Símbolos Tántricos

Para el no entrenado, especialmente el simbolismo en el tantra puede ser

extremadamente confuso. Sin embargo, debe ser notado que en la psicología moderna.

Freud y Jung han clarificado varios aspectos del subconsciente en términos de

simbolismo. Dentro del budismo, algo como el subconsciencia es imposible por

definición –el darse cuenta sin consciencia no tiene sentido, pero ciertamente hay áreas

de nuestra mente de las que estamos apenas conscientes. Para lograr acceder y

transformar estos aspectos más sutiles y escondidos aspectos de nuestra mente, el uso

de símbolos puede ser muy efectivo.

Jung describe a los arquetipos como “patrones de comportamiento instintivo” Una

definición de arquetipos que Jung usa se refiere a “imágenes primordiales”, o figuras

arquetípicas que son activadas y después cubiertas o envueltas de una coloración

emocional de derivación personal. Esto ocurre cuando se desarrolla una situación

emocional (o espiritual) que corresponde a un arquetipo particular… Por ejemplo “El

Viejo Sabio”, el “Infante Divino”, “La Madre Siempre Generosa”, “El Patriarca”, “La

Seductora” o “El Charlatán” – son todas figuras simbólicas recurrentes en sueños,

literatura y religiones. Cuando el nivel arquetípico del inconsciente colectivo es tocado

en una situación, hay intensidad emocional al igual que una tendencia hacia la

expresión simbólica. Entonces el nivel de experiencia usual y cotidiano se altera; hay mas

“magia” en el ambiente. Uno puede volverse “inspirado” y convertirse en un “guerrero”

que emprende una “cruzada”. - Jean Shinoda Bolen en “The Tao of Psychology”

La última palabra de esta cita es importante en el concepto completo de tantra; puede

ser eficiente en acrecentar el progreso espiritual, pero si se utiliza inadecuadamente,

puede conducir a locuras como “cruzadas” personales y “guerras santas”. Esto presenta

otra buena razón para el tradicional secreto de las prácticas tántricas y la dependencia

en un verdadero maestro espiritual.

Otro aspecto importante es el hecho de que el buda claramente explicó que un “ritual

sin sentido” no debe ser practicado. Así que por definición, uno pudiera decir que el

ritual dentro del budismo debe de estar lleno de significado (simbólico).

To give an impression of the vast symbolic meaning of many objects used in Tibetan

Buddhist tantra, below is a summary excerpt from the excellent book "The Encyclopedia

of Tibetan Symbols and Motifs" by Robert Beer.

"At the centre of the vajra is a flattened sphere representing the dharmata as the

'sphere of actual reality'. This sphere is sealed within by the syllable HUM, whose three

component sounds represent freedom from karma (Hetu), freedom from conceptual

thought (Uha) and the groundlessness of all dharmas (M). On either side of the central

hub are three rings [which] symbolise the spontaneous bliss of Buddha nature as

emptiness, signlessness and effortlessness. Emerging from the three rings on either side

are two eight-petalled lotuses. The sixteen petals represent the sixteen modes of

emptiness. The upper lotus petals also represent the eight bodhisattvas, and the eight

lower petals, the eight female consorts. Above the lotus bases are another series of

three pearl-like rings, which collectively represents the six perfections of patience,

generosity, discipline, effort, meditation and wisdom. A full moon disc crowns each of

the lotuses, symbolising the full realisation of absolute and relative bodhicitta Emerging

from the moon discs are five tapering prongs, forming a spherical cluster or cross. The

four [outer] curved prongs curve inwards to the central prong, symbolising that the four

aggregates of form, feeling, perception and motivation depend upon the fifth aggregate

of consciousness. The five upper prongs of the vajra represent the Five Buddhas

(Akshobhya, Vairochana, Ratnasambhava, Amitabha and Amogasiddhi), and the unity of

their five wisdoms, attributes and qualities. The five lower prongs represent the female

consorts of the Five Buddhas (Mamaki, Lochana, Vajradhatvishvari, Pandara and Tara)

and the unity of their qualities and attributes. Double VajraThe Five Buddhas and their

consorts symbolise the elimination of the five aggregates of personality. The ten prongs

together symbolise the ten perfections (the six mentioned above plus skilful means,

aspiration, inner strength, and pure awareness); the 'ten grounds' or progressive levels

of realisation of a bodhisattva; and the ten directions. Each of the outer prongs arise

from the heads of Makaras (sea monster). The four Makaras symbolise the four

immeasurables (compassion, love, sympathetic joy and equanimity); the four doors of

liberation (emptiness, signlessness, wishlessness and lack of composition); the conquest

of the four Maras (emotional defilements, passion, death, divine pride and lust); the four

activities or karmas; the four purified elements (air, fire, water, earth); and the four joys

(joy, supreme joy, the joy of cessation and innate joy).

The tips at the end of the central prong may be shaped like a tapering pyramid or

four-faceted jewel, which represents Mount Meru as the axial centre of both the outer

macrocosm and inner microcosm. The twin faces of the symmetrical vajra represent the

unity of relative and absolute truth."

Padmasambhava, Guru Rinpoche (Precious Teacher) is depicted in 8 ways that

commemorate events in his legendary life. When the ministers of the King of Udyana

try to burn Guru Rinpoche and his consort alive, he transforms the flames of the pyre

into a lake. The form he assumed when he emerged in the centre of a lotus with

Mandarava is known as Guru Pema Dorje Tsal -- the Guru with Lotus and Vajra. In this

form, he is invoked as Benzar Guru, another way of saying Vajra Guru.