At that stage there were some major and ground-breaking exhibitions, and the publication of R.K.Mookerjee's books Tantra Art and Tantra Asana.

This is a section from the lost article:

The 'religious life", I would say, is the Alternative Vision, where we have a more humanistic, holistic attitude than the exploitative mechanisms and ideological systems where people are seen as 'things' to be manipulated. Violence as a way of life, nuclear warfare as a constant threat.

Many of these 'New Age' groups create projects that often abort because of weak foundations. One such example, herein examined, is the 'New Age Art' syndrome. Though these projects obviously lack a deep awareness of aesthetics, the root ideas are noble and obviously nourished by occult forces which are precipitating humanity into this transformation of our time and space environment. To clarify, the idea is that Art, is of great value in this process of transformation.

Perhaps strengthened by the broadening of our mental frontiers by 20th Century Technology, the use and abuse of psychotropic substances to explore the various psychic levels, the influx of data on other dimensions, i.e. 'Black Holes', the abundance of Science Fiction - the fusion of Physics and Metaphysics now in progress, the meeting of Science and Religion - we are, or at least our frontiersmen are, open to the idea of inter-dimensional communication. Dr A. Puharich in his book 'Uri' and Dr John Lilly in 'The Human Biocomputer' - both experience this communication from another energy matrix. They state this as an experiential reality, and as a facet of the grammar of our collective BEING.

As far as the total holistic evolution is concerned, we have to accept this manifestation as an organic reality. From our human viewpoint, we can see this problem as our inability to accept that we are NOT the end of evolution, and that there is The Sacred Way of the Greater Evolution, from the Plains of the Earth to the Heights of Olympus.

Whether seen as Masters, Buddha or Christ, Arahats or Bodhisattvas, or even extra-terrestrial beings, we are dealing with 'inter-dimensional communication.' This manifests in the hundreds of "interplanetary telepathic transmission and reception centres' that are flourishing over the Earth today. One such centre 'The Axminister Light Centre' in Devon, England - received a very interesting statement. I do not have the text with me, and will have to quote the gist of it from memory. Which was - "...that the prevailing systems of materialism and power had so entrenched themselves against change or transformation, that the only area where TRUTH could manifest was the ARTS - theatre, visual theory and possibly the sciences as well."

PAGE 58.

We could certainly include the cinema, video material, radio and so forth.

Here, I feel, we have a profound vision earning the title "New Age". We are in the same company as Hermann Hesse and his 'The Glass Bead Game', of which Hesse writes:

We are in the realm of Pythagoras - opposite to the separative, dualistic systems that sever the human psyche and thus, the creative streams, from the Fountain of Being. As Beuys says (reflecting the total concern and vision of all the sensitives of this Planet):

"Contribute to the whole."

This vision is that of the MANDALA. It is not sectional.

As a Race, we have (in psychological terms) descended into dis-integration. The Ascent into Integration began ages ago, and to understand this fully, we have to turn to the theory of the GLOBES, and the great unitive cultures as sequences in planetary progression. The schema of Western art, follows that, age by age, of the average human being. From the crude Neolithic stick figures of our childhood, to the grandeur of the Renaissance. .2.

.2.Very suspect idea. Need to do an archeology on this idea - basis of Eurocentric supremism herein.

We have now left Perspective, Impressionism, Abstract Art, &c. and are moving into what I term 'Meta-Art'. The Veil has been torn. Art is concerned with BEING, as such - a profound spectrum that relates man to the vast network of conscious and unconscious energies.

As in the technical language of the Kriya Tantra, man is referred to as a "...part of a guiding system of a higher order..." and: "...that man's actions are but the end phase of an essentially creative and in the last analysis, self creative process."

H.V.Guenther

As in John Boorman's film 'ZARDOZ', the artist is also a magician, and in full control of all processes of reality.

The indoctrinated, conditioned belief in the limitation of physical reality has caused millions to find a Way Out of the mud of Samsara. But the way is not OUT - but inwards, and leads to beauty as a cosmic cipher - and a deeper ability to respond (response-ability) which is also called enhanced perception, Samadhi etc.

This Universal Vision is essentially 'ART' in that the word LEELA means Divine Play, or Dance. The concept of suffering as a status quo does not enter here - but seems to be programmed by those elements who wish to rob us of our divinity, an ongoing theft that has been generated for thousands of years in the Mass Mind.

As Ajit Mookerjee writes:

"The mysterious road that leads to the interior..." as Novalis puts it, is paved with the beautiful structure of the D.N.A.

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This file deals with the extensive research on Yantra and Other Delights.

We have not, as yet, integrated the Yantra, into the overall analysis of Art History, because it is a science that embraces many disciplines.

Yantras can be traced through our known visual history. For example, Giordano Bruno represents one aspect of an entire cluster of transmission lineages, in general, and during the Renaissance in particular, which came to herald a triumph for Hermetic paradigms. This process continues through to our present time, and also contains the seeds of future development.

We can find traces of the revelations of the Science of Yantra in the work of Arthur Avalon and W.Evans-Wentz in the early phase of this century - to the more recent work of G.Tucchi, Madhu Khanna, Ajit Mookerjee, Trungpa Rinpoche and Jose Arguelles.

The entry of the Sanskrit word YANTRA into the English language, or the Euro-centric cultures, is in my personal view, an announcement of the arrival of a "Yantric" view of phenomena into the so-called "Western" mind in particular. Overwhelming evidence of this new 'world' view is to be found in such books as 'The Tao of Physics' (F.Capra); the Eye of Shiva; The Dancing Wu Li Masters; The Holographic Paradigm; and such theories as the morphogenetic field of Rupert Sheldrake, and the Gaia Hypothesis of James Lovelock.

One of the forerunners was the late Dr Hans Jenny of Basle, who made 'Cymatics, the study of vibrational patterns his entire life's work.

The 'Yantra' of dynamic psychic processes, is revealed in the work of C.G.Jung - referred to here as the 'archetype'. But the emergence of these psychic structures, or processes, can also be framed within the tradition of the Yantra.

This Tradition is to be found and excavated within the visual literature of the Yantra, which appears in many forms, Outer, Inner and Secret. The basic and scientific systems of psycho-cartography, such as the maps of the pressure points in acupuncture; the Chakra systems of Hindu and Buddhist Yoga; the flow-maps of Chinese Alchemy - have charted the Microcosmos of the human body, while the science of geomancy, with its ley lines and points f power on the earth - opens up the vision to the Yantras of the globe, and beyond to the Macrocosmos.

This more esoteric work is that of the meta-cartographers; and considered as a meta-programme and indicates that an entire new science of the dynamics of Yantra will have to/ is emerging now - or will do so in the future.

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Basically all Yantras can be classified as Tantra Art.

"Art is not a profession but a path toward truth and self-realization both for the maker and spectator. Tantra has a great message for this awareness." Mookerjie in 'Tantra Art'.

Jurgen Harten starts off his examination of the work of Bruce Nauman with the words: 'Who is an artist, when is an artist an artist, what is an artist anyway?" The answer that Bruce Nauman gives is rather similar to the vein of Ajit Mookerji's views on Tantra Art:

"The true artist is an amazing luminous fountain."

"The true artist helps the world by revealing mystic truths."

YANTRA as Revelation again?

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A part of this work is to discover and explore possible historic connections between East and West - not in the sense of cross-cultural pollination, via the trade routes, for example - but as structural emergences which are born out of the collective consciousness.

Our path of inquiry does not only embrace the Past, but the present as well, and most importantly I feel - the future.

Part of this process is suggested through the experience of the following research.

Notes:

The novelist Doris Lessing has Yantric patterns of operation between the various levels of reality - in her five volume 'Shikasta' cycle. In science fiction Yantras have long been intuited as an operational matrix.

Could the parallelism of energies in Sri Yantra be yet another form of 'The Law of Correspondences"? Yes!

Are we dealing with Mystic Form here - as the Cosmic Parallel? ASSOCIATIONS / PARALLEL / SYNONYMS / CORRESPONDENCES. C.G.Jung:

This Web, indicates that we need to create a working system whereby all knowledge can be catalogued, not in a tight, linear conceptual system, but in a moving directorate. As in the Wheels of Ramon Lull.

See: The Glass Bead Game - picking of the Elder switch and simultaneous association of the Elder sap with the first chords of a song by Schubert - both release the awareness that Spring is on the way - an example of the experiential operation of Yantra. 

We do not perceive the multiple textures of our individual sensoriums in one all embracing sweep. A linear process is set up, based on pre-programmed behaviour patterns, biological necessities, attraction and repulsion polarities - the dual function of the five SKANDHAs, Form, Feeling, Perception, Volition & Consciousness.

In essence, this explains the multiplicity of the Seed Syllables, which exist in diverse forms, to activate the differentiated and programmed LINES (threads which become knots, hardened circuits). The appearance of the Seed Syllables, is the most important outward manifestation of what is known in vulgar terminology as 'Eastern' or 'Oriental' metaphysics. Each BIJA unfreezes a Data Bank - or in basic terms, each Seed unfolds into its pre-programmed externalization, i.e. tree or man etc. That the Bija Seed - relates to the Centre of the process, or MANDALA, is obvious - we are dealing with a return to the Centre in one sense (the conscious discovery of the Bija) and the opposite movement - they way outwards into differentiation, as the Bija becomes a tool for unfreezing the psychological (or psychic)blockages.

In common daily culture, we see many cartoons and comics which show an idea being received by a light bulb in a thought bubble. The IDEA that the IDEA is connected to LIGHT and ILLUMINATION. And Light reveals what has been hidden in the darkness. Therefore, an IDEA is a REVELATION. But where do ideas come from?

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Guenther': Tantra as Information - means (skillful) of communicating, ranging from the linear verbal mode, to the deep meta-ciphers. Compare SERIES:

FROM - IN - FORM _ INFORMATION.

FORMATION - The Moon - vibrates to the Sephira YESOD. And: Key to IDEA = 20 = The Sarcophagus.

What is the difference between 'confirm' and 'conform'?

What is an I.D.E.A? An idea is first, an image or mental form, a model of anything in the mind, subjective notions and representations. A NOTION, is a conception, thought, opinion, etc.

What is an IDEOGRAPH/

IDEOGRAPHIC representing ideas independently of sounds; pertaining to that mode of writing, which by means of symbols, figures or hieroglyphs, suggests the ideas or objects.

--------------------

IDEA. IDEATION.IDEATE

Three ideas:

1) Milarepa saying that he only reads the Book of Samsara.

2)Trungpa in the Mahasiddha Sadhana, saying the same thing.

3) Borjes in Bestiary definition (which is codification): The Holy Spirit has written the Book of Life Itself.

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OLD NOTE: YANTRA or Hermetic File:

If one looks at any structure, it can be seen as simple or complex. If we are (going) talking about organization - then we must realize that organic structures are both simple AND complex. By analogy, the human being is a structure with various organs each performing a function with the whole body. Organizations must thus each perform their unique functions within the Body Social - but operating within the Whole.

-----------------------------

As Guenther defines it, a concept is a stable structure at the end of a process, therefore, Alchemy like Tantra, is non-conceptual, that is to say, concerned with processes and not structures or structural -concepts.

PROCESS evolves ENERGY. The release of energy when a de-structuring takes place. Hence the importance of putrefaction in Alchemy. (Decay) Energy is also used in the process of CONSTRUCTION, (with-structure) which devolves ENERGY into a fixed form.

Involution (devolution) and evolution are both a 'process, shown in Arcanum 10 'The Wheel' - URANUS, and the Flaming YOD of Impermanence. Typhon, the 'structuring' or 'crystallizing' aspect, is shown on the eternally downward-moving side of the Wheel - while Hermabus is on the eternally upward-moving swing.

Energy fixed into structures (containers) is to be meta-programmatically avoided, for energy released through de-structuring.

This inter-penetration of ENERGY and PROCESS into STRUCTURE-OBJECT may be alike to the Tibetan rGyu and rTen. Also the duende as a "...power and not a behavior, a struggle and not a concept." Lorca.

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While structure is dealt with in the sense of 'Fixed' (though nothing in Samsara is 'Fixed') PROCESS gives us a more kinetic interpretation of reality (what is "real"/ what is "not-real"?

This includes in my work: SEQUENCES, which I have termed "...the route of absorption", and '...the branching archetype" and "...the BINDU".

It essentially is the motivation and the reason behind why, as Charles Ponce indicates, the alchemist "...thought it necessary to discover the pattern of creation, the stages leading up to completion." This is known in Sanskrit as 'The Arising' and 'The Completion' Yoga; and in Tibetan as Kyerim and Zogsrim, thus making the Tantric and the Alchemical methodology identical in this level."

A.Wayman, p. 348, also see 'twice-born'motif on same page.

HERE INSERT ROUTE OF ABSORPTION MATERIAL.

De Quincy etc.

Jung in Miss Miller Fantasies.

Jung:

A process is not an arbitrary flow of events in Time and Space, but has a definite sequence which must be followed correctly - for example the baking of a cake, or pottery.

Baking a cake can be said to be YANTRA, in that the correct balance of energy in the right proportions, ingredients, heat and so forth must be present. In astrological diagnosis, which is another form of Yantra, the Fruition of the Seed is brought forth by study of which ingredients are missing from the recipe. Fruition of the Human Condition is called 'Enlightenment' and Astrology provides Knowledge (Gnosis) of the energy forces which when purified in the reverberatory furnace of the Alchemical process, bring forth the Divine Condition in Man.

This is a key to extensive areas of alchemical symbolism - bearing in mind that many red herrings are strewn across the path - dough for bread and clay for pots are both kneaded in the initial phase. A recipe obviously has analogies with a mapped out process. Many alchemical "recipe Books' exist. The 15th and 22nd Emblems of 'Atalanta' deal with cooking and pottery in particular. The same applies to the SADHANA which in essence is a process followed in a certain sequence, which repeats again and again the archetypal sequences of cosmic generation and dissolution, flowing from the Fixed to the Volatile and back again. From Creation to De-structuring. From multiplication to Unification and so on.

Islam short-circuits the problem by banning all visual representations of the Prophet. There is a deep meta-programme here.

If we refer to that departmental tapestry of words: Roget's Thesaurus, we find the word `fetish' under the heading of Idolatry. No doubt the viewpoint of Roget is that of a certain order of consciousness - and an Aquarian Age Thesaurus will in due time make an appearance; but it is strange that `image-worship' lies side by side with `devil-worship' in this section. Perhaps we have a connection with the complete lack of images in Islam and later Protestant reforms. The imagination itself was banished. Possibly this is the reason that alchemy, algebra and numerology emerged from Islam. They were non-visual sciences in opposition to the visual, tactile and kinetic development of the European cultural circuits. In this context, Africa has always been more textural.

There seems to be a great mental split in this form of thinking where eyes exist and yet a great horror arises for worship of `images' or `icons' and therefore `idols' the most heinous of sins. It must be remembered that in the Age of the Eye, it is the Television that has emptied the Churches, or brought the Churches into our homes, and the Cinema's Silver Screen that still produces the Stars and Hero archetypes that the masses worship. As by definition of Faith, I am a Buddhist, there is no need to launch a theological tirade on this issue - as the field to be covered is essentially oriental i.e. orientated to the Visual aspects of Religion.

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Orders, Lodges, Brotherhoods and various methods of Initiation. According to the Divine Law of Analogy, which is also known as the Law of Thrice Greatest Hermes: `As Above, So Below, and That which is Above, is Like unto That which is Below." If we receive the Silver Key or the Golden Key of one Order, we can, with a certain delicacy, compute the Teachings of another Order, as they are all, in the Deepest Sense, emanated from the Cosmic Architect!

To the Tibetan Masters, the Sacred Temple was described as being symmetric - with Four Gates, North, South, East and West. These are placed in a certain sequence, and the sequence obeys a sacred and classical orientation, i.e. if we are standing in the Centre of the Temple, the Eastern Gate would be in front of us, the Southern Gate to our right, the Western Gate at our Rear, and the Northern Gate to our left.

This positioning remains the same and has been transmitted thus for over 1,100 years by the Tibetans, but can be traced to more ancient times.

The earliest Temples in this pattern can be traced back to Neolithic times if we include the sacred geometry of Stonehenge. Inca, Aztec, Chaldean, Assyrian, Greek and Egyptian architecture also displays this symmetry. The factor that connects them all, is the number 5 - which consists of the Four Points of the Compass and the Centre. The Architects who designed these structures, for example IMHOTEP in Egypt, and the Masons who constructed them, represent the working Lineages of Initiation through which such information was transmitted.

These edifices contain the structure, microcosmically, of the Macrocosmos. Therefore the Masons carry the Knowledge of the structure of the Universe itself. Today such buildings are built by Masons in Bhutan and Sikkim, according to the designs which have been transmitted for 2,500 years. One of the most recent is the memorial Stupa built for H.R.H. the King of Bhutan, with its four Gateways. Similar Stupas have been built or are in process of being built in the West at present.

It would seem, that since myth has it, the Temple of Solomon, another Grand Master, was constructed in a similar way - there exists some link between the various Brotherhoods - but we are not in a position to divine the mechanics of this linkage. Needless to say, this Temple, or as the Tibetans call it, a `MANDALA' is merely an analogy of the Human Body, once again, a microcosmic reflection of the Macrocosmic Body .

The inner initiations of the Tibetans are connected to this Knowledge. Buddhists do not believe in the individual soul, considering that there is only ONE SOUL, that of the Cosmic Architect. Thus it follows, that Tibetan Buddhists as the last intact culture to remain from pre-History - place great emphasis on the secret information about the structure of the Universe. They have other methods of encoding this data, besides that of the Builders.

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The symbolism of the Jar - Bumpa - in various sadhanas, and most especially in the Dorje Phagmo - can be expanded through YANTRA - page 23: the bumpa substitutes for the Yantra, but : "The yantra which is one's body is the best of all yantras."

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Lorca's Theory of the Duende, as related to the Force in Star Wars and also see: Borjes. We use the term `classical' which is another name for `yantra', the supreme classical form.

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Describing his book `Earth Ascending' - the author Jose Arguelles says:

YANTRA - meta-structure, OCUS EX MACHINA.

Operational patterns e.g. Skandhas - Green-North-motility-volition-growth = Correspondence Law. Glass Bead Game Analogy.

-----------------------

The transmission of spiritual teachings through visual means necessitated the evolution of skillful techniques, modes, methods - which is a process-field of activity - known in Sanskrit as UPAYA. For instance, knowledge of the structure of the psyche (psychology) is skillfully coded into visual patterns of exceptional and dynamic and kinetic density. This is one of the many fruits of Yantra.

This video-structural Awareness unfolds, through skill and technique - the relationship between the video data patterning and the so-called individual psyche. Thus the objective and the subjective are United - as Ajit Mookerjee puts it:

"...the physics and metaphysics of the world are made to co-incide with the psyche of the meditator."

In other words, we have an analogy, a parallelism of experience between the Microcosmic and the Macrocosmic.

IMAGES or Video-data, are thus a field/storage system from which information is harvested, and used subjectively. That is to say, it is squeezed into the parameters of reality, it is named, labeled and marketed in the hegemony of the defined space of the Ego.

One of these traditions in which the video-data is stored in the Universe of Images , is often unconscious. This partakes of the quality of the Tibetan term 'gTerma', which we will discuss elsewhere. Yet these 'unconscious images' can be recalled:

CRYPTOMNESICALLY.

To use a paradigm given by C.G.Jung:

Two extremes must be distinguished here:

1.) The image is clearly defined and is consciously connected with a tradition. In some cases, its original purpose has been forgotten.

2.) The image is without doubt autochthonous, there being no possibility, let alone probability of a tradition. Every degree of mutual contamination may be found between these two extremes."

It is in the midst of this 'mutual contamination' that the entire body of Tarot images, and later, those of Alchemy and Hermetic transmissions are to be found.

But nevertheless, there are rational structures...

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MANDALA as an absolute structure, contains sequence, process, artifacts to indicate certain action patterns describing the process or part thereof.

ONE Entire unitary scheme, ONE multi-leveled manifestation - texture of the 5 Elements, earth, air, fire water and ether - (moist-dry) (hot-cold) i.e. flesh (of deity) human & divine, silk, jewels, hair, metals, colours, form - (mineral & vegetable kingdoms) are all aspects of the MANDALA. IT represents a microscopic/macroscopic plan of the Universe in toto. Actual STRUCTURE. ( see Hexagram with 6 Lines)Pattern.3-D or 10-Dimensional. (Gyalwa Rig ga for 5 Dimensional - i.e. Mandala of the Dhyani Buddhas). See Lauf and Govinda on stereoscopic idea.

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The shape which is seen on Gelugpa Hats.

The Lotus Throne and the base of the Vajra ( a stylized Lotus.)

seem to crop us in Mahler's 3rd. The dark passages of Baba Yar - Mussoursky. Tchaikovsky's pain themes. - all seem to flash certain colours. The Wizard of OZ - Walt Disney - Fantasy - ZARDOZ.

YANTRA of:

'whole numbers'

'patterns of behaviour in biology'

instinctual forms

natural configurations, etc.

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The basic ingredients of mystical Symbolic Diagrams:

1. Visually striking and distinct shapes - most important.

2. The Dot (Bindu) symbolizes the ONE invisible point of origin.

3 Grouped Dots - a.numbers as collections of integers.

b. -self-multiplication of the Source.

c. - IDEAS.

4. Cloudy areas - undifferentiated energy.

5, Groups of Cloudy Areas - a "pre-crystalline" condition before separate elements have established and definite relationship.

6. Straight line - divides one side of itself from the other.

- the original Mother.

7. Straight Line - as verticals - has head and foot, is active.

-horizontal, is passive, dividing above from below.

-slanting, it takes on the emphasis of a bias or tendency.

Page 191: YOGA ART:YANTRA -

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CHAKRA. "The ANUSVARA ('after-sound') is superimposed upon all the letters of the Sanskrit alphabet which appear arranged like petals around the calyx or pericarp of a lotus flower: symbolic of the psychic centres or chakras. The central chief seed-syllable, corresponds to the ruling element or state of aggregation and its symbolic colour."

Lama Govinda.

The stereoscopic picture of multi-dimensionality viewed perception on p. 136 (also think this is in yantric terms) See: Maha Nirvana Tantra for Sadhana, Yantra, Puja.

----------------------------

Notre Dame: mathematics of the numbers of doors, statues, niches etc.

A) The White Page: Emptiness, SUNYATA - The "OM SWABHAVA MANTRA."

B) PAM - The Seed that arises OUT of the Void.

C) POINT - CENTRE - DOT - JOT - IOTA - BINDU - TIGLE -BIJA.

Symbol for the SUN = SUN = HEART = Hearth = LEO = SOLAR = Citadel = Throne = Crown = King = RADIATES - ILLUMINATION.

The process of Radiation, as seen in the tree roots and the map of the nervous system - this process of radiating is the "Branching Archetype" which is also "expanding creation" - articulation of the potential capacity, or GENESIS.

The symbol in the Sadhana is the unfolding of the Lotus Blossom from the Seed-Syllable AH.

TIGLE as "creative potentiality" i.e. "...being is not a well defined entity but something that is open to infinite possibilities." See: Note 3,p.58?

YANTRA = line/continuity/integration/weave/texture

The sperm enters the Mandala of the Ova. Seeds and planets are spheres, circles and cycles. Though not yet certain, it seems the key OUT of matter is through the HUB, of the wheel, or Mandala Form. Is there a choice between Outer Wall - Pluto - Terminus - and through the HUB - SUN - CENTRE.

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We now come to the VISUAL LITERATURE - which follows the above division, in that all this data has two forms, representational and abstract. Examples of the former are the alchemical pictures, the Sacred Art of Tibetan Buddhism etc.

The latter can be seen in such enciphered structures are the mandala, yantras and the Tree of Life. These have relationships to Inner scientifically observed archetypes such as the DNA Helix, which is coded into the caduceus, the Dogon Helix of the Sirian rituals in West Africa, DNA in B Form as suggested in the Khunrath perspective picture, and so on.

This Magic Show is called SAMSARA in Buddhist terms. It can cause frustration and bewilderment, and suffering. Youth, joy and sexual desirability become replaced by old age, sadness and repulsive looks. This is the constant change, the impermanence.

Number can be seen again in the RIDDLE of the Sphinx, e.g. what walks with Four legs in the beginning, 2 in the Middle and three at the end: MAN.

This net in which we are all enmeshed is perhaps the Root Cause around which the Ancient Wisdom, the Dharma, the Tao, the Way, the Truth, the Golden Knowledge and all the Sacred Scriptures of Planet Earth - have grown into their separate branches. Separate only in the sense that they represent different vibrations, numbers, frequencies of the same ROOT - NODAL POINT - KNOT -NET which is WHY WE ARE ALL TOGETHER IN THE SAME MAGIC SHOW?

Lord Budddha and the Great Renunciation which came to fruit in what is termed NIRVANA. But from the prayers of Tibet we read:

"May we have the realization that the world and the Great Peace

Are indivisible.... that Samsara and Nirvana are one."

Consider the Yantra of each of these facets:

1.) The Bija, seed, Master Vortex in the Centre. (Dot, zero, drop, smallest unit, etc.)

2.) The spiral out from the centre in the Vajra. Cosmic Spiral - Jill Purce.

3.) The spiral in towards the centre, as in dream.

4.) The Petals of the Lotus representing differentiation in Time and Space, and:

Yantric emergence of symbols, mentioned by Lama Govinda, p. 51.

Symbols as Yantra, p. 217.

Ouspensky, 'Model of the Universe.'

The Cervix = Dharmadhayo - and icing nozzle through which we push the icing (the matter is conditioned and takes on the form designed by the generator.)

The yantra is connected to the Yidam, in that they both unfold the frequency of a certain aspect of the Enlightened Mind, i.e. Buddha, Bodhicitta. Yantra produces a certain siddhi, or realization on/of psychic data levels to the meditators who concentrates on it.

PUJA is the entire dramatic situation for creating these frequencies. If we take the Theatre as an example, then we can see it is necessary to create an illusion by various means - the spoken word, often sets the scene for a description of a landscape, what can be seen out of the window, etc. A backdrop, or a few sets or props can create Ancient Egypt, or the feel of New York. When we do Puja, we create an atmosphere which does not exist in the real, plastic sense of a street in relation to a street effect created on the stage. Our sets and props can thus be construed as a dramatic enactment of cosmic patterns.

'As Above, So Below' indicating the lines of communication between the conscious and unconscious worlds, activities of Mercury. Or more correctly, the Twin Mercurial polarity - Castor and Pollux.

The Duality in 'Veiled Isis'. Jachim and Boaz, and so forth. Here the assimilation (Moon) of Mental Food (Mercury) can be brought into the co-operative realms of the Chakras, and in particular SVADHISTHANA Chakra - which rules assimilation, is the element water and has a white crescent as a symbol. Nutrition, the waters of the womb also occur here - not to mention the vast influence of the Moon on the unconscious, here seen as an ocean and often dreams confirm this.

The three lower chakras would therefore correspond to the physiological and psychological processes (As Above, So Below) of the underworld - gestation, assimilation, nutrition, and DIGESTION.

(Saturn rules corporeal form - hence Blue in the East - Skandha RUPA, can one make a serial correspondence out of this too?

In one sense we have to remember HOW we collectively thought up and generated this 'Show' into manifestation, it is already a vision verging on bankruptcy.

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Using another approach to penetrate the Nature of Yantra - I use two numerological analytical methods - the ordinary and the Kabalistic - as seen in the chart here:

Y 10 10 YOD

A 1 1 ALEPH

N 14 50 NUN

T 22 400 TAU

R 20 200 RESH

A 1 1 ALEPH

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68 662 = 14 ALSO 68 = 14

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As can be seen from both methods add up to the number 14, which in the Tarot is Arcanum 14: The Alchemist, thus TAURUS, ruled by Venus (Copper).

The Monas Hieroglyphicus of John Dee has details on the Exhaltation of the Moon in Taurus. Therefore:

The Moon is Revelation and Ascension - Taurus is Regeneration: Thus: The Exhaltation of Revelation is Regeneratory.

FIRE.

YANTRA is linked to INRI = (9 0f 6).

I.N.R.I. - Igne Natura Renovature Integra -

All Nature is Renewed by Fire.

This well renders the Nature of Arcanum 14 - which is the Key of the word YANTRA - the Decave being: 7 - Seven.

Yantra could be said to be, in one sense, "...the combination and interchange of masculine and feminine forces throughout nature working ceaselessly in all kingdoms, as the instigators and cause of all movement and life. "

C.C.Zain, The Sacred Tarot, p. 281.

15 is 5 operating on the next interior plane, as signified by 2. i.e. the domination of man's intelligence over the astral plane. i.e. YANTRA operates on controlling the pattern of the astral plane, i.e. VENUS - which is Beauty and ATTRACTION on the Tree. And 7 + 7 = the Perfect Union on the Inner Plane, the perfect regenerate Union, in which the finer forces as shown in 14 completely blend and fuse. Herein lies the secret of rejuvenation, for, in the exchange of these finer energies, controlled and directed by love, there is the power to restore and maintain youth and vigour. All this is extension of YANTRA.

Yantra would also be connected to psychometry the inner sense of feeling and the Moon is Exhalted in 14 thus bringing us to the Revelation aspect of the Moon as Yantra.

We must also consider the PENTAGRAM and the Hierophant, Jupiter - Law, Pattern, Design.

end of p.44.

Y - 10

A - 1

N - 14

T - 22

R - 20

A - 1

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68 = 14 (6 + 8)

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Y - 10 - YOD

A - 1 - ALEPH

N - 50 - NUN

T - 400 - TAU

R - 200 - RESH

A - 1 - ALEPH

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622 = 14 ( 6+6+2 = 14)

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Using another approach to penetrate the Nature of Yantra I used two numerological analytical methods - the Ordinary and the Kabalistic - as seen in the chart above - both methods add up to the Number 14 - which in the Sacred Tarot is 'The Alchemist', thus - Taurus ruled by Venus (Copper).

See 'Monas Hieroglyphicus' by Dr John Dee for details on the Exhaltation of the Moon in Taurus.

The Moon is Revelation and Ascension - Taurus is Regeneration.

Thus:

Yantra is Linked to INRI (The 9 of 6).

All Nature is Renewed by Fire.

This well renders the Nature of Arcanum 14 - The Alchemist - which is the Key of the word YANTRA - the Decave being: 7.

As C.C. Zain says:

14 is 5 operating on the next interior plane, as signified by 2. I.E. the domination's of man's intelligence over the astral plane. i.e. YANTRA operates on controlling the patterns of the astral plane - in this case, identified as Venus - the Perfect Regenerate Union,

which is Beauty and Attraction on the Tree . And 7 + 7 = the Perfect Union on the Inner Plane, the Perfect Regenerate Union, in which the finer forces as shown in 14, completely blend and fuse. Herein lies the Secret of Rejuvenation, for in the exchange of these finer energies, controlled and directed by Love, there is the power to restore and maintain youth and vigour. All this is an extension and amplification of YANTRA.

YANTRA would also be connected to PSYCHOMETRY, the inner sense of Feeling, and the Moon is Exhalted in 14, thus bringing us to the Revelation Aspect of the Moon as Yantra.

We must also consider the PENTAGRAM and the Hierophant, Jupiter-Zeus - Law, Religion, Pattern and Design &c.

The Nature of Zeus, in my article 'Why Zeus' will show how another Yantra was revealed in the Double Thunderbolt symbol, and the Emblem of 'Atalanta Fugiens.'

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The circular Hermetic foundation of Raymond Lull is the basic field of all future ideograms, then analysis of all alchemical symbolism can only proceed omni-directionally. For example, The Memory Fan, in the Memory Theatre, the Magical Calendar of Tycho Brahe, the Ampitheatre of Khunrath; the list of correspondences in Graves - 'The White Goddess' and how these relationships relate to Brahe.

The complex Towers of Symbolism in 'The Ripley Scroll' and the Tower (of Babel?) Structure in the Chemical Wedding, plus an identical shape in the Fountain of Bernado of Treviso, Bosch and Splendour Solis.

To this I would add the 11 Headed form of Chenrezi and the Sephira Yetsirah. There is a profound aesthetic of micro-biology in the Macrocosmos. 'As Above, So Below.'

In Yarker, 'Arcane Schools' Tarot decoration of a double row of 11 Pillars through which the candidate for Initiation is led. Symbolism of the letter Y, pp. 141, 147. Egyptian Zodiac - p. 7.

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Ciphers can come in a multitude of disguises, but here I wish to concentrate on two main fields, which in conventional terms I am going to call the ABSTRACT and the REPRESENTATIONAL. As illustrated above, these two great streams connected to the image-generation faculties or imagination, which is thus the Representational Tradition and the non-visual systems, which are the abstract.

BEINGS CELESTIAL IN THE TIBETAN VISUALIZATIONS -are most definitely representational, but it transpires that encoded within these very beautiful pictures of the deities, are also ciphers of profound depth. To return at this point to another of our motives or themes, Dr John Lilly, puts forward the theory in his book 'Metaprogramming the Human Biocomputer' that we are being nurtured and programmed by BEINGS of a vaster computer set than our own. He reports that they control the probability of our discovering and exploiting new science, i.e. such discoveries as nuclear energy, LSD-25, RNA, DNA, etc. that they test some human beings and care for others.

And some of their programmes include our survival and progress. Now here I cannot find the exact source, but I remember a story about the scientist who had a dream the night before one of the earliest atomic bomb tests, and in that dream he was aware that something was wrong in his calculations and that if the bomb went off it could have destroyed all matter, or the whole Earth, as we know it. Something as drastic as that. He put an end to the test and true enough a fault was found. This indicates a possibility of intervention ( I would not say interference in this case) which came from an 'external' source.

Such concepts are a fixed 'reality' fact/ in the Sacred Metaphysics of Tibet.

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