THE DYNAMISM OF THE YANTRA

Dr Uday Dokras

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THE DYNAMISM OF THE YANTRA
An YANTRA consists of three concentric parts:
1. An inner figure of interpenetrating triangles. This 2gure, symmetric in its vertical central
axis, contains both upward-pointing triangles (vahni), symbolizing the male element
(“Purusha”, the Cosmic Person), and downward-pointing triangles (sakti ), symbolizing
the female aspect (“Prakriti”, 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.

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; such diagrams are abstract analogues of
the more profusely decorated tibetan thankas

3. A triple Greek-like key-pattern, the bhupura ( , or si# sirita # (shivered) frame. It

symbolizes the ground-plan of a temple with 4 square openings, in the 4 directions of
space. This sanctuary is the seat (pitha) . ha) of one’s chosen deity or devata, 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. The original edition of Zimmer had
erroneous descriptions of Sr ! Yantra, according to the later English translation.
Unfortunately, that one is also marred with errors in diagrams, and unclear references to
inside-out construction instructions for the drawing of the triangular central pattern. T
For those who are interested in obtaining a deeper insight please read- Theoretical
Computer Science 281 (2002) 609 – 628 www.elsevier.com/locate/tcs, Sri Yantra
Geometry, Gerard Huet which gives aa more precise analysis of Sr ! Yantra than was
previously available in the published literature. We oGer this study as evidence of the
non-triviality of bridging the cultural gap between Humanities and Science on the one
hand, and Eastern–Western knowledge, or sensibility, on the other.

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 simple "tricks" with string and stakes can be used to lay out geometric shapes, such as
ellipses and right angles.

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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.[
Sacred geometry ascribes symbolic and sacred meanings to certain geometric shapes and certain
geometric proportions. 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, Mandala Gardens and the creation of religious
and spiritual art.
Mathematics and art: 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.
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).

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A mandala (Sanskrit: मण्डल, or 'circle', is a geometric configuration of symbols. In various
spiritual traditions, mandalas may be employed for focusing attention of practitioners and adepts,
as a spiritual guidance tool, for establishing a sacred space and as an aid
to meditation and trance induction. In the Eastern
religions of Hinduism, Buddhism, Jainism and Shintoism it is used as a map representing deities,
or especially in the case of Shintoism, paradises, kami or actual shrines. A mandala generally
represents the spiritual journey, starting from outside to the inner core, through layers.
In spiritual or religious process, a mandala is a period of approximately 40 days in which time
the human system completes one physiological cycle.

In Hinduism, a basic mandala, also called a yantra, takes the form of a square with four gates
containing a circle with a center point. Each gate is in the general shape of a T. Mandalas often
have radial balance
A yantra is similar to a mandala, usually smaller and using a more limited colour palette. It may
be a two- or three-dimensional geometric composition used in sadhanas, puja or meditative
rituals, and may incorporate a mantra into its design. It is considered to represent the abode of
the deity. Each yantra is unique and calls the deity into the presence of the practitioner through
the elaborate symbolic geometric designs. According to one scholar, "Yantras function as
revelatory symbols of cosmic truths and as instructional charts of the spiritual aspect of human
experience"
Many situate yantras as central focus points for Hindu tantric practice. Yantras are not
representations, but are lived, experiential, nondual realities. As Khanna describes:
Despite its cosmic meanings a yantra is a reality lived. Because of the relationship that exists in
the Tantras between the outer world (the macrocosm) and man's inner world (the microcosm),
every symbol in a yantra is ambivalently resonant in inner–outer synthesis, and is associated
with the subtle body and aspects of human consciousness.[6]
The term 'mandala' appears in the Rigveda as the name of the sections of the work, and Vedic
rituals use mandalas such as the Navagraha mandala to this day
Mandala is the Sanskrit word for “circle.” The term mandala was introduced into
the Buddhist and Hindu religions as an aid to meditation. A mandala is a vaguely circular shape
with repeating patterns. Some mandalas include a square with four “gates” within the circle.
Each gate has a center point in the form of a T. To a Buddhist or Hindu, a mandala represents a
cosmos within the universe. It is considered a sacred art form with spiritual significance. In
Western culture mandalas are often found in diagrams, charts, or geometric designs. Mandalas
are recently popular art forms used in adult coloring books. They are intricate and beautiful once
color is added.

In Hinduism, mandalas have both religious and political significance. Their intricate designs can
symbolize various forms of power in government, as well as spiritual focus and unity. A mandala
can represent a governmental system and can be used as almost a map of a particular political
infrastructure. In religion, the mandala itself is not seen as having supernatural powers as an idol
might. It is merely a tool used by Hindus to aid them in focusing, “centering,” and meditating.
Many traditional mandalas include depictions of a lotus flower, which is sacred in Hinduism and

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some other false religions. The intricate designs found within a mandala have significance for
devout Hindus, but that significance is usually lost to the general public. Because Hinduism is
such a loosely defined religion, mandalas have no strict definition or usage, either.

The question arises as to whether Christians should shun mandalas because of their significance
in false religion. Some people believe the mandala’s association with paganism requires
Christians to avoid them the way they would a carved idol. Since an idol is a representative of
godless religion and thought to have supernatural powers, it should not be enjoyed in any way by
followers of Jesus. Other people are completely unaware of the mandala’s religious ties and
simply enjoy the beauty and intricacies of the designs. And some Christians land in the middle of
these two views: they are aware of the Buddhist and Hindu origins of mandalas but see no
problem with enjoying them as coloring projects or in other artistic avenues. Since there is no
religious significance attached to a Christian’s use of the mandala, is the picture wrong in itself?

The answer to whether or not a mandala is wrong has to do with one’s conscience and
motivation. Paul addresses some similar issues in great detail in Romans 14. In his day, the
question was whether or not Christians should celebrate the Sabbath or eat food offered to idols.
People in the church were taking sides and creating division. Each faction hoped that the apostle
would side with them and tell the others how wrong they were. Instead, Paul wrote, “One
person’s faith allows them to eat anything, but another, whose faith is weak, eats only
vegetables. The one who eats everything must not treat with contempt the one who does not, and
the one who does not eat everything must not judge the one who does, for God has accepted
them” (Romans 14:2–3). He went on to say, “One person considers one day more sacred than
another; another considers every day alike. Each of them should be fully convinced in their own
mind” (verse 5).

His conclusion was that “whatever you believe about these things keep between yourself and
God. Blessed is the one who does not condemn himself by what he approves. But whoever has
doubts is condemned if they eat, because their eating is not from faith; and everything that does
not come from faith is sin” (Romans 14:22–23). Paul stressed the importance of having a clear
conscience in matters that were not clearly sinful.

When we apply that principle to mandalas, our stance should be, “What would God have me do?
Does my conscience bother me when I enjoy a mandala?” If we can’t color, paint, or enjoy
mandalas without thinking of Hindu religious practices, then it is wrong for us. But just because
one person’s conscience condemns him does not mean the consciences of others are so
condemned. On the other hand, if we are hosting a former Hindu who equates mandalas with
false religion, then it may be offensive for us to display our mandala collection. Doing so could
cause a brother to stumble (1 Corinthians 8:13). Our highest priority must always be unity,
purity, and doing everything for the glory of God (1 Corinthians 10:31).

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Here is an example of a mandala:

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 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 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.

Shri Yantra in various forms

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

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 S Y M B O L I S M
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.[5]
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.[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.
The sound of the shankha symbolises the sacred Om sound. Vishnu holding the conch represents
him as the god of sound. Brahma Vaivarta Purana declares that shankha is the residence of both
Lakshmi and Vishnu, bathing by the waters led through a shankha is considered like bathing with
all holy waters at once. Sankha Sadma Purana declares that bathing an image of Vishnu with
cow milk is as virtuous as performing a million yajnas (fire sacrifices), and bathing Vishnu
with Ganges river water frees one from the cycle of births. It further says "while the mere sight
of the conch (shankha) dispels all sins as the Sun dispels the fog, why talk of its
worship?” Padma Purana asserts the same effect of bathing Vishnu by Ganges water and milk
and further adds doing so avoids evil, pouring water from a shankha on one's own head before a
Vishnu image is equivalent to bathing in the pious Ganges river.

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A Shankha (conch shell) has religious ritual importance in Hinduism. It is the shell of any
suitable sea snail which had a hole made for the performer's embouchure.
In Hindu history, the shankha is a sacred emblem of The Hindu preserver god Vishnu. It is still
used as a trumpet in Hindu ritual, and in the past was used as a war trumpet. The shankha is
praised in Hindu scriptures as a giver of fame, longevity and prosperity, the cleanser of sin and
the abode of goddess Lakshmi, who is the goddess of wealth and consort of Vishnu.
The shankha is displayed in Hindu art in association with Vishnu. As a symbol of water, it is
associated with female fertility and serpents (Nāgas). The shankha is the state emblem of the
Indian state of Kerala and was also the national emblems of the Indian princely
state of Travancore, and the Kingdom of Cochin.
The shankha is one of the eight auspicious symbols of Buddhism, the Ashtamangala, and
represents the pervasive sound of Buddhism.
A powder made from the shell material is used in ayurveda as a treatment for stomach ailments.
In the Western world, in the English language, the shell of this species is known as the "divine
conch" or the "sacred chank". It may also be simply called a "chank" or conch. The more
common form of this shell is known as "right-turning" in a religious context, although scientists
would call it "dextral". A very rarely encountered form has reverse coiling which is called "left-
turning" in a religious context, but is known as "sinistral" or left-coiling in a scientific context. [
In Buddhism, the conch shell has been incorporated as one of the eight auspicious symbols, also
called Ashtamangala. The right-turning white conch shell, represents the elegant, deep,
melodious, interpenetrating and pervasive sound of Buddhism, which awakens disciples from the
deep slumber of ignorance and urges them to accomplish their own welfare and the welfare of
others
Shankha was the Royal State Emblem of Travancore and also figured on the Royal Flag of
the Jaffna kingdom. It is also the election symbol of the Indian political party Biju Janata Dal.
Shankh was also used by sikh warriors before they started the war. The maryada is still practiced
by all nihangs while doing aarti aarta prayer and is used in hola mohalla festival as well.

A shankha carved
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Shankha is one of the main attributes of Vishnu. Vishnu's images, either in sitting or standing
posture, show him holding the shankha usually in his left upper hand, while Sudarshana
Chakra (chakra – discus), gada (mace) and padma (lotus flower) decorate his upper right, the
lower left and lower right hands, respectively.
Avatars of Vishnu like Matsya, Kurma, Varaha and Narasimha are also depicted holding the
shankha, along with the other attributes of Vishnu. Krishna – avatar of Vishnu is described
possessing a shankha called Panchajanya. Regional Vishnu forms
like Jagannath and Vithoba may be also pictured holding the shankha. Besides Vishnu, other
deities are also pictured holding the shankha. These include the sun god Surya, Indra – the king
of heaven and god of rain[17] the war god Kartikeya,[18] the goddess Vaishnavi[ and the warrior
goddess Durga. Similarly, Gaja Lakshmi statues show Lakshmi holding a shankha in the right
hand and lotus on the other.[
Sometimes, the shankha of Vishnu is personified as Ayudhapurusha "weapon-man" in the
sculpture and depicted as a man standing beside Vishnu or his avatars. [21] This subordinate figure
is called the Shankhapurusha who is depicted holding a shankha in both the hands. Temple
pillars, walls, gopuras (towers), basements and elsewhere in the temple, sculpted depictions of
the shankha and chakra – the emblems of Vishnu – are seen. [22] The city of Puri also known
as Shankha-kshetra is sometimes pictured as a shankha or conch in art with the Jagannath temple
at its centre.

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Carved conches or Vamavarta shankhas, circa 11–12th century, Pala period, India: The leftmost
one is carved with the image of Lakshmi and Vishnu, and has silver additions.RIGHT A
Shankha (conch shell) with Vishnu emblem carved.
Shaligrams are iconographic fossil stones particularly found in the Gandaki River in Nepal
which are worshipped by Hindus as representative of Vishnu. The shaligrama – which has the
marks of a shanka, chakra, gada and padma arranged in this particular order – is worshipped
as Keshava. Twenty-four orders of the four symbols defined for Shaligrama are also followed in
worship of images of Vishnu with different names. Out of these, besides Keshava the four names
of images worshipped starting with Shankha on the upper hand,
are: Madhusudanah, Damodara, Balarama and Vamana
A Hindu legend in the Brahma Vaivarta Purana recalls the creation of conchs: Shiva flung a
trident towards the asuras, burning them instantaneously. Their ashes flew in the sea creating
conchs.[4] Shankha is believed to be a brother of Lakshmi as both of them were born from the sea.
A legend describes an asura named Shankhasura, who was killed by Vishnu's
fish avatar, Matsya.

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In the Hindu epics of Ramayana and Mahabharata, the symbol of Shankha is widely adopted. In
the Ramayana epic, Lakshmana, Bharata and Shatrughna are considered part-incarnations
of Sheshanaga, Sudarshana Chakra and Shankha, respectively, while Rama, their eldest brother,
is considered one of the ten Avatars of shri Vishnu.
During the great Mahabharata war, Krishna, as the charioteer of the Pandava prince and a
protagonist of the epic – Arjuna – resounds the Panchajanya to declare war. Panchajanya in
Sanskrit means 'having control over the five classes of beings'. All five Pandava brothers are
described having their own shankhas. Yudhishthira, Bhima, Arjuna, Nakula and Sahadeva are
described to possess shankhas named Ananta-Vijaya, Poundra-Khadga, Devadatta, Sughosha and
Mani-pushpaka, respectively.

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 Constructed in a quite simplistic albeit breathtakingly beautiful futuristic architectural
style on idea of a famed female musician and spiritual teacher going by the name of Shri
Anandi Ma, Nikora ashram is a unique place of tranquility as well as spirituality.
With a picturesque tree - lined pathway leading to the temple’s main gate, Nikora is like a
magical mirage situated deep in the recesses of the nearby forest by offering devotees and
tourists alike a magnificent view towards the shores of Narmada Nadi.
Geographically situated in the heart of the sleepy Indian village named “Nikora”, Nikora ashram
may not be an age - old shrine but nonetheless, it’s not one to be ignored for it serves as a refuge
for the needy and it houses a small medical center for diagnose and treatment of rare diseases
and a number of eye problems.
With time, the modern - looking temple gained popularity as a site where everyone, no matter of
their religion or social standing, could seek spiritual advice and immerse themselves in the world
of meditation.

BIBLIOGRAPHY

1. THE BOROBUDUR VESSELS IN CONTEXT A Thesis by DOUGLAS ANDREW

INGLIS Submitted to the Office of Graduate and Professional Studies of Texas A&M

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 University in partial fulfillment of the requirements for the degree of MASTER OF
ARTS,2014
2. The Ambiguous Feasibility of Borobudur Temple- Irmawati Marwoto , Mandala
Manurung2 1Department of Archaeology, Faculty of Humanities, University of
Indonesia. International Journal of Innovation, Creativity and Change. www.ijicc.net
Volume 14, Issue 8, 2020 749
3. The famous Borobudur Temple, Indonesia is a Dreamland heavily influenced by the
ancient Indian 'Gupta Era' art . It was built by the legendary "Sailendra" Dynasty using a
combination of both buddhist and Hindu architecture. It's also a UNESCO WORLD
HERITAGE site.
4. The Restoration and Conservation Project of Borobudur Temple, Indonesia. Planning:
Research: Design Caesar Voûte Studies in Conservation-Vol. 18, No. 3, Special Issue on
the Conservation of Borobudur Temple, Indonesia (Aug., 1973), pp. 113-130 (18 pages)

5. GPS STUDY FOR RESOLVING THE STABILITY OF BOROBUDUR TEMPLE SITE

By Dwi Lestari ST., University of Gadjah Mada, Yogyakarta, Indonesia, 1998 A thesis
submitted to The University of New South Wales in partial fulfillment of the
requirements for the Degree of Master of Engineering School of Surveying and Spatial
Information Systems (Formerly the School of Geomatic Engineering) The University of
New South Wales Sydney NSW 2052, Australia March, 2006
http://unsworks.unsw.edu.au/fapi/datastream/unsworks:4635/SOURCE1?view=true

6. The Symbolism of Mount Meru,I. W. Mabbett,History of Religions

Vol. 23, No. 1 (Aug., 1983), pp. 64-83 (20 pages),Published By: The University of Chicago
Press,https://www.jstor.org/stable/1062318

7. A RE-INVESTIGATION OF THE NATURE OF CANDI BOROBUDUR by Kathy Cheng

Mei K u
Proceedings of INTERNATIONAL SEMINAR Borobudur, Magelang, f - 5'" July 2008 pn
-Uncovering the Meaning of the Hidden Base of Candi Borobudur

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 II
The Architectural Element of Sri Chakra Yantra
Dr Uday Dokras, Ph D Stockholm, SWEDEN
“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

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geometry and considered to be further proof of the natural significance of
geometric forms.
Mathematics and architecture
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.

19
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
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

20
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
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 A
gamas 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

21
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 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,

22
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 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.

23
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.

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

24
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.

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

25
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

26
 Five
Four Compl
triang
triang Centr ete
les
les al Sri
pointi
pointi figure Yantr
ng
ng up. a
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

27
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.

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

28
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

29
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.

The Second Key: Concentricity

30
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.

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

31
(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.

32
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.

33
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

34
optimal figure. The bindu is well centered and more importantly the centermost
triangle has an angle very close to 60 degrees.

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

35
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
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

36
 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

37
reservoir to its north. The temple 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 – 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.

38
The sanctum sanctorum has a 62-inch-tall idol of the Divine Mother made of
ashtadhatu, an alloy of eight metals.

39
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.

40
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.

41
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.

42
43
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.
.

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

44
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 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

45
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
unification of Shiva (Male energy) and Shakti (Female energy) which is the cause of
all creation.

46
 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.

How do Yantra Work?

47
 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

48
 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

49
 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

50
 Vashikaran Yantra to attract the person you desire and bring him or her under
your influence
 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

51
 Wards off malefic of planets
 Yantras help in attractingpositive energies, prosperity, abundance and most of all,
good luck in all walks of life
 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

52
 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.

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

53
 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
 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.

57
 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.

58
59
 III

Bayon as a
YANTRA
Dr Uday Dokras

One of the Bayon face towers

A R C H I T E C T U R E
Located in the dense jungles of Angkor in Cambodia, this temple was built between the 12 th and
13th centuries and was Mahayana Buddhist King Jayavarman VII’s state temple. Following
Jayavarman’s death, it was modified by later Hindu and Theravada Buddhist kings in accordance
with their own religious beliefs Now in ruins, the temple has neither walls nor moats encircling
it. The feature that attracts tourists from all over the world to this temple are the 50 pillars that
have around 200 faces, each with a gently smiling visage. Each face is 4m high, facing the
cardinal directions of the compass and are. believed to represent divine peace.
Bayon means ancestor yantr but is it really so? Built as a YANTRA?Because of its
conversion from Mahayana to Thervada, there is a strong hint of Yantric Esoteric
Conversion of this structure.

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The original name for the Bayon is Jayagiri (or "Victory Mountain" or “Mountain of
Brahma” ; “Jaya” - another name of Brahma and “giri” to mountain), with Sanskrit roots
similar to Sīnhāgiri ("Lion Rock").The name Bayon was given by Etienne Aymonier in
1880. According to his report, Bayon was the Latin transliteration of what he had seen
written in Khmer as "Bayânt" which he presumed most have been a corrupted form of the
pali Vejayant or Sanskrit Vaijayant, the name of the celestial palace of Indra of which the
Bayon was presumed to be the earthly reflection. The first syllable Ba as a Sanskritic
prefix was similar to that found in other places such as Ba Phnom and could signify the
presence of a protector or defensor.It also means ancestor- yantra–a yantra is a complex
symmetrical blend of shapes that represents the emanation of energies that the universe
came from, and their differentiation into its different worlds. The Bayon has an outer
enclosure that once housed statues of dozens of elites’ ancestors and gods (the people in
the 2 photos above are meandering through its ruins).

And in the above shot, a reconstructed Buddha sculpture presides within it. So the Bayon
didn’t just house the Buddha and the king. It blended Jayavarman’s Buddhism with
traditional Khmer ancestor veneration. The Bayon is a who’s who in the Khmer universe
while Europeans were building their Gothic cathedrals–they constructed Chartres at
exactly the same time.

But we’re only in the Bayon’s outer area. A journey towards its center takes you through
a multi-leveled world that’s so rich that it left me speechless. The next enclosure is
covered with sculptures of gods, people and battles, as an enclosure in Angkor Wat is.
But the Bayon’s friezes approach a revolution in perspective, which we’ll explore in the
next post about this the Bayon.

The Central Sanctuary of the Bayon

61
Some Buddhist monks visiting the Bayon temple.Central Sanctuary
100 years after Angkor-
Built in its present form about 100 years after Angkor Wat, the Buddhist Bayon temple is
strikingly different than just about any other temple around Angkor. Its mountain-like structure is
topped by 54 towers, each sporting four faces like the city's entrance gates. Although it might
sound repetitive, each of the faces is slightly different.Zhou Daguan, a Chinese emissary,
describes the central tower of the Bayon as being gilt. The temple was reached on the eastern
side by a golden bridge guarded by lions of gold. Eight golden Buddhas were housed in
chambers around the central tower. Zhou Daguan was not actually allowed to enter the royal
city, so his accounts are not always to be believed.
The purpose of the Bayon remains something of a mystery to this day. It is known that the
temple was built on the remains of an older structure, and that it underwent many changes in the
years after it was built. The temple was built by the great builder king Jayavarman VII when he
made the Bayon his state temple at the center of his royal city, Angkor Thom. In fact, some
people think that Jayavarman VII is the 'model' on whose features the many faces of the Bayon
are based.
Satellite Image of the Bayon Temple

62
Image ©Google Earth and others
The Bayon is built on three levels. As at Angkor Wat, the gallery enclosing the first level is lined
with bas-relief carvings, which are quite beautiful and more instructive that the ones at the great
temple. The reliefs at the Bayon picture scenes from everyday life, such as markets, games and
even childbirth.
The third level is where you can get up close and personal with the faces. Everywhere you look
you will have at least two or three in your line of sight. The central tower is huge, but somewhat
hard to understand, since it is quite ruined. It's hard to imagine Zhou Daguan's golden spire.
Yantra is a geometrical diagram, mainly from the Tantric traditions of the Indian
religions. Yantras are used for the worship of deities in temples or at home; as an aid in
meditation; used for the benefits given by their supposed occult powers based on Hindu
astrology and tantric texts.

Excerpts from my book How to build a Sri Yantra Temple

63
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 simple "tricks" with string and stakes can be used to lay out geometric shapes, such as
ellipses and right angles.

Plan of Meenakshi Amman Temple, Madurai, from 7th century onwards. The four
gateways (numbered I-IV) are tall gopurams.RIGHT PIC Hindu Mandala

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

64
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.
Sacred geometry ascribes symbolic and sacred meanings to certain
geometric shapes and certain geometric proportions. 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, Mandala Gardens and the creation
of religious and spiritual art.
In Hinduism

A Hindu Maṇḍala

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

65
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 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 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.
Shri Yantra in various forms

66
 Shri Yantra engraved in metal/// The Shri Yantra shown in the three-
dimensional projection called Mahāmeru/ The Lalita Sahasranama in
diagrammatic form, showing how its nine interlocking triangles form a total of
43 smaller triangles.

S Y M B O L I S M
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:

10. Trailokya Mohana, the outermost square, traced in three lines

and interrupted by four recessed portals;
11. Sarvasaa Paripuraka, the outer lotus, consisting of 16 petals;
12. Sarva Samkshobahana, the inner lotus, consisting of 8 petals;
13. Sarva Saubhagyadayaka, the outermost ring of small triangles
(14 in total);
14. Sarvarthasadhaka, the next ring of triangles (10 in total);
15. Sarva Rakshakara, a smaller ring of 10 triangles;
16. Sarva Rogahara, a ring of 8 small triangles;
17. Sarva Siddhiprada, one small triangle containing the bindu at its
center;
18. Sarva Anandamaya, the bindu.

67
The sound of the shankha symbolises the sacred Om sound. Vishnu holding
the conch represents him as the god of sound. Brahma Vaivarta
Purana declares that shankha is the residence of both Lakshmi and Vishnu,
bathing by the waters led through a shankha is considered like bathing with
all holy waters at once. Sankha Sadma Purana declares that bathing an
image of Vishnu with cow milk is as virtuous as performing a
million yajnas (fire sacrifices), and bathing Vishnu with Ganges river water
frees one from the cycle of births. It further says "while the mere sight of the
conch (shankha) dispels all sins as the Sun dispels the fog, why talk of its
worship?” Padma Purana asserts the same effect of bathing Vishnu by
Ganges water and milk and further adds doing so avoids evil, pouring water
from a shankha on one's own head before a Vishnu image is equivalent to
bathing in the pious Ganges river.

68
idea of a famed female musician and spiritual teacher going by the name of Shri
Anandi Ma, Nikora ashram is a unique place of tranquility as well as spirituality.
With a picturesque tree - lined pathway leading to the temple’s main gate, Nikora is
like a magical mirage situated deep in the recesses of the nearby forest by offering
devotees and tourists alike a magnificent view towards the shores of Narmada Nadi.
Geographically situated in the heart of the sleepy Indian village named “Nikora”,
Nikora ashram may not be an age - old shrine but nonetheless, it’s not one to be
ignored for it serves as a refuge for the needy and it houses a small medical center
for diagnose and treatment of rare diseases and a number of eye problems.
With time, the modern - looking temple gained popularity as a site where everyone,
no matter of their religion or social standing, could seek spiritual advice and
immerse themselves in the world of meditation.

69
Ceiling of the Nikora Yantra temple establishing the YNTRA diagram

Enigmatic BAYON

There are many reasons why the Bayon Temple is an enigma. The first is the
name of the temple, or rather our lack of knowledge of how people referred
to the temple during its time of use. Although stone inscriptions, often found
at temple sites, dating from the time of Jayavarman VII exist, and provide
specific details such as the name and inhabitants of other temples (such as
Ta Prohm just outside of the royal city of Angkor Thom), there is no extant
documentation for Bayon—the royal city’s most important state temple. The
name “Bayon” is a 19th-century French transcription of what early European
explorers (such as Charles-Emile Bouillevaux, a Catholic missionary, and
Henri Mouhot, a naturalist), heard from their local informants. [Bayon likely
refers to the Sanskrit term paryanka, which translates to “a pedestal for
sacred statues.” According to historian Michael Vickery, the only
contemporary inscription that may refer to the temple appears to call
it madhyadri or “central mount,” which is a generic term for temples.

70
Left: Tower Faces, Bayon Temple, Angkor Thom, Cambodia; right: detail of the tower face
in the red square

The mystery over the temple’s name contributes to the enigmatic face-
towers that define the temple’s architecture. Since the Bayon’s rediscovery
by French scholars and explorers in the 19th century, the identity of the
smiling figures that greet visitors to the temple and to the city of Angkor
Thom has been debated. Do they depict Buddhist or Hindu deities, or do they
depict King Jayavarman VII smiling over his empire? Inscriptions from the
temple along with its name could aid in our understanding of the identity of
the four-faced figures; however, it has been presumed by scholars that such
inscriptions were destroyed by successive rulers who took over Angkor Thom
after the death of Jayavarman VII.

71
72
Plan of Angkor Thom, aerial (underlying map © Google)

Bayon Temple, which was constructed during Jayavarman VII’s reign, is unique as it is
the only Buddhist state temple and the last to be built in the Angkor Empire (also
sometimes called the Khmer Empire). While temples continued to be constructed during the
Angkor period (9th–15th century), none were on the scale or harnessed the wealth and resources
of the Bayon after the death of Jayavarman VII.

73
Bayon, the most notable temple at Angkor Thom (photo: Dmitry A. Mottl, CC BY-SA 4.0)

The temple is located at the center of the royal city of Angkor Thom. Unlike other planned cities
in Angkor, Jayavarman VII’s royal city was designed as a mandala or cosmic diagram. At the
heart of a mandala (utilized by Hindu, Jain, and Buddhist practitioners) is the palace of an
important deity or Mt. Meru, which is the center of the universe. Constructed in the heart of
Angkor Thom, the Bayon Temple was intended to represent Mt. Meru on earth.

74
The complex itself is built on three levels that are intended to create a mountain-like structure,
symbolically and visually linking the Bayon to Mt. Meru. To this end, the complex includes two
enclosures (levels one and two) that consist of covered galleries and shrines. At the center of the
complex (level three) is the raised cruciform platform that serves as the foundation for the main
temple structure, which originally housed the main icon.

The Bayon, as it stands today, does not reflect the original design of Jayavarman VII and his
architects. This is because the temple has been added to over the centuries. Angkor Thom was so
well fortified that later kings continued to use it as their royal city. While it was common for
kings to build a new state temple to reflect their own religious affiliations, Jayavarman VII’s
successors found it simpler to remodel the Bayon rather than remove it and build a new temple.
This accounts for the appearance of both Buddhist and Hindu imagery at the temple, depending
on the religious affiliation of the new king. These later changes further contribute to our lack of
understanding of the temple as it is not entirely clear when and by whom such additions
were made.

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The Buddha seated on the serpent Muchalinda, shown here soon after it was excavated in the early 1930s. The central
tower served as the sanctuary of the Bayon Temple and originally housed a monumental sandstone sculpture of the
Buddha seated on the serpent Muchalinda.

RIGHT PIC South gate, Angkor Thom, showing the Churning of the Milk balustrade on the left and right

Jayavarman VII was a Buddhist in the Mahayana tradition; however, it is unclear what the
particulars of his practice and beliefs were. This is owing to the appearance of Hindu imagery in
the city of Angkor Thom, such as the Churning of the Ocean of Milk balustrade leading up to the
royal city as well as cult imagery associating himself with the Buddha, and his mother with the
Buddhist deity Prajnaparamita (bodhisattva of wisdom and the mother of all Buddhas) and his
father with Avalokiteshvara (bodhisattva of compassion).The mystery of the face-towers and the
practice of Buddhism during the time of articulated by the face-towers that represent the peaks of
the mythical mountain as well as the central location of the Bayon in the royal city of Angkor
Thom. During the 13th century, the central tower of Bayon would have been gilded, appearing as
a golden mountain at the heart of the city. Although visitors can no longer experience the

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original splendor of the Bayon, extant architecture and detailed bas-relief sculptures serve as a
document of the beliefs and lives of the Khmer people in the 13th century.

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78
Constructed in a quite simplistic albeit breathtakingly beautiful futuristic
architectural style on

CENTER PIECE of Bayon

When the walled city of Angkor Thom was the capital of the Khmer Empire,
this temple sat at the centre, with its enclosure walls being replaced by the
walls of the city. The distance of the walls from the temple makes for a
special visual effect where the temple seems to suddenly rise from the
ground like a man-made mountain, which actually symbolises Mount Meru. The
layout of the temple is based on a ‘yantra’, a symbol that is used to represent the universe by
Tantric Buddhists. Bayon Temple.

The Bayon temple features a sea of over 200 massive stone faces looking in
all direction. The curious smiling faces, thought by many to be a portrait of
king Jayavarman VII himself or a combination of him and Buddha, are an
instantly recognizable image of Angkor. Built in the 12th century by King
Jayavarman VII as part of a massive expansion of his capital Angkor Thom,
the Bayon is built at the exact center of the royal city. The Bayon is the only
state temple at Angkor built primarily as a Mahayana Buddhist shrine
dedicated to the Buddha. Following Jayavarman’s death, it was modified by
later Hindu and Theravada Buddhist kings in accordance with their own
religious beliefs.The Bayon temple rises through three levels to a height of
around 43 meters (140 feet). The outer gallery on the first level depicts
scenes from everyday life and historical events, while the inner gallery on
the next higher level depicts mythical figures and stories.

Some of the figures depicted are Siva, Vishnu, and Brahma. The third level is
where you will encounter many of the famous faces (and tourists). The Bayon
was the state temple of King Jayavarman VII, built at the end of the 12 th century. It
is a mountain temple built to represent Mount Meru, the center of the universe in
Hindu and Buddhist cosmology. Given his Buddhist leanings, it is thought that the
huge faces portray him in semi-divine form as a "boddhisattva," an enlightened
being conceived in Mahayana Buddhism who postpones entering Nirvana in order to
remain on earth helping others towards salvation.

Around 25 excavations were carried out at the Bayon between 1919 and the 1960s.
Most of these excavations were in the northeast quadrant of the temple, especially
in the outer courtyards. Three were along the axis of the temple on the upper
elevation, the rest were scattered in different sectors. Very little excavation was
done in the western half of the Bayon, and none in the southwest.

What are the faces of Bayon Temple?Well, Bayon is a Buddhist shrine. 216
smiling, serene faces were carved onto gigantic towers. The faces were carved to

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look like Jayavarman VII. Since the construction of the temple, several of these
towers have toppled. Unlike Angkor Wat which was originally built for Hinduism, the
Bayon is a Buddhist site but Hindu elements can still be seen in its architecture . Like
Angkor Wat, it also houses exquisite galleries of bas relief scenes depicting
important events in historyIn fact,the Bayon's most distinctive feature is
the multitude of serene and smiling stone faces on the many towers which jut out
from the upper terrace and cluster around its central peak. Are Angkor Wat and
Angkor Thom the same?
Buddhist temple with separate shrines for Vishnu and Shiva
The Bayon was built as a Buddhist temple. A statue of the main idol, a
seated Buddha image sheltered under the hoods of the snake Mucalinda,
was discovered in a pit under the main shrine. A few decades after the death
of King Jayavarman VII, the temple was turned into a Hindu temple when
King Jayavarman VIII reverted the official Khmer religion back to Hinduism;
images of the Buddha were destroyed or turned into Hindu images.
Although the Bayon was a Buddhist temple, other Gods were also
worshipped. Separate shrines were dedicated to Vishnu and Shiva, while
countless other deities were worshipped.

The Bayon is best known for the mysterious faces on its many towers. Due to
its many alterations over time, the structure is of a very complicated design
and has a cluttered feel, with the many towers and other structures
cramping the monument. The Bayon has three enclosures. The galleried
3rd and 2nd enclosure, and the inner enclosure, which contains the 3 rd floor
platform with the central sanctuary.

Two concentric galleries are sculpted with bas reliefs. The inner galleries
contain mainly religious and mythological scenes, while the outer galleries
mainly show historical events, battles and scenes from daily life.
At some point the temple was deserted and became overgrown by thick
jungle. Clearing of the monument was done in the 1910’s. The face towers
and the central sanctuary were restored by the EFEO in the 1940’s using the
anastylosis method. Since the end of the 20 th century, the Japanese
Government Team for Safeguarding Angkor (JSA) maintains the monument.

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The Bayon’s face towers
The Bayon is best known for its large number of serene faces sculpted on its
towers. Originally there were 49 towers, decorated with large carved faces
looking into each of the four cardinal directions. Close to 200 faces, the
largest ones being almost 2½ meters high, decorate the 37 remaining towers
of the first and second enclosure. While most towers contain four faces,
some only have three, and one tower only bears a single face, probably due
to a lack of space.

Initially the faces were believed to represent Brahma, the Hindu God of
creation depicted with four heads. When it was later established that the
Bayon was not a Hindu temple but a Buddhist one, archaeologists believed
the faces to be of Lokeshvara, the Bodhisattva of compassion. The similarity
of statues of Jayavarman VII and the face towers had led some to believe
that it is the King himself whose face is depicted on the towers.

Approach from the East

Approaching the Bayon from the East is a large terrace with guardian lions
and Naga balustrades. To the left and right of the terrace used to be large
pools, the remains of which can still be seen. A cruciform gopura gives
entrance to the third enclosure.

The third enclosure

The third enclosure measures 160 meters long by 140 meters wide. It
consists of galleries with four pavilions at the corners and
four gopura entrance gates at the center of each side. The pillars of the
galleries are decorated with a great number of dancing Apsaras.
The 3rd enclosure outer galleries contain extensive sculpted bas reliefs,
mainly depicting scenes of historical events, battles and scenes from daily
life in Angkor. They provide a good source of information about historical

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events and the way Angkor people lived at the late 12 th to early 13th century.
Inside the third enclosure, on either side of the Eastern entrance gopura is a
library building.
The second enclosure measures 80 meters long by 70 meters wide. They
consist of corner galleries and inner galleries built on different levels. Its
corner towers and intermediate towers are decorated with large faces of
Lokeshvara. The bas reliefs sculpted on the galleries contain mainly Hindu
religious and mythological scenes.
The circular, narrow and rather dark inner galleries were likely built first. The
inner galleries contained a large number of sculptings of the Buddha. Only a
few have survived. Most of them were destroyed or turned into Shavite
images during the Hindu reaction of Jayavarman VIII in the 13 th century. Built
around the inner galleries, the rectangular corner galleries are at a lower
level than the inner galleries. They were probably added later.

The second enclosure

The first enclosure
The first enclosure consists of the 3 rd floor platform holding the central
sanctuary. Like the 2nd enclosure, the images of the Buddha have been
destroyed or turned into Shavite images.
The central sanctuary that has a 5 meter diameter is accessed on the East
through a number of chambers and vestibules. On either side is a structure,
that might have been libraries. Around the circular central sanctuary are
eight sanctuary towers bearing sculpted faces, forming the circular first

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enclosure. Around it are four satellite sanctuaries. The Western sanctuary is
dedicated to Vishnu, the Northern one to Shiva. Next to each of them, on the
2nd floor is a structure that might have been a library. The Southern
sanctuary is dedicated to the Buddha.

During excavation works of the central sanctuary, a large broken

Buddha image was discovered in a pit under the sanctuary. The 3.60 meter
high image in the meditation mudra is seated on the coiled body of the
snake Mucalinda, sheltered by its hood. The image has been restored and is
now enshrined in a pavilion at a Buddhist terrace named Vihear Prampil
Loveng, along the way from the Royal Palace East to the Victory gate.

Khmer war scene

Outer bas relief galleries

The outer bas relief galleries found on the third enclosure mostly depict historical events, battles
and events that took place during the reign of King Jayavarman VII. Archaeologists obtained a
wealth of information about Angkor history from the scenes shown here. In several sections of
the outer galleries carvings have been left unfinished. Among the many reliefs are:

 The shop house of a Chinese merchant, the merchant is seen in a business meeting with other
Chinese people
 A Khmer army procession on the way to the battlefield to fight the Cham army. Several
scenes: The King riding a horse, generals on elephants, the ark of the sacred flame,
princesses in palanquins, musicians, soldiers on foot or horseback, soldiers lying dead on the
ground, fighting scenes, Cham foot soldiers and Cham generals on elephants retreating
 War scenes showing various weapons used at the time: elephants armed with large crossbows
operated by two men, a catapult on wheels
 Palace scenes: The King in his Palace with the Queen, princesses, servants, men playing a
game of chess

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 Scenes of daily life: Shops, markets with food stalls, fishermen with nets, hunters aiming
their arrows at animals, women cooking food
 A naval battle on the great lake (Tonle Sap) where the Chams are defeated by the Khmer:
battleships, the men armed with bows and shields, Cham soldiers are thrown overboard and
eaten by crocodiles

Inner bas relief galleries

The inner bas relief galleries on the second enclosure depict mainly religious and mythological
scenes. Among the many reliefs are:
 A Palace scene with a King, the Queen, princesses, musicians and dancers
 Priests in a temple
 A Royal procession with army commanders on elephants, infantry soldiers, the King on an
elephant, musicians, princesses carried in a palanquin
 Several scenes telling the story of the Leper King: The King is crowned in his Palace, the
King fighting a snake attracts leprosy, the King shows his hands with bites, the King giving
orders to servants, the King lying sick in bed surrounded by women
 Ravana shaking mount Kailash
 A Royal procession to a temple. Over 10 scenes: A King in the Palace, the King leaving the
Palace in a chariot, procession to the temple, an elephant carrying the Royal bow and arrows,
the King praying to Shiva, pictures of a temple, offerings to the Gods
 The churning of the Oceans of milk. Several scenes: a meeting of Brahmans, the Asuras and
Devas pulling and pushing the serpent Vasuki, the ocean and the churning rod, a container to
hold the elixir of immortality
 Vishnu and Garuda in a battle scene
 The Hindu Gods Shiva, Vishnu and Brahma
Face on top of south gate tower of Bayon Temple at Angkor Thom

A huge face and other carved head images are visible at the top of the south gate tower of Bayon
Temple. Such serenely smiling faces are carved on stone towers throughout the Bayon Temple at
Angkor Thom, literally meaning the "Great City."

Angkor Thom was a fortified city built from the early eleventh to the late twelfth centuries A.D.
during the reigns from Suryavarman I to Jayavarman VII. Because it was built over a long time
by successive kings, it really has two city centers and differing architectural and sculpture styles.
Angkor Thom, located just north of the Angkor Wat site is the largest building complex in the
Angkor area.

The Bayon Temple complex was built under the direction of the Mahayana Buddhist ruler
Jayavarman VII, who ascended to the Khmer kingdom's throne at Angkor in 1181 A.D. He
erected the site for Buddhist worship, although it later was renovated and used as a Hindu
temple. Various forms of Hindu and Buddhist worship were practiced side-by-side and
successively in the ancient royal courts of Southeast Asia.

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Classical Khmer kings promoted the idea (known as "devaraja") that there was an intersection of
the ruling king and a validating god. Usually the Hindu god chosen for this personal
identification was Siva, but sometimes it was Vishnu, or, for some, a godly image of Buddhist
origins. Khmer temples thus often portray the ruling king incarnated as the god, whose shrines
are within a monument on earth that models the design of the cosmos and heavens.

The faces depicted on the Bayon towers clearly resemble faces on known portrait statues of
Jayavarman VII. Given his Buddhist leanings, it is thought that the huge faces portray him in
semi-divine form as a "boddhisattva," an enlightened being conceived in Mahayana Buddhism
who postpones entering Nirvana in order to remain on earth helping others towards salvation.
Boddhisattvas are somewhat like Mahayana Buddhist saints.

Four faces, looking toward the cardinal directions, are carved on the sides of fifty-four standing
towers at Bayon Temple. The preservation of many of the towers, however, is poor so it is
difficult to know exactly how all the towers were carved. Over 200 giant smiling faces remain,
but there may once have been between one and two hundred towers, each with four faces. These
structures are known as "face towers."

The bas-relief carvings on the outer walls of the Bayon towers depict heroic historical tales as
well as scenes of everyday Khmer life. Jayavarman VII was a capable military commander who
repelled attacks by the Champa kingdom before becoming the Khmer king and undertaking a
massive effort to construct stone temples and other monuments.

Ultimately, it was the Siamese kingdom based in what is now Thailand, that sacked Angkor in
1431 and ended the kingdom's regional power.

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Conjectural history

The Bayon is a large stone structure which rose up like a mountain. In the early morning, we
impatiently waited for sunrise. In the faint light of the creeping dawn we entered the temple and
were guided to the second level. The rising sun slowly revealed the many faces with their
amazing smile. The immense beatific smile under half closed eyelids were vaguely feminine on
gigantic masculine faces, revealed one after another from one tower to another around me.
Dwarfed by smiling faces in all four directions, it was the oddest feeling.

Faces at Bayon

There were four faces on on each tower facing the four cardinal directions.

More Smiling Faces

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Background: Bayon was the state temple of Jayavarman VII, built in the late 13th century. The
temple is situated at the center of Angkor Thom, a walled capital city the Khmer Empire. Four of
the city’s five gates are on the same axis with the temple, and the walls of the city form the
enclosure walls. The temple was intended to evoke the form of Mt. Meru (as was Angkor Wat),
the cosmic mountain at the center of the world in Buddhist cosmology. In keeping with this
cosmic symbolism, the plan of the Bayon temple is based on a ‘yantra’, a symbol used by Tantric
Buddhists to represent the layout of the universe.
Lokeshvara (trans. “He who looks over the world”) is the embodiment of awakened compassion
in Mahayana Buddhism.

Pierre Loti, a french visitor to Bayon in 1901 in his book Pélerin d’Angkor, with the
remarkable perception of a poet: from on high, the four faces on each of these towers face the
four cardinal points, looking out in every direction from beneath lowered eyelids. Each face has
the same ironic expression of pity, the same smile. The multiplication of these faces to the four
cardinal points symbolizes the idea that the Royal power is blessing the four quarters of the
Kingdom. As for the repetition of these faces on every tower. The idols worshipped in the
chapels inside the towers were statues of deified princes or dignitaries or else of local Gods.
Each tower corresponded to a province of the Kingdom or at least to a religious or administrative
centre of the province. Thus if the four faces symbolizes the Royal power spreading over the
land in every direction, placing them over the chapel which was typical of each province
signified that: the king Jayavarman VII’s Royal power was as strong in the province as at
Angkor itself. This accounted for having a four-faced tower to represent each part of the
Kingdom. We now begin to understand this mysterious architecture as the symbol of the Great
Miracle of Jayavarman VII. It represents his administrative and religious power extending to
every corner of Cambodian territory by mean of this unique sign.

The Bayon seems to have started out following the same royal pyramid-temple format seen at Ak
Yom, Pre Rup, or Angkor Wat. Soon into construction, that format was modified and there was a
definite change in direction. Was it to facilitate a YANTRA structure?

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The land which was referenced as Kambhoj country in Mahabharat, is todays Cambodia! Hindus
resided here till 15th century. It is said that Hindu empire by the name Khmer ruled Cambodia
from 802 AD till 1421 AD. In reality, Kambhoj region was Sage Koudinya’s area. Also,
Kambhoj region was also a region of Nagas. As per references available, the King of Kambhoj
had also participated in the war of Mahabharat. Being a region of Nagas, this is also the region of
Deity Shiva and it is said that Shrivishnu’s vehicle Garud resides on the Mahendra mountain.
Therefore this is also a region of Shrivishnu. This article details few highlights of the study tour
conducted by Sadguru Mrs. Anjali Gadgil and 4 student seekers of Maharshi Adhyatma
University, in this Kambhoj country, the region of Harihar.

1. King Jayavarman VII established Jayagiri town behind Angkor Wat, and at its centre
built the Bayon temple

On a visit to Angkor Thom temple area which is situated at the backside of Angkor Wat temple
one can see that although Angkor Thom temple is small in size, its area is 9 times bigger than
that of Angkor Wat temple. King Jayavarman VII initiated the construction of this temple at the
end of 12th century and King Jayavarman VIII completed it in the beginning of 13th century.
King Jayavarman VII married a Buddhist princess. He established a huge township behind the
Hindu temple of Angkor Wat and named it as Jayagiri. In the centre of the township, the King
built a temple symbolizing Buddhist and Hindu religions and named it as Bayon temple.

2. Meaning of ‘Bayon’, and 49 faces of Buddha carved on the temple

Hu
ge stone carvings with faces of Buddha on the upper side of the temple. (one face is shown in
circle)

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‘Bayon’ means ‘Enlightenment’. Buddha is said to have attained enlightenment under the
Banyan tree on the 49th day. Therefore this temple bears 49 faces of Buddha. The guide
accompanying us told us that, earlier there were 3 types of faces in the carvings and the temple
had 5 peaks. The peaks also had faces of Buddha carved on them. Therefore it is said that in total
there were 54 faces of Buddha carved on the temple. During churning of the ocean, 54 Deities
and 54 demons had participated together. It could be possible that the 54 faces of Buddha were
carved on the temple to symbolize this, or it is also said that Buddha (Bodhisattva) had taken 54
incarnations and the carvings could also symbolize this.

3. Circular shape of temple and top of the temple bearing huge stone carvings with face of
Buddha facing towards all the four directions

Currently this temple is in ruins and is in dilapidated form. It is being rebuilt using the existing
stones. Our guide told that inside the temple there was a South library in the Southeast side and
North library in the Northeast side. There are some sculptures carved in the outer courtyard of
the temple. Once inside the temple, you have to climb a few steps to reach the main sanctum
sanctorum. There is a Shiva temple at that place. The temple is circular. It feels as if Buddha’s
faces carved on the huge stones on top of the temple are looking in all the four directions (look at
the picture above). As per few historians, the architecture of Bayon temple might be based on
Shree Yantra. https://www.sanatan.org/en/a/131819.html

The outer gallery was moved outward, the courtyards and top platform were raised upward,
and the top platform was expanded outward. That meant that the main eastern staircase was
eliminated and the "well" chamber (discussed below) became buried inside the top platform,
opening only on the north. Then the 16 connecting structures and two libraries were built
between the outer and inner galleries, adding a capacity for well over 100 additional images at
the temple.

The Bayon's upper elevation is more like the so-called "ancestor temples" constructed on one
low platform, with 3 sanctuaries along a north-south line, and a mandapa in front of the main
tower. There is a conflict between this format, and the general ground plan - a series of enclosed
rectangles, like at Angkor Wat. For that reason, and because of its measurements, it looks like
the original Bayon was meant to be a square pyramid with three terraces but was changed in the
middle of the construction process.

The alterations in the form of the upper level of the Bayon probably happened when the
pyramid-temple format of a central tower, like that of Ak Yom, was changed into the elongated
format of temples like Banteay Srei. This strange mixture of two temple types at the heart of
Angkor Thom has no obvious explanation.

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The top platform of the two early pyramids at Angkor (Ak Yom and Rong Chen) is
approximately 7 m. high, and the floor level of the inner gallery of the Bayon is also 7 m. high.
The length of each side of the base of the two early pyramids is 100 m., and the remains of a
buried wall along the north side of the Bayon would also make a 100 m. perimeter around the
temple. The original height of the intervening levels of the Bayon corresponds to the height of
the terraces at Ak Yom and Rong Chen.

There is a "well" shaft opening into a chamber in the inner gallery that was meant for the
sanctuaries on the upper level. At the start of construction at the Bayon, this shaft was put under
the central area of the temple, right near the eastern axis - the area of the topmost sanctuaries.
Based on its position, the "well" tower was meant to flank the main eastern staircase to the top
platform. At that time, the top platform would have been at the level of the inner gallery. When
that platform was raised up 4.45 m., the "well" chamber was buried in an expanded plinth, and
lost its position at the base of the staircase. The top of the well could no longer be raised up
higher because there is no room for it on the top platform.

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The "well" shaft in the inner gallery extends about 5 m. below ground level. At the bottom of the
shaft are two walls that cross at the center, each 2 m. high. There is a square hole in the middle of
each wall. There is also an opening in the northwest quadrant, west side. These features suggest a
ritual use of the water in the well. It is this well that was said to have been occupied by a large
naga or snake, before the Bayon was constructed. The bas-relief telling the story of the king's
battle with a snake and the king's subsequent illness is only a few meters east of the well - in an
alcove.

Beam: Unlike all other sanctuaries at Angkor, the chamber over this well shaft once had a
relatively large, central wooden beam spanning its floor area north to south, and there were
corner beams just below the central beam. There was no sandstone floor installed here. The shaft
also extends wall-to-wall inside the chamber. The beams may have provided a means of
lowering and raising water from the bottom of the shaft. Once the location of the shaft was
established it could not be changed, no matter how much the temple itself was altered. That is
why it became "buried" in the top platform, and its entrance changed to face outward from that
platform.

According to ceramic remains in the outer courtyard, the site of the Bayon was occupied from at
least the end of the 10th century and probably much earlier. Buddhist symbolism in the
foundation of the temple by King Jayavarman VII

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From the vantage point of the temple's upper terrace, one is struck by "the serenity of the stone faces" occupying many
towers/ According to scholars, King Jayavarman VII bears a strong resemblance to the face towers of the
Bayon.

The Bayon was the last state temple to be built at Angkor (Khmer: ក្រុងអង្គរ), and the only
Angkorian state temple to be built primarily to worship Brahma, though a great number of minor
and local deities were also encompassed as representatives of the various districts and cities of
the realm. Originally a Mahayana Buddhist temple, the Bayon was the centrepiece
of Jayavarman VII's massive program of monumental construction and public works, which was
also responsible for the walls and nāga-bridges of Angkor Thom and the temples of Preah
Khan, Ta Prohm .
The temple is mountain of 216 gigantic face sculptures that adorned its original 54 towers. The faces
represent Lokeshvara, Mahayana Buddhism’s compassionate Bodhisattva, and are thought to be
copied from the actual face of Jayavarman VII, and whose smiles was so gentle that it is often referred to
as “the Khmer smile”. Now only 37 towers remain. Bas reliefs on the exterior walls of the lower level and
on the upper level depict an unusual combination of mythological, historical and mundane events. The
similarity of the 216 gigantic faces on the temple's towers to other statues of the king has led many
scholars to the conclusion that the faces are representations of Jayavarman VII, himself . though as
mentiones scholars have theorized that the faces belong to the bodhisattva of compassion
called Avalokitesvara or Lokesvara.

Others have argued that the faces, arranged in four, resemble those of Brahma. The two
hypotheses need not be regarded as mutually exclusive. Angkor scholar George Coedès has
theorized that Jayavarman VII stood squarely in the tradition of the Khmer monarchs in thinking
of himself as a "devaraja" (god-king), the salient difference being that while his predecessors
were Hindus and regarded themselves as consubstantial with Shiva and his symbol the lingam,
Jayavarman VII was a Buddhist.

Etymology of Bayon

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The original name for the Bayon is Jayagiri 9Chey Kĭri) (or "Victory Mountain" or “Mountain of
Brahma” ; “Jaya” - referring to Brahma and “giri” to mountain), with Sanskrit roots similar
to Sīnhāgiri ("Lion Rock"). After French occupancy, it was later named Banyan Temple due to
its religious significance and Buddhist imagery.

Alterations following the death of Jayavarman VII

Since the time of Jayavarman VII, the Bayon has undergone numerous Buddhist additions and
alterations at the hands of subsequent monarchs.During the reign of Jayavarman VIII in the mid-
13th century, the Khmer empire reverted to Hinduism and its state temple was altered
accordingly. In later centuries, Theravada Buddhism became the dominant religion, leading to
still further changes, before the temple was eventually abandoned to the jungle. Current features
which were not part of the original plan include the terrace to the east of the temple, the libraries,
the square corners of the inner gallery, and parts of the upper terrace.

Buddhist symbolism in the foundation of the temple by King Jayavarman VII

According to scholars, King Jayavarman VII bears a strong resemblance to the face towers of the Bayon.

The Bayon was the last state temple to be built at Angkor, Studying it brings you into the
Khmer world during its zenith, and it reveals fascinating changes that had happened
since Angkor Wat was finished about 50 years before. Claude Jacques called it one of the
most mysterious and powerful religious buildings in the world.

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Many Khmer studies specialists have felt that the 3 great complexes were symbolically
related. Ta Prohm was associated with Jayavarman’s mother and Prajnaparamita (a
Mahayana Buddhist deity of wisdom). Preah Khan embodied his father and Lokesvara (a
deity of compassion). The Bayon represented the Buddha and Jayavarman. David
Chandler wondered if all 3 temples were thus related–wisdom/mother and
compassion/dad gave birth to the Buddha/Jayavarman VII, who puts the whole universe
in order.

Chandler was only speculating, but these buildings were probably symbolically related in
some way, since they’re so big and close, and the same guy built them. And the Bayon
was seen as Angkor’s center. So Khmers probably conceived of it in relation to the other
great monuments. And what a center–

The word Bayon means ancestor yantra–a yantra is a complex symmetrical blend of
shapes that represents the emanation of energies that the universe came from, and their
differentiation into its different worlds. The Bayon has an outer enclosure that once
housed statues of dozens of elites’ ancestors and gods (the people in the 2 photos above
are meandering through its ruins).

And in the above shot, a reconstructed Buddha sculpture presides within it. So the Bayon
didn’t just house the Buddha and the king. It blended Jayavarman’s Buddhism with
traditional Khmer ancestor veneration. The Bayon is a who’s who in the Khmer universe
while Europeans were building their Gothic cathedrals–they constructed Chartres at
exactly the same time.
But we’re only in the Bayon’s outer area. A journey towards its center takes you through
a multi-leveled world that’s so rich that it left me speechless. The next enclosure is
covered with sculptures of gods, people and battles, as an enclosure in Angkor Wat is.
But the Bayon’s friezes approach a revolution in perspective, which we’ll explore in the
next post about this the Bayon.

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Iv
IS ANGOR A TANTRIC YANTRA ?

Yantra (यन्त्र) (literally "machine, contraption") is a geometrical diagram, mainly from

the Tantric traditions of the Indian religions. Yantras are used for the worship of deities in
temples or at home; as an aid in meditation; used for the benefits given by their supposed occult
powers based on Hindu astrology and tantric texts. They are also used for adornment of temple
floors, due mainly to their aesthetic and symmetric qualities. Specific yantras are traditionally
associated with specific deities and/or certain types of energies used for accomplishment of
certain tasks, vows, that may be materialistic or spiritual in nature. It becomes a prime tool in
certain sadhanas performed by the sadhaka the spiritual seeker. Yantras hold great importance
in Hinduism, Jainism, and Buddhism.

Representations of the yantra in India have been considered to date back to 11,000–10,000 years
BCE. The triangular Baghor stone, which includes triangular engravings on one side, was found
daubed in ochre, in what was considered a site related to worship. Worship of goddesses in that
region was found to be practiced in a similar manner to the present day.

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 The numbers on the map above shows the visitor tour that
corresponds to the path most visitors take when visiting Angkor Wat. We begin by turning right
at the cruciform platform, following the terrace on level one. Upon returning to the entrance,
visitors can ascend the stairs to the cruciform cloisters on the second terrace. Stairs from the
cloisters lead to the third terrace and the cruciform terrace that contains the main temple.

Kali yantra The yantra

of Matangi, the tantric Saraswati
A yantra comprises geometric shapes, images, and written mantra. Triangles and hexagrams are
common, as are circles and lotuses of 4 to 1,000 petals. Saiva and Shakti yantras often feature the
prongs of a trishula.

1. Mantra-Yantras frequently include mantras written in Sanskrit.

Use of colors in traditional yantra is entirely symbolic, and not merely decorative or

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 artistic. Each color is used to denote ideas and inner states of consciousness.
White/Red/Black is one of the most significant color combinations, representing the three
qualities or gunas of nature (prakriti). White represents sattwa or purity; red
represents rajas or the activating quality; black represents tamas or the quality of inertia.
Specific colors also represent certain aspects of the goddess. Not all texts give the same
colors for yantras. Aesthetics and artistry are meaningless in a yantra if they are not based
on the symbolism of the colors and geometric shapes.
2. Bindu-The central point of traditional yantras have a bindu or point, which represents the
main deity associated with the yantra. The retinue of the deity is often represented in the
geometric parts around the center. The bindu in a yantra may be represented by a dot or
small circle, or may remain invisible. It represents the point from which all of creation
emanates. Sometimes, as in the case of the Linga Bhairavi yantra, the bindu may be
presented in the form of a linga.
3. Triangle-Most Hindu yantras include triangles. Downward-pointing triangles represent
the feminine aspect of God or Shakti, while upward-pointing triangles represent God's
masculine aspect, as in Shiva.
4. Hexagram-Hexagrams as shown in yantras are two equilateral triangles intertwined,
representing the union of male and female aspects of divinity, or Shiva and Shakti.
5. Lotus-Mandalas and yantras both frequently include lotus petals, which represent purity
and transcendence. Eight-petaled lotuses are common, but lotuses in yantras can include
2, 4, 8, 10, 12, 16, 24, 32, 100, 1000 or more petals.
6. Circle-Many mandalas have three concentric circles in the center, representing
manifestation.
7. Outer square-Many mandalas have an outer square or nested squares, representing the
earth and the four cardinal directions. Often they include sacred doorways on each side of
the square.
8. Pentagram-Yantras infrequently use a pentagram. Some yantras of Guhyakali have a
pentagram, due to the number five being associated with Kali.
9. Octagon-Octagons are also infrequent in yantras, where they represent the eight
directions.

Parikrima (or Circumambulation) as a

Dynamic Yantra Movement

Dr Uday Dokras

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98
 The procedures signage for visiting Borobudur Temple in Indonesian and English languages
Borobudur: The Top Plan and the Upper Terraces,John M. Lundquist,East and West.Vol. 45, No.
1/4 (December 1995), pp. 283-304 (22 pages)Published By: Istituto Italiano per l'Africa e l'Oriente
(IsIAO),https://www.jstor.org/stable/29757214

Re-discovery of Borobudur
Much like our own Ajanta caves, it was rediscovered in 1814 CE by an
Englishman – Thomas Stamford Raffles. Raffles was the then the British ruler
of Java. It took about 20 years to completely unearth the monument. Since
the discovery, efforts were made to restore it. Major efforts were done in late
20th CE just before it was declared a UNESCO world heritage site. After
restoration, it has again become a popular pilgrimage for the followers of

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Mahayana Buddhism. Incidentally, the name is also credited to Raffles even
though there is evidence of the name being used in some ancient court
records of the Majapahit era during 14th CE.

Re-discovery of the heritage site, while brought back the wonder to us, it
also invited people who pilfered the precious artifacts. Most of the Buddha’s
heads were severed from Buddha idols and sold. I wonder if it was because
Buddha’s heads are considered precious spiritually or financially. Or, was it
just easy to smuggle the head instead of the whole body.

In the old days, novices and clerics held a lighted torch to help navigate the path.
The first view of the temple is in silhouettes. Built with about 2,000,000 cubic
feet (56,600 cubic metres) of gray volcanic stone, Borobudur encloses a
small hill and is shaped like a stepped pyramid with three major levels—a
square base, a middle level of five square terraces, and an upper level of
three circular terraces—totaling, in effect, nine lesser sections

There is a long path to the entrance. One has

to search for it – it is a gigantic structure. As they start climbing its steep
steps, images of Buddha start appearing. This gave way to small stupas
encasing the Buddha statues. Eventually, the central big stupa stands before
their eyes. on a cloudy misty day – all the structures and sculptures around
appeared shrouded in mystery. It seemed that the rays of the sun will slowly
open their folds and let the stories stumble out. They will then talk about the
many hundreads ( now 1200 ) years that these stones have seen.

The Sailendra dynasty built this Largest Buddhist monument in the world
between AD 780 and 840. The Sailendra are the ruling dynasty in Central
Java at the time. It was built as a place for glorifying Buddha and a
pilgrimage spot to guide mankind from worldly desires into
enlightenment and wisdom according to Buddha. This monument was
discovered by the British in 1814 under Sir Thomas Stanford Raffles, it
was until 1835 that the entire area of the temple has been cleared.

Borobudur built in the style of Mandala which symbolizes the universe in

Buddhist teaching. This structure is square shaped with four entry point
and a circular center point. Working from the exterior to the interior,

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three zones of consciousness are represented, with the central sphere
representing unconsciousness or Nirvana.

Zone 1: Kamadhatu
The phenomenal world, the world inhabited by common people.
Borobudur’s hidden Kamadhatu level consists of 160 reliefs depicting
scenes of Karmawibhangga Sutra, the law of cause and effect. Illustrating
the human behavior of desire, the reliefs depict robbing, killing, rape,
torture and defamation.
A corner of the covering base has been permanently removed to allow
visitors to see the hidden foot, and some of the reliefs. Photography of
the entire collection of 160 reliefs is displayed at the Borobudur
Museum which is within the Borobudur Archaeological Park.

Zone 2: Rapudhatu
The transitional sphere, humans are released from worldly matters.
The four square levels of Rapadhatu contain galleries of carved stone
reliefs, as well as a chain of niches containing statues of Buddha. In total
there are 328 Buddha on these balustrade levels which also have a great
deal of purely ornate reliefs.
The Sanskrit manuscripts that are depicted on this level over 1 300
reliefs are Gandhawyuha, Lalitawistara, Jataka and Awadana. They
stretch for 2.5km. In addition there are 1 212 decorative panels.

Zone 3: Arupadhatu
The highest sphere, the abode of the gods.
The three circular terraces leading to a central dome or stupa represent
the rising above the world, and these terraces are a great deal less
ornate, the purity of form is paramount.
The terraces contain circles of perforated stupas, an inverted bell shape,
containing sculptures of Buddha, who face outward from the temple.
There are 72 of these stupas in total. The impressive central stupa is
currently not as high as the original version, which rose 42m above
ground level, the base is 9.9m in diameter. Unlike the stupas surrounding
it, the central stupa is empty and conflicting reports suggest that the
central void contained relics, and other reports suggest it has always
been empty.

The Reliefs
The total of 504 Buddha are in meditative pose, and the 6 different hand
positions represented throughout the temple, often according to the
direction the Buddha faces.

The Temple Corridors

During the restoration in the early 20 th century, it was discovered that
two smaller temples in the region, called Pawon and Mendut, are

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positioned accurately in line with the Borobudur Temple. Pawon temple is
located 1.15 km from Borobudur while Mendut Temple is located 3 km
from Borobudur. It is believed that there is mutual religious relationship
between the three temples, although the exact ritual process remains a
mystery.

The three temples are used to form a route for the Waisak Day Festival
held each year on the day of the full moon in April or May. The festival
commemorates the birth, enlightenment and the death of Gautama
Buddha.

Walking around Borobudur Temple compounds

As they walk around the main central stupa the sun woke up, it was a
surreal place with silhouettes creating bizarre patterns. As some light began
to lighten up the temple- monks saying their prayers clockwise covering
every stupa and every layer of the temple as one walks up and walked down.

As one looked at the next layer of stupas with small openings- lo behold-
there is a Buddha idol inside each of them, mostly in Dharam Chakra
Parivartan mudra – that depicts the setting the wheel of dharma in motion. It
signifies his first sermon at Sarnath, near Varanasi. Unfortunately, most
Buddha idols are headless. Buddha’s heads are a prized possession. All these
heads are spread across the world in museums or private collections.

Each of these stupas has a lotus base.

The geometry and symmetry of stupas baffle you. You wonder how the
architects and builders of this gigantic monument even imagined such a
structure The whole structure is built by interlocking the stones – no
mortar or nails have been used. At some levels of the temple when you
walk, you can see through the gaps between some of the stones. Loose
stones made me miss a heartbeat.

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 Perforated stupas covering the
Buddha Images
Parikrama

After the stupas at the top 3 levels, the temple had circumambulation paths
at bottom 6 levels. The visitor took a parikrama or circumambulation at each
of them. As you walk, both sides of the walls around you have sculpted wall
panels. They talk about the life of Buddha and Bodhisattvas. I could identify
very few scenes from Buddha’s life. The relief sculptures are not in very good
shape. There are mismatched panels that must have got misplaced during
restoration. After all, Borobudur stayed in oblivion and covered with volcano
ash for many centuries.

K
irti Mukh on Arches leading to upper levelsOrnate Gargoyles for water flow

The arched doorways made in beam and lintel style have Kirtimukhs carved
on them. The entrance to each level is guarded by a pair of sitting lions.
By the time they reached the base of the temple, the sun will be shining
brightly. Today if one tried to capture the whole of the temple in a camera

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they will have to walk quite some distance to get it in one frame. This is
when one realizes the enormous size of the temple. Its layers are almost like
a lotus flower, half covering, and half revealing the layer beneath it. The tall
stupas look like bells kept on top.

One can but wonder- how they managed to get so much stone in one place?
I silently admiring the architectural genius of architects and builders. The
world knows Borobudur as a center of Mahayana Buddhism. To me, standing
before this, this was a surviving example of highly evolved aesthetics,
that merge science and art in such a way that it appeals to every sense of
yours. It has the power to make the stone talk to you.

Esoteric Buddhism and Tantra in the Shailendra Dynasty.

History & Architecture of Borobudur Temple

It is the largest known Buddhist temple in the world.

Etymology

Budd
ha Images on the parapets

Borobudur comes from two words – Boro means big and Budur refers to
Buddha, so it essentially means Big Buddha. Budur is also a word for a
mountain in Javanese – no wonder the monument looks like a huge
mountain. Some scholars think Boro is the distortion of Sanskrit Vihara – a
word used for Buddhist monasteries. I do not recall any monasteries around
or any mention in any literature anywhere. It is located between two
volcanoes and two rivers – making it a part of the extremely fertile land.

Architecture

Buddha sits quietly as the world moves around

Gunadharma is said to be the architect of Borobudur temple, but nothing
more about is known about him. Temple consists of 9 platforms stacked
together. The bottom 6 platforms are square while the top 3 are circular. The

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Central dome is surrounded by 72 smaller stupas with perforated domes at
upper 3 levels.
Buddha Images
There are more than 500 Buddha statues, most of them in Padmasana or the
lotus position. Most of them sit on the periphery of lower levels and some of
them are in the niches of the walls. Unfortunately, most of them are headless
today. Buddha images can be seen in all the 5 mudras associated with
Buddha:
 Bhumi-Sparsha Mudra – touching the earth mudra that
represents the time Buddha attained enlightenment.
 Varada Mudra – the giving position – when Buddha is blessing or
giving something.
 Abhaya Mudra – the fearless position – when he is protecting you
or giving you assurance.
 Dhyan Mudra – meditation position – when he is meditating.
 Dharam Chakra Parivartan Mudra – when he set the wheel of
Dharma in motion – represents the time he gave his first sermon in
Sarnath.
 Vitarka Mudra – when he is presenting an argument – a teacher’s
task to present a counter view.
Cosmic meaning of Temple Structure
The temple represents the three stages of a seeker:
 Kamadhatu or the level of desires which refers to worldly
existence. Panels at this level tell Jatakas or the stories of
Bodhisattvas. These stories represent the earlier lives of Buddha.
 Rupadhatu or the world of forms where we start looking inward
but through the forms which are represented by idols or
storytelling panels. This is like the Saguna stage of Hinduism. The
panels at this level tell the story of Buddha with important scenes
from his life journey.
 Arupadhatu or the formless divine for the seekers who no longer
need visual aids to look inside. This is parallel to Nirguna
philosophy like the one followed by poets like Kabir. At this stage
no form is required, so no sculpted panels.

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Bas-relief panels
Bas-Reliefs on walls & Balustrades
The walls and the inner sides of balustrades have story panels. The carvings
on the stone give you a glimpse of the time when the temple was built. What
is interesting is that most human figures are in Tribhanga i.e. the body is
bent in three parts. You can observe the dresses, the hairstyles, the
headgear and the animals in use. There are everyday scenes that depict the
life of a common man. There are scenes from the life of Buddha that depict
the places he lived in, the horse he left on, Bodhi tree under which he
meditated and his descent from Tushita heaven. I also saw symbols of
prosperity like Puran Ghatak or the overflowing pot. There are 2600+ bas-
relief sculptures in the whole of the temple complex. These panels were
probably painted in bright colors, as was the case with ancient caves
like Ellora in India.

Viewed from the top, the complex looks like one single stupa. The geometric
design can be interpreted as resembling a Buddhist mandala or Hindu Shri
Yantra. It can also be looked like a stepped pyramid. Incidentally, the
structure follows a uniform ratio of 4:6:9 throughout the rising pyramid. It
was also found that the basic unit of measurement is Tala – that is roughly
the length of the human face or the length of the extent of an extended
hand. In Hindi / Punjabi, this is called Gith. Even though it varies for every
person, it can be quite a uniform measure.
Was there a Lake?
There is a conjecture that Borobudur once stood in the middle of a lake, It
appeared to float in the lake. However, the current research concludes that
there was probably a lake close by when it was built and in its initial days of
existence, but probably temple never floated in a lake.

Apparently, the real foot of the temple is hidden below the stone
encasement. Some say it is because the Vaastu is bad, while others say it is
to provide extra support to the structure.

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 Decorative panels

The stone for the monument came from neighboring stone quarries. The bas-
reliefs were sculpted in-situ. Artistically designed corner Makar or crocodile
shaped openings are a part of the integrated drainage system that does not
let any water stay on the monument.
It is supposed to be a part of three temples all of which were built in a
straight line. Other two temples being Pawon & Mendut.

History of Borobudur

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Buddha in the meditative pose

Borobudur temple was built around 800 CE making it over 1200 years old.
Sailendra dynasty was ruling Java under the Srivijaya empire when it was
built. Not much is known about its construction or the purpose for which it
was built. It is estimated that it took 75 years or so to build it.

It was probably abandoned around 14 th CE when Hindu kingdom gave way to

Islam. Some sources say it was abandoned much earlier. Both the reason &
the time of its abandonment are uncertain. However, all we know is that it
stayed under layers of volcanic ash and jungle growth. The impact can be
seen on its bas-reliefs on walls and balustrades.

All you wanted to know about the architect of Borobudur

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 Was he a Tantric? Was the Srivijay Kings into Tantricism? Is the Borobodur a Yantra?
( regardless of what type)

Gunavarma was an Indian monk from Jibin (ancient Gandhara). He traveled

to Java from Sri Lanka around the beginning of the 5th century A.D. Not long
after his arrival, the Javanese king Po-duo-jia suffered from a foot injury
caused by an arrow in a war. Gunavarma healed the king's injury and won
his trust and friendship. Showing respect and gratitude to Gunavarma, King
Po-duo-jia decided to rule his kingdom with Buddhist belief.

As a Buddhist cakravartin, he gave all his possessions to the poor and the
people were ordered to abstain from killing. The people were also instructed
to respect Gunavarma and even to receive the 5 precepts from him. The
Chinese sources do not say that Gunavarma helped King Po-duo-jia to
implement the belief in the descent of Buddharaja Maitreya. However, we
may surmise that Gunavarma did this from the fact that he was officially
invited to China by Emperor Wen of the Song (424-453) and from his
activities in the Song. We describe these below. About 9 years after Faxian
had brought the painting of Nagapuspa back to the South, Emperor Wen of
the Song decided to implement the belief as his political ideology. In the 9th
month of the first year of the Yuanjia reign (424), the monks Huiguan and
Huicong persuaded the emperor to send letters to the Javanese king and
Gunavarma, respectively, inviting Gunavarma to China. Later, the monks
Fachang, Daochong and Daojun etc., were despatched to bring Gunavarma
to China.

Gunavarma arrived in China in the year 431. Another Indian monk,

Senghavarma also arrived in 433. Both subsequently translated the
Suhrllekha for the emperor. The Suhrlleka was a letter sent by Nagarjuna to
King Satavahana persuading him to practice Buddhism and to implement the
cakravartinship to rule his kingdom. Gunavarma must have been an expert
in promoting the belief in the descent of Buddharaja Maitreya. Otherwise, he
would not have been invited by Emperor Wen of the Song to China. Besides
translating the Suhrlleka for Emperor Wen, Gunavarma was also appointed
by him to oversee the ritual of Bodhisattva pratimoksa.

Bodhisattva pratimoksa. is the most important ritual that initiates an

emperor to become a cakravartin or a Buddharaja. Soon after his arrival at
the capital of the Song, Gunavarma was appointed to perform this ritual. But
due to an internal revolt that erupted suddenly, Emperor Wen immediately
dropped the idea of becoming a cakravartin/Buddharaja Maitreya.

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The Chinese sources tell us that Gunavarma had stayed and preached the
Dharma in Sri Lanka for quite a while thus making him an expert in the
implementation of the belief and it is likely that he would have helped the
Javanese king to promote it. One can surmise that in 2 succession of
countries he transmitted the belief i.e. to Java from Sri Lanka

From darkness into light --the Idea of a YANTRA behind the design
of Borobudur

Buddha’s Wisdom is broad as the ocean and His Spirit is full of great Compassion. Buddha
has no form but manifests Himself in Exquisiteness and leads us with His whole heart of
Compassion. THE TEACHING OF BUDDHA, BUKKYO DENDO KYOKA

The idea of moving from the darkness into the light is the goal of the
experience of Borobudur- both for the layman and the bikkhu. The
uniqueness of the Borobudur archaeological remain as we find it today
suggests that there was an underlying genius of innovative ideas behind it
during its time of planning and construction in the past. But was /is it a
YANTRA?

The Borobudur shows the process of Buddhism, the scenery and features
show that it was set in Java. Borobudur is thus a Buddhist stupa in the Indian
sense. Each of the square terraces is enclosed in a high wall with pavilions
and niches along the whole perimeter, which prevents the visitor on one

110
level from seeing into any of the other levels. The temple’s pathway takes
one from the earthly realm of desire (kamadhatu), represented and
documented on the hidden narratives of the structure’s earthbound base,
through the world of forms (rupadhatu) as expounded on the narratives
carved along the four galleries set at right angles, until one finally emerges
into the realm of formlessness (arupadhatu) as symbolized and manifested in
the open circular terraces crowned with 72 stupas. Candi Borobudur and
Candi Mendut were the two sites in Central Java that promoted caitya
worship. Even before their establishment in the 8th century A.D., it is
probable that the belief was already brought into Java by Gunavarma the
architect of Borobudur in the beginning of the 5th century A. D.

Sunrise and sunset at the site

Someone asked : Does enlightenment mean illumination?

Illumination is when someone shines a torch in your ear.
Enlightenment is when you're the torch.

1. Dynamism of the Yantra. Th move into Parikrama thus gathering the

energy dissimated by the Yantra(STUPA) structure.
2. THE CONCEPT OF CAUSE & EFFECT; The rendering of the text
Karmavibhangga in a continuous row of reliefs is indeed only found at
the Borobudur sanctuary In such a format is not found anyhere else
in the world.
3. A number of 160 panels are found on the walls of the hidden base.
4. The specific structural scheme of this row of scenes in stone is that
each panel consists of two parts: the left and the right side (from the
spectator's view), each with a separate scene,
5. however both are interconnected.
6. The first one, which is on the left, contains "the cause" scene,

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 7. whereas the second scene on the right contains "the effect", following
the teachings of the Karmavibhangga regarding rewards for good
deeds and punishments for bad deeds.
8. Each panel is clearly demarcated by the 'frame' of the panel,
9. whereas the separation between the left and the right scene within one
panel is not demarcated by an explicid line. There is only an imaginary
line between the two scenes within one panel.
10. This imaginary line might have the form of a tree, or two groups
of people sitting or standing back to back, the line of their backs thus
forming the imaginary separating line.
11. Since the Karmavibhangga is a didactic text that has no single
story line with permanent characters, and seems to be meant as
guidance for the population in general, so the sculptors possibly had a
free reign to portray scenes with the model taken from real life in his
social environment.
12. It is in this aspect that this row of relief might have its
significance as an "information' on daily life in the time of Borobudur 's
conception and realisation.
13. The forms of performing arts, both among the elites as well as
among the commoners, the midwife's activity, the market scene, are
among the spheres of activity that are 'reported' through the panels
14. In this respect the Karmavibhangga row of reliefs is the most
prolific among other rows of reliefs in ancient Javanese temples. 1

There are no known records of construction or the intended purpose of

Borobudur. The duration of construction has been estimated by comparison
of carved reliefs on the temple's hidden foot and the inscriptions commonly
used in royal charters during the 8th and 9th centuries. Borobudur was likely
founded around 800 AD. This corresponds to the period between 760 and
830 AD, the peak of the Sailendra dynasty rule over Mataram kingdom in
central Java, when their power encompassed not only the Srivijayan
Empire but also southern Thailand, Indianized kingdoms of Philippines, North
Malaya (Kedah, also known in Indian texts as the ancient Hindu state of
Kadaram). The construction has been estimated to have taken 75 years with
completion during the reign of Samaratungga in 825.

There is uncertainty about Hindu and Buddhist rulers in Java around that
time. The Sailendras were known as ardent followers of Buddhism, though
stone inscriptions found at Sojomerto also suggest they may have been
Hindus.[ It was during this time that many Hindu and Buddhist monuments
were built on the plains and mountains around the Kedu Plain. The Buddhist
monuments, including Borobudur, were erected around the same period as
the Hindu Shiva Prambanan temple compound. In 732 AD, the Shivaite
King Sanjaya commissioned a Shivalinga sanctuary to be built on the Wukir
hill, only 10 km (6.2 mi) east of Borobudur.
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Construction of Buddhist temples, including Borobudur, at that time was
possible because Sanjaya's immediate successor, Rakai Panangkaran,
granted his permission to the Buddhist followers to build such temples. In
fact, to show his respect, Panangkaran gave the village of Kalasan to the
Buddhist community, as is written in the Kalasan Charter dated 778 AD. This
has led some archaeologists to believe that there was never serious conflict
concerning religion in Java as it was possible for a Hindu king to patronize
the establishment of a Buddhist monument; or for a Buddhist king to act
likewise. The 856 battle on the Ratubaka plateau was much after and was a
political battle. There was a climate of peaceful coexistence where Sailendra
involvement exists in Lara Jonggrang.

Age: Built in the 9th century during the reign of the Sailendra Dynasty, the
temple's design in Gupta architecture reflects India's influence on the region.
It also depicts the gupta style from India and shows influence of Buddhism as
well as Hinduism. The monument was both a shrine to the Lord Buddha and
a place for Buddhist pilgrimage. The monument guides pilgrims through an
extensive system of stairways and corridors with 1,460 narrative relief
panels on the walls and the balustrades.
The journey for pilgrims begins at the base of the monument and follows a
path around the monument and ascends to the top through three levels
symbolic of Buddhist cosmology: Kāmadhātu (the world of desire),
Rupadhatu (the world of forms) and Arupadhatu (the world of formlessness).
Evidence suggests Borobudur was constructed in the 9th century and
abandoned following the 14th century decline of Hindu kingdoms in Java, and
the Javanese conversion to Islam..

Apart from being called a most impressive monument, Borobudur is both a

temple and a complete exposition of doctrine, designed as a whole, and
completed as it was designed, with only one major afterthought. It seems to
have provided a pattern for Hindu temple mountains at Angkor, and in its
own day it must have been one of the wonders of the Asian world.

How age of Borobudur was estimated: The construction time has been
estimated by comparison between carved reliefs on the temple's hidden foot
and the inscriptions commonly used in royal charters during the 8th and 9th
centuries. Borobudur was likely founded around 800 CE. This corresponds to
the period between 760 and 830 CE, the peak of the Sailendra dynasty in
central Java, when it was under the influence of the Srivijayan Empire.
However, there is no written record of who built Borobudur or of its intende
d purpose. There is also o clear indication of how long it took to build from
75 years – 100 years.
( Manfred Sommer-Indonesia - Java - Borobudur Temple - Stone Relief With Carved Images )

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Hot balloon over Thai Stupa. /// painting by G.B. Hooijer (c. 1916–1919) reconstructing the scene of Borobudur during its heyday

Shailendra dynasty- Borobudur was constructed between about 778 and

850 ce, under the Shailendra dynasty. ompleted during the reign of
Samaratungga in 825.It was buried under volcanic ash from about 1000 and
overgrown with vegetation until discovered by the English lieutenant
governor Thomas Stamford Raffles in 1814.

There is confusion between Hindu and Buddhist rulers in Java around that
time. The Sailendras were known as ardent followers of Buddhism, though
stone inscriptions found at Sojomerto suggest they may have been Hindus. It
was during this time that many Hindu and Buddhist monuments were built
on the plains and mountains around the Kedu Plain. The Buddhist
monuments, including Borobudur, were erected around the same time as the
Hindu Shiva Prambanan temple compound. In 732 CE, the Shivaite King
Sanjaya commissioned a Shivalinga sanctuary to be built on the Wukir hill,
only 10 km east of Borobudur.

THE ARCHITECT of the BOROBUDUR

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Candi Borobudur and Candi Mendut were the two sites in Central Java that
promoted caitya worship. Even before their establishment in the 8th century
A.D., it is probable that the belief was already brought into Java by
Gunavarma the architect of Borobudur in the beginning of the 5th century A.
D.

Gunavarma was an Indian monk from Jibin (ancient Gandhara) who is said
to have been the designer behind the site. Not much is known about him and
after searching far and wide I have arrived at this below given excerpt.
Gunavarma traveled to Java from Sri Lanka around the beginning of the 5th
century A.D. Not long after his arrival, the Javanese king Po-duo-jia suffered
from a foot injury caused by an arrow in a war. Gunavarma healed the king's
injury and won his trust and friendship. Showing respect and gratitude to
Gunavarma, King Po-duo-jia decided to rule his kingdom with Buddhist belief.

As a Buddhist cakravartin, he gave all his possessions to the poor and the
people were ordered to abstain from killing. The people were also instructed
to respect Gunavarma and even to receive the 5 precepts from him. The
Chinese sources do not say that Gunavarma helped King Po-duo-jia to
implement the belief in the descent of Buddharaja Maitreya. However, we
may surmise that Gunavarma did this from the fact that he was officially
invited to China by Emperor Wen of the Song (424-453) and from his
activities in the Song. We describe these below. About 9 years after Faxian
had brought the painting of Nagapuspa back to the South, Emperor Wen of
the Song decided to implement the belief as his political ideology. In the 9th
month of the first year of the Yuanjia reign (424), the monks Huiguan and
Huicong persuaded the emperor to send letters to the Javanese king and
Gunavarma, respectively, inviting Gunavarma to China. Later, the monks
Fachang, Daochong and Daojun etc., were despatched to bring Gunavarma
to China.

Gunavarma arrived in China in the year 431. Another Indian monk,

Senghavarma also arrived in 433. Both subsequently translated the
Suhrllekha for the emperor. The Suhrlleka was a letter sent by Nagarjuna to
King Satavahana persuading him to practice Buddhism and to implement the
cakravartinship to rule his kingdom. Gunavarma must have been an expert
in promoting the belief in the descent of Buddharaja Maitreya. Otherwise, he
would not have been invited by Emperor Wen of the Song to China. Besides
translating the Suhrlleka for Emperor Wen, Gunavarma was also appointed
by him to oversee the ritual of Bodhisattva pratimoksa.

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Bodhisattva pratimoksa. is the most important ritual that initiates an
emperor to become a cakravartin or a Buddharaja. Soon after his arrival at
the capital of the Song, Gunavarma was appointed to perform this ritual. But
due to an internal revolt that erupted suddenly, Emperor Wen immediately
dropped the idea of becoming a cakravartin/Buddharaja Maitreya.

The Chinese sources tell us that Gunavarma had stayed and preached the
Dharma in Sri Lanka for quite a while thus making him an expert in the
implementation of the belief and it is likely that he would have helped the
Javanese king to promote it. One can surmise that in 2 succession of
countries he transmitted the belief i.e. to Java from Sri Lanka.1

The role of Rakai Panangkaran: Panangkaran or formal regnal

name Mahārāja dyāḥ Pañcapaṇa kariyāna Paṇaṃkaraṇa was the king
of Shailendra dynasty and also the ruler of Mataram Kingdom between AD
760—775, the kingdom of which its power centralized on Java island
of Indonesia. Crowned as Rakai Panangkaran, he was the immediate
successor of Sri Sanjaya, the founder of Sanjaya Dynasty as mentioned in
the Kalasan inscription. The name of Panangkaran is mentioned in
the Balitung charter (found in the Kedu Plain area) as the line of kings who
were named as the 'builders of kraton'.
In the late 8th and early 9th centuries, Java observed rivalries between two
dynasties. The first four Sanjaya Dynasty lines after King Sanjaya
(Panangkaran, Panunggalan, Warak and Garung), which was known as
the Amrati Kings, competed over their power and religious influences with
the Sailendras princes in the south of central Java who had arisen since 779.
The Sanjayas were Hindus while Sailendras were Buddhists. There was only
an isolated kingship in the east of Java, Gajayana, who appeared to have
control over the Mount Kawi region in 760.
______________________________________________________________________________
A RE-INVESTIGATION OF THE NATURE OF CANDI BOROBUDUR by
Kathy Cheng Mei K u
Proceedings of INTERNATIONAL SEMINAR Borobudur, Magelang, f -
5'" July 2008 pn
Uncovering the Meaning of the Hidden Base of Candi Borobudur

Although relationship between the Amrati Kings with Sailendra was

important at that time, the rivalries between the two is still unclear. From
the Kalasan and Ratu Boko inscriptions, there were stated that Panangkaran
granted permission requested by the collective guru of the Sailendra king to
build Buddhist sculptures, shrines and monasteries in honor to the
goddess Tara. The construction was built under Panangkaran's supervision,
but was supported by Sailendra's expenses. In order to show his respect to

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the guru, Panangkaran consented the building of the shrine by giving the
village of Kalasan to the Buddhist community.
Construction of Buddhist temples, including Borobudur, at that time was
possible because Sanjaya's immediate successor, Rakai Panangkaran,
granted his permission to the Buddhist followers to build such temples. In
fact, to show his respect, Panangkaran gave the village of Kalasan to the
Buddhist community, as is written in the Kalasan Charter dated 778 CE. This
has led some archaeologists to believe that there was never serious conflict
concerning religion in Java as it was possible for a Hindu king to patronize
the establishment of a Buddhist monument; or for a Buddhist king to act
likewise. However, it is likely that there were two rival royal dynasties in Java
at the time—the Buddhist Sailendra and the Saivite Sanjaya—in which the
latter triumphed over their rival in the 856 battle on the Ratubaka plateau.
This confusion also exists regarding the Lara Jonggrang temple at the
Prambanan complex, which was believed that it was erected by the victor
Rakai Pikatan as the Sanjaya dynasty's reply to Borobudur, but others
suggest that there was a climate of peaceful coexistence where Sailendra
involvement exists in Lara Jonggrang.

Borobudur as a Complete Exposition of Doctrine

The construction of stupas were considered acts of great merit. The purpose
of stupas were mainly to enshrine relics of Buddha. The design specifications
are consistent within most of the stupas, entrances to stupas are laid out so
that their centre lines point to the relic chambers. It is therefore no surprise
that the Shailendra Dynesty not only gave asent to Temple but also Stupa
construction.
The stupas were covered with a coating of lime plaster, plaster combinations
changed with the requirements of the design, items used included lime, clay,
sand, pebbles, crushed seashells, sugar syrup, white of egg, coconut water,
plant resin, drying oil, glues and saliva of white ants. The fine plaster at Kiri
Vehera used small pebbles, crushed seashells mixed with lime and sand
were used in the stupas from the fifth to twelfth centuries.
Borobudur is one of the most impressive monuments ever created by
humans. It is both a temple and a complete exposition of doctrine, designed
as a whole, and completed as it was designed, with only one major
afterthought. It seems to have provided a pattern for Hindu temple
mountains at Angkor (see above Cambodia and Vietnam), and in its own day
it must have been one of the wonders of the Asian world. Built about 800, it
probably fell into neglect by c. 1000 and was overgrown. It was excavated
and restored by the Dutch between 1907 and 1911. It now appears as a
large square plinth (the processional path) upon which stand five terraces
gradually diminishing in size. The plans of the squares are stepped out twice

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to a central projection. Above the fifth terrace stands a series of three
diminishing circular terraces carrying small stupas, crowned at the centre of
the summit by a large circular bell-shaped stupa. Running up the centre of
each face is a long staircase; all four are given equal importance. There are
no internal cell shrines, and the terraces are solid. Borobudur is thus a
Buddhist stupa in the Indian sense. Each of the square terraces is enclosed in
a high wall with pavilions and niches along the whole perimeter, which
prevents the visitor on one level from seeing into any of the other levels. All
of these terraces are lined with relief sculptures, and the niches contain
Buddha figures. The top three circular terraces are open and unwalled, and
the 72 lesser bell-shaped stupas they support are of open stone latticework;
inside each was a huge stone Buddha figure. The convex contour of the
whole monument is steepest near the ground, flattening as it reaches the
summit. The bottom plinth, the processional path, was the major
afterthought. It consists of a massive heap of stone pressed up against the
original bottom story of the designed structure so that it obscures an entire
series of reliefs—a few of which have been uncovered in modern times. It
was probably added to hold together the bottom story, which began to
spread under the pressure of the immense weight of earth and stone
accumulated above.

Add to new book on Borobudur

The ultimate effect is that of a profusion, of similar forms emanating out of

the structure. It is a way to express the builder’s notion of the divine as self-
manifesting. Similar concepts exist in Buddhist art and architecture. The
temple at Borobudur, Indonesia, is a magnificent example of similar forms

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arranged in a harmonic whole, interpreted differently from a classical Hindu
temple.

Borobudur Buddhist Temple Designed As Sri Chakra Meru

If seen from the air and from the small reproduction of it in the museum and
it was made in the form of a Hindu Meru which is a vertical representation of
the Sri Yantra. Apparently this was the sh…

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 The Borobudur Temple: An
architectural and cultural
wonder built by hindu king of
shailendra dynasty which
symbolizes the sacred mount
meru and looks like it's design
inspired from sacred shri
yantra

Meru chanda from Aparajitprachha /

The temple at Borobudur and influence
of Indian architecture in Indonesia.
Aparajitaprchha of Bhuvandeva
describes six chandas (Perspective
views) in science of architecture.
Sahitya, Sangeeta and Vaastu all carry
six primary chandas.
These chandas in Music carry sound
vibrations that can control objects and
can help levitate and place them at
certain positions. The science was
demonstrated by Tibetian lamas
(Though with smaller objects). I believe
that Music has a key for these
formations. Music can levitate objects
and can be used for building difficult

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 things.
These Pics belongs to Borobudur
temple. See the meru formation which
resembles a shree yantra.

if consciousness is light then the opposite of consciousness is un-consciousness and the opposite
of light is darkness BUT since the ‘I AM’ is infinitely aware of its consciouness the state of un-
consciousness is also a state of consciousness and so the darkness is also within the light…..

….darkness by itself has no existential conception the same as the hole in the sock has no
existence without the sock….darkness needs the light first in order to exist as much as un-
consciousness needs consciousness first to exist…..the nothing needs the everything first for its
existence….

….in order for the soul go gain enlightenment, it has to gain understanding and that
understanding is only accessible to the individual soul, when the soul has experienced enough
and is now desiring to understand its own reality, it wants to understand of why it experiences
the universe and the world in the way it does…..

….once that desire becomes an all absorbing longing, crowding out anything and all, the rapid
ascent toward the light begins….the individual soul begins to realise that life flows from inner
contemplation, it begins to see the pattern that nothing in its life can be experienced that was not

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first internally contemplated and accepted….once the soul has grasped this truth, the inner eye
(third eye) is opened and the world for the first time is seen as it really is…..

….with the opening of the inner eye, the soul begins to understand its connection to all and
everything because it now knows that nothing exists without a conscious contemplation, our
mind is trying to keep us away from that understanding because it is beyond the rational and
anything that it cannot discern rationally, it simply rejects…..the bravest of the brave soul press
on and don’t let themselves be pulled back into the world of judgement and at a time that is
unknown, the heavens open and the soul gets a true understanding of its own oneness with the I
AM….

The whole building symbolizes a Buddhist transition from the

lowest manifestations of reality at the base, through a series of regions
representing psychological states, toward the ultimate condition of spiritual
enlightenment at the summit. A yantra or Mechanism in 3D.

The unity of the monument effectively proclaims the unity of the cosmos
permeated by the light of truth. The visitor was meant to be transformed
while climbing through the levels of Borobudur, encountering illustrations of
progressively more profound doctrines nearer to the summit. The topmost
terrace, whose main stupa contained an unfinished image of Buddha that
was hidden from the spectator’s view, symbolized the indefinable ultimate
spiritual state. The 72 openwork stupas on the circular terraces, with their
barely visible internal Buddhas, symbolize incomplete states of
enlightenment on the borders of manifestation. The usual way for a pilgrim
to pay reverence to a Buddhist stupa is to walk around it, keeping it on his
right hand. The vast series of reliefs about three feet (one metre) high on the
exterior walls of the terraces would thus be read by the visitor in series from
right to left. Between the reliefs are decorative scroll panels, and a hundred
monster-head waterspouts carry off the tropical rainwater. The gates on the
stairways between terraces are of the standard Indonesian type, with the
face of the Kala monster at the apex spouting his scrolls.

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The reliefs of the lowest level illustrate scenes that show the causal workings
of good and bad deeds through successive reincarnations. They show, for
example, how those who hunt, kill, and cook living creatures, such
as tortoises and fish, are themselves cooked in hells or die as children in
their next life. They show how foolish people waste their time at

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entertainments. From these scenes of everyday life, one moves to the
terraces above, where the subject matter becomes more profound
and metaphysical. It illustrates important Mahayana texts dealing with the
self-discovery and education of the bodhisattva, conceived as being
possessed by compassion for and devoted wholly to the salvation of all
creatures. The reliefs on the uppermost terraces gradually become more
static. The sensuous roundness of the forms of the figures is not abated, but,
in the design, great emphasis is laid upon horizontals and verticals and upon
static, formal enclosures of repeated figures and gestures. At the summit all
movement disappears, and the design is entirely subordinated to the circle
enclosing the stupa.

The iconography of Borobudur suggests that the legend of the royal

bodhisattva recounted in many of the reliefs was meant to “authenticate”
some king or dynasty. Yet, it hardly seems possible that Borobudur was the
focus of a specific royal cult, as there is no provision at all for the
performance of royal ritual. It must have been, then, in some sense a
monument for the whole people, the focus for their religion and life, and a
perpetual reminder of the doctrines of their religion.

A considerable number of bronzes, some small, some large, have been found
in Indonesia in a style close to that of the sculptures of Borobudur and
Mendut. One fine, large standing image comes from Kotabangun in Borneo,
but some come from Java. Many small cult images of the Buddha and
Buddhist deities exist. Some are close in type to the early Pala images of
Indian Bihar, the homeland of Buddhism, with which the Javanese must have
maintained close touch. A few small but extremely fine gold figurines of
undoubted Javanese workmanship have also turned up. For all their small
size they must rate as first-class works of art. As well as images, there are
many beautiful bronze ceremonial objects, such as lamps, trays, and bells.

How old is Borobudur Temple? 1,196 years old.

Was Borobudur painted?

Originally, it was probably plastered white, and painted in bright colours.

There must have been a substantial monastery for the monks who looked
after the structure and the pilgrims, but nothing adequate has yet been
discovered. What Stone is Borobudur made of?- andesite.Built from
nearly two million stone blocks of andesite, a bluish-gray volcanic stone,
Borobudur is shaped like a stepped pyramid, the base of which is 402 feet
long from north to south and 383 feet long from east to west; the height is
now 95 feet above ground level.

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Each stupa is bell-shaped and pierced by numerous decorative openings.
Statues of the Buddha sit inside the pierced enclosures. The design
of Borobudur took the form of a step pyramid. How many levels are there in
Borobudur?

S T E P P Y R A M I D

The main temple structure at Borobudur is constructed on three levels with a

pyramid-shaped base replete with five square terraces, the trunk of a cone
with three circular shaped platforms, and on the upper level, a grand
monumental stupa. How big is the Borobudur Temple? The area of the
temple is 2,500 m²

A step pyramid or stepped pyramid is an architectural structure that uses flat

platforms, or steps, receding from the ground up, to achieve a completed
shape similar to a geometric pyramid. Step pyramids are structures which
characterized several cultures throughout history, in several locations
throughout the world. These pyramids typically are large and made of
several layers of stone. The term refers to pyramids of similar design that
emerged separately from one another, as there are no firmly established
connections between the different civilizations that built them.
Some detail facts and figures of CANDI BOROBUDUR is shown below:-

1) MONUMENT SIZE: 123m by 123m and 42 meter height.

2) NARRATIVE RELIEF:1,460 panels and decorative relief: 1,212panels.
3) BUDDHA STATUES IN OPEN NICHES:368 (Original 432) and 72 on top
terraces.4) NUMBER OF GALLERIES:
4 (each has 2 wall panels: main wall andbalustrade)
5) TOTAL LENGTA OF VISUAL PANELS: Circa 2,500 meters

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6) TOTAL VOLUME OF STONE USED: Circa 55,000 cubic meters.
7) TIME TO BUILD:perhaps 66 years, and
8) USUAGE PERIOD: Almost 200 years 1
Lundquist, J. M. (1995) 2 says that the top 2 terraces are not circular but eleptical
and can be clearly seen from aerial photos of the structure- the third being
definitely circular. What reason this was done for is unclear. Perhaps some
structural calculations of that time.

If seen from the air and from the small reproduction of it in the museum and
it was made in the form of a Hindu Meru which is a vertical representation of
the Sri Yantra. Apparently this was the shape of a Buddhist mandala. The
height of the whole edifice before renovation was 42 meters. Now it is only
34.5 meters since the lowest level has been used as a supporting base.

Two ancient Ganesha statues are at the entrance but there was a pool in
front of the hotel in which you found a statue of Lakshmi which had a striking
resemblance to the Chinese goddess of prosperity called Kuan.

1. (PDF) Borobudur - A Splendid Zenith of World

Heritage-https://www.researchgate.net/publication/326413314_Borobudur_-
_A_Splendid_Zenith_of_World_Heritage
2. Borobudur: The Top Plan and the Upper Terraces. East and West, 45(1/4), 283–304.
http://www.jstor.org/stable/29757214

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Prasat Thom of Koh Ker temple site Cambodia- another step
pyramid

The step pyramid is the basic design of 8th century Borobudur Buddhist
monument in Central Java. However the later temples built in Java were
influenced by Indian Hindu architecture, as displayed by the towering spires
of Prambanan temple. In the 15th century Java during the
late Majapahit period saw the revival of Austronesian indigenous elements as
displayed by Sukuh temple that somewhat resembles a Mesoamerican
pyramid, and also stepped pyramids of Mount Penanggungan.
The koh ker pyramid: The archaeological site of Koh Ker in northern
Cambodia contains a seven-tiered pyramid called Prang which was probably
the state temple of Jayavarman IV. Construction of the sanctuary was started
in 928 AD. At ground level one, side of the square building measures 62 m

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(203 ft). The height is 36 m (118 ft). Originally on the top platform stood a
huge lingam probably more than 4 m (13 ft) high and having a weight of
several tons. Inscriptions say that it was the tallest and most beautiful Shiva-
ling-am. The ling-am probably stood in a shrine which some researchers say
could have been about 15 m (49 ft) high. On the north side of the pyramid is
a steep staircase leading to the top. Concerning the seventh tier some
scientists say, this was the platform of the shrine because on its sides
beautiful reliefs of Garudas were made.

The main pyramid of Sukuh temple

As well as menhirs, stone tables, and stone

statues Austronesian megalithic culture in Indonesia also featured earth and
stone step pyramid structure, referred to as punden berundak as discovered
in Pangguyangan site near Cisolok and in Cipari near Kuningan. The
construction of stone pyramids is based on the native beliefs that mountains
and high places are the abode for the spirit of the ancestors.
One can venture to compare the Buddhist Cosmological design of this
structure with the thailand Stupas (called chedi in Thai). This design is said
to have originated in India, where the rounded shape of ancient funerary
mounds was adopted for Buddhist reli-quary monuments. These mounds
were often set atop platforms and topped by elaborate umbrellas. Over
time each component part of the stupa was given a symbolic meaning and
evolved distinctive regional variations as Buddhism spread across Asia.

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 Temples of Ayutthaya

Wat is the Thai word for temple. Wat Ratchaburana was built in the mid
15th century by the seventh king of Ayutthaya. It features a tall Khmer-
style prang tower over the sanctuary, which is covered with stucco
decoration, and three porticoes facing east, north and south, set atop a high
platform accessed by steep stairs. The silhouette is reminiscent of the
medieval Hindu temples of north-central India.

Under the Chakri dynasty the Thai kingdom (known in the West as Siam)
prospered, avoiding colonization by the European powers and laying the
foundations of a modern nation state. During this period, in the late
18th and early 19th centuries, older architectural models were reinterpreted
with the addition of elaborate surface decoration in glittering gold leaf and
mosaics of shell, ceramic and colored glass.

Graceful Dance Pose(left)Elaborate

Decoration

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The characteristic Thai roof profile also emerged at this time, featuring
sloping tiled surfaces with high gables and overhanging eaves enhanced by
long pointed finials marking the ends of the ridge poles. The exaggerated
effect is reminiscent of southern Chinese architecture which may have
inspired it.

Overlapping Roof EavesGlittering Surfaces

Chinese influence is more explicit in the use of porcelain mosaics to

decorate the surface of chedis at Wat Pho and at Wat Arun, the famous
“Temple of the Dawn.” Construction of this magnificent structure was begun
by king Rama II over an existing foundation and completed by his successor,
Rama III, in the 1840’s. The Khmer-style prang tower is the tallest in the
country.

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 Front View of Wat Arun

The brick core is covered with plaster and embedded with multi-colored
porcelain shards from the ballast carried by Chinese trading ships. The zig-
zagging glistening surfaces impart a sense of rhythmic movement to the
structure which follows a complex mandala plan. The grouping of five towers
represents Mount Meru, the central mountain of Buddhist cosmology,
encircled by the guardians of the four directions.
Set in a prominent riverside location, Wat Arun is a distin-ctive beloved
Bangkok land-mark. Many of Bangkok’s most famous temples and historical
monuments lie on the banks of the Chao Phraya River which winds through
the city and the best way to visit them is by a long-tailed motor boat. These
water taxis offer a refreshing alternative to the modern city’s notoriously
congested traffic.

The mondop or maṇḍapa in Sanskrit, is a building form in traditional Thai

religious architecture featuring a square or cruciform building with a usually
pointed roof. In the narrow sense, it refers to an enclosed square building with a
roughly pyramidal, multi-tiered roof culminating in a tall pointed spire, with a
roof structure very similar to the smaller busabok. In the wider sense, the term
may refer to religious buildings following a wide range of architectural styles,
including historical structures more closely reflecting the Indic mandapa, from
which they are likely derived.

Phra Mondop, the sumptuous library building within the Grand Palace’s Wat
Phra Kaew temple complex, was built by king Rama I in the late 18th
century. It epitomizes the Thai style, with its super-imposed roof structures
and overlapping eaves, dramatic upturned finials and richly decorated
surfaces.

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 BAS RELIEFS
Borobudur contains approximately 2,670 individual bas reliefs (1,460
narrative and 1,212 decorative panels), which cover the façades and
balustrades. The total relief surface is 2,500 square metres and they are
distributed at the hidden foot and the five square platforms.

However, the symbolization of enlightenment these stupas represent is not

intended to be merely aesthetic. Buddhist stupas and mandalas are
understood as “spiritual technologies” that harness spiritual “energies” in
the creation of sacred space. The repetition of form and the circumabulatory
progress of the pilgrim mimic, and thereby access, the cosmological as a
microcosm. The clockwise movement around the cosmic center reproduces
the macrocosmic path of the sun. Thus, when one emerges from the dark
galleries representing the realms of desire and form into the light of the
“formless” circular open air upper walkways, the material effect of light on
one’s physical form merges concomitantly with the spiritual enlightenment
generated by the metaphysical journey of the sacred path.

Light, in all its paradoxes, is the ultimate goal. The crowning stupa of this
sacred mountain is dedicated to the “Great Sun Buddha” Vairocana. The
temple sits in cosmic proximity to the nearby volcano Mt. Merapi. During
certain times of the year the path of the rising sun in the East seems to
emerge out of the mountain to strike the temple’s peak in radiant synergy.
Light illuminates the stone in a way that is intended to be more than
beautiful. The brilliance of the site can be found in how the Borobudur
mandala blends the metaphysical and physical, the symbolic and the
material, the cosmological and the earthly within the structure of its physical
setting and the framework of spiritual paradox.
The journey

Set high upon a hill vertically enhanced by its builders to achieve a greater
elevation, Borobudur consists of a series of open-air passageways that
radiate around a central axis mundi (cosmic axis). Devotees
circumambulate clockwise along walkways that gradually ascend to its
uppermost level. At Borobudur, geometry, geomancy, and theology all
instruct adherents toward the ultimate goal of enlightenment. Meticulously
carved relief sculptures mediate a physical and spiritual journey that guides
pilgrims progressively toward higher states of consciousness.

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The entire site contains 504 statues of the Buddha. 1460 stone reliefs
on the walls and opposite balustrades decorate the first four galleries, with
an additional 1212 decorative reliefs augmenting the path. The relief
sculptures narrate the Buddha’s teachings (the Dharma), depict various
events related to his past lives (Jataka tales), and illustrate didactic stories
taken from important Buddhist scriptures (sutras). Interestingly, another 160
relief sculptures adorn the base of the monument, but are concealed behind
stone buttresses that were added shortly after the building’s construction in
order to further support the structure’s weight. The hidden narrative reliefs
were photographed when they were discovered in the late 19th century
before the stones were put back to help ensure the temple’s stability.

The narrative panels, which tell the story of Sudhana and Manohara,[69] are
grouped into 11 series encircled the monument with the total length of 3,000
metres (9,800 ft). The hidden foot contains the first series with 160 narrative
panels and the remaining 10 series are distributed throughout walls and
balustrades in four galleries starting from the eastern entrance stairway to
the left. Narrative panels on the wall read from right to left, while on the
balustrade read from left to right. This conforms with pradaksina, the ritual of
circumambulation performed by pilgrims who move in a clockwise direction
while keeping the sanctuary to their right.

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The hidden foot depicts the workings of karmic law. The walls of the first
gallery have two superimposed series of reliefs; each consists of 120 panels.
The upper part depicts the biography of the Buddha, while the lower part of
the wall and also balustrades in the first and the second galleries tell the
story of the Buddha's former lives. The remaining panels are devoted to
Sudhana's further wandering about his search, terminated by his meeting
with the Gautama.
At first glance, all the Buddha statues appear similar, but there is a subtle
difference between them in the mudras or the position of the hands. There
are five groups of mudra: North, East, South, West and Zenith, which
represent the five cardinal compass points according to Mahayana. The first
four balustrades have the first four mudras: North, East, South and West, of
which the Buddha statues that face one compass direction have the
corresponding mudra. Buddha statues at the fifth balustrades and inside the
72 stupas on the top platform have the same mudra: Zenith. Each mudra
represents one of the Five Dhyani Buddhas; each has its own symbolism.

Borobudur's vertical organization reflects Buddhist cosmology,

according to which the universe is divided into three superimposing spheres:
kamadhatu (desire), rupadhatu (forms) and arupadhatu (formlessness).
Buddhist cosmology is the description of the shape and evolution of
the Universe according to the Buddhist scriptures and commentaries.
It consists of temporal and spatial cosmology: the temporal cosmology being
the division of the existence of a 'world' into four discrete moments (the
creation, duration, dissolution, and state of being dissolved; this does not
seem to be a canonical division, however). The spatial cosmology consists of
a vertical cosmology, the various planes of beings, their bodies,
characteristics attainment of the Perfect Wisdom.

Apart from the story of the Buddhist cosmology carved in stone, Borobudur
has many statues of various Buddhas. The cross-legged statues are seated in
a lotus position and distributed on the five square platforms (the Rupadhatu
level) as well as on the top platform (the Arupadhatu level).

The Buddha statues are in niches at the Rupadhatu level, arranged in rows
on the outer sides of the balustrades, the number of statues decreasing as
platforms progressively diminish to the upper level. The first balustrades
have 104 niches, the second 104, the third 88, the fourth 72 and the fifth 64.
In total, there are 432 Buddha statues at the Rupadhatu level. At the
Arupadhatu level (or the three circular platforms), Buddha statues are placed
inside perforated stupas. The first circular platform has 32 stupas, the
second 24 and the third 16, that add up to 72 stupas. Of the original 504

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Buddha statues, over 300 are damaged (mostly headless) and 43 are
missing (since the monument's discovery, heads have been stolen as
collector's items, mostly by Western museums).

, food, lifespan, beauty and a horizontal cosmology, the distribution of these

world-systems into an "apparently" infinite sheet of “worlds”. The existence
of world-periods (moments, kalpas), is well attested to by the Buddha.
The historical Buddha (Gautama Buddha) made references to the existence
of aeons (the duration of which he describes using a metaphor of the time
taken to erode a huge rock measuring 1x1x1 mile by brushing it with a silk
cloth, once every century),[3] and simultaneously intimates his knowledge of
past events, such as the dawn of human beings in their coarse and gender-
split forms his ability to convey his voice vast distances, [5] as well as the
ability of his disciples (who if they fare accordingly) to be reborn in any one
of these planes (should they so choose).
If we talk about Spatial Cosmology of Buddhism plan of
then t he
the Borobudur temple complex in Java mirrors the three main levels of
Buddhist cosmology. The highest point in the center symbolizes
Buddhahood. Aerial view of Borobudur

The plan of the Borobudur temple complex in Java mirrors the three main levels of
Buddhist cosmology. The highest point in the center symbolizes Buddhahood. Aerial view
of Borobudur

Spatial cosmology displays the various, multitude of worlds embedded in

the universe. Spatial cosmology can also be divided into two branches.
The vertical (or cakravāḍa; Devanagari: चक्रवाड) cosmology describes the
arrangement of worlds in a vertical pattern, some being higher and some

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lower. By contrast, the horizontal (sahasra) cosmology describes the
grouping of these vertical worlds into sets of thousands, millions or billions.
Manuṣyaloka मनुष्यलोक is the world of humans and human-like beings
who live on the surface of the earth. Birth in this plane results from giving
and moral discipline of middling quality. This is the realm of moral choice
where destiny can be guided. The Khana Sutta mentioned that this plane is a
unique balance of pleasure and pain. It facilitates the development of virtue
and wisdom to liberate oneself from the entire cycle or rebirths. For this
reason rebirth as a human being is considered precious according to the
Chiggala Sutta. The mountain-rings that engird Sumeru are surrounded by a
vast ocean, which fills most of the world. The ocean is in turn surrounded by
a circular mountain wall called Cakravāḍa चक्रवाड which marks the
horizontal limit of the world. In this ocean there are four continents which
are, relatively speaking, small islands in it. Because of the immenseness of
the ocean, they cannot be reached from each other by ordinary sailing
vessels, although in the past, when the cakravartin kings ruled,
communication between the continents was possible by means of the
treasure called the cakraratna (Pāli cakkaratana’’’), which a cakravartin king
and his retinue could use to fly through the air between the continents. The
four continents are:

1. Jambudvīpa located in the south and is the dwelling of ordinary human

beings. It is said to be shaped "like a cart", or rather a blunt-nosed
triangle with the point facing south. (This description probably echoes the
shape of the coastline of southern India
2. Pūrvavideha पूर्वविदेह or Pubbavideha पुब्बविदेह located in
the east, and is shaped like a semicircle with the flat side pointing
westward (i.e., towards Sumeru).
3. Aparagodānīya अपरगोदानीय or Aparagoyāna अपरगोयान located
in the west, and is shaped like a circle.
4. Uttarakuru उत्तरकुरु is shaped like a square.

1. Tiryagyoni-loka तिर्यग्योनिलोक This world comprises all

members of the animal kingdom that are capable of feeling
suffering, regardless of size. The animal realm includes animals,
insects, fish, birds, worms, etc..
2. Pretaloka प्रेतलोक or Petaloka पेतलोक are mostly dwellers
on earth, though due to their mental state they perceive it very
differently from humans. They live for the most part in deserts and
wastelands. This is the realm where ghost and unhappy spirits
wander in vain, hopelessly in search of sensual fulfillment.

Jambudvīpa जम्बुद्वीप; is the dvīpa ("island" or "continent") the

geographical area and ancient name of Greater India in Ancient Indian

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History. The term Jambudvipa is used by Ashoka perhaps to represent his
realm in 3rd century BC, same terminology is then repeated in subsequent
inscriptions for instance mysorean inscription from the tenth century AD
which also describes the region, presumably Ancient India, as Jambudvipa.
The word Jambudvīpa literally refers to "the land of Jambu trees" where
jambu (also known as jamun) is the Indian Blackberry (Syzygium cumini) and
dvīpa has two meanings: "island" or "continent," and "planets" situated in
the ocean of outer space.
"The planets are called dvīpas. Outer space is like an ocean of air. Just as
there are islands in the watery ocean, these planets in the ocean of space
are called dvīpas, or islands in outer space" (Chaitanya Caritamrita Madhya
20.218, Purport)

The Prakrit name Jambudīpasi (Sanskrit "Jambudvīpa") for "India" in the Sahasram Minor
Rock Edict of Ashoka, circa 250 BCE (Brahmi script).

Map of Jambudvipa

According to Puranic cosmography, the world is divided into seven concentric

island continents (sapta-dvipa vasumati) separated by the seven encircling
oceans, each double the size of the preceding one (going out from within).
The seven continents of the Puranas are stated
as Jambudvipa, Plaksadvipa, Salmalidvipa, Kusadvipa, Krouncadvipa, Sakadvi
pa, and Pushkaradvipa. Seven intermediate oceans consist of salt-water,
sugarcane juice, wine, ghee, yogurt, milk and water respectively.. The
mountain range called Lokaloka, meaning "world-no-world", stretches across
this final sea, delineating the known world from the dark void.
Continent Jambudvipa (Indian Blackberry Island), also known
as Sudarshanadvipa, forms the innermost concentric island in the above
scheme. Its name is said to derive from a Jambu tree (another name for
the Indian Blackberry). The fruits of the Jambu tree are said, in
the Viṣṇupurāṇa (ch.2) to be as large as elephants and when they become
rotten and fall upon the crest of the mountains, a river of juice is formed

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from their expressed juice. The river so formed is called Jambunadi (Jambu
river) and flows through Jambudvipa, whose inhabitants drink its waters.
Insular continent Jambudvipa is said to comprise nine varshas (zones) and
eight significant parvatas (mountains).
Markandeya Purana portrays Jambudvipa as being depressed on its south
and north and elevated and broad in the middle. The elevated region forms
the varsha named Ila-vrta or Meruvarsha. At the center of Ila-vrta lies the
golden Mount Meru, the king of mountains. On the summit of Mount Meru, is
the vast city of Lord Brahma, known as Brahmapuri. Surrounding Brahmapuri
are 8 cities - the one of Lord Indra and of seven other Devatas.
Markandeya Purana and Brahmanda Purana divide Jambudvipa into four vast
regions shaped like four petals of a lotus with Mount Meru being located at
the center like a pericarp. The city of Brahmapuri is said to be enclosed by a
river, known as Akash Ganga. Akash Ganga is said to issue forth from the
foot of Lord Vishnu and after washing the lunar region falls "through the
skies" and after encircling the Brahmapuri "splits up into four mighty
streams", which are said to flow in four opposite directions from the
landscape of Mount Meru and irrigate the vast lands of Jambudvipa.
The common names of the dvīpas, having their varṣas (9 for Jambu-dvīpa, 7
for the other dvīpas) with a mountain and a river in each varṣa, is given in
several Purāṇas.[8] There is a distinct set of names provides, however, in
other Purāṇas.The most detailed geography is that described in the Vāyu
Purāṇa.
The Buddhist cosmology divides the bhūmaṇḍala (circle of the earth) into
three separate levels: Kāmadhātu (Desire realm), Rūpadhātu (Form realm),
and Ārūpyadhātu (Formless realm). In the Kāmadhātu is located
Mount Sumeru which is said to be surrounded by four island-continents. "The
southernmost island is called Jambudvīpa". The other three continents of
Buddhist accounts around Sumeru are not accessible to humans from
Jambudvīpa. Jambudvīpa is shaped like a triangle with a blunted point facing
south, somewhat like the Indian subcontinent. In its center is a
gigantic Jambu tree from which the continent takes its name, meaning
"Jambu Island".
Jambudipa, one of the four Mahādīpas, or great continents, which are
included in the Cakkavāla and are ruled by a Cakkavatti. They are grouped
round MountSineru. In Jambudīpa is Himavā with its eighty-four thousand
peaks, its lakes, mountain ranges, etc.
This continent derives its name from the Jambu-tree (also called Naga) which
grows there, its trunk fifteen yojanas in girth, its outspreading branches fifty
yojanas in length, its shade one hundred yojanas in extent and its height one
hundred yojanas (Vin.i.30; SNA.ii.443; Vsm.i.205f; Sp.i.119, etc.) On account
of this tree, Jambudīpa is also known as Jambusanda (SN.vs.552; SNA.i.121).
The continent is ten thousand yojanas in extent; of these ten thousand, four

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thousand are covered by the ocean, three thousand by the Himālaya
mountains, while three thousand are inhabited by men (SNA.ii.437;
UdA.300).
Jambudvīpa is the region where the humans live and is the only place where
a being may become enlightened by being born as a human being. It is in
Jambudvīpa that one may receive the gift of Dharma and come to
understand the Four Noble Truths, the Noble Eightfold Path and ultimately
realize the liberation from the cycle of life and death. Another reference is
from the Buddhist text Mahavamsa, where the emperor Ashoka's
son Mahinda introduces himself to the Sri Lankan king Devanampiyatissa as
from Jambudvipa, referring to what is now the Indian subcontinent. This is
Based In the Kṣitigarbha Sūtra in the Mahayana.
From what we understand, Borobudur lay hidden for centuries
under layers of volcanic ash and jungle growth. The facts behind its
abandonment remain a mystery. It is not known when active use of the
monument and Buddhist pilgrimage to it ceased. Sometime between 928
and 1006, King Mpu Sindok moved the capital of the Medang Kingdom to the
region of East Java after a series of volcanic eruptions; it is not certain
whether this influenced the abandonment, but several sources mention this
as the most likely period of abandonment. The monument is mentioned
vaguely as late as ca. 1365, in Mpu Prapanca's Nagarakretagama written
during Majapahit era and mentioning "the vihara in Budur". Soekmono
(1976) also mentions the popular belief that the temples were disbanded
when the population converted to Islam in the 15th century.

The monument was not forgotten completely, though folk stories gradually
shifted from its past glory into more superstitious beliefs associated with bad
luck and misery. Two old Javanese chronicles (babad) from the 18th century
mention cases of bad luck associated with the monument. According to the
Babad Tanah Jawi (or the History of Java), the monument was a fatal factor
for Mas Dana, a rebel who revolted against Pakubuwono I, the king of
Mataram in 1709. It was mentioned that the "Redi Borobudur" hill was
besieged and the insurgents were defeated and sentenced to death by the
king. In the Babad Mataram (or the History of the Mataram Kingdom), the
monument was associated with the misfortune of Prince Monconagoro, the
crown prince of the Yogyakarta Sultanate in 1757. In spite of a taboo against
visiting the monument, "he took what is written as the knight who was
captured in a cage (a statue in one of the perforated stupas)". Upon
returning to his palace, he fell ill and died one day later.

Lieutenant Governor-General Thomas Stamford Raffles took great interest in

the history of Java. He collected Javanese antiques and made notes through
contacts with local inhabitants during his tour throughout the island. On an

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inspection tour to Semarang in 1814, he was informed about a big
monument deep in a jungle near the village of Bumisegoro. He was not able
to make the discovery himself and sent H.C. Cornelius, a Dutch engineer, to
investigate. In two months, Cornelius and his 200 men cut down trees,
burned down vegetation and dug away the earth to reveal the monument.
Due to the danger of collapse, he could not unearth all galleries. He reported
his findings to Raffles including various drawings. Although the discovery is
only mentioned by a few sentences, Raffles has been credited with the
monument's recovery, as one who had brought it to the world's attention.

The Dutch East Indies government then commissioned F.C. Wilsen, a Dutch
engineering official, who studied the monument and drew hundreds of relief
sketches. J.F.G. Brumund was also appointed to make a detailed study of the
monument, which was completed in 1859.

Borobudur attracted attention in 1885. The restoration was carried out

between 1907 and 1911. Due to the limited budget, the restoration had been
primarily focused on cleaning the sculptures, and Van Erp did not solve the
drainage problem. Within fifteen years, the gallery walls were sagging and
the reliefs showed signs of new cracks and deterioration. Van Erp used
concrete from which alkali salts and calcium hydroxide leached and were
transported into the rest of the construction. This caused some problems, so
that a further thorough renovation was urgently needed.

In 1973, a master plan to restore Borobudur was created. The Indonesian

government and UNESCO then undertook the complete overhaul of the
monument in a big restoration project between 1975 and 1982. The
foundation was stabilized and all 1,460 panels were cleaned. The restoration
involved the dismantling of the five square platforms and improved the
drainage by embedding water channels into the monument. Both
impermeable and filter layers were added. This colossal project involved
around 600 people to restore the monument and cost a total of US$
6,901,243. After the renovation was finished, UNESCO listed Borobudur as a
World Heritage Site in 1991. It is listed under Cultural criteria "to represent a
masterpiece of human creative genius", "to exhibit an important interchange
of human values, over a span of time or within a cultural area of the world,
on developments in architecture or technology, monumental arts, town-
planning or landscape design", and "to be directly or tangibly associated with
events or living traditions, with ideas, or with beliefs, with artistic and literary
works of outstanding universal significance".

BIBLIOGRAPHY

140
8. THE BOROBUDUR VESSELS IN CONTEXT A Thesis by DOUGLAS ANDREW INGLIS
Submitted to the Office of Graduate and Professional Studies of Texas A&M University
in partial fulfillment of the requirements for the degree of MASTER OF ARTS,2014
9. The Ambiguous Feasibility of Borobudur Temple- Irmawati Marwoto , Mandala
Manurung2 1Department of Archaeology, Faculty of Humanities, University of
Indonesia. International Journal of Innovation, Creativity and Change. www.ijicc.net
Volume 14, Issue 8, 2020 749

10. The famous Borobudur Temple, Indonesia is a Dreamland heavily influenced by the
ancient Indian 'Gupta Era' art . It was built by the legendary "Sailendra" Dynasty
using a combination of both buddhist and Hindu architecture. It's also a UNESCO
WORLD HERITAGE site.

11.The Restoration and Conservation Project of Borobudur Temple, Indonesia. Planning:

Research: Design Caesar Voûte Studies in Conservation-Vol. 18, No. 3, Special Issue
on the Conservation of Borobudur Temple, Indonesia (Aug., 1973), pp. 113-130 (18
pages)

12. GPS STUDY FOR RESOLVING THE STABILITY OF BOROBUDUR TEMPLE SITE By Dwi
Lestari ST., University of Gadjah Mada, Yogyakarta, Indonesia, 1998 A thesis
submitted to The University of New South Wales in partial fulfillment of the
requirements for the Degree of Master of Engineering School of Surveying and Spatial
Information Systems (Formerly the School of Geomatic Engineering) The University of
New South Wales Sydney NSW 2052, Australia March, 2006
http://unsworks.unsw.edu.au/fapi/datastream/unsworks:4635/SOURCE1?view=true

13. The Symbolism of Mount Meru,I. W. Mabbett,History of Religions

Vol. 23, No. 1 (Aug., 1983), pp. 64-83 (20 pages),Published By: The University of Chicago
Press,https://www.jstor.org/stable/1062318

14. A RE-INVESTIGATION OF THE NATURE OF CANDI BOROBUDUR by Kathy Cheng Mei K

u
Proceedings of INTERNATIONAL SEMINAR Borobudur, Magelang, f - 5'" July 2008 pn -
Uncovering the Meaning of the Hidden Base of Candi Borobudur

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142
 Tantric Art of the Borobudur YANTRA
In his article-Shape of worship: The architectural philosophy behind the structure of
temples, Santanu Chakraborty |Multiverse | 2019

The structure of places of prayer, especially Hindu temples, represents the believer’s notion of the
universe. If you were tasked with designing a temple, how would you go about it? To
understand any monumental architecture, it is important to understand the thought
processes — individual and collective — behind it as well as the technological
methods that helped realise them. How to represent the sacred is a question that is
now the preserve of the religious collective. Most places of worship follow long-
established traditions that started off by blending the needs of a new religion with
the possibilities offered by existing technologies. New ideas and methods were then
added into the canon and, with time, they became the standard — shall we say
rigid? — way of conceptualising sacred structures. Artists find ways to innovate and
express within these constraints; sometimes they get into trouble, but often they
evolve new traditions within a larger standard.

However, some constraints are purely man-made. Perhaps the temple is being built
for a religion that is keen to find and unite new followers under one roof with
frequent prayer gatherings. Then the structure must accommodate a multitude of

143
men, women and children and should allow the congregation to move about freely.
The trouble is that holding up a roof and having it span a large distance without any
intermediate support is difficult. A society needs serious motivation to research and
develop methods that could eventually lead to the construction of such architectural
marvels. Religion, more often than not, has provided that motivation throughout
history. Some of the grandest structures in existence today are churches, mosques,
temples and pagodas. The process of building them led to the development of
impressive structural styles, such as the monumental arches and domes.

While the size of the building is surely an element that might impress — as in the
case of the pyramids — the architect must also decide what the structure will look
like. The shape of a place of worship represents believers’ notion of the universe,
and that belief manifests itself in the design of certain religious structures such as
Hindu temples. While the intricacies of those structures are still being studied by
researchers around the world, we can certainly look into some elements here. It will
help us understand how grand spires have been imagined, computed and
constructed. Early temple builders lived in a world where speculation about the
cosmos led to systems of design that combined two ideas. The first is that the
structure of the temple emerges from underlying generative principles. We can
speculate that the ancient inhabitants might have thought of the universe as having
certain underlying laws that governed its formation and evolution. By no means do
these need to be verifiable ideas. For instance, astrology continues to occupy a
decision-making role in the lives of many. While belief does not need to imply
verifiable truth, it can get people to act. The ancient generations were unaware of
scientific laws as we know them today, but they might have intuited — or maybe
just imagined — that the order in the natural world could emerge from repetition of
simple principles. This idea is manifest in the construction of Hindu temples.

The second is the idea that natural objects demonstrate a certain similarity
independent of scale. Consider the leaves of a tree. Thousands of leaves of a tree
can be imagined to be copies of a single leaf scaled to different sizes. The veins
coursing through the leaves display a similar, structured pattern. View these
patterns under a microscope to discover the similarity between the branching
patterns of the tiniest leaf veins and the larger ones. The same is often true of blood
vessels coursing through animals. So it would be easy to imagine, in one giant leap
of faith, that objects in the universe share a certain similarity — a pattern that
reappears — no matter the scale.
Look at the plan of the smaller Sas-Bahu temple complex in Gwalior (image below),
and consider a systematic way in which you start with the innermost square,
expand and distort it (stretch or compress along a given axis) to create the outer
perimete.

144
 Comple
x art: The designs of temple evolved to produce complicated plans such as
the Vishveshvur Temple RIGHT PIC Dots and lines: Temple designs are evolved
from geometrical patterns; it is evident in the plan for the smaller Sas-Bahu Temple (left)
and the Baroli Temple (right)

The temple plan of Baroli will help you conceptualise the task as well as think of a
method to attain your objective. The early temple designers used the intersections
of circles, squares, rectangles and radial lines to come up with points that they
could join to make the plans. The methods evolved to produce complicated plans
such as the Sun Temple at Konark and the temple at Vishveshvur. The architect
never enjoyed complete freedom as the design had to emerge, at least partially,
from some geometric principles.

Facades and spires of temples strictly abide by this idea. Observe the main spire — the large
central one — of the Kandariya Mahadeva Temple in Khajuraho. Note how numerous scaled
down versions of the same spire are attached to the main design to create a complex
structure. Different styles of Hindu temple building use different ways of replicating inner
elements.

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A marvel: The Buddhist temple at Borobudur is a magnificent example of similar forms
arranged in a harmonic whole

Chausath Jogini Temple

Tantra is an ancient Hindu tradition which is mainly related to Goddesses. This ancient practice still exists
and is also followed in various temples. Especially, the 'Shakta' or Shakti Peethas are mainly associated
with this tradition. Tantric Practices can be seen in several literatures and even in carvings at some
temples like Khajuraho. In this article, we are taking you around some famous Tantric temples in India
that have been following this ancient practice.

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Borobudur was built in 750 AD and just 300 years later we see a similar
circular form of Tantric design in the Chausath Yogini Temple, Mitaoli,, also
known as Ekattarso Mahadeva Temple, is an 11th-century temple in Morena
district in the Indian state of Madhya Pradesh. It is one of the few well-
preserved Yogini temples in India. The temple is formed by a circular wall with
65 chambers, apparently for 64 yoginis and the goddess Devi, and an
open mandapa in the centre of a circular courtyard, sacred to Shiva

Chausath Jogini Temple Chausath Jogini Temple or 64 Joginis Temple is a

unique shrine with the idols of Yoginis (demi-goddesses) surrounding the
main deity. Goddess Kali resides as the presiding goddess of this temple who
stands on a human head. This temple is one of the popular Tantric temples in
India. It is said that the idol of Maha Bhairava (Shiva) was also there in the
inner sanctum. Now we can only see the Goddess Chandi. The main
attraction of this shrine are the granite idols of Yoginis lined in a circular hall.
The Jogini idols represent different forms of Goddess Durga and the strength
of feminine form. This interesting shrine was built by the Queen Hiradevi in
the outskirts of Bhubaneshwar.

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148
149
150
 Yantra movement or movement in the Yantra as a form of
absorbing energy

Clockwise parikrama inside a temple (red)./Parikrama at the temple.

Parikrama or Pradakshina is clockwise circumambulation of sacred

entities, and the path along which this is performed, as practiced in
the Indian-origin religions - Hinduism, Buddhism, Sikhism and Jainism. In
Buddhism, it refers only to the path along which this is performed. Typically,
in Indic-religions the parikrama is done after completion of traditional
worship (puja) and after paying homage to the deity. Parikrama must be
done with dhyāna (spiritual contemplation and meditation).
In Hinduism, parikarma of religious deities in a temple, sacred rivers, sacred
hills and a close cluster of temples as a symbol of prayer is an integral part
of Hindu worship. Hindu temple architecture include various Pradakshina
paths. There could a parikarma path surrounding the chief deity, and several
other broader paths concentric to main path through it is not uncommon to
find non-concentric parikrama paths. At times the outermost parikrama path
covers the whole village, town, city, thereby implying that the length of the
path can stretch. Parikrama is also done around the sacred Peepal
tree, tulsi (Indian basil plant), and agni (sacred fire or the fire God), and agni
parikrama is a part of the Hindu wedding ceremony.
Parikrama means "the path surrounding something" in Sanskrit, and is also
known as Pradakshina ("to the right"), representing circumambulation.
[3]
Both words are mostly used in the context of religious practice of
circumambulation of scared entities.
Prikarma is defined as "Circumbulatory or pathway around the shrine of the
temples by keeping time is a common form of prayer in India. It includes
Narmada, Shetrunjaya, Girnar. This pathway made of stone around the
shrine is called Pradakshina path.”

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Buddhist practice

Buddhist monks and devotees circumambulating a stupa.

Pradakhshina round a stupa in China.

In Buddhism circumambulation or pradakhshina has been an important ritual

since early times. Sacred structures such as stupa or images have a
pradakhshina path around them. The chaitya is a distinct ancient type of
building that only survives in Indian rock-cut architecture, a hall with a stupa
at the far end, always built with a rounded apse-like end, to allow
pradakhshina. A mandapa (prayer hall), added in the front transforms the
original stupa into the stupa shrine — as a sacred entity which requires a
circumambulatory path around it for the purpose of worship. The whole
structure is planned in such a way that it becomes the centre of the mandala
and symbolically represents Mount Meru.
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Buddhist faithful may perform pradakhshina by prostrating themselves at
every step, thus greatly prolonging the process. The most extreme
pradakhshina is that of the sacred Mount Kailash in Tibet, a mountain
trek some 52 km (32 mi) long, at altitudes between 15,000 ft (4,600 m) and
18,200 ft (5,500 m). This may also be undertaken by Hindus and Jains, and
some pilgrims progress by prostration, taking some weeks.
Hindu practices
Significance and symbolism of parikarma
The temple structure reflects the symbolism of the Hindu association of the
spiritual transition from daily life to spiritual perfection as a journey through
stages. Parikrama paths are present through which worshipers move in a
clockwise direction, starting at the sanctuary doorway and moving inward
toward the inner sanctum where the deity is enshrined. This represents
translation of the spiritual concept of transition through levels in life into
bodily movements by the worshipers as they move inwardly through
ambulatory halls to the most sacred centre of spiritual energy of the deity.
Number of Pradakshinas for various deities
For each deity, the minimum number of Pradakshinas to be done are
specified.

 Ganesha: 1 or 3
 Hanuman: 3
 Shiva: half or 3
 Vishnu: 3 or 4
 Ayyappa: 5
 Subrahmanya (Kartikeya): 6
 Durga, Devi: 1, 4 or 9
 Peepal Tree: 7
 Surya : 2 or 7
The Swayambhu Agama says that doing Pradakshina 21 times to any
deity is sanctified.
Parikrama in Hindu Marriage: Scripture lists eight types of marriage and
current rituals fall within the “Brahma” category. The ancient, elaborate and
often lengthy ceremony is usually performed by brahmana priests. There is
much regional and denominational variation, but certain features are
common. These include:

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 1.
A traditional painting of Shiva and Parvati, whose wedding ceremony
was performed by Brahma.

Welcoming the bridegroom

2. Exchanging flower garlands

3. The daughter being given in marriage
4. Sacred fire ceremony
5. Holding of hands
6. Circumambulation of the sacred fire
7. Marking the bride’s hair-parting with kum-kum
8. Taking seven steps together
9. Tying the knot (the garments of bride and groom)
10. Viewing the Pole Star
11. Receiving the elders’ blessings
12. Exchanging presents

Shayana Pradakshinam is done by prostration in a lying posture. It

starts with a Sashtanga Namaskara in front of the sanctum sanctorum. In
Sashtanga Namaskara, the devotees have six parts of their bodies
touching the ground. Thus forehead, chest, stomach, hands, knees and
toes touch the ground. The folded hands will be directed always towards
the deity. In this pose, the devotees circumambulate on the Pradakshina
path. The relatives and friends of the devotees help them to roll around.
Shaivite Pradakshinam
In Shiva temples, the devotees start the Pradakshina as usual from the
front and go clockwise till they reach the gomukhi (the outlet
for abhisheka water) from the Sanctum Sanctorum. As usual the
clockwise perambulation is maintained outside of the Bali stones. The
drainage outlet for the ritual ablution offered on the Shiva Linga with
water, milk, curd, coconut water, ghee, ashes (bhasma)etc. is not to be
crossed. So the worshippers have to return in anti-clockwise direction till
they reach the other side of the drainage outlet to complete the circle.
During this anti-clockwise perambulation, the devotee should tread a path
inside of the Bali stones. The Bali stones are always to be kept the right
side of the devotees. After reaching the drainage oulet, they have to

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return to the front in the clockwise direction keeping the path outside the
Bali stones. Thus one Pradakshina is completed.
A legend related to goddess Parvati (Shiva's wife) and her two sons
illustrates the importance of Pradakshina or Parikrama. It is said that the
goddess asked her two sons to circumambulate the universe to gain
worldly knowledge. While her first son Kartikeyan spent decades to go
round the world on his peacock, her second son Ganesha walked a full
circle around his mother and justified his action by stating that
the World was contained within the figure of the mother. This legend
justifies the importance that Hindus attach to the practice of Parikrama,
and also the importance of motherhood in Hindu psychology. Another
version of the same story replaces the figure of Parvati with Shiva
himself.
Comparison with non-indic religions
Like Parikrama in Hinduism, Muslims perform circumambulation
around Kaaba during their Hajj which they call tawaf. The
circumambulation during Hajj is done in a counterclockwise manner.
[18]
Hindu and Buddhist as well as Jain traditions, in contrast,
circumambulate a shrine or sacred site clockwise. The only exception is
during paying last respects to a dead body during a cremation or event
marking a funeral, where the traditional circumambulation in Indian
religions is counter-clockwise.
Hindu locations-yodhya parikrama
In the temple city of Ayodhya in Uttar Pradesh, India, Panchkosi
Parikrama is performed over a two-day period. Devotees first take a holy
dip in the Saryu River and then do a Parikrama of 15 km along the
periphery of the city. It is said that over two hundred thousand devotees
including around 50
thousand sadhus from Prayag (Allahabad), Haridwar, Mathura and Kashi (
Varanasi) participate in the parikrama, and full security arrangements are
made for the religious occasion.
Girnar parikrama

Pilgrims on Girnar Parikrama

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Lili Parikrama or Girnar Parikrama is a seven-day festival held at
Mount Girnar in Junagadh district of Gujarat, India. The pilgrimage
involves a climb of 10,000 steps to reach the top to the sacred Mount
Girnar venerated by both Hindus and Jains. The Jains call it Mount Girnar.
Devotees from all over the country participate in the festival. Of the
seven peaks of Girnar, five are important viz., Ambamata, Gorakhnath,
Augadh, lord Neminatha Tonk or Guru Dattatreya as known by Hindus and
Kalika. Bhavnath Shiv temple, Bhartruchari cave, Sorath Mahal, Bhim
Kund and Shiv Kund. Devotees visit these sacred places during the
parikarama.
Govardahan hill parikrama

Govardhan Temple starting point of Govardhan Parikrama

Govardhan hill which has great religious significance in view of its

association with Lord Krishna, presently at its highest point is just 25-
metre (82 ft) high and is a wide hill near Mathura Vrindavan in Uttar
Pradesh, India. It is a narrow sandstone hill known as Giriraj which is
about 8 kilometres (5 mi) in length.[21] After Krishna protected the
inhabitants of Vraj Vridavan from the wrath of Indra, he counseled them
to worship Govardhana hill and they did by way of a Puja (worship) and a
Parikrama (circumambulation) around the hill.Thus, a festival in
commemoration of the lifting of Mount Govardhan, near Mathura,
by Krishna came into vogue as 'Govardhan Puja' when Mount Govardhan
is worshipped, the day after Deepawali (festival of lights) is celebrated.
Pious people keep awake the whole night and cook 56 (or 108) different
types of food for the bhog (the offering of food to God) to Krishna. This
ceremony is called 'ankut' or 'annakuta' which means a mountain of food.
Various types of food – cereals, pulses, fruit, vegetables, chutneys,
pickles, and salads – are offered to the Deity and then distributed as
'prasada' to devotees. Thousands of devotees bring offerings for Giriraj.
Followed by this pooja, the devotees perform the Govardhana Parikrama.

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 Krishna lifting the Govardhana hill

Govardana Parikrama [circumambulation — going 21 kilometres (13 mi)

around the hill] is a sacred ritual performed by many believers as spiritual
purification. There is no time limit for performing this Parikrama, but for
those who perform the dandavata (full prostration) Parikrama, an arduous
form which may take weeks and sometimes even months to complete.
Dandavata Parikrama is performed by standing in one spot, offering
obeisances like a stick (danda) by lying flat on the ground and then
continuing, contiguously, till the entire route is covered. It is also said that
some sadhus (Hindu holy men) perform 108 obeisances in one spot
before moving to the next. This can take a number of months to
complete.
This ritual of Parikrama is considered to be even better if it is done with
milk. A clay pot filled with milk, with a hole at the bottom, is carried by
the devotees in one hand and a pot filled with dhoop (incense smoke) in
another. An escort continuously fills up the pot with milk till the parikrama
is completed. Parikrama is also done with candy being handed out to
children, en route. The divine tree 'Kalpavriksha' planted by GreenMan
Vijaypal Baghel at each Kunda of this parikrma route, not only
Kalpavriksha, he is planting with dedication much more others traditional
& medicinal flora's species around holy Govardhan hill likely 'Tridev
Vriksha', paras peepal, Rudraksha, Kadmba, pakad, vat vriksha etc. who
have spiritual and religious values to make Green Parikrma. Parikrama of
Govardhana hill starts at the Manasi-Ganga Kund (lake) and then after
having darsan of Lord Harideva, from Radha-kunda village, where the
Vrindavan road meets the parikrama path. After parikrama of 21
kilometres, covering important tanks, shilas and shrines such as Radha
Kunda, Syama Kunda, Dan Ghati, Mukharavinda, Rinamochana Kunda,
Kusuma Sarovara and Punchari, it ends at Mansi Ganga Kund only
Kurukshetra parikrama
48 kos parikrama of Kurukshetra is a 48 kos circumambulation of over
200 Mahabharata-related and other vedic era tirthas around the holy city
of Kurukshetra in the state of Haryana, India
Narmada parikrama

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The importance of the Narmada River as sacred is testified by the fact
that the pilgrims perform a holy pilgrimage of a Parikrama
or Circumambulation of the river. The Narmada Parikrama, as it is called,
is considered to be a meritorious act that a pilgrim can undertake.
Many sadhus (saints) and pilgrims walk on foot from the Arabian
Sea at Bharuch in Gujarat, along the river, to the source in Maikal
Mountains (Amarkantak hills) in Madhya Pradesh and back along the
opposite bank of the river. It is a 2,600-kilometre (1,600 mi) walk. The
Parikrama is also performed along the southern bank from its source
(Amarkantak hills) to the mouth (Bharuch) and returning along the
northern bank, and it is considered to be of the highest religious efficacy.

During the Narmada Parikrama, devotees have to pass through a place

called Shulpaneshwar ki Jhari, a religious place in Gujarat with links dating
back to the Mahabharata epic story. The legend says that
the Pandavas returning victorious from Kurukshetra war were intercepted
at Shulpaneswar by Eklavya and his group of tribal Bhils and looted them
(Pandvaas) of all their belongings. Since then it is a custom that pilgrims
on a Narmada Parikrama, while passing through this place, expect to be
stripped of all their belongings leaving them with the bare essentials to
carry on till some philonthropists give them donations on the way to carry
on. With construction of the Sardar Sarovar Dam in Gujarat on
the Narmada River, the Shulpaneshwar Temple has submerged under the
reservoir, necessitating the pilgrims to take a circuitous route to continue
on their journey.
Vraja Mandala parikrama
Since 500 years Vraja Mandala Parikrama has been performed during
October–November months. It is 84 Krosh long, taking 1–2 months
depending on the route and speed visits twelve forests, known as vans,
and twenty-four groves, known as upavans. The twelve forests
are Madhuvan, Talavan, Kumudvan, Bahulavan, Kamavan, Khadiravan,
Vrindavan, Bhadravan, Bhandiravan, Belvan, Lohavan, and Mahavan. The
twenty-four groves are Gokul, Govardhan, Barsana, Nandagram, Sanket,
Paramadra, Aring, Sessai, Mat, Uchagram, Kelvan, Sri Kund,
Gandharvavan, Parsoli, Bilchhu, Bacchavan, Adibadri, Karahla, Ajnokh,
Pisaya, Kokilavan, Dadhigram, Kotvan, and Raval.
Vrindavan parikrama

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 Parikrama by ISKCON devotees known as Vrindavan parikrima

Yātrā- Journey
Yātrā (Sanskrit: यात्रा, 'journey', 'procession'), in Indian-origin religions,
Hinduism, Buddhism, Jainism and Sikhism, generally means a pilgrimage[1] to
holy places such as confluences of sacred rivers, sacred mountains, places
associated with Hindu epics such as the Mahabharata and Ramayana,
and other sacred pilgrimage sites.[2] Visiting a sacred place is believed by the
pilgrim to purify the self and bring one closer to the divine. [3] The journey
itself is as important as the destination, and the hardships of travel serve as
an act of devotion in themselves.
A tīrtha-yātrā is a pilgrimage to a sacred site, generally undertaken in
groups. Yatri is the term for anyone who undertakes the yatra. According
to Vedic Hindu Dharma Shastras, a Yatri ought to perform Yatra on foot,
called padayatra, ideally barefoot as a form of tapasya in which the pilgrim
should travel without umbrellas or vehicles; however, many yatris do not
follow these niyamas.

In present times, yatras are highly organized affairs, with specialized tourism
companies catering to yatris. State governments are sometimes involved in
the organization of annual yatras, stipulating numbers, registering yatris,
and regulating yatri traffic.[5][6] The Hindu sacred month of Shravan is also the
time of the annual Kanwar Yatra, the annual pilgrimage devotees of Shiva,
known as Kanwaria, make to Hindu pilgrimage places
of Haridwar, Gaumukh and Gangotri in Uttarakhand to obtain water from
the Ganges River. In 2003, 55 lakh (5.5 million) pilgrims visited Haridwar.
[7]
Other Tirtha pilgrimages are Char Dham Yatra, which
involves Badrinath, Kedarnath, Gangotri, and Yamunotri; Amarnath
yatra in Jammu and Kashmir.
There are numerous pilgrimage sites in India[8] and elsewhere.

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Buddha circuit:
This prikarma entails the Lumbini, Bodh
Gaya, Sarnath, Sravasti (Jetavana), Rajgir hills, Kurukshetra (Bodh Stupa on
bank of Brahma Sarovar, pilgrimage undertaken by
Buddha), Shrughna (Yamunanagar, vihara visited by Buddha for sermon), Adi
Badri (saraswati udgam sthal and vihara visited by Buddha), Parinirvana
Stupa (place of death and nirvana of Buddha at Kushinagar, and Sankissa.
See also Buddhist pilgrimage sites.
A stupa (Sanskrit: स्तूप) is a mound-like or hemispherical structure
containing relics (such as śarīra – typically the remains of Buddhist
monks or nuns) that is used as a place of meditation. A related architectural
term is a chaitya, which is a prayer hall or temple containing a stupa.
In Buddhism, circumambulation or pradakhshina has been an important
ritual and devotional practice since the earliest times, and stupas always
have a pradakhshina path around them.

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The "Tomb of Midas" in Gordion, dated to circa 740 BCE/ Royal
funeral tumulus of King Alyattes, Lydia, 6th c. BCE/ Amrit, Phoenicia, 5th c.
BCE

Cetiya and Tumulus

Stupas may have originated as pre-Buddhist tumuli in which śramaṇas were
buried in a seated position[2] called chaitya.
Some authors have suggested that stupas were derived from a wider cultural
tradition from the Mediterranean to the South Asia, and can be related to the
conical mounds on circular bases from the 8th century BCE that can be found
in Phrygia (tomb of Midas, 8th c. BCE), Lydia (such as the tomb of Alyattes,
6th c. BCE), or in Phoenicia (tombs of Amrit, 5th c. BCE).
The Ahom kingdom in medieval Assam built octagonal tumuli
called Maidams for their kings and high officials. The kings were buried in a
hillock at Charaideo in Sibsagar district of Assam, whereas other Maidams
are found scattered more widely.Archaeologists in India have observed that
a number of early Buddhist stupas or burials are found in the vicinity of much
older, pre-historic burials, including megalithic sites.
A tumulus (plural tumuli) is a mound of earth and stones raised over
a grave or graves. Tumuli are also known as barrows, burial
mounds or kurgans, and may be found throughout much of the world.
A cairn, which is a mound of stones built for various purposes, may also
originally have been a tumulus.
Tumuli are often categorised according to their external apparent shape. In
this respect, a long barrow is a long tumulus, usually constructed on top of
several burials, such as passage graves. A round barrow is a round tumulus,
also commonly constructed on top of burials. The internal structure and
architecture of both long and round barrows has a broad range; the
categorization only refers to the external apparent shape.The method
of inhumation may involve a dolmen, a cist, a mortuary enclosure,
a mortuary house, or a chamber tomb. Examples of barrows
include Duggleby Howe and Maeshowe.
The word tumulus is Latin for 'mound' or 'small hill', which is derived from
the Proto-Indo-European root *teuh2- with extended zero grade *tum-, 'to
bulge, swell' also found in tomb, tumor, tumescent, thumb, thigh,
and thousand.

This includes site associated with the Indus Valley Civilization where broken
Indus-era pottery was incorporated into later Buddhist burials. [7] Structural
features of the stupa- including its general shape and the practice of
surrounding stupas with a stone or wooden railing- resemble both pre-
Mauryan era cairn burials, as well as pre-historic relic burials found in

161
southern India. Some stupas not believed to have been looted have been
found to be empty when excavated, as have some pre-historic cairn sites,
and animal bones are suspected to have occasionally been deposited at both
types of sites.
Mounds for the relics of the Buddha (5th century)[edit]

The Piprahwa stupa is one of the earliest surviving stupas./ Buddha's ashes
Stupa built by the Licchavis, Vaishali and one of the earliest stupas

Buddhist architecture
Religious buildings in the form of the Buddhist stupa, a dome shaped
monument, started to be used in India as commemorative monuments
associated with storing sacred relics of the Buddha. [9] After the parinirvana of
the Buddha, his remains were cremated and the ashes divided and buried
under eight mounds with two further mounds encasing the urn and the
embers. The relics of the Buddha were spread between eight stupas,
in Rajagriha, Vaishali, Kapilavastu, Allakappa, Ramagrama, Pava, Kushinagar,
and Vethapida. The Piprahwa stupa also seems to have been one of the first
to be built. Lars Fogelin stated that the Vaisali relic stupa and Nigali
Sagar stupa are likely the earliest archaeologically known stupas.
Guard rails —consisting of posts, crossbars, and a coping— became a feature
of safety surrounding a stupa.[13] The Buddha had left instructions about how
to pay homage to the stupas: "And whoever lays wreaths or puts sweet
perfumes and colours there with a devout heart, will reap benefits for a long
time".This practice would lead to the decoration of the stupas with stone
sculptures of flower garlands in the Classical period.
Expansion under Ashoka (250 BCE

An early stupa, 6 meters (20 ft) in diameter, with fallen umbrella on side at
Chakpat, near Chakdara; probably Maurya, 3rd century BCE

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According to Buddhist tradition, Emperor Ashoka (rule: 273—232 BCE)
recovered the relics of the Buddha from the earlier stupas (except from
the Ramagrama stupa), and erected 84,000 stupas to distribute the relics
across India. In effect, many stupas are thought to date originally from the
time of Ashoka, such as Sanchi or Kesariya, where he also erected pillars
with his inscriptions, and
possibly Bharhut, Amaravati or Dharmarajika in Gandhara. Ashoka also
established the Pillars of Ashoka throughout his realm, generally next to
Buddhist stupas.
The first known appearance of the word "Stupa" is from an inscribed
dedication by Ashoka on the Nigali Sagar pillar (spelled in Pali in the Brahmi
script as "Thube" .

Decorated stupas (from 125 BCE)Stupas were soon to be richly

decorated with sculptural reliefs, following the first attempts at Sanchi Stupa
No.2 (125 BCE). Full-fledged sculptural decorations and scenes of the life of
the Buddha would soon follow at Bharhut (115 BCE), Bodh Gaya (60
BCE), Mathura (125-60 BCE), again at Sanchi for the elevation of
the toranas (1st century BCE/CE) and then Amaravati (1st-2nd century CE).
[17]
The decorative embellishment of stupas also had a considerable
development in the northwest in the area of Gandhara, with decorated
stupas such as the Butkara Stupa ("monumentalized"
with Hellenistic decorative elements from the 2nd century BCE) [18] or
the Loriyan Tangai stupas (2nd century CE).

Sanchi Stupa No.2, the earliest known stupa with important displays of
decorative reliefs, circa 125 BCE/ East Gateway and Railings
of Bharhut Stupa. Sculptured railings: 115 BCE, toranas: 75 BCE./ The
Great Stupa at Sanchi. Decorated toranas built from the 1st c. BCE to the
1st c. CE.[

163
 Amaravati stupa, 1st-2nd century CE
Development in Gandhara (3rd century BCE-5th century CE)

164
165
ButkaraStupa

166
167
168
Buddhas of Bamiyan, from: Iwan Lawrowitsch Jaworski: Reise der russischen Gesandtschaft in Afghanistan
und Buchara in den Jahren 1878-79, Jena : Costenoble, 1885.

The Ahin Posh stupa was dedicated in the 2nd century CE under
the Kushans, and contained coins of Kaniska I.

The stupa underwent major evolutions in the area of Gandhara. Since

Buddhism spread to Central Asia, China and
ultimately Korea and Japan through Gandhara, the stylistic evolution of the
Gandharan stupa was very influential in the later development of the stupa
(and related artistic or architectural forms) in these areas. [21] The Gandhara
stupa followed several steps, generally moving towards more and more
elevation and addition of decorative element, leading eventually to the
development of the pagoda tower.[22] The main stupa type are, in
chronological order:

1. The Dharmarajika Stupa with a near-Indian design of a semi-

hemispheric stupa almost directly on the ground surface, probably
dated to the 3rd century BCE. Similar stupas are the Butkara stupa,
the Manikyala stupa or the Chakpat stupa.[15]

169
 2. The Saidu Sharif Stupa, pillared and quincunxial, with a flight of stairs
to a dome elevated on a square platform. Many Gandhara minutiures
represent this spectacular type (1st century CE).[23
3. The Loriyan Tangai Stupa, with an elongated shape and many
narrative reliefs, in many way the Classical Gandharan stupa (2nd
century CE).
4. The near-pyramidal Jaulian stupa (2nd century CE).
5. The cruciform type, as in the Bhamala Stupa, with flights of stairs in
the four cardinal directions (4th century CE). [26]

 The towering design of the second Kanishka stupa (4-5th century CE).[

1. A model resembling the Saidu Sharif Stupa, with square base and four
columns (1st century CE).
2. Loriyan Tangai decorated stupa, in the Greco-Buddhist
art of Gandhara (2nd century CE).
3. A tower-shaped stupa, thought to be the design of the second
(rebuilt) Kanishka stupa, Jaulian monastery
4. Stupa-shaped reliquary, Kushan period, about 2nd century CE
5. Chilas petroglyphs, Buddhist stupa, circa 300-350 CE based on
paleography
Origin of the pyramidal temple
Pyramidal temples

The Mahabodhi Temple in 150-200 CE./The Mahabodhi Temple: a stepped

pyramid with round stupa on top
Model of the sikhara of a Buddhist temple; 900s

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It is thought that the temple in the shape of a truncated pyramid may have
derived from the design of the stepped stupas which developed in Gandhara.
The Mahabodhi Temple in Bodh Gaya is one such example, formed of a
succession of steps with niches containing Buddha images, alternating with
Greco-Roman pillars. The structure is crowned by the shape of an
hemispherical stupa topped by finials, forming a logical elongation of the
stepped Gandharan stupas such as those seen in Jaulian.
Although the current structure of the Mahabdhodi Temple dates to
the Gupta period (5th century CE), the "Plaque of Mahabhodi Temple",
discovered in Kumrahar and dated to 150-200 CE based on its
dated Kharoshthi inscriptions and combined finds of Huvishka coins,
suggests that the pyramidal structure already existed in the 2nd century
CE. This is confirmed by archaeological excavations in Bodh Gaya.
This truncated pyramid design also marked the evolution from
the aniconic stupa dedicated to the cult of relics, to the iconic temple with
multiple images of the Buddha and Bodhisattvas. This design was very
influential in the development of later Hindu temples.
Expansion in Asia-Asian stupas

The Chinese Songyue Pagoda Row of stupas on roadside east of Leh, Ladakh
(523 CE) is thought to derive from the Gandharan tower-stupa model. [32]

Stupa architecture was adopted in Southeast and East Asia, where it became
prominent as a Buddhist monument used for enshrining sacred relics. The
Indian gateway arches, the torana, reached East Asia with the spread of
Buddhism. Some scholars hold that torii derives from the torana gates at the
Buddhist historic site of Sanchi (3rd century BCE – 11th century CE). In Tibet,
the stupa became the chörten, and the pagoda in East Asia. The pagoda has

171
varied forms that also include bell-shaped and pyramidal styles. In the
Western context, there is no clear distinction between a stupa and a pagoda.
In general, however, "stupa" is the term used for a Buddhist structure in
India or Southeast Asia while "pagoda" refers to a building in East Asia which
can be entered and which may be used for secular purposes. However, use
of the term varies by region. For example, stupas in Burma tend to be
referred to as "pagodas."
Stupas were built in Sri Lanka soon after Devanampiya Tissa of
Anuradhapura converted to Buddhism. The first stupa to be built was
the Thuparamaya. Later, many more were built over the years, some like
the Jetavanaramaya in Anuradhapura, being one of the tallest ancient
structures in the world.

S Y M B O L I S M

View of the Wat Phra Kaew complex from the northeast, temple complex of
the Emerald Buddha with stupas

"The shape of the stupa represents the Buddha, crowned and sitting in
meditation posture on a lion throne. His crown is the top of the spire; his
head is the square at the spire's base; his body is the vase shape; his legs
are the four steps of the lower terrace; and the base is his throne.”
Five purified elements
Although not described in any Tibetan text on stupa symbolism, the stupa
may represent the five purified elements:

 The square base represents earth

 The hemispherical dome/vase represents water
 The conical spire represents fire
 The upper lotus parasol and the crescent moon represent air
 The sun and the dissolving point represent wisdom

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 C O N S T R U C T I O N

To build a stupa, Dharma transmission and ceremonies known to

a Buddhist teacher are necessary.[49] The type of stupa to be constructed
in a certain area is decided together with the teacher assisting in the
construction. Sometimes the type is chosen directly connected with
events that have taken place in the area.[49]

The sharing of the relics of the Buddha. Greco-Buddhist art of Gandhara,

2-3rd century CE. ZenYouMitsu Temple Museum, Tokyo.

Buddha relics from Kanishka's stupa in Peshawar, Pakistan. These

surviving relics are now housed in Mandalay, Myanmar.

Treasury
All stupas contain a treasury filled with various objects. Small clay votive
offerings called tsatsas in Tibetan fill most of the treasury. Creation of
various types of tsatsas is a ceremony itself. Mantras written on paper are
rolled into thin rolls and put into small clay stupas. One layer of tsatsas is
placed in the treasury, and the empty space between them is filled with
dry sand. On the thus created new surface, another layer of tsatsas is
made, and so on until the entire space of the treasury is full. [49]

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 The number of tsatsas required to completely fill the treasury depends on
its size and the size of the tsatsa. For example, the Kalachakra stupa in
southern Spain contains approximately 14,000 tsatsas.
Jewellery and other "precious" objects are also placed in the treasury. It is
not necessary that they be expensive, since it is the symbolic value that is
important, not the market price.[49] It is believed that the more objects
placed into the stupa, the stronger the energy of the stupa.
Tree of Life
An important element in every stupa is the "Tree of Life". This is a wooden
pole covered with gems and thousands of mantras; it is placed in the
central channel of the stupa. It is positioned during a ceremony or
initiation, where the participants hold colorful ribbons connected to the
Tree of Life. Together, the participants make their most positive and
powerful wishes, which are stored in the Tree of Life. In this way the stupa
is charged, and starts to function.
Benefit
Building a stupa is considered extremely beneficial, leaving very
positive karmic imprints in the mind. Future benefits from this action
result in fortunate rebirths. Fortunate worldly benefits will be the result,
such as being born into a rich family, having a beautiful body, a nice
voice, being attractive, bringing joy to others, and having a long and
happy life in which one's wishes are quickly fulfilled. On the absolute
level, one will also be able quickly to reach enlightenment, the goal of
Buddhism.
Destroying a stupa, on the other hand, is considered an extremely
negative deed, similar to killing. Such an action is said to create massive
negative karmic imprints, leading to serious future problems. It is said this
action leaves the mind in a state of paranoia after death has occurred,
leading to totally unfortunate rebirths
Circumambulation (from Latin circum around and ambulātus to walk) is
the act of moving around a sacred object or idol.
Circumambulation of temples or deity images is an integral part
of Hindu and Buddhist devotional practice (known in Sanskrit
as pradakśiṇā). It is also present in other religions, including Christianity,
Judaism, and Islam.
Parikrama
In many Hindu temples, the temple structure reflects the symbolism of the
Hindu association of the spiritual transition from daily life to spiritual
perfection as a journey through stages. Passageways for circumambulation
are present through which worshipers move in a clockwise direction, starting
at the sanctuary doorway and moving inward toward the inner

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sanctum where the deity is enshrined. This is a translation of the spiritual
concept of transition through levels in life into bodily movements by the
worshipers as they move inwardly through ambulatory halls to the most
sacred centre of spiritual energy of the deity. It is done in a clockwise
direction and in an odd rather than even number of times. Circumambulatory
walking around the shrine, by keeping time, is a common form of Hindu
prayer. The ambulatory pathway made of stone around the shrine is called
the Pradakshina path.
In the Catholic Church, a priest sometimes circumambulates an altar while
incensing it with a thurible. Also, at some Catholic shrines, it is a tradition to
circle the cult object of the place, usually relics of a saint or an image of
Jesus or the Virgin Mary. Often this is performed three times, as a reference
to the Trinity.
Parikrama

Relief of a devotee couple in Greek dress (right), with two Buddhist monks
(left), cicumbulating a stupa. Private collection. Personal photograph 2006.
Description: the male devotee holds a lamp in his right hand. He has hair,
marked by the volume of his mane and incised lines, identifying him as a lay
devotee, in contrast to the monks who are shaven. Also, his dress covers
both shoulders, whether the monks only leave the right shoulder bare. He is
accompanied by his wife, who wears a scarf over the head and forms a
gesture of devotion. Detail of the couple of devotees, in profile. Frontal
detail. Top detail. A similar scene is also visible at the British Museum
(drawing hereafter).

175
Ground plan of Borobudur showing the 9 platforms, each of which can be
circumambulated, and the large central stupa

Also called pradakṣina or caṅkramaṇa in Sanskrit.

In Zen Buddhism, jundō can mean any ritual circuit or circumambulation. At
Tassajara each morning, the officiating priest ( 導師 dōshi) visits four different
altars on their way to the zendō, to make bows and offerings of incense. This
jundō begins with the first rolldown of the han and ends as the dōshi enters
the zendō with the third rolldown. After offering incense and bowing at the
altar, the dōshi walks around the zendō behind the meditators, in what is
called the kentan, inspection of the sitting platform. As the dōshi passes,
each resident raises their hands in gasshō without bowing. This joins the
dōshi and sitters in mutual acknowledgement.
THE DYNAMISM OF THE YANTRA
It consists of three concentric parts:
4. An inner figure of interpenetrating triangles. This 2gure, symmetric in
its vertical central axis, contains both upward-pointing triangles
(vahni), symbolizing the male element (“Purusha”, the Cosmic Person),
and downward-pointing triangles (sakti ), symbolizing the female
aspect (“Prakriti”, 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.

176
 5. 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; such diagrams are abstract analogues of
the more profusely decorated tibetan thankas
6. A triple Greek-like key-pattern, the bhupura ( , or si# sirita # (shivered)
frame. It symbolizes the ground-plan of a temple with 4 square openings,
in the 4 directions of space. This sanctuary is the seat (pitha) . ha) of
one’s chosen deity or devata, 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. The original edition of
Zimmer had erroneous descriptions of Sr ! Yantra, according to the later
English translation. Unfortunately, that one is also marred with errors in
diagrams, and unclear references to inside-out construction instructions
for the drawing of the triangular central pattern. T
For those who are interested in obtaining a deeper insight please read-
Theoretical Computer Science 281 (2002) 609 – 628
www.elsevier.com/locate/tcs, Sri Yantra Geometry, Gerard Huet which
gives aa more precise analysis of Sr ! Yantra than was previously
available in the published literature. We oGer this study as evidence of
the non-triviality of bridging the cultural gap between Humanities and
Science on the one hand, and Eastern–Western knowledge, or sensibility,
on the other.
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 simple "tricks" with string and
stakes can be used to lay out geometric shapes, such as ellipses and right
angles.

Plan of Meenakshi Amman Temple, Madurai, from 7th century onwards. The
four gateways (numbered I-IV) are tall gopurams.RIGHT PIC Hindu Mandala

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

177
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. [
Sacred geometry ascribes symbolic and sacred meanings to certain
geometric shapes and certain geometric proportions. 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, Mandala Gardens and the creation
of religious and spiritual art.
Mathematics and art: 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.
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
178
States Department of Veterans Affairs emblems for headstones and
markers recognize 57 symbols (including a number of symbols expressing
non-religiosity).
A mandala (Sanskrit: मण्डल, or 'circle', is a geometric configuration of
symbols. In various spiritual traditions, mandalas may be employed for
focusing attention of practitioners and adepts, as a spiritual guidance tool,
for establishing a sacred space and as an aid
to meditation and trance induction. In the Eastern
religions of Hinduism, Buddhism, Jainism and Shintoism it is used as a map
representing deities, or especially in the case of Shintoism,
paradises, kami or actual shrines. A mandala generally represents the
spiritual journey, starting from outside to the inner core, through layers.
In spiritual or religious process, a mandala is a period of approximately 40
days in which time the human system completes one physiological cycle.

In Hinduism, a basic mandala, also called a yantra, takes the form of a

square with four gates containing a circle with a center point. Each gate is in
the general shape of a T. Mandalas often have radial balance
A yantra is similar to a mandala, usually smaller and using a more limited
colour palette. It may be a two- or three-dimensional geometric composition
used in sadhanas, puja or meditative rituals, and may incorporate
a mantra into its design. It is considered to represent the abode of the deity.
Each yantra is unique and calls the deity into the presence of the practitioner
through the elaborate symbolic geometric designs. According to one scholar,
"Yantras function as revelatory symbols of cosmic truths and as instructional
charts of the spiritual aspect of human experience"
Many situate yantras as central focus points for Hindu tantric
practice. Yantras are not representations, but are lived,
experiential, nondual realities. As Khanna describes:
Despite its cosmic meanings a yantra is a reality lived. Because of the
relationship that exists in the Tantras between the outer world (the
macrocosm) and man's inner world (the microcosm), every symbol in
a yantra is ambivalently resonant in inner–outer synthesis, and is associated
with the subtle body and aspects of human consciousness. [6]

The term 'mandala' appears in the Rigveda as the name of the sections of
the work, and Vedic rituals use mandalas such as the Navagraha mandala to
this day
Mandala is the Sanskrit word for “circle.” The term mandala was introduced
into the Buddhist and Hindu religions as an aid to meditation. A mandala is a
vaguely circular shape with repeating patterns. Some mandalas include a
square with four “gates” within the circle. Each gate has a center point in the
form of a T. To a Buddhist or Hindu, a mandala represents a cosmos within

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the universe. It is considered a sacred art form with spiritual significance. In
Western culture mandalas are often found in diagrams, charts, or geometric
designs. Mandalas are recently popular art forms used in adult coloring
books. They are intricate and beautiful once color is added.

In Hinduism, mandalas have both religious and political significance. Their

intricate designs can symbolize various forms of power in government, as
well as spiritual focus and unity. A mandala can represent a governmental
system and can be used as almost a map of a particular political
infrastructure. In religion, the mandala itself is not seen as having
supernatural powers as an idol might. It is merely a tool used by Hindus to
aid them in focusing, “centering,” and meditating. Many traditional mandalas
include depictions of a lotus flower, which is sacred in Hinduism and some
other false religions. The intricate designs found within a mandala have
significance for devout Hindus, but that significance is usually lost to the
general public. Because Hinduism is such a loosely defined religion,
mandalas have no strict definition or usage, either.

The question arises as to whether Christians should shun mandalas because

of their significance in false religion. Some people believe the mandala’s
association with paganism requires Christians to avoid them the way they
would a carved idol. Since an idol is a representative of godless religion and
thought to have supernatural powers, it should not be enjoyed in any way by
followers of Jesus. Other people are completely unaware of the mandala’s
religious ties and simply enjoy the beauty and intricacies of the designs. And
some Christians land in the middle of these two views: they are aware of the
Buddhist and Hindu origins of mandalas but see no problem with enjoying
them as coloring projects or in other artistic avenues. Since there is no
religious significance attached to a Christian’s use of the mandala, is the
picture wrong in itself?

The answer to whether or not a mandala is wrong has to do with one’s

conscience and motivation. Paul addresses some similar issues in great
detail in Romans 14. In his day, the question was whether or not Christians
should celebrate the Sabbath or eat food offered to idols. People in the
church were taking sides and creating division. Each faction hoped that the
apostle would side with them and tell the others how wrong they were.
Instead, Paul wrote, “One person’s faith allows them to eat anything, but
another, whose faith is weak, eats only vegetables. The one who eats
everything must not treat with contempt the one who does not, and the one
who does not eat everything must not judge the one who does, for God has
accepted them” (Romans 14:2–3). He went on to say, “One person considers
one day more sacred than another; another considers every day alike. Each
of them should be fully convinced in their own mind” (verse 5).

His conclusion was that “whatever you believe about these things keep

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between yourself and God. Blessed is the one who does not condemn himself
by what he approves. But whoever has doubts is condemned if they eat,
because their eating is not from faith; and everything that does not come
from faith is sin” (Romans 14:22–23). Paul stressed the importance of having
a clear conscience in matters that were not clearly sinful.

When we apply that principle to mandalas, our stance should be, “What
would God have me do? Does my conscience bother me when I enjoy a
mandala?” If we can’t color, paint, or enjoy mandalas without thinking of
Hindu religious practices, then it is wrong for us. But just because one
person’s conscience condemns him does not mean the consciences of others
are so condemned. On the other hand, if we are hosting a former Hindu who
equates mandalas with false religion, then it may be offensive for us to
display our mandala collection. Doing so could cause a brother to stumble (1
Corinthians 8:13). Our highest priority must always be unity, purity, and
doing everything for the glory of God (1 Corinthians 10:31).

Here is an example of a mandala:

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 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 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

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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

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

S Y M B O L I S M
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. [5]
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.[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
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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:

19. Trailokya Mohana, the outermost square, traced in three lines

and interrupted by four recessed portals;
20. Sarvasaa Paripuraka, the outer lotus, consisting of 16 petals;
21. Sarva Samkshobahana, the inner lotus, consisting of 8 petals;
22. Sarva Saubhagyadayaka, the outermost ring of small triangles
(14 in total);
23. Sarvarthasadhaka, the next ring of triangles (10 in total);
24. Sarva Rakshakara, a smaller ring of 10 triangles;
25. Sarva Rogahara, a ring of 8 small triangles;
26. Sarva Siddhiprada, one small triangle containing the bindu at its
center;
27. Sarva Anandamaya, the bindu.
The sound of the shankha symbolises the sacred Om sound. Vishnu holding
the conch represents him as the god of sound. Brahma Vaivarta
Purana declares that shankha is the residence of both Lakshmi and Vishnu,
bathing by the waters led through a shankha is considered like bathing with
all holy waters at once. Sankha Sadma Purana declares that bathing an
image of Vishnu with cow milk is as virtuous as performing a
million yajnas (fire sacrifices), and bathing Vishnu with Ganges river water
frees one from the cycle of births. It further says "while the mere sight of the
conch (shankha) dispels all sins as the Sun dispels the fog, why talk of its
worship?” Padma Purana asserts the same effect of bathing Vishnu by
Ganges water and milk and further adds doing so avoids evil, pouring water
from a shankha on one's own head before a Vishnu image is equivalent to
bathing in the pious Ganges river.
A Shankha (conch shell) has religious ritual importance in Hinduism. It is the
shell of any suitable sea snail which had a hole made for the performer's
embouchure.
In Hindu history, the shankha is a sacred emblem of The Hindu preserver
god Vishnu. It is still used as a trumpet in Hindu ritual, and in the past was
used as a war trumpet. The shankha is praised in Hindu scriptures as a giver
of fame, longevity and prosperity, the cleanser of sin and the abode of
goddess Lakshmi, who is the goddess of wealth and consort of Vishnu.
The shankha is displayed in Hindu art in association with Vishnu. As a symbol
of water, it is associated with female fertility and serpents (Nāgas). The
shankha is the state emblem of the Indian state of Kerala and was also the
national emblems of the Indian princely state of Travancore, and
the Kingdom of Cochin.

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The shankha is one of the eight auspicious symbols of Buddhism,
the Ashtamangala, and represents the pervasive sound of Buddhism.
A powder made from the shell material is used in ayurveda as a treatment
for stomach ailments.
In the Western world, in the English language, the shell of this species is
known as the "divine conch" or the "sacred chank". It may also be simply
called a "chank" or conch. The more common form of this shell is known as
"right-turning" in a religious context, although scientists would call it
"dextral". A very rarely encountered form has reverse coiling which is called
"left-turning" in a religious context, but is known as "sinistral" or left-coiling
in a scientific context.[
In Buddhism, the conch shell has been incorporated as one of the eight
auspicious symbols, also called Ashtamangala. The right-turning white conch
shell, represents the elegant, deep, melodious, interpenetrating and
pervasive sound of Buddhism, which awakens disciples from the deep
slumber of ignorance and urges them to accomplish their own welfare and
the welfare of others
Shankha was the Royal State Emblem of Travancore and also figured on the
Royal Flag of the Jaffna kingdom. It is also the election symbol of the Indian
political party Biju Janata Dal. Shankh was also used by sikh warriors before
they started the war. The maryada is still practiced by all nihangs while
doing aarti aarta prayer and is used in hola mohalla festival as well.

A shankha carved

Shankha is one of the main attributes of Vishnu. Vishnu's images, either in

sitting or standing posture, show him holding the shankha usually in his left
upper hand, while Sudarshana Chakra (chakra – discus), gada (mace)
and padma (lotus flower) decorate his upper right, the lower left and lower
right hands, respectively.
Avatars of Vishnu like Matsya, Kurma, Varaha and Narasimha are
also depicted holding the shankha, along with the other attributes of
Vishnu. Krishna – avatar of Vishnu is described possessing a shankha
called Panchajanya. Regional Vishnu forms like Jagannath and Vithoba may
be also pictured holding the shankha. Besides Vishnu, other deities are also
184
pictured holding the shankha. These include the sun god Surya, Indra – the
king of heaven and god of rain[17] the war god Kartikeya,[18] the
goddess Vaishnavi[ and the warrior goddess Durga. Similarly, Gaja
Lakshmi statues show Lakshmi holding a shankha in the right hand and lotus
on the other.[
Sometimes, the shankha of Vishnu is personified
as Ayudhapurusha "weapon-man" in the sculpture and depicted as a man
standing beside Vishnu or his avatars. [21] This subordinate figure is called the
Shankhapurusha who is depicted holding a shankha in both the hands.
Temple pillars, walls, gopuras (towers), basements and elsewhere in the
temple, sculpted depictions of the shankha and chakra – the emblems of
Vishnu – are seen.[22] The city of Puri also known as Shankha-kshetra is
sometimes pictured as a shankha or conch in art with the Jagannath temple
at its centre.

Carved conches or Vamavarta shankhas, circa 11–12th century, Pala period,

India: The leftmost one is carved with the image of Lakshmi and Vishnu, and
has silver additions.RIGHT A Shankha (conch shell) with Vishnu emblem
carved.

Shaligrams are iconographic fossil stones particularly found in the Gandaki

River in Nepal which are worshipped by Hindus as representative of Vishnu.
The shaligrama – which has the marks of a shanka, chakra, gada and padma
arranged in this particular order – is worshipped as Keshava. Twenty-four
orders of the four symbols defined for Shaligrama are also followed in
worship of images of Vishnu with different names. Out of these, besides
Keshava the four names of images worshipped starting with Shankha on the
upper hand, are: Madhusudanah, Damodara, Balarama and Vamana
A Hindu legend in the Brahma Vaivarta Purana recalls the creation of
conchs: Shiva flung a trident towards the asuras, burning them
instantaneously. Their ashes flew in the sea creating conchs. [4] Shankha is
believed to be a brother of Lakshmi as both of them were born from the sea.
A legend describes an asura named Shankhasura, who was killed by Vishnu's
fish avatar, Matsya.

185
In the Hindu epics of Ramayana and Mahabharata, the symbol of Shankha is
widely adopted. In the Ramayana
epic, Lakshmana, Bharata and Shatrughna are considered part-incarnations
of Sheshanaga, Sudarshana Chakra and Shankha, respectively, while Rama,
their eldest brother, is considered one of the ten Avatars of shri Vishnu.
During the great Mahabharata war, Krishna, as the charioteer of
the Pandava prince and a protagonist of the epic – Arjuna – resounds the
Panchajanya to declare war. Panchajanya in Sanskrit means 'having control
over the five classes of beings'. All five Pandava brothers are described
having their own shankhas. Yudhishthira, Bhima,
Arjuna, Nakula and Sahadeva are described to possess shankhas named
Ananta-Vijaya, Poundra-Khadga, Devadatta, Sughosha and Mani-pushpaka,
respectively.

186
 Constructed in a quite simplistic
albeit breathtakingly beautiful futuristic architectural style on idea of a
famed female musician and spiritual teacher going by the name of Shri
Anandi Ma, Nikora ashram is a unique place of tranquility as well as
spirituality.
With a picturesque tree - lined pathway leading to the temple’s main gate,
Nikora is like a magical mirage situated deep in the recesses of the nearby
forest by offering devotees and tourists alike a magnificent view towards the
shores of Narmada Nadi.
Geographically situated in the heart of the sleepy Indian village named
“Nikora”, Nikora ashram may not be an age - old shrine but nonetheless, it’s
not one to be ignored for it serves as a refuge for the needy and it houses a
small medical center for diagnose and treatment of rare diseases and a
number of eye problems.
With time, the modern - looking temple gained popularity as a site where
everyone, no matter of their religion or social standing, could seek spiritual
advice and immerse themselves in the world of meditation.

187
References

1. ^ Jump up to:a b Shankaranarayanan, S. (1979). Sri Chakra (3rd ed.).

Dipti Publications.
2. ^ "Subhash Kak Great Goddess Lalitā and the Śrī Cakra
Brahmavidyā" (PDF). The Adyar Library Bulletin. 72–73: 155–172.
2008–2009.
3. ^ Kuiper, K (2011). Understanding India: The Culture of India.
Britannica Educational Publishing. ISBN 9781615302031.
4. ^ "The geometrically exact Sri Yantra" (PDF). 10 December 2018.
5. ^ Jump up to:a b Khanna, Madhu (2005). "Yantra". In Jones, Lindsay
(ed.). Gale's Encyclopedia of Religion (Second ed.). Thomson Gale.
pp. 9871–9872. ISBN 0-02-865997-X.
6. ^ "Shri Varahi Devi". www.shivashakti.com.

www.udaydokras.com= copy
paste=https://66c9c3426d138.site123.me/

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 © Dr. Uday Dokras-
DEAN
INDO NORDIC AUTHORS’ COLLECTIVE
International Institute of Historiography
B.Sc., B.A. (managerial economics) LL.B. Nagpur University, INDIA
Graduate Studies, Queen’s University,Kingston, CANADA
Graduate Diploma in Law & PhD, Stockholm University, SWEDEN
Vedic Architecture, Vaastu and Astrology Consultant
 Holder of the 8
WORLD RECORDS
 Highest number of research Papers and Books written
 Hindu Temples
 Fastest Writer
 Buddhism
 Vaastu

3- Worldwide Book of

#1 8

Records
x  2 - Unique World Record
 1-INDIA Book of
RECORDS
 1-Kalam Book of Records
 1 Institute of International
Historiography

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780- BOOKS & 2500 RESEARCH PAPERS- in academia.edu & Researchgate.in .3 million Readers as
on 1 June, 2024.

Dr. Uday Dokras, a leading historiographer, is Ranked as #1 in the world in Eight categories for having
written the highest number of books and research papers on-Vedic Architecture, Dhamma, (including
Borobudur Buddhism), Angkor Wat (Vrah Vishnuloka), Shivagriha at Prambanan, Design elements of he
ancient Kingdoms of Dvaravatim,Vandan in Indo China and Hindu temples. He also has the #1bb Rank
in the world for fastest writing- having written 1500 articles and Books in 17 months He is consultant to
numerous Projects involving Vaastu Shastra and Beneficial and applied Vedic Astrology

Earlier in his career he was a senior management professional in HR domain during his career, Group
Vice -President of MZI Group in New Delhi , anchored Human Relations in Go Air ( Go Airlines India
Pvt Ltd-Mumbai) , Hotel Holiday Inn; and a Large Hospital and 5 Medical Colleges- amongst other
corporate entities. Resident of Sweden for 12 years, where he studied and worked, he anchored HR in
Stadbolaget RENIA, SSSB.

He has studied in Nagpur for B. Sc. B.A. (Economics) and LLB.

He has done his Graduate Studies from Canada at the Queen's University, Kingston
He has a PhD, Stockholm University, Sweden.
Apart from that he has done a Management Training Program in Singapore.
A scholar of the Swedish Institute for 5 years, he has been an Edvard Cassel Fund and Wineroth Fund
Awardee.

In 1984 he was involved with the Comparative Labor 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 labor laws of Seychelles.

Author of thousands of research papers and almost 640 + books, 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- and Lausnir.

His books adorn many International Libraries and the US Library of Congress has awarded him a
copyright. A prolific writer and decipherer of ancient mysteries. Is currently Consultant in Vedic
Architecture and Dean of the Indo Nordic Authors’ Collective, Stockholm, SWEDEN and President of
the International Institute of Historiography, Tampare , FINLAND.
Dr Dokras has his family in Gurugram, India-Australia and New Jersey, USA.

2700 Research Papers and 780 BOOKS written by DR UDAY DOKRAS

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Referred by more than 200+ researchers in papers, books and theses .
Contributor to various magazines and literary Fora.

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 World Record Holders 2023
Maximum Number of Research Papers Completed
by an Individual Person
Dr Uday Dokras

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World# 8 times Honorifics by following Agencies & other titles
1
Largest Number of Religious Research papers written by an individual-
world-record

https://www.worldwideworldrecords.com/post/largest-number-of-
religious-research-papers-written-by-an-individual-world-record-by-
uday-dokras

MOST ARTICLES ON DHAMMA

https://www.uniqueworldrecords.com/records/posts/most-articles-on-
dhamma

Maximum number of books written on Hindu Temples by an Individual

https://www.worldwideworldrecords.com/post/maximum-number-of-books-
written-on-hindu-temples-by-an-individual-world-record-by-dr-uday-
dokras#:~:text=The%20World%20Record%20For%20Maximum,The
%20Worldwide%20Book%20Of%20Records.

Highest number of articles and books written on Hindu Buddhist

Temples of Indonesia( Including Borobudur and Prambanan)

Highest number of Research Papers/ Books (Literary endeavours)

published by an Individual- UNIQUE Book of world records

Maximum sociocultural research papers uploaded by an individual on a

single website INDIA BOOK of RECORDS

[email protected]

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Award and honor Bahujan Hitai Sangh award for writing highest
number of books and Research on BOROBUDUR

https://www.academia.edu/110112500/
Bahujan_Hitai_Sangh_Fetes_dr_Uday_for_highest_number_of_Books_an
d_Research_papers_written_on_BOROBUDUR

The Jain Foundation presented the Jaina Achiever Trophy to Dr Uday

Dokras for his prolific writings on historiography of Jainism and Jain
religious structures and contributing erudite articles to numerous Jain
Journals such as Nagabharana: Recent Trends in Jainism Studies and
SWASTIKA: Epigraphy, Numismatics, Religion and Philosophy

https://www.academia.edu/110112203/
Jaina_award_to_Dr_Uday_Dokras

Economic Times (20 July 2022) mentions and acknowledges

contribution of Dr. Uday to design elements of New Parliament House
of India vis-a-vis Dwarpals or door guardians.

https://www.academia.edu/109139672/
Design_components_of_the_new_Parliament_complex_of_INDIA_inspire
d_by_the_author_Dr_Uday_Dokras_work

Fastest Writing in Religion- 1500 Papers & Books on Religion

from 26 -5- 2023 to 1-10-2024- 17 Months

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 https://
drive.google.com/file/d/1rr86sEWr4SVN4pdIMHkS-lqmKF6jl5nR/view?usp=sharing

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From the Newspaper Times of India March 24, 2018

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

https://mms.is/sites/mms.is/files/atoms/files/
7057_spotlight_8_nem.pdf (page 44)

Prof. S.Deshpande,Past President of the Indian Institute of

Architects, New Delhi INDIA releasing the book of Dr Dokras
HINDU TEMPLES on the web in CARONA times ( May 2020)

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AMONGST the Great Au thors of Borobudur

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Search Borobudur and come across a Plethora of my writings
Red arrows

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