The Concept & Percept of the Sri

Yantra
Dr Uday Dokras

Copyright

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 CONTENTS
Chapter 1-The Concept & Percept of the Sri Yantra page 3

Chapter 2- Sri Yantra School of Hinduism? Page 11

Chapter 3-Manduka mandala page 22

Chapter 4---The Quest for the Optimal Configuration of the SriYantran page 33

Chapter5- Context oage 42

Chapter6-Hindu Jain Tantric Temples in Amarkantak Madhya Pradesh page 62

Chapter 7-The Architectural Element of Sri Chakra Yantra page 79

CHAPTER 8- YANTRA PROPERTIES OAGE 107

Chapter 9 World mandala Monument Page 121

CHAPYER 10-E MANDALA CONCEPT-Of CHANAKYA NEETI DIPLOMACY page

130

About the Author-Dr.UdayDokras page 142

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 Chapter 1

The Concept & Percept of the Sri Yantra

Dr Uday Dokras
For those of you who are currently being challenged by life, the power of
Sri Yantra awaits you...

There are a lot of misconceptions about yantras and their use in our society. Most of the
people keep them at their work places and homes thinking that it would bring them good luck.
Some modern day so called tantric institutions also propagate different yantras associating
them with different so called sadhnas. I am sure your question is coming from there only.

Sri Yantra is a complex depiction of the creative matrix. From alpha to omega, from
nothingness (Bindu), which is at the centre, to the full blossomed form representing creation in
its fullness..

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The best way to use the Sri Yantra is to meditatively and attentively gaze at it, moving inward
from the outer layers, paying attention to every minute detail, till you reach the centre, the
Bindu. This practice who help achieve stillness of the mind and utter inner silence.

Then one may once again move outwards, from the Bindu to the full blossomed form, and so
on..

It has become kind of an industry where from a small kiosk owner sitting outside a temple to
high flying babas all selling different kind of yantras to their targeted audiences at different
prices. It is all fraud where a fraudster sells people a piece of metal with some letters or
words engraved over it for thousands and lakhs even crores. And nothing, just nothing
happens. It is believed that the yantra is a cosmic generator. The shri yantra uses the laws of
cosmic nature to make a change in the physical world. Generating energy waves in resonance
with our body will support us to fill energy fields. They say that the energy will help us in our
journey into the world cosmic consciousness. Shri yantra is a greate instrument for developing
positive energy with counciousness around us. This positive effect will strenghten our work.

The geometric sacred patterns of shri chakra are used in discovering the secrets of this
universe for ages. The Pattern also helps in revealing the mystery of creation and distruction.
It is impossible to tell the supremacy of Shri yantra in just a few words.

I have written about the uselessness of these so called yantras earlier in tits and bits. This
time let me explain it in detail.

We first need to understand what is a yantra ? A yantra is a vehicle through which we channel
our offerings to Bhagwati/ Maa/God. To understand it in a simple manner understand that
yantra is the vehicle , mantra is its fuel and the knowledge of tantra is the driving skill of the
practitioner.

Now, suppose that you got the vehicle from somewhere but it has no fuel and neither you
know how to drive then what is the use of that vehicle ? How can it take you anywhere in your
spiritual journey ? It is just a piece of metal which is of no use at all.

Now coming back to yantras and their actual use please understand that there are hundreds of
yantras which are used for different purposes. The best yantra in this whole world is human
body. When one sits for mantra sadhna, he/she sits in a posture that makes his body a yantra
and through which he/she offers the fuel of mantras to the Almighty. When one performs a
homa/havan, then the shape of the havan kund is made in that of a yantra through which one
offers his/her offerings along with the mantra to the Almighty.

Simply keeping a yantra with yourself or being near to it doesn't help in any way. Let me tell
you an interesting fact about yantras. Krishn himself has installed some yantras at different
locations in India. In Jagannath Puri He installed Bhairavi yantra. At Tirupati He installed
Sudarshan yantra. At many other locations some very high souls have installed different
yantras from time to time. Every year millions of people visit these places completely unaware
of the real history and importance of these places but none of them gets even a glimpse of the

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energy of the yantra installed there. And that is simply because they don't have any knowledge
about how to use it which is a prerequisite to feel and channel it.

Now understand that if even a yantra installed by Krishn himself can not get you a thing then
how can a yantra most likely made at a dingy factory at Aligarh can help you with anything ?

My suggestion is, leave this yantra, mantra thing. They all come at a very later stage. Look
inwards, correct yourself and make yourself worthy of this knowledge that only will help you
progress spiritually.

Once you can do that YOU will be the TRAVELLER in the REALM
of the Sri Yantra
Sri Yantra, also erroneously known as Sri Chakra (more about that later ), is a complex sacred
geometry used for worship, devotion and meditation. Yantra means ‘instrument’ or ‘machine’ in
Sanskrit.

TRIPURA SUNDARI
There are various interpretations and many figures that represent the Chakra. The three main
types of Chakra are plane, pyramidal and spherical. The worship of Sri Chakra is an ancient
practice followed not only in our country, but also in a few othes. It is the worship of the deity
in a diagrammatic form, which is regarded as the highest form of Devi worship.
The Chakra is formed by nine interlocking triangles that radiate from the centre. It represents
the goddess in the form of Tripura Sundari. Also known as Rajarajeshwari, Shodashi,
and Lalita, is a Hindu goddess and is an aspect of Mahadevi mainly venerated in Shaktism, the
goddess-oriented sect of Hinduism. She is also a prominent Mahavidya. She is glorified in
many Shakta texts, with Lalita Sahasranama being the most popular one.
According to the Srikula tradition in Shaktism, Tripura Sundari is the foremost of the
Mahavidyas, the highest aspect of Mahadevi and also the primary goddess of Sri Vidya.
The Tripura Upanishad places her as the ultimate Shakti (energy, power) of the universe. She
is described as the supreme consciousness, ruling from above Brahma, Vishnu,
and Shiva. Kinsley says, In one instance she is said to be sitting on Shiva's lap in
the kāmeśvara form, the "Lord of Desire". In another case, she is depicted as growing from the
Sri Chakra, the yantra of Tripurasundari. In this rendering of the goddess, she is self-
emergent, as the Sri Chakra is identical with the goddess herself".

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Shaktism depiction of Sodashi seated on a lotus emerging from Shiva

Details of her appearance are found in the famous hymn in her praise, the Lalita Sahasranama,
where she is said to be,
Seated on a throne like a queen (names 2 and 3), to wear jewels (names 13 and 14), to have the
auspicious marks of a married woman (names 16–25), and to have heavy breasts and a thin
waist (name 36); the crescent moon adorns her forehead, and her smile overwhelms
Kameshwara, the lord of desire (name 28). She has as her throne with its legs being Pancha
Brahmas (five Brahmas) (name 249).

She is often depicted iconographically as seated on a lotus that rests on the supine body of
Sadashiva, which in turn lies on a throne whose legs are the gods Brahma, Visnu, Isvara, and
Rudra. In some cases, the lotus is growing out of Shiva's navel. In other more common cases,
the lotus is grown directly from the Sri Chakra.
The Vamakeshvara tantra says that Tripura-sundari dwells on the peaks of the Himalayas; is
worshipped by sages and heavenly nymphs; has a body like pure crystal; wears a tiger skin, a
snake as a garland around her neck, and her hair tied in a jata; holds a trident and drum; is
decorated with jewels, flowers, and ashes; and has a large bull as a vehicle.
The Saundaryalahari and the Tantrasara describe her in detail from her hair to her feet.
The Tantrasara dhyana mantra says that she is illuminated by the jewels of the crowns of
Brahma and Visnu, which fell at her feet when they bowed down to worship her. Kinsley also
says that "In Saundarya Lahari and Tantrasara she is not associated with Shiva in any obvious
way as she is in other depictions".

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Vaishnavism traditions have a similar set of complementary parallels
between Vishnu and Lakshmi. The Tantric Vaishnava Pancharatra texts associates Lalita
with Lakshmi. Author Douglas Renfrew Brooks says, "Lalita, like the Pancharatra conception
of Lakshmi, acts independently by taking over the cosmic functions of the male deity; yet she
does not defy the god's wishes". Brooks also says, "In contrast to most Vaishnava conceptions
of Lakshmi, however, Lalita destabilizes temporarily for the purpose of reasserting order".[
Sri Vidya, then, can be understood as one of the premier instances of Hindu Shakta Tantrism.
Specifically, it is the tradition (sampradaya) which deals with worship of Tripurasundari, "the
most beautiful Tantric form of Sri/Lakshmi, [who is]... the most benign, beautiful and youthful
yet motherly manifestation of the Supreme Shakti.

Lalita Sahasranama[
Lalita Sahasranama contains a thousand names of the Hindu mother goddess Lalita. The
names are organized in a hymns (stotras). It is the only sahasranama that does not repeat a
single name. Further, in order to maintain the meter, sahasranamass use the artifice of adding
words like tu, api, ca, and hi, which are conjunctions that do not necessarily add to the meaning
of the name except in cases of interpretation. The Lalita sahasranama does not use any such
auxiliary conjunctions and is unique in being an enumeration of holy names that meet the
metrical, poetical and mystic requirements of a sahasranama by their order throughout the
text.
Lalita Sahasranama begins by calling the goddess Shri Mata (the great mother), Shri
Maharajni (the great queen) and Shrimat Simhasaneshwari (the queen sitting on the lion-
throne).[10] In verses 2 and 3 of the Sahasranama she is described as a Udayatbhanu
Sahasrabha (the one who is as bright as the rays of thousand rising suns), Chaturbahu
Samanvita (the one who has four hands) and Ragasvarupa Pashadhya (the one who is holding
the rope). Chidagnikunda Sambhuta (one who was born from the altar of the fire of
consciousness) and Devakarya samudyata (one who manifested Herself for fulfilling the
objects of the devas) are among other names mentioned in the sahasranama.
Composition
Lalitha sahasranama is said to have been composed by eight vak devis (vaag devathas) upon
the command of Lalitha. These vaag devis are Vasini, Kameshwari, Modhinee, Vimala, Aruna,
Jayinee, Sarveshwari, Koulini. The sahasranama says that "One can worship Lalitha only if she
wishes us to do so". The text is a dialogue between Hayagriva, an (avatar) of Mahavishnu and
the sage Agastya. The temple at Thirumeyachur, near Kumbakonam is said to be where
Agastya was initiated into this sahasranama. Another alternative version is the Upanishad
Bramham Mutt at kanchipuram is where this initiation happened.
This sahasranama is held as a sacred text for the worship of the "Divine Mother", Lalita, and is
used in the worship of Durga, Parvati, Kali, and other forms of Parvati. A principal text
of Shakti worshipers, it names her various attributes, and these names are organized in the
form of a hymn. This sahasranama is used in various modes for the worship of the Divine
Mother. Some of the modes of worship are parayana (Recitations), archana, homa etc.
This stotra (hymn of praise) occurs in the Brahmanda Purana (history of the universe) in the
chapter on a discussion between Hayagreeva and Agasthya. Hayagreeva is an incarnation
of Vishnu with the head of a horse who is held to be the storehouse of knowledge. Agasthya is
one of the sages of yore and one of the stars of the constellation Saptarshi (Ursa major). At
the request of Agasthya, Hayagreeva is said to have taught him the thousand holiest names of

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Lalita. This has been conveyed to us by the sage Maharishi Vyasa. Lalitha Sahasranama is the
only sahasranama composed by vag devatas under Lalitha's direction. All the other
sahasranamas except Shiva Sahasranama are said to have been composed by Maharishi
Vyasa ,Shiva Sahasranama being composed by Mahavishnu and also by Krishna.
Structure
The slokas are organized in such a way that Devi is described from head to feet (kesadhi
padham). There are basically five works (pancha krtyam). They are creation (srishti), protection
(sthiti), destruction (samharam), hiding (thirudhanam) and blessing (anugraham). Devi herself
has been described as "pancha krtya parayana" in the sloka and the five tasks are described
as follows:
Srishti karthri brahma roopa gopthri-govinda-roopini samharini-rudrha-roopa
thirodhanakareeswari sadashivaa-anugrahadha Pancha krithya parayana. This means Devi is
the aspect of Brahma, while creating sristhi, aspect of Vishnu while sustaining sristhi, aspect
of Rudra during dissolution sanghara. These five entities (Brahmma, Vishnu, Rudra, Isvara and
Sadasiva) are known as "pancha-brahma". Lalitha has designated the five functions to these
brahmam. Sometimes, Devi will take away the life from these five brahmmam and make them
inactive, performing all the five tasks herself. At that time they will be called "pancha pretam"
that is lifeless bodies.The first three slokas are: Srimata (great mother) – srshti; Sri Maharajni
(great ruler) – sthithi; Srimat Simhasaneswari (one who sits on the lion throne) – samharam.
The rest of the slokas cover thirodhanam and anugraham.

According to the Patala Khanda of Padma purana, Krishna is the male form of the goddess
Lalita.
I am Goddess Lalita and that Radhika who is celebrated in songs. I am called Vasudeva, who
always is of the nature of the art of love. I am truly of a feminine form, and I am the ancient
woman, and I am goddess Lalita, and in a manly form I have Krishna's body.

— Padma purana, Patala-Khanda, Verses 46:47

The next names – "chidhagnikunda sambhutha devakarya samudhyatha" tells us that devi
arose from the fire of knowledge to help devas in their task (war against asuras –
bhandasura). From the namAa- Udhyath bhanu sahasraba till sinjanamani manjeera manditha
sree padambuja, all her parts like her face, fore head, eyes, mouth, tongue, voice, hands and
legs have been described.Thereafter, Devi's place (Chintamani gruham), her war against
bandasura, kundalini shakti, and her properties have been described. A common image of the
goddess depicts a parrot and a sugarcane with her. Sugarcane represents the sweetness of
her mind.
References in Hindu literature[edit]
The Soundarya Lahari of Adi Shankaracharya deals exhaustively about the nature of the
Goddess and her worship.The Lalitopakyana tells of the epic battle between her forces and the
forces of the arch-demon Bhandasura.[
The Tripura Sundari Ashtakam by Adi Shankaracharya describes her as a Mother wearing a
blue and red-spotted dress and holding a pot of honey.

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The Sri Yantra in diagrammatic form, showing how its nine interlocking triangles form a total of 43 smaller
triangles.

In the Shri Vidya school of Hindu tantra, the Sri Yantra ("sacred instrument"), also Sri Chakra is
a diagram formed by nine interlocking triangles that surround and radiate out from the central
(bindu) point. It represents the goddess in her form of Shri Lalita Or Tripura Sundari, "the
beauty of the three worlds (earth, atmosphere and sky(heaven)"(Bhoo, Bhuva and Swa).The
worship of the Sri Chakra is central to the Shri Vidya system of Hindu worship. Four isosceles
triangles with the apices upwards, representing Shiva or the Masculine. Five isosceles
triangles with the apices downward, symbolizing female embodiment Shakti. Thus the Sri
Yantra also represents the union of Masculine and Feminine Divine. Because it is composed of
nine triangles, it is known as the Navayoni Chakra. "These nine triangles are of various sizes
and intersect with one another. In the middle is the power point (bindu), visualizing the highest,
the invisible, elusive centre from which the entire figure and the cosmos expand. The triangles
are enclosed by two rows of (8 and 16) petals, representing the lotus of creation and
reproductive vital force. The broken lines of the outer frame denote the figure to be a
sanctuary with four openings to the regions of the universe".
In a recent issue of Brahmavidya, the journal of the Adyar Library, Subhash Kak argues that
the description of Sri Yantra is identical to the yantra described in the Śvetāśvatara Upanisad.
Together the nine triangles are interlaced in such a way as to form 43 smaller triangles in a
web symbolic of the entire cosmos or a womb symbolic of creation. Together they
express Advaita or non-duality. This is surrounded by a lotus of eight petals, a lotus of sixteen
petals, and an earth square resembling a temple with four doors. The various deities residing
in the nine layers of the Sri Yantra are described in the Devi Khadgamala Mantra.
The Shri Chakra is also known as the nava chakra because it can also be seen as having nine
levels. "Nine" comes from" Nava" of Sanskrit. Each level corresponds to a mudra, a yogini, and
a specific form of the Deity Tripura Sundari along with her mantra. These levels starting from
the outside or bottom layer are:

1. Trailokya Mohana or Bhupara, a square of three lines with four portals

2. Sarva Aasa Paripuraka, a sixteen-petal lotus
3. Sarva Sankshobahana, an eight-petal lotus
4. Sarva Saubhagyadayaka, composed of fourteen small triangles
5. Sara Arthasadhaka, composed of ten small triangles

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 6. Sarva Rakshakara, composed of ten small triangles
7. Sarva Rogahara, composed of eight small triangles
8. Sarva Siddhiprada, composed of 1 small triangle
9. Sarva Anandamaya, composed of a point or bindu
The Sri Chakra (called the Shri Yantra) is the symbol of Hindu tantra, which is based on
the Hindu philosophy of Kashmir Shaivism. The Sri Yantra is the object of devotion in Sri Vidya.
The two dimensional Sri Chakra, when it is projected into three dimensions is called a Maha
Meru (Mount Meru).

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 Chapter 2
Sri Yantra School of Hinduism?
The Sri Yantra, Shri Yantra, or Shri Chakra is a form of mystical diagram (yantra) used in
the Shri Vidya school of Hinduism. It consists of nine interlocking triangles of which 4 are for
Shiva and 5 for Raj rajeshwari(parvati ) that surround a central point known as a bindu. These
triangles represent the cosmos and the human body. Because of its nine triangles, Shri Yantra
is also known as the Navayoni Chakra.[1] When the two-dimensional Shri Yantra is represented
in three dimensions, it is called a Mahameru. Mount Meru derives its name from this shape. In
addition to Mount Meru, all other yantras derive from the Shri Yantra.
In the 2009 issue of Brahmavidya (the journal of the Adyar Library), Subhash Kak argues that
the description of Shri Yantra is identical to the yantra described in the Śrī Sūkta in veda.[
The Sri Yantra's 9 constituent triangles vary in size and shape and intersect to form 43 smaller
triangles, organized in 5 concentric levels. Together they represent the totality of the cosmos
and express Advaita or non-duality. In the middle, the power point (bindu) represents the
cosmic center. The triangles are circumscribed by two concentric circles composed of 8 and 16
petals, representing the lotus of creation and reproductive vital force. The entire configuration
is framed by the broken lines of an earth square, representing a temple with four doors open
onto the regions of the universe.
Shri Yantra in various forms

The Lalita Sahasranama in diagrammatic form, showing how its nine interlocking triangles form a total
of 43 smaller triangles.///The Shri Yantra shown in the three-dimensional projection
called Mahāmeru/// Shri Yantra engraved in metal

The worship of the Sri Yantra is central to the Sri Vidya system of Hindu worship. It represents
the Goddess in the form of Devi Tripura Sundari, the natural beauty of the three worlds:
Bhu Loka (Physical Plane, Consciousness of the Physical Plane), Bhuvar Loka (Antariksha or
Intermediate Space, Sub-Consciousness of the Prana) and Swar Loka (Svarga or Heaven or
Super-Consciousness of the Divine Mind). The Sri Yantra is the symbol of Hinduism, which is
based on the Hindu philosophy of the vedas. The Sri Yantra is the object of devotion in Sri
Vidya.

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The Shri Yantra represents the evolution of the multiverse as a result of the natural Divine
Will of the Godhead Aadi Paraa Shakti. The four upward-pointing isosceles triangles represent
the Goddess's masculine embodiment Brahman, while the five downward-pointing triangles
symbolize the female embodiment Jagat jannani.[5] The 12 and 15 sides of the four upward and
five downward triangles also correspondingly symbolise, on the physical plane, the 12 sidereal
zodiac signs of the Sun and 15 'nityas' phase-signs of the Moon.[6]
The Shri Yantra is also known as the nav chakra because it can be seen to consist of nine
concentric layers that radiate outward from the bindu. ("Nau" or "nava" means "nine"
in Sanskrit.) Each level corresponds to a mudra, a yogini and a specific form of the deity
Tripura Sundari along with her mantra. The various deities residing in the nine levels of the
Shri Yantra are described in the Devi Khadgamala Mantra. These levels, listed from outermost
to innermost, are:

1. Trailokya Mohana, the outermost square, traced in three lines and interrupted by four
recessed portals;
2. Sarvasaa Paripuraka, the outer lotus, consisting of 16 petals;
3. Sarva Samkshobahana, the inner lotus, consisting of 8 petals;
4. Sarva Saubhagyadayaka, the outermost ring of small triangles (14 in total);
5. Sarvarthasadhaka, the next ring of triangles (10 in total);
6. Sarva Rakshakara, a smaller ring of 10 triangles;
7. Sarva Rogahara, a ring of 8 small triangles;
8. Sarva Siddhiprada, one small triangle containing the bindu at its center;
9. Sarva Anandamaya, the bindu.
10.

TEMPLES
Her most important temple is the Kanchi Kamakshi temple in Kanchipuram, Tamil Nadu.
Kanchipuram is one of the moksha puris. Sage Durvasa did intense penance in Kanchipuram
and the pleased Lalita Tripura Sundari appeared and agrees to reside in Kanchi for the benefit
of her devotees. Adi Sankaracharya installed the Sri Chakra in this temple. It is also the place
of Kanchi Kamakoti mandali.Her temple, the Tripura Sundari temple is located on top of the
hills near Radhakishorepur village, which is a very important temple, 1 of the 51 shaktipeethas,
a little distance away from Udaipur town railway station, Udaipur town, Tripura, North east
India. Another temple dedicated to goddess maha Tripura sundari, or goddess kamakhya, 1 one
of the 4 main adi shaktipeethas, is in Nilachal hill, Guwahati, Assam near kamakhya junction
railway station, in Assam, North east India. In West Bengal, there is a temple of Ma Tripura
Sundari Devi located in Boral, near Garia. In Madhya Pradesh, Jabalpur, there is Tripura
Sundari temple about 12 km from city on Bhedaghat road in village Tewar. Another temple
dedicated to goddess tripura sundari is in Banaswara, Rajasthan. In Tirusulam, a
neighbourhood of Chennai, is the Shri Tirusoolanathar Tripurasundari temple, an ancient
temple built by Kulothunga Chola I in the 11th century. The Trisula Nathar Temple is dedicated
to Sri Shiva as Trisula Nathar and Divine Mother Shakti as Tripura Sundari Amman.
The Kamakshi Temple is an ancient Hindu Temple dedicated to Kamakshi, the ultimate Goddess
Lalita Maha Tripura sundari. It is located in the historic city of Kanchipuram,
near Chennai, India. The Meenakshi Temple in Madurai, the Akilandeswari temple in
Thiruvanaikaval near Tiruchirappalli and this Kamakshi temple are the important centers of

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worship of Goddess, in the state of Tamil Nadu. The Temple was most probably built by
the Pallava kings, whose capital was Kanchipuram.
The Image of the main Deity, Kamakshi, is seated in a majestic Padmasana, a yogic posture
signifying peace and prosperity, instead of the traditional standing pose. Goddess holds a
sugarcane bow and bunch of five flowers in the lower two of her arms and has a pasha (lasso),
an ankusha (goad) in her upper two arms. There is also a parrot perched near the flower
bunch. There are no other Goddess temples in the city of Kanchipuram, apart from this temple,
which is unusual in a traditional city that has hundreds of traditional temples. There are
various legends that account for this fact.
According to a local legend, Adi Shankaracharya established the Sri Chakra in this Kamakshi
Devi temple in the trough-like structure in that shrine.
As per Hindu legend, Kamakshi Amman is considered in line
with Meenakshi at Madurai and Visalakshi at Varanasi. Kamakshi is the only Shakti shrine
centered across all Shiva temples in Kanchipuram which do not have separate shrines for
Amman. Kamakshi is worshipped thus as Parabrahma Swaroopini. She is none other
than Lalitha Maha Tripura Sundari herself. This can be further supported in tantric texts such
as Tripura Rahasya, Bahvrucha Upanishad and most importantly, Brahmanda Purana which
discusses how Lalitha Devi resides in Kamakoti Peetha in Kanchi.[2]

ARCHITECTURE
The temple occupies an area of 5 acres (2.0 ha). The sanctum houses the image of Kamakshi in
seated posture and is flanked by the trinity of Shiva, Vishnu and Brahma. There are smaller
shrines of Bangaru Kamakshi, Adi Shankara and Maha Saraswathi around the sanctum. The
picture provides a glimpse view of Temple Pond and Gaja Shed. Everyday the temple rituals
start with Go Pooja and Gaja Pooja. There is a separate shed with Elephants, which performs
pooja to the deity by trumpeting every day early morning 5.AM. In front of the Grabagraha there
is a Gayatri Mandapam to the right of the shire we can see the deities arupa lakshmi, swaropa
lakshmi. The temple is maintained and administered by the Hindu Religious and Charitable
Endowments Department of the Government of Tamil Nadu.[3] The Devi in Adi Kamakshi temple
which is close by the present Kamakshi temple, is called by various names like Kirtimati,
Devagarbha in extant Tantric works like Tantrachudamani. She has four hands containing in
each of them respectively, Ankusa, Pasa, Abhaya and a Kapala. This description corresponds to
those extant old tantric works.
Four worship services are offered each day. The annual festival falls in Spring, in the Tamil
month of Masi, which runs from mid-February to mid-March. During this time the chariot
festival (Ther) and float festival, (Theppam) are held. Other festivals include Navaratri, Aadi and
Aippasi Pooram, Sankara Jayanthi and Vasanta Utsavam in the Tamil month of Vaikasi. All
Fridays are considered sacred, though the Fridays in the Tamil months of Adi (mid-July to mid-
August) and Thai (mid-January to mid-February) are celebrated.
Lalita Maha Tripura Sundari
Shri Lalita Parabhattarika presides over the Kamakoshtha in five forms:

1. Shri Kamakshi Para Bhattarika – Sri Kamakshi is the mula devata of the Kamakoti
Peetha seated in the centre of the inner sanctorum of the shrine in Kanchipuram

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 known as the Gayatri mantapam. According to kamakshi rahasya, this mandapa was
built by the celestials with the four walls representing the four Vedas and the twenty-
four pillars representing the twenty-four syllables of the sacred formula of gayatri.
Shrividya Parameshvari, who forms the inner core of the prakata gayatri and thus
called rahasya gayatrI, is enshrined at the centre of the gayatri mandapam as Shri
Kamakshi. She is seated on pancha brahmasana and sports in her four hands pasha,
ankusha, iskhu kodanda and pushpa bana. Paramba is seated in yonyasana and faces
southeast. When tormented by asuras led by Bhandasura, devas are said to have
performed a penance to appease the Supreme Shakti in the form of parrots, residing
on champaka vrkshas at Kanchi. Pleased with their penance, Paramba is said to have
appeared from her residence in Mahameru or Bilakasha through the bila dvara and
destroyed the demons. The shri vigraha of Paramba has been described as
representing her three forms: sthula (Dhyana yogya, Savayava), Sukshma (mantra and
yantratmaka) and Karana or Vasanatmaka. It is also said that Lord Mahadeva himself
worshipped paramba in the four yugas assuming the forms of sages krodha
bhattaraka, parashurama, dhaumya and Adi shankara bhagavatpada (and muka
shankara, believed to be an incarnation of krodha bhattaraka). The bila dvara leading to
bilakasha can be seen today in front of the tapomagna kamakshI sannidhi inside the
garbhagrha. It is also said that bhagavan rudra assumed the form of durvasas on her
emergence from the bilakasha and first worshipped her through the modalities of
shrividya tantra by consecrating a shrichakra here. He is thus the sampradaya guru of
shrividya and the credit for crystallizing paramba at Kanchipuram as
Gurumurtisvarupini (Charyanandanatha-para bhattarika mithunatmika) goes to this
great seer. The forms of vashinyadi Vagdevatas can be seen around the Shrichakra in
their same positions as in Shripura. A shrine dedicated to hayagrIva and agastya can
be seen in the third prakara of the temple, at the location where the teaching of Lalita
Trishati was imparted.[4]
2. Tapah Kamakshi – This form of paramba can be seen to the right of the mula devata
and close to the bila dvara. Separated from mahadeva, uma appeared first as
annapurna in Kashi and then following the advice of sage Katyayana, appeared in
Kanchi to worship Ekamranatha under the mango tree in rudrakoshtha and married
him.
3. Anjana Kamakshi – Also known as Arupa , her shrine is situated to the left of the mula
devata, facing the north and in front of saubhagya ganapati. Rama is said to have
performed a penance to regain her lost beauty in this place and due to the grace of
paramba, kumkuma offerings of mula devata is offered to her here before being
accepted by the devotees. While she represents Rama in her form as rama-bija, she
represents Kamakshi in the form of Kamakalakshara that is inherent in the rama bIja.
4. Svarna Kamakshi – The shrine of this deity, also known as Bangaru Kamakshi is
situated in the second prakara. It is said that this form was created by Shrividya
parameshvari from her third eye to serve as the shakti of ekamranatha named
ekambika. The original idol that appeared from the third-eye of paramba is seen today
in Tanjore, which was transported to Tanjore to protect the idol from Muslim attacks by
Kamakshidasa, an ancestor of Shri Shyama Shastrigal.
5. Utsava Kamakshi – The shrine of Utasava Kamakshi, the idol which is brought out
during processions, is located in the second prakara. The idol is accompanied on either
side by idols of Sharada and Rama. While the devatas generally are accompanied by
their male/female consorts in most cases, on account of Kamakshi being Shiva-

14
 shaktyatmika, there is no shrine devoted to Shiva here. Sri Lalitambika, who appeared
from Chidagni for the destruction of Bhandasura, was presented to the world by
Brahma with the special name – Sri Kamakshi. Thus, ‘Kamakshi’ is the special epithet
of the primordial Parashakti Sri Lalita. As she brings joy to the mind of Sri
Kameshwara, she is referred to as ‘Sri Lalita’.
Durvasa Maharishi

Kamakshi Amman Temple with the golden overlays over its gopurams.

The shrine situated in front of Sri Kamakshi’s Garbha Grham is of Sage Durvasas, also known
as Krodha Bhattaraka. There are thirty-two chief upasakas of Devi like manu, chandra, kubera
etc. Among these, Kamaraja, Lopamudra and Durvasa are the chief upasakas. Durvasa pranita
vidya is called Sadi vidya. Durvasa represents the power of sattvika krodha of Amba, used to
protect and correct her devotees, and thus her limitless kriya shakti. It is Sri Durvasa who
established the Kamakoti Peetha by consecrating a Bhu-Prastara Srichakra in front of Amba.
He composed Lalita Stavaratna, also called Arya dwisahti, describing the Srinagara. He also
composed Traipura Mahimna Stotra, a complete mantra shastra in itself and also the Para
Shambhu Mahimna Stotra. Due to a curse by Saraswati, he was born as a deaf and dumb
brahmana and was graced by Sri Kamakshi with Anugraha Diksha.
Another popular myth is about Adi Shankara pacifying the Raudra Swarupa of Kamakshi. Sri
Kamakshi is Purna Brahma Swarupini and she did not attain Raudra. The shrine in the temple
premises, referred to as Adi Kamakshi, is actually Kalikamba. It is possible that this deity was
pacified by Adi Acharya
Daksha Yaga and Shakti Peethas

15
 Shiva carrying the corpse of Sati (goddess)

The mythology of Daksha yaga and Sati's self-immolation is the main theme in the origin of
Shakti Peethas.

Shakti Peethas are divine temples of Adiparashakti. The cause of the presence of Devi's
presence is due to the falling of body parts of the corpse of Sati Devi. The naval part of Sati
Devi's body is believed to have fallen here. There are 51 Shakti Peeth linking to the 51 alphabets
in Sanskrit. There are also arguments that the old Kanchi temple is the Shakti peetha,
where Sankaracharya has installed the Shri Chakra.
In the shrine of Kamakshi Amman close to the sanctum, the Tirukalavanur Divya Desam, the
temples dedicated to Vishnu in his form of Varaha glorified by the 7th-10th

16
century alwars (Tamil saint poets) is present. The temple faced west went to ruins and the
deity is now placed inside the Kamakshi Amman temple. There are shrines over the vimana.
II. A temple of Tripura Sundari temple is in Chhatrabhog (Saturbhog). It is situated in south 24
Pgs under Diamond Harbour Subdivision West Bengal. The nearest railway station is
Mathurapur Road in Sealdah South section. From the source of Rajratnakar descendants of
Drajhu king, Kalinda made a wooden Tripura Sundari icon at this place. Many temples of
Goddess Raj Rajeshwari are also found in Uttarakhand, where she is considered as the Kul-
devi.
III.A temple of Tripura Sundari is located at tripuradevi village in Berinag and Ancient 850
years old Tripura Sundri amma (Thibbadevi) temple in Muguru is located in the Tirumakudal
Narsipur taluk of Mysore district in Karnataka. A temple of Sri Jwalamukhi Tripura Sundari is
located at S.Uttanahalli, Near Vidyaranyapura-Nanjangud Road, Mysore district in Karnataka.
IV. Goddess RajaRajeshwari Temple is in Rajarajeshwari Nagar, Mysuru Road, Bengaluru,
Karnataka, which is a prime location in Bengaluru. Many people throng to this place because of
presence of the Goddess.
V. Tripura sundari in her form Raja Rajeshwari is worshiped in Kandamangalam Sree
Rajarajeshwari temple located in the village
Kadakkarapalli, Cherthala taluk, Alappuzha district, Kerala. The temple is named as
Kanadamangalam by Sree Narayana Guru (social reformer and spiritual leader) which
comprises two words "Kandal" which means if you see and "mangalam" which means good
fortune.
VI.Bala Tripura Sundari Temple is also in Dolpa district of Nepal.

GEOMETRY

This geometrical representation of the divine mother works as the deity herself. Now how does
the yantra work? It has to be energised, by whom and what?? By a human it’s us. By what by
the prana that flows from the human. This is the secret. After the Devi is manifested in the
human body it is made to flow into the yantra. The technique can’t be explained. So human is
the fountain which activates the elixir called the Sri yantra. It is ideally suited for use around
the home, in conjunction with Reiki Treatments. The Sri Yantra, otherwise called Shri Yantra or
Shri Chakra, is a mystical geometric symbol framed by nine interlocking triangles that transmit
from the center point, known as a Bindu. Sri Yantra consists of 11 designs that when used
together, creates an incredible amount of energy around it that attracts health, wealth,
abundance and prosperity. Stress, anxiety, depression and financial pressure have been
eradicated from my life thanks to this tool. For those of you who are currently being
challenged by life, the power of Sri Yantra awaits you...

Sri yantra, it is place or asana of a particular diety invited to sit at certain place by inviting
them with beeja aksharas. It is geometrically designed in shape of pyramid. It also represents
the kundalini Shakthi that is present in human. N lot more to say. But coming to your question ,
it is great n ultimate journey of spirituality , one cannot call it spirituality but worshiping the
Devi in vedic rituals . Sri yantra is useful in many ways one impt is it activates your kundalini
Shakthi in your body n once activated the energy flow of energy is enormous. It gives you the
blessing of Devi, your purpose of life will be designed by the mother. It gives you respect. It

17
gives you atma gyana, which is ultimate knowledge . It also gives you the power n authority to
dictate the planets( astrological) as in the case of bhaskaraya life had happened. No, one is
dare to make debate with you, as universal mother will be with you n many many more useful
things.

But my dear frnd , I do not know why you asked this question , if you want to study this Vidya or
do puja of Sri yantra , beware of it. Bcoz in India you will hardly find 4 to 5 peoples who are
expert in Sri yantra or Sri Vidya upsana n these peoples you will not be able to see these
peoples in public life. They avoid public life. One such person is Sringeri jagadhguru Sri Sri
Bharati thirta mahaswami of Sri Sharada peetam , Sringeri in Karnataka.

Finally, if mother wants you to learn this Vidya , no one can stop you in learning this Vidya. It's
ultimate form of worship. Above this worship you can't find any.

18
 Lord Kala Bhairavar @Arulmigu-
Brahmapureeswarar-Temple,.Tirupattur,Trichy.
Lord Kala Bhairava is that manifestation of Lord
Shiva who controls the growth and management
of time. Whoever wants to spend or manage their
time in a proper manner should pray him.
Propitiating Lord Kala Bhairava will ensure
protection. Lord Kala Bhairava is the protecting
Deity in all Shiva temples; the Temple key is
traditionally placed before Bhairava
Shrine.Worship of Lord Kala Bhairava ensures
removal of all black-magic effects. Lord Kala
Bhairava Shrine is situated in the inner
praharam, as one turns right before entering Sri
Brahmapureeswarar-Shrine.

Lord Kala Bhairava is worshipped by offering

Sevvarali garland and special archanas for six
theipirai ashtami, for removal of marital
obstacles.
Moongil Annai Kamakshi Amman Temple @ Devathanapatti, Theni, Tamil Nadu.
The uniqueness is that it has no Temple Towers, Doors or murtis. Yes, there are no murtis in
the sacred sanctums here. The main deity here is Kamakshi Amman. The murti is replaced
with a door. Yes, door is worshiped here and it is revered as goddess Kamakshi. The other
difference is that whole coconut and unpeeled bananas are offered. The coconuts are broken
after the Aarathi. In most of the temples, coconuts are broken in to two first, followed by
abhishekam and only after that aarathi is taken. A lot of rituals are different. The lamps of this
temple are lit only with clarified butter (ghee). A lamp that was lit some 500 years ago is still
burning to this date in this temple. Devotees offer mainly ghee to the temple. There is a storage
room with no doors and pots of ghee are accumulated. Some of the pots in this storage are as
old has 500 years. The pots do not have coverlids; they are open and their aroma wafts around
the temple complex. The ghee is still fresh, and has not gone off. They do not attract any
insects either. Devotees believe this is because of Goddess Kamakshi’s blessings!

There is an interesting story behind this temple. ‘Amman Macchu’ is the moola-stanam of the
temple. Amman Macchu is located farther away from this temple. When traveled from
Devadanapaatti towards the Kodaikanal foothills one can find a Manjalaru Dam. Once crossed
the dam, starts the beginning of a mud trail. While hiking further, we get two creeks namely
olaiaru and majlaru, respectively. The trail leads to “Amman Macchu’’. This is the place where
the goddess Kamakshi did penance to subdue her anger after killing ‘Asura’ a demon who
tormented people of all lokas. Goddess came here and did penance in a bamboo bush. For the
love of her devotees, goddess Kamakshi came here as a newborn baby, she was placed in a
huge chest that was afloat in Manjalaru. She already communicated her arrival to her devotees
in their dreams. As per her instruction devotees waited for her arrival.

As the chest was floating, the bamboo trees of Manjalaru stopped it. The people understood
that the baby inside it is the Kamakshi. Hence the goddess here is known as ‘Mungil Anai
Kamakshi.’ Which loosely translates to ‘Bamboo fence Kamakshi’. During every temple festival,
the procession being from ‘Amman Macchu’ the temple festival is celebrated in Maasi (Feb-
19
March) month’s Amavasai (no-moon day) that coincides with Shiva Rathri. It was goddess's
order that the temple should be built away from Amman Macchu. Devotees throng this temple
for both to fulfill their wishes and to thank the goddess for the offerings received.

Just a few yards away, on a hill sits the Karupanna Swamy temple. He is the official caretaker
of Mungil Anai Kamakshi Temple. He also considered as the brother of Goddess Kamakshi.
Before visiting the Goddess temple, it is a rule to visit Karpanna Swamy Temple. It is believed
that Karpanna swamy temple was closer to the Kamakshi temple. However, later he moved
away from the temple. Karpanna Swamy is a stanch non-vegetarian while his sister Kamakshi
is a pure vegetarian. Due to the differences, he moved away to the near by hill. However, he did
not abjure is duty from guarding his sister’s temple and the village. Around the temple
complex’s there are many small sanctums for many gods and goddesses, like said before
there are no idols and doors in these smalls sanctums just the name plate.
There is a reason as why the murtis are not kept inside the sacred sanctums. The worshipping
of door in this temple came in to practice after a tiff between the priest and the king. To
express priest’s dissatisfaction, he locked the sacred sanctum and went home and never
returned. The locked sanctum was never opened again, and all the prayers were offered to the
door instead. She is in ‘chest’ form. The temple tower is replaced with a dome made out of hays
called Nana Pull. When the temple sanctum was closed down, the goddess again appeared in
her devotees’ dreams to watch out for her, she gave all the instructions as well. Like before,
she again arrived in a chest form. This time the chest was stopped by the ‘Naananpull’ a type of
grass. People weaved a hut using these hays. This replaced the usual sacred tower. Raja
Kumbalathar are the ones who manage and maintain this temple. An elderly male (above 60)
from Raja Kumbalathar Nayakanmar family changes the hay roof by weaving a new one. There
are certain rituals that need to be followed before weaving a new roof. They have to fast for 48
days, should collect all the materials required from Murugamalai, a dense forest. When all the
materials are gathered the elder person should climb upstairs blind folded from the backside
of the sacred sanctum to the terrace and weaves it without looking in to it. Until they are done
they are not supposed to leave and women are prohibited from entering the temple, till the
weaving work is finished. Once it is completed, abishkam is done to the door.

Sairaksha Pooja is done every evening. The prayers are carried out with blowing of conch, and
beating of sekandi (kind of percussion instrument). After this pooja pin-drop silence is
maintained at the temple. It is believed that Goddess kamakshi is still alive and meditates
every evening. This is a temple that says murtis are not the only way to come closer to god,
one can still connect to the God/creator without having to worship idol. God is everywhere and
it us who needs to realize this absolute truth!

20
21
 Chapter 3

Manduka mandala
This paper is an attempt to reconsider our current understanding of the role accorded to the
mandala within traditional Indian architecture. It is generally held that the mandala-in particular
the Vāstupuruṣamaṇḍala, the mandala associated with vāstu (inhabited or built site)-has played a
determining role in the genesis of architectural form in India. Within more popular, and less
circumspect, writings, this influence is held to be directly formal; the Vāstupuruṣamaṇḍala is
traditionally drawn within a square grid, and any sign of an orthogonal planning or a grid-like
layout is taken to be a sign that the form in question was based upon the mandala. In
investigating the foundations of such a belief, this paper reviews two bodies of literature. The
first is modern art-historical scholarship, an examination of which shows that the idea of a
morphogenetic mandala emerged only recently, and that it was not so much culled from the
traditional writing as constructed afresh by art historians such as Kramrisch. The other body of
literature examined is that of the traditional writings on architecture, many of which are cited as
key sources of evidence for this idea. Here it is argued that there is almost no direct evidence for
the use of mandalas in laying out complexes or designing buildings, and that such ideas of the
1
use of mandalas rest on several assumptions that must themselves be questioned.

The concept of Vastu Purusha through “bindu” and “mandala” have been the primary form
generators in the architecture of several Asian cultures and particularly in India. Through literary
resources this paper examines the ability of Sri Yantra to unpack itself into various progressive
spatial geometries that have inherent relationships which attain its final form as the “mandala”,
which is also known as the “mask of God through which eternity is to be achieved.” The
“mandala” is the Hindu cosmic model through which the Buddhist cosmic thinking is evolved.
The first part of this paper discusses about the mandala model and its systematic structure which
inspires in constructing spatial systems that build architectural spaces. The pioneering practice
for three decades in architecture forms the basis of practice based research methodology. This
will examine the real time architectural projects that demonstrate how the various elements of
nature that manifests within the mandala and the geometries help generate an ephemeral form as
a symbol of spirituality and awakening of consciousness. The objective of this paper is to present
the work on a “Peace Museum” project in Srilanka which bridges the spiritual philosophy of
Hindu-Buddhist culture, where the mandala evolves a paradigm for a contemporary architectural
thought associated with the sacredness of built spaces.

22
1. INTRODUCTION

Almost all religious theories of the oriental civilization believe in the existence of a center from
which everything instigates. This center is a point called the bindu. In Sanskrit, it is also referred
to as ‘dapsa’ and ‘avayava’ meaning the physical body. Originally, the Supreme Reality
represented by the symbol of the universe is the bindu as a central point of a circle or a triangle.
It is the manifestation of creative dynamism. It also means the vibratory sound – the cosmic
sound that relates to unconditional consciousness. In Hindu philosophy, the “bindu” forms the
central part of mandala which is the cosmic model that organizes the spiritual world. For
centuries, this formed the basis of creating architectural spaces through the construction of
temples and other religious cultural structures. The model interweaves natural elements essential
for human survival and healthy spatial organization.

The present research is the continuity of work since 1980 when the first temple of Vellore was
documented as part of a student project. Further literary interest in bindu and mandala led to the
investigation of these principles through practice and the maiden venture was the IGNCA
Cultural Center in New Delhi in the year 1986. Though partially successful through practice, the
concept of “bindu and mandala” has a great potential in the realm of sacred architecture and can
reinvigorate architectural spaces to bring sacredness and well-being.

2. MANDALA AND THE BINDU

In Tantric philosophy, the moon or the indu is also associated with the basic concept of the
bindu. Drops of dew located in the pinnacle of the body i.e. head is believed to be a
manifestation of the bindu. The goal of the person practicing yoga is to attain liberation or
moksha as a result of which the dew drops which are as cool as the moon melts and flows
through the entire body.

Voidness or sunnya is also represented by the bindu as it occupies a minute unit of space in a
unique.place.

The second most important component of the mandala diagram is the nabhi. Nabhi or navel is
the straight line that is generated when the bindu moves in a particular direction. Bindu or the
center of the universe or of the body is considered to be the nabhi. This is also defined as the hub
of a wheel i.e. Nabhi Chakra which comprises of three parts. Firstly, the center point around
which everything revolves called the bindu. Secondly, the thick circular part to which the spokes
of the wheel are fixed. And thirdly, the spokes itself or aras.

According to the Vaishnavaite mythology, Lord Vishnu or the protector of life is also referred to
as Padmanabha (Padma – lotus), which means “one with lotus flower sized navel”. [2] It is
believed to be the center of creative energy. The phenomenal universe is symbolized by Lord
Brahma also known as God of creation emerging from the navel of Lord Vishnu. Some cultures
in the oriental region believe that the mandala is represented as a lotus. The lotus, when
represented as a central portion of the chakra, exposes three divisions –the karnika or the

23
pericarps, the kesara or the filament and the petals. Hindu mythology regards the lotus as a
symbol of the pedestal or the throne of Gods.

In the practice of yoga, the ultimate aim is to focus the concentration on the central point of the
nabhi to attain a greater level of realization. The third major component that forms the mandala
is the chakra, which is nothing but a circling wheel with a center and circumference. It is the
symbolical representation of the universe. The center of the wheel, which represents complete
emptiness, is imagined to possess the characters of dukha (pain) and sukha (pleasure) symbolized
by black and white respectively.

3. THE SRI YANTRA AND THE BINDU

Figure 1. The Sri Yantra representing the “Evolution of Life and Involution of Life”
Nine interlocking triangles around a bindu represent the Sri Yantra. It is also called a Navayoni
Chakra because of the presence of nine (nava) triangles (yoni). Out of these nine triangles, five
of them point downwards symbolize Sakti (feminine energy) and the remaining four points
upwards symbolize Siva (masculine energy). The Sri Yantra shows the various stages of Sakti’s
descent in expression.

The para bindu is the first stage of manifestation represented by a point being the nucleus of
condensed energy. It represents the static and dynamic aspects of Siva and Sakti in one. Creation
begins when this transforms into apara bindu when the center swells and becomes a form of a
triangle. The interaction between the static and dynamic energy results in the formation of a triad
– the Mula – trikona or the triangle. [3]

Figure 2. (From Left

to Right) Trailokya- Mohana Chakra; Sarvasaparipuraka Chakra; Sarva- Sankshobhana Chakra; and

24
Sarva- Saubhagyadayaka Chakra
Figure 3. (From Left to Right): Sarvartha- Sadhaka Chakra And Sarvarakshakara Chakra; Sarva-
Rogahara Chakra; Sarva- Siddhiprada Chakra; and Bindu: Sarva- Anandamaya Chakra

There are nine circuits that constitute the Sri Yantra from the outer plane to the bindu. The
outermost periphery of the yantra consists of four gates located in the centers of the sides of a
square and these are coloured white, red and yellow. Also called bhupara this is the ground plan
of the Sri Yantra. There are three concentric circles inside the square called mekhala. The space
between the square and the circles is the Trilokya-mohana or the Enchantress of the Triple World
and this represents the stage when one is infatuated by objectives and wishes. Sarvartha-
saddhaka meaning Accomplisher of All Purpose and Sarvarakshakara meaning Giver of
Protection represent a period of self-realization and these two chakras are constituted of ten
triangles each. Sarva – rogahara or the Remover of all Desires and Ills is the next chakra
constituting eight triangles and represents the period of the inner circle of realization after freeing
oneself from worldly ties. The Giver of All Accomplishments or the Sarva-siddhiprada is the
stage just before realization and is represented by an inverted triangle. Colouring all the triangles
red as they represent radiant energy reflects the dynamism.

The culmination results in the last chakra, which is the bindu itself known as Sarva-anandamaya,
which means Full of Bliss. This is the state when one participates in the union. This is
represented as colourless as the point is light itself.

4. VASTU PURUSHA MANDALA AND THE BINDU

Vastu Purusha Mandala can be explained as the diagram of the universe in miniature. The word
mandala in Sanskrit means a circle. It can be explained as a cosmic diagram that possesses radial
symmetry. Purusha can be explained as a cosmic man, an embodiment of pure consciousness.
Also represented as a masculine divine he is contained in a square grid showing his union with
the feminine divine or the Earth Mother.

Thus, Vastu Purusha Mandala can be explained as a harmonious unification of the masculine
divine and the feminine divine or the cosmic energy and the earth energy respectively.

The Vastu Purusha Mandala contains a minimum of nine sections signifying the directions north,
south, east, west, northeast, northwest, southeast, southwest and the center represented as square
grids. In the Vastu Purusha Mandala, the Purusha’s head is located in the northeast direction and
this is considered utmost sacred. In the southwest are his feet and his knees and elbows in the
northwest and southeast. Kept open and clear in the center part of the diagram are his main
organs and his torso. Starting from a single undivided square of 1 x 1 there are grid patterns
ranging up to 32 x 32 thus making it 1024 sections.

25
Architecturally, the adaptation of the Vastu Purusha Mandala has been seen in the design of
houses, palaces, temples and even cities. Integrating it into the design brings a certain amount of
order in the design. Here, the squares are assumed as cubes of architectural spaces.

The five elements of earth, water, fire, air and space correspond with specific sections of the
Vastu Purusha Mandala. The south-west direction is associated with the element of
earth(Bhumi); south-east with the elements of fire (Agni); north-east with the element of water
(Jala); north-west with the element of air (Vayu) and the center space with the element of space
(Akasha) [4].

Figure 5. Manduka Purusha Mandala Showing the Concentric Zones of Energy

The commonly used ones are the 8 x 8 and the 9 x 9 grids. The 8 x 8 grid also called the
Manduka Vastu Mandala is used mainly in temple architecture. The 9 x 9 grid also called the
Parasayika Vastu Mandala is used for the design of residential spaces and spaces other than
temples. The center of the mandala is both sunnya (the absolute Void) and bindu (the source of
all energy). Located here is Lord Brahma (The Supreme creator).

The term Pada in Sanskrit means the section of the energy grid pattern in the Vastu Purusha
Mandala. There are concentric padas of energy in the mandala. The primary source of energy
that is highly changed is in the center called the Brahma Pada. The Deivika pada around this is
the luminous space. These two padas should be kept free of no walls. The conscious space or the

26
Manusha Pada surrounds the Deivika Pada. Finally, the material space encompasses all of it and
is the Paisachika Pada. These two padas are for the built structure and human occupancy,

5. MANDALA AND HINDU TEMPLE ARCHITECTURE

Although there have been various arguments by authors of Indian temple architecture like Stella
Kramrisch and Michael W. Meister about the applicability of the Vastu Purusha Mandala as a
governing device for temple architecture, it is safe to say that for formulating the layout of the
temple, the Vastu Purusha Mandala has been an imperative tool. [6] Though the 8 x 8 grid or the
Manduka Vastu Mandala has been used in various temples of Indian architecture, it is to be
noted that regional differences have played a major influence on the workability of the mandala
design throughout India.
Customarily, mandalas were spaces for the symbolic consciousness of universal theories which
help in the awakening of the individual psyche. [8] The mandalas can be thought of as diagrams
that function as a cue to reach a contemplational state which is the primary aim of the tradition.
[9] The form of the temples that are based on the regulating lines of the mandala were meant to
create spaces that bring about a “physical and spatial” communion between God and man.

6. MANDALA AND BUDDHIST TEMPLE ARCHITECTURE

The mandala in Buddhism is a cosmic model depicting Buddha’s dwelling place as the center of
the universe. Like in the Hindu temples, the structuring of the Buddhist temples has also been
predominantly based on the spiritual model of the mandala. Illustrations can be seen both in the
form of two-dimensional mandalas as well as three-dimensional mandalas. The two-dimensional
mandalas which are drawings composed of squares and concentric circles could be temporarily
painted on various material or drawn on the ground or sand or other natural substances using
coloured powder. Customs involving ceremonious gatherings along with prayers and chantings
while drawing the mandalas are believed to alleviate difficulties and be of greater good to an
individual or a community. These ceremonies could even last up to a number of days.

Three-dimensionally, the mandala diagram becomes a visual model of the built environment. In
the Buddhist worship place, the central space is significant having a statue of the Buddha fronted
by a worshipping space surrounded by walls. This is encircled by a circumambulating space. The
circumambulation pathway is a space of psychological awakening before reaching the spiritual
pinnacle. [12]

7. INDIRA GANDHI NATIONAL CENTER FOR THE ARTS, 1986, NEW DELHI –
COMPETITION DESIGN (1985 – 86)

The IGNCA was a pioneering work by author1 which involved intensive experimentation on the
phenomenology of the Sri Yantra. The idea of “Evolution of life and Involution of Life” with
interconnecting courtyards to bring life to architecture has been attempted in this competition
project. Bindu here is the propelling force generating space and life.

8. THE HINDU AND BUDDHIST MANDALA – A SPECULATIVE PROJECT – PEACE

MEMORIAL FOR THE TAMILS, SRI LANKA (2014)

27
The continuing search for the mystery of sacral space by author1 led to an experiment on a
speculative project called the Peace Museum for the Tamils in Sri Lanka. The Tamil peace
memorial, proposed to be built in Mullaitivu, Sri Lanka, which was controlled by the LTTE and
was witness to many killings of the Tamils during the civil war.

The mandala is of significant importance in both Hinduism and Buddhism. Both religions adopt
the mandala as a peaceful and creative symbol. Hence, the speculative project finds a balance to
build a memorial, which will signify peace and harmony of the Tamil community. The scale of
the mandala here is monumental imposing the idea of spirituality and peace. Contemplating the
mandala does not only provide insight into reality, the Cosmos but also communion with it.

Mandala is the mystery that pervades all existence. Mandala alleviates suffering individually as
well as in society. Contemplation can help overcome antagonism, conflict, stress and even war.
Bindu as a symbolism is the beginning of the process that culminates into a mandala.

Figure 6. Proposed site plan of IGNCA, New Delhi

28
29
30
Figure 9. Proposed plan explaining the evolution of the Bindu, Mandala and the Sri Yantra

Figure 10. Study

Model of the Memorial proposal
Here the mandala and the bindu is in three-dimension with the mandala rising above the sea level
to be a visual spectacle defining the solid cube and its framework. The ritual pathway from the

31
entry point contains the narrative and progresses to the main mandala. The plan of the museum is
the Sri Yantra which
is the representation of life from bindu and the unfolding universe. The memorial is primarily a
cultural model represented through the mandala.

9. CONCLUSION

The position of the bindu in the Vastu Purusha Mandala as the seat of Lord Brahma symbolizes
creative life. The process of bindu as a point and reaching the ultimate form of a mandala
signifies the bindu’s transformation to mandala and back. This proves the theory of ‘Evolution
and Involution.’ Bindu and mandala have inspired artists and architects in isolation. But the
author experiments with the process itself by manifesting the philosophy through architectural
form finding which is significant to spirituality and the context of the practice.

The study of bindu and mandala and its interpretation into architecture can be a convenient way
theoretically to root the design in tradition. It is important to balance this transformation to
architecture with contemporary design. Without careful consideration, the outcome could be
superficial.

In architecture, sacral space can exist everywhere whether it is religious or non-religious. It

becomes a difficult task for architects to create this space which takes on different meanings in
different situations. It is culturally fluid and socially adaptable. Such a space is a meaningful
fourth dimension of architecture which is both visible and invisible. And the most potent
definition to support this idea can be found in Vedas, which defines this space as, “Space is that,
which accommodates space”.2

1 On the Idea of the Mandala as a Governing Device in Indian Architectural

Tradition,Sonit Bafna,Journal of the Society of Architectural Historians (2000)
59 (1): 26–49.

2. Jaffer Adam Ayub Khan: School of Architecture and Planning, University of Auckland,
New Zealand & Deepika Varadarajan: Research Associate, Jaff Design Studio, Bangalore

https://architecturelive.in/research-application-of-bindu-and-mandala-as-a-model-for-cultural-
and-sacred-architecture/

32
 Chapter 4
The Quest for the Optimal Configuration of the
SriYantra

If you have ever attempted to draw this figure you already know that it is a lot more difficult to
draw than you might have thought at first. The reason for this is mainly because the triangles
are interconnected. If you move one, you need to move all the others so that they will intersect
properly. With enough time or with the aid of computers and mathematics it is possible to draw
a figure where the intersections match perfectly.
But it turns out that this is not enough to fully define the figure. This criteria in itself is not
enough to produce a unique figure. This is the reason why there are so many different versions
of the Sri Yantra in circulation.

This begs the question: what is the proper configuration of the Sri Yantra? The goal of this
article is to investigate the geometry of the Sri Yantra and see if we can find out more about
this fascinating sacred figure. Join us on the quest for the optimal Sri Yantra.
Questions that will be answered in this article:
• What is the Sri Yantra?
• Why is it so difficult to draw?
• Why are there so many different versions?
• What are the characteristics that define an optimal figure?
• What is a Meru (pyramidal) Sri Yantra?
• What is a Kurma (spherical) Sri Yantra?
• How can I get an optimal Sri Yantra figure?
Nine Triangles in a Circle

33
Four triangles pointing Five triangles pointing
Central figure Complete Sri Yantra
up. down
Figure 1
The Sri Yantra is composed of a central figure that is surrounded by two circular rows of
petals and then by a rectangular enclosure called the bhupura. In this study we will be
focusing mainly on the central figure which is composed of nine overlapping triangles and a
bindu point. Four of the triangles point up, the other five point down. In the most popular
configuration the two biggest triangles (green triangles in figure 1) touch the outer circle on all
three points. In some other versions there are either one or two more triangles that touch the
outer circle (See figure 5).
Interconnections

Figure 2
Triple intersections.
When looking at the figure we notice that there is a high degree of
interconnectedness between the nine triangles. This the main reason why it is so difficult to
draw. This means that every triangle is connected to one or more of the other triangles via

34
common points. Changing the location of one of the triangle usually requires changing the size
and position of many other triangles.
Figure 2 shows where the triple intersection points are located. These are the points that lock
together the triangles. You can't move one without also moving the others.
Notice also that the two biggest triangles are touching the outside circle on three points and
that the apex of every triangle is connected to the base of another triangle.

Figure-3 False Sri Yantra

As with everything else there is a tendency to simplify and/or distort things , so that over time
knowledge gets eroded. In the case of the Sri Yantra this has led to what some call the "false
Sri Yantra". It's a version that is so far from the original figure that it is missing some of the
most basic characteristic of a Sri Yantra. An example of such a false Sri Yantra is shown in
figure 3. Here we see that the apex of most triangle is not connected with the base of another
triangle as indicated by the red arrows. This reduces greatly the difficulty of drawing the figure
and leads to something that looks like a Sri Yantra but isn't.

The First Key: Concurrency

35
Figure 4
Errors in the drawing will
lead to extraneous
secondary triangles.
The obvious challenge when drawing a Sri Yantra is to achieve near perfect concurrency.
Meaning that all the triple intersection meet at the same point rather than crisscrossing.
Figure 4 shows a detail of a Sri Yantra with the error circled in red. The lines should intersect
at the same point but instead they crisscross each other and form an extraneous triangle.
Using the right sequence to draw the Sri Yantra will ensure that there will be errors only in
two of the triple intersections.
Very few Sri Yantras achieve perfect concurrency. Mathematically speaking it is not possible.
But practically speaking a satisfactory level of precision can be achieved. It is difficult to
achieve this when doing the drawing by hand but not impossible. Often the lines are made
thicker to hide the errors at the intersections. A good level of accuracy can be achieved with a
pencil and ruler and a lot of patience. A better accuracy can be achieved with a drawing
program such as AutoCAD or Visio. The greatest amount of accuracy will be achieved by using
a mathematical program such as Mathematica to compute the figure.
The One and the Many

Figure 5
Three different configurations of the Sri Yantra.
It would seem at this point that all one needs to do is to make sure that the lines match
precisely at the triple intersections (concurrency) and our job is done. Not so!
Why are there so many different versions of the Sri Yantra out there? Figure 5 shows a few
examples of Sri Yantras. In these examples the differences are obvious. The differences are
usually more subtle and require closer examination. Like snow flakes there seems to be an
infinite number of different Sri Yantras. Why is that? How can that be? Isn't there
a precise and complete method that would tell us how this famous sacred figure should be
drawn? If there is one we haven't found it yet.
The reason is simple. The criteria of concurrency (precise intersections) is not enough to fully
define the Sri Yantra. Over time people have assumed that being able to produce a figure
where the lines meet precisely at the intersections will produce a unique figure. This has lead
to the current multiplicity of figures available.
Let us take the simple example of drawing a triangle. If the only criteria required is that the
figure must have three sides then you can draw a infinite number of different triangles with
three sides. If on the other hand you are asked to draw a triangle where the sides are of equal
length then there is only one way to draw such a triangle (not taking size into account).

36
The Sri Yantra is a geometry with five degrees of freedom, which means that up to five
different criterion can be used to define it. This is why we have to decide on the location of five
lines when drawing the figure. Five degrees of freedom is not a lot considering that there is a
total of nine triangles. This is because of the high degree of interconnectedness between the
triangles. This effectively limits the possibilities and variations that can be achieved.
The Second Key: Concentricity

Figure 6
Concentricity: the center of the innermost
triangle coincide with the center of the outer
circle.
Lets now take a look at the bindu point; the small point located in the central triangle. It should
be located in the center of the innermost triangle. This can be achieved precisely by placing the
bindu at the center of a circle that fits inside this triangle (see figure 9). This is known in
mathematics as the incenter of a triangle.
To achieve a perfectly centered figure however, the bindu should also be located at the center
of the outer circle. This is illustrated in figure 6. The red cross shows where the center of the
outer circle is located. The small red circle shows where the center of the innermost triangle
is. As we can see in this figure they coincide. This is not the case for most Sri Yantras.

37
Figure 7
Sri Yantra that doesn't meet the
concentricity criteria.
Figure 7 shows an example of a Sri Yantra where the center of the innermost triangle doesn't
match perfectly with the center of the outer circle. The green dot (center of the innermost
triangle) is not aligned with the center of the red cross (center of the outer circle).
The Third Key: Equilateral Inner Triangle

Figure 9
Equilateral triangle as the expression of
Rishi, Devata, Chanda.

The equilateral triangle is a perfect and minimal structure. It is the simplest, strongest and
most fundamental structure in geometry and computer graphics. It has the highest degree
of tensegrity for a minimum amount of structural elements. That is why it is so prevalent in the
structural designs created by Buckminster Fuller. This is also why the geodesic dome, a
spherical structure composed of small triangles is the only man-made structure that becomes
proportionally stronger as it increases in size.

38
The Sri Yantra symbolizes, among other things the unfoldment of creation. The bindu
represents the unmanifest, the silent state. The next level in the expression of the Universe is
represented by the innermost triangle. This level represents the trinity of rishi, devata, chanda,
or the observer, the process of observation and the object being observed. At this point the
symmetry of creation is still intact and will be broken when it reaches the next level which
represent the grosser aspects of the relative.
This reflects the unfoldment from unity to trinity as expounded in the Vedic literature.
According to the Veda the Universe becomes manifest when unbounded awareness becomes
aware of itself. The spark of self awareness ignites creation. At this point Unity divides into the
trinity of rishi (the observer), devata (process of knowing) and chanda (the object of
perception). The same idea is also found in the bible as the principle of the holy trinity.
The central triangle is the central lens of the Sri Yantra. If as some suggest, this pattern is
capable of emitting a significant amount of subtle energy, the importance of having a well
balanced and centered figure becomes obvious.
For these reasons we believe that the central triangle should be equilateral in an optimal Sri
Yantra configuration. For this to happen the highest down pointing primary triangle must have
an angle of 60 degrees (see figure 9 and 11).

Center of Mass

39
Figure-10
Left: Figure with Concurrency criteria only. Center: Figure with Concurrency and concentricity.
Right: Figure with Concurrency, concentricity and equilateral central triangle.
Now lets see if we can find ways to confirm the idea that we are getting closer to a perfectly
balanced configuration. Another measure of overall balance of a structure is the center of
mass. This is the point in the geometry where it would balance if it was a solid object.
Figure 10 shows a detail view of the central triangle of three different Sri Yantras. The left
figure shows a configuration where only concurrency is achieved. In this case the bindu (red
dot), the center of the outer circle (green dot) and the center of mass (blue dot) are not
aligned.
The central figure shows a Sri Yantra that achieves concurrency and concentricity. As a result
the bindu (red) and the center of the outer circle (green) overlap nicely. The center of mass
still doesn't overlap however.
On the right we see that for a figure drawn with the three criterion that we have suggested
(concurrency, concentricity and equilateral central triangle), the three centers overlap and we
have a perfectly centered and balanced figure.

The Sri Yantra from Sringeri Temple

The Sringeri temple in India claims to have the oldest Sri Yantra. This temple is one of the four
pillars founded by none other than Shankara during the first millennium. Assuming that older
Sri Yantras are closer to the original configuration lets see how this Sri Yantra compares to
our optimal version. Obviously it is not possible to be certain that it is the oldest Sri Yantra on
Earth but it is certainly older than most of the versions available. The shape of the petals and
the bhupura are good indicators that it is a old Sri Yantra configuration.

Figure 11 shows an alleged picture of this Sri Yantra and a diagram that was drawn from the
picture. Taking into account the distortions caused by the camera and printing we can see that
the figure has many of the same characteristics as our optimal figure. The bindu is well
centered and more importantly the centermost triangle has an Since the Sri Yantra is based on
triangles it is very appropriate that there are currently three main ways to represent this
figure. The first and probably the most common is the plane form, which is what we have been
looking at so far. More pictures of the plane form can be seen here.

The second is the pyramidal form called Meru in India. Mount Meru is a mythical mountain. So
named because of the mountain shape of the figure. More pictures of pyramidal Sri Yantras
can be seen here.

The third and rarest form is the spherical form or Kurma. Kurma was the second incarnation
of Vishnu, the turtle incarnation. This refers to the similarity between this form and the shell of
a turtle. It is interesting to note that there seems to be some confusion with the use of these
two terms. The pyramidal form is often wrongly referred to as Kurma. This form is the rarest
because of the extremely high level of difficulty involved in generating it. We have not yet found
a correct physical representation of a spherical Sri Yantra. There are many attempts but very
few have succeeded. Pictures of spherical Sri Yantras can be seen here.

The Optimal Sri Yantra

40
As we have mentioned earlier, drawing a Sri Yantra with minimal errors at the intersections is
in itself a good challenge. If on top of that we add the two additional criterion that we have
proposed (concentricity, and equilateral inner triangle) then it would probably take a lifetime of
trials and errors to achieve such a figure. But thanks to computers and mathematics this can
be achieved in the blink of an eye. To achieve this result however, the figure needs to be
converted into a simultaneous equation and then solved for the required constraints. For more
on this topic take a look at the excellent paper from C.S. Rao. Once this is done we can then
shape the figure according to the different criterion described above to obtain an optimal figure
where the errors at the intersections are minimal, the figure is perfectly centered and the
innermost triangle is equilateral.

41
 Chapter 5
Context

Traditional Indian architecture is extremely simple and straightforward. Simple techniques of

construction were utilized to build some of the glorious and magnificent buildings that have
withstood the test of time. Structural elements like columns and beams were carefully
integrated within the buildings to meet the needs of religious and cultural traditions.
The vast freedom available to the sthapaka and sthapathi in the design of temples and other
spiritual buildings resulted in the development of overwhelming wealth of architectural
elements, variety of sculptural forms and decorative exuberances that has become the
everlasting symbol of Indian Temple Architecture.

The shikhara remains the most outstanding element of the temple and the gateway is usually
modest. The prakaras or the walls surrounding the garbha griha were built around the whole
complex and were oriented to the cardinal directions. These enclosures had elaborate and
magnificent gateways (gopurams) that led the devotees into the sacred courtyard.
A temple is the seat of divinity and is also a sacred institution that aims at giving mental and
physical solace to the devotee. The Garbhagruha (Garbhagudi) or sanctum sanctorum
encompasses the center or the nabhi of the superstructure. From the square shape of the
Garbhagruha to the finial (which is a point) is the shikara.
This curved form is identified in modern times as the pyramid. The shikara normally refers to
the superstructure of the sanctum sanctorum and is the most important part of the temple.

42
The pyramidal superstructure has a number of storeys. The shikara can be a square, circular,
hexagonal (6 sides) or octagonal (8 sides).

The vertical growth of Shikara is also sometimes used to designate the whole superstructure
of the temple. The term Shikara is frequently mentioned at several places in the great epics
Ramayana and Mahabharata when referring to the ‘Prasada’ or temple. While the shikara
generally refers to the curvilinear vertical growth of the sanctum sanctorum, the gopurams or
gate towers refer to the gateways to the various enclosures and a temple. These are also
pyramid shaped and the cross-section is reduced as they go up.
Generally the pyramidal superstructure has four or eight triangles joined if the garbha griha
was square (or rectangular) and round shaped if the sanctum sanctorum was circular. The
superstructure was solid or hollow. The shikhara generally comprises of three parts:
. The recessed storeys
. Enclosure surrounding each storey.
. The dome (stupi or kalasa) rising above the last storey (also called the Vimana or Harmya)
In certain temples the shikara is formed by placing a flat roof on four pillars. Another slab is
placed over the shikara. Slab upon slab diminishing in size as they go up are placed one above
the other, topped by a perforated ring stone, known as the amalaka, forming a step pyramid.
The added weight of the slabs keeps the roof in position. Many a time an upper chamber for the
shrine was introduced for greatly reducing mass and weight.

The surrounding walls around the sanctum sanctorum, which have gateways or gopurams,
also have pyramid shaped roofs with diminishing tiers as they go up, with the outermost
enclosure referred as mahamayada. The immediate enclosure around the garbhagriha, known
as the Prasada towers above it like a pyramid with diminishing tiers and is also known as the
shikara.

43
The celestial power drawn through the shikaras gives the deity effulgence and metaphysical
power. The shikara apart from being a roof for the sanctum sanctorum is also a symbol of
divine sanctity giving significant emphasis to the garbhagriha and the principal deity of the
central divinity. The top of the shikara tapers to a finial and is known as the kalasa or stupika.
One of the learned writers on Temple architecture says that the height of each storey of the
pyramidal superstructure diminishes in arithmetical progression, being one-fourth or one-
third less than the lower storey, the ground floor not being included. Pyramids
Pyramids are synonymous with Egypt. In recent times these structures with four triangular
sides standing over a square base have entered the domain of Vastu and are being prescribed
for many of the imbalances of a building – residential or business. Egypt is a land of pyramids
and we have Egyptologists and pyramidologists doing research and throwing light on the
antiquity and mystery surrounding them. Egyptologists are archaeologists who specialize
studying the ancient Egyptian artefacts.

The term pyramid is derived from the Greek words pyra meaning fire, light, or visible, and the
word midos meaning measures. It is also translated to mean fire at the center. This word
perhaps denotes the great hidden power of these structures with a square base and four
triangular sides that rise upwards to a finial.

Even though Egypt is synonymous with pyramids, we find them in other parts of the world such
as China, Mexico, Spain, France, Siberia, Central America, Greece, Cambodia and other
countries. The pyramids of Egypt are traced to at least 4000 years back. The Giza pyramids of
Egypt date back to about 2500 B.C.
The Giza pyramids are generally identified with three major pyramids – Pyramid of Cheops
(Khufu) or the Great Pyramid, the pyramid of Chephren (Khafu) and the pyramid of Mycerinus
(Menkaure). This apart the area spread over thirteen acres of land has six or more smaller
pyramids. A remarkable feature of the Giza pyramids is that they are aligned with great
precision to the cardinal directions.
The lengths of the four sides of the base of the Great Pyramid are amazingly equal measuring
an average of 755.5 feet. The great pyramid, known as the eighth wonder of the world is said to
have been built over a period of several decades using 2.3 million limestone bricks weighing
an average of two and half to fifteen tons each.

It rises up to a height of 481 feet. Several theories are put forth on how such these giant blocks
were put in place to create the perfect pyramid. One theory tells us that a ramp, straight or

44
spiral, was raised as the construction carried on. These ramps helped in pushing up the blocks
into place.
The entrance to the great pyramid is on the north. The pyramid contains four chambers. The
King’s Chamber, lying at a height identified with the pyramid’s center, can be reached only
through a narrow passage located at the northern face. A number of corridors, galleries and
airshafts lead to the chamber.
These pyramids served as burial places for the Egyptian Kings known as pharaohs. A series of
other chambers are found above the King’s chamber. Each side of the Great Pyramid rises at
an angle of 51 degrees 51 minutes to the top. Not only that, each of the sides are aligned almost
exactly with true north, south, east, and west. Vastu texts consider the proper orientation to
the cardinal directions as of great significance while referring to the Yoni aspect of the Ayadi
Shadvargas.

There are many similarities between the Hindu Shikaras and the Egyptian pyramids. We have
referred to Step pyramids. In fact, they are similar to the shikaras with the diminishing storeys
that is considered in Vastu Shastra. While the Shikaras drew the cosmic energies into the
garbagriha to flood the sanctum sanctorum with divinity, the pyramids drew the cosmic
energies to preserve the bodies of the Pharoah Kings who were considered divine.
In the villages of India, we even find huts that have tops in the shape of pyramids. It is
interesting to note that while pyramids are said to keep foodstuff fresh, the prasadams and
other offerings in the garbhagriha or sanctum sanctorum of a temple also remain fresh for a
long time.

Whether you call it a shikara or pyramid, it is a fact that the shape of these structures
influences the flow of energy from the universe and this energy helps in enhancing the overall
quality of our life. The most important thing to recognize is that many of their architectural and
construction features are similar to that used in Indian temples built thousands of years ago.
It appears that in earlier times people from Egypt and possibly from various other countries
did travel to India to learn about its architectural and construction features. A look at the
pyramids clearly reinforces the fact that there was a compatible interaction and understanding
between the cultures of Egypt and India in the science of Vastu Shastra.
https://www.indiadivine.org/vastu-temples-and-pyramids-in-vedic-context/
What is Vastu Yantra? Where Should We Keep Vastu Dosh Nivaran Yantra?

A Vastu yantra prohibits negativity from entering the home. It spreads a protective shield
encompassing the home and thereby brings positivity into the home. It fights against the
negative forces of the environment and helps maintain harmony within the members of the
family.
The Vastu yantra is a harmless tool with no bad effects and can be kept in homes, offices,
factories or any other place of your liking. However, this article will guide you through the
details of Vastu dosh nivaran yantra and where you can place it at your home to get fruitful
results.

All You Need To Know About Vastu Yantra

What is Vastu Dosh Nivaran Yantra?
The Vastu dosh nivaran yantra is the messiah for all those families who have built their home
on disputed lands and are struggling to find a balance in their life. Vastu dosh is a major issue
if not solved while planning a home can bring you down the ladder of life.

45
But it certainly is not possible for everyone to construct their homes following all the Vastu
principles. Especially for people living in flats and apartments, it is impossible to construct a
home according to Vastu. You have to rely on Vastu remedies to rectify the Vastu dosh already
made while building the home.
Initially, understanding the effects of Vastu dosh is difficult. But as days pass, it starts to shade
its shadow on the lifestyle of the inmates. Leading a peaceful life gets fully disrupted when you
live in a home having Vastu dosh. Vastu has the power to make and break homes. However,
after knowing about Vastu dosh, you cannot apparently deconstruct your home again.
The Vastu dosh nivaran yantra comes to the rescue in those cases. It pulls the perfect balance
between the three-dimensional geometrical energy field and removes all negative aspects
from the home. It promises to bring wealth, peace, happiness and harmony in the home apart
from maintaining proper health of the inmates. Having this yantra at home, brings in a lot of
changes in life.
The Vastu yantra has an appearance of square shape and is made up of ashtadhatu. In Hindu
astrology the ashtadhatu is of great significance. It is the compilation of all the five metals of
nature i.e., gold, silver, copper, brass and iron. The presence of all these metals in the Vastu
yantra helps it neutralize all the power force and therefore, peace prevails inside the home.

Where should we keep Vastu dosh nivaran yantra?

The right place to keep the Vastu yantra for home is to keep it underground. Yes, you should
dig the soil of your home before the construction of the home and put it inside. In case you are
living in a flat or apartment here are the right directions to keep the Vastu dosh nivaran yantra:
According to the common rule, the northeast direction is the best place for keeping the Vastu
dosh nivaran yantra. North-east corner is the direction for worship. The sun shades its first
ray of light on the north-east direction after rising. It is said that when the morning sunlight
falls on the Vastu yantra through the window, the yantra works more effectively.
Mount the yantra on the southeast wall of your home. Beside or above the yantra, add a wall
mounted lamp for it to get light all the day and night. The southeast direction is considered a
feminine safety spot. Having the yantra on that part of your home will ensure the wellbeing and
safety of the women of your home.
You can keep it anywhere, but never opposite a mirror or glass. As far as the reasons are
concerned, we guess you are already aware that mirrors in astrology have equally positive and
negative after effects. If you keep the yantra opposite to a mirror, then the mirror will reflect
back all the energy that it tries to flourish on the home.

46
 It will be of no use if the energy is restored back to the place from where it is coming from. You
will get no visible result even after investing in the Vastu remedy tool. There are a lot of Vastu
yantra images available on the internet where it is shown that yantras could be kept in front of
the mirror. Do not get influenced by them, as all of it is just decoration and not for real.
Vastu yantra can also be hung on the door. Just like you put a swastika or om on the door,
adding a Vastu dosh nivaran yantra, will also be an effective way. It can act as a decor item and
at the same time will help to restrict the negative energies from entering your home’s
periphery. The ashtadhatu present in it will prohibit the evil eyes from shading an ill effect on
your family.
As the main place to keep the Vastu yantra is under the ground. People tend to think a pot will
be the best place to keep it and they bury it inside the pot. But that is not the right place at all.
There is a difference between, burying a tool under the ground and inside the pot. You can
instead, place it on a table at the corner of your drawing room. Check living room colour ideas.

Note this point!

There are several views of different people about the right place to keep the yantra. But we
would recommend you to consult an astrologer to seek his advice about the same. Though
there are only positive effects and zero side effects of the yantra, yet for a subconscious
satisfaction, consulting an astrologer will be the perfect decision.
Hope this writeup has been helpful for you and will help you in having a harmonious, peaceful,
healthy and happy home!

Vastu Tips for Bathroom Vastu Tips for Designing House Temple Colour as
Mirror Drawing Room Per Vastu

Bungalow Planning as Check Vastu of Your

L Shaped House Vastu Design
per Vastu House

Frequently asked questions

• Where should I keep Vastu Yantra at home?

Ideally, vastu yantra should be kept under the ground. If that is not possible then you should
place it on a table in the drawing rooms corner.

• How does vastu dosh nivaran yantra help?

The vastu dosh nivaran yantra helps in achieving good health, prosperity, happiness, harmony
and peace.

• Does vastu yantra eliminate negativity

Yes, vastu yantra helps in eliminating negativity and acts as a protective shield.

47
Pyramid-shaped roof of the pooja room
Vastu for Pooja Room in House (Best Direction, Colors, Design, Door etc.)
• Storage Considerations for the Pooja Room
• Carefully Select the Wall and Floor Colours
• Lights for the Prayer Room
• Doors for the Pooja Room
• Additional Accessories for the Pooja Room
• Areas to Align Your Sacred Room In
• Vastu Tips
Vastu Shastra lays down the foundation for building the pooja rooms in our houses. These
spaces play a vital role in Indian homes, and they ought to be placed in a sacred way to attract
all the positive energies. Our Vastu tips for the your pooja rooms take into consideration the
direction, colours, design, and materials.
Vastu Plan for Pooja Room
Location of the Prayer Area
The North-east, East or the North directions are preferred for constructing a pooja room.
These directions are considered the most auspicious. Avoid placing the pooja rooms beneath
the staircases and next to the toilets to ensure zero negative energies.

48
 Ground floor
pooja room is ideal
Ensure correct placement of the pooja room
Ideal Design for a Pooja Room
Ideally, in order to follow Vastu for a pooja room in flats, make sure you have a pyramid-type
structure of the ceiling. This roof looks like a gopura of a temple. Such a design ensures
attracting positive energies in this space.

Consider Deciding the Level of the Pooja room

According to the vastu for pooja room in flats, these spaces should be built on the ground floor
of the house. According to Vastu principles, the pooja room should not be in the basement or
on the elevated floors. Avoiding such placements brings in maximum positivity and good omen.

Positioning the Idols Inside the Prayer Room

Preferably, it is said that one should avoid placing idols inside the prayer room. But if you want,
ensure that it is not more than 9 inches or less than 2 inches in height. The idols should be
kept slightly away from each other to ensure proper flow of the air. The feet of the idols should
be at the chest level while praying. The position of the idols should be such that one faces the
East or North while praying.

Idols should reach the chest level during prayers

Storage Considerations for the Pooja Room
Make sure to align the storage in the South or West directions to ensure uninterrupted
sunlight in the room. Prayer books, wicks, lamps, etc. shall not be jumbled up and not placed
over the idol. The reason is to create a de-cluttered worshipping environment.

49
Ensuring light-coloured walls and floor

Proper placement of the diyas and wicks

Carefully Select the Wall and Floor Colours
Serene colours like light blue, white, and pale yellow shall be chosen for the pooja
room. White or cream-coloured marble is recommended for the floor to ensure better
reflection and a brighter room. It's best to avoid dark colours.

Lights for the Prayer Room

Have a provision of a window in the northeast to allow natural light to seep in. Diyas
and lamps would be there in any prayer room, but you can add artificial lighting too.
This would increase the radiance of the sacred

place. Proper
lighting for the sacred room
Doors for the Pooja Room
Your sacred place should have doors made of wood. These doors should have two-
shutters and a threshold to avoid insects. The direction of the idol shall be away from

50
the entry door of the prayer room.

Double shutter wooden door for the

mandir
Additional Accessories for the Pooja Room
As per pooja room Vastu, images which display negative energies like death, war, etc.
shall not be kept in this place. Avoid placing a dustbin in the area. Place copper
vessels to collect as much water as possible.

No negative accessories to be placed

Areas to Align Your Sacred Room In

You can align the pooja room in the kitchen or the living room. Ensure that the
direction should be northeast of the home. If you feel like building the mandir in your
bedroom, make sure to install it in the north-east of your bedroom. Your feet should
not point to the pooja room while sleeping.

Pooja room in the living room

It's always recommended to follow a Vastu expert’s guidelines to make sure all the
intricacies of Vastu Shastra are taken care of. Still, if you follow all the above Vastu
Tips, you will attract health, prosperity, and happiness.
Vastu Tips
Vastu Vastu Plan for West Facing Griha Pravesh Vastu for Couple
Shastra East Facing House Vastu Muhurat in 2021 Bedroom
Plan

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 Sleeping
Vastu Vastu for Kitchen Colour Mirror Placement
Direction as per
Dosh Bathroom as per Vastu as per Vastu
Vastu

Vastu for Vastu Tips for Vastu Tips for Bedroom Colour
Vastu Pyramid
Home Money Career Growth as per Vastu

Ancient Vastu Planning and Natural Disasters

The natural calamities (earthquakes, tsunamis and cyclones) in Pakistan, Indonesia, the
coastal belts of Sri Lanka and India and earlier in Gujarat and in Orissa have left hundreds of
thousands dead and homeless. Many of these people are yet to put their lives and properties
together.

Were our ancient masters who laid down the laws of Vastu not aware of the destructive
powers of natural calamities? Did they not think of these phenomena when they wrote their
texts?

They did think of earthquakes, tsunamis, cyclones and other natural calamities when they gave
us information about ways and means of construction. They spoke of soil evaluation before
construction began. They believed that a foundation of a building was much more than a
combination of bricks, mortar, concrete, steel etc. They felt that laying a foundation was a

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symbolic homage to Mother Earth by man and every possible care to strengthen it was
necessary.

Depth of Foundation

They particularly talked about depth of a foundation (bhumilamba). In fact ancient treatises on
Vastu Sastra have customarily advised a foundation that is equal to a man’s stature plus his
length of hand. Today’s engineers tell us that six to seven feet of foundation is necessary for a
normal height building to be firm and secure. Our masters also highlighted the importance of
the base (adhishtana) being as high as the foundation.

They spoke of the importance of pillars and columns in making a building strong. They talked
about decreasing heights for each floor of the building. We notice that ancients built multi-
storeyed buildings such that the height of each floor slowly reduced as they went up. In fact
Brihat Samhita of Varahamihira tells us the each floor should be less than the floor below it by
1/12th its height. They may have deduced that during an earthquake or other natural calamities
such a building could sway but not fall.

Earthquakes themselves do not kill people, but badly constructed buildings do. Being aware of
this fact our ancients gave importance to every aspect of foundation including the materials
used. They spoke of the need to vibe with Nature by using construction materials like bricks
(Ishtika), stones (Sila) and wood. The ancient classical texts also spoke of wood as basic
material not only for doors, windows, and cabinets but also for structures too. In fact it is
commonly known in engineering that wood absorbs shock evenly and a house built out of
wood is unlikely to collapse. Wood and steel are said to be ductile and less prone to seismic
disturbances.

Importance of spacing out buildings

Our ancients while speaking of buildings have highlighted the Paisacha zone of a mandala.
They divide an area into four concentric zones. The inner zone is Brahma, the next is Daiva, the
third zone is Manushya and the fourth zone is Paisacha.

They have very clearly specified construction on the Daiva and Manushya zones and totally
disapproved of construction on the Paisacha. To apply this to present times, we need to
construct the building away from the compound so that it does not touch the neighbour’s wall.

Modern Engineering tells us that adjacent buildings should be separated by sufficient distance
to prevent hammering each other in case of seismic disturbances!

Structural and Sital Shapes

Another important uncompromising thumb rule of our masters of wisdom was in respect of
the shape of a structure. Our ancient writers have invariably recommended square,
rectangular, circular and other regular shapes. Irregular shapes have been prohibited. The
square (Chaturasra) is the fundamental, essential and perfect form of Indian Architecture. A
square presupposes the circle and in fact results from it. Expanding energy shapes the circle
from the center and then establishes itself in the shape of a square. In a square, the primary

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elements of Nature (Pancha Mahabhootas) are also said to be in perfect balance The
Chaturasra, because of its perfect shape is considered sacred and superior in Indian
Architecture. We find today’s engineering principles telling us that geometric shapes like
squares, rectangles and triangles disperse seismic forces equally in all directions and are
therefore safe in the case of natural calamities. Irregular shapes result in uneven distribution
of forces thereby making buildings prone to collapse!

The recent earthquakes, tsunamis and cyclones saw most modern buildings collapse. Yet
these devastating forces of nature could not disturb many temples built hundreds of years ago
based on certain principles of construction as rooted in Vedic tradition. Are these not proof of
the great scholarship of our ancient masters of architecture? Are these not proof of the fact
that they were aware of many of the known and unknown laws of Nature and their relationship
to man and his buildings?

Disturbing Energies

Generally Vastu refers to the energies from the North-west and South-east as disturbing
energies It is pertinent to note here that the earlier earthquakes of Gujarat and Seattle took
place in the northwest of India and America respectively. The earthquake in Indonesia at the
fag end of the year 2004 that devastated crores worth of property and killed more than
1,50,000 people spread across 12 nations. The tidal waves generated by the earthquake
travelled northwest to the coastal belt of Tamil Nadu, Orissa, Sri Lanka, Andaman and Nicobar
and other places and killed thousands of innocent people.

A careful observation reveals that the tsunami tidal waves moved along the North-west-
South-east diagonal to hit India and Sri Lanka. The powerful earthquake this month that rocked
parts of Pakistan and India and caused enormous damage to lives and property occurred to the
northwest of India.

Summing up, the ancient masters of Indian architecture took into account all aspects of
celestial and terrestrial nature – cosmological, philosophical, metaphysical, astronomico-
astrological, geographical and geological- to make man live in harmony with Nature and Her
laws!

Our architects and engineers have just to take what our Vedic seers have handed over to us on
a platter and apply it to the modern buildings and layouts so that the residents live in security,
safety and happiness.

~ by Niranjan Bangalore & Raman Suprajarama

a) Shree Yantra Temple Amarkantak-Location – Amarkantak, Madhya Pradesh (India)

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 This temple is under
construction keeping in mind all aspects of the ancient traditional knowledge of Shree Vidya.
Its geometry matches exactly with Swarna Shree Yantra. The construction is carried only on
certain days in various phases in accordance with auspicious moments/ star constellations on
the basis of the Hindu calendar.

55
 •

b) Golden Temple Sripuram, Vellore-Location – Thirumalai Kodi, Vellore, Tamil Nadu (India)

56
The remarkable Sripuram design portrays Shree Yantra. It covers messages from famous Sri
Sakthi Amma along with messages from other faiths and religious leaders.

c) Shri Jagannath Temple, Odisha-Location – Puri, Odisha (India)

The most
famous temple of East India, it is also one of “Chaar Dhams”. It is mentioned in Shri
Latitasahastranam that-

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Shri Jagannath Temple is Shree Yantra. Shree Yantra is engraved in Jagannath Temple’s
Ratnavedi where idol of Shri Lalitha Amba with her four arms is seated.

d) Shree Yantra Mandir, Haridwar-Location – Haridwar, Uttarakhand (India)

58
The Shree Yantra Temple is one of the most honoured Shakti Upasna Kendra. The temple is
visited by large number of people daily and during festivals.

e) Dhyani Temple, Nikona (Surat – Gujarat)-Location – Nikona, Surat, Gujarat (India)

This Shree Yantra shaped temple is situated on the banks of river Narmada and is an important
centre for mediation. It is built under directions of Shri Anandima for meditation and yoga.

f) Maha Meru Temple, Thanjavur –Tamil Nadu-Location – Thanjavur, Tamil Nadu (India)

This temple resembles ancient temples of the 11th century with the incorporation of the Maha
Meru sculpture on the roof, located above the dome of the temple.

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g) Shree Chandrabadni Temple, Tehri Garhwal – Uttarakhand-Location – Tehri Garhwal,
Uttarakhand (India)

Shree Chandrabadni Temple is located on the place where torso of Goddess Sati fell while
Lord Shiva was taking away her burnt body. Her weapons were also scattered over the place.
Idol of goddess Sati is not present but a Shree Yantra carved on a flat stone is worshipped in
the main shrine.

Besides these,-h) Shree Yantra is engraved on main pillars of Abu’s famous Delvada Temple

i) Shreee Yantra exists on the doors Rajasthan’s famous Osiya Mata Temple

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j) On main doors of Pashupatinath Temple, Nepal also Shree Yantra is carved.

K) Shree Yantra is placed in foundation of India’s most famous Tirupati Balaji Temple

l) Worship of Shree Yantra and Shree Vidya has continued since all four Peethas of
Shankaracharya- Adi Shankaracharya being devotee of lord Shiva was also a great devotee of
Goddess Maa Latitha Tripur Sundari.

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 Chapter 6
Hindu Jain Tantric Temples in Amarkantak
Madhya Pradesh
There are 2 temples here one Hindu to the Goddess and the other to Mahaveer, the
Jain Tirthankar or Saint
The Hindu one is a The Maha Meru Shree Yantra temple .

Bhuvaneshvari (Bhuvaneshwari;( Sanskrit: भुवनेश्वरी, Bhuvaneśvarī) is the fourth amongst the

ten Mahavidya goddesses in Hinduism, and one of highest aspects of Mahadevi as elements of
the physical cosmos in giving shape to the creation of the World. She is known as Adi
Parashakti. Her consort is Bhuvaneswara.
The word Bhuvaneśwari is a compound of the words Bhuvana Iśwari, meaning "Goddess of the
world" or "Queen of the universe", where the worlds are the tri-bhuvana or three regions
of bhūḥ (Earth), bhuvaḥ (atmosphere) and svaḥ (Heavens).
Goddess Bhuvaneswari is the fourth of the ten maha vidyas in Tantra and Puranas.
She is the creator of universe and worlds (bhuvanas). She is not only the creator of the
heavens but also the one who eats and nourishes in it. Becomes a supporter. And her name is
Jagath Dathri. She is the ruling force of the universe.
Goddess Bhuvaneshwari is mentioned as Mahamaya also known as the mool prakriti. That is,
the active nature of the creation of the universe. She represents the prakriti,amog two main
forms of Brahman, purusha and prakriti . Bhuvaneshwari is the Empress of all creation. At the
beginning of the universe she gives birth to Gopala Sundari and performs all other functions
through him. Gopala Sundari is none other than Lord Krishna. In todala tantra she is known as
adhya.
Through her the Five Prakritis are revealed.
Durga
Lakshmi
Saraswathi
Gayatri
Radha are the five prakriti goddesses . Her various forms are enjoyed in conjunction with the
Universal Absolute Men through his support. Nature is the source of energy in the physical
world. She is the Creator of all beings under the supervision of the Absolute God. The active
energy of inactive purusha. Everything is born in her and in the end everything is dissolved in
to Bhuvaneswari (Adhithir Jatham Adhithir Janithvam).
LEGEND: According to Srimad Devi Bhagavatam during the beginning of time the Tridevas –
Brahma, Vishnu and Rudra did not know who they were and what was their purpose. At this
time a flying chariot appeared before them, and a heavenly voice directed them to board the
chariot. As the Tridevas boarded the chariot and it started flowing with mind's speed and took
them to a mysterious place, which was an island of gems surrounded by ocean of nectar and

62
pristine sylvan forests. As they stepped out of the chariot, the Tridevas were transformed into
women, much to their astonishment. As they explored the island they came across an Imperial
city protected by nine enclosures and guarded by
fierce Bhairavas, Matrikas, Kshetrapalas and Dikpalas. As they entered the city they were
amazed by its prosperity and soaring infrastructure and finally reached the Imperial Palace
known as Chintamanigriha, guarded by Yoginis. For this was Śrīpūra (alias Devipattana), the
capital of Devi Bhuvaneshvari, the Empress of Manidvipa, the abode of Adi Parashakti. When
they entered the palace they witnessed Devi Bhuvaneshvari, the queen of all worlds.[1]
Her complexion was red. She had three eyes, four arms, braided hair and was clad in red
ornaments. She wore a garland of lotuses and Her body was anointed with red sandalwood
paste. She held a goad and a noose with Her left hands, while her right hands displayed abhaya
and varada mudras. She was decked with ornaments and wore a crown with a digit of crescent
moon as crest jewel.
She was seated on the left lap of Bhuvaneshwara. Before creation while intending to sport, the
Devi Bhagavati divided her body into two parts and from the right part created
Bhuvaneshwara. He was of white complexion, wore white garments and was decked with
ornaments. His hair was matted and was decorated by a crescent moon and Ganga. He had
five faces each with three-eyes, and four arms, holding a trident and a battle-axe while
displaying varada and abhaya mudras.
The Divine Couple was seated on Panchapretasana, a throne which had Paramashiva as plank
while Sadashiva, Ishvara, Rudra, Vishnu and Brahma were five legs. They were being served by
many Yoginis, some fanning them, some holding mirror, some offering betel leaves flavoured
with camphor, some offering a drink made by mixing honey, ghee, wine and coconut water.
Some were ready to dress Bhuvaneshvari's hair, some ready to do makeup, some busy
stringing garlands while some singing and dancing to entertain Devi.
The Tridevas witnessed millions of universes each with their own Tridevas, in the sheen of
Bhuvaneshvari's toe-nail. Some were getting created by Brahma, some getting sustained
by Vishnu while others getting annihilated by Rudra.
Bhuvaneshvari enlightened the Tridevas with Her greatness. Trayambaka is Brahman while
Bhuvaneshvari is Brahmashakti. Though they appear distinct, both are of the nature of one
another. Trayambaka is Adipurusha while Bhuvaneshvari is Mulaprakriti. To help Trayambaka
perform his three-fold Lila, Bhuvaneshvari has created three forms of him-
Brahma, Vishnu and Rudra. Thus, Tridevas are forms of Trayambaka. Thereafter
Bhuvaneshvari gave her shaktis. First Saraswati to Brahma. Further Devi said "Oh Brahma ,
take this Saraswati, She will be your consort. Create a new world by Her powers." Then after
she gave Lakshmi to Vishnu and said "Lakshmi will be your eternal consort and will
accompany you in your earthly incarnations." "Oh Lord Rudra ,Take this beautiful Mahakali .
She will be your consort.” Tridev then departed to their respective places.
Brahma with Saraswati created an cosmic egg and Rudra with Uma split it, exposing
the Pancha Bhootas. Brahma with Saraswati fashioned the universe from Pancha Bhootas,
and Vishnu and Lakshmi sustain it. At the end Rudra with Kali will annihilate the universe so
that Brahma and Saraswati can start afresh.
Once, Lord Brahma, Lord Vishnu and Lord Shiva were involved in an argument about who is
the most powerful and supreme of the three. Their debate became so intense that it disturbed
the peace of the heavens and worried the Gods. That was when the beautiful Goddess stepped

63
in to intervene and cease the dispute. She took the Trinity of Gods to her idyllic abode and led
them to her beautiful chamber. There, Goddess Bhuvaneshwari enlightens them that she is the
creator of the entire universe as it is created out of her and ends in her. She is responsible for
protecting it from devils. She has created many elements and gave life to all the Gods, sages
and all living beings.
She had also created many worlds, such as Satyalok, where Lord Brahma lives. It is the most
supreme place of all the worlds where the inhabitants are free of life and death cycle. Then
Taplok came into being, where the soul, including the body, resides. The inhabitants there wait
for Satyalok to take shape. Gyanlok then was formed where the place had the presence of
ascetics who were the inhabitants. Maharlok came into being where after the harsh penances,
the sages and ascetics have a place to live. The sages who live in that place has the power
equal to Gods. That is why all the sages live in that place. Then comes Anandlok, which is
Swarglok, which is the residence of Gods and virtuous beings. Next, Bhuvarlok was formed
where the sun and planets are positioned. After Bhuvarlok came Bhulok, where mortal and
other living beings live.
The worlds beneath Earth came into being, the first being Atal Lok in which it is the home of
revelry and all the wealth of the planets in accumulated there. Then came Vital Lok, where the
beings of the earth stay there to mine gold and other elements. Just like Atal Lok, Vital Lok is
centred on earthly riches. Then through King Bali, the king of demons, Sutal Lok came into
being. Talatal Lok came into existence and below that, Mahatal was created in which it is
Naaglok, the home of all serpents and snake girls. Further down below is the realm of demons
and monsters, named Rasatal. Finally, below all the worlds, then originated Patal Lok where
Vasuki, the King of snakes lives. This is the foundation of all the other realms.
Then, Brahma, Vishnu and Mahadev witnessed millions of universes each with their own
person, in the sheen of Bhuvaneshwari's toe-nail. Some were getting created by Brahma,
some getting sustained by Vishnu while others getting annihilated by Rudra. Bhuvaneshwari
enlightened the Tridevas with Her greatness.
TEMPLES LIST

Bhuvaneshvari worshipped with other Mahavidyas in a Kali Puja pandal in Kolkata.

64
There are several temples dedicated to Bhuvaneshwari across India. In South India most of
the Srividhya tradition upasaka worship her. In Kerala she is also popular among Shaktas.

• There is a temple dedicated to Bhuvaneshwari Amman in Coimbatore at Nanvur Piruvu,

Vadavalli, Coimbatore
• A Shakti Peetha is located in Nainativu (Manipallavam) – off the shore of the Jaffna
Peninsula in Northern Sri Lanka.
She is worshipped as the patron goddess of Bhubaneswar and by Utkala Brahmins of Odisha.

Bhuvaneshwari riding on a lion, Bekhli. Dec '17// Annual Bhuvaneshwari Puja at

Chandannagar, India (2018)

A Natmandir dedicated to the goddess can be found in Hatkhola Chandannagar where the
goddess is worshipped annually for a month in the month of Sravan. Here the image of the
goddess is built in traditional Bengali style flanked by Shiva and other gods.

• Another temple dedicated to Bhuvaneshwari is located in Pudukkottai, Tamil Nadu.

• A small shrine is also dedicated to her inside Jagannath Temple, Puri and Devi Subhadra is
worshipped as Bhuvaneshwari.
• The Samaleswari shrine and Cuttack Chandi Temple in Odisha two are dedicated to her.
• The oldest temple of Maa Bhuvaneshwari devi is located at Gunja, ta: visnagar, dist:
mehsana, north Gujarat . Where the function of Mataji's palli held on the auspicious
occasion ( Aatham of Navratri).
• A dedicated temple of Bhuvaneshwari Devi is located at Gondal in Gujarat which was
established in 1946.[2]
• Nochipra Bhagavathy-Kshetram temple located at Westhill, Calicut in Kerala is a 900+
years old temple where the main deity is Bhuvaneshwari Amma, the divine
mother. Bhuvana Iśwari, meaning "Goddess of the worlds" or "Queen of the universe"
where the worlds are the tri-bhuvana or three regions
of bhūḥ (earth), bhuvaḥ (atmosphere) and svaḥ (heavens). In this most loved

65
 form Bhuvaneshwari Amma becomes the provider and grants everything in abundance to
her devotees and is capable of turning any situations per her wishes.
• The Kamakhya Temple houses a Bhuvaneshwari shrine.
• Bhuvaneshvari is also known to be the goddess of Karnataka or Mother Karnataka
(ಕರ್ನಾಟಕ ಮಾತೆ) and the Bhuvaneshvari Temple at the historical city of Badami is one of
the oldest temples.
• There is a temple dedicated to Bhubaneshwari Devi, situated in the small town of
Jamshedpur, at a place called Telco. Locals believe the temple to be quite powerful, and
the temple sees devotees making promises of sarees to the Goddess, in return for
granting their prayers. A powerful temple of Bhuvaneshwari Amma is situated in
choorakkodu, Adoor near Vellakulangara.
• There is a temple dedicated to Bhubaneshwari Devi, situated at the bank of the river
Krishna at Bhilawadi in Sangli district of Maharashtra.

• In Northern India, Mathura the city of Krishna also has a centuries-old "Bhuvneshwari
MahaVidhya" temple just opposite to Krishna Janmbhoomi.
• One more Temple in Maharashtra, Shri shetra Audumber, Sangli district.
• In Bekhli village, Kullu district, Himachal Pradesh, there is a dedicated temple to Devi
Bhuvneshwari where she is known as Mata Bhuvneshwari Jagannathi. The temple is
constructed of wood with carvings on the exterior. Fairs are held there in respect to the
deity twice a year.
• At Lingaraj Temple in Bhubaneswar, Odisha, there is a small temple dedicated to Maa
Bhuvaneshwari.
• In North America, Bhuvaneshwari is worshipped at Parashakthi Temple in Pontiac,
Michigan.
• In Sydney, Australia, Bhuvaneshwari is worshipped at Shri Shiva Mandir in Minto, NSW.

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A geometrically symmetrical marvel-The Maha Meru Shree Yantra temple.An impressive
facade with four faces of goddess Saraswati, Kali,Lakshmi and Bhuvaneshwari facing 4
different directions and figures of 64 yoginis adorning either sides of the entrance gate
welcomed us into the Temple.I was astonished at the uncanny symmetry in every spec of
the construction.My baffled mind was soothed when the temple priest gave the insight that the
temple was a majestic three dimensional representation of two dimensional
Shree Yantra.When the two-dimensional Sri Yantra is represented in three-dimensions,it is
called Maha Meru.The temple constructed based on Shree Yantra Vidya is thus named The
Maha Meru Shree Yantra temple .

67
Shree Yantra Temple EntranceWith the Priest at Shree Yantra Temple

The temple is under construction since a long time.One interesting fact is that the construction
is carried out only on certain auspicious days of the Hindu calendar every year.Even though I
was all amazed at the celestial beauty of the temple but the patience with which the brilliance
of the temple was being carved awed me the most.

68
Symmetrical sculptures lining the Shree Yantra Temple exterior

Shri Yantra is believed to bring peace and prosperity to the mankind.I wish completion of the
temple bestows peace of mind and brings plethora of happiness ‘n’ smiles to all of us…

69
70
Sarvodaya Jain temple on the other hand is a Jain temple in Amarkantak town
in Anuppur, Madhya Pradesh. The temple construction started under the guidance of Acharya
Vidyasagar in 2006. Upon completion the height of the temple will be 151 feet, width 125 feet
and length 490 feet. Bhairon Singh Shekhawat, the former Vice President of India, laid the
foundation stone of the temple

71
The temple, is being constructed using lime and preserved stones. The temple complex
constructed without cement and iron. The mulnayak of the temple is a 24
tonne Ashtadhatu idol of Rishabhanatha seated on a 28 tonne lotus
shaped Ashtadhatu pedestal. The Rishabhanatha idol is 24 feet (7.3 m) sitting
in Padmasan posture. A statue of Mahavira weighing 71 tonne is also installed here.
The temple structure similar to Akshardham, New Delhi, covering area of 4 acres
(16,000 m2). The pink colored sandstone from Rajasthan has been used for
construction.

24 feet (7.3 m) Rishabhanatha idol

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A gorgeous, beautiful, gigantic, huge, weighing in the world 24 tonne Ashtadhatu statue of the
first Tirthankara Param Aradhya 1008 Lord Adinath lotus-crowned (total weight 52 tonnes) of
28 tonnes of Ashtadhatu has been built at Sri Sarvodaya Digambar Jain Temple. This temple is
a national and global treasure. Gyanwaridhi Acharya Shri 108 Vidyasagarji Mahamuniraj and
Sanghang dedicated this statue on Thursday, November 6, 2006, in the presence of 44 Nirganth
munificas. Magnificent artefacts, such as the temple, are being created with lime and
preserved stones. Iron and cement are not employed in the construction of this temple.

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YANTRA AT NIKORA, GUJRATH ADDITIONAL PICS

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 Chapter 7
The Architectural Element of Sri Chakra Yantra
“Sri Yantra, in its formal content, is a visual masterpiece of abstraction, and must have been
created through revelation rather than by human ingenuity and craft”.

A religious symbol is an iconic representation intended to represent a

specific religion, or a specific concept within a given religion.
Religious symbols have been used in the military in many different countries, such as
the United States military chaplain symbols. Similarly, the United States Department
of Veterans Affairs emblems for headstones and markers recognize 57 symbols
(including a number of symbols expressing non-religiosity).
The belief that a god created the universe according to a geometric plan has ancient
origins. Plutarch attributed the belief to Plato, writing that "Plato said god geometrizes
continually" (Convivialium disputationum, liber 8,2). In modern times, the
mathematician Carl Friedrich Gauss adapted this quote, saying "God arithmetizes".

Johannes Kepler (1571–1630) believed in the geometric underpinnings of the cosmos

Harvard mathematician Shing-Tung Yau expressed a belief in the centrality of
geometry in 2010: "Lest one conclude that geometry is little more than a well-
calibrated ruler – and this is no knock against the ruler, which happens to be a
technology I admire – geometry is one of the main avenues available to us for probing
the universe. Physics and cosmology have been, almost by definition, absolutely
crucial for making sense of the universe. Geometry's role in this may be less obvious,
but is equally vital. I would go so far as to say that geometry not only deserves a place
at the table alongside physics and cosmology, but in many ways it is the table.
The study of sacred geometry has its roots in the study of nature, and
the mathematical principles at work therein. Many forms observed in nature can be
related to geometry; for example, the chambered nautilus grows at a constant rate and
so its shell forms a logarithmic spiral to accommodate that growth without changing
shape. Also, honeybees construct hexagonal cells to hold their honey. These and other
correspondences are sometimes interpreted in terms of sacred geometry and
considered to be further proof of the natural significance of geometric forms.
Mathematics and architecture

82
Vastu, crafts and architecture are traditionally attributed to the divine Vishwakarma
in the Hindu pantheon.[19] Theories tracing links of the principles of composition
in vastu shastra and the Indus Valley Civilization have been made, but scholar Kapila
Vatsyayan considers this as speculation as the Indus Valley script remains
undeciphered. According to Chakrabarti, Vastu Vidya is as old the Vedic period and
linked to the ritual architecture.[21] According to Michael W. Meister,
the Atharvaveda contains verses with mystic cosmogony which provide a paradigm for
cosmic planning, but they did not represent architecture nor a developed practice.[
Vastu sastras are stated by some to have roots in pre-1st-century CE literature, but
these views suffer from being a matter of interpretation. For example, the
mathematical rules and steps for constructing Vedic yajna square for the sacrificial
fire are in the Sulba-sutras dated to 4th-century BCE. However, these are ritual
artifacts and they are not buildings or temples or broader objects of a lasting
architecture. Varahamihira's Brihat Samhita dated to about the sixth century CE is
among the earliest known Indian texts with dedicated chapters with principles of
architecture. For example, Chapter 53 of the Brihat Samhita is titled "On architecture",
and there and elsewhere it discusses elements of vastu sastra such as "planning cities
and buildings" and "house structures, orientation, storeys, building balconies" along
with other topics.[22] According to Michael Meister, a scholar of Indian architecture, we
must acknowledge that Varahamihira does mention his own sources on vastu as older
texts and sages. However, these may be mythology and reflect the Indian tradition to
credit mythical sages and deities.
Ancient India

What is Meru Chakra?

The Meru chakra is a three-
dimensional Shree yantra. It
can be effectively used for
correcting defects of the north
(direction of health, fortune and
money) and northeast
(energetically most important
and most valuable area of the
house).

Plan of Meenakshi Amman Temple, Madurai, from 7th century onwards. The four gateways
(numbered I-IV) are tall gopurams./Gopuram of the Hindu Virupaksha Temple has a fractal-like
structure where the parts resemble the whole.

Vaastu Shastra, the ancient Indian canons of architecture and town planning,
employs symmetrical drawings called mandalas. Complex calculations are used to
arrive at the dimensions of a building and its components. The designs are intended to
integrate architecture with nature, the relative functions of various parts of the
structure, and ancient beliefs utilizing geometric patterns (yantra), symmetry
and directional alignments. However, early builders may have come upon
mathematical proportions by accident. The mathematician Georges Ifrah notes that

83
simple "tricks" with string and stakes can be used to lay out geometric shapes, such
as ellipses and right angles.
The mathematics of fractals has been used to show that the reason why existing
buildings have universal appeal and are visually satisfying is because they provide the
viewer with a sense of scale at different viewing distances. For example, in the
tall gopuram gatehouses of Hindu temples such as the Virupaksha
Temple at Hampi built in the seventh century, and others such as the Kandariya
Mahadev Temple at Khajuraho, the parts and the whole have the same character,
with fractal dimension in the range 1.7 to 1.8. The cluster of smaller towers (shikhara,
lit. 'mountain') about the tallest, central, tower which represents the holy Mount
Kailash, abode of Lord Shiva, depicts the endless repetition of universes in Hindu
cosmology. The religious studies scholar William J. Jackson observed of the pattern of
towers grouped among smaller towers, themselves grouped among still smaller towers,
that:
The ideal form gracefully artificed suggests the infinite rising levels of existence and
consciousness, expanding sizes rising toward transcendence above, and at the same
time housing the sacred deep within.

The Meenakshi Amman Temple is a large complex with multiple shrines, with the
streets of Madurai laid out concentrically around it according to the shastras. The four
gateways are tall towers (gopurams) with fractal-like repetitive structure as at Hampi.
The enclosures around each shrine are rectangular and surrounded by high stone
walls.

This "science of architecture" comprises of and is derived from texts on the traditional
Indian system of architecture. These texts describe principles of design, layout,
measurements, ground preparation, space arrangement, and spatial geometry. The
designs aim to integrate architecture with nature, the relative functions of various
parts of the structure, and ancient beliefs utilising geometric patterns (yantra),
symmetry, and directional alignments.
Vastu Shastra are the textual part of Vastu Vidya - the broader knowledge about
architecture and design theories from ancient India. Vastu Vidya is a collection of
ideas and concepts, with or without the support of layout diagrams, that are not rigid.
Rather, these ideas and concepts are models for the organisation of space and form
within a building or collection of buildings, based on their functions in relation to each
other, their usage and the overall fabric of the Vastu.[8] Ancient Vastu Shastra
principles include those for the design of Mandir (Hindu temples),[9] and the principles
for the design and layout of houses, towns, cities, gardens, roads, water works, shops
and other public areas.
In contemporary India, states consultants that include "quacks, priests and
astrologers" fueled by greed are marketing pseudoscience and superstition in the
name of Vastu-sastras. They have little knowledge of what the historic Vastu-sastra
texts actually teach, and they frame it in terms of a "religious tradition", rather than
ground it in any "architectural theory" therein.[
Geometric ratios, and geometric figures were often employed in the designs of
ancient Egyptian, ancient Indian, Greek and Roman architecture. Medieval European
cathedrals also incorporated symbolic geometry. Indian and Himalayan spiritual

84
communities often constructed temples and fortifications on design plans
of mandala and yantra.
Many of the sacred geometry principles of the human body and of ancient architecture
were compiled into the Vitruvian Man drawing by Leonardo da Vinci. The latter
drawing was itself based on the much older writings of the Roman architect Vitruvius.
Sacred geometry ascribes symbolic and sacred meanings to certain geometric shapes
and certain geometric proportions.[1] It is associated with the belief that a god is the
geometer of the world. The geometry used in the design and construction of religious
structures such as churches, temples, mosques, religious monuments, altars,
and tabernacles has sometimes been considered sacred. The concept applies also to
sacred spaces such as temenoi, sacred groves, village greens, pagodas and holy wells,
and the creation of religious art.
In Hinduism

The Agamas are a collection of Sanskrit, Tamil, and Grantha[7] scriptures chiefly
constituting the methods of temple construction and creation of idols, worship means
of deities, philosophical doctrines, meditative practices, attainment of sixfold desires,
and four kinds of yoga.
Elaborate rules are laid out in the Agamas for Shilpa (the art of sculpture) describing
the quality requirements of such matters as the places where temples are to be built,
the kinds of image to be installed, the materials from which they are to be made, their
dimensions, proportions, air circulation, and lighting in the temple complex.
The Manasara and Silpasara are works that deal with these rules. The rituals of daily
worship at the temple also follow rules laid out in the Agamas.
Hindu temples, the symbolic representation of cosmic model is then projected onto
Hindu temples using the Vastu Shastra principle of Sukha Darshan, which states that
smaller parts of the temple should be self-similar and a replica of the whole. The
repetition of these replication parts symbolizes the natural phenomena of fractal
patterns found in nature. These patterns make up the exterior of Hindu temples. Each
element and detail are proportional to each other, this occurrence is also known as the
sacred geometry.
The Shri Yantra, Sri Yantra, or Shri Chakra is a form of mystical diagram (yantra)
used in the Shri Vidya school of Hinduism. It consists of nine interlocking triangles
that surround a central point known as a bindu. These triangles represent the cosmos
and the human body. Because of its nine triangles, Shri Yantra is also known as

85
the Navayoni Chakra. When the two-dimensional Shri Yantra is represented in three
dimensions, it is called a Mahameru. Mount Meru derives its name from this shape. In
addition to Mount Meru, all other yantras derive from the Shri Yantra.
In the 2009 issue of Brahmavidya (the journal of the Adyar Library), Subhash
Kak argues that the description of Shri Yantra is identical to the yantra described in
the shrisukta in veda.
The Shri Yantra's 9 constituent triangles vary in size and shape and intersect to form
43 smaller triangles, organized in 5 concentric levels. Together they represent the
totality of the cosmos and express Advaita or non-duality. In the middle, the power
point (bindu) represents the cosmic center. The triangles are circumscribed by two
concentric circles composed of 8 and 16 petals, representing the lotus of creation and
reproductive vital force. The entire configuration is framed by the broken lines of an
earth square, representing a temple with four doors open onto the regions of the
universe.

The Lalita Sahasranama in diagrammatic form, showing how its nine interlocking triangles form a total of
43 smaller triangles./Shri Yantra engraved in metal/The Shri Yantra shown in the three-dimensional
projection called Mahāmeru

There exist many Vāstu-Śastras on the art of building houses, temples, towns and
cities. By 6th century AD, Sanskrit texts for constructing palatial temples were in
circulation in India. Vāstu-Śastras include chapters on home construction, town
planning, and how efficient villages, towns and kingdoms integrated temples, water
bodies and gardens within them to achieve harmony with nature. While it is unclear,
states Barnett, as to whether these temple and town planning texts were theoretical
studies and if or when they were properly implemented in practice, these texts suggest
that town planning and Hindu temples were conceived as ideals of art and integral
part of Hindu social and spiritual life.
Six of the most studied, complete and referred to Indian texts on Vastu Vidya that
have survived into the modern age, states Tillotson, are – the Mayamata,
the Manasara, the Samarangana Sutradhara, the Rajavallabha,
the Vishvakarmaprakasha and the Aparajitaprccha. Numerous other important texts
contain sections or chapters on aspects of architecture and design.
The Silpa Prakasa of Odisha, authored by Ramachandra Bhattaraka Kaulachara
sometime in ninth or tenth century CE, is another Vāstu Śastra.[29] Silpa Prakasa
describes the geometric principles in every aspect of the temple and symbolism such
as 16 emotions of human beings carved as 16 types of female figures. These styles
were perfected in Hindu temples prevalent in the eastern states of India. Other ancient

86
texts found expand these architectural principles, suggesting that different parts of
India developed, invented and added their own interpretations. For example,
in Saurastra tradition of temple building found in western states of India, the feminine
form, expressions and emotions are depicted in 32 types of Nataka-stri compared to 16
types described in Silpa Prakasa.[29] Silpa Prakasa provides brief introduction to 12
types of Hindu temples. Other texts, such as Pancaratra Prasada
Prasadhana compiled by Daniel Smith[30] and Silpa Ratnakara compiled by Narmada
Sankara[31] provide a more extensive list of Hindu temple types.
Sanskrit texts for temple construction discovered in Rajasthan, in northwestern region
of India, include Sutradhara Mandana's Prasadamandana (literally, planning and
building a temple) with chapters on town building. Manasara shilpa and Mayamata,
texts of South Indian origin, estimated to be in circulation by 5th to 7th century AD, is
a guidebook on South Indian Vastu design and construction. Isanasivagurudeva
paddhati is another Sanskrit text from the 9th century describing the art of building in
India in south and central India. In north India, Brihat-samhita by Varāhamihira is the
widely cited ancient Sanskrit text from 6th century describing the design and
construction of Nagara style of Hindu temples.
These Vāstu Śastras, often discuss and describe the principles of Hindu temple
design, but do not limit themselves to the design of a Hindu temple. [37] They describe
the temple as a holistic part of its community, and lay out various principles and a
diversity of alternate designs for home, village and city layout along with the temple,
gardens, water bodies and nature.
SYMBOLISM
The worship of the Shri Yantra is central to the Shri Vidya system of Hindu worship. It
represents the Goddess in the form of Devi Tripura Sundari, the natural beauty of the
three worlds: Bhu Loka (Physical Plane, Consciousness of the Physical Plane), Bhuvar
Loka (Antariksha or Intermediate Space, Sub-Consciousness of the Prana) and Swar
Loka (Svarga or Heaven or Super-Consciousness of the Divine Mind). The Shri Yantra
is the symbol of Hinduism, which is based on the Hindu philosophy of the vedas. The
Shri Yantra is the object of devotion in Shri Vidya.
The Shri Yantra represents the evolution of the multiverse as a result of the
natural Divine Will of the Godhead Aadi Paraa Shakti. The four upward-
pointing isosceles triangles represent the Goddess's masculine embodiment Brahm,
while the five downward-pointing triangles symbolize the female embodiment Jagat
jannani.[5] The 12 and 15 sides of the four upward and five downward triangles also
correspondingly symbolise, on the physical plane, the 12 sidereal zodiac signs of the
Sun and 15 'nityas' phase-signs of the Moon.
The Shri Yantra is also known as the nav chakra because it can be seen to consist of
nine concentric layers that radiate outward from the bindu. ("Nau" or "nava" means
"nine" in Sanskrit.) Each level corresponds to a mudra, a yogini and a specific form of
the deity Tripura Sundari along with her mantra. The various deities residing in the
nine levels of the Shri Yantra are described in the Devi Khadgamala Mantra. These
levels, listed from outermost to innermost, are:

1. Trailokya Mohana, the outermost square, traced in three lines and interrupted
by four recessed portals;
2. Sarvasaa Paripuraka, the outer lotus, consisting of 16 petals;

87
 3. Sarva Samkshobahana, the inner lotus, consisting of 8 petals;
4. Sarva Saubhagyadayaka, the outermost ring of small triangles (14 in total);
5. Sarvarthasadhaka, the next ring of triangles (10 in total);
6. Sarva Rakshakara, a smaller ring of 10 triangles;
7. Sarva Rogahara, a ring of 8 small triangles;
8. Sarva Siddhiprada, one small triangle containing the bindu at its center;
9. Sarva Anandamaya, the bindu.

The Sri Yantra, the symbol of California Institute of Integral Studies, comes from
India. A yantra, in the Indian tradition, is a literally a "device" for spiritual
advancement. The Sri Yantra is, in fact, the central object of worship in at least one
important Indian cult, but beyond its specific context, the Sri Yantra embodies
profound philosophical understandings, which make it a powerful source of
inspiration. Each design element of the Sri Yantra has special philosophical
significance. The dot in the very center is representative of the Source of the universe;
this dot, or bindu, is the "singularity" from which all manifest reality emerges. From
one point of view, the design is representative of the evolution of the universe itself
from its mysterious beginnings, charting its many levels.

The Sri Yantra in its central portion contains nine triangles. Four of them point
upward and represent the unmanifest power of the universe; all that is beyond our
quotidian sense perceptions. They are thought of as being masculine and represent
the masculine aspect of divinity. The five downward-pointing triangles represent the
divine feminine and the manifest aspects of the world.Because the Sri Yantra forms a
unity, the divine masculine and divine feminine in erotic embrace, as it were (this is
exactly how the Indian tradition understands them!), we must realize that the
transcendent Reality, whether we call it God, Goddess, or Perfect Emptiness (as in
Mahayana Buddhism), is always intimately intertwined in everything that we see. God
or Goddess is not a sacred beyond, but the very fiber and life of our existence here.
Haridas Chaudhuri chose this symbol when he founded the Institute because it is a
visual representation of his Integral philosophy.

This world is not to be seen as separate from the transcendent Truth, but as an
expression of that Truth in phenomenal form. What is sacred then, is not merely what
is beyond our perception, but everything that is present here in this world, all our
actions, our emotions, our thoughts. The notion of the integration of body, mind and
spirit are symbolized and indicated by the Sri Yantra, making it a perfect visual
representation of the Institute's vision.It should be mentioned that from another point
of view the Sri Yantra is understood to be the Mother of the Universe Herself, the
incarnate Goddess Who both embodies and transcends time. In a world where the
male divinity, and all that is male has had primacy for a very long time, this design
can be seen as the very embodiment of a challenge to patriarchy and to the
masculinist world we live in.

88
Sri Yantra (pronounced Shri Yantra) is a sacred diagram of Tantric Hinduism. Its symbolismas explained
in Zimmer [18,20]. It consists of three concentric parts:

1. An inner figure of interpenetrating triangles. This figure, symmetric in its vertical centr al axis,
contains both upward-pointing triangles (vahni), symbolizing the male element (“Purusha”, the
Cosmic Person), and downward-pointing triangles (sakti # ), symbolizing the female aspect
(“Prakr. iti”, i.e. energy) of divinity. There are 4 male triangles, and 5 female ones. Their inter-
penetration symbolizes the complementarity of the opposite principles in creating the illusion of
duality through ignorance, whereas the general symmetry and balance of the whole 2gure
symbolizes the more profound reality of Unity of God through its various unfoldings.
H. Zimmer, Kunsform und Yoga im indischen Kultbild, Frankfurter Verlags-Anstalt, Berlin, 1926. H. Zimmer, (ed. by J. Campbel)
Myths and Symbols in Indian Art and Civilization, Bollingen Series,

2. Two concentric rings, holding a regular lotus (padma) design. The inner pattern bears 8 lotus
petals, the outer one 16. These patterns symbolize the sanctity of the inner diagram, used as
instrument (yantra) in yoga meditation.

3. A triple Greek-like key-pattern, the bhupura symbolizes the ground-plan of a temple with 4
square openings, in the 4 directions of space. This sanctuary is the seat of the chosen deity,
representing one’s Higher Self.

The Sri Yantra diagram is a sacred symbol of Tantric Hinduism, and it is traditionally used in yoga
meditation exercises.

Sr ! Yantra Geometry Gerard Huet INRIA-Rocquencourt, B.P. 105, 78153 Le Chesnay Cedex, France. Theoretical Computer
Science 281 (2002) 609 – 628

Solving the Sri Yantra

89
The Quest for the Optimal Configuration

If you have ever attempted to draw this figure you already know that it is a lot more
difficult to draw than you might have thought at first. The reason for this is mainly
because the triangles are interconnected. If you move one, you need to move all the
others so that they will intersect properly. With enough time or with the aid of
computers and mathematics it is possible to draw a figure where the intersections
match perfectly.

But it turns out that this is not enough to fully define the figure. This criteria in itself
is not enough to produce a unique figure. This is the reason why there are so many
different versions of the Sri Yantra in circulation.

Surprisingly the methods that we have found in the Indian literature are far from
satisfactory. They often lead to very imprecise and crude figures. They only provide a
rough idea of what the figure should look like. Contemporary methods can lead to
more precise figures but they are all slightly or greatly different.

This begs the question: what is the proper configuration of the Sri Yantra? The goal of
this article is to investigate the geometry of the Sri Yantra and see if we can find out
more about this fascinating sacred figure. Join us on the quest for the optimal Sri
Yantra.

Questions that will be answered in this article:

• What is the Sri Yantra?

• Why is it so difficult to draw?
• Why are there so many different versions?
• What are the characteristics that define an optimal figure?
• What is a Meru (pyramidal) Sri Yantra?
• What is a Kurma (spherical) Sri Yantra?
• How can I get an optimal Sri Yantra figure?

Nine Triangles in a Circle

Four triangles Five triangles

Central figure Complete Sri Yantra
pointing up. pointing down

90
Figure 1

The Sri Yantra is composed of a central figure that is surrounded by two circular rows
of petals and then by a rectangular enclosure called the bhupura. In this study we will
be focusing mainly on the central figure which is composed of nine overlapping
triangles and a bindu point. Four of the triangles point up, the other five point down.
In the most popular configuration the two biggest triangles (green triangles in figure 1)
touch the outer circle on all three points. In some other versions there are either one
or two more triangles that touch the outer circle (See figure 5).

Interconnections

Figure 2
Triple intersections. Figure 3 False Sri Yantra

As with everything else there is a tendency When looking at the figure we notice that
there is a high degree of interconnectedness between the nine triangles. This the main
reason why it is so difficult to draw. This means that every triangle is connected to one
or more of the other triangles via common points. Changing the location of one of the
triangle usually requires changing the size and position of many other triangles.

Figure 2 shows where the triple intersection points are located. These are the points
that lock together the triangles. You can't move one without also moving the others.

Notice also that the two biggest triangles are touching the outside circle on three
points and that the apex of every triangle is connected to the base of another triangle.

91
to simplify and/or distort things , so that over time knowledge gets eroded. In the case
of the Sri Yantra this has led to what some call the "false Sri Yantra". It's a version
that is so far from the original figure that it is missing some of the most basic
characteristic of a Sri Yantra. An example of such a false Sri Yantra is shown in figure
3. Here we see that the apex of most triangle is not connected with the base of another
triangle as indicated by the red arrows. This reduces greatly the difficulty of drawing
the figure and leads to something that looks like a Sri Yantra but isn't.

The First Key: Concurrency

Figure 4 Errors in the drawing will lead to extraneous secondary triangles.

The obvious challenge when drawing a Sri Yantra is to achieve near perfect
concurrency. Meaning that all the triple intersection meet at the same point rather
than crisscrossing.

Figure 4 shows a detail of a Sri Yantra with the error circled in red. The lines should
intersect at the same point but instead they crisscross each other and form an
extraneous triangle. Using the right sequence to draw the Sri Yantra will ensure that
there will be errors only in two of the triple intersections.

Very few Sri Yantras achieve perfect concurrency. Mathematically speaking it is not
possible. But practically speaking a satisfactory level of precision can be achieved. It is
difficult to achieve this when doing the drawing by hand but not impossible. Often the
lines are made thicker to hide the errors at the intersections. A good level of accuracy
can be achieved with a pencil and ruler and a lot of patience. A better accuracy can be
achieved with a drawing program such as AutoCAD or Visio. The greatest amount of
accuracy will be achieved by using a mathematical program such as Mathematica to
compute the figure.

The One and the Many

92
Figure 5
Three different configurations of the Sri Yantra.

It would seem at this point that all one needs to do is to make sure that the lines
match precisely at the triple intersections (concurrency) and our job is done. Not so!

Why are there so many different versions of the Sri Yantra out there? Figure 5 shows a
few examples of Sri Yantras. In these examples the differences are obvious. The
differences are usually more subtle and require closer examination. Like snow flakes
there seems to be an infinite number of different Sri Yantras. Why is that? How can
that be? Isn't there a precise and complete method that would tell us how this famous
sacred figure should be drawn? If there is one we haven't found it yet.

The reason is simple. The criteria of concurrency (precise intersections) is not enough
to fully define the Sri Yantra. Over time people have assumed that being able to
produce a figure where the lines meet precisely at the intersections will produce a
unique figure. This has lead to the current multiplicity of figures available.

Let us take the simple example of drawing a triangle. If the only criteria required is
that the figure must have three sides then you can draw a infinite number of different
triangles with three sides. If on the other hand you are asked to draw a triangle where
the sides are of equal length then there is only one way to draw such a triangle (not
taking size into account).

The Sri Yantra is a geometry with five degrees of freedom, which means that up to five
different criterion can be used to define it. This is why we have to decide on the
location of five lines when drawing the figure. Five degrees of freedom is not a lot
considering that there is a total of nine triangles. This is because of the high degree of
interconnectedness between the triangles. This effectively limits the possibilities and
variations that can be achieved.

93
The Second Key: Concentricity

Figure 6
Concentricity: the center of the innermost triangle coincide with
the center of the outer circle.

Lets now take a look at the bindu point; the small point located in the central triangle.
It should be located in the center of the innermost triangle. This can be achieved
precisely by placing the bindu at the center of a circle that fits inside this triangle (see
figure 9). This is known in mathematics as the incenter of a triangle.

To achieve a perfectly centered figure however, the bindu should also be located at the
center of the outer circle. This is illustrated in figure 6. The red cross shows where the
center of the outer circle is located. The small red circle shows where the center of the
innermost triangle is. As we can see in this figure they coincide. This is not the case
for most Sri Yantras.

Figure 7
Sri Yantra that doesn't meet the
concentricity criteria.

94
Figure 7 shows an example of a Sri Yantra where the center of the innermost triangle
doesn't match perfectly with the center of the outer circle. The green dot (center of the
innermost triangle) is not aligned with the center of the red cross (center of the outer
circle).

The Third Key: Equilateral Inner Triangle

Figure 8
R. Buckminster Fuller stands in front of his
geodesic dome.

The equilateral triangle is a perfect and minimal structure. It is the simplest, strongest
and most fundamental structure in geometry and computer graphics. It has the
highest degree of tensegrity for a minimum amount of structural elements. That is
why it is so prevalent in the structural designs created by Buckminster Fuller. This is
also why the geodesic dome, a spherical structure composed of small triangles is the
only man-made structure that becomes proportionally stronger as it increases in size.

Figure 9
Equilateral triangle as the expression of Rishi, Devata, Chanda.

95
The Sri Yantra symbolizes, among other things the unfoldment of creation. The bindu
represents the unmanifest, the silent state. The next level in the expression of the
Universe is represented by the innermost triangle. This level represents the trinity of
rishi, devata, chanda, or the observer, the process of observation and the object being
observed. At this point the symmetry of creation is still intact and will be broken when
it reaches the next level which represent the grosser aspects of the relative.

This reflects the unfoldment from unity to trinity as expounded in the Vedic literature.
According to the Veda the Universe becomes manifest when unbounded awareness
becomes aware of itself. The spark of self awareness ignites creation. At this point
Unity divides into the trinity of rishi (the observer), devata (process of knowing) and
chanda (the object of perception). The same idea is also found in the bible as the
principle of the holy trinity.

The central triangle is the central lens of the Sri Yantra. If as some suggest, this
pattern is capable of emitting a significant amount of subtle energy, the importance of
having a well balanced and centered figure becomes obvious.

For these reasons we believe that the central triangle should be equilateral in an
optimal Sri Yantra configuration. For this to happen the highest down pointing
primary triangle must have an angle of 60 degrees (see figure 9 and 11).

Center of Mass

Figure 10
Left: Figure with Concurrency criteria only. Center: Figure with Concurrency and
concentricity. Right: Figure with Concurrency, concentricity and equilateral central
triangle.

Now lets see if we can find ways to confirm the idea that we are getting closer to a
perfectly balanced configuration. Another measure of overall balance of a structure is
the center of mass. This is the point in the geometry where it would balance if it was a
solid object.

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Figure 10 shows a detail view of the central triangle of three different Sri Yantras. The
left figure shows a configuration where only concurrency is achieved. In this case the
bindu (red dot), the center of the outer circle (green dot) and the center of mass (blue
dot) are not aligned.

The central figure shows a Sri Yantra that achieves concurrency and concentricity. As
a result the bindu (red) and the center of the outer circle (green) overlap nicely. The
center of mass still doesn't overlap however.

On the right we see that for a figure drawn with the three criterion that we have
suggested (concurrency, concentricity and equilateral central triangle), the three
centers overlap and we have a perfectly centered and balanced figure.

The Sri Yantra from Sringeri Temple

Figure 11
Sri Yantra from Sringeri temple.

The Sringeri temple in India claims to have the oldest Sri Yantra. This temple is one of
the four pillars founded by none other than Shankara during the first millennium.
Assuming that older Sri Yantras are closer to the original configuration lets see how
this Sri Yantra compares to our optimal version. Obviously it is not possible to be
certain that it is the oldest Sri Yantra on Earth but it is certainly older than most of
the versions available. The shape of the petals and the bhupura are good indicators
that it is a old Sri Yantra configuration.

Figure 11 shows an alleged picture of this Sri Yantra and a diagram that was drawn
from the picture. Taking into account the distortions caused by the camera and
printing we can see that the figure has many of the same characteristics as our
optimal figure. The bindu is well centered and more importantly the centermost
triangle has an angle very close to 60 degrees.

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The Three Flavors of the Sri Yantra

Plane form Pyramidal form (Meru) Spherical form (Kurma)

Since the Sri Yantra is based on triangles it is very appropriate that there are
currently three main ways to represent this figure. The first and probably the most
common is the plane form, which is what we have been looking at so far. More
pictures of the plane form can be seen here.

The second is the pyramidal form called Meru in India. Mount Meru is a mythical
mountain. So named because of the mountain shape of the figure. More pictures of
pyramidal Sri Yantras can be seen here.

The third and rarest form is the spherical form or Kurma. Kurma was the second
incarnation of Vishnu, the turtle incarnation. This refers to the similarity between this
form and the shell of a turtle. It is interesting to note that there seems to be some
confusion with the use of these two terms. The pyramidal form is often wrongly
referred to as Kurma.
https://www.sriyantraresearch.com/Optimal/optimal_sri_yantra.htm

The uniqueness of God’s creation is reflected in different fields of life by the great
masters throughout the ages that have born with the formation of the universe, from
the big bang, till times still to come. Special ratio that can be used to describe the
proportions of everything from nature’s smallest building blocks, such as atoms, to the
most advanced patterns in the universe, such as unimaginably large celestial bodies.
One of the key evidences presented for creation is the recurring appearance of the
Divine proportion, or golden section, throughout the design of the human body and
other life forms. In an article PROPORTIONS IN ARCHITECTURE, Ar. Minakshi
Rajput Singh International Journal of Research –GRANTHAALAYAH, Vol.6 (Iss.3):
March, 2018 has made an attempt to relate Sri yantra and golden ratio and the
various forms that seem to exemplify in the plan and elevation of the Indian temple.
The yantra which is a complex geometry has been perfected to be used for the
development of temple forms of different eras. She finds that there is a relation
between Golden Ratio and Sri yantra and using Sri yantra as a device to evolve the
plan and elevation has been studied and found to be true in the temple taken for study
purpose. The construction of Hindu temples has always been a subject of study
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through various ancient yantras, mandalas, that needs to be rediscovered and
documented. A new perspective into the relation between the Sri yantra, its
significance and role in design of Indian temple would create a wide scope of research
by taking examples of temples of different era.

MANDIRS BUILT WITH SRICHAKRA DESIGN

Dhyani Mandir Temple - Nikora Gujarat India

Devi Puram Temple - Anakapalle, Andhra Pradesh, India/ Devi Puram Temple - Anakapalle,
Andhra Pradesh, India

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 Mahe Meru Temple - Adudhurai Thanjavur
Venkateswara Temple - Madnapalle Andhra Pradesh India

Yantra Mandir - Amarkantak, Madhya Pradesh India

Perfect geometry-Chitra Ramaswamy

Huge faces of goddesses and finely sculpted figurines of yoginis greet visitors at the
entrance.
An interface of interlocking triangles, snake hoods and more… a look at the
sprawling Sri Yantra Maha Meru Temple, Amarkantak, by Chitra Ramaswamy
It is a vast palette of blue, green and brown – in that order. The clear and azure
blue sky appears punctuated by greens in enchanting hues as they spike
heavenwards from atop the mountain ranges they inhabit. A tier below the
emerald vegetation, it is all a monochrome in brown, a stupendous structure
rising out of a basin-like valley.
The Maha Meru Sri Yantra Temple is encircled by forest on two sides, the ancient
and sacred Batte Krishna Kund, a pond on its western side, and a water reservoir
to its north. The temple is constructed in the middle of the Maikal, Satpuda and

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Vindhyachal range of mountains, 3500 ft. above sea level in Amarkantak, Madhya
Pradesh. Amarkantak enjoys the distinction of being the source of three rivers –
the Juhila, the Sonbhadra and the Narmada. The borderline dividing north and
south India also passes through this spot.
The entrance to the sprawling temple precincts is through an impressive,
sculpturally rich towering gate, the four sides of which are crowned with the
faces of goddesses Saraswati, Kali, Bhuvaneshwari and Lakshmi.
The lower segments of these sides are embellished with finely sculpted
figurines of the 64 yoginis associated with the Tantrik cult, 16 on each side.
In addition, Ganesh and Kartik are also featured on one of the sides.

Elevated platform
The temple is constructed on an elevated square platform measuring 90,000
sq.ft. and is structured in the form of a mandal of uniform length, breadth
and height, each measuring 52 feet. The temple, we are told, has been built
on the tenets of temple architecture as laid down by sage Agasthya.
The design, layout and plan of the temple adhere to ancient traditional
knowledge and methods and are aligned with astrological aspects. The
construction is in sync with stellar and planetary movements as per tantrik
calendar. In keeping with this style of architecture, the Padambandh or
foundation of the temple gives solid protection to the edifice. The next stage,
the Sarpbandh, features a pair of sculpted sarps or serpents with tails
entwined in each other.
The serpents rise from the base of the outer walls of the temple and run
through its perimeter in a circumambulatory mode till they appear with their
hoods raised, at the entrance to the temple.
Above the Devbandh, where one would normally see the tower or shikhar, is
the Maha Meru Sri Yantra. Images of Goddess Maha Tripura Sundari with her
consorts are sculpted on all its four sides.
Three-dimensional projection
The Maha Meru temple is the three-dimensional projection of the two-
dimensional Sri Yantra or Sri Chakra which forms the core of Sri Vidya
worship in Hinduism.
The temple with its complicated architectural pattern that requires perfect
mathematical calculations and accurately proportioned dimensions, is
perhaps the first of its kind to be built anywhere in the world. It is formed by
nine interlocking isosceles triangles of varying dimensions that surround and
radiate from a focal or central point that is referred to as the bindu.
The triangles are so interfaced as to form forty three smaller triangles in a
maze that symbolises the cosmos with its multitude of creations. The triangles
themselves are inscribed by two rows of lotus petals, eight and sixteen,
respectively, and an earth square, symbolic of a temple with four doors.
Each of the levels of the Sri Chakra, also known as the nava chakra for its
nine levels, is associated with a yogini, a mudra and a specific form of the
principal deity Tripura Sundari who is worshipped by followers of the Sri
Chakra.
The sanctum sanctorum has a 62-inch-tall idol of the Divine Mother made of
ashtadhatu, an alloy of eight metals.

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102
Dance of time
In keeping with the principles of Vaastu Shastra, Kaal Nritya or ‘the dance of
time’ is portrayed on the external walls of the temple. On the four edges on
top are four paws of a powerful lion, symbolising actions performed. Stuck in
its paws are spherical balls, below which are depicted the poisonous serpents,
symbolic of individuals trapped in the cycle of birth and death.
While construction of the main temple is complete, work is still in progress as
several smaller shrines are slated to be added over a period of time.

The Maha Meru Shree Yantra Temple, Amarkantak, MadhyaPradesh. The temple is
encircled by forest on two sides, the ancient and sacred Batte #Krishna Kund, a pond
on its western side, and a water reservoir to its north.

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SriYantra temple was constructed by Acharya Mandaleshwar of the Attal Akhada Sri
Swami Shukdevanadji in Amarkantak. The whole temple is in the shape of a colossal
Sri-Yantra and is a geometric representation of the Primal Force, Maha Shakti.

It is constructed in the middle of the Maikal, Satpuda and Vindhyachal range of

mountains, 3500 ft. above sea level in Amarkantak, Madhya Pradesh. Amarkantak
enjoys the distinction of being the source of three Rivers Juhila, Sonbhadra and
Narmada.
The borderline dividing north & south India also passes thro' this spot. Entrance to
the sprawling temple precincts is thro' an impressive, sculpturally rich towering gate,
the 4 sides of which are crowned with the faces of goddesses Saraswati, Kali,
Bhuvaneshwari & Lakshmi
The lower segments of these sides are embellished with finely sculpted figurines of the
64 Yoginis associated with the Tantrik cult, 16 on each side. In addition, Ganesh &
Muruga are also featured on one of the sides.
The temple is constructed on an elevated square platform measuring 90,000 sq.ft & is
structured in the form of a mandal of uniform length, breadth & height, each
measuring 52 ft. The temple has been built on the tenets of temple architecture as laid
down by sage Agasthya.

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Devi reigns supreme inside Sri Chakra,Nandini Ramani, 2019
Muthuswami Dikshitar captures the glory of Devi in his Navavarana Kritis
Parasakti is worshipped in her three divine facets as Durga (the vanquisher of
obstacles), Lakshmi (giver of prosperity), and Saraswati (giver of knowledge)
throughout Bharatavarsha during Navaratri. From time immemorial, Vedic
chants, hymns and songs of saints and seers have been an integral part of the
myriad modes of Devi worship; more so, during the auspicious Navaratri
celebration to propitiate Sakti, hailed as Akhilandakoti Brahmanda Nayika.
Sri Muthuswami Dikshitar occupies a unique place in the realm of Devi worship
and Sri Vidya Cult. His scholarly and highly spiritual compositions on Goddess
Kamalamba enshrined in the Tiruvarur temple as Gnana Sakti, the giver of high
intellect, are a unique set describing Her as the primordial Power seated in Yogic
posture presiding over the form and content of the ever-auspicious Sri Chakra.

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CHAPTER 8
YANTRA / YANTRA PROPERTIES

As per Vedic texts the "Sri

Yantra" is one of the most powerful and auspicious amongst all different Yantra as it
represents energies of all Gods and Goddesses and basically is a representation of
your entire Life which is a Play of Goddess Lalita
When it comes to Vastu, you always hear about mystic instruments such as Yantra
and Pyramids that are used to correct the faults in design. Traditionally Yantra find
seat in temples near the deity idols or are placed in altars or near entrances of homes.
In South India, Yantra are drawn with Rangoli designs at entrances of homes during
religious festivals. The famous Tirupathi temple is in the shape of a Shree Yantra and
many attribute its power and fame to this geometry. But what does Yantra mean? How
do they work? Are they really beneficial? Let’s get into the bottom and find out the core
meaning.

A Yantra also referred as Mandala is a sacred figure or symbol characterized by simple

geometric forms arranged in a symmetric design. These are mystical religion based
diagrams which have an ultimate reality and are of strong astronomical esthetics. It
carries the signification of a mantra or process. It can be etched on a plain surface or
made in a three dimensional form or used as an amulet or charm. Adi
Sankaracharya's Saundarya Lahiri is an authoritative work on Yantra. The literal
meaning of Yantra is: "to control, curb, bind or influence".They can also be considered
as diagrammatic representations of different Mantras and thus helps resonate positive
energies disperse negative energies and help individual elevate spiritually.

As per ancient Vedic texts there are different kinds of Yantra meant for different
purposes. Yantra geometries are three dimensional in nature but are represented as
two dimensional when etched or drawn. Different types of Yantra include Planetary
Yantra, Numerological Yantra, Yantra for different Gods and Goddesses and others.
Yantra represent a Physical force or a creative energy. Yantra in Sanskrit means the
chant that awakens energy when you place it anywhere in the environment around
you. This energy is said to cleanse the environment and electrify the atmosphere with
positivity.

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.

Subtle Energy: If you see any divine object such as OM, Swastika or Trident
(Hinduism), Cross (Christianity), Moon and Crescent (Islam), they have a distinct
shape and this emits a specific frequency and cosmic energy pattern. One can draw a
yantra on paper, wood, gemstone, metal, or earth, or can give it a three-dimensional
shape. It would attract cosmic energies for Yantra science is based on the sacred Vedic
geometries representing scriptural mantras.

Powers of Mantras: A Yantra is composed of geometrical shapes generating a subtle

range of cosmic force matching the invoked energy. When you chant a Vedic mantra,
the layers of energy in the microcosm vibrate on the same wavelength with the
corresponding energy current in the macrocosm. Thus the energy of the Yantra and
Mantra comes from the creation as a whole (Macrocosm).

WHAT IS YANTRA
A Yantra is a divine figurine which is also commonly referred to as the‘Mandala’ in
Sanskrit. It is a visual representation of the specific mantra and is a sacred
instrument which comprises of symbols and geometric forms which are aligned in a
design that is symmetric in nature. The driving force of a Yantra is the divine mantra
through which it is born. Most of the Yantras are ruled by a specific deity, planets or
are ruled by the mystical energies that are designed for a specific purpose. A Yantra in
lay man’s language can be described as a Holy object which holds the supreme
energies of the Gods, which when energised and prayed upon daily can help to achieve
all the heart’s desire.

The literal meaning of the word ‘Yantra’ means "to control, curb, bind or influence".
Yantras are powerful representations of the cosmic energies and the associated
mantras in diagrammatic forms. Praying over a Yantras by chanting the respective
mantra can resonate positive energies and destroy negative energies and can help an
individual to elevate spiritually.

Yantras work on the divine vibrations of the mantras and helps to connect to the
energies of the divine through this process. Yantras can also be described as diagrams
which are based on religion and which are symbolic of ‘ultimate reality’. They canalso
be defined as an object holding divine astronomical powers and aesthetics.

Sage AdiSankaracharya is one of prominent names that is remembered as he is one of

the scholars whose literary work titled ‘SaundaryaLahiri’ is a masterpiece that talks
about yantras.
Yantras are made of which objects
Yantras can be etched on wood, metal or printed on cloth or can be made in three
dimensional forms or can be made in the form of an amulet or charm that one can
wear or keep with oneself on an everyday basis. One of the most astonishing facts
about the Yantras which are carved on different metal sheets hold special significance
as each metal sheet has a different mantra for the Yantras carved or etched on it.
What is the Properties of Yantra
There are various types of Yantras and each Yantra has a deity, a celestial body or a
specific energy associated to it. A Yantra is a divine symbolic visual representation of
the mantra which is a source of Supreme energy. A Yantra works on the vibrations

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created by the resonance of the mantras chanted and magnifies the force of energy to
manifest it into reality. It can be referred to as the magnetic field that when energised
helps one attain union with the divine.

The divine cosmic rays that are emitted by the cosmic bodies are attracted by the
yantras. The Yantra then work in union with the divine energies and nullify the
negative energies the surroundings hold and transform them into positive energies.
Once the energies become positive, it spreads them in the atmosphere where it is
installed.

The properties of the Yantra combines with the supreme energies of the divine and
amplifies the thought process through mantra signification.
ANALOGY OF A YANTRA
When you look at a Yantra, you will notice the certain symbols making up the entire
Yantra. These symbols include bindu (dot), trikona (triangle), chakra (circle), shatkona
(six-pointed star) (bhupura (square) and Padma (divine lotus)

All the Yantras are made up of signs are symbols which hold a deep meaning. The
symbols that one would witness while taking a closer look at the Yantras are as
follows

This symbol is known as a ‘Bindu’ meaning ‘Dot’. In the world of Yantras, the
dot is known as ‘Guru GyanBindu’ It indicates the energy and its extreme
concentration at the centre. It is also called the centre of cosmic radiation. Bounded
by different surfaces such as a triangle, a hexagon, a circle, the bindu represents the
union with the force or creative energy ruling the yantra.

This symbol is known as ‘Trikona’ meaning ‘Triangle’. In the world of

Yantras, the Trikonas are referred to as the ‘Guru GyanTrikona’ It is the emblem of
Shakti, the absolute female energy of the Divine. It completes the creation or
manifestation of both, material as well as spiritual worlds. The triangle pointing down
characterizes the Yoni which is the source of all creations. Pointing upwards signifies
forceful spiritual desire, the transferal of one’s nature into the subtler sphere and the
Fire Element because Agni always burns upwards. A triangle pointing downwards
represents the Water Element for water flows down. Fire Element represents Shiva
and Water Element represents Shakti

This symbol is known as ‘Shatkona’ meaning ‘Hexagram’ in Greek and

‘Sexagram’ in Latin. This symbol displays two triangles which are interlocked and
inverted forming a star sign(six-pointed star). In the world of Yantras, the Shatkonas
are referred to as the ‘Guru GyanShatkona’ It is an archetypal amalgamation of two
triangles structured in all the Yantra. It characteristically signifies the divine

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unification of Shiva (Male energy) and Shakti (Female energy) which is the cause of all
creation.

This symbol is known as ‘Chakra’ meaning ‘Circle’. In the world of Yantras, the
Chakra symbol is referred to as the ‘Guru GyanChakra’ It stands for rotation which is
central to the functioning of the macrocosmic progression. At the same time, the circle
signifies perfection and the peaceful creative void of the Vishudha chakra. In the series
of the five fundamental elements it represents the Air Element.

This symbol is known as ‘Bhupura’ meaning ‘Square’. In the world of Yantras,

the Bhupura symbol is referred to as the ‘Guru GyanBhupura’ it represents the Earth
Element that resides in the physical self. Yantra start with the dot and end with the
square. It implies the way the cosmos evolves. It begins with the subtle energies at the
centre, with granular at ether and then culminating in earth.

This symbol is known as ‘Padma’ meaning ‘Divine Lotus’. In the world of

Yantras, the Padma symbol isreferred to as the ‘Guru GyanPadma’ All the Vedic
scriptures as well as the scriptures of other faiths consider lotus to be the divine
emblem of purity that resides in the chakras. A lotus in Yantra represents the
unconditional force of the Supreme Absolute Truth. The lotus serves as a divine seat
for devas (gods). It also represents detachment. It grows in the mud but never touches
even a tinge of mud, representing detachment to the external forces (material world)
and maintaining the original nature which is pure and divine.

YANTRA: AN OBJECT OF MEDITATION

Yantra is one of the most powerful objects one can use to channelize focus on. It is a
Holy instrument which holds divine and supreme energies of the deities. Yantra is a
medium that helps one attain union with the God through the process of meditation
and channelizing your focus on the geometrical symbols present on the Yantra. Once
you start focusing all your attention on the centre of the Yantra it amplifies the pure,
supreme energy of the divine deity and through the power of resonance (mantra
chanting) it connects you to the energy present in the macrocosm and manifests your
heart’s desires.

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 How do Yantra Work?

A Yantra as stated above is the symbolic representation of the mantra. Yantras work
on the resonance of the powerful mantras. Once you start reciting a mantra by
concentrating on the centre of the Yantra with complete devotion it connects you with
the divine energies and helps to manifest your thoughts.Yantrasenchances the
concentration power and thus help in increasing the intensity of the prayers which in
turn makes the urge to fulfil our wants more strong and influential.

The powers of a Yantra thrive on the reverberation of cosmic energies. Yantra is a

mystical object. Every Yantra has a ruling deity and the energies of this deity are
stored in the Yantra through the powerful mantra. So when one focuses on the Yantra
with closed eyes and chants the mantra with complete devotion and purity, the
thoughts and wishes which the devotee wants are amplified and the Yantra paves way
by connecting the divine vibrations to the worldly desires one prays for and then this
thought is manifested.

Yantra work in following ways

• In order to achieve your dreams you can install a Yantra and meditate on the yantra
to achieve resonance with the divine energy ruling the yantra
• In order to gain success and progress in career you can install it on your office desk.
This creates a magnitude of force and helps to turn your desires into reality
• You can install a yantra in the puja altar or hang it on a wall near the entrance of
your house or office. This helps in inviting positivity and destroying negative
energies. It also helps to manifest what you pray for
• You can install the Yantra in your vehicle to be safe from accidents
• You can also wear the Yantras which are available in the form of jewellery such as a
pendant, ring, bracelet or an amulet.
• You can also keep the Yantra in your purse or wallet. This creates a shield of
protection around you and keeps all negativity at bay
• Make sure you are not placing the yantra in a leather purse or wallet
• Yantra are the ultimate answer for establishing a vibration of large amplitude or
resonance with the benefic energies of the cosmos. Thus the vibrations generated get
us in contact with highly elevated energies & entities which help us attain spiritual
course of conduct in our daily lives & enhance the spirituality within.

TYPES OF YANTRA

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 There are four basic variations:
• Yantra of deities- Yantra of Ganesh, Shiva, Hanuman, Durga, Laxmi and the like.
The most significant being the Shakta Yantra (these are usually forms of the Great
Mother or the Mahavidyas- 'Sources of supreme knowledge').
• Yantra with Astrological significance (these are used to harness the energies of
the nine planets)- Navagraha Yantra, Kalsurpa Yantra, Nakshatra Yantra and the
like.
• Architectural Yantra (these are used for the ground plans of lands)- Vastu Yantra,
Bhumi Yantra and the like.
• Numerical Yantra (comprising select combinations of numbers which serve as
talismans)- Kuber yantra, Rog Nivaran yantra, Beesa Yantra and the like.
• Purposeful Yantra: Those meant for a certain purpose like Lagna yog (for early
marriage), Santan gopal (for begetting a child), Vashikaran (for attraction).

Yantra for success in personal and professional life:

Yantra, besides fulfilling their fundamental purpose, helps prosper in career along
with good health, wealth, happiness and success. These are etched in metals like
Silver, Gold, Copper and Bhojpatra which are cheaper than gemstones and can be as
effective as gems. They are the doorway to the cosmic universe. Maha Meru, or Sri
Meru Chakra is the supreme of all Yantra. The transcendent geometry of the Sri
Chakra is the genomic code of the Cosmic Space that redirects its positive vibrations
to the place it is installed.

THE EFFECT OF YANTRA

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 One must always pay attention to the importance of placing correctly energized Yantra
in the appropriate direction. They are best placed in the North East part of the
dwelling as it is confluence of positive energies coming from the geometric lines from
North and the rising sun in the East. However if North East part is not convenient,
then it is best to place them closer to you on your desk or on wall or near entrance
door. Some Yantra offer results instantly if the karmic potential is ripe. Some offer
results gradually over a long period of time. Yantra for wealth and affluence require
patience. For instance, Kuber Yantra works better after the first year. Yantra are also
exceedingly helpful for health and averting accidents and mishaps.

SOME OF THE POPULAR YANTRA AND THEIR USES

• Shree Yantra for name, fame, wordly pleasures, prosperity and salvation
• Mahalakshmi Yantra for money, food grains, for perfection, attainment of high
goals
• Kuber Yantra for riches and preserving acquired money
• Ganesh Laxmi Business Yantra / Vyapaar Vridhi Yantra for progress in business
and improvements in slow or quiet business
• Ganesh Yantra to begin pious and fortune giving deeds, attaining prosperity and
accomplishment of goals
• Mahamrityunjaya Yantra for improving health, preventing disease and protection
from untimely death
• Surya Yantra for worshipping the Sun, attaining glory, inner radiance and worldly
pursuits
• Nav Graha Yantra for pacifying the nine planets, attaining peace and pleasure
• Hanuman Yantra to empower learning, increase wisdom and devotion to God
• Durga Yantra for worshipping Goddess Durga to remove pain and suffering
• Bagalamukhi Yantra to destroy enemies, success in law-suits and achievement in
sports competitions
• Mahakali Yantra for worshipping Shakti, Goddess Mahakali to attain desired goals
• Batuk Bhairav Yantra to save from untimely death
• Durga Bisa Yantra to save from the evil eye, banish hindrance from evil spirits and
achieve both progress and success in all realms
• Saraswati Yantra for improvements in learning, wisdom, grace and talents in the
education & arts
• Gayatri Yantra for purifying the mind and ensuring good progress in life
• Vashikaran Yantra to attract the person you desire and bring him or her under
your influence

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• Santan Gopal Yantra to beget a child
• Mahasudarshan Yantra to get the grace of Lord Vishnu
• Ram Raksha Yantra for worshipping Lord Ram and succeeding in aspirations
• Kaal Sarp Yantra to negate the effect of Kaal Sarp Yoga and removing evil effects of
the nine planets
• Bhuvaneshwari Yantra for gaining mesmerizing personality that draws all people
towards him
• Dhumavati Yantra for all round success and spiritual upliftment
• Kamla Devi Yantra for elevation of the soul through both spiritual and worldly
goals
• Mangal Yantra to negate the malefic effects of planet Mars and for luck in business
& health
• Matangi Yantra for the attainment of great powers, power of speech and happiness
in family life
• Rahu Yantra to negate the malefic effects of planet Rahu
• Shani Yantra to propitiate an afflicted Shani and achieve Rajayog
• Shiva Yantra to free the fear of death, grave dangers, fatal diseases and make
courageous and healthy
• Tara Yantra for wealth and prosperity in life
• Guru Yantra for strengthening a weak Jupiter and get blessings in prosperity,
power, rank, authority, abundance
• Shukra Yantra to negate the malefic effects of planet Venus and gain respect, love of
opposite sex and peace of mind
• Ketu Yantra to negate the malefic effects of planet Ketu and gain all round success
• Chandra Yantra to negate the malefic effects of planet Moon and gain respect,
friendship and create contacts with opposite sex in harmonious way
• Buddh Yantra to appease the planet Mercury or Buddh
• Manokamna Yantra changes one's luck for the better, brings about desirable
outcomes and makes manifest one's deepest desires
• Sarva Siddhi Yantra most powerful yantra set comprising of the qualities of nine
exclusive Yantra: Ganesh, Mahalaxmi, Saraswati, Durga Bisa, Shree Yantra, Durga,
Mahamrityunjay, Batuk Bhairv
• Vahan Durghatna Yantra for protection from accidents, injury, or other mishaps,
especially those related to vehicles
• Rog Nivaran Yantra to free the wearer from any fatal diseases and make him
courageous and healthy
• Kamakshi Yantra prosperity, knowledge, fame and good progeny expeditiously in
abundance
• Katyayani Yantra for success in love with auspiciousness and fruitful marriage
• Lakshminarayan Yantra invokes the blessings of Lord Vishnu and Goddess
Lakshmi for complete happiness and success
• Swastik Yantra to prevent home from evil eyes
• Vaastu Yantra to remove Griha Dosha, Dik Dosha and negative energies
Benefits of different types of energized Yantra
• Helps you to get rid of insufficiency,
• Helps to win over competitors,
• Nullifies resentments
• Wards off malefic of planets
• Yantras help in attractingpositive energies, prosperity, abundance and most of all,
good luck in all walks of life

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• Offers a range of benefits and fills your house with radiant and beneficent energies
• Fulfils wishes through power of manifestation
• Helps to attract prosperity and helps to safeguard the existing wealth
• Helps to repel the negative energies like intentions of malice, psychic spells or plain
jealousy
• Maintains peace and harmony among family members and colleagues

SIGNIFICANCE OF YANTRAS
Yantras are ancient holy tools which forms a bridge between the worshipper and
divinity. It is an object which can be used to elevate oneself spiritually, to enhance the
power of concentration. A Yantra helps to manifest desires through enhanced
meditation and mantra chanting.

The geometric figures and symbols of which the yantra is made up of are visual
representations of the respective mantra.Yantras are often mistakenly thought to be
symbols purely of the manifold aspects of the Mother Goddess. This is an
understandable error as most Yantras are indeed connected to the Goddess, the most
famous being the Sri Yantra, an abstract representation of the Mother (and Father
too!) as Cosmos.

The Sri Yantra is also commonly misunderstood to represent Lakshmi, the Goddess of
Fortune but it is more true to say the Sri Yantra includes and transcends every notion
of divinity ever conceived of the pantheons of deities relating to the Sanatana Dharma.

In actual practice a Yantra is a symbolic representation of aspects of divinity, usually

the Mother Goddess. It is an interlocking matrix of geometric figures, circles, triangles
and floral patterns that form fractal patterns of elegance and beauty. Though drawn in
two dimensions, a Yantra is supposed to represent a three dimensional sacred object.
Three-dimensional Yantras are now becoming increasingly common. Although the
Yantra is primarily a meditation tool both for serious spiritual seekers as well as
sculptors in the classical tradition, its Shakti is also available to new seekers with
sincere devotion and good intention. Before creating Yantric artefacts in wood, stone
or metal, they draw a Yantra that represents attributes of the god or goddess they
wish to sculpt, etch or create. Intense meditation upon it causes the fully formed
image to leap into the mind's eye with remarkable intensity with imprinting ability. In
some cases, traditional Yantra-makers do not need to make a sketch before creating
the image.

Yantras are also used for innumerable mundane purposes such as to enhance the
quality of one's life, attract prosperity, abundance, love, harmony, peace, enhance
learning, promote healing, relieve health problems, for career advancement, achieve
desired goals in projects, improve business and protection from negative forces.

HOW TO ENERGIZE YANTRA

We at Rudra Centre get Yantras energized with the help of qualified Brahmins or
priests who are well-versed in the Yantric sections of the Holy Vedas. The Vedas
especially Yajur Veda have instructions for various rituals. The priests follow the exact
purification and energizing procedures called the PranaPratishta given in the
Shastras.

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 For the PranPratishta, the Priest:

• Sits on an asana or mat facing east and keeps the Yantra to be energized on a plate
in front at the altar.
• Places spoonful of water on his head and chants:
ApavitrahPavitroVaSarvaVastanGatopiVa Yah
SmaretPundariKakshamSaBahyaBhyantarahShuchih
• May all things unholy become holy, may all lower tendencies depart, just as soon as
we transcend may within and without be purified!
• Om Sri GurubhyoNamaha
I bow down to my Guru
Om Sri GaneshayaNamaha
I bow down to Shree Ganesha
Om Sri Kula DevatabhyoNamaha
I bow to the family deity
Om Sri IshtaDevatabhyoNamaha
I bow to my personal deity
Om Sri Mata PitribhyamNamaha
I bow to my parents
Sips water after each mantra:
• Om Sri KeshavayaSwaha
Om Sri NarayanaSwaha
Om Sri MadhavayaSwaha
Pours one spoon of water on ground:
• Om Sri GovindayaNamaha
Om Sri GovindayaNamaha
Repeats and touch each after each next mantra, right eye, left eye, forehead: Om Apo
JyothiRasoAmtritam

• Brahma BhuBhuvahaSwarom
chants the pranpratishtha mantra while offering yellow rice to the Yantra:
• Om Um Kum Chum Dhum Tum pum yum sum soham
PranahaEhaGachaEhaTishtha Sum Yum Pum Tum Tum Chum Kum Um Om
Om Um Kum Chum Dhum Tum pum yum sum soham
PranaEhaSusthishaBhavatu Sum Yum Pum Tum Tum Chum Kum Um Om
Om Um Kum Chum Dhum Tum pum yum sum soham
PranaManasyachakshuJibhyamGhraniPani
Pachusthan
DasoIndriyaniSusthishaBhavantu
Sum Yum Pum Tum Tum Chum Kum Um Om
• The priest than offers flowers while reciting DevayeNamahAvahanamSamarpayami
• Offers flowers for asana while reciting DevayeNamahAasanamSamarpayami
• Offers water to wash to the feet of lord while speaking DevayePaydamSamarpayami
• Bathes the Deity while reciting DevayeSnanamSamarpyami
• Offers Panchamrit with mantra DevayePanchaamritSnanamSamarpyami
• Recites the mantras DevayeVastramSamarpyami, DevayeUpvastramSamarpyami,
DevayeYaghopavitamSamarpyami For clothes upvastar and YajyoPaveet,
• Applies Ghand/Scent while reciting DevayeGandhamSamarpyami

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• Offers unbroken rice while reciting DevayeAkshtanSamarpyami
• Offers flowers and garland while reciting DevayePushyaniSamarpyami
• Lights up Dhoop and offers while reciting DevayeDhoopamSamarpyami
• Lights up a Deep and offers while reciting DevayeDeepamSamarpyami
• Offers fruits and coconut and lemon while reciting
DevayeNavdamfalamchaSamarpyami
• Offers Pan, Supari, Clove while reciting DevayeTambulamSamarpyami
• Offers Pradikshina while reciting DevayePradkshinayaSamarpyami and walks
around the Yantra three times while chanting YaniKan cha apainjanmantarkirtani
cha TanisarvaniNashyantuPradakshinPadePade
• Offers flowers and Namaskar with folded hands and chant a rosary of the beeja
mantra of the Yantra. Beeja mantras of each yantra are specific to the Yantra and
the Deity which they represent.
In this way, all the yantras are energized in accordance with the Yantric rites before
they are shipped to the buyers.
PUJA VIDHI OF YANTRA
You can pray on a Yantra which is installed in the puja altar of your house or office
daily and experience the positivity and fulfilment of desires that you pray for. Listed
below are the detailed steps of how you can offer daily prayers to the Yantras
• Wake up early in the morning and purify your body by taking bath.
• Wear clean cloths and start with a clear and positive mind frame
• Now be seated in the Padmasana pose where you place your each foot on opposite
thighs on a mat known as asana
• Make sure that you are seated facing East
• Now light adiya (oil or ghee lamp)
• Burn incense sticks
• Take mango tree leaves and sprinkle water placed in the kalash on yourself as well
as on the Yantra
• Once this is done wipe the Yantra with a soft cloth and place it back in the altar
• Now apply sandal paste or Kumkum in the Centre of the Yantra
• Offer fresh flower and a fresh fruit to the yantra by placing it in front of the Yantra.
• Now channelize you attention in the centre of the yantra and stay quiet until your
mind is silenced and all the wavering thoughts are destroyed.
• Now chant the specific mantra of the Yantrafor at least nine times
• Now slowly close your eyes and visualize the Yantra and its centre point and fix your
attention with closed eyes on the central point of the Yantra while chanting the
divine respective mantra of the yantra.
• As you chant the mantra keep thinking about the wish you need the Lord to
fulfilland
• Now with all sincerity, ask God to grant you the desire of your life that you wanted
to be fulfilled in your own language.

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Ganesh Pandey, Danya: A huge Shree Yantra is being established from Ashta metal
in Kalyanika Devasthanam Ashram located in Kanara Dol under development block
Lamgada. This Sri Yantra weighing one and a half thousand kg has been made by
eminent sculptors in Kumkonam, Kerala. From 18 to 29 April, Shri Dhyan Peeth
Establishment and Pran Pratishtha ceremony will be organized by the great Pandits of
South and North India. In the program, famous story reader Murari Bapu will also
organize Ram Charit Manas Gyan Prava Yagya.

Shree Yantra of one and a half thousand kg of Ashta metal will be installed in
Kalyanika Ashram Dol

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Jagran

Baba Kalyan Das ji, the founder of Kalyanika Devasthanam Ashram told that
preparations are going on for the program on a war footing. He said that the
construction of Shri Yantra Mandir and Sadhana Kendra was started in the ashram
from the year 2012, which has been completed this month. Baba Ji told that the Pran
Pratishtha of Shri Yantra and Shri Ganesh program ceremony of the temple will be
held from April 18 to April 29. He expressed the hope that there would be a dignified
presence of His Excellency the Vice President and the Governor in this grand
event. Kalyan Das ji told that the establishment of Shri Dhyan Peeth and Pran
Pratishtha program will be completed by the great Pandits of South and North
India. He informed that five hundred sadhaks would be able to meditate at a time in
the Dhyan Peeth. Many seekers from abroad are also participating in this event.
Temple and meditation center built in six years
The Shri Yantra Mandir and Meditation Center started from the year 2012 were
completed in six years. Baba Kalyan Das told that the height of this temple is 126 feet
and the circumference is 150 feet. He said that despite the continuous construction
work being in progress, it took more than 6 years for the construction of the grand
temple. Seekers of these countries will participate
Sadhaks from America, Japan, Germany, Korea and Dubai are participating in this
Maha Yagya, which will run from April 18 to 29. Preparations are going on in full
swing to welcome the guests and seekers coming from the country and abroad. In the
Kalyanika Veda Vedanta Sanskrit Vidyapeeth established in the ashram, Sanskrit
education is being given to the children till Inter. Along with Sanskrit, conduct,
rituals, English language and technology based education is also given to the children
so that the children can lead in every field.
- Baba Kalyan Das
The Maha Meru Shree Yantra Temple, Amarkantak, MadhyaPradesh. The temple is
encircled by forest on two sides, the ancient and sacred Batte #Krishna Kund, a pond
on its western side, and a water reservoir to its north.

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SriYantra temple was constructed by Acharya Mandaleshwar of the Attal Akhada Sri
Swami Shukdevanadji in Amarkantak. The whole temple is in the shape of a colossal
Sri-Yantra and is a geometric representation of the Primal Force, Maha Shakti.

It is constructed in the middle of the Maikal, Satpuda and Vindhyachal range of

mountains, 3500 ft. above sea level in Amarkantak, Madhya Pradesh. Amarkantak
enjoys the distinction of being the source of three Rivers Juhila, Sonbhadra and
Narmada.
The borderline dividing north & south India also passes thro' this spot. Entrance to
the sprawling temple precincts is thro' an impressive, sculpturally rich towering gate,
the 4 sides of which are crowned with the faces of goddesses Saraswati, Kali,
Bhuvaneshwari & Lakshmi
The lower segments of these sides are embellished with finely sculpted figurines of the
64 Yoginis associated with the Tantrik cult, 16 on each side. In addition, Ganesh &
Muruga are also featured on one of the sides.
The temple is constructed on an elevated square platform measuring 90,000 sq.ft & is
structured in the form of a mandal of uniform length, breadth & height, each
measuring 52 ft. The temple has been built on the tenets of temple architecture as laid
down by sage Agasthya.

Devi reigns supreme inside Sri Chakra,Nandini Ramani, 2019

Muthuswami Dikshitar captures the glory of Devi in his Navavarana Kritis

Parasakti is worshipped in her three divine facets as Durga (the vanquisher of
obstacles), Lakshmi (giver of prosperity), and Saraswati (giver of knowledge)
throughout Bharatavarsha during Navaratri. From time immemorial, Vedic
chants, hymns and songs of saints and seers have been an integral part of the
myriad modes of Devi worship; more so, during the auspicious Navaratri
celebration to propitiate Sakti, hailed as Akhilandakoti Brahmanda Nayika.
Sri Muthuswami Dikshitar occupies a unique place in the realm of Devi worship
and Sri Vidya Cult. His scholarly and highly spiritual compositions on Goddess
Kamalamba enshrined in the Tiruvarur temple as Gnana Sakti, the giver of high
intellect, are a unique set describing Her as the primordial Power seated in Yogic
posture presiding over the form and content of the ever-auspicious Sri Chakra.

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 Chapter 9

PRESS CONFERENCE ON WORLD MANDALA

MONUMENT
The World Mandala Monument to be unveiled at United Nations Headquarters today was a
symbol of the United Nations in that, for the first time ever and symbolically speaking, the
boundaries between the 188 Member States had been dissolved, the artist Neil Tetkowsky told
correspondents this morning at a Headquarters press conference sponsored by the Department of
Economic and Social Affairs.

The Monument sculpted by Mr. Tetkowsky will be unveiled this afternoon at 4 p.m. as part of an
exhibit being held in conjunction with the two-week meeting of the Preparatory Committee for
the World Summit on Sustainable Development. The Monument is composed of soil and clay
samples collected from the 188 States who were United Nations Members at the turn of the
millennium. Mr. Tetkowsky is a New York City artist and the founding director of the Common
Ground World Project, a non-governmental organization that uses the arts and education to focus
attention on global, environmental and human concerns. His work appears in 30 museums
around the world and he has recently become the recipient of a Ford Foundation grant.

Mr. Tetkowsky said the idea behind the eight-foot sculpture was to create a symbol of oneness
for everyone on the planet. Just as the United Nations was a symbol, so the sculpture
symbolized the dual aspect of cultural identity today; the need to preserve and maintain
individual identity, while at the same time assuming a global identity.

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A mandala (Sanskrit for “circle”) is an artistic representation of higher thought and deeper
meaning. The details of such thought and meaning depend on the individual creating or
observing the image, but mandalas in every culture serve, more or less, the same purpose of
centering an individual or community on a given narrative in order to encourage introspection
and, ultimately, an awareness of one’s place and purpose in the world; this awareness then
allows for peace of mind.

There is no set definition for the meaning or even the form of a mandala, nor could there be,
since it appears in the art and architecture – in one form or another – of various cultures around
the world. The image and use of the term first appear in India via the Hindu text known as
the Rig Veda c. 1500 - c. 500 BCE where it is an image and also the name of the books which
comprise the work. It was, and is, also used as a meditative tool and spiritual exercise in the
belief systems of Jainism, Buddhism, and Shintoism, appears in Persian art, as the Ishtar Star
Symbol (and others) from Mesopotamia, figures in Mesoamerican architecture and Native
American art, and was used by the Celts of the Iberian peninsula and Northern Europe, to name
only a few cultures.

The image is usually defined as a circle decorated with imagery which directs the mind of the
observer (or creator) inwards from the outer rim toward deeper reflection on the meaning and
purpose of life, the nature of the universe, the substance and reality of God, the true nature of the
self, the underlying form of reality, cosmological truths, and, actually, any other spiritual,
psychological, or emotional aspect of one’s life.

WHATEVER ELSE THE MANDALA MAY REPRESENT TO AN INDIVIDUAL, IT

ESSENTIALLY REFLECTS ORDER & IS UNDERSTOOD AS AN ALMOST SELF-
CREATED IMAGE OF THAT ORDER.

Although the circle is the most common form, a mandala may also be a square enclosing a circle
or a series of circles, a square alone, a circle enclosing an image (such as a star or flower), and a
rectangle enclosing a circle. Mandalas are defined in many different ways, however, and are not
limited to any of these geometric shapes exclusively. The best example of this is the Celtic Cross
which is considered by some scholars a mandala.

In the modern day, the most extensive, groundbreaking work on the meaning and purpose of the
mandala was pioneered by the iconic Swiss psychiatrist Carl Gustav Jung (l. 1875-1961 CE) who
devotes considerable time to the subject in a number of his works. To Jung, the mandala was the
key to self-understanding and self-acceptance; by creating mandalas, one could come to know
one’s self more completely, recognize unhealthy thoughts and behaviors, and move closer to the
center of one’s actual being, leaving behind the various illusions of the self which clouded and
confined one’s psychological and spiritual vision.

Jung’s work opened up the possibility for the secular uses of the mandala – though he
consistently emphasized its spiritual power and use – and popularized the image in the West. In
the present day, mandalas appear in significant numbers around the world in both religious and
secular contexts and have gained a significant following among those who use the image to
manage stress.

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Mandala in Hinduism

Whatever else the mandala may represent to an individual, it essentially reflects order – whether
of the cosmos, nation, community, or self – but is understood as an almost self-created image of
that order. The person who draws the mandala in paint or chalk or creates it with colored sand or
yarn or any other material, is thought to be generating the image from some higher source. This
source does not necessarily have to be a supernatural entity of any kind (it could be one’s higher
self) but, in the beginning, it definitely was.

Hinduism is known by adherents as Sanatan Dharma (“Eternal Order”), and the order it
references was established by an all-powerful supernatural entity, too overwhelming for the
human mind to comprehend, who created, maintained, and also was the Universe. At some point
in the ancient past, Brahman “spoke” the eternal truths of existence which were “heard” by sages
of India while in a deep, meditative state. This knowledge came to be regarded as shruti (“what
is heard”) and retained in oral form until it was set down in writing as the Vedas during the
Vedic Period (c. 1500 - c. 500 BCE), with the Rig Veda thought to have been written first.

The Vedas (Rig-veda)-by BernardM (CC BY-SA)

The Rig Veda is comprised of ten books, known as mandalas, containing 1,028 hymns of 10,600
verses relating to religious understanding and practice. Since Brahman was understood as

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beyond human comprehension, it was thought that the entity appeared to people as avatars –
forms and aspects of itself – through which one could connect with the source of all life. In time,
this ideology developed the concept of a higher self within each individual known as
the Atman which was a divine spark of Brahman linking one to all other living things and to the
Universe itself. The purpose of life was to attain oneness with the Atman through adherence to
one’s duty (dharma) performed with the right action (karma) in order to liberate one’s self from
the cycle of rebirth and death (samsara) and achieve liberation (moksha).
The Rig Veda provided guidance toward this liberation through its mandalas which encouraged
an audience to question perceived reality, reject illusion, and pursue true knowledge and wisdom
concerning the self and the world. Each book of the Rig Veda is, in fact, a mandala as it leads
one from the outer rim of understanding toward the center of meaning. The images which came
to accompany the text – and which are the oldest mandalas in the world – served as illustrations
of the truth of the vision as received by Brahman. This work established the basic use of the
image of the mandala which has continued up through the present: a kind of self-teaching tool to
elevate the mind from the mundane to the sublime.

The Nastika Schools

Toward the end of the Vedic Period, c. 600 BCE, there was a spiritual and cultural shift in India
which encouraged various thinkers to question the Hindu vision. The Vedas were written, and
recited, in Sanskrit by the priests – a language the people could not understand – and so were
also interpreted by the clergy for the people. Objections to this practice encouraged questions
concerning the validity of the entire belief system and so a number of philosophical schools
arose which either supported the orthodox Hindu view or rejected it. Those schools who
supported it were known as astika (“there exists”), and those who rejected Hindu thought were
known as nastika (“there does not exist”). The best known nastika schools were Charvaka,
Jainism, and Buddhism, all three of which came to use the mandala in their own systems.
Charvaka: The Charvaka mandala represents the central belief of the school that only
perceivable reality of the four elements of air, earth, fire, and water exists. Charvaka was
founded by the reformer Brhaspati (l. c. 600 BCE) who completely rejected any supernatural
concepts and insisted on direct, personal experience as the only means of establishing truth. The
Charvakan mandala reflects this as an image of the four elements each enclosed in a circle within
a broader circle. The mandala, in this case, would have encouraged one’s belief in materialism
and the materialistic truth of the human condition and prevented the mind from wandering to
speculative thought on higher powers or any other meaning in life other than pursuing one’s own
pleasure and recognizing the observable world as the only reality.

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Four Elements-by Mana Lesman - Vardhamana Mahavira by Jules Jain (CC BY-NC-SA)

Jainism: Jainism was expounded by the sage Vardhamana (better known as Mahavira, l. c. 599-
527 BCE). Although often referenced as Jainism’s founder, he is known by adherents as the
24th tirthankara (“ford builder”), one in a long line of enlightened souls who recognized the
illusory nature of existence and freed themselves (and then others) through adherence to a strict
spiritual discipline which broke the cycle of samsara and led to liberation. Jains observe this
same discipline in the hope of reaching the same goal. Jain mandalas illustrate this path and
discipline through images of Mahavira (or an earlier tirthankara) in the center of a circle
enclosed by ever-widening squares in which representations of various divine spirits (devas) or
life-conditions appear. The details of a Jain mandala vary but, frequently, Mahavira appears in
the center and the observer is invited to travel the image from the outer rim of distraction and
illusion toward the central truth revealed by Mahavira. An observer, in the stillness of
contemplation, is thereby provided with a kind of spiritual map of the Jain path.

Buddhism: Buddhism was founded by Siddhartha Gautama (the Buddha, l. c. 563 - c. 483 BCE)
who recognized that people suffered in life by insisting on permanent states of being in a world
of constant change. After his enlightenment, he taught a spiritual discipline which encouraged
detachment from craving for permanence and fear of loss as well as shedding one’s ignorance of
the true nature of existence which trapped the soul in the unending suffering of samsara.
His Four Noble Truths and Eightfold Path, he taught, would lead one to the liberation of nirvana.
His illustration of the cycle of samsara, The Wheel of Becoming, is a mandala which illustrates
how the soul suffers through ignorance, craving, and fear and his teachings show one how to
escape from the cycle of the wheel. The Buddhist mandalas are as varied as any other school of
thought but provide one with a visual representation of the Buddhist vision. This vision can take
many forms, from Buddha appearing at the center to a depiction of Buddhist cosmology, an
illustration of one’s progress along the Eightfold Path, or the story of Buddha’s journey from
illusion to enlightenment. Buddhists sometimes create a mandala from colored sand, carefully
crafting the piece, only to then wipe it away in recognition of the impermanence of all things.

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Tibetan Sand Mandala by Lisette Barlow (CC BY-NC-ND)

All three of these schools used the mandala to reinforce their visions of the nature of life and
one’s place in it but, in time - or perhaps even from the very start - the mandala developed a life
and power of its own through which, it is said, the act of creating the image directed the person
doing so in the story it told and the truth it revealed. One was not, in other words, creating an
image consciously the way one would draw a picture but was 'receiving' the image from some
deeper or higher source.

Jung & the Mandala

Carl Jung was the first to explore this aspect of the mandala in the West and popularized its
usage. In his autobiography Memories, Dreams, Reflections, he describes his early experience
with the mandala c. 1918-1919 CE:
It was only toward the end of the First World War that I gradually began to emerge from the
darkness…I sketched every morning in a notebook a small circular drawing, a mandala, which
seemed to correspond to my inner situation at the time. With the help of these drawings, I could
observe my psychic transformations from day to day…Only gradually did I discover what the
mandala really is: “Formation, Transformation, Eternal Mind’s eternal recreation”. And that is
the self, the wholeness of the personality, which if all goes well is harmonious, but which cannot
tolerate self-deceptions. My mandalas were cryptograms concerning the state of the self which
were presented to me anew each day…When I began drawing the mandalas, I saw that
everything, all the paths I had been following, all the steps I had taken, were leading back to a
single point, namely, to the mid-point. It became increasingly plain to me that the mandala is the
center. It is the exponent of all paths. It is the path to the center, to individuation. (195-196)
The concepts Jung expresses here are, essentially, the same as those presented by the mandalas
of the Rig Veda and those of the later nastika schools. The mandala, whatever form it takes,
encourages the individual to explore the nature of the self in relation to the self, to others, to
circumstances, and to the wider world of experience. Whether one is focusing on an image of the
Hindu deity Ganesha (remover of obstacles) at the center of a mandala, an image of the elements,

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Mahavira, Buddha, or a lotus flower, one is encouraged to reflect upon one’s path in life, the
choices one has made and their consequences, and what one might do differently or the same.

It is hardly surprising that Jung should express the same concepts as the ancient belief systems of
India, first, because he was well-versed in them but also because of his belief in what he called
the Collective Unconscious, a broad body of universal knowledge shared, at an unconscious
level, by all members of a species. Jung cited this Collective Unconscious to explain, for
example, why the pyramid shape appears in so many ancient cultures which had no contact, why
certain archetypes such as the Wise Sage, the Trickster, the Tree of Life, the Great Mother, the
Shadow appear in the art, literature, scripture, and architecture of ancient cultures, independent
of each other, the world over. In the same way, Jung felt, the mandala was an archetype which
the individual responded to naturally because, at some deep level, the observer already
recognized the image as a potent symbol of transformation and change, of a recognition
of established order and one’s place in it.

Tibetan Star Mandala- by Poke2001 (CC BY-SA)

Conclusion

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No matter how seemingly different the varied cultures of the world may be, the mandala appears
– in one form or another – in virtually all of them. Jung defines it as “an instrument of
contemplation” (Archetypes, 356) and notes the universal spiritual and psychological importance
of moving from the outside – the external world – toward the center – the self – in order to
achieve full individuation, in order to recognize, and become, the self. The externals depicted on
the outside of the mandala are parts of that self, just as all the others drawing the observer toward
the center are, but it is toward that center that one’s attention is drawn, and toward which one
naturally moves. Jung writes:

The energy of the central point is manifested in the almost irresistible compulsion and urge to
become what one is, just as every organism is driven to assume the form that is characteristic of
its nature, no matter what the circumstances. This center is not felt or thought of as the ego but,
if one may so express it, as the self. (Archetypes, 357)

The mandala has appeared on the covers of the Torah and Tanakh, is regularly seen in depictions
of Christian saints with a halo of light surrounding their heads and in other Christian
iconography, decorates the covers of the Quran and elevates the mind as the colorful and
intricate design of the ceilings of mosques. Native Americans of the north and south regions used
the mandala, whether as direct representations of a deity or the cosmos or to symbolize a
spiritual journey, state of mind, or to ward off bad spirits as with the circular hoop design known
as a dreamcatcher.

Mandalas of the Shinto religion of Japan follow the same paradigm, and mandalas also appear
in Greek works and designs, notably those featuring the “evil eye”, which deflect bad luck and
curses. The ancient Celts made use of the circle within a circle, decorated with various designs,
which corresponds to the mandala, as did the ancient Mesopotamians in symbols of their deities.
The soapstone seals of the people of the Indus Valley Civilization, thought to correspond in
usage to the Mesopotamian cylinder seals, can also be understood as a kind of mandala in that
they depict a central image, toward which one’s attention is drawn, accompanied by symbols
enclosed in a circle.

The mandala has been a part of the human experience for thousands of years, but ever since the
popularization of the works of Jung in the 1960s CE and, more so, after the widespread
popularity of the work of the scholar Joseph Campbell (whose theories are informed by Jung) in
the 1970s-1980s CE, the significance of the image has been recognized far more fully in the
West. Spiritual centers, yoga classes, grief therapy counselors, and many more institutions and
professional occupations utilize the mandala in helping their clientele.

129
 CHAPYER 10
THE MANDALA CONCEPT
Of CHANAKYA NEETI DIPLOMACY

Chanakya gives utmost importance to the foreign policy of the state. The states cannot remain in
isolation with the policies of others. The actions of each state has impacts on the other states and
even their relations with each other. Here Chanakya defines the concept of “Mandala” i.e Circle
of States.
The Mandala concept is one in which there are circles of friends and foes with the central point
being the Principle King and his State.This is a well thought out strategy to consolidate power
for the Kingdom who employs this concept.
Mandala in Sanskrit means ‘Circle’. The concept is also known as ‘RAJAMANDALA’ meaning,
‘CIRCLE OF KINGS’.

Chanakya believes that foreign policy is of utmost important for the stability of a state. The
states cannot remain in isolation with the policies of others. The actions taken by each state has
a direct of indirect impact on the other states and their relations with each other.
The fundamental truth guiding, the foreign policy of a state should be the welfare (Yogakshema)
of the state. Welfare of the state is welfare of the people of the state for a sustainable positive
growth. Today, the welfare can be stated as the means to achieve self-esteem for a state, the
social-political-economic strength, the economic and social well-being of the citizens of the
state. The means to achieve a balanced and effective foreign policy is defined by Chanakya as
the concept of “Mandala” i.e Circle of States.

The Mandala concept is one in which there are circles of friends and foes with the central point
being the Principle King and his State.

130
This is a well thought out strategy to consolidate power for the Kingdom who employs this
concept.
Mandala in Sanskrit means ‘Circle’. The concept is also known as ‘RAJAMANDALA’
meaning, ‘CIRCLE OF KINGS’.

The concept stems from the basic fact that “Your neighbor is your natural enemy and the
neighbor’s neighbor is your friend”. Kautilya fine-tuned this theory for foreign relations and
diplomacy.

This concept embraces twelve kingdoms in the near border of the principle Kingdom , where
Chanakya considers these bordering kingdoms as neighbors as well as enemies, the states which
are the enemies’ neighbors are his enemies’ friends and the next circle of states are his friends.

Kautilya proposes that the nations which are his neighbors and are also neighbors of his enemies
are neutral and should always be treated with respect. He believes that this circle is dynamic in
nature and the King should work towards expanding his central position and employ
means to reduce the power of the other kings in his vicinity.

131
He also proposes to build alliances with states which are two degrees away from the center to
create a balance of power.

The Mandala concept is of multi-polar nature. Today our world, is trying to be multi-polar
economically and militarily. Unfortunately, we see a Uni-polar world at the military front but
economically otherwise. Kautilya, saw the middle power as an important step in creating a
balance in the world order.

Kautilya says that “War is an outcome of a power struggle and state sovereignty”

Diplomacy is a ephemeral phenomenon and is a set of tools to attain means to avoid

confrontation, which at one point becomes inevitable. Chanakya’s theory of foreign policy
however, doesn’t advocate unnecessary war. Given the option, he prefers peace on war. The
principles of his foreign policy are hybrid in nature and is equally applicable for non-strategic ,
semi strategic, economic, sociopolitical relations among nations.

Classification of Foreign Rulers

Mandala theory is based classification of FOREIGN RULERS under 4 distinct categories.

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Ari – Enemies

Kautilya concludes that the king and his immediate neighbors are the Natural Enemies.
Any king who attempts to cause trouble to the principle kingdom without reasonable cause is an
“Artificial Enemy” of that principle Kingdom.

Mitra- Friends

The best kind of friend in the concept of Mandala according to Kautilya, is the one who is
consistent in behavior, Noble in approach, Straight Forward in matters and whose friendship is
inherited from father or grandfather (Generations).
Any other King whose friendship is courted for the sake of protection of life and property is
an Artificial Friend.

Madhyama- Mediators
The King whose kingdom is situated close to that of a king and his wicked enemy ; who is
capable of helping both the kings or of resisting either of them,is a MEDIATOR according to
Kautilya

Udasina -Neutrals
The King whose territory is situated between the territories of two rival kings and who was
powerful enough to help or resist either of them or a mediating king was Neutral.
The distinction between Neutral and Mediators are not very clear but logically the king who
remained passive in regard to both the parties are Neutral while Madhyama king was the one
who exerted his influence to bring reconciliation.
The Classes of Neighboring King
The neighbouring king belong to either of four classes
• Rearward Enemy – Parshnigraha
• Rearward Friend – Akaranda
• Ally of a Rearward Enemy – Parshnigrahasana
• Ally of a Rearward Friend – Akarandasara

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Kautilya affirms that a powerful king should always try to make himself center (Nabhi) of
the circle (Mandala).

To consolidate the power,the king should best adopt any of the following policies, namely, peace
(Sandhi), war(Vigraha), neutrality (Asana), preparedness for war(Yana), alliance(Samsraya)
and double dealing (Dvaidhibhava) according to the situation which is presented to the king.

The policies can be implemented through exercising these four methods which are : conciliation
(Sama), making of gift (Dana), showing of dissension (Bheda), punishment (Danda).
https://dharmakshethra.com/chanakya-mandala-concept-explained/

134
Mandalas are often associated with geometric, circular designs that contain repetitive shapes,
colors, and patterns radiating from the center.In today’s world mandalas have become a generic
term for almost any circle ornament.In the European and American cultures, the term is usually
interpreted as a tool for relaxation.It is connected mainly to art therapy.
However, the underlying meaning of a mandala is much broader than its vibrant appearance.In
numerous traditions, this geometric configuration represents a spiritual guidance tool.This serves
as a base for building a sacred space, and aid for practices such as meditation and trance
induction.

For example, in the Indian religions of Hinduism, Buddhism, Jainism and the Japanese religion
of Shintoism, a mandala may represent deities, places, spirits, holy powers, paradises or actual
shrines.Yet, different perspectives reveal the diverse meaning, functions, and benefits of
mandalas.They can be precise, perfectly measured and symmetrical or completely the opposite,
asymmetric, organic and free-flowing.But once one reaches a complete understanding of this
phenomenon, you will start seeing mandalas everywhere!
What is a mandala?

The word ‘mandala’ comes from a Sanskrit, an ancient Indian language, with direct translation to
a “circle” or a “discoid object”.As a spiritual and ritual symbol in Hinduism and Buddhism,
mandalas are mainly divided into two parts: an inner and outer world of the universe.The first
level of understanding is connected to several practices from Asian traditions.These include
meditation, which is related to the spiritual journey of the individual.The mandala serves as a
guide and the individual viewer is encouraged to find his/her place within the universe.The
second view is related to the “circle” which is a symbolic representation of the universe.It is a
magical form that is believed to have no beginning and no end.

More specifically, the metaphorical meaning implies that everything eventually connects and life
is a never-ending round.The most basic form of a mandala is a square with four T-shaped gates
and a circle with a central point.But the mandala can be also drawn in an outer circle. Also,
variations of the prototype may include various shapes and patterns.These include other
geometric forms (triangles and polygons), flowers, Buddhist saints, and much more.Due to its
symmetric shape and the center-positioned circle, the mandala is used as a tool for focusing the
viewer’s attention.Apart from redirecting the body and mind, mandalas are used to remove
irritating thoughts and guide the mind towards more relaxing and creative horizons.
History of Mandalas

135
Hand of Buddha. A symbol of meditation and Asian Buddhist religion. Photo: iStock/Getty Images

Siddhartha Gautama Buddha, known as the founder of Buddhism, was a religious leader from
Ancient India.During his 45 years of teaching, his guidance was not only based on getting
insights into “duḥkha” or suffering but also putting an end to it.
Above all, he wanted to show his followers the path to enlightenment. Hence, through
meditation and thoughtful action, he unified his followers and established core values which are
still practiced in the many forms of Buddhism.

Once Siddhartha Gautama Buddha attained enlightenment and has freed himself from the never-
ending cycle of death and rebirth, he wanted to pass this knowledge onto someone.
Finally, he started to preach his philosophy and has established the first Buddhist community of
monks, called “sangha”. Their culture has an enormous influence on the making of mandalas.
The earliest evidence of a Buddhist mandala date to the first century B.C.E. While the sangha
traveled through major trade routes in Asia, including the Silk Road, they have spread Buddhism
as a religion and the art of making mandalas to numerous lands and regions.
Proof of the existence of mandalas dates back to the 4th century and can be found in
regions such as China, Tibet, and Japan.After a while, the spread of these art pieces
continued onto other religions and practices, such as Hinduism. Nation-states of Eurasia
born from empires, city states, and mandala states

Michel Bruneau
L'Espace géographique (English Edition),Vol. 43, No. 3 (July-August-September 2014), pp. 231-244 (14
pages),Published By: Editions Belin,https://www.jstor.org/stable/26213727

A postmodern mandala? Moving beyond methodological nationalism, Claire

Sutherland,10.15626/hn.20163705
https://www.researchgate.net/publication/311880029_A_postmodern_mandala_Moving_beyond_m
ethodological_nationalism

136
Anthropologists and geographers of cosmopolitanism and migration have also long questioned
the analytical usefulness of bordered nation-states. Building on these insights, the article calls for
a paradigm shift in political enquiry and playfully proposes the “post-modern mandala” as an
alternative to methodological nationalism applied to Southeast Asia.
The Western Nation-state, based, in the modern era, on democratic citizenship or ethno-nationalism,
spread to Central Europe, the Balkans and the World after the fall of multi-ethnic Empires and
subsequently, colonial Empires. These Nation-States have their origins in ancient Empires (Iran,
China and Vietnam) or Precolonial Mandala-States (South-East Asia). These pre-existing state
structures evolved into Nation-States as a result of colonial domination or strong reformist and
modernizing Western influence. Expansion into their ethno-national form was sometimes
accomplished with violence (Turkey, Balkan states), causing the emergence of national minorities,
which may claim the right to establish their own Nation-State.
Mandala construction by monks
Due to this fact, not anyone can take part in this technique. Therefore, a monk who is willing to
construct a mandala must go through an artistic and philosophical study, which usually takes
around 3 years.
The making of a single mandala can last from several days to several weeks. To ease the
construction, usually, four monks come together to work on one mandala.
Each of them has an equal quadrant to work on. Likewise, once they come to the coloring part,
each monk has an assistant to help them finish the task.
The principle on which the monks work is from the center and outwards to a series of concentric
circles.
Certainly, the monks are well organized and usually move around the mandala; working in
tandem.
Even more, to ensure balance, they wait upon each other. Once they finish their section, they
continue working in agreement.
Furthermore, when monks finish the construction of a particular mandala, they can either choose
to paint it or choose to deliberately destroy it.
Painting serves as an enduring object of contemplation, whereas destroying it reminds them of
the impermanence of things in their teachings.
Two Major Types of Mandalas
As explained before, mandalas are found in numerous cultures and have a distinct use in each of
them.
Additionally, they differ in their form, types, and varieties.
Mandalas in China, Japan, and Tibet are mainly divided into two types: the garbha-dhatu and the
vajra-dhatu.
The distinction lies in their representation of the universe. More specifically, the movement in
the garbha-dhatu is from one to many. In contrast, the movement in the vajra-dhatu is from many
into one.
Other Types of Mandalas
A vintage portrait of a woman with a Mandala tattoo by JJ-Jordan
Mandalas may be painted on paper, stone, wood, cloth or even on a wall. Also, they can be
constructed on the ground, which must be well-prepared for the technique. Some traditions use
ephemeral material such as butter, colored sand, or rice powders, fashion the art piece in bronze
or build it in stone.

137
Above all, Tibetan Buddhism has used this process for architectural structures. Their temples are
built as giant art pieces of a mandala.
According to their purpose, they can be divided into teaching, healing and sand mandalas.
Teaching mandalas serve as a visual symbolization of everything a student has learned.
Certainly, the student must have an understanding of the principles of design and construction.
Then, he/she can project this onto his/her mandala, whereas each line, shape or color is a
representation of a certain aspect of the philosophical or religious system.
These art pieces are mainly symbolic and serve as a mental map to their creator.
Unlike the teaching mandalas, the healing mandalas’ purpose is not based on strict rules.
On the contrary, this technique is used for meditation and is far more intuitive. The creator of a
healing mandala aims to reach a certain level of calmness, focus, and concentration, and
eventually chain wisdom.
The third type is sand mandalas, which are mainly used as a religious and traditional instrument.
This technique is typical for the Buddhist monks and Navajo cultures.
The various symbols are of colorful sand and serve as an expression of the impermanence in
human life.
In addition to the previously-explained, there are countless other types of mandalas.
The most famous ones being: Architectural, Aztec, Bodhi, Body, Butterfly, Celtic, Christian,
Circle, Ceiling, Cosmological & Geographical, Deity, Element, Figure, Geometric, Healing,
Heart, Henna, Jung, Kalachakra, Imagined, Initiation Card, Initiation, Inverted Figure, Letter,
Plate With Deities, Mural Painting, Painting, Protection, Sand, Scroll Painting, Sculptural, “Self
Blessing”, Square, Symbol, Thread-Cross, Upright-Figure, Yantra, Lotus, Flower, and Sun
Mandalas.
Symbolism of Mandala
Both Hinduism and Buddhism use mandalas as a way of expression of Buddha’s teachings.
So, one way of interpretation is to understand the underlying principles and beliefs of these
religions.
The mandala consists of a squared temple which is placed in the center of the structure and is
surrounded by concentric circles, each of which has a unique symbolic meaning.
There are a dot and an image of the chief deity in the center of the mandala, symbolizing that the
chief deity is the actual center of the universe. Apart from the essence of the Buddha that can be
found in the temple itself, four gates are leading out of it.
The presence of Buddha is the abstract form of his mind, usually found in the form of a flower, a
tree, a wheel or a jewel.
The interpretation of the gates may be north, south, east, and west- the four directions, or
sympathy, compassion, loving-kindness, and equanimity – the four boundless thoughts.
The first circle features a ring of fire, representing the way humans are transformed before they
reach the inside.
The second circle is composed of diamonds, a metaphor for indestructibility.
The third circle is of the eight graveyards, made by lotus leaves. The leaves represent religious
rebirth, and the circle symbolizes the aspects of human consciousness through which humans are
bound to the cycle of rebirth.
Mandalas can also be constructed to represent a particular deity or a group of deities. In the case
of a few or even thousands of deities, the main deity (the generative force) is placed in the center,
while the rest of them (manifestations of the power of the core image) are organized around the
central point.

138
Common symbols in mandalas
Apart from these interpretations, some common symbols can be found in most mandalas, such as
a bell representing openness, a triangle representing action and energy when faced upwards or
creativity and the pursuit of knowledge when faced downwards.
Additionally, a Wheel with eight spokes represents the Eightfold Path of Buddhism or the perfect
universe. The sun is connected with the universe as well, a symbol for life and energy.
Mandalas are found across all cultures, each of which has a certain representation and
interpretation, so there is no one understanding of this phenomenon which could be generalized
across all of them.
Modern use and benefits from Mandalas
Nowadays, people have increased their use of mandalas as a tool for relaxation and improving
focus.
These geometric designs are no longer associated only with Buddhists. It seems like individuals
also connect them with fun activities for personal enjoyment.
In such cases, no rules apply. It is entirely up to the person who creates the design whether it will
consist of symmetrical shapes and patterns. He/she may also choose to fill the circles with colors
of his/her choice.
Besides, coloring mandalas can be beneficial for people of different ages. Children could take
advantage of the flexibility of this technique. Simultaneously this will expand their creativity.
Adults could use coloring as a way of calming down. Focusing on the mandala could certainly
take your mind off of things and generally improve your concentration.
When it comes to elders, they may use coloring the symmetrical patterns as a way of keeping
their minds sharp.
Based on research that involved creating 100 mandalas in 100 days, the results showed that this
using this technique is quite beneficial for the creators.
More specifically, the participants have eased stress, fear, overwhelming feelings, worry and
depression. Furthermore, they considered it a fun activity that relaxed their bodies and minds,
improved their focus and enhanced their creativity.
Apart from cultivating feelings of happiness and inner peace, the creation of mandalas has
enhanced the participants’ self-esteem and self-acceptance, simultaneously fostering a sense of
connection with themselves and others around them.
Last but not least, the experiment has shown that this process had improved the sleep schedule of
the participants.
Conclusion
All in all, mandalas have existed for centuries and have certainly made a significant impact on
people from different cultures.
No matter the age and background of the creator, the purpose of constructing or coloring, these
geometrical art designs have proven to be of great importance.
Even now, with all the available technology and advancement, people find mandalas as a great
way of expression and transmitting the inner feeling onto a piece of paper.
https://www.thisisbrainy.com/mandala-everything-you-need-to-know-about-mandalas/

139
The concept of Mandala originated from Hinduism in India. It is a religious symbol representing
the universe and has spiritual and ritual significance in both Hinduism and Buddhism. As can be
seen from the picture on the right, most forms of the Mandala consist of a square with four gates
(each in the general shape of a "T"), containing a circle with a centre point. Power is believed to
radiate outwards from this centre point.

This symbol is also often reflected in various temples, batik and works of art in Southeast Asia.

Based on this religious concept, the Mandala has been applied as a political system in Southeast
Asia, where polities are defined by their centre of administration as opposed to its geographical
boundaries. This is in line with the Mandala's notion of the centre as being the most powerful.

This also means that the Mandala is a very fluid and dynamic system, as allegiances of the
constituent cities may change depending on their relationships with the king at the centre of the
empire. Thus, in the Mandala political system, relationships between kings or leaders and their
subjects are emphasised. This is called a patron-client relationship, where the patron, in this case
the ruler, possesses superior power and influence and uses this to assist the his clients, meaning
the constituent cities and societies. These clients in return provide smaller services and loyalty
towards the king, helping to increase his power.

Such relationships are constantly shifting. For example, a constituent city may break off from an
empire and attach itself to a different political centre. Thus, in order to stay in power, moral
obligations of reciprocity are expected of the king - he is expected to be generous and righteous,
and maintain order throughout the empire. This is also seen in the Buddhist concepts of merit,
karma and dharma, where it is believed that a leader's advantageous position is due to his
meritorious action in previous lives, and hence it is his duty as a person of such status to be
generous and provide protection for those below him.

This diagram provides a more detail explanation of the above-mentioned patron-client

relationship.

140
141
 About the Author-Dr.UdayDokras
The author has worked for 30 years in the human resources arena in India and
abroad. He was Group Vice -President of MZI Group in New Delhi and has
anchored Human Relations in Go Air and Hotel Holiday Inn;was General
Manager-Health Human Resources at the Lata Mangeshkar Hospital amd Medical
college. Is currently Consultant to Gorewada International Zoo,Nagpur and visiting
Faculty at the Central Institute of Business Management and Research, Nagpur.

In Sweden he anchored HR in Stadbolaget RENIA, SSSB and advisor to a multi

millionaire. He has studied in Nagpur, India where he obtained degrees of
Bachelor of Science, Bachelor of Arts(Managerial Economics) and Bachelor of
Laws. He has done his Graduate Studies in labour laws from Canada at the Queen's
University, Kingston; a MBA from USA, and Doctorate from Stockholm
University, Sweden. Apart from that he has done a Management Training Program
in Singapore.

A scholar of the Swedish Institute, he has been an Edvard Cassel Fund and
Wineroth Fund Awardee.A scholar for the Swedish Institute for 5 years.

In 1984 he was involved with the Comparative Labour Law Project of the
University of

California, Los Angeles, U.S.A. He was also visiting lecturer there. In 1985 he was
invited by the President of Seychelles to do a study of the efficacy of the labour
laws of Seychelles.

Author of a book on a Swedish human resource law, his brief life sketch is part of
the English study text book of 7 th Class Students in Sweden -“Studying English.
SPOTLIGHT 7”- and 8th Class students in Iceland - “SPOTLIGHT 8-
Lausnir.”

BOOKS WRITTEN - More than 200

RESEARCH PAPERS-700 + in Researchgate and academia.edu & scribd

Followers(readers) 265,000 consolidated as on 26 th September,2020.Total
consolidated 700,000.

142
 Dr. Uday Dokras
B.Sc., B.A. (Managerial Economics), LL.B., Nagpur University, India
Certificat'e en Droit, Queen’s University. Ontario, Canada,
Graduate Diploma in Law, Stockholm University, SWEDEN
Ph.D. Stockholm University, Sweden,
Management and Efficacy Consultant, India
EXPERT Hindu temple Construction and Vastu Shastra

143
 Reviews of the Book PROJECT HUMAN RESOURCE MANAGEMENT

The authors highlight the benefits of paying attention to human resources and offer success and
failure factors guideline for a variety of potential practitioners and students in global project
marketplace.
Ms.Ylva Arnold, Head HR- Norstedts Publishers, Stockholm SWEDEN

144
From the Newspaper Times of India March
24, 2018

145
Iceland Sweden both countries use the English Text SPOTLIGHT-one of the lessons
in which is about Dr Uday Dokras

146
Prof. S.Deshpande,President of the Indian Instituye of Architects, New Delhi INDIA
releasing the book of Dr Dokras HINDU TEMPLES on the web in CARONA
gimes( May 2010)

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148
149
150
Some of my books

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152
153
154
155
 Unravelling the

SCIENTIFIC
BORUBUDUR
156
51 of the 200 BOOKS BY DR UDAY DOKRAS
Published by
The Indo Swedish Author’s Collective Stockholm
The Indo Swedish Author’s Collective Finland

Dr. Uday Dokras

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Tamil People as Traders and Voyagers

The Cambodian Trilogy

I.HINDU CAMBODIA

II.HYDROLOGY of ANGKOR

158
ANGKOR is known as a Hydraulic city- full or canals and river and waterways. It
is this water system they say that brought the downfall of this intrinsic kingdom.
But is that TRUE?

III.ENTER…… THE KINGDOM THAT

VANISHED- Angkor

Building Materials of the Hindu Temple

In depth study of how Building Materials of the Hindu Temple was used in
India,Indonesia and Cambodia and India

159
The Art & Architecture of THE GOLDEN TEMPLE
COMPLEX, AMRITSAR

Mathematics in Temple Designs

Jain ART
Book on Jain Art and Iconography

160
Jain Temples- Part I -Complete Compendium-Book I
A to Z of the architecture, Design,Cosmology,Philosophy of Jain temples in

Jain Temples II
DEVELOPMENT OF THE ARCHITECTURE OF JAIN TEMPLES AND THE
ACTUAL PHOTOGRAPHS(ORIGINAL) OF 3JAIN TEMPLES of Nagpur

DWARKA- CELESTIAL MYSTERIES of the Lost

CITY of KRISHNA

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TIRUPATI TEMPLE Book part I

TIRUPATI TemplePart II

Vahanas- the vehicles of Hindu Gods

Vahanas- the vehicles of Hindu Gods. Animals in Hinduism. demi Gods

SATYANARAYAN PUJA-The Complete Compendium

162
Satyanarayan Puja or 9 Graha Puja( a puja of 9 planets) has been performed by
most Hindus not only now but for 1,000’s of years.

MAHALAXMI Puja
Hindu Goddess MAHALAXMI Puja

ARCHITECTURE OF PALESTINE

Palestine my Love
Palestine my Love is about the culture arts and crafts of palestine so we recognize
it as a entity that is fighting for recognition of not only its legitimacy but also its
cultural heritage

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 QUINTET (5) BOOKS ON MANDALA

Unravelling the MAZE of the MANDALA BOOK I

First part of a two book treatise on MANDALAS. This introductory phase
introduces mandalas

Maze of MANDALA BOOK II

Advanced Mandala routine for those who want to know more about MANDALAS

Mandala BOOK III on Nakshatra

164
BOOK IV MANDALA & ARCHITECTURE
The Use of Mandalas in Building Temples and Modern Buildings

Book V on Mandala of the Oriental Kingdoms

Islamic Architectureal Arts of of Imam Ali's 2 Shrines

165
Hindu Gods in Scandinavia
Did the Hindu Gods originate or live in Scandinavia once? Find out

Book on Divinity and Architecture

What is divinity? How has man tried to harness architecture to create magic in
space

Virat Hridaya Padma-sthalam CHIDAMBARAM

Temple -Celestial Mysteries
This book is about a mysterious and revered tempe built by the Chola Kings of
South India 2000 years ago

T2- Temple Tech. A Book

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How are Hindu temples built and the technology that follows this craft. From A to
Z Complete Guide.

Rendezvous with Sri RAM Portfolio of Temple Art by

Srishti Dokras, Architect Special section on Hindu
Foods by Karan Dokras, Product Guru

Best Foot Forward

The story of Footwear through the ages up to COVID times

Hindu Temple Panorama-Celestial Mysteries

167
A to Z of Temples. A total Panoramic View of design and architecture of Hindu
temples in 350 page...

DUOLOGY (2) on JAINISM

Ativir
ATIVIR means Very Brave and is the name given to Lord Mahavir the 24 th
Saint(TIRTHANKAR) Contains rare translations of the Dialogue of the Mahavir
with his disciples called GHANDHARVAVAD

Vardhaman-वर्धमान
IThis book is about Jainism- written by a non-

THE TRILOGY(3) on DEVRAJA The God

kIngs of Khemer

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Book I DEVRAJ- The God Kings of Indo China-
Cambodia.
This is the first Book of a Trilogy that traces the growth of Hinduism in South East
Asia.

BOOK I I DEVRAJA- The Great Civilizations of South

East Asia -HINDU Era
How Hinduism reached Cambodia and how the Hindu Kings called Devraj Built
these magnificent structures

Devraja BOOK II I Devraja and Raj Dharma God King

and Kingly Religion The HINDU Era of Great
Civilizations of Khemer
Book 2 of a Trilogy that traces the advent of Hinduism on South East Asian and
Indo-Chinese

169
Vayu- Man's taming of the winds
Man's conquest of nature spans a million years. How was wind tamed by him. Here
is the full story... more

VIMANA Ancient Conquests of Wind

Ancient flying machines of Gods and Men(?) Were they true. Did they really exist.
7000 years ago?

LIGHT HOUSES In words and pictures

170
BOOK Architecture of the Lighthouse of Alexandria-
BOOK
Indo Swedish Author's Collective, 2020

The lighthouse was built on an island off the coast of Alexandria called Pharos. Its
name, legend

Cosmology of lotus
Indo Nordic Author's Collective, 2020

The Lotus is the king of the flower world but few know it as a part of creation.
Find out the Cosmology.

Celestial Mysteries of the Borobudur Temple

171
Borobudur remains a mystery even today. The largest Buddhist Stupa in the world
has many unanswered...

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Hindu tempel of India , Cambodia and Indonesia

Hindu Temples dot India, Cambodia and Indonesia

DISRUPTION-Book

Book Architecture Creativity

Creativity and Architecture are linked and go hand in hand. This Book is a
culmination of 16 publications that have been put together as a book

172
Project HR Management
Indo Swedish Author's Collective

PROJECT HUMAN RESOURCE MANAGEMENT/'Dr UDAY DOKRAS The

project sphere has not been valued appropriately

Human Resource Engineering in Theme Parks.

by Dr. Uday Dokras and Mansse Bhandari

As theme parks evolve into facilitating for greater thrill seeking audience,the role
of human res... more

Health Human Resource Management

173
Management of Health care workers in hospitals and the human resource practices
to be followed in hospitals.

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The Act on Co-determination at Work – an Efficacy study
Thesis of the Author for the degree of Doctor of Law

Stockholm University, SWEDEN 1990

174
 Earlier Book
The Integration of a symbolic form with the
natural landscape to create a physical
manifestation of a Hindu cosmological
template of a perfect universe

Hindu cosmology in
ANGKOR
Dr Uday Dokras Ph.D Stockholm,SWEDEN
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