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Friday, September 10, 2021

Esmeralda & Quasimodo, Luc-Olivier Merson
"Une larme pour une goutte d'eau", 1905
Symbolism, illustration  Series: The Hunchback of Notre Dame




Friday, September 10
"Look for the good and you will find it.
Search for it, for it is as a pearl of great price." 

(ECRL 1776-1)

Graphic ― 千恵吉井 Chie Yoshii (B.1974)

Fly low, vermilion dragon,
With the moon horns.
Fly down to the top of the mountains
That I may climb into your saddle
And twist a bridle of mist about your great muzzle.

Fly low, vermilion dragon,
With claws bright with stars.
I will climb the dark pagoda of a pine tree
That I may swing astride your brilliant scales
And be carried into the heart of the West,
Through a golden haze
Over the great regions of the sea
Into Cathay.

Fly low, vermilion dragon,
With the moon horns!
Fly Low, Vermilion Dragon
― Elizabeth Coatsworth  1893-1986

Thursday, September 9, 2021

‘Constant Primordial Awareness’


पीपल लीफ The Pipal Leaf
gold & white watercolour poster, on paper, 22" x 30",
by बालाजी श्रीनिवासन Balaji Srinivasan, 2015

The elements :
  • श्री यंत्र Sri Yantra in the background (supporting the position of अथि-रहस्य योगिनी the ‘Athi-Rahasya Yogini, the presiding deity of the eighth chakra — सर्वसिद्धिप्रधा Sarvasiddhippradha)
  • लज्जा गौरी Lajja Gowri in the centre (the embodiment of ह्रीं बीज the Hreem bija, the cosmic mother in her bloom)
  • पिनाका Pinaka in its broken state ('अराई मणि' 'Arai mani’ symbolising the male, attached to the string ↭ XII)
  • 'अरसिलाई' 'Arasilai’ the feminine shown in clusters as a pipal tree
  • पंच तन्मात्राएं Pancha tanmatras shown in the form of the cupid's arrows
  • अंडाल Andal’s vision of पंच तन्मात्राएं the Pancha tanmatras as a reflection of the divine shown as the peacock feather, Clitoria, koel, काया Kaya flower and the cranberry.
  • The stability between pleasure and pain is symbolized with the अशोक Ashoka blossoms.
  • The omnipresence and omniscience of the vision are symbolized by the bronze age motif (सिंधु घाटी Indus valley) of पीपल pipal leaf, filigree pipal leaf and the realistic pipal leaves and the Buddhist tantric symbol — विश्ववज्र, the Viśvavajra (विश्व • Viśva, ‘universe’ + Vajra • वज्र, ‘thunderbolt’) — and the जैन Jaina symbol of the ह्रीं बीजा Hreem bija.
‘Primordial Awareness’ (2007), 12 x 12 in., acrylic on canvas.

The Seer is the soul of the artist,
Magus through ages untold,
Transmuting the lead of matter
Into bullets of spiritual gold.
The ego picks up the weapon of art,
Childlike, it plays with the trigger.
Blowing the head off its contracted self,
Awareness is suddenly bigger.
By slaying the ego and stunning
The chatter of thoughts as they rise,
Great art shuts out distractions
Delighting the heart through the eyes.
 Alex Grey
𝌸 "constancy" 
The substrate & essential characteristic of the universe
The character originally referred to a "lower garment",
before being phonetically borrowed to mean "long-lasting; frequently".
The original sense is now represented by the character 裳 (OC *djaŋ, “lower garment”).
  1. normal; general; common 正常  ―  zhèngcháng  ―  normal
  2. constant; invariable 常駐 / 常驻  ―  chángzhù  ―  to be stationed in
  3. often; frequently 經常 / 经常  ―  jīngcháng  ―  often
  4. 51st tetragram of the Taixuanjing; "constancy" (𝌸)
尚 ㄕㄤˋ from Proto-Sino-Tibetan *(z)rjaŋ (“uncle, superior”) (STEDT; cf. Proto-Sino-Tibetan *s-tjaŋ (“, upper part, rise, raise, top, summit”)). Cognate with 丈 (OC *daŋʔ) "gentleman, older man, husband", Tibetan ཨ་ཞང (a zhang, “maternal uncle”), Burmese အရှင် (a.hrang, “master, lord”), etc.


Cosmic Tree of Life, Diana van Denberg

Thursday, September 9
"Attunement is made when the conscious mind is at rest, as in meditation or in sleep.
This is also an illustration of the ability of those in the spiritual realm to see the future." 

(ECRL 136-48)

《道德經 第十六章》

致虛極,守靜篤。
萬物並作,吾以觀復。
夫物芸芸,各復歸其根。
歸根曰靜,是謂復命。
復命曰常知常曰明。
不知常,妄作凶。
知常容,容乃公,公乃王,王乃天,天乃道,道乃久,沒身不殆。


Dao De Jing  Chapter Sixteen ― Alan B. Taplow 16 THE CYCLE OF ALL THINGS

    Let the mind be empty of preconceptions and distraction -
    Permit a meditative quietness to prevail.

    Observe the cycle of All Things —
    Their birth and rise to activity,
    A flourishing,
    And ultimate return to their generative roots.
    Quietness, repose and tranquillity characterize the return to the roots of creation.
    Knowing it as the destiny of All Things —
    An unchanging cycle, An eternal law of nature —
    Is to be enlightened.
    To know it not is to court misfortune.

    Knowing the eternal law is to be all-embracing.
    All-embracing is to be impartial.
    Impartial is to be noble.
    Being noble is to be one with nature.
    Being one with nature is to be in accord with the Tao.
    Being in accord with the Tao —
    Essence is everlasting.
    Tho' body/self demise, the self is eternal.


Dao De Jing  Chapter Sixteen ― James Legge 16 (Returning to the root)

The (state of) vacancy should be brought to the utmost degree, and that of stillness guarded with unwearying vigour. All things alike go through their processes of activity, and (then) we see them return (to their original state). When things (in the vegetable world) have displayed their luxuriant growth, we see each of them return to its root. This returning to their root is what we call the state of stillness, and that stillness may be called a reporting that they have fulfilled their appointed end. The report of that fulfilment is the regular, unchanging rule. To know that unchanging rule is to be intelligent; not to know it leads to wild movements and evil issues. The knowledge of that unchanging rule produces a (grand) capacity and forbearance, and that capacity and forbearance lead to a community (of feeling with all things). From this community of feeling comes a kingliness of character; and he who is king-like goes on to be heaven-like. In that likeness to heaven, he possesses the Dao. Possessed of the Dao, he endures long; and to the end of his bodily life, is exempt from all danger of decay.


Dao De Jing  Chapter Sixteen ― Arthur Waley 16

Push far enough towards the Void,
Hold fast enough to Quietness,
And of the ten thousand things none but can be worked on by you.
I have beheld them, whither they go back.
See, all things howsoever they flourish
Return to the root from which they grew.
This return to the root is called Quietness;
Quietness is called submission to Fate;
What has submitted to Fate has become part of the always so.
To know the always-so is to be Illumined;
Not to know it, means to go blindly to disaster.
He who knows the always-so has room in him for everything;
He who has room in him for everything is without prejudice.
To be without prejudice is to be kingly;
To be kingly is to be of heaven;
To be of heaven is to be in Tao.
Tao is forever and he that possess it,
Though his body ceases, is not destroyed.


「上を向いて歩こう」
坂本九の楽曲。作詞は永六輔、作曲は中村八大。1961

Ue o muite arukou 上を向いて歩こう
Namida ga koborenai youni 涙がこぼれないように
Omoidasu haru no hi 思い出す 春の日
Hitoribocchi no yoru 一人ぼっちの夜

Ue o mute arukou 上を向いて歩こう
Nijinda hoshi o kazoete にじんだ星を数えて
Omoidasu natsu no hi 思い出す 夏の日
Hitoribocchi no yoru 一人ぼっちの夜

Shiawase wa kumo no ue ni 幸せは 雲の上に
Shiawase wa sora no ue ni 幸せは 空の上に

Ue o muite arukou 上を向いて歩こう
Namida ga koborenai youni 涙がこぼれないように
Nakinagara aruku 泣きながら 歩く
Hitoribocchi no yoru 一人ぼっちの夜
(Whistling)

Omoidasu aki no hi 思い出す 秋の日
Hitoribocchi no yoru 一人ぼっちの夜

Kanashimi wa hoshi no kage ni 悲しみは星の影に
Kanashimi wa tsuki no kage ni 悲しみは月の影に

Ue o muite arukou 上を向いて歩こう
Namida ga koborenai youni 涙がこぼれないように
Nakinagara aruku 泣きながら 歩く
Hitoribocchi no yoru 一人ぼっちの夜
(Whistling)

Here is the translation of the Japanese lyrics.
The English version of "Sukiyaki" recorded by A Taste of Honey doesn't have a literal translation.

I look up when I walk
So that the tears won't fall
Remembering those spring days
But I am all alone tonight

I look up when I walk
Counting the stars with tearful eyes
Remembering those summer days
But I am all alone tonight

Happiness lies beyond the clouds
Happiness lies above the sky

I look up when I walk
So that the tears won't fall
Though the tears well up as I walk
For tonight I am all alone
(Whistling)

Remembering those autumn days
But I am all alone tonight

Sadness lies in the shadow of the stars
Sadness lurks in the shadow of the moon

I look up as I walk
So that the tears won't fall
Though the tears well up as I walk
For tonight I am all alone
(Whistling)

Grammar Notes
  1. "Muite" is "te-form" of the verb "muku (to face)". The "te-form" is used to connect two or more verbs. In this sentence, the verbs "muku" and "aruku" are connected.
  2. "Arukou" is a volitional form of the verb, "aruku (to walk)".
  3. "Koborenai" is the negative form of the verb, "koboreru (to fall, to drop)" + "~ youni". "~ youni" means, "in order that ~". "Nai youni" means, "in order not to ~". Here are some examples.Gakkou ni okurenai youni hayaku okiru. 学校に遅れないように早く起きる。--- I get up early so that I'm not late for school.Kaze o hikanai youni ki o tsuketeiru. かぜをひかないように気をつけている。― I'm taking care of myself so that I don't catch a cold.
  4. "Nijinda" is an informal perfective ending for the verb, "nijimu (to blot, to blur)". It modifies the noun, "hoshi (star)". It means with teary eyes the stars looked blurry.
  5. "~ nagara" of "nakinagara" indicates that two actions are taking place simultaneously. Here are some examples.Terebi o minagara, asagohan o taberu. テレビを見ながら、朝ごはんを食べる。― I watch television while I eat breakfast.Ongaku o kikinagara, benkyou suru. 音楽を聞きながら、勉強する。― I listen to music while I study.

Wednesday, September 8, 2021

UP ⬀ Unison of Purpose

Wednesday, September 8, 2021

"When the laws of the physical, of the mental, of the spiritual, are kept in unison of purpose, a more perfect balance is kept in the body." 

(ECRL 3246-2)

Mélodie céleste
Soul Melody
Mélodie en Sol
Mélodie en sous-sol


《道德經第十五章》

古之善為士者,微妙玄通,深不可識。
夫唯不可識,故強為之容。
豫兮若冬涉川;猶兮若畏四鄰;儼兮其若容;渙兮若冰之將釋;敦兮其若樸曠兮其若谷;混兮其若濁;孰能濁以靜之徐清?
孰能安以久動之徐生?
保此道者,不欲盈。
夫唯不盈,故能蔽不新成。

Dao De jing Chapter Fifteen ― Alan B.Taplow 15 ANCIENT MASTERS

    The ancient masters and rulers,
    So subtle and mysterious,
    profound and penetrating,
    Too deep to directly comprehend 
    May be known by their appearance,
    Cautious ― As if crossing a frozen stream.
    Watchful ― As if fearing danger all around.
    Courteous ― As if a visiting guest.
    Yielding ― As if ice about to melt.
    Genuine ― As if a piece of uncarved wood.
    Receptive ― As if an open valley.
    Opaque ― As if in muddy waters.

    Waiting quietly while the mud settles,
    Remaining still until the moment for action,
    They, who embrace this Dao,
    Obtaining just that which is sufficient,
    All needs are satisfied.
    Thus they long endure.

Dao De jing Chapter Fifteen ― James Legge (The exhibition of the qualities of the Dao)

The skilful masters (of the Dao) in old times, with a subtle and exquisite penetration, comprehended its mysteries and were deep (also) so as to elude men's knowledge. As they were thus beyond men's knowledge, I will make an effort to describe of what sort they appeared to be. Shrinking looked they like those who wade through a stream in winter; irresolute like those who are afraid of all around them; grave like a guest (in awe of his host); evanescent like ice that is melting away; unpretentious like wood that has not been fashioned into anything; vacant like a valley, and dull like muddy water. Who can (make) the muddy water (clear)? Let it be still, and it will gradually become clear. Who can secure the condition of rest? Let movement go on, and the condition of rest will gradually arise. Those who preserve this method of the Dao do not wish to be full (of themselves). It is through their not being full of themselves that they can afford to seem worn and not appear new and complete.

Dao De jing Chapter Fifteen ― Arthur Waley 15

Of old those that were the best officers of Court
Had inner natures subtle, abstruse, mysterious, penetrating,
Too deep to be understood.
And because such men could not be understood
I can but tell of them as they appeared to the world:
Circumspect they seemed, like one who in winter crosses a stream,
Watchful, as one who must meet danger on every side.
Ceremonious, as one who pays a visit;
Yet yielding, as ice when it begins to melt.
Blank, as a piece of uncarved wood;
Yet receptive as a hollow in the hills.
Murky, as a troubled stream —–
(Tranquil, as the vast reaches of the sea,
Drifting as the wind with no stop.)
Which of you an assume such murkiness,
To become in the end still and clear?
Which of you can make yourself insert,
To become at the end full of life and stir?
Those who possess this Tao do not try to fill themselves to the brim,
And because they do not try to fill themselves to the brim,
They are like a garment that endures all wear and need never be renewed.

Tuesday, September 7, 2021

《道德經第十四章》
‘A Rolling Stone is ever Bare of Moss’, William Blake, 1821

視之不見,名曰夷;聽之不聞,名曰希;搏之不得,名曰微。
此三者不可致詰,故混而為一。
其上不皦,其下不昧。
繩繩不可名,復歸於無物。
是謂無狀之狀,無物之象,是謂惚恍。
迎之不見其首,隨之不見其後。
執古之道,以御今之有。
能知古始,是謂道紀。

Dao De jing Chapter Fourteen ― Alan B. Taplow 14 THE MYSTICAL TAO

    Looking for it, it cannot be seen ―
    Being formless, it is called , the invisible.
    Listening to it, it cannot be heard ―
    Being soundless, it is called , the inaudible.
    Grasping at it, it cannot be reached ―
    Being subtle, it is called , the intangible.
    These three; imperceptible, indescribable ―
    Mystically united and elusively perceived
    as an undefinable oneness.

    As the oneness ascends ― no light appears.
    As the oneness descends ― no darkness is perceived.
    Unceasingly, continually, form eluding definition,
    Evasively reverting to spirit ― to nothingness.
    The form of formlessness.
    The image of imagelessness.
    The oneness remains nameless.
    Meeting it, it has no part which is front.
    Following it, it has no behind.

    Encompassing the ancient Dao,
    Present affairs are mastered.
    Knowing the primal nature of mankind
    and the universe,
    Is to know the essence of Dao.

Dao De jing Chapter Fourteen ― James Legge (The manifestation of the mystery)

We look at it, and we do not see it, and we name it 'the Equable.' We listen to it, and we do not hear it, and we name it 'the Inaudible.' We try to grasp it, and do not get hold of it, and we name it 'the Subtle.' With these three qualities, it cannot be made the subject of description; and hence we blend them together and obtain The One. Its upper part is not bright, and its lower part is not obscure. Ceaseless in its action, it yet cannot be named, and then it again returns and becomes nothing. This is called the Form of the Formless, and the Semblance of the Invisible; this is called the Fleeting and Indeterminable. We meet it and do not see its Front; we follow it, and do not see its Back. When we can lay hold of the Dao of old to direct the things of the present day, and are able to know it as it was of old in the beginning, this is called (unwinding) the clue of Dao.

Dao De jing Chapter Fourteen ― Arthur Waley 14

Because the eye gazes but can catch no glimpse of it,
It is called elusive.
Because the ear listens but cannot hear it,
It is called the rarefied.
Because the hand feels for it but cannot find it,
It is called the infinitesimal.
These three, because they cannot be further scrutinized,
Blend into one,
Its rising brings no light;
Its sinking, no darkness.
Endless the series of things without name
On the way back to where there is nothing.
They are called shapeless shapes;
Forms without form;
Are called vague semblance.
Go towards them, and you can see no front;
Go after them, and you see no rear.
Yet by seizing on the Way that was
You can ride the things that are now.
For to know what once there was, in the Beginning,
This is called the essence of the Way.
XIV TEMPERANCE
σωφροσύνη / sophrosúnê

by Chris Saunders

Tuesday, September 7
"Speak your ideal. Sow the seed of truth, the seed of the spirit." 

(ECRL 3245-1)

σωφροσύνη (Sophrosyne) is an ancient Greek concept of an ideal of excellence of character and soundness of mind, which when combined in one well-balanced individual leads to other qualities, such as temperance, moderation, prudence, purity, decorum, and self-control. An adjectival form is "sophron."

It is similar to the concepts of 中庸 (zhōngyōng) of Chinese Confucianism and सत्त्व (sattva) of Indian thought.

Sophrosyne (σωφροσύνη / sophrosúnê), is in philosophy, which allows all self-control, all wisdom, all moderation. Sophrosyne is the philosophical word which designates temperance; some prefers the word “moderation”. According to Plato, goods either exist by themselves or are the result of perception. These flow from the goods in themselves: they are the virtues: prudence, justice, courage and continence. Of the four virtues, prudence is the first and foremost. The virtues are firm attitudes, stable dispositions, habitual perfections of intelligence and of the will which regulate actions, organize passions and guide conduct. They provide ease, mastery and joy in leading a morally good life. The virtuous man is one who freely practices good.

Monday, September 6, 2021

Artem Ogurtsov
 

Monday, September 6
"Know, and never forget, that life and its experiences are only what one puts into them!

(ECRL 1537-1)
《道德經第十三章》

寵辱若驚,貴大患若身。
何謂寵辱若驚?
寵為下,得之若驚,失之若驚,是謂寵辱若驚。
何謂貴大患若身?
吾所以有大患者,為吾有身,及吾無身,吾有何患?
故貴以身為天下,若可寄天下;愛以身為天下,若可託天下。

Dao De jing Chapter Thirteen — Alan B.Taplow 13 NATURE OF FEAR

    Favour and glory as well as disfavour and disgrace,
    All cause pain in equal measure. —
    As disfavor and disgrace cause pain,
    Possessing favour and glory —
    The fear of its loss is ever-present.

    What we value and what we choose to fear
    Are both contained within our body/selves.
    We possess fear because we have a body/self.
    Ceasing to acknowledge the body part of self,
    Nothing of significance remains to be feared.

    The leader —
    In honouring and loving his responsibilities
    as he honours and loves the body/self,
    Can be entrusted with the leadership
    of his domain.

Dao De jing Chapter Thirteen — James Legge 13 (Loathing shame)

Favour and disgrace would seem equally to be feared; honour and great calamity, to be regarded as personal conditions (of the same kind). What is meant by speaking thus of favour and disgrace? Disgrace is being in a low position (after the enjoyment of favour). The getting that (favour) leads to the apprehension (of losing it), and then losing it leads to the fear of (still greater calamity) - this is what is meant by saying that favour and disgrace would seem equally to be feared. And what is meant by saying that honour and great calamity are to be (similarly) regarded as personal conditions? What makes me liable to great calamity is my having the body (which I call myself); if I had not the body, what great calamity could come to me? Therefore he who would administer the kingdom, honouring it as he honours his own person, may be employed to govern it, and he who would administer it with the love which he bears to his own person may be entrusted with it.

Dao De jing Chapter Thirteen — Arthur Waley 13 

Favour and disgrace goad as it were to madness;
High rank hurts keenly as our bodies hurt.”

What does it mean to say that favour and disgrace goad as it were to madness?
It means that when a rule's subjects get it they turn distraught,
When they lose it they turn distraught.
That is what is meant to by saying favour and disgrace goad as it were to madness.
What does it mean to say that high rank hurts keenly as our bodies hurt?
The only reason that we suffer hurt is that we have bodies;
If we had no bodies, how could we suffer?

Therefore we may accept the saying:
“He who in dealing with the empire regards his high rank
As though it were his body is the best person to be entrusted with rules;
He who in dealing with the empire loves his subjects as one should love one's body
Is the best person to whom one commit the empire.”
20210906 5303 KoΔ XI-XX-XXI-四 #53.1,3,6 ➤ #3


䷴ Hexagram 53 is named 漸 (jiàn), "Infiltrating".
Or "development (gradual progress)" and "advancement".
Its inner trigram is ☶ (艮 gèn) bound = (山) mountain.
Its outer trigram is ☴ (巽 xùn) ground = (風) wind.

䷂ Hexagram 3 is named 屯 (zhūn), "Sprouting".
Or "difficulty at the beginning", "gathering support", and "hoarding".
Its inner (lower) trigram is ☳ (震 zhèn) shake = (雷) thunder.
Its outer (upper) trigram is ☵ (坎 kǎn) gorge = (水) water.

The beginning ䷴ Hexagram 53 漸 breaks down into the upper trigram of Wind above the lower trigram of Mountain.
The successive changed ䷂ Hexagram 3 屯 deconstructs into a transitioned upper trigram of Water above a transitioned lower trigram of Thunder.

Changing line #1
初六:鸿渐于干,小子厉,有言,无咎。
Six at the beginning means:
The wild goose gradually draws near the shore.
The young son is in danger.
There is talk. No blame.
"Wild Swan Swimming Toward Shore"
This is a time of new beginnings. The shore is only the first goal to reach while heading toward the high mountains. As I am looking for a new beginning (second 27 cycle), I may feel alone for a while. This is natural. Let me be all right with where I am.

Changing line #3
九三:鸿渐于陆,夫征不复,妇孕不育,凶;利御寇。
Nine in the third place means:
The wild goose gradually draws near the plateau.
The man goes forth and does not return.
The woman carries a child but does not bring it forth.
Misfortune.
It furthers one to fight off robbers.
"Landing on Dry Land"
This line is a sign that I have taken an incorrect turn. A wild swan needs marshland, not dry land. Let me stop, rest and backtrack a little. Soon I will be heading in the proper direction again.

Changing line #6
上九:鸿渐于陆,其羽可用为仪,吉。
Nine at the top means:
The wild goose gradually draws near the heights of the clouds.
Its feathers can be used for the sacred dance.
Good fortune.
"Flying Above the Clouds"
This is a sign of a great task completed. With this success, I have become a beacon and a guiding light to others. But the wise person does not use success as a reason to lose their inspiration. I shall continue aspiring to greater and greater heights.

The name of the hexagram 屯 really connotes a blade of grass pushing against an obstacle as it sprouts out of the earth - hence the meaning, "difficulty at the beginning." The hexagram indicates the way in which heaven and earth bring forth individual beings. It is their first meeting, which is beset with difficulties. The lower trigram Zhen is the Arousing; its motion is upward and its image is thunder. The upper trigram Kan stands for the Abysmal, the dangerous. Its motion is downward and its image is rain. The situation points to teeming, chaotic profusion; thunder and rain fill the air. But the chaos clears up. While the Abysmal sinks, the upward movement eventually passes beyond the danger. A thunderstorm brings release from tension, and all things breathe freely again.

The sequence of the Hexagrams:
After heaven and earth have come into existence, individual beings develop. It is these individual beings that fill the space between heaven and earth. Hence there follows the hexagram of Difficulty at the Beginning. Difficulty at the beginning is the same as filling up.
屯 does not really mean filling up. What is meant is the difficulty that arises when heaven and earth, the light and the shadowy principle, have united for the first time, and all beings are begotten and brought to birth. This produces chaos that fills up everything, hence the idea of filling up is associated with the hexagram 屯.

Miscellaneous notes:
屯 is visible but has not yet lost its dwelling.
The grass has already pushed its tips out of the earth, that is, it is visible but still within the earth, its original dwelling place. The upper nuclear trigram, mountain, indicates visibility; the lower, earth, means dwelling.

the Judgment:
屯:元亨,利贞,勿用有攸往,利建侯。
Difficulty at the Beginning works supreme success,
Furthering through perseverance.
Nothing should be undertaken.
It furthers one to appoint helpers.

Sunday, September 5, 2021

अंतःकरण और सूत्रात्मन्
Antaḥkaraṇa & Sūtrātman
邊走邊唱 "Life on a String" 
lit. "Walking and singing at the same time"
a 1991 Chinese film by 陳凱歌 Chen Kaige 導演.

अन्तःकरण antaḥkaraṇa a contraluz

There are two major threads that connect the Monad, through the soul, with the man or woman in incarnation. One सूत्रात्मन् the Sūtrātman, the thread of life, is anchored in the heart. It comes directly from the Monad, is reflected through the soul, and is fixed in the heart centre at the right-hand side of the body. It is reflected through that etheric centre to the physical heart and into the bloodstream, which, as you know, is the purifying stream that carries the energy of life to every part of the body. While the lifeblood is pumped correctly through the body and is kept free of poisons, the physical body displays all its ability and accuracy of movement and expression. So, too, the connecting body, the astral-emotional body and the mental body are dependent on the life thread, the Sutratma, for their existence and correct function.

There is another thread, called, indeed, अन्तःकरण the Antaḥkaraṇa. This thread is anchored in the centre of the head, and through these two threads the threefold expression Monad, soul and physical-plane man or woman live their lives. These two threads inform all of these and, in a downward flow, bridge the gaps between, first, Monad and soul, and secondly between soul and its reflection, the man or woman on the physical plane.

Eventually, a third thread is built by the man or woman him/herself through the interaction of soul energy, and eventually, monadic energy, through the physical apparatus: the thread of creativity. These three threads wound together eventually produce the bridge between the three levels of existence.

Sutratman means something in Hinduism, Sanskrit

Languages of India and abroad

Sanskrit dictionary

— Sutratman in Sanskrit glossary
Source: DDSA: The practical Sanskrit-English dictionary

Sūtrātman (सूत्रात्मन्).—a. having the nature of a string or thread. (-m.) the soul.

Sūtrātman is a Sanskrit compound consisting of the terms sūtra and ātman (आत्मन्).

Source: Cologne Digital Sanskrit Dictionaries: Shabda-Sagara Sanskrit-English Dictionary

Sūtrātman (सूत्रात्मन्).—m.

(-tmā) The soul. Adj. Having the nature of a string.

Source: Cologne Digital Sanskrit Dictionaries: Benfey Sanskrit-English Dictionary

Sūtrātman (सूत्रात्मन्).—m. having the nature of a thread, [Vedāntasāra, (in my Chrestomathy.)] in Chr. 208, 3. 3.

Sūtrātman is a Sanskrit compound consisting of the terms sūtra and ātman (आत्मन्).

Source: Cologne Digital Sanskrit Dictionaries: Cappeller Sanskrit-English Dictionary

Sūtrātman (सूत्रात्मन्).—[masculine] the thread-soul (ph.).

Source: Cologne Digital Sanskrit Dictionaries: Monier-Williams Sanskrit-English Dictionary

Sūtrātman (सूत्रात्मन्):—[from sūtra > sūtrm. ‘thread-soul’, the soul which passes like a thread through the universe, [Vedāntasāra] ([Indian Wisdom, by Sir M. Monier-Williams 114]).

[Sanskrit to German]

Sutratman in German

context information

Sanskrit also spelt संस्कृतम् (saṃskṛtam), is an ancient language of India commonly seen as the grandmother of the Indo-European language family (even English!). Closely allied with Prakrit and Pali, Sanskrit is more exhaustive in both grammar and terms and has the most extensive collection of literature in the world, greatly surpassing its sister languages Greek and Latin.

Discover the meaning of sutratman in the context of Sanskrit from relevant books on Exotic India 

See also (Relevant definitions)

Relevant text


In Hinduism
Vedanta (school of philosophy)
— Antahkarana in Vedanta glossary
Source: Advaita Vedanta: Indian Philosophy
According to Vedānta, the term antaḥkaraṇa (अन्तःकरण) refers to the four-tiered inner instrument of consciousness, which we call “mind.” It consists of buddhi (बुद्धि) or intellect, manas (मनस्) the vacillating arbiter of the mind, ahaṃkāra (अहंकार) self-awareness or “I-ness” and Citta (चित्त), the storehouse of mental moods and memories. While the concept and the meaning of the first three terms are not ambiguous, the term citta appears to be loosey-goosey in its definition.

context information
Vedanta (वेदान्त, vedānta) refers to a school of orthodox Hindu philosophy (astika), drawing its subject matter from the Upanishads. There are a number of sub-schools of Vedanta, however, all of them expound on the basic teaching of the ultimate reality (brahman) and liberation (moksha) of the individual soul (atman).

Discover the meaning of Antahkarana in the context of Vedanta from relevant books on Exotic India 

Languages of India and abroad
Marathi-English dictionary
— Antahkarana in Marathi glossary
Source: DDSA: The Molesworth Marathi and English Dictionary
antaḥkaraṇa (अंतःकरण).—n (S) The internal and spiritual part of man; the seat of thought and feeling; the mind, the heart, the conscience, the spirit or soul. aṃ0 catuṣṭaya n S The inner man; the spirit or soul considered as subsisting and operating, and in every internal act, in four modes or forms; viz. mana The seat of the affections and passions; the seat of sentiment, desire, purpose; the heart: buddhi The discriminating faculty; the intellect, understanding, judgment; the mind: Citta The reasoning or thinking faculty; the discursive faculty; the reason: ahaṅkāra The seat of perception or consciousness, or the sense of individuality, distinct being or self; the seat of resolve or volition; the will, the ahaṃ or ego, the soul or self. prasannaantaḥkaraṇēṅkaruna With pleased or unhesitating mind; with one's heart or free will; with alacrity or ready consent.

Source: DDSA: The Aryabhusan school dictionary, Marathi-English
antaḥkaraṇa (अंतःकरण).—n The heart; the conscience.

context information
Marathi is an Indo-European language having over 70 million native speakers people in (predominantly) Maharashtra India. Marathi, like many other Indo-Aryan languages, evolved from early forms of Prakrit, which itself is a subset of Sanskrit, one of the most ancient languages of the world.

Discover the meaning of Antahkarana in the context of Marathi from relevant books on Exotic India 

Sanskrit dictionary
— Antahkarana in Sanskrit glossary
Source: DDSA: The practical Sanskrit-English dictionary
Antaḥkaraṇa (अन्तःकरण).—the internal organ; the heart, soul; the seat of thought and feeling, thinking faculty, mind, conscience; प्रमाणं °प्रवृत्तयः (pramāṇaṃ °pravṛttayaḥ) Ś.1.22; सबाह्य °णः अन्तरात्मा (sabāhya °ṇaḥ antarātmā) V.4 the soul in all its senses external and internal, the inner and outer man; दयार्द्रभावमाख्यातमन्तःकरणैर्विशङ्कैः (dayārdrabhāvamākhyātamantaḥkaraṇairviśaṅkaiḥ) R.2.11. According to the Vedānta अन्तःकरण (antaḥkaraṇa) is of four kinds : मनो बुद्धिरहङ्कार- श्चित्तं करणमान्तरम् । संशयो निश्चयो गर्वः स्मरणं विषया इमे ॥ अन्तःकरणं त्रिविधम् (mano buddhirahaṅkāra- ścittaṃ karaṇamāntaram | saṃśayo niścayo garvaḥ smaraṇaṃ viṣayā ime || antaḥkaraṇaṃ trividham) Sāṅkhya 33, i. e. बुद्धयहङ्कारमनांसि (buddhayahaṅkāramanāṃsi); सान्तःकरणा बुद्धिः (sāntaḥkaraṇā buddhiḥ) 35, i. e. अहङ्कारमनःसहिता (ahaṅkāramanaḥsahitā).

Derivable forms: antaḥkaraṇam (अन्तःकरणम्).
Antaḥkaraṇa is a Sanskrit compound consisting of the terms antar and karaṇa (करण).
Source: Cologne Digital Sanskrit Dictionaries: Shabda-Sagara Sanskrit-English Dictionary
Antaḥkaraṇa (अन्तःकरण).—n.

(-ṇaṃ) The internal and spiritual parts of man, the seat of thought and feeling, the mind, the heart, the conscience, the soul. E. antar within, and karaṇa an organ.

Source: Cologne Digital Sanskrit Dictionaries: Benfey Sanskrit-English Dictionary
Antaḥkaraṇa (अन्तःकरण).—n. the internal sense, [Vedāntasāra, (in my Chrestomathy.)] in Chr. 206, 24; the heart, [Śākuntala, (ed. Böhtlingk.)] [distich] 21.

Antaḥkaraṇa is a Sanskrit compound consisting of the terms antar and karaṇa (करण).

Source: Cologne Digital Sanskrit Dictionaries: Cappeller Sanskrit-English Dictionary
Antaḥkaraṇa (अन्तःकरण).—[neuter] the interior sense, the heart.

Source: Cologne Digital Sanskrit Dictionaries: Monier-Williams Sanskrit-English Dictionary
Antaḥkaraṇa (अन्तःकरण):—[=antaḥ-karaṇa] [from antaḥ] n. the internal organ, the seat of thought and feeling, the mind, the thinking faculty, the heart, the conscience, the soul.

Source: Cologne Digital Sanskrit Dictionaries: Goldstücker Sanskrit-English Dictionary
Antaḥkaraṇa (अन्तःकरण):—[tatpurusha compound] n.

(-ṇam) (In Philosophy.)

1) The interior sense (also called ābhyantarakaraṇa) opposed to the vāhyakaraṇa (q. v.) or exterior sense; this notion which in general may be termed ‘the faculty of thinking’ is thus modified in the Vedānta and in the Sāṅkhya: [a]) (In the Vedānta it implies) the notion of what is the general substratum of ātman or Soul (Śaṅkara: taccātmana upādhibhūtamantaḥkaraṇam); its activity becomes manifest in two of the seventeen sūkṣmaśarīra (q. v.) or subtle bodies of creation, viz. in the buddhi (q. v.) or that mental activity which forms positive conclusions, and in the manas, or that mental activity which ‘discerns and doubts’; and as citta or ‘logical combination’ is involved by the activity of buddhi, and ahaṅkāra or ‘self-consciousness’ is involved by manas, the activity of the antaḥkaraṇa is fourfold, viz. as that of buddhi, manas, Citta and ahaṅkāra. Śaṅkara in his commentary on the Vedānta Sūtras varies slightly in this respect by substituting vijñāna for ahaṅkāra; the difference, however, is merely apparent, vijñāna, worldly knowledge, being also one of the attributes of manas (Śaṅkara: ‘antaḥkaraṇaṃ mano buddhirvijñānaṃ cittamiti cānekadhā tatra tatrābhilapyate’). [b.]) (In the Sāṅkhya it is not the substratum of puruṣa or Soul but) the generic name and characteristic of three successive productions of prakṛti or Matter, viz. of buddhi ‘ascertainment or positive conclusion’, of its product ahaṅkāra self-consciousness’ and of the product of Ahaṅkāra, viz. manas which in this philosophy means ‘an organ both of sensation and of action’ (see buddhīndriya and karmendriya), ‘the organ of volition’ (see saṅkalpa). ‘The ten external organs (viz the five organs of sensation and the five of action) supply the objects for the ‘interior sense’, their time is the present time, while the interior sense embraces the past, present and future time’.

2) (In the non-philosophical literature where philosophical terms are usually employed in a vague manner, this word means) Mind, heart, feeling, a synonym of manas in its vague, unphilosophical sense; e. g. (in a verse of the Mālatīmādhava where an apparent show is made of philosophical accuracy) premārdrāḥ praṇayaspṛśaḥ…ceṣṭā bhaveyurmayi . yāsvantaḥkaraṇasya vāhyakaraṇavyāpārarodhīkṣaṇādāśaṃsāparikalpitāsvapi bhavatyānandasāndrodayaḥ (var. lect. ºsāndro layaḥ)—E. Antar and karaṇa.

Source: Cologne Digital Sanskrit Dictionaries: Yates Sanskrit-English Dictionary
Antaḥkaraṇa (अन्तःकरण):—[antaḥ-karaṇa] (ṇaṃ) 1. n. The understanding or heart.

[Sanskrit to German]
Antahkarana in German

context information
Sanskrit also spelt संस्कृतम् (saṃskṛtam), is an ancient language of India commonly seen as the grandmother of the Indo-European language family (even English!). Closely allied with Prakrit and Pali, Sanskrit is more exhaustive in both grammar and terms and has the most extensive collection of literature in the world, greatly surpassing its sister languages Greek and Latin.

Discover the meaning of Antahkarana in the context of Sanskrit from relevant books on Exotic India 

Kannada-English dictionary
[«previous (A) next»] — Antahkarana in Kannada glossary
Source: Alar: Kannada-English corpus
Aṃtaḥkaraṇa (ಅಂತಃಕರಣ):—

1) [noun] the faculty in human which thinks, knows, feels and wills; mind.

2) [noun] fellow-feeling or sorrow for sufferings of another; compassion; favour; mercy; love.

3) [noun] the mode in which the mind functions.

4) [noun] (Phil.) in the Sāṃkhya system, the internal system consisting of the mind, egoism and intellect.

context information
Kannada is a Dravidian language (as opposed to the Indo-European language family) mainly spoken in the southwestern region of India.

Discover the meaning of Antahkarana in the context of Kannada from relevant books on Exotic India 

See also (Relevant definitions)
Partial matches: Karana, Antah, Antar.

Starts with: Amtahkaranajivi, Amtahkaranamaline, Amtahkaranashuddhe, Antahkaranapancaka, Antahkaranaprabodha, Antahkaranaprabodhavakyani, Antahkaranashuddhi, Antahkaranat, Antahkaranavritti.

Ends with: Kathinantahkarana, Sabahyantahkarana.

Full-text (+9): Antarindriya, Bahyakarana, Prakrititattva, Anindriya, Amtahkarana, Manas, Antahkaranavritti, Anthkaran, Kathinantahkarana, Antakarana, Sri Parnananda Tirtha, Nirmalita, Antar, Bahishkarana, Abhyantarakarana, Antahkaranapancaka, Antahprajna, Saprema, Ahamkara, Visanka.

Relevant text
Search found 43 books and stories containing Antahkarana, Antah-karana, Antaḥkaraṇa, Antaḥ-karaṇa, Antar-karana, Antar-karaṇa, Amtahkarana, Aṃtaḥkaraṇa, Antahkaraṇa; (plurals include: Antahkaranas, karanas, Antaḥkaraṇas, karaṇas, Amtahkaranas, Aṃtaḥkaraṇas, Antahkaraṇas). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:

A History of Indian Philosophy Volume 1 (by Surendranath Dasgupta)
Part 11 - Locus and Object of Ajñāna, Ahaṃkāra, and Antaḥkaraṇa < [Chapter X - The Śaṅkara School Of Vedānta]
Part 14 - Vedānta theory of Perception and Inference < [Chapter X - The Śaṅkara School Of Vedānta]
Part 15 - Ātman, Jīva, Īśvara, Ekajīvavāda and Dṛṣṭisṛṣṭivāda < [Chapter X - The Śaṅkara School Of Vedānta]
A History of Indian Philosophy Volume 2 (by Surendranath Dasgupta)
Part 6 - Vedāntic Cosmology < [Chapter XI - The Śaṅkara School of Vedānta (continued)]
Part 24 - Rāmādvaya (a.d. 1300) < [Chapter XI - The Śaṅkara School of Vedānta (continued)]
Part 11 - Padmapāda (a.d. 820) < [Chapter XI - The Śaṅkara School of Vedānta (continued)]
Brahma Sutras (Shankara Bhashya) (by Swami Vireshwarananda)
Chapter II, Section III, Adhikarana XVII < [Section III]
Chapter II, Section III, Adhikarana XIII < [Section III]
Chapter II, Section I, Adhikarana V < [Section I]
Sri Bhakti-rasamrta-sindhu (by Śrīla Rūpa Gosvāmī)
Verse 2.1.103 < [Part 1 - Ecstatic Excitants (vibhāva)]
Brihad Bhagavatamrita (commentary) (by Śrī Śrīmad Bhaktivedānta Nārāyana Gosvāmī Mahārāja)
Verse 2.4.31 < [Chapter 4 - Vaikuṇṭha (the spiritual world)]
Verse 2.2.215 < [Chapter 2 - Jñāna (knowledge)]
Verse 1.1.11 < [Chapter 1 - Bhauma (the earthly plane)]
Preceptors of Advaita (by T. M. P. Mahadevan)
42. Dharmarājādhvarin
(i) Ātreya Brahmanandi and Draidāchārya < [50. Some Pre-Śaṅkara Advaitins]
10. Hastāmalaka

Activation du canal Antahkarana

Le canal Antahkarana aussi appelé “Corde Céleste”, “Cordes de Lumière”, “Fil de Vie” est un canal de Lumière qui nous relie au Soleil Central de la Terre et au Soleil Central de la Galaxie. 

C’est aussi un lien qui permet de faire monter la Kundalini dans les corps supérieurs et nous connecte consciemment à notre Divinité.

L’ ouverture de ce canal se traduit par l’activation de deux canaux, reliés à « l’ampoule de la claire audience », petit chakra situé juste à l’avant de l’oreille et réactivé lors de la construction de l’Antahkarana.

Ces deux canaux sont différents des canaux de claire audience qui eux, restent horizontaux. Après un départ horizontal à partir de « l’ampoule de la claire audience », les deux canaux de l’Antahkarana se courbent vers le haut à environ 60 cm de part et d’autre de la tête.

Sa représentation symbolique est celle de la déesse Hathor, avec ses cornes ayant en son centre un disque solaire, représentant l’union totale avec notre Divinité : l’union corps, âme et Esprit.
Son activation permet de :
– Créer un lien avec notre âme, nos vies antérieures et nos familles d’âmes,
– purifier les canaux des mains et des pieds,
– purifier les cristaux de la glande pinéale,
– nous connecter à notre Divinité,
– Activer les glandes pinéale et pituitaire,
– Purifier les canaux de perception extrasensorielle,
– Purifier les 3 canaux principaux (Ida, Pingala et Sushumna)
– Équilibrer les énergies Yin/Yang en nous,
– Équilibrer les 5 éléments en nous (Terre, air, eau, feu, ether)
Il est conseillé de rester assis(e) pendant cette activation.