First of all, I will try to define such a meaningful term as alakh vijñān (alakṣa vijñāna in Sanskrit), which is used in such texts as Gorakh Sabadī and others. The first word consists of a root lakṣa which means ‘symbol’, ‘sign’ or ‘goal’ (for instance, of worship or dhyana) and a negative prefix ‘a’, which means ‘something beyond any symbols’. The term vijñāna I would translate as ‘detailed, deep comprehension within a context of detachment’. A prefix vi means ‘diversified’ and a root jñāna means ‘knowledge’. Altogether it means ‘diversified unconditioned knowledge or comprehension’. Below, I quote Gorakh Sabadī, where this term is mentioned in a dialect, which is close to Hindi:
अलष बिनाणी दोई दीपक रचिलै तीन भवन इक जोती ।
तास बिचारत त्रिभवन सूझै चूनिल्यो माणिक मोति ॥ ५ ॥
alaṣ bināṇī doī dīpak racilai tīn bhavan ik jotī ।
tās bicārat tribhavan sūjhai cūnilyo māṇik moti ॥ 5 ॥
Who have lived experience beyond the boundaries of symbols (alakh-vijñānī) of supreme light (ik jotī / ek jyoti) in three worlds (tīn bhavan), is creating (racilai / racnā in Hindi) two (doī or donoṃ in Hindi) lights (dīpak). Who explore (vicārit) those (tās) three worlds, reveals (sūjhai / sūjhnā) a ruby (māṇik) and pearl (moti).
The text is rather difficult, firstly because it’s not standard Hindi, and most importantly, the twilight language (saṃdhā bhāṣā) is used here. For instance, there are various gradations of light, the supreme one, as the light of Śiva (prakāśa), and further, the two kinds of light: ‘the cold light’ (the Moon) and ‘the hot’ one (the Sun) – as sources for the following creation of three worlds. The gems usually mean essential substances of Śiva and Śakti, which is well-known by experts in highest tāntric sādhanas. On the one hand, despite their small size, gems have a great value, and on the other – they are very hard and indestructible (which symbolically means the experience of timelessness or the unfolding dimension of silence, beauty and eternity). The red ruby symbolises a fluid of Śakti and the white pearl – a fluid of Śiva. From one point of view, that is the essential tantric symbolism, from another – that is Nāth’s symbolism from the yoga of the Sun and the Moon and also – raja-yoga. Strictly speaking, the both yogas are linked very tightly.
In my previous blog post I gave an example from Haṭhayogapradīpikā, speaking on śūnyāśūnyavilakṣaṇaṁ (the references not on what is or what is not a void):
We cannot believe in one thing without acceptance of the opposite, that’s why you can call this Nāth’s principle dvaita-dvaita vivarjita, as it called in Nāth or tantric texts, for instance, in the Kulārṇava Tantra:
Or, there is the essentially same definition lakṣālakṣaṇā – ’symbol beyond symbol’. By the way, in a certain sense the term ‘mudrā’ can be a synonym to ‘lakṣa’, because one of the meanings of the word mudrā is ‘meaningful symbol’. If a symbol reflects something transcendental, you get the realisation of transcendence in the image which reflects transcendence. Actually, that is the most important goal of all tantric and yogic practices. For instance, why we practice mantra connected with God or something Supreme? To become it. You become a reflector of the Supreme, you could call it the Man-God, the enlightened, siddha etc. That is what distinguishes the true adept of yoga from a profane man, who didn’t reveal it in himself. Some call it sahajāvasthā (inherited quality), because you don’t need to ‘achieve’ or ‘form’ the omnipresent Absolute, you just need to reveal or recall it inside yourself.