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Each is filled with various substances. The
vase is still conceived as
the best receptacle able to bring down the divine essence (avahana) and
the
as the
to stock it. The outline of/mandala has to be connected with all the
magical operations concerning the establishment of any kind of center
(generally in constructions). This way mandala is spoken about
axis mundi. The tantrika identifies himself with this center which is
the first condition for the success of his work. Yet the Saivite no
longer wants only to return to the centre of the universe; he longs for
the state of concentration in which he finds the unity of a secluded
and undiverted consciousness. So the mandala is no longer a cosmogram
but a psychocosmogram, i.e. the scheme of disintegration from One to
the many and of reintegration from the many to the One.
According to Abhinavagupta, the number of such
psychocosmograms are a hundred in Saiva schools, but the most important
are those representing one trident, three, or nine tridents. The manners
of arawing them are countless, but the building up of the mandala as
the Trikasadbhavatantra indicates is the "well and matrix of all the
others" (TA, XXXI, lo).
This method is similar to that
employed for
copying different images even today. A square is divided into small
will/
squares for a detailed guidance of the future image which represent
three tridents in this case (v.Fig. 5). The proper drawing is begun from
the upper part of the square. In the center o1 the great circle, where
Aules vari resides, a zero (vyoma), a point (tilaka) or a lotus of six
or twelve petals has to be drawn. The different number of lotuses,