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Ritual

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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

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