Tantrism
Tantric traditions and Shaktism
Toward the end of the 5th century, the cult of the mother goddess assumed a significant place in Indian religious life. Shaktism, the worship of Shakti, the active power of the godhead conceived in feminine terms, should be distinguished from Tantrism, the search for spiritual power and ultimate release by means of the repetition of sacred syllables and phrases (mantras), symbolic drawings (mandalas), and other secret rites elaborated in the texts known as Tantras (“Looms”).
In many respects the Tantras are similar to the Puranas. Theoretically, the Tantras deal with (1) knowledge, or philosophy, (2) Yoga, or concentration techniques, (3) ritual, which includes the construction of icons and temples, and (4) conduct in religious worship and social practice. In general, the last two subjects are the most numerous, while Yoga tends to centre on the mystique of certain sound-symbols (mantras) that sum up esoteric doctrines. The philosophy tends to be a syncretistic mixture of Sankhya and Vedanta thought, with special and at times exclusive emphasis on the god’s power, or shakti. The Tantric texts can be divided into three classes: (1) Shaiva Agamas (traditions of the followers of Shiva), (2) Vaishnava Samhitas (“Collections of the Vaishnavas,” a name borrowed from the Vedic Samhitas), and (3) Shakta Tantras (“Looms of the Followers of the Goddess Shakti”). However, they all have the common bond of venerating the Goddess.
The surviving Hindu Tantras were written much later than many of those of Tantric Buddhism, which may have heavily influenced the Hindu texts. Although there is early evidence of Tantrism and Shaktism in other parts of India, the chief centres of both in Bengal, Bihar, and Assam.
Shaiva Agamas
Like much other Hindu sacred literature, this literature is vast and spans several centuries. It is possible here to summarize only classes of texts within the various traditions.
The sects of Agamic Shaivas (Shiva worshipers who follow their own Agama—“traditional”—texts) encompass both the Sanskritic Shaiva-siddhanta—i.e., those who accept the philosophical premises and conclusions of Shaivas in the north—and the southern Lingayats or Virashaivas (from vira, literally “hero”; a lingam is the Shiva emblem that is worshipped in lieu of images). The Shaiva-siddhanta traditionally has 28 Agamas and 150 sub-Agamas. Their principal texts are difficult to date, though most of them probably were not composed before the 8th century. Their doctrine states that Shiva is the conscious principle of the universe, while matter is unconscious. Shiva’s power, or shakti, personified as a goddess, causes bondage and release. She is also the magic Word, and thus her nature can be sought out and meditated upon in mantras.
Kashmir Shaivism begins with the Shiva-sutra, or “Lines of Doctrine Concerning Shiva” (c. 850), as a new revelation of Shiva. The system embraces the Shivadristi (“A Vision of Shiva”) of Somananda (950), in which emphasis is placed on the continuous recognition of Shiva; the world is a manifestation of Shiva brought about by his shakti. The system is called trika (“triad”), because it recognizes the three principles of Shiva, Shakti, and the individual soul. Virashaiva texts begin at about 1150 with the Vacana (“Sayings”) of Basava. The sect is puritanical, worships Shiva exclusively, rejects the caste system in favour of its own social organization, and is highly structured, with monasteries and gurus.
Vaishnava Samhitas
These consist of two groups of texts, Vaikhanasa Samhitas and Pancharatra Samhitas, which together include more than 200 titles, though the official number is 108. Vaikhanasa Samhitas (collections of the Vaishnava school of Vaikhanasas, who were originally ascetics) seem to have been the original temple manuals for the Bhagavatas (devotees of Vishnu), which by the 11th or 12th century had become supplanted by the Pancharatra Samhitas (collections of the Vaishnava school of Pancharatra—“System of the Five Nights”). The philosophy of the latter is largely a matter of cosmogony, greatly inspired by both Sankhya and Yoga teachings. The Lakshmi Tantra declares that surrender to the goddess Lakshmi as well as to Vishnu is necessary for salvation. The emotional and spiritual surrender is marked with a ritual in which the devotee transfers the burden of his salvation to Lakshmi and Vishnu, is given a new name, and is branded with the marks of Vishnu on his upper arms.
Apart from their theology, in which for the first time the notion of shakti is introduced into Vaishnavism, the Vaishnava Samhitas are important because they give an exposition of Vaishnava temple and home rituals. The texts also maintain that the supreme god Krishna Vasudeva manifests himself in four coequal “divisions” (vyuhas), representing levels of creation. These gods emanate as supramundane patrons before the primary creation is started by their shakti. In the primary creation, Shakti manifests herself as a female creative force. Practically, stress is laid on a type of incarnation—“iconic incarnation”—in which the divine being is actually present in a stone or statue, which thus becomes an icon; therefore, the icon can be worshipped as God himself.
Shakta Tantras
Shaktism in one form or another has been known since Bana (c. 650) wrote his Hundred Couplets to Chandi (Chandi-shataka) and Bhavabhuti his play Malati Madhava (early 8th century), about the adventures of the hero Madhava and his beloved Malati; both of these works refer to Tantric practices. There is no traditional authoritative list of Tantric texts, but many are extant.
Shaktism is an amalgam of Shaivism and mother goddess cults. The Shaiva notion that Shiva’s shakti, not Shiva himself, is active is taken to the extreme—without Shakti, Shiva is a corpse, and Shakti is the creator as well as creation. Another important notion (partly derived from Yoga philosophy) is that throughout the body there are subtle canals that carry esoteric powers connected with the spinal cord, at the bottom of which the Goddess is coiled around the lingam as kundalini (“coil”); she can be made to rise through the body to the top, whereupon release from samsara takes place. Important among the Shakta Tantras are the Kularnava-tantra (“Ocean of Tantrism”), which gives details on the “left-handed” cult forms of ritual copulation (i.e., those that are not part of traditional Hindu practice); the Kulacudamani (“Crown Jewel of Tantrism”), which discusses ritual; and the Sharadatilaka (“Beauty Mark of the Goddess Sharada”) of Lakshmanadeshika (11th century), which focuses almost exclusively on magic. The goddess cults eventually centred around Durga, the consort of Shiva, in her fiercer aspect.