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    ‘et Oriel 200, 71-52 Sere 208 ‘Ped ner igh red ‘ce oui Parvati Through the Looking Glass Ellen Goldberg. 11 Introduction Jn the canons of Indian iconography the darpaea (mire) is listed mong the principal distinguishing diagnostic fesures ofthe female hal? of the androgynous form of Sivardhanarsvara (titer known as ‘Siva-Sakt Why? What sit abou his specific emblem that identifies ber asthe female haf ofthe divine androgyne? Ina recent stdy,Iex- plored the image of Ardhanarivara in Indian tradition from four per- spetives, namely, iconography, hajhayoga, South Indian Bhakti poetry and, toa lesser extent, mythology. Since this study, it has bocome ap- Parent that this cen emblematic feature reveals quite lot about the complex relationship between Siva and Sakt/Parvat. For this reason, I tend in this paper to probe te interconnection between Siva and Par- vatSakt through te specific lens ofthe mirror which the female half holds as an iconographic identifier par excellence in he et hand. ‘One of the central identifying features of all pan-Indian Ardha- ttivara images, frm Kashmir to Tamil Nada, i the bipolar division of the half male and female body (dehardhavibhagina) along a medial axis or brahmastrathat runs fom te crown ofthe head to the Up of the tos. Inthe most typical stances (or sthanas, known variously a5 tribhanga,avibhaige, and samapade) the brakmasatra rans straight through the centr ofthe body beginning a the top ofthe head snd con- 'asiusy refered to as Prat, Gaur, iv nd Una in he enon of Indian eono- zap For adil details, se Goldberg 2002) > Aibhaiga fers to an exaggerated ibaa stance Which ebances the vee caves ‘rbends (ence he term hag) nthe yt ead, wat, od kes, wheres ‘samapda refers oti poste, n PARVATI THROUGH THELOOKING GLASS tinues downwards midway toward the heels of the fee, slightly inter- secting the navel center toward the right? While techaically this verti- cal line of measurement is evident, though imperceptte, on all deities, inthe instance of Ardhanariévara it carries the ancillary function of vis- ‘bly demarcating the male and female halves of the androgynous form, Besides the characteristic brahmasatra, and corresponding anatomical features such as half ardhvalinga or ithyphallic feature onthe right and full female breast on the left, each half carries speciic emblems that further identify the deity as half male and female. Among those identi- fying features, riSala (trident), gada (club), parasu (sxe), ankusa and ‘pasa (n00se), kapala (skull), naga (serpent), damara (drum), and aksa- ‘mala (rosary) are typically indicated on th right Siva side, and nlot- ‘pala (white lotus), parrot, vind (stringed musical instrument), and water pot are variously seen on the left Parvatt half. However, the emblem ‘most often associated with Parvatt (ther than the louis flower) is the ‘mirror or darpana. Consequently, a specific examination ofthis endur- ‘ng diagnostic feature isnot only relevant but also long overdue-+ 1.2 Parvatt's Darpana (Mirror) “The dualistic system of Samy postulates two ctemal principles, one principle is spiritual and male (purusa), and the other principle is mate- fal (Le, nature or pak, ineluding the body, sense organs, mental 2c- tivity, intelligence, etc.) and female. In haphayoga, Sra and Saki/Par- ‘att are recast as the cosmic creative frees purus ad prakyl ofthe carlier Sama system, Sakti isthe giver of life, and the ative prine- ple from which all movement (karma) arises. Siva ‘s the static pole (akarma) into which Sakti is ultimately absorbed in the highest stages 4 For spect information on postures and poss, aswel as ionometicdevies, see two atic by Jn F. Mosler (1985, 1987. The Stay of fan Teanomet in Histol Pepective in Journal of he American Orient Society, Vo. 108 No. ‘8-110 and "A New Approach Forth Say of Indian Ain Journal ofthe Amer- team Oriental Society. Vo 107, No.1 5-63. Also, see D.N, Suki (196), snr ‘Sacra: Hind Canon of eonography and Pang, Vol. 2, New Deh: Munshirar Monobaril Polishers ‘+ For'a useful analyse nd seteticepreiaton of Parva’: mor in Kashmie Suivi see V. Deh's (1997) recent sy Pératdarpas An exposton of| Kimi Sovom though the images of Sa and Parva, New Dei Motil Bana= [LEN OOLDBERS B of yoga (€8 aya, niviklpa or asamprajhata samadhi, Sanya, ee) “Thus its often said that without Sak, Sivas lifeless, merely a corpse (ava). This explains the images we often see of Kalt dancing on Siva’s pale white and inert body (Padoux 1999: 38). Or we read in the Saundaryalahar, aibuted to Saikara, that Siva without Sakti isince- ‘able of ereation (Saundaryalahart 1:1.) While in most sources Sivais Feferre to as aktimant (possessor of Sat), one often finds in hayha and tantra yoga that itis actually Sakti whois identified and associated * with the agency, energy, and life force (eg ti prdna, kadai). ‘The polaity suggested by the inital duality of Siva and Sakti pro- sressively reconciled in hahayoga through the expression of a single sndrogynous, or nihala-sakala, form (rapa or mart. Hence, the over all image of Archanarsvara constitutes one of penultimate transcen- dence in which both halves, male and female, equally andflly partic pate (Dhedabheda or unity-in-diffeence). Forte adept to artve a this txtemely subile state through sadhana (spsitual practice), the s0- called feminine and mascline aspects of being must unite (og). However, when looking at his tradition, particulary from the prspec- tive of gender, we ls see how male and female images ae used 10 de fine separate aspects of reality. Therefore, what I propose to do inthis cssy is to investgate further the central mod ofthe mirror used to de- pict te female aspect of divine (and human reality. “Typically, the diagnostic feature of he mizroris held in the upper let hand of in the case of a single armed Parva, the only hand of the f- ral half (ee figure 1,2 and 3). Overall, the mirror as a dynamic met apr (dant) ot simile measures the degree of inseparabilty and non- duality between Siva and Sakti, as well as monitors the interconnection beeen the adept worshiper and ArdhangriSvara. We read in the Gorakga Samhita that Siva and Sakti are one; indeed, they are insepara- ‘be ike moon and moonlight In this tradition itis evident thet becom- ing divine, ofa second Siva (svar, isnot only understood by the sept as imminently possible, but is flly reflected trough the meta hor ofthe miror. To claborae upon this point mor fully, Siva (as pure consciousness ox pur subjectivity reveals himself to Parva (as pure reflection or vi- Whereas, scoring o Padus (1999), the em vei sociated with male ie foro and perm. See "Une elation masculine emi in The Feminine Sacred fn South Aa Hara Tambo, New Deh: Meds, 3. 4 PARVATI THROUGH THE LOOKING GLASS mar), exactly the same way tat she shows herself to him, via the rimor she holds inher lft and, In this on-going exchange of mutual disclosure, vious stages of spiritual development and transformation fue monitored andor witnessed, As Ardhandisvara, Parva and Siva stare one body: the two figures stand side by side, rather than face to face Through the metaphor ofthe mier, Piva (es wells the profes: sional yogi) becomes fully aware of her own expression of love and spiiual development Here we are introduced to the underlying notion of reciprocity (@halt), That is to say, the experince o path of haphayoga is also one ‘of intense love, hence, some measure of duality. The central myths of ‘sion or marriage inthis tradition between Siva and Parva offer a ‘model for dvineshaman relations, withthe ume realization vf une's ‘own divinity or wholeness asthe sim. The overall motivation is abso- Jue congrity (advata) between male and female, also understood divine and human, ~ everyting else is considered illusion or ignorance (vidya). The mirror serves not only a8 the metaphor that permit this insight (vidya, pra), but, also, facilitates it. Hence, the appropriate- ness of this symbol as both reflective and visionary becomes quite cleat. What seemed unclear, due o ignorance, separation through ego, ihsion, darknes, etc, i disclosed or unveiled through the symboliza- tion ofthe miro. In other words, ifthe vision is impaired or obscured in any way whatsoever, the divine cannot be cleanly seen dardana), ad the goal of union, that isto say, absolute identy or iberaton, i therefore rendered incomplete” As a dominant female metaphor in the typology of Ardhanartsvara_ images, this oft-repeated theme of the miror requires some further clufcation and interpretation from the perspective of hahayoga the- ‘ory and practce* The link or identification between the adept jogint aud Arghanarisvara (Siva, Sadttiva, ete) is unambiguously af- us be adie, however that this sage i eno eel posta that i x hanged atte, th eo element is recognizably unsfond into prem Tis Airs somewhat fram Tibetan amie mana yab yum mages wher alee = male sand emacing fret ace with share penis 2 See Yogatras 2:26; 3:35, To Togastira ae wll categorized at aiyog ter sure. However, chapter two and ree des the abject of practic or shana as ‘well assis (peracons or omer). Both of thse ate inport aspects of ‘ashayoga and, fer this reason te Togasuas ate considered a ial ous oinfe- ‘ion on harhooga as well. See) LEN GoLDAERG 1 firmed in the hayhayoga tradition. As such, the mirror (as well as other symbols held by the deity, such as lous, naga, rsala, etc.) speaks to the adept practitioner at the subtle level of symbol. First, through a pro- gressive process of mutual engagement the mirror reveals the divine presence tothe practitioner. Second, the mirror illuminates the presence of the practitioner to the divine. At tis tage, it appears thatthe meta- phor flows two ways, eventhough the image of Ardhanartsvara in In- dian iconography is depicted with and, consequently, beholds one face ‘only in the mirror. This, I think, is one ofthe Keys i the overall theme being discussed ‘There is, ultimately, one face. Siva and Sakti are not only insepara- ble in the form and figure of ArdhanarSvara, they are eternally one, and the iconographic tradition which supports and embellishes sacred texts!” renders this ideal through the metaphor of the miror. Further- ‘more, it would appear that the ideas and imagery conveyed in the sources, both literal and visual, ae structured as such to enable the yo- {in/ to cultivate the singular paradigm being presented, In other words, the centrality of the mirror image inthe left hand of Parvat simply at- tests to, and confirms, the very real possibility of darsana (seeing the divine). However, the fact that it is Parvatt who carries the darpana in her left hand, and not Siva implies that the primary cultural association with ultimate transcendence lies on the privileged right (masculine) side. That is to say, in the highest stages of yoga, itis Parvatt who isto ‘become Siva, rather than Siva who is to become Parvat. Even s0, tradition does recognize that divine reality is equally male ‘and female, not to mention conceived in human terms. The so-called absorption (laya) or complete cessation (nirodha) of Parvatt (a8 vrti |The pace of yoga is aimed at sefcelzation (oma vi), and its history coal wll be uch ole than even te Ves, Scho tavespesiated tha ogy ba is Foot in re-Aryan nda andthe arcbeolgieal tao super this him ings pe ray upon he famous Mobenodaro seal (#420) showing a male iu seate inthe hathayoge pone commonly known 8 malahadhasom Alou munetoas schools of Joge abound in the Indian cone, ll stare te common gal of non ‘Thehathajope wan, however celebrates the Specific ron of Sv and Sakti as Parvat and fr his eon ian appropriate are of study fr Ou purpose. Though tis important ober in mind tht hei Feanes do fe. For example the ght Siva hal pial sa Ud eye anal moustache, wheeas the lef female alae gree tnd in coll, bind See Vidya Deja’ account of Indian sculpture (Debi 97D, % PARVATI THROUGH THELOOKING GLASS ffuctuation, pure objet) inthe highest stages of yoga is a result ofthe depts own efforts to reach the level of pure consciousness signified as Siva" At this stage, what the adept practitioner sees refected in the or is he/himselt as deity. She, i, Parva, the adep, rake, is not like Siva, she is Siva.” There is no contradiction whatsoever be tween them, therefore, the engaged service of “ber” entre objective: ‘manifestaon (body and mind) is fundamental to the realization uf the hhayhayoga process. The various meditative and purificstory means used bythe adept yogi are based on the underlying prenise of mac- rocosmic and mierocosmic homologues that are directed loward emp- tying objective impurities and defilements (e.,, keSas) so that a- ‘vanced and sustained stales of concentration and sbsorpion become possible. To this end, the dynamic or vibratory pole (named Parvat) i progressively absorbed into the static pole (named Siva). In other ‘words inthe final stages of hayhayoga what was perceived as an initial ualty or subject-object polarity is alchemically transformed into the singular form of Ardhanarsvar. ‘Sexual imagery is often used to depict not only religious metaphors and themes, but also religious experience. Fortis reason gender is fre «quently employed to reflect upon the mystical expression of union in ‘various cultures. The union experienced by the devotee or adept practi- tioner is portrayed in terms specific to ecstatic or sexual anion, espe- cially in the tradition of harha and tantra yoga. Siva and Sakti depict the inner experience of the devote, consequenty, the adept practtio- ner identifies with the mode! and strives to become unite like them in the sahasraracakra' In shor, the practitioner also hold « darpana in the lft hand (understood as prakr). In classical yoga terminology, this is commonly identfied by the evolutionary nomenclature of the Sammkhya tradition as buddhi. The primary funetion of buddhi, as an evoluteor element of pratri, sto re- fect purus (or Siva), and thereby enable a sustaining and penetrating visionary experience (darsana, vidya, prajia). Trough this iner fa uly, the yogin/t experiences an immediate (rather than mediated) rela- See Yogastras 12 "= Remember, as ong as “election” or "se" remain, union as suc bacomplete Ins content, lover, beloved, ad thea of loving bose one, jt a Knows, ‘known, ad th fel oF omledge unit in the Yopsues. ° See, for example the Gheranda Samhita 42 and Saundaryalahart 9 ELLEN ooLDEERO n tionship with the Self or puruga.* The mirror, as buddhi, acts a3 type of prism. However, in order forthe buddhi to reflect pure cons:ious- ness (purus) sativa gupa (luminesity) must be predominant. Axy re- taining tamas (inertia) oF rajas guna (restessnes) will overwhelm, obscure, o attenuate the state of concentration or enlightenment (sama ahi, Yoga-stras 1:47). ‘Budi has two primary functions, as lan Whicher (2000) explains, to confirm the sense impressions of manas, andor attain jana (iberat- ing knowledge). Understood inthis context, the miror (or buddhi) has two faces (or as Whiche states, a “twofold fculty of perception’), that 4s, one looking outward at form or “objects of perception” (prayakza), ‘and the other looking inward towards purusa (viveka-khyati or yogi- ‘pratyakya). In many ways, the philosophy of clasical yoga is simply recast in Ssiva iconographic and harhayoga tations to denote tis on- tological principle. As such, Parva has turned her face (buddh)in- ‘ward toward Siva. As tapasvin and yogint, she has retreated fom all external objects, and although Parvatr is not denied at this stage, her primary goal is to dwell or meditate one-pointedly oa Siva. “Explained in theistic tems, this symbolic motif also identifies the power and luminous nature of Saki a8 prt. She, in all her apparent fullness, is material nature made manifest. What the symbol she carries inher lft hand suggests is thatthe divine recognizes all of creaton as her As aresl, the material or “natural” dimension ofthe divine i etab- lished “asi uly is that isto say, asaninseprable par ofthe hole, and the twofold nate of divine reality i immediately recognized asthe androgynous Ardbanarisvar.” This is clary a both/and, not simply an cithetlor, relationship. At this stage, the dual aspects of divinity are brought into balance and harmony (samara, samarasy), eventhough the lefthalf, rather than the privileged sieht is identified as feminine. From the perspective of harhayoga, what tis indicates is that itis from the body (prakrt) that one beholds divinity. The literature af the Simian Kshs Sivsm the darpop itunes the concept of “pratyebita x copatin trough ecoguiton' (Debs 197: 38). ‘= Which 200: 47, "See, for example, the Ardhanariofetsra stra which praises the half maa fe- male deity as Sv, and Siva respectively. In this hyn tothe androgynous lord of ‘inc, Sv ie overe athe feminine dance ofeeatio aye), wheres Si, the ‘conrummat ops the pda of dance of destucton, ‘arhayoga tradition instructs the initiated on vasious steps (angas) and ‘practices (such as asana, pranayama, muda ec.) tbat can be taken to ‘ring about this inner realization, However, i is in the system of Patal- {ali yoga darfana that we first identify the mirror-like qualities with ‘huddhi, or the self-reflexivity of prakrt. In this early system, passages that focus on the illuminating and discriminating power of the intel- lect anticipate the reciprocity we see developed in later versions be- ‘ween Siva and Sakti in the androgynous image of ArdhanfriSvara. Recognition of individual transcendence is possible because pratyti not ‘only holds a mirror in her left hand, but, in fact, isthe mirror, The mir- tor metaphor simply casts in iconographic terms the ultimate union of subject and object that is considered normative in this radition. ‘According to Eliot Wolfson's (1994) studies in Kabbalistic symbol- ism, atthe base of the mystc's exploration and vision lis the need for ‘conic representations ofthe divine form. Herein lies one source ofthe image of Ardhanarifvara, Besides rendering precisely how the femi- sine and masculine aspects of the divine are portrayed in speciic cul- ‘ural terms, the visualization of images and ther signs through the sys- ‘tematic codification of Indian iconography, offers the practitioner a ‘most helpful guide to meditation. The symbols Ardhananévera holds ‘encode a subtle visionary form. For this reason, it is also important to ‘ear in mind thatthe mirror is only one of several dignosic features ‘ypically employed by the canons ofthe filpa tradition to render the fe- ‘ale half of Ardhanarsvara to the worshiper. Nonetbeless, as one of the prominent motifs it constructs, and is constructed by, a symbolic luster of female-identifies assigned to it by prevaling cultural norms. ‘To some extent, the metaphors used to render an image ofthe feminine divine in the form and figure of Ardhanarisvara are, in turn, also rein- {oreed (or conditioned) by them. Here I am referring specifically to the ‘complex interrelationship between theory and praxis examined by Eli- ‘de (1969) in his classic study of yoga. ‘Wolfson (1994) also addresses the ability of the mind to transfer “sensory data and/or rational concepts into symbols” (Wolfson 1994 4). In the tradition of yoga, Pataijali explains thatthe purusa becomes ‘mown and communicable othe inner faculty of bud. Consequently, ‘or essential power of this evolu isto mirror the ‘or pure consciousness). In other words, the mirror. See fo exampl, the Yog-saras 1:3; 3:55; 422; 425; 44 LEN ooLDEERE » rind metaphor in Indian iconography offers a comprehensive aterpt to reflect (vimarSa) the adept’s (Parvatt's) extensive visionary experi- ence. Ths, iconography often functions in Indian society a sbleme- dium of transmission. I is nether arbitrary nor atonal, bt rater ‘communicates profound and sub ruts tots adherents Chan Boddhism, for instance, also uses the mirror symbol” io con- vey the potential of mind to reflect altmate reality in the Pasform Satra of Hui-Neng. Inthe wellknown story, Hung-en who is 100m t- as from this word es ut a competition to ind is successor by re- ‘pesing thatthe monks compre a poem (ath) o display thei n- Sight Shen is expected to become the successor, however, H- eng, aniliterate Kitchen helper fom the South, composes poem th clearly demonstrates that his stage of insight is more fully developed than. Sher-hai The mir is the pivotal symbol employed inthe two poems to determine the sil ofthe potential successor. In the poem composed bby Hui-Neng we se that the miror ofthe mind i so uly deiiea with emptiness (fanyai), the absolte goa of Chan, tat for him no mir tists, Fer Sher-oti, however, th “mind is ike a clear miro” that he ‘must continually “strive to polish” so that “no dust will collect.""> Alex Wayman (1973) argues hat the ior symbol is npran not only inthis Sool of Matayana Dada, but, alc, Yoga and Madigan at well ‘Asia edo of hananiam, Tibetan orale aching, th sadhana of White Th, Sapanese Shino rinal.an even ear nda scbels of Buddhism, For more deals see Alex Wayans rcle "Te Miror as Pan-Buddis Metaphor Sie” i tor of ligions. Vol B. 1973-74, 251-26 1% See The Plaorm Sara ofthe Siok Patarch. 196. Philp B. Yanpeliy, rans New York: Columbia Unversity Pres. Shou writes: ‘The by stb Boi wee, ‘The mind is ikea clear mio. [Atalltimes we mast sive pobshity ‘And mst ot et te dst os. H-Neng wits: ‘Bodhi crignaly hs ote, ‘The mio aloha no sand. Bada antes lays clean and pre: ‘Wher is there room for dust” (amply 1967: 130-132), A simi reference i fund inthe Svetatratra Upunigd which aes: “hata & ‘ik smeared wit lay, once cleaned wel shines boighly, sao am embeied esos once he hs peeled the ro arr ofthe sel becomes slay hs goa ‘aed and fee fm soos” (Ce in Otel 1998: 49). 0 PARVATI THROUGH THE LOOKING GLASS 1 we translate this passage ito familiar hayhayoga terms, Sher-hsui represents the stance of Ardhanarivara at the peak of samprajtaa sa- ‘madi, whereas Viui-neng types the inl stage of asamprajica sa- ‘adh wherein no diference (or remainder) whatsoever is dscern- {bie The miro held in Parva’ left hand, a Shen-hui relates, must, be watched, prepared, and cleansed continually through the performa- tive practices of haphayoga. However, once union is final and complete (urvitalpa samadhi, no micror (ie, difference, reflection, form, dus, cic.) exists, nor are there any practices let to perform, there is only « pure consciousness. Consequenly, we see the progressive development frem samprajiata samadhi 10 asampraaa samadhi mediated not nly bythe symbol ofthe mizor itself, but also inthe insight and ac complishment ofthe adept ‘These two poems, although deriving from Chinese Mabayans Bud- dist radition, eloquently dramatize the mirror modi eld in Parvat’s Jeft hand, and declare quite unequivocally that (at least) two progres- sive stages of yoga (e.g, hapha and raja) are possible. The fs indi cates an intial degree of separation, duality, o ference, while the lat ter points to the inefabe sae of pure consciousness (asampraiara samadhi). This is lucidly echoed in the teachings of the hathayoga tra- dition which, as mentioned earlier, typically depict Siva and Sakti as ‘moon and moonlight If we follow this line of argument through to its logical conclusion, we se the idea that i being conveyed is one most ‘commonly associated with Mahayana Buddhism, that is to sy, in the symbol of the mirror we see a parallel message that sarsara ad nir- ‘vdga are essentially one. So, too, at the highest level of hahayoga real- ization, there is no difference between Siva and Sakti (or emptiness and fom) Read in this way, the symbol of the miro is both poetic and practi- cal, In one poem, we see a path of gradual awakening (hathayoga) holding out a “ladder”of performative ritual practices to the initisted to wipe the “mind-dust” clear (Harhayogopradipita 1:1). Inthe ote in- 2 Stvea W-Layeock (1994 sts that he nae Te chien meaning “Gret Mire” was ‘oafered upon Hui-Neg bythe emperor as "ute tos eplendence” Laycock 1994 207 Also, for aneeesting sof the mior symbol in Confcian. Tals, snd Cheatin mya ads, see la Ching (1983), The Miner Sybo Revis tein Steven. Katz. Mysticiom and Religious Trion. Oxo: Oxfer Uni- ey Press, 226-246 LEN ooLDBERG 81 stance, we are presented with « metaphor ofthe highest attainment or realization of rajayoga wherein no ladder (or dust) remains because yoga (.e., perfect non-differentation, pure consciousness) ha been re- alized. This twofold gurantee is actually anticipated in an aphorism by Patajali when he declares: “By yoga yoga willbe known.” Hence, not only does the discriminating faculty ofthe mind (buddh) mirror t its Potential or capacity but, as Steven Laycock points out in his keea anal- is ofthe Plaform Sara, when perceived from the perspective of uti- Ina reality, there actally is 0 mind or minor (i, separation, praiy as such. ‘The implication ofthis fr ou specific dscusion are twofold. On the one hand, the miror and mirrored are utimatlyindistnguishabe. But, as Ardhanarvara, we are shown the pinnacle of hahayoga proc- tice only. Beyond this penultimate point (Le, rajayoga) all indications (Gncluding rapa) are fuly dissolved. Uni this ultimate realization fakes place, Parvatl wilh her mor in hand progressively illuminates the consciousness she sees it (and not asi tray i). One the ealight- cenmentis sealed (mahdmudra), however, the mirror andthe mind can no longer be seen (as independent or separate). Te Sole purpose ofthe mirror, as Laycock point ou, isto retum what is reflected. Conse- quent, if mind empties tse of sl then it has nothing lft to reflect, (Laycock 1994; 13) In other words, if there is no objet (ie, prt) tobe seen, one sees no-thing.Iis no wonder, that at this stage the “mie- rored image and mirrored object are phenomenally indiscriminable” (Laycock 1994: 16). Tat isto say, Siva and Sakti are one ‘The insepaablity captured by the essential nature ofall reality as mptiness is tue not only of Chan Buddhism, but also haphayoga. For instance, in the Haphayogapradpik, a fifteenth century treatise etib- uted to Svatmarama, we read passages that equate Sanyara with the highest possible attainment Hathayogapradipika 43-4; 410). In both examples, the goal is spoken of in tems of purification to a state of eulibrium that involves emptying oneself or ones individual person- hood, egoity, separateness, et). In this tradition, human nature is e- garded as ukimately whole an divine (vary), and reogniton ofthis ure state of consciousness is realizable through the gradal techniques of haphayoga sadhana. Levels of atainment (masked by increasing de- ‘res of sustained sates of union) ae simply witnessed in the mirror of| the buddhi, since it best represents the mind and its unique ability to e- Act the progressive movement towards non-duality and singularity. In 2 PARVATI THROUGH THELOOKING GLASS Aaphayoga, the mirror symbol held in Parva’ left hand makes possi- be the knowledge thatthe self and the world are ultimately one, In ‘otter words, subject and object are oth necessary and complementary aspects of the whole. Hence, the goal of non-duality, which is achieved instages (hatha, raja, aya, et), is progressively ilustated through an ‘ulimate absence of duality and distance. As Julia Ching states in her ‘ova analysis of the mirror symbol, “Looking into the mirror stands for Tooking into one’s own depths, finding one's real self” (Ching 1983: 242. In hathayoga tradition, this entails not only the recognition of the inseparably of subject and objec; body, mind and spirit; male and female; human and divine; emptiness and fullness; darkness and light; and so on, but, als, their ultimate singularity. In other words, through ‘an imense process of purification (tapas), and by the higher stages of ‘one-pointed meditative concentration (Samprajhaia samadh, one cleanses away the false, the transitory, the illusory, the subliminal im- ‘pressions (wsands,samskaras), the Klegs (affliction such as egity or ‘anitd) and, subsequently, increases the quality of satra gupa Qumi- ‘nosity, tranquility) necessary for final liberation (kavalya). Tis grad tual process of cultivation removes all obstacles, and illuminates the prefect knowledge (paraitana) thatthe manifest world is ultimately ‘ot seperate from the unmanifest or absolute (advaita) This insight is ‘wansmitted in vasious ways through the lineages of yoga from Patajli snd Adinatha (Siva) trough the enduring metaphor of the mirror. 13 Gender Implications 1 am also concemed in this paper with the gender aspects conveyed by the mirror symbol discussed above as it relates specifically to our un-

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