By André Padoux, Roger-Orphe Jeanty
Notwithstanding many practitioners of yoga and meditation are acquainted with the Shri Chakra, a sacred diagram, few totally comprehend the intensity of that means during this illustration of the cosmos. The Yoginihrdaya, a Hindu tantric textual content relationship again to the 10th or 11th century Ce, discloses to initiates the key of the center of the Yogini, or the excellent fact: the divine aircraft the place the Goddess (Tripurasundari, or cognizance itself) manifests her strength and glory, via her yantra, mantra, and worship. André Padoux, with Roger Orphe-Jeanty, deals the 1st English translation of this seminal textual content. Padoux demonstrates that the Yoginihrdaya isn't really a philosophical treatise aimed toward expounding specific metaphysical tenets. quite it goals to teach a manner in the direction of liberation, or, extra accurately, to a tantric kind of liberation during this life-jivanmukti, which promises either liberation from the fetters of the realm and domination over it.
"This long-awaited English-language variation of André Padoux's vintage examine and translation of the Yoginihrdaya is a window onto a remarkably subtle ritual and metaphysical process. provided in a transparent and interesting layout, it's an incredible creation and consultant to the area of Hindu Tantra." --David Gordon White, J. F. Rowny Professor of Comparative faith, college of California, Santa Barbara
About the Authors
André Padoux is Senior examine Fellow (retired) on the French nationwide middle for medical Research.
Roger-Orphé Jeanty is an self reliant practitioner of Kashmir Shaivism and Sri Vidya.
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Extra info for The Heart of the Yogini: The Yoginihrdaya, a Sanskrit Tantric Treatise
The nyāsa of Śrīkanṭha is an imposition of ﬁfty Rudras, of which Śrīkanṭha is the ﬁrst. The 8 Vāgdevīs, as we've seen, are the Mātṛkās, Kāmesvarī, and so forth, mistresses of the vargas of the Sanskrit alphabet. The imposition of “the cakras of ﬁre, and so forth. ” is a posh process. First to be imposed are the cakras of the 3 luminaries (dhāman), hearth, Moon, and solar; then the 4 major pīṭhas of the Śrīvidyā, Oḍḍiyāna, Kāmarūpa, Jālandhara, and Pūrnagiri, with their regents, powers, and attendant goddesses. the main points of this technique are given in the Dī. Then a final imposition is to be made: Having made a common imposition of the 3 tattvas [separately] and jointly, followed by means of the 3 bījas of the vidyā, from the ft to the navel, the neck, and the pinnacle, //85// then having identiﬁed himself with the best, [the oﬃciant of the ceremony] needs to oﬀer to the Goddess a libation whose drinks are the nectars of moon and ﬁre. //86// tattvatrayam samastam ca vidyābījatrayānvitam / pādādinābhiparyantam āgalam sirasas tathā //85// vyāpakam caiva vinyasya svātmīkṛtya param punaḥ / samtarpayet punar devīm saumyāgneyāmṛtadravaiḥ //86// the 3 tattvas (tritattva) are Śiva, sakti, and nara (God, the power, and man), the 3 elements of the cosmos, each one being imposed whereas uttering one of many 3 elements of the srīvidyā, the cosmic divine totality being therefore imposed at the adept ahead of he starts off the ritual of the pūjā. based on the Dī, the moon is the “half-kalā of HA with out moment” (anuttara), that's, Ḥ, that's within the triangle on the middle of the thousand-petaled lotus put on the base of the kunḍalinī, while the ﬁre is the letter S within the triangle on the heart of the four-petaled lotus of the mūlādhāra. (The mantra to be imposed is for that reason SAUḤ, the bījamantrra of Paṛā, the splendid goddess of the Trika. ) From there, a ﬂow of nectar 116 t he hea rt of the yo ginī concerns, as a result of the fusion of the amṛtakunḍalinī of moon and the agnikunḍalinī of ﬁre, one ﬂowing downward and the opposite upward, assuming the double (sexual) point of the union of yoni and liṅga. it really is hence, O Worshipped via the Gods! that the fourfold imposition is to be played. The sixfold nyāsa, O expensive One! that of Animā, and so forth. , and that of the mūladevī, and so on, //87// and likewise that of the puriﬁcation of the palms [must be played thoroughly] through the adept in an effort to thoroughly eﬀect his item. evam caturvidho nyāsaḥ kartavyo vīravandite / ṣoḍhanyāso ‘nimādyas ca mūladevyādikaḥ priye //87// karasuddhyādikas caiva sādhakena susiddhaye / This item, says the Dī, is liberation, no longer the ownership of supernatural powers, given that those are already possessed through the adept who's a sādhaka. they're to be played each one individually within the morning, on the time of the ritual worship, in the course of the ceremony of homa //88/ and the japa; or the simplest of adepts will do them all in the course of worship. prātaḥkāle tathā pūjāsamaye homakarmani //88// japakāle tathā teṣām viniyogaḥ pṛthak pṛthak / pūjākāle samastam vā kṛtvā sādhakapuṅgavaḥ //89// The observation explains that the sixfold nyāsa is to be performed within the morning, on the time of the worship, the nyāsa of the Siddhis, Animā, etc; the imposition of the Goddess, and so forth, happening with the homa and the karasuddhinyāsa, etc, having to be played whilst doing japa.