The Sri Yantra : A Comprehensive Overview of Creation

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Shri Yantra is also called Navayoni Chakra, because it consists of 'nava', i.e., nine, 'yoni' or vulvas, symbolised by nine triangles, of which Shri Yantra consists. Shri Yantra is virtually a configuration of nine interlacing triangles, of which five downward-pointed are superimposed on four upright ones. They are drawn with the 'bindu' or the dot in their centre. The five downward pointing triangles represent 'Shakti' and the four upright ones Shiva. The upright triangles are passive and inert, while the downward-pointing represent dynamic energy and operative force. "Shakti' is thus dynamic and Shiva inert. The 'bindu', which is virtually the Para Bindu, and as such the nucleus of the condensed energy and the 'Nada-Bija' i.e., the seed of the ultimate Sound, represents the dynamic and static aspects of Shakti and Shiva contained in one. This 'bindu' expands and creates and thus transforms into 'Apara'. Now the dynamic and the static interact and there emerge two more points, which, by joining the former one, create a triangle, the multiplication of which defines the creation process. Creation is thus the outcome of the union of the point and triangle, and the Shri Yantra is the body manifest of the Shiva-couple.

The outer periphery of the Shri Yantra is a square format with four gates usually in white, red and yellow. This constitutes the Bhoopura, or the ground plan of the Shri Yantra. It is symbolical of the cosmos. This ground plan has inside it three circles which constitute its 'mekhala' or girdle. In this manifestation of the Shri Yantra, there are apparent two circles, the blue and the red, but their junction or union produces the linear effect of the third circle. These three circles symbolise three worlds. The space in between the square and the circles is occupied by 'Maya', which enchants the three worlds. In Tantrika innovations this Maya is called 'Trailokyamohana' or the Enchantress of the Triple world. Aspirations and desires are the means of Maya, by which Maya commands the three worlds.

Inside these circles, there are two concentric rings, the outer one consisting of sixteen lotus petals and the inner one of eight lotus petals. The outer one is called 'Sarva-shaparipuraka chakra' and the other 'Sarva-shankshobhana chakra'. They effect fulfilment of the 'desired'. Fourteen triangles, further inside them, form a hexagonal ring, the fourth one. This fourth hexagonal 'chakra', named 'Sarva-saubhagyadayaka chakra', i.e., which bestows all auspiciousness, is suggestive of possibilities of spiritual elevation. There lie inside beyond it numerous interlocking triangles. Next two rings, consisting of ten triangles, called Sarvartha-sadhaka and Sarvartharakshakara, define the stage, when the inner realisation begins to unfold. One of these 'chakras' accomplish every purpose and the other is the great protector. Yet deeper is the Sarvarogahara 'chakra', consisting of eight triangles. It removes not only the maladies of physique but also those of the mind, that is, all desires and infatuations. This defines the stage when the 'sadhaka', free from all earthly bonds, stands on the threshold of ultimate realisation. The eighth 'chakra', lying further inside and beyond the Sarva-rogahara chakra, is the Sarva-siddhiprada chakra, which gives all accomplishments, the stage when the realisation is just to be fully consummated. The 'bindu', the sanctum sanctorum, and the last of all chakras is the Sarva-anandamaya chakra. This is the stage of union abounding in absolute joy. Here the 'sadhaka' unites with the 'ultimate', merges with the cosmos and becomes the cosmos.

All chakras consisting of triangles are drawn in red, the colour of radiant energy and the dynamic and fiery elements of cosmos. The 'bindu' or the point, representing the finest form of light, is without any colour and is alike represented. In a Shri Yantra drawn on a copper plate, a deep dent represents 'bindu'. However, in a painted Shri Yantra, the artist has to resort to this or that colour, sometimes red and sometimes yellow. This piece of canvas not only manifests the most auspicious and fruit giving of all 'yantras' but also gives the technique of reproducing Shri Yantra and the 'mantra' related to it. The Shri Yantra is acclaimedly the supreme mystic 'mandala' and the apex of 'tantrika' manifestations.

This description by Prof. P.C. Jain and Dr. Daljeet. Prof. Jain specializes on the aesthetics of literature and is the author of numerous books on Indian art and culture. Dr. Daljeet is the curator of the Miniature Painting Gallery, National Museum, New Delhi. They have both collaborated together on a number of books.

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Colors of Tradition: Exploring the Artistry Behind Madhubani Paintings

Madhubani painting is also known as Mithila art as it is practiced in the Mithila region of India and Nepal. It has specifically originated from the Madhubani district of the state of Bihar. Traditionally, the women of this region created these paintings and in recent years, it has become a widely practiced art and has now become renowned throughout the world. This art expresses the creativity and culture of the people of Mithila and is passed from one generation to another. In this way, the heritage of Madhubani art has been preserved for many decades. The subjects of these paintings are usually religion, love, and fertility. Sometimes, social events like festivals, weddings, and royal court are also depicted in the paintings. The most commonly painted designs and themes are the forms of Hindu Gods and Goddesses such as Ganesha, Shiva, Saraswati, Lakshmi, Krishna, and Ram. The characteristic features of Madhubani paintings are their vibrant colors and eye-catching geometrical patterns. The empty spaces are filled with traditional motifs such as floral and foliate patterns, animals, birds, geometrical structures, and other designs. The local artists create these paintings using a variety of items such as matchsticks, twigs, brushes, pens, or even their own fingers. The paints are usually made with natural dyes and pigments.
As simple as it may seem, the making process of the world-famous Madhubani paintings is certainly not easy and requires lots of hard labor.

Traditional Madhubani paintings are done either on cloth, handmade paper, or canvas. Select the medium of painting as per your choice. If you have chosen cloth, attach it to cardboard to make a solid base. The making of the painting begins with making a double-lined border. This is a very important step because the border is filled with various geographical shapes and patterns or other motifs. The average width of the border is 1.5 - 2 cm. Now that the border is created, you will be left with a blank middle space. This is the main workspace. Start drawing your choice of figure, designs, and shapes. These must be relevant to the Madhubani painting themes.

When the key design has been made, the empty spaces in between are filled with some designs.
Now is the time to color the painting using vivid shades and hues. Colors in Madhubani are sourced from nature; Indigo is used to produce blue, flower juice produces red, turmeric gives yellow, leaves produce green, cow dung mixed soot gives black, and rice powder gives white.

To paint these colors, the artist uses a bamboo stick and wraps cotton around it. This acts as a traditional brush.
The entire painting is now painted using this special brush with natural vibrant colors. · However, in modern times, the common brush is used and instead of natural colors, artists prefer to use acrylic paints.

Since the entire painting is made with natural materials and colors, it appears simple yet enriching. Originally, this art was created on mud walls or soil grounds but when it evolved over many years, the people of Madhubani started to make it on fabric and paper. Today, this art has become globalized and is receiving worldwide attention and appreciation.