally is shot to the Divine Home.
TRINARY MULTIPLICATION OF THE TRYASRAM
Let us revert to the study of the Tryasram –
The POINT WAS subtle and Static. IT moved with desire, and became The Straight Line. It moved in a second direction also and became Siva and Sakthi., the horizontal and the Vertical lines of the Cross or Swasthika. It moved in a third direction also and enclosed space in a plane surface. Now it moved normally away from the Plane and enclosed three-dimensioned space. Thus we obtained the Triangular Pyramid, or Meru with the RATNA SAANU at the peak, and Ratnasuu at the base of the pyramid.
The Primary Triangle at the base of the Pyramid thus obtained, has its apex facing the votary, - facing East.
This Primary Triangle indicates, -
ICHCHAA = The Cosmic LOVE of the Creator for His creature.
Immediately on the manifestation of this Cosmic LOVE, Self-Consciousness or AHAMKAARA brought Gnaana Shakthi, which is shown by the Circumscribing Equilateral Triangle L M N with the apex at the top at L, and with its Space concentric with the Primary Triangle D E R.
As Divine Wisdom is Infinite, the Vrittam or circle circumscribing the Triangle L M N is also Infinite in area.
To illustrate the fact that God’s Love is also Infinite, and is based on His Wisdom, the sides R D, and R E of the Primary Triangle are extended upwards to touch the circumference of the Infinite Vrittam at P and Q. The Primary Triangle has now been absorbed by the Extended Triangle P Q R.
This interlacing of these two triangles, or these two FORCES of Infinite Love based on Infinite Wisdom, results in Action, Life, or KRIYAA SHAKTHI, which also is built around the Primary Triangle of manifestation. The side D E of the Primary Triangle D E R is extended in both directions to touch the Infinite Vrittam at X and Y. From the points X and Y, are now drawn lines X Z, and Y Z to meet the Infinite Vrittam Z, in the Vertical axis of the Vrittam, at its circumference.
Thus we have the Three interlacing Secondary Triangles-
L M N = Gnaana Shakthi, Infinite wisdom
P Q R = Ichchaa Shakthi, Infinite Love
X Y Z = KRIYAA Shakthi, Infinite Life,
Ultimate Bliss in Immanence.
All these three secondary Triangles efficiently circumscribe the Primary.
Thus, although he Three Great Lights of Manifestation are located in the nooks of the Primary Triangle, the dominating nature of their functions, manifest Them further and more particularly in each of the secondary Triangles –
L M N = Gnaana Shakthi, = SUURYAH = AYM.
P Q R = Ichchaa Shakthi, = CHANDRAH = SAUH.
X Y Z = Kriyaa Shakthi, = AGNIH = KLEEM.
This interlacing of the Three Secondary Triangles results in eight tertiary Triangles of a smaller manifestation shown in the Diagram numbered 1,2,3,4,5,6,7 & 8.
This set of Eight Triangles is technically known as THE ASHTAARAM.
And with this development, the Primary Triangle assumes an added importance, enclosing as it does, the Centre. It is the Supreme Home of Bliss, the Fountainhead of all manifestation. And being in close proximity to the Primary, The Ashtaaram houses the Vaag-Devataas.
The Vaag-Devataas or Lights of Wisdom are –
In the microcosm, these Divine Mothers of Wisdom, reign respectively over The Sahasraara, The Unmanii, The Aagnaa, The Visuddhi, The Anaahatham, The Manipurakam, The Swadhishthaanam, and The Muulaadhaara.
Here may be adored, the Ashta Bhairavas –
Asitaanga, Samhaara, Ruru, Kaala, Krodha, Taamrachuuda, Chandrachuuda, and Mahaa-Bhairava.
and the Ashta Siddhis –
Animaa, Mahimaa, Laghimaa, Garimaa, Praapthi, Praakaasya, Iişitaa, Vaşitaa, Praakaamya.
and The Ashţa Maatrikaas –
Braahmii, Maaheswaree, Kaumaree,Vaishnavee, Vaaraahii, Indraanii, Kauberii, and Chamundaa.
and The Ashţa Muurthis of Siva –
Avanii, Jalam, Vahnih, Vaayuh, Aakaasah, Suuryah, Chandrah, and the Sacrificer.
and the Eight Vasus –
Dhara, Dhruva, Soma, Aapah, Anilah, Analah, Pratyuusha, and Prabhaasah.
Thus the Divine Most High may be comprehended and adored in abstract symbolism only, in His limitations within His Infinity. For –
‘Na Tasya Pratimaa asti yasya Nama Mahadyaşah
He who is Famed only in Great Reputation, His Image exists not.
(Yajus Samhitaa -32/3)
But though Himself shines unseen, His work is seen –
‘Yena dyaurugraa; Prithivii cha dhridhaa
Yena sva sthabhitam Naakah
Yo Antarikshe Rajasea Vimaanah
Kasmai Devaaya Havishaa vidhema’
To Him who made the Firmament Firm,
To Him who made the Earth Stable,
To Him who made the Heaven Immovable,
To him who filled the Antariksha with Light,
To That God of Light, and Transcendent Life,
We shall offer our Offer Offertory
(Yajus Samhitaa -32/6)
‘Yasmaan na jaatah pare asti, Ya aaavivesa bhuvanaani viswaa
Prajaapatih prajayaa samraraanas Treeni’Jyotiimsi sachate Sa Sodasii ‘
Than whom there is none other born more mighty;
Who hath pervaded all creation, -
Prajaapati, rejoicing in His offspring,
He, Shodasi, establishes the Three Lights#SYMBOL 42 \f "Symbol" \s 12#
Again, the Lord Himself declares –
‘Yad Aadityagatham tejo jagad bhaasayate akhilam
Yat Chandramsi Yat cha Agnau, Tat tejo viddhi Maamakam’
That Glory that is shining in Aaditya, which illumines the whole world, That Light that is in Chandra, and That which manifests in Agni,- know all The Glory to be Mine.
(Bhagavad Gita 15/12)
Let us now consider the evolution of the Ashţaara from the point of view of Prosody –
The Vedic Name for Prosody is CHANDAS. This means The VEIL. In fact this is considered so very important in Vedic Thought, that the Word CHANDAS itself had become a synonym for Veda. It is significant, because the Veiling is the Limiting of The Infinite for manifestation. The Vedas veil the Pure Mystic Communion in wordless Feeling, in the expression of Thought in Words, and so communicate their Experiences to us, so that we too may have that joy in our own beings.
In the sound-bound language of the Veda, the POINT or SIVA-ţattva is connoted by the short unitary letter, and the Dynamic Line or Şakti-tattva by the long letter which has two sound units in value. Combined letters are also considered as long letters, and Şakti-tattvas as they have also a two-unit value of sound. These two Elements are taken in groups or Ganas of Three letters in each group, (e.g.- three short letters, one short and two longs etc) and taking them in all possible combinations, we have EIGHT CHANDO GANAS –
YA = .-- MA = --- TA = --. RA = -.-
JA = .-. BHA = -.. NA = … SA = ..-
And the letters singly - LA = . & GU = -
All verses in Sanskrit poetry are defined by the number and order in which these Ganas occur in each quarter.
These Ganas may then be considered to govern the Vedic Metre, and measure out the thought, while the letters spell out the thought, while the letters spell out the meaning.
Each GANA then may be taken as the special province of the Eight Vaag-Devataas, and are housed in the respective abodes in the Ashţaara.
The Primary Triangle of manifestation, The Tryasram or Home of Bliss, is too completely preoccupied with the CENTRE or BINDU, and therefore remote from the Infinity of Manifestation, The Infinity of Creation, The Vrittam.
The Three Secondary Triangles housing the Three Great Lights, are so great that their angles are housed in the very periphery of Infinity, on the circumference of the Vrittam.
The Three Interlacing Secondaries, express the Eight Tertiaries, The Lesser Lights of Divinity, The Ashtaara circumscribing The Primary, and yet contacting the Infinity.
The Vrittam surrounds the whole of the manifestation.
Yet, great as this manifestation is, by a miracle, IT is housed in the lotus of the heart in the Jeeva, the Lotus of Eight Petals. The Lotus of Suuryah. For it is at the dawn when Suurya rises above the horizon in His Crimson Glory, that the Lotus blooms. It is with the dawn of God’s Grace that the heart of the Jeeva blooms and opens out unto the Glory of the Lord. For,
Iiswarah sarva bhuutaanaam hrid dese Arjuna tishthati
Bhraamayan sarva bhuutaani yantraaruudhaani maayayaa
The Lord resides in every heart, moving every being as though it were a puppet moved by a machine. (Bhagavad Gita - 18/61)
As this Great Lotus of Light is circumscribing even Infinity, even Infinity, the Full MANIFESTATION of THE ETERNAL IMPERISHABLES, the Totality of the Glory of Chandra, Suurya, and Agni, is here housed in these eight petals of the Lotus.
The Chandra-kalaas are 16- symbolized by the 16 swara-varnas, or Vowels.
The Suurya-kalaas are 25- symbolized by the five groups of five consonants each, - The Sparsa-Varnas.
The Agni-kalaas are 10 – symbolized by the semi-vowels, mutables etc.
These Divine Faces therefore total to 51.
These are classified into eight groups –
(1) The 16 Vowels. (Expressing Sakti)
(2) Ka-varga )
(3) Cha-varga )
(4) Ţa-varga )
(5) Ta-varga )
(6) Pa-varga )
(7) Antasthas )
(8) Uushmas ) (Expressing KUMAARA)
Each of these groups is placed in one petal for adoration.
It is seen that by the very definition of the word consonant, the letter can only find expression in sound, in conjunction with a vowel; by itself it is inert. This is poetically expressed by Sankara in Soundarya lahari – 1.
By Japaa-kusuma-nyaaya, when Devi dominates the scene, only SHE is seen, and the other faces become invisible.
To picture this concept, that it is DEVI, MOTHER OF THE UNIVERSE, manifesting Herself in Her Glorious Love, showering Grace in Her Magnificent Mercy, and not as the JUDGE meting out justice, we now house two of the sixteen vowels in each of the eight petals, - each short vowel, and its mate, the Long Vowel. Again, the short vowel symbolizing Siva and the Long Vowel symbolizing Sakti.
This is the SUPREME PESENCE in manifestation.
Finally, at the exterior tip of each petal of the Eight-Petalled Lotus, a Tri-suulam projects, one in each of the four cardinal directions, = projects into the Great Beyond. These Suulas are the Points of Lightning Arresters, to catch and transmit Divine Presence from every direction from the Macrocosm into the microcosm.
This BAALAA CHAKRAM is the vital and Central Portion of the Great SRI CHAKRAM which envisages a greater elaboration of Creation and manifestation of Immanence therein. And for the Thinker rather than for the ritualist, The Baalaa Chakram is the more potent Symbol for Meditation.