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Chakras in the etheric body.<br />
Rajasthan, 18th century. Ink on<br />
paper. Running parallel to the<br />
organic body of the yogi is the<br />
cosmocized etheric body with its<br />
astral and vital currents. This<br />
invincible and intangible body<br />
serves to provide cosmic cross-points<br />
at several junctures through the<br />
body's seven psychic centres and<br />
two main nerve channels, Ida on<br />
the left side and Pingala on the<br />
right. The yogi can terminate their<br />
separate functions by reconciling<br />
them into the central channel,<br />
Sushumna.<br />
134<br />
things', 'mother of vibrations' and 'key to eternal wisdom and<br />
power'. These are a few examples of seed mantras and their<br />
meanings:<br />
Hrim: bija mantra of the goddess Bhuvanesvari, the female<br />
energy of the spheres. According to Varada Tantra, H = Siva,<br />
R = Sakti, I = transcendental illusion; the nasal sound<br />
m = progenitor of the universe.<br />
Krim: Kali-blja representing the power over creation and<br />
dissolution; recited mainly for the conquest of limitations.<br />
K = Kali, R = absolute, I = transcendent power of illusion;<br />
m = primal sound (Varada Tantra).<br />
Sum : Lakshmi-bija; represents the female energy of abundance<br />
and multiplicity; recited for the attainment of worldly joys and<br />
gains. S = transcendent divinity of abundance, R = wealth,<br />
I = fulfilment; m = limitlessness.<br />
Klim: bija mantra of the procreative desire of Siva as Kama;<br />
represents joy, bliss, pleasure. K = transcendental desire, L = lord<br />
of space, I = satisfaction; m = pleasure and pain.<br />
In a similar way, Krom stands for Siva, Aim for Sarasvati, Em<br />
for yoni, Phat for dissolution, and so on.<br />
The bija mantras are primarily intended for japa, or repetition.<br />
They are repeated and counted on the beads of a rosary which<br />
consists of 12, 18, 28, 32, 64, 108 or more seeds. The technique of<br />
japa involves the synchronization of a sound, the number of<br />
rhythmic repetitions and the sound's symbolic meaning. Mantras<br />
which are not audibly repeated but are internal are called ajapajapa;<br />
they generate ceaseless vibrations of a monosyllabic sound.<br />
The mantric sound of ajapa-japa is assimilated in such a way that<br />
with constant practice it is produced effortlessly with the<br />
individual's breathing in and out. Incessant repetition of the<br />
mantra gathers so powerful a momentum that repetition of a<br />
phonic sound like ham-sa can make the sound vibrate in an<br />
inverted form, i.e.. 'sa-ham' or 'so-ham', 'this am I', or 'I am He.' It<br />
is only when all these factors are in accord that a favourable<br />
concomitance is achieved.<br />
The main function of the mantra is identification with or<br />
internalization of the divine form or its energy. The bija mantra,<br />
when repeated in accordance with the rules of the doctrine, serves<br />
as a means of anchoring or centering auditory perception and is a