YANTRA YOGA – UNION THROUGH MYSTICAL GEOMETRY
The Power of Yantra Yoga
Kali yantra, painted on cotton. Held at the British Museum of London
Then Shiva Mahadev spoke to Parvati, “O Devi, because it restrains suffering due to desires, anger, and karma, it is called Yantra. The Goddess who is worshipped within it offers Grace to the Tantric.” – Kularnava Tantra
The academic scholar of Indic studies might believe that a yantra is an art form and a psychological symbol that addresses the worshipper's perceptions of the Divine. This is a misleading and inadequate description, for yantras are understood more fully by those who actually use them. Yantras are literally a method and means of holding and maintaining the actual conscious presence of the Deity-essence and the majestic power that accompanies the Deity, whether Siddha or Avatar, who is called into the sacred geometry.
It has been said that “mathematics is the language of the Gods.” God consciousness manifests expression through mathematics and geometry. Dr. Michio Kaku, the well-known theoretical physicist, has stated that “we might imagine God, as we know him, to be a mathematician.” On a universal scale, there is a direct relationship between mathematics, sound, and form. In tantra, the geometrical form representing sound (mantra) is a yantra. Imagine that every pitch and vibration creates a geometric pattern of expression for that frequency. So also, each geometrical variant has a unique associated note, pitch, and frequency. The sacred geometrical form (yantra) and the divinized sound (mantra) are inseparable and constitute tantra. Thus, it is often said that “yantra plus mantra equals tantra.”
A yantra is not limited to being a divine manifestation. A yantra literally holds the energy of a particular deity. A yantra is verily a geometric pattern that contains both energy and a deity-spirit and is also a representation of a sound vibration (mantra). In worshipping the presiding deity of a yantra, we are acknowledging their presence microcosmically, as the soul within ourselves (Jiva), and macrocosmically, as universal nature (Prakriti). Tantra teaches that from Purusha, the primal cause of the creation impulse, emerged Prakriti, or mother nature. The yantra is understood to be a mirror of the inner universal soul (Jiva). Its internal reflection of cosmic principles is inferred by the Tantric. In this way, the yantra, acting as a carrier of its representative energy, is massively empowering.
The tantric tradition states that one must become qualified in order to utilize yantras fully, as the knowledge of sacred geometry is a transitional process of revelations that lead to inner union (antar yoga). The aspirant is initiated into a specific yantra and mantra by a qualified teacher (adikariguru) and develops the core energy through yogic practices (sadhana) and the resultant purification.
The Method of Yantra Yoga
The tantric practitioner first seals off the ceremonial space with mantra and then, again using mantra, sanctifies his or her own hands, body, and environment. The yantra worshipper (purohit or pujari) is incrementally transformed with these practices, which leads to the sanctification of the being, inside and out. Thus, it is said that only God can worship God, and it is through these various forms of purification that the pujari connects with their inner divine nature and is made fit to have that direct encounter with the Deity and make offerings that are free from ego. Thus, the capacity to connect in this way is tied to one's total life and even previous lives. The tantric awakens the Devata within by yogic and tantric techniques, and using sacred breathing patterns (for example, kundalini pranayam), mantras, and transformational hand postures (mudras), as well as practices to awaken the heart space, the divine presence is aroused and witnessed in the yantra, but also in the practitioner and assembled devotees. Specific mantras, mudras, and dhyana meditations result in the manifestation of divinity, which assumes residence within the yantra.
Thus, the application of mystical geometry utilizes structural patterns that contain the power of mantra and yogic practices (sadhana shakti).
Without these sacred sounds, there is no active transformative power in yantras, and their value is limited to being symbols. Symbols have a power in themselves, of course, but when mantra is “held” by sacred geometry in the prescribed manner, mystical power becomes tangibly present for those who are attuned to the subtle realms. Massive changes, even in the physical plane, can result, according to the intent (sankalpa).
Yantras in Ancient Times
Some of the earliest examples of sacred geometry originate in the Indus Valley civilization, including the swastika symbol shown here.
Make it stand out
Yantra Yoga Swastika of the ancient Indus Valley civilization and contemporary of Sumeria. Apparent Yantra Yoga Swastika from the ancient Indus Valley civilization, a culture contemporary with Sumeria.
Scholars, such as Bhattacharya, have helped establish that the Indus culture was based on tantra. Yantras, an integral part of that scientific art, were found at the excavations of the Indus cities of Mohenjo-daro and Harappa, dated from 3300 BC. More recent excavations suggest that this culture developed even earlier, at roughly the same time period as the Sumerian cultures.
Indus Valley Civilization cross symbol (Yantra Yoga). A cross symbol yantra from the Indus period.
Ancient Dravidian texts refer to three yogic-based “sangam” civilizations. Some parts of those early civilizations were said to have been inundated by the sea thousands of years ago. Even during our time, we have seen tsunamis originating from Indonesia inundate the eastern seaboard of South India, killing many and resulting in massive flooding. Work at archeological sites from the Temple of the Sun in Orissa to Mahabalipuram in Tamil Nadu has established that many ancient sacred temples have been buried by sea and sand in past centuries. It is difficult to know how much of the yogic culture, even yantras and Urdu text, might have been lost due to such incursions from the sea.
There are linguistic and genetic links between the Dravidians of South India and this Indus civilization, but whatever the origins of the Indus Valley civilization, there is no doubt that sacred geometry was in use at that time. In subsequent centuries, yantras have been placed in the foundations and roofs of temple sanctums and sacred spaces, as well as laid within temple walls. The geometry of temples themselves is considered yantras.
This group of sadhakas accompanied the author on a pilgrimage in 1991. Here, they stand before the entrance to the sacred birthplace temple of Kriya Babaji in Parangipettai.
In the early 1970s, as part of the initial dedication of the Babaji temple, I had the great opportunity to be with my Guru when yantras were placed in a hidden portion of the Babaji temple at Parangipettai, India, marking for the ages the sacred spot where the great Kriya Mahavatar Babaji was born in the year 203 A.D. (for more, see Mahavatar Babaji and the Golden Body of Light).
Babaji’s temple is quaint, artistic, and having been constructed of solid granite, will likely last more than 1,000 years. The front of the temple, shown in the image above, has been expanded and beautified over the last two decades, and no doubt, those responsible have accrued great merit (punya) for their work.
“They call it yantra because it restrains prolonged suffering arising from defects (in the form) of desire, anger, and other limitations.” – Commentary on Sardatilaka by Raghvabhatta
My Early Experiences of Sacred Geometry
Yogiar taught the author a great deal about Yantra Yoga Yogiar Ramaiah taught the author a great deal about Yantra Yoga
My Adi Guru, Yogiar S.A.A. Ramaiah (shown above), Kriya Master, direct disciple of Babaji, and Pranayam Siddha, had a great deal of experience with the Siddhas and their Siddha yantras, and the Siddhas certainly supported his work in a powerful way. Without his pioneering work, little would be known worldwide about the 18 Yogic Siddhas. My brother-disciple (gurubai), M. Govindan, now known as Satchidananda, has also served dynamically in this respect, as have many others, both in Yogiar’s Sangam, as well as those whom Babaji has called in a different direction. All of the Lahiri lineages too, should be acknowledged. No doubt, in the coming decades, there will be many more souls who are blessed with Babaji’s darshan. Let us appreciate the sacrifices and efforts of all who serve Babaji. If there are some minor differences, such as the exact birthdate of the immortal Master, I am sure that Babaji will clarify any confusion as needed.
During the 1970s and 80s, we were trained in sacred geometry and yantra carving methods by my Guru, S.A.A. Yogi Ramaiah. During that period, he gave specific assignments to me to carve many yantras. In doing so, he shared very specific drawings of many yantras. This included the yantras of the great Kriya Masters and Siddhas, or yogic supermen, as well as the primary deities in the tradition. I still cherish and maintain the sacred notes that he recorded in his own hand as he drew the yantras to serve as models for us to carve. Yogiar was a direct disciple of Kriya Babaji and also a temple builder. Yantras were placed, under Yogiar’s instruction, at several sites in India, Mt. Shasta, as well as centers and temples in Southern California, New Orleans, Chicago, Yuma, and upstate New York. On one occasion, a yantra that Yogiar had us bury in a power spot on Mt. Shasta was discovered by a hiker and ended up on the desk of a forest ranger. Someone in our group noticed an article in the local newspaper about the mysterious yantra, and at Yogiar’s direction, it was soon retrieved from the ranger’s desk during the next journey to the sacred mountain. What a pilgrimage that yantra took!
Swami Rudranand Giri Maharaj of Tara Peeth, with myself in the background. Swami Rudranand introduced me to the 64 Yoginis and their mystical geometry.
Numerical Yantras
Later, my Kaula Marg Tantric Guru, Swami Rudranand Giri Maharaj, also a disciple of Sathguru Babaji, introduced me to the sacred geometry of Maha Kali and the 64 Yoginis, as well as numerical yantras. Numerology is an ancient scientific art. Numerical yantras have been a part of Indian spiritual practice since Vedic times. One example is the 3x3 yantra, one of the gifts given to me by Swami Rudranand decades ago. It is associated with Ganesha, and numbers are placed in such a way that by adding those of any column, whether horizontal, vertical, or diagonal, the resultant number is always 15. The planetary deities each have a version of a numerical yantra associated with them. Modern mathematicians refer to these yantras as “magic squares.” Ironically, the real “magic” manifests in fullness only when yantra and mantra are united in combination.
The Chautisa numerical Yantra at Khajuraho
The use of numerical yantras has continued through the centuries. I have had the fortune to view a 10th-century 4x4 numerical yantra, which is installed in the Parshvanath Jain temple at Khajuraho (see adjacent image). The Sanskrit word Chautisa means 34, and because the sum of all its columns is 34, it is known as the Chautisa Yantra.
Other precious souls who contributed to my yantra yoga knowledge include Sri Melsanthy, the late chief priest of the Sabari Malai Ayyappa Swami temple in Kerala, who, in 1971, blessed my Ayyappa Swami Yantra. Also, P. Sundar of Thanjavur and A.S. Vasan of Pondicherry have each imparted to me sadhana shakti and knowledge regarding the esoteric use of sacred geometry. Others prefer to remain anonymous. Except for the immortal master, they have all passed from the physical plane, and if Babaji wills it, not a drop of the blessings they have given will be lost to the world.
The Sanskrit word Yantra suggests a machine or instrument, perhaps a tool. The suffix tra implies protection and defense. Indeed, a yantra is a tool that provides protection to its users. It is much more, of course. The Cologne Digital Sanskrit Lexicon describes its meaning as an “instrument for holding or restraining,” as the derivative prefix yam also suggests the function of containing or holding. Whatever the linguistic origins of the word itself, yantras are understood by those who use them as geometrical structures energetically charged by sacred sound. In common parlance, they are power generators that assist the tantric in channeling and containing the grace of sadhana shakti energy. If one thinks of a microchip in a computer as the storehouse of massive content, it is not an exaggeration to understand that a yantra is a macrochip that accesses and contains for the user knowledge and power on a multidimensional scale, transcending time and space.
The Yogini Tantra states that Devi is to be worshipped either as an image (pratima) or sacred geometry (yantra). Each angle and point of a yantra (avarana) is associated with a specific mantra, deity, and energy. Whether one approaches a yantra from the outside and works inwardly or goes from the center and works outward depends on the mode of worship and the instructions of the teacher. One should follow one’s preceptor to ensure success.
There are two modes of yantra worship using mantras. The siddha yogi advances in internal energy through internal worship (antar yoga) by worshipping the yantra from the outside in. Conversely, when there is a particular need to externalize the energy worship (bahya yoga), the tantric begins in the center and progresses outward.
Yantras and Sound Waves
Swiss physician Hans Jenny is considered the father of cymatics, the study of wave phenomena and visible sound vibration. He published his life’s work in 1972, the year he died. Jenny made use of crystal oscillators and an invention of his own, the tonoscope, to create the vibration of quartz sand crystals on membranes generated from sound.
He showed that sound vibrations on fluids, powders, and liquid pastes did not create unregulated chaos but rather a dynamic, albeit ordered, pattern.
In vibrating the membranes, he discovered, without intending to, that when “Om” was chanted in a very specific tone, the sand medium that he was using vibrated into the very clearly identified shape of the Sri Yantra.
In optimal circumstances, celestial energy pervades both Yantra and mantra. The Yantra has been likened to the physical body of a spiritual energy (thus manifesting that energy in the denser planes). The mantra, particularly the expressed bija, is the energy itself, which can transform consciousness and originates from the most subtle vibratory levels as sound vibration, which, for the yogi and tantric, can be back-traced to unmanifested reality.
Best Days for Preparing and Performing Puja to a Yantra
The best times to prepare a yantra or to perform sadhana with a yantra are during the full moon (poornavasya), new moon (amavasya), and the bimonthly 13th day of the lunar cycle (pradosha), which begins at both the full and new moon. Other important dates include the annual Shivaratri, the biannual Navaratri, and other holy days identified in Jyotish astrology. Contrary to common thinking, an eclipse offers excellent opportunities for certain yantra sadhana as well.
The Significance of Common Geometrical Shapes
Most yantras are surrounded by a square with four "T"-shaped projections on each of its four sides. These projections, referred to as the gates of Bhupur, a reference to the earth (bhu), have a mystic significance. This square forms the foundation of the yantra. The square contains the earth's energy, and when activated, the projections are understood as gates that control energetic access in the lower planes to the resident divine energy. Specific mantras will "lock" and "unlock" these gates.
A comprehensive analysis of the geometrical parts of the yantra is beyond the intent and scope of this article, nor would it be particularly beneficial. In the end, mantras and yantras must be learned from a teacher, not from a book. An important part of the learning is in the form of transmission and cannot be conveyed through the intellect or the mind. A few points could be noted. Circles used within a yantra generally suggest the water element. Vertical lines are understood as containing the fire element, diagonal lines the air element, and horizontal lines the ether. Though not always present, these five elements are present in many yantras. Triangles, when pointed up, contain the divine masculine as well as the fire nature. When triangles are pointed downward, they contain the water element and the divine feminine.
The typical yantra, with its central point (bindu) and concentric circles of petals and other geometries, is conceived of as a sacred dwelling in which the presiding deity and their retinue take up residence.
The bindu represents the location of the highest manifestation of the deity, as well as the focal point through which the deity transcends the relative plane with its form and structure to merge into the formless consciousness. This is the same formless consciousness in which the worshiper merges with the highest truth. The yantra yoga then reflects the nature and potentiality of the pujari (worshiper) and their relationship with the divine.
Materials for Yantras
Yantras are formed of copper, gold, spatika (natural crystal), bhoj patra, or, during certain portions of a puja, drawn with sanctified water or sandal paste. The most traditional method is through carving or engraving. Commercial yantras embossed by machines on thin copper are available and have value in their symbolism but do not hold energy well.
Bhoj Patra
Bhoj Patra is nature's paper, an organic paper removed in sheets directly as the bark of the bhojpatra tree, the Himalayan birch, and is acceptable for most yantras. The best ink is compounded from a mixture of camphor and sandalwood. The red powder used to mark the bindu in the third eye, kumkum, is also ideal. The Sri Kali Tantram states that the Kali Yantra should not be made from leaves, wood, or stone.
Copper & Gold
The electromagnetic qualities of copper and gold make them the most desirable choice for materials for most yantras. The yantra should be engraved by human hands in the prescribed manner and not mass-produced by machines with no soul.
Crystal
The word crystal is derived from the Greek word "krystallos," meaning frozen light. Called spatika in yoga and tantra, crystal has been used as a medium for yantras for many centuries. In recent centuries, crystal has become uniquely traditional as a carving material for the Sri Yantra. Buyers should be cautious, as unscrupulous merchants have been known to sell glass as spatika. When in doubt, ensure you have a reputable dealer.
There are specific methods of construction for each yantra. Yantras seen internally in meditation by one with a purified mind are the greatest yantras and serve in advanced tantric and yogic practice. This is how great yantras come into being. As stated, associated with every yantra is a sound vibration. Condensed, this sound vibration is referred to as a bija. Symbolically, the bija resides in the center of the yantra, often represented by a central point, or bindu. Bindu, in turn, represents the core of consciousness. The bija also very often forms part of the mantra for each petal and level (avarana).
"Japa can’t occur without Puja; and Puja can’t occur without Yantra & Mantra."
Sri Mahakala Samhita, 5th Chpt, Guhyakali Khanda
The clear implication of the above line is that the best success in Japa and Mantra is when it is performed in concert with puja, or ceremonial worship using mantra. The puja formula includes the offering of flowers to the Divine, who, attracted to the space by the power of mantra and devotion, is then worshipped with deep humility, profound faith, and an open heart. The prefix "poo" or "puu" means flower, and the ultimate puja is to offer the refined flowers of the subtle body, the chakras, to the Divine. The flower represents the most beautiful end product of the plant. Offering the finest and most beautiful part of the plant is an expression of an open heart offering, increasing the desired effect.
Preparation of Puja with the Knowledge (Vidya) of Yantra Yoga
There are well over 100 yantras received in training from Babaji through the Gurus. Babaji’s Kriya Tantra Yoga is vast and includes thousands of other yantras as well. For this article, I have chosen to briefly discuss some of the most important yantras in Yoga and Tantra. These are yantras to which we regularly perform puja at Yogini Ashram. The active participants are led by the pujari (also known as purohita) through the preliminary procedures (samanya vidhi), which include sealing the energy of the puja space from interference or negativity (digbhana), sanctification of water to be used in the puja (jalasuddhi), purification with mantra of the hands and fingers of all who make offerings (kara nyasa), purification of the body through mantra (anga nyasa), purification of the body through sipping of water (achaman), dispersing negative energies and agents of disharmony (bhutapasarana), cleansing of the inner elements (bhutasuddhi), and statement of commitment and visualization of intention (sankalpa). This and other processes prepare the participants for the puja. Abbreviated pujas offered to Guru, Ganesha, the assembled Devatas, and Shiva are usually performed. After these preliminaries, the yantra of the primary deity is propitiated. Those who lack the emotional scope for devotion and humility will not unravel the mystical threads of yantra sadhana in a hundred lifetimes.
"…and then Shiva spoke, 'O Devi, Mistress of the Kula, because it can protect always from absolutely all dangers, such as dying (yama) and disembodied spirits (bhuta), therefore it is called yantra.”– Kularnava Tantra
Maha Kali Yantra
This rare raised (3D) Kali Yantra, energized with Shakti Peeth kumkum and nine gems (navaratna), is one of only a handful in the entire world. Great power ensues when we honor her and observe her guidance.
In the sacred text Mahanirvana Tantra, Lalita (Sri Sundari) is equated with the great mother goddess Kali, who is manifested as her Rakta form. The equally inspired work, Sri Kali Tantram, reinforces this point as indicated below:
“Kalika dvividha prokta krsnaraktaprabhedatah Krsna tu dakshina jneya rakta tu Sundari mata”
“Sri Kali is described in two ways; one black and the other red. When black, she is Sri Kali; when red, know her to be Sri Tripura Sundari (Sri Lalita).” - Sri Kali Tantram, Chapt 1
As stated earlier, each petal, point, and angle of a yantra (avarana) represents and holds the energy of a particular deity, a specific divine vibration, and a unique consciousness that is a portion of the fullness of the principal yantra deity. Thus propitiated through devotion, kirtan, pranayam, dhyan, and particularly, mantra, the deity manifests. The degree of manifestation is related to the soul capacity of the practitioner or practitioners.
The Sri Kali Tantram describes the inscriptions and geometry required for the Kali Yantra and states that “He who knows this great yantra attains liberation.” This is because the yantra, with its 24 avaranas, represents the 24 tatvas of Kriya Tantra Yoga and holds the energy of the goddesses associated with these tatvas. Having an intuitive and direct understanding of these 24 tatvas, or elements, of the individual soul (Jiva) is, in fact, the essence of liberation from the veils of Mahamaya, the great illusion.
Just as the mantras of the waxing moon (bright moon) are chanted during the puja of the Sri Yantra, the mantra recitation of the 15 Nitya Shaktis of the waning moon (dark moon) becomes manifest in the Kali energy, with their focal point of residence being the 15 locations within the 3 angles of each of the five triangles in Kali’s yantra. In addition to the mantras of those 15 Shakti avaranas, the avarana mantras of the 8 Mother Shaktis and Prakriti Devi, who is the totality of cosmic nature, are honored at bindu. With the honoring of Prakriti Devi, all of the 24 Shaktis and the 24 tatvas of the individual soul are acknowledged. One can see that the worship of the Kali Yantra is simultaneously a worship of the pujari and the assembled devotees themselves, for each jiva or individual soul is constructed of these 24 tatvas. During the climax of the puja, the worshipped and worshipper become an honoring to the exalted state of nirvikalpa samadhi, for it is said that only the divine can properly worship the divine.
The great Kriya Guru, Sri Yukteshwar, was directly requested by Mahavatar Babaji to write about the tatvas. In doing so, he explained the Pancha Tatvas as five forms of electricity. He identified them as the cause of all other creation. He explained them as the five root-causes.
Referring to them collectively, he wrote, “They are the causal body of Purusha, the Son of God. These forms of electricity, being evolved from the polarized Chitta, are also in a polarized state and are endowed with three attributes (Gunas), namely Satva (positive), Tamas (negative), and Rajas (neutral).”
The positive attributes of these five forms of electricity are Jnana Indriyas, the five sense organs, being attracted under the influence of the mind (Manas).
The neutralizing attributes/principles are the five organs of action (Karmaindriyas) and the energetic principles behind them. They are (1) elimination and release (represented by the anus), (2) generation/creation (represented by the genitals), (3) communication (represented by the mouth), (4) movement (represented by the foot), and (5) manipulation of the environment (represented by the hand).
Matter itself is part of the wider illusion. The Tanmatras are five attributes, or objects perceived by the senses of smell, taste, sight, touch, and sound. These need not be seen as the physical organs, as one can see without the eyes, such as in a dream or mystic vision. When these objects of the senses intermingle with the negative attributes of the five electricity elements, they combine to produce the concepts of gross matter. This appears to us, being under the influence of Maya, to be solids (kshiti), fluids (ap), fiery (marut), gaseous (vyoma), and ethereal (akasa). We know from current science that objects which appear solid, liquid, fiery, and gaseous are not what they seem to be and that electricity and magnetism play an important role in holding together a substance on the atomic level. For example, it is now understood by contemporary physical science that an electrical charge is the only thing that prevents two objects of substance from occupying the same space. One object repels the other due to electromagnetic energy.
The outer covering of the Purusha, the gross material body (sthula sharira), is constructed of these illusionary components. These five-element electrical energies, together with mind (manas), intelligence (buddhi), heart consciousness, and ego (aham), interacting with the tanmatras and karmaindriyas discussed earlier, cast a veil of illusion over the embodied soul, which maintains a sense of separateness between the external illusionary Self and the macrocosmic oneness as the original son of God.
Purusha is the universal cosmic male principle. Prakriti is the cosmic female principle, the nature of consciousness by which the universe exists and functions. Prakriti literally means “that which gives shapes.” Vedanta, Saiva Siddhanta, and Shakti philosophy all agree that there are 24 elements that allow for the creation of form. These 24 tatvas make up the Atman, or indwelling Self. The Kali Yantra is sacred as a geometrical shape that holds an honorable space for each of these 24 elemental goddess energies. Thus, these petals and points of the Kali yantra hold the energy of the 24 goddess-related elements of Prakriti, the cosmic female principle. Since they are all understood to be emanations of Kali, the geometry does, in fact, represent the containment of her entirety.
Knowledge of this Prakriti Shakti leads to salvation. Shiva speaks to Devi thus, “Sakti-Jnanam vina Devi nirvanam naiva jayate”—“O Devi, without the knowledge of Shakti, the great bliss (mukti) cannot be attained.”
The individual soul (jiva), under the influence of many layers of illusion (maya), imagines that it is the doer and the enjoyer and identifies itself with the body. Nothing that exists in the physical plane can lead to truth, for it is all part of the inexhaustible illusion of maya. Thus, the siddhas taught us that the physical body is not the doer. The energy sheath around the body is not the doer. The mind, connected with the senses, is not the doer. Nor is the intellect. The ego, the part of the being that imagines itself to be the doer, is also not the source. Only when one makes the heroic effort of lifetimes can the deeper wellspring be reached. By worshipping the Goddess who stands for these twenty-four principles, salvation is to be achieved. In the meantime, Shakti gives every pleasure, even to those who don’t seek it. As we dive deeper, the Guru calls from within to release our illusionary control and identity with her essence. Every soul passes through a stage where it is important to learn to just be a good human being rather than present oneself as “somebody.” At a later stage, it is important to stop pretending to be human and be willing to assume the divine mantle.
All challenges are overcome through the worship of the 24 principles of the Self (atman) through the sacred geometry of Maha Kali.
Jai Ma Kali!
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