Back of the Book:
Literally, yantras means 'instruments' and in Hindu scriptures they are attributed to different Gods and Goddesses. They are used in the form of different metals articles and herbs. In Hindu Shastras yantras are held in high esteem and prescribed by astrologers and tantkriks to ward off evil effects of planets, souls etc. there are other uses such as Vashi karan, Uchattan, Sthamban, Vidveshan and Shantikaran in six rites besides the spiritual usages.
Yantra is the medium through which the invincible force or energy acts on an individual. For that, the sanctity of the medium should be sustained and the person who wears it may also recite mantras to enhance the efficacy to the yantra.
These are beneficial only to those who follow the prescribed rituals sincerely to get relief from the problems due to any dosha.
The book deals with yantra pooja, design on yantras, the mantras being used for worshiping the yantra, energizing (praan prathishtha) the yantra and other usages of the yantras.
This book is the first part of our work on tantra, mantra and yantra. The contents of this book are purely based on old Sanskrit classics. A detailed method of worshiping the yantras is given in the book which would be beneficial for the readers.
In our Hindu legacy there are two types of techniques emancipated by great preachers called Munis to energise and activate the inherent symbiotic energy of consciousness. We may term the synchronized energy of consciousness as manas. Manas is base of physical, vital and conscious expressions. It is not an extension only but is a means to achieve the goal par excellence.
The first technique was Shraut yajnas restricted for some erudite class of the society of India and the second one was open to general human beings of the world which was know as Tantra. A common perception about the term tantra is that there are mysterious performances and activities performed by some superstitiously influenced people throughout the world. Those who are elementary in their thoughts and life styles go to tantric performances and do some avoidable activities etc. However, if one goes through the scriptures and finds any actual performer that is Sadhak can easily review his false perceptions about tantra.
Tantra is well thought, well articulated technique to strengthen manas as well as physical and celestial body and experiences some super natural activities in the world. It has many branches first revealed by supreme guru Shiva and adopted by generations of traditional sadhaks. Shiva has five or seven heads, from each head one branch of tantric tradition flourished.
The authors of the book have tried their best efforts to collate every traditional way of tantric sadhana and depicted it lucidly. As I have gone through, the book is useful for devotes of any sect of traditional samart sadhana. The authors have compiled some least known Yantras and its usage. As we know, Yantra is accepted as abode of the respective deity. These are not merely geometric projections neither these are mysterious expressions of lines. Each an every line has its own relevance. The drawing techniques are traditionally designed and I can say that the authors ha sfollwed those traditionally accepted manners describing Yantras. I shower my best wishes to them and hope for the time they will be enlightening us more by precious research work like Yantra Mahima.
In Hindu mythology everything is a projection of God and Human being is considered His best creation. It is the human who discovered the God in its form after discovering death. Now it can be said that if death is eternal, same with the omnipresent God. If He has created problems for his creations, of course, He has also devised remedy for it. It is not now that man is facing problems and finding remedies for them, but our sages also spent their lives to find solutions to different problems such as ailments, hunger, poverty, etc. During this exercise the mantras were given by Lord Shiva to saints and to get best out of it the saints ritualized ways and means in the course of actions. This whole exercise is known as Tantra (technology) of whose mantra and yantra are two pillars. Before we give you an introduction about yantras and its practical aspects it is necessary to understand what are Tantras, yantras and mantras.
Tantra is defined as a rich and diverse spiritual tradition which is found in dialogue form between Shiva and Shakti. In essence, Tantra is the art and science of receiving, conserving and transacting energy from cosmic resources; it encompasses every activity of life. Tantra is ritually systematized scientific strategy to get plugged to the cosmic pool of energy to optimize creativity.
Mantras are the spells of single syllables or short phrases which when chanted correctly as well as repeatedly produce vibrations which set the nerves in motion and stimulate them for suitable action in consonance with desired achievement.
People know very little about Yantra and consider them beyond their comprehensive power. They are very far from the true meaning and use of Yantras. Yantras cannot be simply discovered from imagination. Every specific mood and emotion has an associated form of energy and shape. This clearly determines the form of the Yantra associated to that mood. The traditional Yantras were discovered through revelation, by perceptiveness, not invented.
Yantra means a "talisman", or "instrument" or "Amulet" or "Kavach" when prepared and created by a competent person and used under specific instructions for fruitful results, will help to gain the devotee objects of desire or ambition. Although it would not be a difficult task for most of us to copy the form of a yantra, it would not have the desired effect. Furthermore, it would be all but useless if not created by a qualified person and then "infused" with the specific energy via the medium of mantra. Otherwise, it becomes just an interesting form or picture to look at, but has no real effect on time or circumstances within life.
The power of Yantras to stimulate resonance is based on the specific form of its appearance. Such a projection can be composed from one or more geometrical shapes which combine into a precise model representing and transfiguring in essence, at the level of the physical universe, the subtle sphere of force corresponding to the invoked deity. From this point it can be argued that the Yantra functions similarly to a mantra. By resonance, certain energy from the practitioner's microcosm vibrates on the same wavelength with the corresponding infinite energy present in the macrocosm which is represented in the physical plane by the Yantra. The principle of resonance with any deity, cosmic power aspect, phenomenon or energy owes its universal applicability to the perfect correspondence existing between the human being (seen as a true microcosm) and the Creation as a whole (macrocosm). All ancient cultures had sacred geometric designs representative of their Gods, which had a mantra (or sacred sound vibration) that corresponded to it. In the Hindu culture, much power and energy is said to be held within sacred geometric symbols. Yantras are not "lucky charms" to be worn or displayed as icons of power in and of themselves. Much specific knowledge and ability must go into their preparation and much dedication and worship is required to achieve the desired effects.
Some points to remember while practicing the yantras as told in this book.
In the book we have discussed practical part of yantras and did not go into the details keeping into the length of the book. We would like to underscore here that the mantras given with the yantra are only for recital of the said deity. The worship of the Deity is done through the Panchanga sevanam (five subsidiaries) which are known as Gita (Philosophical basis of a deity), Sahasranama (thousand names for frequent devotional repetitions), Stotra (hymns for invocation), Kavacha (Armour of the God), Hrdaya (Heart) #. Before energizing any yantra it is advised to read kavacha of the deity along with the other panchangas.
All mantras have certain subsidiary attachment Rishi and are originated from Lord Siva. Certain sages have been dictated these Mantras from the Lord and practiced them for years together and had achieved success. Those sages have transmitted the Mantra to their disciples and these disciples to their disciples. This tradition 'had been kept orally for thousands of years. Consigning them to writing was supposed to deprive, them of their efficacy. The original Sage is always mentioned as the concerned Sage, before repeating a mantra for ritualistic purposes. While mentioning the name of the Sage the devotee touches his 'head or he 'performs the "Nyasa" on his head.
The Mantra has to be covered and protected well. This rite is Chandas ordinarily the meter is also meant. The Nyasa of Chandas is in mouth.
The 'vital element 'that controls influences and manages all the activities of human 'beings, is caused by the Devta. Since this vital power is situated in the individual's heart the Nyasa of the deity is in the heart.
Bija (Seed):- Bija means the seed. The principle that generates the power of Mantra is called by the term Bija (the seed). Hence the Nyasa of the Bija is in the privies. Each letter in the Devanagari script has a mystic value. The symbolic significance of each letter of the Sanskrit language is given in this book. According to the Bija-Code each letter of the Sanskrit varnamala (alphabet) represents certain instincts. Since each letter has a different acoustic root, each one of them creates a different vibration which often corresponds to the psyche of the persons being addressed. For the persons practicing Yantras it is important to know the sound root and the power of all the letters used in Sanskrit.
a Death destroying (It is in the image of the all-pervading Lord)
aa Attracts (feminine gender)
i Strengthening (neuter gender)
r Upsetting and stunning
ly Arouses envy
e Controls and influences others
ai Controls the male element
o Creates mass hypnosis
au Controls people in authority
a Controls the wild element
ah Fights death
ka Poison at its acoustic root
kha Obstruction at its acoustic root
ga Ganesha at its acoustic root
gha Destruction at its acoustic root
ada Demon at its acoustic root
ca Moon at its acoustic root
cha Gain at its acoustic root
ja Brahma rakshas at its acoustic root
jha Fulfillment at its acoustic root
na Mohan at its acoustic root
ta Remorse at its acoustic root
tha Moon at its acoustic root
da Garuda at its acoustic root
dha Kuber at its acoustic root
na Devil at its acoustic root
ta Represents eight elements
· guru Beej
· rama Beej
· yog Beej
· shanti Beej
· shakti Beej
· kam Beej
· tejo Beej
· raksha Beej
tha Yama at its acoustic root
da Durga at its acoustic root
dha Sun at its acoustic root
na The rapeutic quality at its acoustic root
pa Varuna at its acoustic root
pha Vishnu at its acoustic root
ba Brahma at its acoustic root
bha Kali at its acoustic root
ma Fire at its acoustic root
ya Air at its acoustic root
ra Makes on indifferent or detached
la Indra at its acoustic root
va Defeats death
sa The goddess of wealth at its acoustic root
sa Sun at its acoustic root
sa The goddess of learning at its acoustic root
ha Shiva at its acoustic root
ksa Bhairava at its acoustic root.
This is the principle with whose help the Bija develops into a full fledged Mantra. The Nyasa of the Saktis is at the feet.
Kilaka It is said that Lord Shiva has nailed all the mantras.
(Nailing up) Hence there is a kilka for every mantra to denial the same. This is the vital link between, the Mantra and the devotee. Even if the devotee becomes inadvertent this nailing power kilaka holds the Mantra within the ambit of the aspirant and keeps the efficacy of the said Mantra well balanced. The Nyasa of a kilaka is all over the body.
The devotee expressly states that he makes use of the particular Mantra in a particular rite. The texts on Tantra maintain that the knowledge of the Sage, meter etc. is a must for the efficacy of the Mantras as a mean to realize the intended benefit. The Mantra becomes weak if the devotee does not expressly state that he is making use of a particular Mantra in a particular rite.
Nyasa Through it Heart, Head, Tuft, Armour or the body as protected by armour, eyes, and the paint of the hand. These are the six limbs where the rite of Nyasa (ritualistic touch) is performed. The performance of these Nyasa helps in eradicating all hindrances and obstacles, thus, ensuring the achievement of the result. If out of ignorance or inadvertence the devotee does not perform Nyasa he is suet to be suffering by obstacles at every turn. In certain rites the Nyasa are only five. In that case "eyes" are omitted.
Samputa:- Samput are the specified words used in a matra. These can be used in the beginning, middle or athe end of a mantra. The samput has a great value in mantras and be used carefully. It means covering up process in which repeating a mantra before and alter a mantra. We use the Mula mantra to be covered by the maya bija (Hrim) and repeated seven times before the prescribed mantra is taken up.
We will be providing the specific mantras for the specific use. Bija mantras too have been provided. The meanings of most common important words are provided below.
Hrim O, destroyer of time
Shrim O, terific one.
Klim Thou who are beneficent, possessors of all the arts.
Aing Thou are both form and formless.
Japa:- In this material world people at large are of destructive mind, selfish and dot the acts a trough which they can gain, may others may adopt it an misuse. If at the time of Japa someone is sitting by your side, then recite the mantra in a upansu or mansic way. Japas are of following types.
Upansu Japa:- It is the method whee japa is done very slowly so that nobody can hear it. Only lip movement should be there.
Mansic Japa:- The japa carried out only in the heart without any sound or lip movements.
Vachnik Japa:- In this method one can recite the mantra in a low, medium or high tone of his/her sound.
One can recite "HIS NAME "OM" etc., in a Vachnik way but mantras are to be recited in this way only when one is alone at a secluded place.
It may be noted here that the yantras have been prepared as per directions prescribed in the tantras. Wherever it is not mentioned, the yantras be made on bhojpatra or copper plate with asthgandh as ink and stylus of pomegranate.
The preface may go long in describing the whole yantra procedure. It is advised to consult a practitioner before going for any ritual. We are confident that this occult science will be used by the practitioner, readers and by others methodically for good use.
We would again like to thank our readers for subscribing to our work and hope that this will go a long way in establishing a common man's faith in this field of yantra. We would look forward to your valuable suggestions, which we would certainly try to incorporate in our forthcoming works.
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