Essay name: Devi Tantra, Mantra, Yantra (study)
Author:
Srider Basudevan Iyer
Affiliation: University of Mumbai / Sanskrit, University Department
This essay studies the history of Devi (the Goddess) in relation with worship using Tantra, Yantra and Mantra. The study explores the concept of the 'Female Principle' or Goddess, examining her role and significance in ancient Indian society.
Chapter 5 - Conclusion
5 (of 7)
External source: Shodhganga (Repository of Indian theses)
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Conclusion. 401 The study of the yantras and the intricacies threw light on many facts.
People were of the opinion that tantra form of worship is the easiest due to
the use of yantras. But a study of the different yantras and the various
details involving them it shattered this belief. The yantras are no longer
easier in fact they are more complex than what has been written and spoken
about them. Even a single triangle either more or less results in the change in
worship process and results. For the first time it is revealed that there exist
different types of the Sricakra. To be exact there exist nine types of
Sricakra. The Meru was now thought of to be of one type, the study revealed
that there exist two types of the Meru.
There are many intricacies and details regarding the worship of the
goddess in different mediums. The idol or figure of the goddess which is a
concrete representation too is of two chief types. The idol could be either a
sculpted form chiseled out of a rock or it could be a metal-cast figure. On the
basis of the mediums used, the concrete figures can be distinguished in two
forms as (i) Cala or Movable and (ii) Acala or Immovable.
The metal cast figure is known as Cala form of the goddess which is
taken out in processions during festivals and other religious observances.
The stone sculpted figure of the goddess is known as the acala form of the
goddess. This figure-form is immovable, fixed and permanently placed in
the temple.
There exists a relation between the two forms in temple worship. The
goddess invoked on the stone form, and is stationed at one place moves out
in the form of the metal-cast idol. This movement of the goddess within the
temple premises as well as out into the settlements to meet the people and
bless them is during festive occasions. The stationary goddess is generally
