the journal of hindu studies volume 4 issue 3 2011 [doi 10.1093%2fjhs%2fhir035] lidke, j. s. -- the...

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The Resounding Field of Visualised

Self-Awareness: The Generation of SynestheticConsciousness in the S ra Yantra Rituals of

Nity@Xonas ik@r>ava Tantra

Jeffrey S. Lidke*

Associate Professor of Religion and Chair, Department of Religion and Philosophy, Berry

College, Rome, Georgia *Corresponding author: [email protected]

Abstract: In this article, I utilise current scholarship on synesthetic experienceas a lens for evaluating the multi-layered cognitive and artistic processes bywhich Sr a Vidy@ practitioners construct, visualise, and embody the primary

symbol of their clan, the Sr a Vidy@ diagram. This diagram is simultaneously amulti-hued visual image and a resounding symphonic field of luminous, rever-

berating graphemes. By constructing externally and visualising internally a sound field that is not just heard but perceived, the s@dhaka generates anembodied poly-sensualised consciousness that is the ritualised means for achieving the aim of his S@kta practice: the recognition of one’s self asnon-distinct from that supreme goddess, Mah@tripurasundar a , she whose

self-emanation as the resounding, luminous Sr a Yantra, is itself the emergent cosmos.

Antyam ba jam athendukundavisadam sam. cintya citt@mbuje tadbh+t@m

dhr. tapustak@kXavalay@m devam. muhus tanmukh@t udyantam nikhil@kXaramnijamukhen@n@ratasrotas@ niry@ntam ca nirastasam. sr. tibhayo bh+ y@t [email protected]@ra: 9.42

If he meditates on the last of the three seed-syllables he will be free of thedanger of reincarnation after his death and will win the favor of the goddess of Eloquence-and-Learning. He must visualize a lotus [in his heart] and this [syl-lable] gleaming white as the moon or jasmine in its centre. He must then

visualize the goddess of the syllable holding a book and a rosary, then imaginethe alphabet pouring forth from her mouth again and again, [rising up from his

The Author 2011. Oxford University Press and The Oxford Centre for Hindu Studies. All rights reserved.For permissions, please email [email protected]

The Journal of Hindu Studies 2011;4:248–257 doi:10.1093/jhs/hir035Advance Access Publication 7 October 2011

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heart] and emerging from his mouth in an unbroken stream. (Translation bySanderson, 1990: 36)

In the nineteenth century, Francis Galton discovered a phenomenon he identi-fied as ‘synesthesia’, an experience in which the stimulus of one’s sense awakensthe perceptive capacities in another sense function. For example, a synesthete mayexperience that she not only ‘hears’ music but also simultaneously ‘sees’ it as aparticular pattern or hue. Since Galton’s discovery, interest in the implications of synesthetic phenomena has captured the imagination of scientists, scholars, andartists working in the interrelated domains of cognitive science, aesthetics, andthe performing arts. In this article, I utilise current scholarship on synestheticexperience as a lens for evaluating the complex cognitive and artistic processes bywhich Sra Vidy@ practitioners construct, visualise, and embody the primary symbolof their clan, the Sra Yantra (see Fig. 1). This sacred diagram is perceived simul-taneously as a multi-hued visual image and a resounding symphonic field of lu-minous, reverberating graphemes. By constructing externally and visualisinginternally a sound field that is not just heard but perceived, the s@dhaka generates

an embodied poly-sensualised consciousness that is the ritualised means to achiev-ing the aim of his S@kta practice: recognition of one’s self as non-distinct from thatsupreme goddess who manifests herself as the cosmos itself.

Figure 1. Image of Sri Yantra painted by Narayan Citrakar, Bhaktapur, Nepal, 1997. From thepersonal collection of the author.

Jeffrey S. Lidke 249


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In this article, I seek to apply a bi-directional hermeneutic whereby data fromcognitive sciences and from Tantric traditions mutually illumine each other. Inother words, my assumption is that not only is it the case that data on synesthesia

in Western scientific circles may shed light on the purpose and effects of Tantricritual, but also that the very structure of Tantric ritual may suggest a methodologyfor the production of synesthetic states of consciousness. If the latter hypothesis istrue, then it would call into question the widely held assumption that synesthesiais solely a byproduct of genetics. And, if Ramachandran and other cognitive sci-entists are right that synesthetic consciousness is a result of and produces ‘hyper-connectivity’ in the brain, then it could be argued that efforts to develop‘synesthetic technologies’ might be worth continued focus. Imagine this essay,playfully, as a dialogue between cognitive sciences and T@nktrikas who are both

engaged in experimenting with the ways that sense experience connects to andshapes consciousness.

History and theory of synesthesia in the West

‘Synesthesia is a rich way of feeling, highly enjoyable for those who possess it.To lose it would be a catastrophe, an odious state akin to going blind or notbeing alive at all. Synesthetes have a well-developed innate memory that isamplified by use of the parallel sense as a mnemonic device’

—Richard Cytowic (2002: 46).

One of the earliest authoritative systematic treatments of synesthetic in theWest is a work written in 1883 by Sir Francis Galton (half cousin of CharlesDarwin and father of eugenics), titled Inquiries into Human Faculty and ItsDevelopment . In this work, Galton notes with wonder that rare individuals seenumbers in colour. In that work, he wrongly assumes that conscious cannot beapplied to the control of such synesthetic activity. In this work (p. 108), he cites ateacher, Ms. Stones, and her claim of seeing the forms of letters as colour:

The vowels of the English language always appear to me, when I think of them,as possessing certain colours, of which I enclose a diagram. Consonants, whenthought of by themselves, are of a purplish black; but when I think of a wholeword, the colour of the consonants tends towards the colour of the vowels. Forexample, in the word ‘Tuesday,’ when I think of each letter separately, theconsonants are purplish-black, u is a light dovecolour, 0 is a pale emeraldgreen, and a is yellow; but when I think of the whole word together, the firstpart is a light gray-green, and the latter part yellow. Each word is a distinctwhole. I have always associated the same colours with the same letters, and noeffort will change the colour of one letter, transferring it to another. Thus theword ‘red’assumes a light-green tint, while the word ‘yellow’ is light-green atthe beginning and red at the end. Occasionally, when uncertain how a wordshould be spelt, I have considered what colour it ought to be, and have decided

250 Synesthetic Consciousness in the Sr a Yantra Rituals


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in that way. I believe this has often been a great help to me in spelling, both inEnglish and foreign languages. The colour of the letters is never smeared orblurred in any way. I cannot recall to mind anything that should have first

caused me to associate colours with letters, nor can my mother remember anyalphabet or reading-book coloured in the way I have described, which I mighthave used as a child. I do not associate any idea of colour with musical notes atall, nor with any of the other senses.

Galton notes that Ms. Stone goes on state that, ‘Perhaps you may be interested inthe following account from my sister of her visual peculiarities: “When I think of Wednesday I see a kind of oval flat wash of yellow emerald green; for Tuesday, agray sky colour; for Thursday, a brown-red irregular polygon; and a dull yellow

smudge for Friday” ’. Galton concludes that such synesthetic tendencies are apeculiarity of ‘hereditary function’, a sentiment re-articulated by a majority of cognitive scientists to the present.

One notable exception to the general trend within the sciences of assuming thatsynesthesia is a genetic byproduct is Jamie Ward. In his recent work, the Frog WhoCroaked Blue (Ward 2008), Ward argues that ‘non-genetic factors need to be con-sidered in a theory of synesthesia’ (p. 9). Ward posits that in addition todrug-induced states, synesthesia may be generated through art, ritual, and othercontexts in which multiple senses are activated and consciously conflated. Alongthese lines, Chara and Gillett (2004) argue that synesthesia can be generated by‘learned stimuli’: ‘If synesthesia can be experienced by most people and be gen-erated by learned stimuli, then it stands to reason that people’s religious beliefscould take on a synesthetic quality’ (p. 235).

Oliver Sacks (2008) discusses research on a professional musician who naturallysees and tastes music. For example, the Major third is sweet while the Majorseventh is sour (Sacks, p. 173). He also notes the case of a number of musicianswhose ability to see music has enhanced their experience of music and abilities tocompose and perform. This includes the eminent composer Michael Torke, whoclaims to experience music as inherently colourful, and the songwriter PatrickEhlen who wishes others could experience sound as the integrated totality that hedoes and who also claims numerous benefits from his synesthetic abilities, includ-ing powers of memorisation and creativity.

The possibility that synesthetic experience heightens and reflects evolutionaryadvancements in human cognitive functions is intriguing. In the 1980s, the famedneurologist and author Richard Cytowic reinvigorated interest in synesthesiathrough the first neurophysical studies on synesthetes. In his pioneering work,Synesthesia: A Union of the Senses (2002), Cytowic concluded, accurately, thatsynesthesia is linked to the co-activations of two or more sensory areas in the

neocortex (pp. 178–9). Meanwhile, in Europe, Simon Baron-Cohen and JohnHarrison (1997) were conducting a research to test the premise of Galton thatsynesthesia may be hereditary. Their work showed that one-third of synesthetes



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came from families in which there was a history of synesthesia. This meant, ob-viously, that two-thirds of synesthetes came from families in which there was nosuch history. Nevertheless, Baron-Cohen and Harrison continued to repeat the

standard refrain: synesthesia is a result of genetics. Cytowic notes in this regardthat, ‘the system [of scientific evaluation on synesthetic data] seems to be stuck inan antideluvian paradigm of orthodoxy that grinds and squeezes out imaginationand creativity in the quest for conformity’ [Editor note: page pending fromcontributor!]

The research of V. S. Ramachandran and E. M. Hubbard (2001) is perhaps oneplace to turn for a way out of limiting ‘paradigm of othodoxy’. Their work hascontributed significant advances in the testing of synesthesia, leaving little doubtthat there is a physiological and psychological basis for synesthesia. Moreover,

their research provides data that suggests synesthesia results as a condition of ‘hyperconnectivity’ and cross-activation in the sensory cortex that exists for most,if not all, humans and some primates at an early stage in brain development butremains intact for only about 1 in 2000. While the continuation of synestheticcapacities is considered by ‘orthodox scientists’ to be a ‘genetic abnormality’(Sacks 181) that results in the inability to distinguish the senses, Ramachandranand Hubbard find in synesthetic phenomenon profound implications for the de-velopment of human language, the origins of metaphor, and possible links to andexplanations for extraordinary religious experience.

In summation of my initial and tentative research on synesthesia in the cogni-tive sciences, I offer the following observations:

(i) the general trend in the cognitive sciences is to interpret synesthesia as abyproduct of genetics;

(ii) that there is an increasing awareness that synesthesia is less rare than oneimagined (one in twenty-three amidst artists in one study [Cytowic 2009]);

(iii) that types of synesthetic experience are more diverse than once imagined:Cytowic identifies 54 types (Cytowic 2009);

(iv) that synesthetes have enhanced forms of sensory experience that generallyresults in more developed cognitive states, such as an increase in memoryfunction or heightened creative abilities; and

(v) that synesthesia may be both the result and cause of a brain system char-acterised by ‘hyperconnectivity’ in which the brain functions generate sim-ultaneously an orchestra of ‘neural distributive networks’ affecting a ‘totalneurological system’ that brings multiple regions of the brain into simultan-eously neurological collaboration.

It is particularly this final point, regarding the possibility that synesthetic experi-

ence is both the result and cause of a ‘total neurological system’ that I wish for usto bear in mind as we now turn to a discussion of ritual practices in theNity@ Xonasik@r >ava.



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Before doing so, let us try together a simple non-religious synesthetic exercise.See in your mind’s eye the capitalised form of vowel A. Draw, in other words,capital letter A into your cognitive field. Now proceed to colour that form red.

Think of the vowel A as you see it in its capitalised coloured form. Open your eyes.Continue to see and think of a vowel A. If you can do this to any degree, you areengaged in synesthetic functioning. If this coloured vowel-form A resonates as anote, say, for simplicity’s sake, the note A, and if you can simultaneously see vowelform A and hear that thought-form as the note A, then you are fusing into yourcognitive field the functions of thought, vision, and hearing. If the perceivedA-note resounding red-coloured vowel-form A ‘tastes’ like mango, then taste hasbeen added to a growing field of united senses. And if the A-note resoundingmango-tasting A-form now feels warm, then touch has been added to that emer-

ging field. And if the A-note resounding (hearing-capacity)-warm feeling(touch-capacity)-mango tasting (taste-capacity)- A-form (sight capacity) ‘smells’like frankincense, then the capacity to smell, too, has been brought into thefield of fused senses. If you are not able to merge all five senses through thissimple exercise, perhaps you can imagine that if you made it your daily effort tobring about such a synthesis, in conjunction with elaborate ritual processes, itcould perhaps be done.

‘Synesthetic consciousness’ as cosmogonic tantric ritual

Mantra-ma>nala-var>@tma-r+pi>am. karu>@-par@mDh@ma-sam. vit-svar+p@m. t@m. vande tripurasundaram.

I worship that Tripurasundara whose own form is the foundation for conscious-ness, who is supreme compassion, and whose body is composed [simultan-eously] of mantra, ma>nala and var >a ( Artharatn@vali 1.1) (see Fig. 2)

The ninth-century s@kt @ gama, Nity@ Xonasik@r >ava (NS. A) functions primarily as aritual manual ( paddhati) for the construction and worship of clan goddess,Mah@tripurasundara, she who emanates photically as Sra Yantra and phonicallyas the Perfected Mother of Sound, Siddham@tr. k@. My exegesis of this text is in-formed by the Trika Kaula commentaries of two twelfth-century Kasmira exegetes:Siv@nanda’s R . juvimarsini and Vidy@nada’s Artharatn@vala , well-versed in the TrikaKaulism of Abhinavagupta and his own teachers (Lidke 2012). Both Siv@nanda andVidy@nanda conflate the acquisition of power (a primary concern of the elitepatrons who sponsored Sakta texts) with the quintessential insights of the TrikaKaula system: the yogic recognition of a supreme I-ness which recognises itsown nature by emanating and contracting as the infinite cycles of creation

and dissolution. In other words, while the NS. A itself promises a host of culticpowers (kula-siddhis) through the worship of Mah@tripurasundara, Siv@nanda andVidy@nanda posit a still greater attainment: the recognition of Mah@tripurasundara



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not simply as a divine bestower of powers (a notion grounded in dualistic con-sciousness), but as one’s own self-nature (the fruit of nondual consciousness).Towards this end, they identify the artistic rituals of Sra Yantra as the means bywhich this recognition-of-self-as-divine is achieved.

As I have detailed, cognitive studies on synesthesia suggest that the conjoiningof sensual experience has a transformative ‘networking impact’ on one’s con-sciousness. Perhaps it is the case that this ‘networking impact’ is an intendedresult of cultic ritual practice. As Skora (2009) has shown, sense conjoining inthe construction and worship of the Tantric ma>nala is not limited to the sensesof sight and hearing. Through mudra (gesture) and ny@ sa (placing), touch is stimu-lated; through ritual offering and consumption, taste is activated; and, through theburning of sweet fragrances, the olfactory system is awakened (Cf., Timalsina,60–62). In this way, the ritual produces a multi-layered synesthetic condition inwhich the Deva’s form is at once heard, seen, felt, smelt, and tasted. Embodied in

this way through all the senses, the goddess is encoded into consciousness throughthe activation and conflating of the sense functions. In other words, the worship of Deva requires synesthesia.

Figure 2. Image of Tripurasundara as anthropomorphic deity, as geometric pattern (ma>nala), andsacred sound (mantra). Royal wedding invitation for the daughter of the late King Birendra of Nepal, 1997. Author’s personal copy.



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As a symbol of Deva, the Sra Yantra necessarily exhibits a dyadic nature. On theone hand, it is a visual image, revealing the luminous symmetrically precise visualemanations of divinity. On the other hand, it is a sonic field, reverberating as the

seed mantras that comprise the acoustic body of Siddham@tr. k@. The linking of these photic and phonic fields is the key to the ritual and it is a linking that occursat both outer and inner levels. At the outer level, the s@dhaka acts as an artist,ritually constructing the Sra Yantra with materials that comprise his tantric shrine.At the inner level, this outer act is mirrored by a cognitive process in which the

s@dhaka mentally constructs the Sra Yantra on the shrine of his own consciousness.In this way, the s@dhaka replicates the primal cosmogonic act in which the Goddessemanates her essential being as an apparently ‘outer’ cosmos that in fact abidesalways within the infinite expanse of her own consciousness. Just as the Goddess

emanates and dissolves creation within her own infinite being, the s@dhaka toocreates externally and visualises internally a Sra Yantra as a luminous acoustic fieldby which he cognises his own synesthised self as the Goddess herself.

This dialectical relationship between a pure consciousness, on the one hand, anda manifest cosmos, on the other, at first resembles the S@mkhyan dualism of puru Xaand prakr . ti. For Siv@nanda and Vidy@nanda, however, this apparent dualism yieldsto a non-dualist mantralogy (science of empowered phonemes) in which ‘aware-ness’ and ‘emanation’ are identified as inseparable aspects of the Siddham@tr. k@,she whose essential nature emits the Sanskrit phonemes ranging from ‘a’ to ‘ha’

Through this interpretive stance, Siv@nanda and Vidy@nanda maintain the aims of both S@m. khya-Yoga and Tantra: liberative-cognition is achieved in combinationwith the acquisition of power and the experience of pleasure. Liberation, in otherwords, is both empowering and pleasurable. And liberation includes the awarenessthat ‘self’ is at once transcendent too yet within the cycles of cosmic flux.

It is, in fact, in this movement from uncreated to created, from stillness tomovement, from unstruck sound to struck sound, from transcendent to embodied,from non-being to being, that Siv@nanda and Vidy@nanda perceive the essentialnature of a divinity whose dyadic patterns contain, reflect, and reveal a liberatingtriad. Through the construction and destruction—at inner and outer levels—of theSra Yantra, the s@dhaka harnesses action, desire, and knowing (kriy@-icch@-

jn @na-sakti) as the triad of powers whose interwoven, inseparable natures aresymbolised by the inner triangle at the yantra’s core. From the one Goddesscomes a field of dyadic patterns that are themselves the result of a trinity of powers. These in turn give rise to the 36-fold creation, containing within itself not only the field of infinite possibility, but also more concretely the ten sensefaculties (karmendriya and jn @nendriya) as extensions of one’s cognitive functions(buddhi, manas, and aham. k@ra) together with the subtle elements of sense percep-tion (tanm@tra) and the five elements as interrelated facets of a singular emanation

of embodied consciousness. By identifying each of these embodied componentswith a var >a (letter) within the visual-acoustic field of the ma>nala and in turn‘placing’ these var >as into one’s own body through ny@ sa, the s@dhaka produces a



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complex synesthetic condition, thereby achieving the unitive states awarenessevoked in the texts.

In other words, it is through the recitation, visualisation, and interpretation of

the Sanskrit phonemes—the luminous sonic m@tr . k@s that comprise the Sra Yantra—that the s@dhaka empowers the poly-sensual cognition of his goddess-self.By combining his mastery of language (in its supreme, causal, subtle, and grossforms) with his abilities as a yogin, ritualist, and artist, the s@dhaka recreatescosmogenesis as a liberating artistic event in which subjectivity—the triadicfield of the signifier (v@caka) as letter (var >a), power-sound (mantra), and word( pada)—‘projects out’ (v@maka) as the objectified corollary to itself—the triadicinterlocking fields of the signified (v@cya) as world (bhuvana), being (tattva), andpower (kal@), which comprise the Sra Yantra’s body.

In R . juvimarsini and Artharatn@vala , we see the conjoining of a ‘synesthetic her-meneutics’ together with a refined artistry that challenges the s@dhaka to at oncefunction as a linguistic philosopher, yogin, priest, and artist. Through these mul-tiple roles, he encodes his own synesthised consciousness with the secret symbolof his clan’s chosen deity, Mah@tripurasundara. For Siv@nanda and Vidy@nanda, thefinal fruit of this creative act is the recognition that the Sra Yantra’s ultimatemessage is the triadic union of A (Siva) with Ha (Sakti) and M . (Bindu) in themah@mantra of perfected self-awareness: aham. . This synesthetic recognition of self as the integration of all patterns of emanation brands the s@dhaka as a rhyth-

mic, emanating, patterned being, oscillating from stillness into flux, from tran-scendence into embodiment, from singularity into a symmetrical multiplicity. Inthis way, he identifies himself as the cosmic flux itself, generating within hisconsciousness via ritual practice the Deva’s cosmic form as the auspicious seal of his now synesthised identity.

Conclusion

In this article, I have argued that recent theories on synesthesia in the cognitivesciences provide an intriguing context in which we can reflect bi-directionally onthe embodied nature of Tantric ritual, particularly as exemplified in the Sra Vidy@traditions of Siv@nanda and Vidy@nanda, two medieval commentators on the NSA.Engaging in such a bi-directional hermeneutics, we see that cognitive scienceprovides empirical data that suggests that a ‘union of the senses’ is a catalystfor and result of ‘hyperconnectivity’ in which the brain functions as a ‘total neuro-logical network’ as the result of heightened sense activity. While most neurologistssee this state solely as a result of genetics, Cytowic, Chara, and Ramachandransuggest that such states can be generated through creative, imaginative, andritualised activities. In this regard, I have posited that the structure and form of

Tantric ritual be analysed as a method for producing a ‘union of the senses’ as aresult of highly creative visionary activity in which sound and image is combinedwith taste, touch, and scent. This production of a unified polysensual



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experience—assuming they are possible—suggests that synesthetic states can begenerated and are not simply the result of genetics. If Ramachandran and Cytowicare correct that synesthesia indicates and facilitates an evolution of neurological

development, then perhaps Tantric cosmogonic ritual can be evaluated in a waythat strips the esotericism down to a sense-based cognitive activity whose effect—whether designed intentionally as such or not—is the generation of a state of consciousness that requires the conjoining of the senses. In this regard, theYantra itself can perhaps be seen as a symbolic map of the ‘total neurologicalsystem’ identified by Ramachandran as the result of synesthesia.

References

Baron-Cohen, S., Harrison, J. E. (eds). 1997. Synesthesia: Classic and Contemporary Readings.Cambridge, Mass: Blackwell.

Chara, P. J. J., Gillett, J. N., 2004. ‘Sensory Images of God: Divine Synesthesia?’ Journal of Psychology and Christianity 23: 234–40.

Cytowic, R. E., 2002. Synesthesia: A Union of the Senses, 2nd edn. Cambridge: MIT Press.Cytowic, R. E., 2009. Wednesday is Indigo Blue: Discovering the Brain of Synesthesia. Cambridge:

MIT Press.Galton, F., 1883. Inquiries into Human Faculty and its Development . London: MacMillan.Lidke, J., 2012. The Goddess within and Beyond the Three Cities: S@kta Tantra and the Paradox of

Power in Nep@la-Ma>nala. Lewiston, NY: Edwin Mellen Press. Includes translations of the Nity@Xonasak@r>ava-Tantra (NS. A) with two Sanskrit commentaries, Artharatn@vali

of Siv@nanda and R . juvimarsinI of [email protected], V. S., Hubbard, E. M., 2001. ‘Synesthesia: A Window into perception,Thought and language.’ Journal of Consciousness Studies 8: 3–34.

Sacks, O., 2008. Musicophilia. New York: Random House.Sanderson, A., 1990. The Visualisation of the Deities of the Troika. In: Andre, Padoux (ed).

Linage Divine Culet et Meditation dams L’Hindouism. Paris: Editions du CNRS.Skora, K. M., 2009. ‘The Hermeneutics of Touch: Uncovering Abhinavagupta’s Tactile

Terrain.’ Method and Theory in the Study of Religion 20 no. 4: 87–106.Timalsina, S., 2006. ‘Terrifying Beauty: Interplay of the Sanskritic and Vernacular Rituals

of SiddhilakXma.’ International Journal of Hindu Studies 10: 59–73.Ward, J., 2008. The Frog Who Croaked Blue: Synesthesia and the Mixing of the Senses. Routledge.



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