Hence, the Cosmic Linga and the Cosmic Yoni represented as the vajra and the padma, are really representations of the twin Holy Mountains, the Sumeru and the Kumeru. The Sumeru is Mt. Kailasa, the silvery abode of Shiva in the Himalayas. Mt. Kailasa is the Vajra Mountain and its icy shape is aptly called the Silver Mountain.
The Kumeru is the Vadavamukha (“Mare’s Mouth”) or Kalamukha (“Black Hole”). It is the exploded volcano of the site of Lanka, whose peak vanished in the process, becoming the Fiery Pit, the entrance to Hell. In other words, it is Hell s Hole, the giant caldera of the Krakatoa volcano.
A remarkable representation of the Cosmic Union of Shiva and Shakti is shown in Fig. 2 below. It represents Ardhanari (“half male”) as the Primordial Androgyne, half male-half female. The figure is laden with esoteric symbolism, as are usually all such Hindu iconographies.
First of all, we note the ankh (or Cross of Life) placed over the Androgyne s sex. This fact shows that the ankh is not really an Egyptian symbol, but a Hindu one. And it represents the mystic union of the two sexes, with the linga figured as a Cross and the yoni as a sort of noose of loop that captures its top portion, the glans.
In other words, the ankh represents the same thing as the Cross + and the Star of David Y , that is, the mystic union of the Linga and the Yoni. Secondly, we note the peculiar lotus in the hand of Ardhanari. It is really the union of the lotus bud (upper position) and the vajra (lower portion), as usually represented in ancient iconographies.
The dualism of the Lotus and the Vajra is also illustrated in Tantric Buddhism in the twin figures of Vajrapani and Padmapani, names that mean “Vajra in hand” and “Lotus in hand”. The two are the representations of Indra or other gods. Padmapani is a representation of the Sun (Surya or Pushan). Vajrapani and Padmapani are considered the two aspects of Avalokiteshvara, the Buddha of Compassion. They also represent Yama and Yamantaka (Death and Defeater or Death), as well as the two aspects of Manjushri (Shiva).
The figure of Padmapani has a third eye, the emblem of the Fire with which Shiva incends and destroys the world. Over his head he has sinuous lines representing water. These are said to represent the Celestial Ganges, which flows down on top Shiva s head. Indeed, it represents the waters of the Flood, the other agent of the destruction of the world. Ardhanari is also said to correspond to Brahma. Brahma is the Primordial Androgyne who split into two halves, becoming Man and Woman.
The myth of Brahma s splitting into the two sexes recalls the first Adam (Ish) created “male-female” by the Elohim, and later separated into two halves, (Gen. 1:27; 2:21). Ardhanari is shown rising from the waters standing on a giant lotus. This represents the Primordial Island amid the waters (Lanka or Sutala), often equated to the Lotus and to Hell (after its destruction). The Lotus is the same as the Golden Flower that represents the”Atomic Mushroom” of the gigantic volcanic explosion that destroyed Atlantis, as we explain in detail on our book on the sunken continent.
Padma (“lotus”) is also a name of Lakshmi, who rose from the waters over a lotus on the occasion of the churning of the Ocean of Milk. The rising of Lakshmi (or Padma) from the soiled waters of the Flood (the meaning of the myth) is the archetype from which the birth of Venus in Hesiod was taken. The two goddesses, as well as their roles and births closely recall each other. So there can be no question on who copied who, for the Hindu myth is far more complete and far more ancient than its Greek copy, and even predates the existence of Mycenian Greece.
One of the Central features of Tantric rituals particularly the chakra puja where sexual rites are performed in a group (chakra) is that the women should be of a lower caste and of dissolute character. They are usually young 12 to 16 year is the prescribed age and ardorous. The idea is that it is up to the male to exercize control, while the woman attempts to “seduce” him and make him reach an orgasm.
This aspect of Tantric rituals is extremely important, as it sheds light on its origin and meaning. It relates to a prevalent idea of ancient myths which is central to Indian mysticism. The woman is the tempter, the nymph that attempts to seduce the male, who must resist her, in order to avoid doom and perdition.
In the myth Shiva was tempted by his shakti, Parvati. Provoked by Kama, the love god, he was disturbed in his meditation and fell. Angered, the God inflamed Kama with his third eye and, as a result, the world was nearly all destroyed by the inflamed love-god. In order to prevent a total destruction, Kama was enclosed by Brahma inside a mare s skull and deposited inside the Ocean, where he became the Fiery Mare.
In another myth, it is Brahma who is hit by Kama s arrow, and falls in love with his own daughter, Ushas (or Dawn).