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         Seven by Seven Grid

By Bolton and Macleod

When the Sri-yantra is first examined it soon becomes clear that a number of parameters must be fixed before it can be constructed. The design was first investigated with the assumption that it could fit into a square which it touched at six points with the vertices of the two largest triangles. These triangles, which are assumed to be equal in size, must be drawn first, and it then remains to fix three other points, viz. E, F and L (Figure 2).

The simple technique within a 7x7 square, a common motif in Indian Art, results in an error of only .2229 % of the length of side of the construction square. The error is a points U and P, not visible due to the pixelization.

Animation of the Construction

1. Define the square. (The vertices are indicated.)

2. Draw in the two largest triangles such that points A and B are one unit from the centre of the side of the square. Points C and D are thereby defined. Define points E and F; mid-line, one unit inwards. Draw FC and ED and extend about one unit. Points G and H are thereby defined.

4. Draw J H to level with F. Point K thereby defined. Draw horizontal through po ints K to meet E G D.

5. Define point L: mid-line, half a unit down from the centre. Draw L G to level with E; thereby defining Draw horizontal through points M to meet F H C.

6. Draw horizontal through L to meet F H C at N. Note that N L and J H K cross a t P. Define point Q and draw QN. Point R is thereby defined.

7. Draw horizontal through points R, meeting E G D and S. Define point T and dra w S T, cutting N L at U. The error of the diagram is represented by the horizont al difference between points P and U on the line N L.

8. Draw in the smallest triangle, horizontal first.

Plate, Mookerjee, Kali Yantra. Painting. Rajastan. Late 19th century A.D. The encompassing circle is avidya (ignorance);the eight petalled lotus is the eight-fold Prkriti consisting of earth, wter, fire, air, ether, manas (mind), buddhi (intellect) and ahamkara (egoism); the five triangles are the five jnanendriyas (jnana, knowledge; indriyas, senses), the five karmendriyas (motor organs) and the five pranas (breathing activities); and the bindu which is pure consciousness reflected in maya in the bija. Private collection.

Plate , Mookerjee, Sri Yantra. Copper plate. South India. 17th-18th century A.D. Sri Yantra repeats the form of the double triangle enclosed in a lotus within four walls. It is the symbol of Devi in two forms. Her own form (svarupa) and the form of the universe (visvarupa). This yantra is composed of two sets of triangles and chakras, on within the other, centered upton the bindu. The four triangles with points upwards represent the Siva element, and the five pointing downwards, the Sakti element. All are formed by the mula-prakriti (root-sakti) and the vikritas (manifestations) which, because of their creative power, are Prakriti. The nine chakras also represent sristi (creation), sthiti (maintenance) and samhara (dissolution), each set of three being formed by combinations. The ultimate object of meditation on this yantra is to realize the unit of jivatman (the meditator's individual soul) with the Devi. Practice of ritual transforms the minditself, and what at first semms merely as external yantra, with lines, corners and petals, becomes a pure mental state in the sadhaka himself. He, too, is a Sri Yantra, and he realizes himself as such. Private collection.

Plate , Rawson, Sri Yantra, with mantras, bearing thumb impressions in red of gurus, by which the yantra was re-activated. Rajasthan, c. 1800. Ink and colour on paper 9x8 in.

Plate , Rawson, Sri Yantra, a diagram of the continuous process of Creative Generation, with indwelling Mahavidya Devatas in all the triangles and stupa and lingam motifs combining Buddhist and Hindu symbolism. Nepal, c. 1700. Gouache on cloth 20 x 24 in.

Plate , Rawson Lingam, engraved with Sri Yantra, probably used as initation instrument for female Tantrikas, and for mediatation as symbol of the emergence of creation, symbolized by the incised Sri Yantra from the undifferentiated Ground of Being. Ranasthan, 17th century. Rock crystal h. 3 in.

Plate  Dagyab, A rough drawing (skya-ris) with the guide-lines for the basic figure, face and hands. The numbers given on the drawing denote the correct proportions which are based on the middle finger's width (sor) of the figure portrayed.