The philosophy of tantra japa yoga explains how the whole universe is the composition of fve maha

btutas or tattwas. These are the elements of akasha(ether), vayu(air, agni(fre), apas(water),and
prithvi(earth) .

The fve elements or pancha bthuas evolved from mantra to mind and prana and prana and mind
from super consciousness. s the human body itself is made up of the same cosmic elements, the
properties of these elements are inherent throughout the body right down to the tiniest cell and
atom.

!ach btuta has a particular pranic fre"uency and a#ects the mechanisms of the body and $ow of
prana. Therefore,bhuta sadhana is a practice used in tantric japa yoga to the study the $ow of the
mantra vibration in order to recogni%e the predominant pancha bhutas.

&ancha bhutas is particular vibration of prana from which specifc sound fre"uencies, mantra,

The frst tattwa which manifested was akasha or ether, so called because of its subtle ,all pervading
and motionless nature. 'rom ether came vayo or air, which is prana in a subtle state, but there is
movement,something like the nature of the wind. 'rom vayu, agni(fre)evolved, where prana become
hot like fre. s it cooled it become apas(water)and could $ow like a stream of water. (hen it settled,
it become immovable, like a rock,prithvi or the earth. )n the this way the nature of the tattwas
indicates the n$uence and e#ect of japa when it operates at these particular fre"uencies.

)n the body there are di#erent levels of energy and di#erent pranic movements. The pranic energy is
not moving at randaom. )t follows certain laws. The nadis channel energy $ow into the various
chakaras sistuated along the spinal column and the fre"uencies of these centres increase in
vibration from mooladhara up. )n tantric japa yoga we say that the earth tattwa is the lowest and
akasha the highest vibration of the individyal elements. *ut it must be remembered here that the
tattwas are not physical and chemical elements. They refer to a particular level of energy, sound
fre"uency and light emanation.

)n the same way that the chakras have corresponding sensory organs, so each tattwa manifests as
an inherent "uality of those organs. (e know the direct connection between the nose, the sense of
smell and mooladhsra. +ikewise the other tattwas correspond to specifc sensory organs. kasha is in
the ears, vayu in the skin, agni in the eyes, apas in the tongue and prithvi in the nostrila. This
indicates the particular centre to which the organs and tattwas are connected and it also gives
another clue into the nature of tattwa.

The "uality of earth is smell, water is taste, fre sight, air touch and eather sound. ,mell is a
primitive brain function and similarly earth is the grossest element. !ach tattwas becomes subtler in
e#ect and nature until you enter the realm of consciousness. Through tantric japa yoga you develop
awareness of the e#ects of specifc tattwas on the functions of the body and thereby come to know
how you are a#ected by di#erent vibrations.

,ound in general would have a relation with matter (which belongs to prithvi tattwa) is obvious from
the fact that when any kind of material form is beaten it produces vidrations. The type of vibrations
(and hence the "uality of sound generated by them) produced by the same impact of beating would
be di#erent for di#erent types and shapes of matter and the energy behind the formation of the
shapes of the matter is prithvi.

The role of air (which belongs to the vayu tattwa in the group of the fve bacic elements) as a
medium for the reali%ations and propagation of sound is well known. The controlling e#ect of air in
maintaining the "uality and type of sound is also abvious. s seen in whistling or playing of the
musical instruments like $ute. and the energy behind the formation of the air is vayu tattwa.

The use of water as a medium for communication by several marine species and also in some
musical instruments similarly explains the relationship of sound with the water and , the energy
behind the formation of the water of the matter is jala tattwa.

The physical relationship of sound with heat and light is constituents of the agni tattwa, can be seen
measured with the help of the scientifc instruments like the retrometer,spectrometer, and the
tonoscope . the implications of their subtle relationship are well experienced by most of us in our
day to day life. The heated exchange of words in "uarreling,or,the enlightenment of mind by an
inspiring lecture..etc. and the energy behind the formation of the heat of the matter is agni tattwa.

nd the sound re$ected in the form of music a#ects our sentiments is an evidence of its relationship
with the subtlest, the cosmic element of ether and the energy behind the formation of the ether of
the matter is akasa tattwa.

s the universe in general, and the individual being- the body,mind and the manifestestation of
consciousness in it, in particular, is constituted by the panca tattwa, its intimate relationship with
sound is "uite natural.The philosophy of tantra japa yoga explains how the whole universe is the
composition of fve maha btutas or tattwas. These are the elements of akasha(ether), vayu(air,
agni(fre), apas(water),and prithvi(earth) The fve elements or pancha bthuas evolved from mantra
to mind and prana and prana and mind from super consciousness. s the human body itself is made
up of the same cosmic elements, the properties of these elements are inherent throughout the body
right down to the tiniest cell and atom.!ach btuta has a particular pranic fre"uency and a#ects the
mechanisms of the body and $ow of prana. Therefore,bhuta sadhana is a practice used in tantric
japa yoga to the study the $ow of the mantra vibration in order to recogni%e the predominant
pancha bhutas.&ancha bhutas is particular vibration of prana from which specifc sound fre"uencies,
mantra,The frst tattwa which manifested was akasha or ether, so called because of its subtle ,all
pervading and motionless nature.'rom ether came vayo or air, which is prana in a subtle state, but
there is movement,something like the nature of the wind. 'rom vayu, agni(fre)evolved, where prana
become hot like fre. s it cooled it become apas(water)and could $ow like a stream of water. (hen
it settled, it become immovable, like a rock,prithvi or the earth. )n the this way the nature of the
tattwas indicates the n$uence and e#ect of japa when it operates at these particular fre"uencies.)n
the body there are di#erent levels of energy and di#erent pranic movements. The pranic energy is
not moving at randaom. )t follows certain laws. The nadis channel energy $ow into the various
chakaras sistuated along the spinal column and the fre"uencies of these centres increase in
vibration from mooladhara up. )n tantric japa yoga we say that the earth tattwa is the lowest and
akasha the highest vibration of the individyal elements. *ut it must be remembered here that the
tattwas are not physical and chemical elements. They refer to a particular level of energy, sound
fre"uency and light emanation.)n the same way that the chakras have corresponding sensory
organs, so each tattwa manifests as an inherent "uality of those organs. (e know the direct
connection between the nose, the sense of smell and mooladhsra. +ikewise the other tattwas
correspond to specifc sensory organs. kasha is in the ears, vayu in the skin, agni in the eyes, apas
in the tongue and prithvi in the nostrila. This indicates the particular centre to which the organs and
tattwas are connected and it also gives another clue into the nature of tattwa.The "uality of earth is
smell, water is taste, fre sight, air touch and eather sound. ,mell is a primitive brain function and
similarly earth is the grossest element. !ach tattwas becomes subtler in e#ect and nature until you
enter the realm of consciousness. Through tantric japa yoga you develop awareness of the e#ects of
specifc tattwas on the functions of the body and thereby come to know how you are a#ected by
di#erent vibrations.,ound in general would have a relation with matter (which belongs to prithvi
tattwa) is obvious from the fact that when any kind of material form is beaten it produces vidrations.
The type of vibrations (and hence the "uality of sound generated by them) produced by the same
impact of beating would be di#erent for di#erent types and shapes of matter and the energy behind
the formation of the shapes of the matter is prithvi.The role of air (which belongs to the vayu tattwa
in the group of the fve bacic elements) as a medium for the reali%ations and propagation of sound is
well known. The controlling e#ect of air in maintaining the "uality and type of sound is also abvious.
s seen in whistling or playing of the musical instruments like $ute. and the energy behind the
formation of the air is vayu tattwa.The use of water as a medium for communication by several
marine species and also in some musical instruments similarly explains the relationship of sound
with the water and , the energy behind the formation of the water of the matter is jala tattwa.The
physical relationship of sound with heat and light is constituents of the agni tattwa, can be seen
measured with the help of the scientifc instruments like the retrometer,spectrometer, and the
tonoscope . the implications of their subtle relationship are well experienced by most of us in our
day to day life. The heated exchange of words in "uarreling,or,the enlightenment of mind by an
inspiring lecture..etc. and the energy behind the formation of the heat of the matter is agni
tattwa.nd the sound re$ected in the form of music a#ects our sentiments is an evidence of its
relationship with the subtlest, the cosmic element of ether and the energy behind the formation of
the ether of the matter is akasa tattwa.s the universe in general, and the individual being- the
body,mind and the manifestestation of consciousness in it, in particular, is constituted by the panca
tattwa, its intimate relationship with sound is "uite natural