The Usefulness of the Yantras: Some Historical and Cultural Perspectives

Abstract

The Indian Art [1] has had several cultural and religious influences with different philosophical perspectives through the ages [2]. In this regard, the concept Rasa (from the sanskrit "essence" or "feeling of an aesthetic experience") proposed by the Indian sage Bharata Muni [3] is described as a mental, emotional and physical state experienced by the subject or observer in the perception of a work of art, such as painting or poetry. This sage proposed eight states of perception, with ever greater refinement, namely Raudram (from sanskrit "fury"), Bhayānakam (from sanskrit "horror"), Bibhatsam (from sanskrit "aversion, repulsion"), Sringara (from sanskrit "love, attraction"), Viram (from sanskrit "courage"), Kārunyam (from sanskrit"compassion"), Hāsyam (from sanskrit "laughter, joy"), Adbhutam (from sanskrit "wonder"). Subsequently, the philosopher Abhinavagupta [4] complemented this term with other Rasas, namely Vātsalya (from the sanskrit "love of the parents"), Sāntam (from the sanskrit "peace") and Bhakti (from sanskrit "devotion to God"). This Theory of Art and Aesthetics highlights the role of the observer's consciousness in the experience of a work of art. Nowadays, Rasa findings are seen in other fields of knowledge, such as, science [5]. It is known from the Principle of Complementarity of Quantum Mechanics that a quantum particle can be described as a "wave of probability” which is both “wave” and “particle” (in “potentia”) that comes true when an observation is made by an observer. It is the “conscious mind” of the observer who decides the aspect of reality he/she wants to observe. The paradox of having two contradictory situations happens, if we consider just a single level of reality the physical. In this case, as in the Rasa, the observer can see the “wave” or the “particle” aspect of the “wave of probability” in an exclusively way, like the exclusive states of consciousness of love or repulsion, horror or wonder in Rasas.In fact, the paradox disappears if we consider several levels of complexity and reality through a transdisciplinary approach known as “Hidden Third” [6]. Some epistemological interpretation of Quantum Mechanics argues that the “conscious mind” of the observer/subject or artist/engineer is interconnected with the observed object (the artistic or scientific work) that triggers the "aesthetic experience".Thus, the observed object is the manifestation of the “conscious mind” of the artist and/or engineer expressed through her/his thoughts, emotions/feelings and words [7].