VISHUDDHI CHAKRA

VISHUDDHI

       The Sanskrit word vishuddhi means 'purification', therefore this chakra is usually translated as the 'purification centre.  It is the centre that purifies and harmonizes all opposites.  Vishuddhi is often called 'the centre of nectar' because it is the level of being where poison and nectar, good and bad, etc., are united into a common experience of bliss.

Location

       Vishuddhi location point is situated in the spine directly behind the throat pit and the kshetram is in the throat where the thyroid gland is situated.

Function

       Awakening of vishuddhi chakra is responsible for the  maintenance of health, youth and longevity.  When vishuddhi is functioning, degenerated tissues become rejuvenated and disease will not manifest.  One can also completely overcome the need for food and drink.

       Vishuddhi chakra is responsible for picking up the thoughts from the minds of others.  Although people are not aware of it, vishuddhi is actually the centre where the thought waves are received and conducted to the respective centres in the brain.

       Vishuddhi is the centre where one is ready to accept the world for what it is, taking the good with the bad.  The nectar and the poison are both consumed and there is no ill effect from the poison.  One will be able to perceive the sense and intelligence behind all happenings and will be able to flow with the current of life.  He becomes compassionate, peaceful and full of bliss.  It is said that a person who has activated vishuddhi chakra knows all the scriptures without needing to read them. 

Symbolism of Vishuddi 

       The tattwa (principle) of this chakra is ether (akasha).  Vishuddhi is closely related to the sense of hearing and the karmendriya or organ of action is the vocal cords.
 

Appearance

       Vishuddhi chakra is represented as a purple lotus with sixteen petals.

Yantra

       The yantra is a circle, as white as full moon.

Mantra

       The bija [seed] mantra is ham.  

Animal

       The animal which serves as the vehicle of vishuddhi is a pure white elephant.

Jalandhara Bandha (throat lock)

Sit in any meditation posture which allows the knees to firmly touch the floor.

Place the palms of the hands on top of the knees.

Close the eyes and relax the whole body.

INHALE slowly and deeply, and retain the breath inside.

While retaining the breath, bend the head forward and press the chin tightly against the chest.

Straighten the arms and lock them firmly into position.

Simultaneously hunch the shoulders upwards and forward.

This will ensure that the arms stay locked.

Hold this position for as long as you can comfortably retain the breath.

Then relax the shoulders, bend the arms, slowly release the lock, raise the head and exhale.

This is one round.

Practise 3 rounds and gradually increase to 10 rounds.

All your breath to return to normal after each round.

Vishuddhi Dhyana

Focus your awareness at vishuddhi kshetram.

As you inhale imagine that the breath is coming in through vishuddhi kshetram and passes through to the chakra in the spine.

As you exhale chant the mantra ham continuously and rhythmically until the exhalation is complete:  ham-ham-ham-ham-ham and send the mantra forward to vishuddhi kshetram.

Concentrate fully on the sound of the mantra and feel its vibrations resonating in vishuddhi.

Visualization

Become aware of chidakasha and an infinite space.

Visualize an elephant manifesting in this space.  A huge white elephant...snow white elephant symbolizing purification of the grosser aspects of one's nature.

Now visualize a circle...white...like a full moon...A white circle...yantra of vishuddhi chakra and the elephant either.

Expand your vision outward.  See vishuddhi as a purple lotus.  A purple lotus with sixteen petals.  

Slowly the lotus begins to turn...sixteen purple petals going around and around... spinning lotus...whirling vortex of primal energy.  

See yourself being drawn onto this spinning whirlpool of energy.  

Merge into it and feel its energy pulsating through your body.

When this vision fades, become aware of your natural breath.  

Awareness of your body and its surroundings.

Chant Om 3 times, then slowly open your eyes.

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Source:  Excerpts from the book on "SURE WAYS TO SELF-REALIZATION" by Swami Satyananda Saraswati.

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ANAHATA CHAKRA

POSITION OF ANAHATA CHAKRA

       The Sanskrit world anahata means 'unstruck' or 'unbeaten'.  Anahata is the centre of unbeaten sound.  It is a cosmic sound which is continuous and in not caused by two objects hitting each other.  The physical trigger point of anahata chakra is in the spine directly behind the centre of the chest, in line with the heart.  Anahata kshetram is at the heart.

       Anahata chakra is considered to be the seat of Shiva and Shakti.  These two great forces are depicted in anahata as an upright and an inverted triangle.  They are interlinked, indicating that they are in union.  The result is this union is expressed in creativity.  Anahata is connected with that particular part of the brain which is responsible for all kinds of creative and artistic ability.  When one is at the level of anahata he expresses greater creativity, whether in the field of science, art, music, writing or whatever.

       It is said that in this present age, the people of the world are passing through a phase of anahata.  It means that anahata chakra has begun to function in many, many people.  Being the centre of emotions, anahata is very powerful.  When one creates an image in his mind he can visualize it in anahata.  When a mantra is chanted its vibrations should be felt resonating through the body from anahata.

Anahata - wish fulfilling centre

       According to tantric scriptures, anahata is the wish fulfilling centre.  When a person is at the level of anahata he finds he attains all that he hopes for, and if he makes a resolve it is certain to come true.  One must be very careful that his thoughts are pure and positive.  However, it is highly unlikely that anyone with evil intentions could rise to this level.

       Anahata chakra is the centre where one begins to love everyone and all things  unconditionally.  Tolerance develops and all things are accepted and loved for what they are.  One realizes that although people and objects may have gross aspects and differences, they really are embodiments of perfection.

Symbolism behind Anahata Chakra

       Anahata is a symbolic of the air (vayu) tattwa [principle] and is closely related with the sense of touch or feeling and with the movement of the hands.  It is represented as a blue lotus with twelve petals.  

Appearance - Yantra

       The yantra is a six pointed star formed from the two interlaced triangles.  The inverted triangle is the symbol of Shakti (creativity) and the upright triangle is Shiva (consciousness).  

Seed Mantra

       The bija mantra of anhata is yam.  

Animal

       The animal which is the vehicle of anahata is a black antelope symbol of alertness and mercy.  An antelope is also noted for its fleetness.  

       In many systems anahata is commonly represented by a lake with a tree growing in its centre, or by a blue lotus on the surface of a huge lake.

Anahata Shuddhi

       Sit in a comfortable cross-legged posture with the spine erect and the eyes closed.  Take your awareness to the centre of the chest and witness its expansion and contraction with each inhalation and exhalation.

       As you inhale, feel the breath being pulled from anahata's location point in the spine through to anahata kshetram at the front of the body.  

       As you exhale, feel the breath being pushed inwards through the kshetram to the chakra in the spine.  Try to feel the exact location of the chakra and kshetram.  Continue for about 5 minutes.

       Then synchronize the mantra Om with the breathing process:  om with inhalation, Om with exhalation.

       Feel the breath and mantra pierce the chakra and kshetram with each inahalation and exhalation.

       Continue in this way for about 10 minutes.

Anahata Dhyana

       Focus your  awareness  at anahata chakra.  Now breathe in deeply.  As you exhale, chant the mantra yam continuously and rhythmically until exhalation is complete.  Chant yam-yam-yam-yam and feel the vibrations resonating in the heart.  Practise 13 rounds.

Visualization

       Now try to imagine an antelope.  A black antelope, very swift and alert.  Antelope... a symbol of gentleness, certainty and fleetness.

       Now flash to a six pointed star..a smoky coloured star with six points.  A star...formed from two interlaced triangles.  A triangle pointing upwards...symbol of Shiva highest consciousness.  An inverted triangle...symbol of Shakti, the creative force.  See these two triangles interlaced...a star... Shiva and Shakti in union.

       Awareness of an infinite darkness in chidakasha..  The darkness of night... Amidst the darkness there is a feeble light...the light of a candle.  Concentrate on the light of this flickering candle.

       Now imagine you are walking through a garden...a large garden...a very beautiful...many trees...many flowers.  A very colorful garden...very soft grass beneath your feet...a gentle breeze caresses your skin...  In the centre of the garden is a large lake...a large lake of still, clear water.  In the middle of the lake is a tree...it is growing out from the water.  Concentrate on this tree and make a resolve.  Make a positive resolve and repeat it 3 times.

       Visualize the lake once again.  You will notice a blue lotus... a blue lotus with blue petals going around and around...spinning lotus...whirling vortex of primal energy.  See yourself being drawn into this spinning whirlpool of energy.  Merge into it and feel its vibration energy pulsating through your body.  When the vision fades, become aware of your natural breath.  Now become fully aware of your physical body and its surroundings.

      Chant om  3 times, then slowly open your eyes.

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Source: Excerpts from the book on "Sure ways to Self-realization" by Swami Satyananda Saraswati.

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MANIPURA CHAKRA

MANIPURA

Introduction

       The Sanskrit wold mani means 'gem' or 'jewel'; the word pur means 'city'.  Therefore the word "manipura" means the "city of jewels'.  It is so called because of the intensity of the pranic energy of this centre.  The physical location point for manipura chakra is in the middle of the spine directly behind the  navel.  Manipura kshetram is exactly at the navel.

       Manipura chakra is the centre of prana within the human framework.  It is often called the 'sun chakra' as it radiates and distributes pranic energy of life throughout the entire body.  It is also compared to a blazing fire as it burns up and assimilates the energy in food.

       Contrary to the tantric-yogic concept, Buddhists regard manipura as the seat of kundalini.  In reality, kundalini can be regarded as residing in all the chakras.  Tantra and yoga regard spiritual life, or expansion of awareness, as commencing at the level of mooladhara.  On the other hand, Buddhists ascertain that man's consciousness begins to expand from manipura chakra.  They consider the two lower chakras to belong to the higher ranges of animal life, whereas manipura chakra marks the beginning of the evolution of the higher man.  Once consciousness is established in manipura it is confirmed awakening; there is no danger of downfall.  At the level of mooladhara or swadhisthana, consciousness is liable to recede.

       Manipura is the centre of self-assertion.  One becomes  dynamic and energetic and tends to dominate situations and other people.  There are many who function at this level.  They see all things and all people as a means of providing personal power and satisfying their worldly ambitions.  This is expressed in the predominant motive of gaining wealth and a great deal of respect.  It is at this level that people seriously begin to question their attitude towards life and their place in the scheme of existence.

Symbolism

       Manipura is symbolic of fire (agnic) principle [tattwa] and is closely related to the sense of light and movement of the feet.  

       Manipura is represented as a bridge yellow lotus with ten petals.  

Yantra

       The yantra is a red triangle and inside the triangle is a blazing sun.  

Mantra

       Ram is the bija mantra.  The animal serves as the vehicle of manipura is a ram, symbol of assertiveness and energy.

       According to hatha yoga, the practice of trataka will awaken manipura chakra because of its connection with the eyes.  One should remember that any practices concerned with developing awareness of manipura chakra will greatly benefit digestion.

Uddiyana Bandha (abdominal contraction)

Sit in siddha/siddha yoni asana or padmasana with the spine erect and the knees in contact with the floor.

Place the palms of the hands on the knees.

Close the eyes and relax the whole body.

Exhale deeply and retain the breath outside.

Perform jalandhara bandha.

Then contract the abdominal muscles as far as possible inwards and upwards.

This is the final position.  Hold this lock for as long as possible without creating any strain.

Slowly release the stomach muscles, then jalandhara bandha and inhale deeply.

This is one round.  Practice 3 rounds and gradually increase to 10 rounds over a few months.

Manipura Dhyana

Focus your awareness at manipura kshetram.

Now as you inhale imagine you are drawing the breath in through the navel and send it up the front of the body to ajna chakra.  

As you exhale chant the mantra ram on a low note.  

Chant continuously and rhythmically until exhalation is complete:  ram-ram-ram-ram.  Feel the mantra travelling down from ajna through the spine to manipura chakra.

This is one round.  Practice 13 rounds.

Visualization

Become  acutely  aware of manipura chakra.  Continue to inhale through the navel and as the breath ascends to ajna try to visualize it as a pranic light.  White streaks of light, experienced like a current of energy charging the upper portion of the body.  As you exhale visualize this pranic energy descending through the spine to manipura chakra.  Practice 7 rounds.

Then take your awareness to chidakasha.  Witness your feelings, thoughts and any sensations in the body.

Now imagine a ram manifesting in chidakasha.  A strong robust ram, kicking his hind legs out behind him.  A ram... symbol of energy and assertiveness.

Now flash to a red triangle... simple red triangle...red triangle...yantra of the fire element.

Within the triangle is a blazing sun.  A very bright sun, radiating heat.  Try to see this sun and feel its energy and warmth.

Take your attention from this blazing sun and see manipura as a bright yellow lotus.  A bright yellow lotus with ten petals.  Slowly the lotus begins to turn...ten yellow petals going around and round...spinning lotus...whirling yellow vortex of primal energy.

See yourself being drawn into the spinning whirlpool of energy.  Merge into it and feel its vibrant energy pulsating through you. After sometime this vision will fade.

Then become aware of your natural breath.

Awareness of your body and its surroundings.

Chant Om 3 times, then slowly open your eyes.

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Source:Excerpts from the book on "Sure Ways of Self realization" written by Swami Satyananda Saraswati.

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Ajapa japa Meditation Techniques

Techniques

       Ajapa japa can be practised in any meditational posture, or if it this not possible the preliminary methods can be practised while lying in shavasana.  The best time for ajapa japa practice is early morning between 4 and 6 a.m. or at night just before sleep.  Ajapa japa can be practised with or without a mala or rosary.

       There are many different stages in ajapa japa and the techniques for each stage progressively require a little more concentration and awareness.  Anyone wishing to practise ajapa japa should commence with stage one of preliminary ajapa japa and progressively work through and perfect each stage.  Little can be gained by randomly selecting any technique for practice.  It is also advisable to be acquainted with the practices of japa before proceeding to ajapa japa.

Preliminary ajapa japa - frontal passage rotation

       When practising preliminary ajapa japa the practitioner should try to feel the prana flowing in the fronal psychic passage between the navel and throat.  A little imagination may be necessary in the early stages.  You can imagine that the psychic passage is like a glass tube filed with water.  As you inhale, the water level rises from the navel to the throat and as you exhale, the water level drops back to the navel, or you can imagine that when you inhale, the breath comes from the navel and return to it when you exhale.

Stage 1:  Awareness of frontal passage and Soham

Feel the breath moving through the frontal psychic passage between the navel and throat.  Do not let one breath pass without your awareness.  Continue for a few minutes.

Now mentally synchronize the mantra Soham with the breath.  So sounds during inhalation and the rising of the prana in the psychic passage.  Ham sounds during exhalation and the descending of the prana in the psychic passage.

Continue in this way with total awareness of both the movement of prana and the mantra.

Practice this stage for a week or so, then go on to stage 2.

Stage 2:  Rotation of Hamso

The method is the same as stage one, but reverse the sequence of the mantra with the breath.  Each breath will start with exhalation on the mantra Ham followed by So on inhalation.  The mantra will now be Hamso.  After each Hamso pause briefly.

Practise this daily for a week or so, then proceed to stage 3.

Stage 3:  Rotation of Soham-Hamso

Merge the mantra So with the ingoing breath and Ham with the outgoing breath.  Thus, there is an endless circle of Soham-Soham-Soham.  Prolong the vibrations of Ham and join them with the ingoing vibrations of So.  Prolong the vibrations of So and join them with those of Ham.  Continuous repetition of Soham and Hamso without any intermission.

Practice this daily for a week or so, then proceed to stage 4.

Stage 4:  Spontaneous alternation of Soham-Hamso

In this stage,  you practise the techniques of stages one, two and three in a spontaneous alternation.

First be aware of he breath forming the cycle of Soham.

 

Practice this for a few minutes and then let your awareness shift to the continuation of Hamso.  After sometime, you will find that So and Ham have become connected on both ends.

Keep breathing with a continuous cycle of a Soham-Soham-Soham.

After some time you may spontaneously feel a change take place to Soham or Hamso.  Let it follow on its own course, spontaneously.  Be only a witness as your awareness shifts between the three mantras of is own accord.

Practice this daily for at least five days before proceeding to stage 5.

Stage 5:  With ujjayi and khechari

This stage involves the techniques of stages 1 to 4, but they are practised with ujjayi pranayama and khechar mudra.  After you have fully mastered this technique in all stages, go on to the intermediate practice of ajapa japa.

Ujjayi pranayama and khechari mudra

       Ujjayi pranayama helps induce a meditative state.  It is practised by contracting the glottis.  When performed correctly, a soft sound is produced like a cat purring or like light, gentle snoring.  One should feel he is breathing through he throat rather than the nose.  When a healthy child sleep, he always breathes by contracting his glottis and his breath can be heard in the throat.

       Khechari mudra is practised by rolling he tongue backwards so that the normal lower surface touches the upper palate.  Try to bring the tip back as far as possible.  If khechari mudra is practised correctly, in conjunction with ujjayi over a long period of time, the tongue will eventually go into the upper nasal orifice.

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Source: Excerpts from the Book on Sure Ways to Self-Realization' by Swami Satyananda Saraswati.
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Ajapa Japa Meditation practice

Introduction

       Ajapa japa is an important meditation practice by which we can plough our psyche, making it fertile and receptive.  Another name of ajapa japa is 'spontaneous awareness'.  Its translation is 'to see, to look within, to watch, to observe'.

       Japa is the constant repetition of a mantra.  Japa becomes ajapa (spontaneous) japa when the mantra automatically repeats itself without conscious effort.  It is said that ajapa japa comes from the heart, whereas japa comes from the mouth.

       Ajapa japa is particularly recommended for rajasic people with tension and problems.  The practices will help to divert one's attention from worries to higher spiritual ideals.  People who do a lot of study and mental work will benefit greatly from ajapa japa.  It provides a balance between mental and physical activity.  Whereas, study and mental work introvert the mind, ajapa japa requires one to be aware of his mental activities, while maintaining awareness of the movement of the breath and repetition of the mantra.  As well as these purely mental and physical activities, the practitioner begins to explore the more subtle regions of the psychic body - the psychic centres (chakras) and psychic passages.

       Ajapa japa is also a good practice for those people who have reasonable control over the mind and for those who want to develop greater concentration.  Ajapa japa is a combination of pranayama and meditation and it is said that through pranayama you enter the land of meditation.

Breath Awareness

       The first thing one must be aware of in ajapa japa is one's own natural breath.  You breathe 15 times per minute, 900 times per hour and 21,600 times in 24 hours, but you are never aware of this most vital process which is the key to life.  During practice of ajapa japa, the practitioners should watch the changing dimensions of breath.  Throughout meditation there are likely to be four dimensions of breath; natural, deeper than natural, relaxed and suspended.

       The second and most important point in ajapa japa is awareness of the movement of breath as it flows through the body.  This can be practised in many ways, but the most important is awareness of the breath in the spinal cord.  When the breath has assumed the relaxed third dimension it becomes ujjayi pranayama (psychic breathing) long, deep and soft, like the gentle snoring of a baby.  This relaxed breath is rotated up and down the spinal cord.

       In the preliminary practices of ajapa japa, the practitioner watches the breath flow through the frontal psychic passage between the navel and throat.  In the intermediate practices the breath is felt flowing through sushumna nadi and the practitioner feels the prana passing through each chakra from mooladhara to ajna and back down to mooladhara.  Advancd ajapa japa is similar to intermediate, with the breath becoming longer and slower, and the psychic passage extends all the way from mooladhara to sahasra chakra.

Mantra

     The third point in ajapa japa is the sound or mantra.  In the physical and psychic body there is a sound.  Some hear it as Soham or Om, others hear it as a different mantra.  Actually, any mantra can be used for the practice of ajapa japa although traditionally the mantra Soham is utilized since it correspond with the natural sound of inhalation and exhalation.  The mantra should be integrated with the breath.  When you inhale, the breath spontaneously makes the sound of So and when you exhale it makes the sound of Ham.  The most important thing is that the breath and the mantra should become one.  While you are inhaling through sushumna from mooladhara to ajna and exhaling from ajna to mooladhara, be aware of the movement of the breath combined with the movement of the powerful sound -- Soham.  This practice purifies the nadis, the pranic channels in the body.

       When mantra is awakened in the breath the whole body is recharged.  Psychic toxins are eliminated and blocks in the nadis, which are the main source of physical and mental disturbances, are removed.  The mantra should awaken sushmna nadi and permeate each and every particle of the body.  When sushumna nadi begins to vibrate, self-awareness becomes active.  When ida nadi starts vibrating, the mind becomes active.  When pingala nadi starts vibrating the prana becomes active and energy flows through one's whole system, extending even outside the physical body.

       When the awakening of sushumna nadi takes place with the help of mantra shakti, the elimination of karma takes place symbolically.  This results in the arising of inner sounds and fantastic experiences.  Whatever you experience is rising from your deeper consciousness.  It is mental shankhalprakshalana, part of the purging process.

       Ajapa japa is the basis for kriya yoga.  With its mastery pratyahara is achieved and the real practice of dharana begins.  When ajapa japa is perfected and fully realized, the samskaras are totally exhausted and the mind becomes one-pointed.  In this way dhyana yoga blossom forth.

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Source: Excerpts from the Book on Sure Ways to Self-Realization' by Swami Satyananda Saraswati.

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MALA (or) ROSARY

A mala (or) rosary is a string of small beads which are separated from each other by a special kind of knot called a brahmagranti or knot of creation. The beads are strung on strong cotton thread and although usually 108 in number, malas with 54 of 27 beads are also commonly used.

Each mala has an extra bead offset from the continuity of the main loop. It is called a sumeru (junction or summit) and it acts as a reference point so the practitioner can know when he has completed a rotation of the mala. The mala is an essential part of most of the techniques of japa. It is mainly a tool to maintain awareness.

Malas are most commonly made from tulsiwood, sandalwood, rudraksha or crystal pieces. It is the tulsi mala which is used most commonly for japa. Tulsi is a highly venerated and sacred plant and many psychic and healing properties. It has a strong and purifying effect on the emotion and is soothing to the mind. The devotees of Lord Vishnu use this type of mala as tulsi is regarded as an incarnation of Lakshmi, wife of Lord Visnu. Sandalwood malas are sweetly scented and contain pacifying and protective vibrations. It is said that sandalwood malas are cooling and are beneficial to those who have any type of skin disease. Rudraksha is the inner seed of a jungle fruit. It is supposed to be the most powerful mala for japa meditation and is used by those who worship Lord Shiva. Rudraksha magnetically influences the blood circulation, strengthens the heart and is recommended for those who have high blood pressure. Crystal malas have psychic properties and are used by those who worship Devi.

Malas are not only used by tantra and yoga practitioners. The Buddhist path of Mahayana widely uses japa with a mala of 108 beads plus 3 extra representing the refuge in Buddha, dharma and sangha. The Roman Catholics make use of a rosary which has 54 main beads. In Greece and other Balkan countries where the Greek Orthodox Church is prevalent, all men carry a rosary with them wherever they go and rotate the beads whenever possible. Without these ‘worry beads’, many of these people would feel improperly dressed. Whether they realize the reason for the rosary is uncertain, but nevertheless the tradition still continues today.

Purpose of mala

Many people wonder why a mala is used for the practice of japa and if they happen to use one, they place very little importance on the way it is handled. So let us first explain the purpose of mala. Because of its very nature, the mind does not remain steady for any length of time. Therefore, it is necessary for us to choose a medium or a basis by which we can know when we are aware and we are not. We use a mala as a means for checking those moments when we have become unaware and forgetful of what we are doing. It is also used to indicate how much practice has been done.

The practitioner starts the japa practice from the sumeru bead and proceeds to rhythmically rotate the mala, bead by bead. There is a smooth flow and rotation of the mala until the obstruction of the sumeru.

At a certain stage in japa, when the mind becomes calm and serene, it is possible for the fingers to become inert. They become momentarily paralyzed and you become completely unaware. Sometimes the mala may fall to the ground. When these things occur you should know that you have strayed from the aim of japa, that is, you have failed to maintain awareness. If you don’t have a mala in your hand when you practice japa, how will you know what you are experiencing? It is continuity of a mala that will tell you of your state of consciousness. If you are conscious of the mala and the fingers moving each bead, then you are aware. When japa is done correctly and concentration takes place, the mala will continue to move almost automatically.

A mala may not be something your intellect can accept, but for the successful practice of japa it is necessary tool for the mind.

The fact that a mala has 108 beads needs some explanation. There are many different theories recorded in the scriptures so we will give a few. ‘1’ represents the supreme consciousness; ‘8’ represents the eight aspects of nature consisting of the five fundamental elements of earth, water, fire, air and ether, plus ahamkara (individuality), manas (mind) and buddhi (sense of intuitive perception); ‘0’ represents the cosmos, the entire field of creation. To put it another way ‘0’ is Shiva, ‘8’ is Shakthi and ‘1’ is their union of yoga.

There are some scholars who believe that 108 represents the number of skulls on the garland worn by Kali, the goddess of destruction. It is said to symbolize the 108 reincarnations of the jiva (the individual consciousness) after which an individual will become self-realized.

There are similar explanations for the numbers 27, 54, 57, 1001 and so on, which are also used for malas. But actually, the meaning of those numbers has significance at a deeper psychic level. They are numbers chosen to help bring about auspicious conditions while doing japa. They are numbers that have been found suitable by the practical experience of ancient rishis. The explanations of these numbers are merely for those who want intellectual answers.

Besides the 108 beads of the mala, there is also an extra bead, the sumeru, which we have already mentioned. This bead can be considered to represent the top of the psychic passage called the sushmna. And for this reason, the sumeru (or meru) bead is also called the bindu. The 108 beads symbolize the 108 centres, stations or camps through which your awareness travels up to the bindu and then back again. These centres are really chakras though mostly minors ones, and they represent the progressive awakening of the mind. The bindu is the limit of this expansion of mind.

How to use the mala

There is a special method of holding the mala. It should be held in the right hand, supported by joining the tip of the thumb with the ring finger. The thumb should not be used to rotate the mala and the second and little fingers should not touch the mala. The middle finger moves the beads.

When you use a mala you should never cross the bindu. You begin your practice at this point and when you complete one round of mala rotation and find yourself back at the bindu, you simply reverse the mala and continue your practice. You should always rotate the mala towards the palm.

Traditionally, japa is practiced while holding the right hand in front of the heart. This way you can chant your mantra in time with the heartbeat. Also, holding the hand in front of the heart seems to intensify the feeling with which one chants the mantra. The left hand is cupped and placed in the lap facing upwards. It can be used to catch the lower end of the mala to prevent it from swinging about and become tangled. If you prefer, your right hand can be placed on the right knee and the mala can rest on the floor.

You may count the number of times you rotate the mala mentally or by using the left hand as follows. After one mala rotation, place the left thumb on the first joint line at the base of the left little finger. After the second rotation, raise the thumb on the upper line of the little finger. Then on the fourth rotation, transfer the left thumb to the first line of the ring finger and so on. In this manner you can count twelve mala rotations.

The mala which is used for japa should not be worn around the neck. When it is not being used it should be kept in a small bag of its own. This will prevent any negative change in the vibrations associated with the mala. Never lend your japa mala to other people. It is also said that other people should not ever see the mala you practice with. Malas that are used for decoration are not really considered suitable for japa practice.

A mala that is used daily will, in time, become impregnated with very positive vibrations. After a few months, the moment you touch the mala, you will become tranquillized, quiet and still, and the whole feeling in the body will be transformed.

If you practice many mala rotations a day, your arm will get very tired if it is held in front of the heart. Something must be used to support the arm. You can use a piece of cloth made into a sling and let it support your right arm.

Use of a gomukhi

If you do long periods of japa practice every day, the use of a gomukhi is highly recommended. The word gomukhi means in the shape of a cow’s mouth. It is a small bag which resembles the shape of a cow’s mouth. The mala and your right hand are both placed inside the gomukhi so that they are obscured from view. A gomukhi can be used when you walk along a street or whenever you leave your home. It is particularly useful for those who do anusthana (sustained practice for long fixed periods of time). In fact for those people it is a must.

A mala may not be something that western people can easily accept on an intellectual level, but without being aware of it they have accepted malas intuitively. Have you ever wondered where the idea of wearing a string of pearls or decorative beads originated? In all the ancient cultures beads (malas), rings and amulets were used for spiritual purposes and since those times people have been attaracted to these items. In modern times, in the name of fashion, women in particular choose to wear them for aesthetic purposes.

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Source: Excerpt from the book on “Sure Ways to Self-Realization” by Swami Satyananda Saraswati, Yoga Publications Trust, Munger, Bihar, India.
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