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Yogini Tantra
In the place of Kama, which is in the centre of the
place of Kama and in the middle of Kama, one should fashion a hole. By
Kama one should accomplish Kama, and should place Kama within Kama.
Having made oneself a lover by Kama, in the place of Kama one may
agitate the world - Vamakeshvarimatam IV, 45-46
The Yogini Tantra is a voluminous work held in high
regard by practitioners of Vamachara. In a total of 28 chapters divided
into two parts, it outlines every topic familiar to the Kaula and Vama
traditions. What follows is an abstract of the first nine patalas or
chapters.
First Patala
This opens with a familiar tantrik scene on Mount
Kailasa where Shiva
is addressed by Parvati. She says she has heard exposition of tantras
before on Shri Shaila mountain, in Varanasi, in Kamarupa and in Nepal.
Now she wants to hear more from Shiva, the world guru. In answer, Shiva
says he will declare the great Yogini Tantra, the giver of both wealth
and liberation. It is to be concealed and is unknown to all the devatas,
to the asuras, to the yakshas and others but he will declare it out of
love for Parvati.He starts by eulogising the
goddess as the cosmic mother (Vishvamata), dark as a thunderstorm,
wearing a garland and waist-band of skulls, with dishevelled hair,
completely naked (digambaram).
She has a rolling tongue, makes a terrifying roar,
three reddened eyes, and has a wide open mouth. She wears a moon digit
on her forehead, has the corpses of two boys as her earrings, and is
adorned with various gems, which are of the brightness of the Sun and
the Moon. Laughing loudly, she has two streams of blood pouring from her
mouth, while her throat is red with blood. In her four arms she holds
cleaver, head, and makes mudras dispelling fears and granting boons.
She, the supreme Nitya, is seated in reverse (viparita) intercourse with
Mahakala upon the corpse of Shiva. The whole scene is set in the
cremation ground.
After this detailed dhyana of
Kali, Shiva begins to
outline the tantra, declaring that he is Parvati's slave.
He starts with the characteristics of the guru, who
he describes as the root of all shastra, the root of this world and the
very self of Parabrahma and the essence of Shiva. The guru can save a
disciple where even gods and goddesses cannot intercede. The guru's
family is to be considered as identical with the guru. There follows a
dhyana of guru in the palace of wish-fulfilling gems on Mount Kailasa,
surrounded by hosts of Bhairavas. The palace is surrounded by the seven
oceans.
The guru is one with Mahakala Adinatha and knows all
mantras, whether they be Shakta, Vaishnava or Ganapatya. The greatness
of the guru is hymned in all the shastras.
Second Patala
Devi asks Shiva to speak of Kali and Tarini. Shiva says
that Kalika is the greatest of the great vidyas, supreme and giving
nirvana and liberation to people. Her disciples are Brahma, Vishnu and
himself. If a sadhaka recites the Kali mantra, he becomes her son. Kali,
Tara and
Cchinna are the
mahavidyas. One successful in Kali becomes similarly successful in the
others. Shiva begins to speak of initiation. He says that the rosary to
be used in the puja should be made of human skullbone for long-lasting
success. A sadhaka or sadhika may also use crystal or ruby rosaries. A
full rosary should have 108 beads. The meru, or bead to mark the
beginning and the end of the mala, should be made of a king's tooth.
Shiva proceeds to outline the number of times the mantra should be
recited holding the rosary and the way the fingers should count. He
speaks of the nature of other rosaries including pearl, tulsi (basil)
when worshipping Vishnu, ivory for Ganesha, and
rudraksha or red sandalwood for Tripura. Dhattura
growing in a cremation ground is used for Dhumavati. He then describes
ritual accessories to be used in the puja and the times in bright and
dark fortnights of the moon which are favourable and unfavourable as
well as other restraints due to time as well as suitable places for the
rite.
Third Patala
Devi asks how catastrophes including war and fever can
be warded off. In reply, Shiva recites a kavacha or armour which can be
used to protect against malefic influence. It is not to be revealed
lightly. He then speaks of a way to subjugate the world
(jagadvashyakara). Sage Narada also asked Shiva to speak of this of old.
Shiva says that when she is imagined as a naked Devi,
Kali is the deludress of the world. He then gives the Trailokya Mohana
Kavacha (armour bewildering the three worlds). Kalabhairava is the rishi
of the mantra, anushtubh is the metre, Shmashana Kali is the devata.
After giving the armour, Shiva describes how to make it. It should be
written on bhurja (birch) bark and worn round the person. It should be
written on the eighth day of the bright fortnight and placed inside a
golden container. Wearing it on different parts of the body gives
different results. On the head, it destroys disease. On the right
shoulder, it gives whatever is desired. Vishnu now chimes in and says
Narada achieved the desires he wanted by employing this kavacha.
Fourth Patala
The Devi now wants to know of other prayogas to give
dominion, knowledge and wealth. Shiva mentions the Phetkarini Tantra
and the Nila Tantra as sources. One process is to draw a hexagon
with the mantra of Tara within plus the sadhya (the object). Devi asks
about the satkarmas, six magical acts. Shiva says these are pacifying,
subduing, causing enmity, driving away, uprooting (uccatana) and causing
death. He says there are six Shaktis appropriate to these acts. The
Padmini is suitable for pacifying and Sankhini for subjugation. He then
outlines the mantras appropriate to the six acts.
Fifth Patala
Shiva describes a great sadhana in the cremation ground,
involving the fifteen Kali Nityas. This sadhana can also be performed in
a desert, by the side of a river, on a mountain, at a crossroads, at the
root of a Bilva tree, at a place where there is a single lingam, at a
place where there are no people as well as in the cremation ground.
Sixth Patala
Devi asks about the different classes of sadhaka. Shiva
says they are divided into the divya (divine), vira (heroic) and pashu (herdlike)
categories. The meditation for the divya should be concealed, Shiva
speaking of vira meditation. He says a vira should meditate on the three
bindus in the form of a 16 year old woman. The first is as bright as
10,000,000 dawn suns,extending from the head to the breasts. The second
extends from the breasts to the hips and the third from the yoni to the
feet. This is the Kamakala form, the very essence of Brahma, Vishnu and
Shiva. The vira and the divya may employ madya, mamsa, matsya, mudra and
maithuna (the five 'm's) in their worship. According to Shiva, the
rishis, the vasus, the daityas all became great through this puja. Shiva
speaks of this worship for the four Hindu divisions (varnas) and also
for the Avadhuta. Much of this material is repeated in the
Yoni Tantra.
He says the great nectar flows from Kundalini when it has risen to the
top of the head. This is the great wine. She is the supreme Shakti
within the body.
Seventh Patala
Devi asks Shiva to tell her of Devi Svapnavati (she who
moves in sleep). He gives the mantra. Shiva says: 'This Svapnavati Vidya
is very hard to obtain in the three worlds. It is the cause of great
miracles, declared by Mahakala.' It should be recited 108 times then
Svapnavati visits in sleep always. A sadhaka who masters the mantra sees
everything in his dreams he wishes. The god then speaks of the
Mritasanjivani vidya. This appears to give the power of bringing back
the dead to life. He describes other vidyas including Madhumati and the
Trilokyakarshi vidya. This attracts whatever a sadhaka desires in the
three worlds. Maidens will cross oceans and mountain ranges to get to
him. Shiva goes on to give vidyas of Padmavati, the Vashikarani vidya.
He then returns to the topic of Svapnavati. This appears to involve
awakening while in the dream state (lucid dreaming?). The mantras should
be concealed and given only to the devoted, the unstained otherwise
hosts of Dakinis consume a person.
Eighth Patala
Shiva speaks of the Yoginis. They look terrifying, with
blazing eyes and 50 lakhs of faces. The daitya Ghora then recites a hymn
to Devi, celebrating her victory over the Daityas. Shiva chimes in,
praising her greatness in battle. Towards the end of the patala, Shiva
gives a meditation image of Shakti as Kali.
Ninth Patala
Shiva starts this lengthy chapter by speaking of the
Devi as the Brahmanda, the macrocosm. In this guise, she has an immense
form, with millions upon millions of arms and heads. She is the sum of
everything, containing puranas, vedas, smriti and vedas. As such she is
of the brilliance of millions upon millions of suns and moons and fires,
consisting of all knowledge, all paths, all dharma, all bliss, all
shastra, all veda and all worlds, in short, everything. Then follows a
meditation on Shakti as being present in the different parts of the
body. Shiva closes by saying that Kali is the form of consciousness
(citrupa), the impartite absolute. |
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