The worship of oneself must be done with elements that are pleasing to the senses.
Let my idle chatter be the muttering of prayer, my every manual movement the execution of ritual gesture, my walking a ceremonial circumambulation, my eating and other acts the rite of sacrifice, my lying down, prostration in worship, my every pleasure enjoyed with dedication of myself, let whatever activity of mine be some form of worship of you.
In the previous post in this series I gave a brief discussion on what could be thought of as a ‘tantric’ perspective on the senses. Now I will move onto describing the “short form” of this practice, which takes the form of a short puja sequence. Continue reading »
Madhu Khanna should need no introduction from me. She was one of the first contemporary scholars to produce a comprehensive examination of Srikula with her Ph.D dissertation – The Concept and Liturgy of the Śricakra Based on Śivānanda’s Trilogy (Oxford University, 1986) – and her publications include: Yantra: The Tantric Symbol of Cosmic Unity (1994), Rta, The Cosmic Order (2004), and Asian Perspectives on the World’s Religions After September 11 edited with Arvind Sharma, (2013). She is currently the director of the Tantra Foundation. Continue reading »
“The understanding of Śaivism can only aspire to objectivity if it includes a sincere effort to see how things are in the subjective perception of its practitioners. One has to be able to enter into the spirit of their world, to be with them intimately, to see what they are saying and why they are saying it, to go beneath the surface of their texts. There has to be empathy.”
In the opening post to this series examining Saundaryalahari I noted that, as a text, Saundaryalahari “works” in a variety of ways: it can be read simultaneously as a literary work (Kavya); as a ritual manual (prayoga), as a work of devotion (bhakti) and as a text which hides/encodes tantric “secrets”.
When Saundaryalahari is sung, recited, listened to, contemplated upon, these multiple registers coalesce, offering a vision/encounter with the goddess (Tripurasundari Devi). As hymn or prayer, Saundaryalahari opens, points the way to – a direct encounter with Devi – an encounter which requires and produces transformation in all whom it touches. To speak, to hear, to contemplate Saundaryalahari is to enter into a direct relation with Devi – to attend Her and be attended to by Her. Continue reading »
In this final part of The Fantastic World of Lobsang Rampa I will discuss the Rampa books’ portrayal of Tibet; briefly explore the UFO-related themes in his writings, and round up with some general conclusions. Continue reading »