36 Thaththuvangal

The 36 tattvas - Wikipedia, the free encyclopedia
12/15/14, 10:37 PM
The 36 tattvas
From Wikipedia, the free encyclopedia
In Kamir aivism, the 36 tattvas describe the Absolute, its internal

aspects and the creation including living beings, down to the physical
reality. The addition of 11 supplemental tattvas compared to the
Skhya allows for a richer, fuller vision of the Absolute. Going from
iva to pithv tattva we find the process of manifestation, the creation of
the universe; going the opposite way we find the process of spiritual
evolution culminating with the dissolution in iva.
Tattvas divide into three groups: Ashuddha, or impure (material,
sensorial, the organs of action, the mind and the ego), Shuddhashuddha,
or pure-impure (the soul and its limitations) and Shudda, or pure
(internal aspects of the Absolute). The impure tattvas are the domain of
objectivity and duality, the pure-impure tattvas are the domain of
knowledge and the pure tattvas are the domain of transcendental unity
and non-differentiation.
Contents
1 The five mahbhtas
1.1 pthv - earth
1.2 jala - water
1.3 tejas - fire
1.4 vyu - air
1.5 ka - aether
2 The five tanmtras - subtle mediums of the sensations
2.1 gandha - the transit medium for the olfactive
sensations
Chart of the 36 tattvas in Kashmir

Shaivism
2.2 rasa - the transit medium for the taste sensations

2.3 rpa - the transit medium for the visual sensations
2.4 spara - the transit medium for the touch sensations
2.5 abda - the transit medium for the auditive sensations
3 The five karmendriyas - organs of action
3.1 pyu - the excretion organ
3.1.1 Its role in the awakening of Kundalini
http://en.wikipedia.org/wiki/The_36_tattvas
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3.2 upastha - the sexual organs

3.2.1 Differentiation and complementarity related to
the sexual organs
3.2.2 Symbolism of the androgyne
3.2.3 Tantric practices related to the sexual organs
3.3 pda - the locomotion organ
3.3.1 Subtle anatomy of the feet
3.3.2 Symbol of force
3.3.3 Symbol of devotion
3.3.4 Symbol of humility
3.3.5 Symbol of purity
3.3.6 Spiritual sacrifice
3.3.7 Symbol of domination
3.3.8 Symbol of transcendence
3.3.9 The foot in Hatha yoga
3.3.10 Feet positions in meditation
3.3.11 Walking meditation
3.3.12 Sacred dance
3.4 pni - hand, the organ of apprehension
3.4.1 Subtle anatomy of the hand
3.4.2 Correspondence of the five fingers with the
five elements
3.4.3 Functions and symbols of the hand
3.4.4 Role of the hand in Hatha yoga
3.5 vk - the speech organ
3.5.1 Relationship with other tattvas
3.5.2 Mouth and assimilation of food
3.5.3 Articulation of speech
3.5.4 Speech as a creative power
3.5.5 Three creative voids
3.5.6 Levels of speech
3.5.7 Limiting power of words
3.5.8 Occult power of the word
3.5.9 Word as a medium for spiritual initiation
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3.5.10 Words in meditation

4 The five jnendriyas - sense organs
4.1 ghra - nose
4.2 rasan - tongue
4.3 caku - eye
4.4 tvak - skin
4.5 rotra - ear
5 Antakaraa - the inner instrument
5.1 manas - the lower mind
5.2 ahakra - the empirical ego
5.3 buddhi - the intellect
5.4 prakti tattva
5.5 purua
6 at kacukas
6.1 niyati - spatial limitation
6.2 kla - limitation in time
6.3 rga - incompleteness, the limitation of desire
6.4 vidy - the limitation of knowledge
6.5 kal - limitation in power
6.6 my - the origin of illusion and duality
7 uddha tattvas
7.1 uddha my
7.2 uddha vidy
7.3 vara
7.4 sadiva
7.5 akti
7.6 iva
8 Differences from Skhya
9 See also
10 Notes
11 References
12 External links
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The five mahbhtas

The five mahbhtas are the ingredients of the physical world. They represent the final point of manifestation,
where light (Praka) is condensed into matter, yet, at the same time, the mahbhtas remain identical with
iva.[1]
pthv - earth
Pthv tattva is produced by gandha tattva (medium for olfactory sensations). It is also the abode of Kualin
akti, the energy that resides in potentiality at the base of the spinal column. Kualin akti is identical to Para
akti when it emerges and rises to the top chakra.
According to adhvn the material world is created by Praka (spiritual light, uncreated light). Kamir
aivism describes the reflection of the top principle (iva tattva) right into the lowest principle (Pithv tattva)
an idealist monistic world view where transcendence is present right in the middle of physical. Thus, there is no
dualism between spirit and matter.
Pthv tattva signifies concreteness, stability, patience, strength, abundance, nurturing and protection. Pthv is
symbolised by the Mother Earth a universal symbol for fecundity, inexhaustible creativity and sustenance.
Pthv's specific shape is square, the specific color is yellow-brown. Its corresponding force center is Muladhara
Chakra.
jala - water
Jala tattva (also known as apas tattva) refers to the liquid state. It is produced by Rasa tattva (the medium for
taste sensations). Jala can assume any form, or we can say it contains all the possible forms. That is why it has
been a symbol of the non-manifested, unlimited potentialities and the transcendence. Its basic state is passive
and it can become the receptacle of various impressions and energies.
Other symbols associated with Jala tattva are: the power of purification, the subconscious mind, empathy,
sexuality, abundance, power to dissolve, regenerate, the medium where the human life appears (amniotic fluid),
the birthplace of life on our planet (primeval ocean) and the mythical chaos and formlessness that precedes
creation. Waters exist before and after any cycle of creation. The linear flow of water as a river signifies the flow
of time. Water immersion signifies the ritual regression to the original principle, reincorporation into the
undifferentiated.[2]
tejas - fire
tejas tattva is produced by Rpa tattva, the medium for visual sensations and corresponds to the third chakra,
Manipura Chakra. Some of the qualities of fire are: solar, masculine, dynamic, restless and extroverted. Tejas is
associated with the digestive fire, passion, intuition and the uncreated light of consciousness (Prakasa).
Traditionally it has been associated with a number of animals, both real and mythical: lion, fox, horse,
salamander, phoenix and dragon. The tattvic form of Tejas is the upwards pointing triangle and the tattvic color
is red.
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The concept of agni (fire) is associated with the concept of soma (nectar) forming a complementary pair. Soma
is fuel to agni and it quenches its continuous thirst. From their union a new creation is born, and vice versa, the
pair agni soma appears everywhere there is a creative process. For example in a loving couple, passion is agni
and the loved one is soma. In the human body, digestion is agni and food is soma. In the tantric sexual alchemy,
there is the pair tejas (agni) ojas (soma). Even on a larger scale, in a star, the atomic fire is agni and the
hydrogen fuel is soma. When one looks carefully we can find a soma for any agni. In the human psyche, agni
acts as desire and intentional will, and soma is whatever is the object of that desire or will.
vyu - air
Vyu tattva is produced by Spara tattva (the medium for the tactile sensations).
The symbolism of air contains among other: masculine, yang, mobile, dry, subtle and elevated. It is a symbol
for freedom, open spaces, intellect, mind, the ability to fly, penetrate anywhere (like air does), intangible and
elusive (like the wind). Breath symbolises life, to breathe is to assimilate spiritual power. In many languages
breath is associated to the notion of soul:
in Arabic and Hebrew the word "ruh" signifies both "breath" and "spirit"
in Sanskrit, "atman" means breath, soul or vital principle
in Greek, "psyche" means both breath and life, soul
in Latin, "anima" means both breath and soul
in Romanian, the word "suflet" means soul, and comes from the word "suflu" which means breath
Vyu tattva is considered to be the vehicle of prana; prana is the vital energy (etheric energy) that forms the
etheric body (Pranamaya Kosa). Its tattvic shape is the circle, the color is blue.
ka - aether
ka tattva is produced by abda, the medium for auditive sensations and is associated with the fifth chakra,
Viuddha. ka is fundamentally different from the other four mahbhtas as it is non manifested in the
physical world it is the void, the space, support of the other four tattvas yet, unlike them, untouchable and
unseen.
ka tattva is also called the aether or "fifth element". It is invisible, all pervading a symbol of the spirit. It
appears empty yet it contains huge energies (the energy of the void).
Aether is associated to the sky, has no qualities (hot or cold, wet or dry, no odor) and is unchangeable. ka is
the support of the cosmic memory (the kic records). Its form is the ovoid. The ovoid is the form of
Brahma, the primordial world-egg, origin of the creation.
The five tanmtras - subtle mediums of the sensations
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While mahbhtas are the basis for the material world, sensations and perceptions are but limited aspects and
views of it, in no way able to fully describe it. We cannot actually perceive the reality, all we can access are
limited "bands" of information that form a description of reality. This restriction however applies only to the
limited beings (jiva, or au). For one who has gone beyond my, in the realm of the pure tattvas, there can be
direct perception of reality, because as one's self is Atman, so are the external objects. In such a state an
enlightened being can perceive the world beyond the five senses (direct perception), in a state of diversity in
unity and unity in diversity. Another way to put it is that he then recognizes (Pratyabhija) himself (Atman) in
any object.
These bands of information are the five tanmtras. Being closer to the subject than the physical reality,
tanmtras are more elevated than mahbhtas and are described as their source of creation.
gandha - the transit medium for the olfactive sensations

smell in itself
creates pithv tattva
rasa - the transit medium for the taste sensations

taste in itself
creates jala tattva
rpa - the transit medium for the visual sensations

form (and color) in itself
creates tejas tattva
it contains forms and colors
spara - the transit medium for the touch sensations

touch in itself
creates vyu tattva
abda - the transit medium for the auditive sensations

sound in itself
creates ka tattva
The five karmendriyas - organs of action

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Karmendriyas represent both the physical organs and the corresponding subtle (astral) organs of action, specific
to activity in the astral plane.
As their name says, karmendriyas are karman indriyas, that is internal organs that create karma. They are
connected directly to the manas tattva and represent its solar, active function. The jnendriyas (sense organs)
represent the lunar, passive function of manas.
pyu - the excretion organ

Pyu tattva, the excretion organ, is the first karmendriya; it is associated with Muladhara chakra, having as
inferior octaves the pithv (earth) and gandha (smell) tattvas.
Its role in the awakening of Kundalini
Pyu tattva is the medium of Kundalini[3] and the sexual energy (ojas) a regenerative, almost inexhaustible
power that lies at the lower part of the trunk. Correct control of this lower energy leads to a huge increase in
spiritual power.
The harmonious activation of pyu tattva is essential for obtaining control of such an energy. This is why many
techniques involving pyu tattva are methods of awakening of Kundalini:
avini mudr the horse gesture
mul bandha the root lock
akticalana mudr moving the shakti
mahamudra the great seal (from hatha yoga)
siddhasana, an important asana where the heel is pressing the perineum or anus
[4]
When pyu is in harmony, there is a feeling of immense force, and better control. When it is disturbed, many
conditions my occur such as: stubbornness, greed, fear and anxiety.[5]
upastha - the sexual organs

The term upastha means in Sanskrit sexual organs, 'the part which is under' or lap. Upastha tattva means the
power of procreation and sexual enjoyment, or the generative organ.[6]
Differentiation and complementarity related to the sexual organs
Upasta tattva is the most differentiated organ in the body, between man and woman. Even the English word sex,
coming from the Latin sexus, is related to the original meaning of division. Perhaps the most defining element of
a human's body is its sex. We care to know a baby's sex before anything else. Thus sex divides humanity in two
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and defines our most fundamental psychological traits.

The other fundamental characteristic of upasta tattva is its complementarity. The male sexual organ (lingam)
and the female sexual organ (yoni) are complete only in sexual union. In tantra, lingam has come to symbolise
iva and yoni to symbolize akti, the two most elevated aspects of the Absolute. The sexual union depicted in
the Yab-Yum posture represents not only the creative act on the human level, but also on a cosmic level. The
union of iva and akti is eternal and supremely blissful, generating in its pulsating rhythm the fundamental
movement of consciousness (spanda), which is the source of creation.
On a tangent note, the duality-complementarity principle also appears in physics: the wave-particle duality and
the space-time couple are just the most prominent. Physicists talk about symmetry and symmetry breaking as
fundamental in the structure of the universe.
Symbolism of the androgyne
Having both the male and female sexual organs, the androgyne represents perfect equilibrium and
completeness. Ardhanarishvara is represented as half male, half female, iva and akti united into one being.
Even if not on a physical level, the androgyne is completed in the tantric sadhana by awakening the spiritual
force of the body (Kundalini) and uniting it with the principle of consciousness. In this state there is perfect
harmony of the yin and yang and absorption into the Absolute.
Tantric practices related to the sexual organs
Besides maithuna and the tantric sexual union, there are a series of exercises meant to develop and control the
sexual energies. One such exercise is yoni mudra.
pda - the locomotion organ

Pada Tattva represents both the physical organ of locomotion and the subtle energetic structures associated with
it. Between the seven force centers it is associated with Manipura Chakra[7] and in the hierarchy of 36 tattvas it
is a superior octave of tejas tattva.
Subtle anatomy of the feet
Feet acting as grounding conduits: the continuous contact of feet with the ground is a symbol of relying onto
and being a part of the sphere of earth. In Hinduism some rites are required to be officiated bare foot.[8]
Touching the ground permits a better contact with the earth energies.
The sole of the foot is seen as a microcosm of the body. All the organs and aspects are projected on the surface
of the sole, forming a mystical map.[9] By massaging the sole of the foot, the healer intends to project his action
on the whole body or on the diseased organ. This practice is called padabhyanga in ayurveda and in modern
times appears as reflexology.
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Symbol of force
The symbolism of the foot derives from that of its main functions: standing and walking. Standing upright is a
poise of strength, self-esteem and human dignity. Walking represents an action of domination over space. The
feet contain the largest muscles and bones of the body, develop the most powerful physical force and support
the whole weight of the body. Thus, reuniting the symbols of force, dignity, uprightness and domination, it is
associated with the concept of vira the heroic being.
Symbol of devotion
The foot is seen in Hinduism as a symbol of devotion. The custom of venerating guru's feet is a clear message
of acceptance and submission by placing the foot of the master (lowest part of his body) on the head of the
disciple (highest part of the body), the disciple assumes a totally receptive position, which is essential for the
process of initiation. A variant of this practice is venerating the feet of a deity, for example Shiva, Vishnu or
Buddha (buddhapada):.[10][11]
Symbol of humility
Kneeling (half-using the feet) symbolizes submission and humility. In some monasteries, monks not only knee,
but lay flat down on the floor[12] face down during prayer (not using their feet at all) signifying the total
submission of the individual will in front of the divine.
Symbol of purity
The expression lotus feet appears in many religious texts in a devotional context. Ex: I worship the auspicious
lotus feet of the Eternity called Bhagamalini.[13] The lotus is a symbol of beauty and purity. The foot, being in
contact with the ground, is considered impure (but only in some contexts, because its symbolism is very
complex). Thus, the expression lotus feet is a negation of impurity, a declaration of divinity.
Spiritual sacrifice
In pada-yatra, the devotional pilgrimage on foot, the participants seek purification through sacrifice. Sacrifice is
considered to be a form of tejas (fire), which is tattvically associated with the pada tattva (feet).
Symbol of domination
The feet are also a symbol of domination. In the legend of Vamana, an incarnation of Vishnu, the world is
completely covered in three steps (trivikrama) one covered the earth (human world), the second covered the
sky (the world of the deities) and the third was placed on the head of king Bali of asuras. The three strides
represent domination over the physical, celestial and human worlds.
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In another symbolic representation, Nataraja Shiva is crushing with his foot the demon Apasmara (a demon
representing ignorance) thus affirming himself as the supreme force that dissolves illusion through his divine
grace.
In a related context, the feet can be a symbol of dependence. Kali, the goddess of time and transformation is
represented as standing on the inactive body of Shiva. This image symbolizes the active role of Shakti, its
reliance on Shiva in as support and the fact that Shiva needs Shakti in order to manifest.
Symbol of transcendence
The imprint of the feet on the ground is a symbol of transcendence. There are such sacred places of pilgrimage
associated with various divine figures (see Buddha footprint and Petrosomatoglyph).
The foot in Hatha yoga
In Hatha Yoga, the feet are considered conduits of the energies of earth. They present a number of secondary
chakras and nadi. In many asana they act as a grounding pathway.
Padahastasana (foot to hand circuit) forming a closed circuit through the hands the and feet; feet also
act as a conduit of the energies of earth (prithivi)
Sirsasana (headstand up-down circuit) feet are used as antennas for receiving the energies descending
from the sky
Talasana (tree pose down-up circuit) hands stretched upwards connect to the energies of the sky while
the feet connect to the energies of the earth
Trikonasana (triangle pose) feet form a triangle with the earth, the triangle being the tattvic shape of
tejas; this posture activates tejas and Manipura Chakra which are associated with Pada Tattva as stated
before
Feet positions in meditation
In the traditional meditation postures feet act as physical support and are instrumental in the activation of the
vital energies:
Padmasana (lotus pose) here the feet form a closed circuit, a triangle base for the body and along with
the hands, a pyramid shape for the whole body
Siddhasana (perfect pose) the heel exerts pressure on the perineum (see payu tattva for more context)
thus activating the sublimation of the sexual potential; the feet, associated with tejas, are thus united with
the center of sexual energy (ojas), forming a complementary pair tejas-ojas (an instance of the agni-soma
couple). Their union is the basis for the creative alchemical act of reverting sexual energy to ananda, its
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ultimate source.
Sukhasana (pleasant position) the crossed legged position often used for meditation
Virasana (hero's pose) feet are crossed; feet are also tattvically associated with the concept of Vira
(spiritual hero)
Bhadrasana (position of the throne) uniting the soles (and the chakras in the soles) a closed circuit
appears, activating Kundalini[14]
Walking meditation
In walking meditation (also called Kinhin in Zen) one uses his feet to impose a structured rhythm to the mind.
The aim here is to expand consciousness by stopping the fluctuations of the mind by this simple physical
device.
Sacred dance
Sacred dance is another complex spiritual tradition where the feet play a major role. Here too every gesture is
infused with consciousness and symbolism. As a form of art, it brings about the expansion of the consciousness
for both the artists and the audience. The dynamic pose of Nataraja is a symbol of universal movement which is
identical to the universal creative energy because everything in the world is movement and energy.
pni - hand, the organ of apprehension

Pni tattva (the hand) is the most complex action organ. Acting as a mirror of consciousness, it immediately
reacts to, and expresses the will. It has a complex symbolism and multiple functions. The hand can express
emotions and speech. One can see through touch and speak in hand language.
Pni tattva is not equal to the physical hand itself but it is a structure in consciousness associated with the hand.
Tattvically, pni tattva is a superior octave of spara tattva (touch) and vyu tattva (air). From the seven force
centers, it is related to Anahata chakra.
Subtle anatomy of the hand
A series of minor force centers (chakras) exist in the palm of the hand, elbow and shoulder, united by a series of
force channels (nadi).[15] Thus, the hand is a conduit of subtle energy. By performing a scared hand gesture (or
a magical action, mudra) one can tune in a specific resonance. One's handprint is his symbol, signature, mark of
possession and domination. Hindu Gods (deva) are often represented with multiple hands, suggesting their
multidimensionality. A strong arm is the mark of the hero (vira). The invisible hand of God is a symbol of God's
mysterious power.
Correspondence of the five fingers with the five elements
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There are various ways fingers are associated to the five elements. For example: thumb fire, index air,
middle Sky, ring earth, little water. Almost all people develop a strong polarity between the hands,
forming a preference for either the right hand or the left hand. The dominating hand is associated with yang and
the other with yin. The hand and the body both have five extremities thus the hand has been put in
correspondence with the body.
Pni tattva is sometimes called the organ of apprehension and is the main external tool of the mind. Writing, in
its role of external memory, is associated with ka. The hand is a symbol of action, strength, domination and
protection. It is used for imposing a specific resonance, energy transfer, giving a blessing and spiritually
investing another person. The "eye in the hand" is associated with protection, luck[16] and 'clairvoyant action'.
Functions and symbols of the hand
More functions and symbols:
the hand that talks hand language
the hand expresses emotions fidgeting, etc.
the hand as an instrument of memory writing, drawing
the hand as an instrument of healing (sometimes, the hand of the king) miracle worker
the hand of providence (Hand of God) symbol of the mysterious and irresistible power of God, forces
outside the human control
the eloquent hand gesture nonverbal communication, auxiliary communication
Symbolism of the hand gestures
both hands raised victory, prayer, praising the Divine
one raised hand symbol of the voice; symbol of song
hand on the heart attitude of the sage
hand on the neck sacrifice
covered or concealed respect
folded tranquility
palms upward, laid on each other meditation
palms together prayer
clenching fist anger
raising the right hand threatening
placed in the hands of another submission and trust
clasping praising the Lord (original symbolism), fraternity, welcome, agreement
handshake symbol sincerity, friendship
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many people joining hands to unite

palm placed on the top of the head of another blessing, investiture, relaying energy
raising a prized object with both hands victory
[17] [18]
Role of the hand in Hatha yoga

In hatha yoga are described a series of hand gestures (mudra). The role of the mudra is to impose a specific
resonance. Some of the mudras are:
abhaya mudra the right hand slightly elevated, the palm turned outwards fearlessness, renunciation
namaskara mudra both palms folded together - prayer, purity, sacrality
jnana mudra the tip of the index finger touches the tip of the thumb, forming a circle - concentration
dhyana mudra both hands resting on the lap, palms upwards.[19][20]
vk - the speech organ

Vak tattva is the organ of speech, including the mouth and the subtle structures of consciousness associated with
it. As all the other karmendriyas, vak tattva is an instrument for the creation of karma and also an instrument for
the practice of karma yoga, a discipline with the purpose of liberation from the bondage of karma.
Relationship with other tattvas
A number of other tattvas take part in the process of creation of sound: as support for the propagation of sound
and for its cyclical oscillating nature is the time-space tattva, akasa. Because sound is a mechanical vibration, it
also needs a physical support which is provided by vayu tattva (air), and thirdly, the articulation of sounds is
related to the tongue (rasana tattva).
In the sequence of tattvas, vak tattva is the most elevated karmendriya and its corresponding sense organ - rota
tattva (the ear) is the first outward expansion of the mind (manas tattva). The force centers primarily associated
with speech are Vishuddha chakra center placed in the region of vak indriya and Muladhara chakra as the seat
of prvak.[21]
Mouth and assimilation of food
Vak indriya (mouth), the instrument of eating, is also the first part of the body that comes in contact with the
food and plays a role of subtle assimilation of energies, directly from the food. The mouth is described to be
lined up with thousands of fine force channels (nadi) that have the role of absorbing prana from food.[22] In the
practice of ayurvedic medicine, plants are taken and held under the tongue for a few minutes just for this same
purpose.
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Articulation of speech
Depending on the position where the tongue articulates speech, there are a number of classes of sounds: velar,
palatal, cerebral, dental and labial. In Kashmir Shaivism each class of phonemes is correlated with specific
mantric energies of the sound.[23] The full sequence of phonematic energies is called mtk and contains 50
sounds, associated with the letters of the Sanskrit alphabet. On a cosmic scale, the creation of the universe is
described in Kashmir Shaivism as an evolution of sound, a descending process originating from the level of
logos (prvak). Each phoneme represents a stage in the process of evolution, a tattva, a world in itself. Sounds
are associated with energies and ultimately with aspects of consciousness. The magical power of sounds and
words is derived from this association with energy (akti) and consciousness (iva). The study of these energies
is an essential part of Kashmir Shaivism.[24]
Vk (speech) is seen as the result of the dynamic union of two parts that form the mouth (upper and lower), a
complementary union of the opposites, yin and yang. There is always such a fusion of yin and yang at the basis
of any creative process.
Speech as a creative power
Vak tattva plays a major creative role in the human being as the instrument of speech and as such, the origin of
the interior world of thought. Speech acts as a mirror of the exterior reality, duplicating everything that exists
outside into the mind. The word is the vehicle of the limited ego, ahamkara. The word as such is an imperfect
tool though, because while it can reflect the exterior reality it always approximates. For example, when we say I
saw a man we don't say much - what kind of man, what impressions did he give us, etc. The word is just an
abstraction from reality. Thus language is at the same time a tool and an obstacle in knowledge.[25]
Three creative voids
Together with the mouth (the void that creates speech), two other creative aspects of the human body are the
vulva (yoni) and the Heart (hdaya). Yoni creates both human life and of the energy of spiritual evolution (that
is, the energy of transmuted sexual fluids and ascending kualin). The heart (hdaya, aham), as defined in
Kashmir Shaivism, is a matrix of energies centered around the Self (tman), substrate and center for all the
activities of consciousness. Yoni, heart and mouth represent three levels of the void and three centers of creative
power.
In relation to sexual activity, both mouth and yoni are somewhat similar in form and role and sometimes their
use is reversed (see the so-called 69 sexual position). Kissing it begins a prelude to the sexual union and serves
as a symbol of it. The mouth is the source of the exterior speech, but on the highest level, parvak (supreme
word) is also named Logos Spermatikos in Greek (spermatikos=seed, a sexual reference to its role as a
creative power).[26] Thus we can see the multiple parallels and connections between mouth and yoni as both are
expressions of the creative void, matrices of creation present in the human body.
Levels of speech
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Speech is considered in Kashmir Shaivism to exist on multiple levels, but only the exterior (or spoken) speech
is expressed through vk tattva. The full scale of speech is as follows:
vaikhar vk spoken word, exterior
madhyam vk mental speech, interior
payant vk pure intentionality, pre-speech
parvk identical to the nature of the Spirit
[27][28]
As the self is expressed in three levels, ego, soul and spirit, so is speech expressed in three different ways:
at the level of the ego (ahakra), speech is fully differentiated; it includes madhyam vk and vaikhar
vk, thus the vehicle of speech is the word itself
at the level of the soul (jivtman, or purua in Kashmir Shaivism) language is not ruptured from its real
signification any more; it can be described as paiant vk, the language of mantric syllables, symbols and
non-sequential instant knowledge (intuition).
at the level of the spirit (atman), language is expressed as supreme word - parvak; in term of sound, it is
represents silence;[29] here there is only one single reality and one single meaning and it is described in a
multitude of concepts, all approximative, as conscious light (praksa-vimara), compact mass of
consciousness and beatitude (cid-ananda-Ghana), supreme freedom (svtantrya), atemporal vibration
(spanda) and the spontaneous flash of conscious light that projects objects into reality (abhsa). Thus at
this level there is absolutely no difference between the word and its significance.
On this scale vk tattva corresponds to the first level of speech, that of the ego and vaikhar vk.
Limiting power of words
The power of words is that of creating a new world, a world of the mind. Words act as symbols of external
reality, yet their very act of indicating (or reflecting the exterior reality) is imprecise. Being trapped into the
prison of words, ruptured from direct experience, the western philosophy is limited to an edifice of mental
speculation.[30] While philosophy relies solely on words it cannot be a true path to the absolute Truth, because
words are imprecise, limited tools.[31] Thus in Kashmir Shaivism as in many other oriental spiritual schools,
accent falls on direct experience and realization through the means of the various disciplines of yoga and
meditation. In Shaivism, words play as references, mere guide marks or pointers for the consciousness in its
endeavor of rediscovering its true nature.[32]
Occult power of the word
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The word has spiritual, magical, mystical and even demoniac powers, some of which are described in the
following concepts:
mantra the sacred syllable, both sound and spiritual energy, is a fundamental tool in tantra and
consequently, in Kashmir Shaivism (see the practice of japa and uccara)
prayer and religious chanting are essential instrument in religious rituals
casting a spell, incantation speech is the principal magical instrument
scriptures sacred words considered to be originated from God Himself, such as agamas in Kashmir
Shaivism; a notable difference between the occidental scriptures and the Kashmir Shaivism agamas is
that the agamas are considered to be Shiva Himself, in the form of word, not just the mere words of Shiva
degraded speech curses and profanities associated with demoniac resonances
satya siddhi the power of efficient speech whatever one says, comes true such a power is said to be
the result of the practice of satya truthfulness
nysa a magical ritual of imposing mantras with the hand on specific parts of the human body, thus
awakening the latent occult powers within it
Word as a medium for spiritual initiation
In most spiritual schools, speech is the preferred medium of spiritual initiation. Sometimes written word is used,
but the most secret initiations are traditionally transmitted "from mouth to ear". Oral teachings are usually
reinforced through repetition (ritual) to become a spiritual foundation.[33]
Words in meditation
The practice of meditation aims to stop the mental chatter altogether (the concept of "citta-vritti-nirodha" of
Patanjali) or replace it with sacred speech (laya yoga, japa, uccara). Regular speech must be put aside in order
for consciousness to reach that level which goes beyond the mental.
mauna (self-imposed silence) produces the accumulation of a large energy in vak tattva
bhavana (contemplation) speech charged with spiritual energy (Sakti) through intense visualisation
koan a kind of paradoxical contemplation expressed in words with the purpose of projecting the mind
beyond words
neti neti a kind of contemplation where negation is used instead of affirmation; the reasoning behind
this technique is that the absolute cannot be captured in any affirmative affirmation as it lies beyond the
sphere of speech, but it can be discovered through meditation with the help of various negations ("Atman
(the spirit) is not this, Atman is not that") that act only as guide marks along the way, pointing to the
various mistaken assumptions that need to be surpassed
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devotional speech - known under various names in other spiritual traditions as nembutsu, dhikr; in
Kashmir Shaivism too there are a number of remarkable devotional works
The five jnendriyas - sense organs

ghra - nose
rasan - tongue
caku - eye
tvak - skin
rotra - ear
Antakaraa - the inner instrument

Antakaraa, also called the internal organ, is part of the pure-impure tattvas. Activity in these tattvas is
subjective cum objective. Antakaraa contains five tattvas: manas, ahakra, buddhi, prakti and purua
tattva.
manas - the lower mind

The manas name comes from the verbal root man to think. Manas is the instrument for the creation of vikalpa
(dual thoughts). Its state is described as always agitated. Manas is the hub connecting the ten organs of action
and senses to the upper tattvas (intellect, ego and soul). It does not simply transit the sensations, but also filters
and assembles them into a coherent vision. Manas operates based on learned behavior, instincts, habits and
automatisms, like a complex computer processing data (from the senses) and transmitting commands. Because
of its agitated nature, manas is termed "the undisciplined mind", fraught with contradictions: doubt, faith, lack
of faith, shame, desire, fear, steadfastness, lack of steadfastness.
Manas interprets everything in terms of attraction and repulsion. While the ego (ahakra tattva) can
understand and assume a moral code, the notions of good and evil, manas is limited to the complementary pair
of pleasure and pain, acting only on the desires that arise. Its program is Repeat pleasure and avoid pain.[34]
Manas operates both in the subtle and the physical plane (brain). Manas is the center of logical reasoning while
buddhi is the center of intuition, discrimination and will. Depending on the state of consciousness, manas can
act either as a cause of conditioning and bondage or as a path towards freedom. The latter is possible for poets,
artists and those who are illuminated (can operate within the pure tattvas, beyond my).
ahakra - the empirical ego

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Ahakra tattva is the first seat of subjectivity. Aha means "I" and kra means "to do", thus, ahakra - the
instrument of Aha (the Spirit), the principle of individuation, acting as an independent conscious entity within
the impure reality - yet, it does not have consciousness of its own. ahakra is a receptacle of Cit akti, its
consciousness is but a small spark from Cit, the universal consciousness. Its operating mode is assuming
authorship of all the actions of buddhi, manas, the senses and organs of action.
Ahakra lives in the sphere of duality, in a state of identification with the physical body, its needs and desires.
In ahakra predominates rajas guna (agitation). Because it identifies only with a small part of the creation (the
body) and rejects everything else as "not me", it becomes subject to a series of afflictions such as: pride, egoism,
competitiveness, hate and jealousy.
On the other hand, with ahakra tattva appears, for the first time, individual will, determination, a sense of
morality and ethics and it is thus the first step on the spiritual path. Without a sufficiently harmonious and
powerful ahakra (personality) it is impossible to exert the level of effort required to accede to a higher
spiritual level.
The position of ahakra and buddhi are sometimes presented in reversed order because, as the principle of "Iness", ahakra is allowed control over the manas (sensorial mind) and buddhi (superior intellect, intuition).
Yet, buddhi is a superior tattva, and ahakra is only allowed from a functional point of view a superior
position to buddhi. From an absolute point of view, ahakra is created by buddhi and thus subordinated to it.
buddhi - the intellect

Buddhi tattva represents the intuitive understanding, the superior mind, which can rise above ego and the
sensorial. It does value judgments, discriminates between possibilities, decides and determines, based on the
information presented from the lower tattvas. In buddhi tattva there is a predominance of sattva guna (purity)
and the energy of jna akti the energy of knowledge.
The name buddhi contains the Sanskrit radical dhi, meaning reflection, intuitive penetration and higher
awareness. Other notable terms containing dhi are samdhi (yogic ecstasy) and dhyana (meditation). One of the
prescribed ways of developing buddhi is the study of sacred texts. In Kashmiri Shaivism, Bauddha Jna (the
intuitive and conceptual understanding) is considered the foundation of illumination because once profoundly
understood, something is always accessible, while the second type of knowledge, Paurusha Jna (to know
through direct experience) is limited only to the moments of inspiration.
prakti tattva
Prakti tattva is the fundamental operative energy of the soul (jivatman), or, in other words, it creates the world
of purua. In Kamir aivism prakti has a different meaning than in Skhya; while here it means an energy
of the individual, in Skhya it refers to the fundamental energy of the manifestation. Thus, as defined in
Kamir aivism, every purua has his individual prakti.
Prakti and Purua are closely interdependent. They are the reflection of iva and akti tattva in the sphere of
my. The difference is that, while iva and akti tattva are infinite and nondual, purua and prakti are limited
and subject to duality. Other than that, what iva-akti do on a universal scale, purua-prakti do on a personal
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scale. They have the same energies of will, knowledge and action and perform the five actions of creation,
sustenance, dissolution, occultation and grace.
In G. V. Tagare's The Pratyabhij Philosophy, these five actions and their correlates are given as follows:[35]
Role
iva's level
Level of the limited being
appearance (creation)
si
bhsana
enjoying (maintenance)
sthiti
rakti
experiencing within oneself (resorption)
sahra
vimarana
sowing seeds
(occultation, reduction of knowledge
to a subconscious impression, saskra)
vilaya
bjvasthapna
dissolution of residual impressions(saskras),

grace, nonduality
anugraha
vilpana
Prakti tattva has three tendencies (guna), in perfect equilibrium: Sattva (purity), Rajas (agitation) and Tamas
(inertia). They derive from the triad Icch, Jna and Kriy as follows:
Guna
Derives from
Produces
Sattva
Jna akti
Buddhi tattva
Rajas
Icch akti
Ahakara tattva
Tamas
Kriy akti
Manas tattva
Prakti is the source of all tattvas from buddhi down to pithv (earth) the creator of both the individual and of
the external reality.[36]
purua
Purua tattva is defined as the living soul (jivatman), the limited being (jiva), the one who is bound (pau),[37]
the spiritual atom (au). It is not only the human being, but every sentient being.
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Purua appears as the result of the process of contraction or occultation iva assumes willingly. This feat is
achieved by the five limitations (kacuka tattvas) and the cosmic illusion (my tattva). iva is also known as
Pati, the master, while Purua is the Pau (the bonded one). Between Pati and Pau is Pa - the limitation
itself. Pa is the cumulative effect of my and the five kacukas, or, from another perspective, the effect of
the three impurities or poisons (malas): nava mala, krma mala and myya mala.
nava Mala the belief that he is limited, finite and small in comparison to the world
Krma Mala the belief that he (the limited self) is the author of the action, instead of recognizing
Atman as the real agent
Myya Mala the belief in duality, separatedness [37]
Purua acts as the subject in all the limited (dual) mental and sensorial states of consciousness. In fact the real
author of all the actions is Atman, the supreme Self, which resides at the level of iva and akti tattva. Purua is
the owner of prakti, which creates the intellect, ego, sensorial mind, senses and organs of action. Purua needs
prakti in order to act as an individual in relation to the external reality, but he doesn't need any intermediary to
reconnect to his source, Atman.
at kacukas
Kacukas means armour. Here it is used in the sense of limiting filter, a restrictive force creating a "prison" for
the consciousness inside the dual creation.
Powers that maintain the individual soul resting in the middle like Trishanku, which otherwise
would fall into the condition of complete inertia like a rock, etc, or would ascend into the sky
of Consciousness like the Supreme Lord. Abhinavagupta [38]
The theory of the 5 sheaths existed long before. Shankara writes in his 'Atma Bodha'[39] about the five sheaths
the Immaculate Atman appears to have borrowed.
Trishanku is a mythical character who wanted to ascend to heaven in his physical body. While the sage
Viswamitra was helping him ascend, the Gods were in opposition, thus he became suspended half way through.
Abhinavagupta describes the kacukas as five forces that create a middle ground between the realm of the pure
tattvas and objectivity; the purpose of this middle ground is to reunite both the spiritual and the material, the
subjective and the objective - a playground of spiritual evolution that is needed if such entities as jiva (the
limited being) are to exist.
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Thus kacukas have a triple role: they act as an entry barrier towards the realm of the pure tattvas for the
limited beings (jiva), they also act as a gateway for the illuminated, who can pass without impediment between
the pure and impure realities, and finally, they create a middle ground of subjective-cum-objective activity,
where spiritual evolution can take place.
The five kacukas present both a limited aspect and a universal aspect. They are like intervals, with one end in
the infinite and the other end in the finite. They are:
omnipotence sarvakarttva
limited power kal
omniscience sarvajatva
limited knowledge vidy
fullness, perfection pratva
limitation of desire rga
eternity nityatva
limitation of time or life kla
omnipresence vypakatva
limitation of space niyati
[40]
The combined effect of the five limitations (kacukas), is described as follows, by Abhinavagupta, in just one
phrase:
Thus, the subject, being limited or intertwined with kla, vidy, kal, rga and niyati and
being deprived of divine glory by my, shines as limited, feeling 'that which knows
something now, does this and is attached to this, am I' varapratyabhij Vimarin of
Abhinavagupta.[41]
niyati - spatial limitation

Niyati tattva reduces the state of omnipresence to the level of finitude. The subject can be only in one place, his
body is limited and outside his body is the domain of "not myself". This is the fundamental duality of the
existence in the impure domain (meaning tattvas from purua to pithv).
Based on the duality between the limited subject and the world, a series of physical limitations arise, like:
hunger, fatigue, sickness and the need to protect oneself. By constant identification with these limitations the
ego (ahakra) is formed. Ahakra exerts itself tirelessly in its pursuit of happiness, yet it understands
happiness in a very limited and dual fashion, which can never be a stable fulfillment.
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kla - limitation in time

Kla tattva reduces the experience of eternity to that of time and limited life span. Under kla tattva time takes
three aspects: past, present and future. But while the past is just a memory and the future is a probability, only
the present is actually experienced.
Time limitation has to do with death, rebirth and becoming subject to the cosmic cycles of life. Time is relative
to the observer. Objective time is sometimes faster, other times slower than the subjective (interior) time. As the
consciousness expands, time flow is perceived as being slower. When a state of enlightenment (the revelation of
the Self, Atman) is achieved, kla kacukas (limitation) becomes transparent and eternity shines as the present
moment.
rga - incompleteness, the limitation of desire

Rga tattva is the limitation of the "perfect fullness of the Absolute". While in the realm of the pure tattvas
(from iva tattva to uddha vidy tattva) every possibility is simultaneously fulfilled, under the effects of this
limitation, there is experience of incompleteness, and so, desire for various objects appears.
The source of perfect bliss is a nanda. nanda is the reflection of absolute consciousness (Cit) on itself. In an
analogy, the white light of Cit is said to become the rainbow of nanda, expressing every possible color at the
same time. Yet, in the dual world, the infinite nuances of nanda cannot be experienced at once, and appear as
various distinct forms of emotion or rasa (aesthetic flavours). This is the work of the rga kacuka.
vidy - the limitation of knowledge

Vidy tattva is the constriction of infinite knowledge to limited and imperfect knowledge. In the realm of pure
tattvas, iva has direct access to any information about anything as the whole creation rests inside Him, like
one's thoughts rest inside one's mind. Yet, to know everything at once is to know that which is inside everything
and beyond. Acting as its source and the witness, Cit is said to be the basis for the whole creation, the ultimate
Truth, which is the only truth one needs to know. Everything else is derived from it.
The limited being, unable to recollect his essence of Cit (infinite consciousness), operates in the realm of dual
knowledge. His objects of knowledge are distinct/differentiated. This type of knowledge may become more and
more subtle with study and practice, yet it is never able to describe Cit. The only way to rise to the level of non
dual knowledge is through the act of Grace of iva. This point is specific to Kamir aivism.
One can prepare for the descent of grace by studying the sacred texts and purifying his body (physical and
subtle). Even so, the Grace of iva will come only at iva's absolutely free will.
kal - limitation in power

Kal tattva the limitation in power, is what makes one forget his original status of omnipotent being and
assume the belief in the limitation of his power. This wrong belief acts as a chain limiting his spiritual progress.
In this state, he identifies with his limited actions and bears the fruits of the karma they generate.
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In order to recollect his true nature, of infinite consciousness and bliss cit-nanda, he needs a level of power
unavailable to limited beings. Only by understanding this and accepting that it is iva that is acting, not his ego,
will he become open to the Grace of iva, which is identical to a huge impulse of power that shatters duality and
transports him directly into the realm of the pure tattvas.
By opening his heart to iva, thinking of himself as a channel of iva's energy, he creates a special status of
"spiritual son". A spiritual son's actions are endowed with efficiency by virtue of a direct link between his heart
and the infinite heart of iva.
my - the origin of illusion and duality

My tattva is a very important stage in the process of manifestation. M means "to measure"; measurable
means finite. From the infinite being that is iva, it creates the finite: the illusion of multiplicity, differentiation
in multiple objects and limitation of objects. This process of manifestation is based on a series of multi-levelled
reflections (pratibimba), creating a series of octaves or intervals. From pure consciousness and bliss iva-akti
becomes vital and mental energy, and then matter. Thus the process of creation is a process of descent and My
is the tool by which this descent starts. On the other hand, my is the portal towards the rediscovery of iva when it is seen in the context of the spiritual evolution.
In Kamir aivism my is not separated from Cit (supreme consciousness). This is a major difference between
Kamir aivism and Advaita Vednta. Thus, my is created by nanda akti, the operative energy of iva. In
turn, my is the instrument of creation for the dual world.[42]
Even though iva assumes limitations in his role as a limited being jiva, iva never becomes a subject to any
external limitations. Svtantrya, the absolute free will iva, is the sole cause for the apparition of duality [43]
One cannot possibly understand at the level of dual existence, the motive why iva creates duality and the world
with all its individual beings. It remains a profound mystery [44]
God, Consciousness in essence, like a magician, makes the whole ensemble of things which
reside in Him appear outside Himself without any external cause, solely by the power of His
will. Utpaladeva [45]
The effect of my is the sensation of division into interior and exterior, subject and object. In Kamir aivism
it is considered that exterior objects and limited beings (jiva) are never separated from one's consciousness, or
iva's consciousness.[45]
uddha tattvas
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This group of five tattvas describe the Divine Consciousness. They appear by the projection of the five principal
energies of the Absolute:
Cit akti divine consciousness creates iva tattva
nanda akti supreme bliss creates akti tattva
Icch akti divine will creates sadiva tattva
Jna akti divine power of knowledge creates vara tattva
Kriy akti power to manifest creates uddha vidy tattva [46]
These five tattvas are called "pure" because they are the domain of pure subjectivity, non duality, where iva is
clearly manifested and there is no impediment or limitation.
Even though there are five aspects of iva, they are always one, beyond any duality. iva remains always one,
there are no five separate entities here.
uddha my
uddha my means pure delusion. From here on, the limitations of my are existent and the dualistic
knowledge shines. As per Swami Sivananada's book Tantra Yoga, Kundalini Yoga, Nada Yoga this is the 3rd
manifestation.
Note: Placeholder Section. Needs to be elaborated
uddha vidy
uddha vidy means pure knowledge. From here on, the limitations of my are inexistent and the pure nondual knowledge shines.
When purua, through the grace of iva reveals his essence of Atman, he gets first into the realm of uddha
vidy tattva. But the realisation of identity with iva is not perfectly stable yet and his access to this state comes
and goes. Here, the subjects thinks: "I am iva, the universe is real".
I-ness and This-ness are equally balanced and the experience of the universe gets more distinct.[47] It is a state
of unity in diversity.
uddha vidy acts as the instrumental function of sadiva tattva and vara tattva.
vara
The affirmation at the level of vara tattva is: "This universe is my expansion, not an illusion". It is associated
to jnana akti, the divine power of knowledge.
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Beings residing on this level are called mantrevara (lords of the mantra). Here the world is explicitly detailed
yet the creation hasn't yet begun. Thus, it is a state of divine existence where iva first projects the world in his
mind, before creating it in reality.
The vara and sadiva tattvas are associated to the flux and reflux of the divine consciousness, Cit (vara is
unmea - the expansion of the universe).
sadiva
The affirmation at this level is "I am this Universe". The accent here falls on "I". The focus is on the subject.
Here iva manifests as sovereign will - ichh akti. Beings residing on this level are called mantra-mahevara
(great lords of the mantras). On sadiva tattva objectivity exists only in a very incipient form. Here the
universe is said to be vague (asphua) and dominated by the experience of "I-ness" (Kemaraja) [48]
akti
The term akti comes from the root shak - to be capable of. akti is the operative (or kinetic) aspect of
consciousness, its power to act and the cause of all motion in the universe.[49] Because akti brings everything
into existence She is the feminine aspect of the universe in the cosmic couple iva-akti.
iva and akti tattva are inseparable and interdependent; iva is the interior aspect of consciousness and akti is
the exterior [50] - they are united like fire and its capacity to burn. Any difference between them is just a matter
of semantics. In another metaphor, iva is an infinite ocean and akti a wave on its surface. In a third metaphor,
iva is a perfect mirror and akti is the image inside the mirror. All these analogies try to express the unity of
iva and akti. Like the image cannot be separate from the mirror in which it exists, so iva and akti are but
one reality.
On the level of akti tattva the experience of I-ness is pure and universal and there is no trace of the experience
of This-ness. The top two tattvas (iva and akti) are said to be non manifested because they don't participate to
the cycle of creation. They act only as a backdrop or canvas for the creation.
In the triad sat-cit-ananda, akti tattva is associated to nanda - infinite bliss. Where akti is predominant, there
is experience of bliss. In the pair Prakasa-Vimarsa, akti tattva is Vimarsa - the reflexive aspect of iva - that is
- iva perceiving Himself (reflecting on his own nature). On account of it being dynamic and ever vibrating,
akti is also known as spanda. Spanda is the fundamental vibration of consciousness that permeates the whole
universe.
The will to create the universe appears first in akti tattva. Even though my is the actual instrument of
creation, it relies in turn on akti for its power.
iva
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iva tattva is the transcendental consciousness, the canvas on which the whole creation is projected. iva tattva
appears as Cit, the passive aspect of pure consciousness, non manifested, inactive in report with creation, the
static center and substratum of all change.[49]
Another way to describe iva tattva is Prakasa - the uncreated light. It is the power of consciousness to shine
without any external support. Prakasa is existence, as nothing that exists is different from it and there is nothing
outside it. In Kamir aivism, from the Vedic expression Sat-cit-ananda, Sat (pure existence) is omitted on
account that Cit (pure consciousness) contains it implicitly; thus the expression becomes just Cit-nanda.
iva tattva is the supreme subject. His nature is that of pure I-ness without any This-ness. His existence cannot
be detected by an act of perception. Only on account of his effects can we postulate his existence.[49]
iva and akti tattvas are the plane where the supreme Self, Atman, exists. Beyond iva tattva there is only the
Transcendence (Parama iva).
Differences from Skhya

The unique point of view of Kashmir Shaivism is expressed in the exposition of supplementary 11 tattvas
compared to Veda or Skhya. They are my, niyati, kla, rga, vidy, kal, uddha vidy, vara, sadiva,
'akti and iva tattva. The rest of 25 tattva, which are common to Skhya, have in Kashmir Shaivism a slightly
lesser position, as the categories of matter specific to the impure creation (dual creation).
See also
Aa, the four spheres of reality
Trika
Turya
Notes
1. ^ The Pratyabhij Philosophy, G.V.Tagare, 2002, pag. 25
2. ^ Symbolism of Place, John Fraim, http://www.symbolism.org/writing/books/sp/home.html, cap. 7
3. ^ Kundalini, The Energy of the Depths, Lilian Silburn, 1988, pag. 27
4. ^ Kundalini Yoga, Swami Sivananda, free online version at http://www.dlshq.org/download/kundalini.htm
5. ^ Muladhara Chakra
6. ^ Introduction to Kashmir Shaivism, Gurudev Siddha Peeth, Ganeshpuri, 1975, pag. 33
7. ^ Panels of the VIIth World Sanskrit Conference: Kern Institute, Leiden, August 2329, 1987, Johannes Bronkhorst,
pag. 58
8. ^ Pada (Hindu mythology)
9. ^ Modern Institute of Reflexology (http://www.reflexologyinstitute.com/reflex_chart.php)
Page 26 of 28
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10. ^ Relics of the Buddha, John Strong, pag. 85

11. ^ Theory And Practice of Yoga: Essays in Honor of Gerald James Larson, Knut A. Jacobsen, pag. 239
12. ^ Prostration, http://en.wiktionary.org/wiki/prostration
13. ^ Subhagodya, http://www.shivashakti.com/subha.htm
14. ^ Swami Satyananda Saraswati, Kundalini Tantra, Chapter 2, Posture
(http://www.eng.vedanta.ru/library/kundalini_tantra/3_posture.php)
15. ^ Healing With the Chakra Energy System: Acupressure, Bodywork, And Reflexology for Total Health, John R. Cross,
pag 145
16. ^ Hamsa
17. ^ The Complete Dictionary of Symbols, Jack Tresidder, pag. 222
18. ^ A Dictionary of Symbols, Juan-Eduardo Cirlot, p. 137
19. ^ Spirit and Art: Pictures of the Transformation of Consciousness, Van James, pag. 132
20. ^ For some mudra illustrations Living Yoga: Creating a Life Practice, Christy Turlington, pag. 101
21. ^ Vc, The Concept of the Word In Selected Hindu Tantras, Andr Padoux, page 146
22. ^ Magnetic Force: How to Unfold the Psychic Forces Latent Within You, A. P. Mukerji, page 118, [online
version|http://www.fullbooks.com/The-Doctrine-and-Practice-of-Yoga2.html]
23. ^ Para-trisika Vivarana, Jaideva Singh, pages 89,106
24. ^ Vc, The Concept of the Word In Selected Hindu Tantras, Andr Padoux, page 147
25. ^ "Jnnam bandha", The Shiva-Sutra Vimarsini of Ksemaraja, P.T. Shrinivas Iyengar, page 5
26. ^ A Theology of the New Testament, George Eldon Ladd, page 275
27. ^ Vc, The Concept of the Word In Selected Hindu Tantras, Andr Padoux, page 130,170-171
28. ^ Four Levels of Speech in Vedic Poetics, James J. Balakier, http://www.aber.ac.uk/cla/archive/balakier.html
29. ^ "God speaks into silence and his word creates", Silence, the Word and the Sacred: Essays, E. D. Blodgett, pag. 15
30. ^ See Heidegger and Deconstructionism; Silence, the Word and the Sacred: Essays, E. D. Blodgett, pag. 85
31. ^ jnnam bandha, iva Sutra, verse 2
32. ^ "The Tao that can be talked about is not the real Tao" Tao Te Ching; Northrop Frye: Religious Visionary and
Architect of the Spiritual World By Robert D. Denham
33. ^ Silence, the Word and the Sacred: Essays, E. D. Blodgett
34. ^ Light on Life, B.K.S. Iyengar, p. 118
35. ^ The Pratyabhij Philosophy, G. V. Tagare, 2002, pag. 89
36. ^ The Pratyabhij Philosophy, G.V.Tagare, 2002, p. 29
37. ^ a b The Pratyabhij Philosophy, G.V.Tagare, 2002, pag. 23
38. ^ The Yoga of Kamir aivism, Consciousness is Everything, Swami Shankarananda, pag.105
39. ^ Atma Bodha(Vers 15) (http://www.messagefrommasters.com/Life_of_Masters/AdiShankara/atmabodha2.htm)
41. ^ The Yoga of Kamir aivism, Consciousness is Everything, Swami Shankarananda, pag. 104
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44. ^ Essence of the Exact Reality or Paramrtasra of Abhinavagupta, B.N.Pandit, 1991, pag. 30
45. ^ a b The Yoga of Kamir aivism, Consciousness is Everything, Swami Shankarananda, pag. 108
49. ^ a b c Introduction to Kashmir Shaivism, Gurudev Siddha Peeth, Ganeshpuri, 1975, pag. 20
References
Lakshman Joo, Swami (1988). Kamir aivism. pag. 1
Eliade, Mircea. Theory and History of Religion. cap. 6 and 7
Singh, Jaideva (1979). Siva Sutras: The Yoga of Supreme Identity. Delhi: Motilal Banarsidas.
External links
A Generalized Account of Creation
(http://zatma.org/Dharma/zbohy/Literature/AssaultSummit/Ch1P2_Create.html)
Retrieved from "http://en.wikipedia.org/w/index.php?title=The_36_tattvas&oldid=613790181"
Categories: Kashmir Shaivism Hindu philosophical concepts Spiritual faculties Hindu tantra
Tantric practices
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The 36 tattvas - Wikipedia, the free encyclopedia

In Kamir aivism, the 36 tattvas describe the Absolute, its internal

Chart of the 36 tattvas in Kashmir

2.2 rasa - the transit medium for the taste sensations

The 36 tattvas - Wikipedia, the free encyclopedia

3.2 upastha - the sexual organs

The 36 tattvas - Wikipedia, the free encyclopedia

3.5.10 Words in meditation

The 36 tattvas - Wikipedia, the free encyclopedia

The five mahbhtas

The 36 tattvas - Wikipedia, the free encyclopedia

The five tanmtras - subtle mediums of the sensations

The 36 tattvas - Wikipedia, the free encyclopedia

gandha - the transit medium for the olfactive sensations

rasa - the transit medium for the taste sensations

rpa - the transit medium for the visual sensations

spara - the transit medium for the touch sensations

abda - the transit medium for the auditive sensations

The five karmendriyas - organs of action

The 36 tattvas - Wikipedia, the free encyclopedia

pyu - the excretion organ

upastha - the sexual organs

The 36 tattvas - Wikipedia, the free encyclopedia

and defines our most fundamental psychological traits.

pda - the locomotion organ

The 36 tattvas - Wikipedia, the free encyclopedia

The 36 tattvas - Wikipedia, the free encyclopedia

The 36 tattvas - Wikipedia, the free encyclopedia

pni - hand, the organ of apprehension

The 36 tattvas - Wikipedia, the free encyclopedia

The 36 tattvas - Wikipedia, the free encyclopedia

many people joining hands to unite

Role of the hand in Hatha yoga

vk - the speech organ

The 36 tattvas - Wikipedia, the free encyclopedia

The 36 tattvas - Wikipedia, the free encyclopedia

The 36 tattvas - Wikipedia, the free encyclopedia

The 36 tattvas - Wikipedia, the free encyclopedia

The five jnendriyas - sense organs

Antakaraa - the inner instrument

manas - the lower mind

ahakra - the empirical ego

The 36 tattvas - Wikipedia, the free encyclopedia

buddhi - the intellect

The 36 tattvas - Wikipedia, the free encyclopedia

Level of the limited being

experiencing within oneself (resorption)

dissolution of residual impressions(saskras),

The 36 tattvas - Wikipedia, the free encyclopedia

The 36 tattvas - Wikipedia, the free encyclopedia

limited power kal

limited knowledge vidy

fullness, perfection pratva

limitation of desire rga

limitation of time or life kla

limitation of space niyati

niyati - spatial limitation

The 36 tattvas - Wikipedia, the free encyclopedia

kla - limitation in time

rga - incompleteness, the limitation of desire

vidy - the limitation of knowledge

kal - limitation in power

The 36 tattvas - Wikipedia, the free encyclopedia