Sri Yantra

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The elements of the Sri-Yantra are: (1) a square outer frame, composed of straight lines broken according to a regular pattern, (2) an inclosed arrangement of concentric circles and stylized lotus petals, (3) a concentric composition of nine interpenetrating triangles. The square framework is called, in the Tantric tradition, "shivered" (sisirita) i.e., trembling, as if with a chill. This curious expression does not refer to its symbolic meaning, but to its shape. What the "shivered" frame represents is a square sanctuary with four doors opening out to the four quarters, a landing before each entrance, and a low flight of steps leading up from the ground to the raised floor of the sanctuary. This sanctuary is the seat (pitha) of the divinity, and should be thought of as the center of the heart of the devotee. Herein resides his own particular "Chosen Deity" (ishta devata), who, finally, is to be understood as a symbolization of the divine nucleus of his own existence, his eternal, higher Self.

There are nine triangles in the figure, interpenetrating, five pointing downward, four upward. The downward-pointing triangle is a female symbol corresponding to the yoni; it is called "shakti." The upward-pointing triangle is the male, the lingam, and is called "the fire" (vahni). Vahni is synonymous with tejas, "fiery energy, solar heat, kingly splendor, the threatening fervor of the ascetic, the bodily heat of the warm-blooded organism, the life-force condensed in the male seed." Thus the vahni-triangles denote the male essence of the god, and the shakti-triangles the female essence of his consort.

The nine signify the primitive revelation of the Absolute as it differentiates into graduated polarities, the creative activity of the cosmic male and female energies on successive stages of evolution. Most important is the fact that the Absolute itself, the Really Real is not represented. It cannot be represented: for it is beyond form and space. The Absolute is to be visualized by the concentrating devotee as a vanishing point or dot, "the drop" (bindu), amidst the interplay of all the triangles. This Bindu is the power-point, the elusive center from which the entire diagram expands. And now, whereas four of the shakti-triangles link with their represented vahni-counterparts, the fifth, or innermost, remains over, to unite with the invisible Point. This is the Primal Shakti, consort of the transcendental Shiva, creative energy as a female manifestation of the pure, quiescent Brahman, the Great Original.

Like the Shiva-Shakti images, the Shri Yantra symbolizes Life, both universal life and individual, as an incessant interaction of co-operating opposites. The five female triangles expanding from above and the four male emerging from below, signify the continuous process of creation. Like an uninterrupted series of lightning flashes they delve into each other and mirror the eternal procreative moment-a dynamism nevertheless exhibited in a static pattern of geometrical repose. This is the archetypal Hieros Gamos, or "Mystical Marriage," represented in an abstract diagram-a key to the secret of the phenomenal mirage of the world.

This description by Nitin Kumar, Executive Editor, Exotic India.

References:

Zimmer, Heinrich. Myths and Symbols in Indian Art and Civilization. New Delhi: Motilal Banarsidass, 1990.

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.