The Sri Yantra enstasy prior to ecstasy device

This icon (note: without a point or image at its midst) is ancient India’s most efficient self-escendence device. If the device has a point or an image at its core then it operates as a self-transcendence device.

The device works on the principle of the pencil sharpener. In the pencil sharpener the pencil’s wood is cut off so that the graphite point (i.e. its true (because inner) self) emerges. To gain entry to and progress to the core of the icon, the meditator must increase her concentration (in fact, condensation), in the (step by step) process relinquishing (blending off) her self. If and when she reaches (i.e. speeds up and therefore), indeed, becomes the core (i.e. as point, image or empty space), she attains perfect self-transcendence (with the point or picture) or perfect self-escendence, i.e. absolute freedom Sankrit: ananta) from the point, picture and her self.

In many, indeed most mandalas, both Hindu and Tibetan Buddhist, the various triangles of the Sri Yantra are filled with minor and major images as user-friendly concentration aids which, however, must gradually be eliminated to reach the core. The meditator’s self-transcendence ends with the image she cannot eliminate, the most important and difficult one being the image at the very centre of the icon, and which blocks the way to the point, which in turn blocks the way to freedom.

However, the point has another function. It serves as the (perfect, i.e. factual, hence hardware) ‘other’. Bouncing off the ‘other’ at maximum speed (i.e. at perfect concentration/samadhi) fires the meditator (like a rocket) back out of the yantra (and which has served as a sort of black hole that sucked up the self, hence time and space) and into the real world. The extreme (indeed self-absolute) exit speed (i.e. acceleration) is experienced (i.e. self-transformed) as ecstatic rapture or bliss (Sanskrit: ananda). Arriving in the world at that speed (i.e. @c) makes the first contact in the world absolutely real (i.e. the Yantra cone is now reversed so that the image at its core is the first in the world contact). That initial contact allows the meditator to experience absolute realness, Sanskrit: sattva and to identify (i.e. become conscious of, Sanskrit: chittva) the contact as real (hence as perfect).

In short, zooming in removes the meditator from an un-real, unidentifiable (i.e. uncertain) world (i.e. her self) in which she is held in bondage, and which causes suffering (Pali: dukkha). Zooming out of the Yantra returns the meditator (indeed, pilgrim) @ maximum speed/energy to a world (and a new self, indeed to the newness as such) that is real, identifiable and free (i.e. unlimited), hence perfect, to which extraordinary (ecstatic) experience she responds with unspeakable bliss.