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

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

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indoor display settings by means of a creative act of imagination . There is no question here of anarchy and inconsistency! 0 than the level of ordinary experience Uamamos "imaginacidn") is not delivered to the pure spontaneity and receive, passively, the content of what, in terms Western psychology, would call the "subconscious" individual or collective need to "wake up" the internal forces, maintaining perfect clarity and selfcontrol. The practice allows the yogi sadhaka undertake such exercises. We must respect the traditional iconographic canon, that is, "visualization Czar" what has been "seen", prescribed and codified by the teachers, and not what the imagination could project staff. When a tantric text conslruir describes how the mental image of a god, you think reading a treatise on iconography. A fragment of Satantratantra, cited by Krisnananda in his Tantrasara, 1 ex-poses the "visualization" of Durga. The goddess, like a black coati has a terrifying face, is embracing Siva and takes several garlands of skulls around his neck, her hair is loose and its expression is smiling. Do not miss a single detail: neither the serpent (naga) that serves as the sacred thread, nor the moon on the front, thousands of hands of the dead laid out around the hips, bleeding mouth, spotted the body of Saint - gre, the two dead bodies of girls do by way of earrings, etc.. The "visualization" of a divine image is followed by an exercise more difficult: the identification with the divinity that the image re-presents. A tantric adage says that "one can not worship a god if self is not God" (nadevodemm arcayet). Identifying with the Deity, to turn oneself into a god, is to awaken-ing the divine forces that lie dormant in man. It is a purely mental exercise. Peiseguido the same end result by "visualization" does not translate in terms of mental experience, albeit in short, a Mahayana tenet: the discovery of the empty universal, ontological unreality of the Universe and their "gods". But in Buddhist Tantrism, perform experimentally SUNY operation is no longer an intellectual is not the communication of an "idea" is the experience of "truth". Here is a tantric sadhana for "visualization" of the goddess Candamaharosana: you begin to imagine that amidst the heart itself is a mandala solar (red) sitting on a lotus of eight petals, the center of the mandala emerges HUM black. This syllable flow lurninosos numerous rays that pass through the immense spaces, and the rays are the guru, all the Buddha, the Bodhisattva and Goddess-harosana Candame. After having honest and having confessed their sins, after having sought refuge in the triple truth bu - 1 £ 1 text reproduced by R. P. Chanda, Indo-Aryan Races (Rajshadi, 1916), vol. I, p. 137. far, and so on., the pupil is offered the same for the crimes aje forgiven us and does the expected vote-ma supreme enlightenment. Then, meditate on the four virtues, he realizes that "this world is not nature itself, of subject and objects to" meditate on the vacuum and all repeating the formula "-ing my enamel is essential knowledge Empty". Imagine then the syllable hum resting on the hilt of a sword birth of the first syllable hum black. The rays given off by this segundn syllable attract all the Buddha and make them into it. The Candamaharosana disciple meditates on "display" and not the second syllable hum. Then imagine that in the heart of the goddess there is a sword bearing the syllable hum, and in the middle of the third syllable "shows" another Candamaharosana goddess sitting on a syllable hum, etc.. By which one ends up identifying with the diosa.2 The Void is "made" through the creation in the form of cas-each of the Universes, are created from a graphic sign and destroy them after they are populated by gods. These

girls, and those cosmogo-chain theogonies occur in the very heart of discipleship: it is through pictures as he discovers the universal-ity vacui. Similar exercises are found in medieval Jaina gnosis, as also the Jain dyana suffered the influence of Tantrism. Sakalakiiti (fifteenth century), in his treatise Tattvarthasaradipaka, recom-mends the following meditation: the yogi imagine a vast ocean of milk, calm, without waves in the ocean Jambudvipa large as a lotus with a thousand petals and bright as the gold, with a pericarp of the size of a mountain of gold. He imagined himself sitting on a throne placed in the center of the pericarp, serene, without hatred or desire, ready to veneer your enemy, that is karma. This is the first Dharana. Next, the yogi should imagine a glowing lotus of sixteen petals, located in his navel. In the petals are written the four members, with am and ah and the great mantra Arhan shines amid the pericarp. Then imagine a cloud of smoke rising from the point r of the word Arhan, after some sparks and eventually sprout a flame that will extend more and more until it burns the lotus of the heart, which is the pro - 2 Sadhanamala, ed. B. Bhattacharyra, I, p. 173 and ff. On the tantric iconography, see Note VI, 2. karman eight pipeline, and for that reason has eight petals. This exercise is part of the second meditation, Dharana agmxji call. Follow the maruti Dharana, during which the yogi "visualization arena" a violent storm scattered the ashes of the lotus. Des-well, imagine the falling rain and washed the ashes covering his body (the fourth is Dharana, Varuni). Finally, you must imagine yourself to God found free of the seven elements, seated on his throne, as bright as the moon and loved by dioses.3 The attvarthasaradipaka also contains recipes for various dhyana in relation to a / liturgy tantric mental structure: Imagine a lotus placed in certain parts of the body, variable quantities of petals dad who has written a letter or mystical syllable. £ 1 sadhaka Jain also used mantra, while murmuring that "shows" written in the lotus of his body (Bhandarkar, op. Cit, pp. 111-112), tantric yoga practices, moreover, are recorded much earlier in the Jain literature. The Jnarnarnava of Subhadra (circa 200 of the Christian era) go-ing contains chapters on yoga, runs long on asana, pranayama, the mandala, the four Dhyana and Dharana just summarized according to the Tattvarthasaradipaka. As in Buddhism and Hinduism, Jainism was a time in the tantric trend, though without its mystical implications of sexuality, but po-demos without, however, greater interest by the techniques as siddhi-faceted and that were among the most archaic Indian tradition, adopted by the Jains (see Note VI, 3). In relation to the iconography must remember the "pro - projections ritual "of the deities in the different regions of the body, practice this quite old but revalued and enriched by Tantrism." projected "to the gods playing various parts of the body, takes place, in other words, a body homologation with the Tantric pantheon in order to "awaken" the sacred forces dormant in the flesh. We distinguish various species of Nyasa, according to their degree of internalization (see, among others, Mahanirvanatantra, III, 40, etc..) because often happens that "introduce" the deities and their symbols in the various organs of the body, a pure act of meditation. The treaty pequefio Has - 3 R. G. Bhandarkar, Report on the search for Sanskrit manuscripts during the year 1883- 1884 (Bombay, 1887), p. 110 and ff.

girls, and those cosmogo-chain theogonies occur in the very heart of discipleship: it is<br />

through pictures as he discovers the universal-ity vacui. Similar exercises are found in<br />

medieval Jaina gnosis, as also the Jain dyana suffered the influence of Tantrism.<br />

Sakalakiiti (fifteenth century), in his treatise Tattvarthasaradipaka, recom-mends the<br />

following meditation: the yogi imagine a vast ocean of milk, calm, without waves in the<br />

ocean Jambudvipa large as a lotus with a thousand petals and bright as the gold, with a<br />

pericarp of the size of a mountain of gold. He imagined himself sitting on a throne placed<br />

in the center of the pericarp, serene, without hatred or desire, ready to veneer your<br />

enemy, that is karma. This is the first Dharana. Next, the yogi should imagine a glowing<br />

lotus of sixteen petals, located in his navel. In the petals are written the four members,<br />

with am and ah and the great mantra Arhan shines amid the pericarp. Then imagine a<br />

cloud of smoke rising from the point r of the word Arhan, after some sparks and<br />

eventually sprout a flame that will extend more and more until it burns the lotus of the<br />

heart, which is the pro -<br />

2 Sadhanamala, ed. B. Bhattacharyra, I, p. 173 and ff. On the tantric iconography, see<br />

Note VI, 2.<br />

karman eight pipeline, and for that reason has eight petals. This exercise is part of the<br />

second meditation, Dharana agmxji call. Follow the maruti Dharana, during which the<br />

yogi "visualization arena" a violent storm scattered the ashes of the lotus. Des-well,<br />

imagine the falling rain and washed the ashes covering his body (the fourth is Dharana,<br />

Varuni). Finally, you must imagine yourself to God found free of the seven elements,<br />

seated on his throne, as bright as the moon and loved by dioses.3<br />

The attvarthasaradipaka also contains recipes for various dhyana in relation to a / liturgy<br />

tantric mental structure: Imagine a lotus placed in certain parts of the body, variable<br />

quantities of petals dad who has written a letter or mystical syllable. £ 1 sadhaka Jain also<br />

used mantra, while murmuring that "shows" written in the lotus of his body (Bhandarkar,<br />

op. Cit, pp. 111-112), tantric yoga practices, moreover, are recorded much earlier in<br />

the Jain literature. The Jnarnarnava of Subhadra (circa 200 of the Christian era) go-ing<br />

contains chapters on yoga, runs long on asana, pranayama, the mandala, the four Dhyana<br />

and Dharana just summarized according to the Tattvarthasaradipaka. As in Buddhism and<br />

Hinduism, Jainism was a time in the tantric trend, though without its mystical<br />

implications of sexuality, but po-demos without, however, greater interest by the<br />

techniques as siddhi-faceted and that were among the most archaic Indian tradition,<br />

adopted by the Jains (see Note VI, 3).<br />

In relation to the iconography must remember the "pro -<br />

projections ritual "of the deities in the different regions of the body, practice this quite old<br />

but revalued and enriched by Tantrism." projected "to the gods playing various parts of<br />

the body, takes place, in other words, a body homologation with the Tantric pantheon in<br />

order to "awaken" the sacred forces dormant in the flesh. We distinguish various species<br />

of Nyasa, according to their degree of internalization (see, among others,<br />

Mahanirvanatantra, III, 40, etc..) because often happens that "introduce" the deities and<br />

their symbols in the various organs of the body, a pure act of meditation. The treaty<br />

pequefio Has -<br />

3 R. G. Bhandarkar, Report on the search for Sanskrit manuscripts during the year 1883-<br />

1884 (Bombay, 1887), p. 110 and ff.

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