Mircea Eliade YOGA IMMORTALITY AND ... - Brihaspati.net

complete sets of meditations: concerning the respiraci6n, 19 to the happiness, the five
jhana, to unpleasant things, to kasina to parts of the body, the four higher states
(brahmavi-hara), to the ten forms of knowledge, etc.. Each of these me-accreditation
purposes is divided, in turn, in several stages, each stage go along with a "color" or uses a
"color" belonging to the I-lines on the "elements".
What characterizes the "Manual" yogavacara is the preponderant importance given to
color sensations, each meditation is performed and verified by obtaining a continuous
working color.20 The ascetic, on the other hand, on those feelings chromatin cas;
removes them from their body at a distance of one hand, of one language, and "to Mount
Meru" are set in certain "centers", etc.. The role that the "Manual" attached to "centers" to
suspect a tinge tantric, erotic elements but are absent for full-. The physiology mystique
here is reduced to the "centers" and visual experiences (auditory experiences are much
more reduced days). Anyway, the character "experimental" of these meditations is
evident truths and dogmas are here to experi-tions are "penetrated" create "states"
concrete. The Scream
19 The disciph'na respiratory rhythm "has been considered by our
Blessed as the main object of meditation, "writes the com -
tarista ungates (op. cit, p. 67).
20 The "colors" and the "lights" play a significant role in
tantric meditation experiences.
mental to Ja "this" is the motto. No fault or the "gratia", in effect, the beginning of each
meditation, the Buddha is invoked, it leaves one to his gratia, also invoking the guru
(Bhante, etc.).
T. W. Rhys Davids note that the "Manual" included 1344 reflections (112 mental states,
each exercised in many different ways, creating an equal number of "experiences"). The
po-sition of the body changes with each of these meditations, which rules out the
possibility of a hypnotic trance. Tions in certain meditations are eight pieces of wood
applied to a candle, separated by the space of a finger. Each stage of the meditation lasts
long ne-essary to have consumed a portion of the sail. When the flame touches the piece
of wood, this falls to the ground, and the noise distracts the ascetic from his meditation,
forced to change their position. These ongoing changes are intended, probably to avoid a
possible hypnotic sleep, or the prolongation of a meditative stage to the detriment of
another. In any way, constitute a means of continuous monitoring for the monks and help
preserve lucidity.
An interesting detail is lc mystical techniques we might 11a-sea "the creation of the
necessary environment for meditation", ie the specific value that makes the image of
kasina (uggalianimitta). The ascetic is projected to the image with such force that can meditar
about it as if it were the real object before re-introduced. This exercise mediatacion
"no object" (nirmitta) is em-pleado frequently in almost all Indian mysticism.
This very brief summary of some forms of meditation in Buddhism Late yogi pennitira us
understand the enormous success of tantrisjno. Indeed, the importance attached to the
concrete support of meditation (kasina), the "elements" and their "image-ing", the
"centers" and "colors", etc.., It is valuable from di-verse views. First, it reveals the effort
to fix devel-oped in particular any meditative experience. The concentration is made
possible by an excessive reduction of the consciousness of the reality of the world, but
the isolated fragment is not so less real for that, and is "assimilated" as such as