Follow by Email

Thursday, June 18, 2015

GEMS OF YOGA DUBAI MEDITATION



CONCENTERATION   OR DHARANA TECHNIQUES


Hridayakasha dharana

The development of this practice of antar darshan is the practice of hridayakasha dharana. Although hridayakasha dharana has been taught in the past, it is not the first practice that we need to do. The first practice is antar darshan. The perfection of antar darshan will lead us to hridaya-kasha dharana. Hridayakasha dharana comes when the mind and the emotions have become stable and steady, and when we have attained some degree of mastery within and without ourselves.
We need to look at the meaning of dharana to understand the practice better. Dharana means 'to bind, to focus, to hold the mind at one point'. It comes from Dmust be stable. Right now none of us has that stable base. Just as the earth shakes during an earthquake, in the same way we are also shaking like that much of the time. The practice of dharana comes when we have become steady, stable and unshakeable. We are unshakeable because we understand ourselves. We understand our mind, our emotions and our thoughts. We have come to terms with them so we are unshakeable. Whatever faces us and whatever situation arises we can manage it without being affected. Dharana is a higher stage, not just in meditation but in life.
The word akasha means space. The practice of hriday-akasha implies that we are going to find a steady base within the element of space. We can think of space like the sky, like the openness in a room. There is space and then there are things within the space. Mentally this space symbolizes the aspect of consciousness. Within the consciousness the mind exists and the emotions exist. The different aspects of the mind exist, the ego exists, all the experiences in life exist, but they are not the space. The space is just space like the sky is open.
Hridayakasha dharana means that we are going to become stable. We are going to practise steadiness within this space and we are going to localize that space within the heart. Hridaya means heart. Hridayakasha dharana means to find a stable base within the space of the heart. When we are able to find a stable base, when the mind is able to function in a focused, one-pointed manner within this space, then we will begin to have intense emotional experiences and we will be able to handle them. Things will come with great intensity but because our mind is trained and we are focused and have developed strength of mind, we can face them without becoming unbalanced and unhinged. This is the development of and the result of antar darshan. Antar darshan will lead to the further stage of hridayakasha dharana.
SIVANANDA VIEW

Pancha Dharana

Prithvi Dharana
There are five elements, viz., Prithvi, Apas, Agni, Vayu and Akasa. To the body of the five elements, there is the five fold Dharana. From the feet to the knees is said to be the region of the Prithvi. It is four-sided in shape, yellow in colour and has its Varna the Sanskrit letter ‘L’ along the region of the earth, i.e., from the feet to the knees. Contemplating upon this, one should perform Dharana there for a period of two hours daily. He then attains mastery over the earth. Death does not trouble him since he has obtained mastery over the ‘earth’ element.
Ambhasi Dharana
The region of Apas is said to extend from the knees to the anus. Apas is semi-lunar in shape and white in colour. It has the letter ‘Va’ for its Bijakshara—seed-letter. Carrying Up the breath with the letter ‘Va’ along the region of Apas, one should contemplate on God Narayana, having four arms, a crowned head, dressed in orange-colour clothes and as decayless. Practising Dharana there daily for a period of two hours, he is freed from all sins. Then there is no fear for him from water.
Agneyi Dharana
From the anus to the heart is said to be the region of Agni. Agni is triangular in shape, red in colour and has the letter ‘R’ for its Bija. Raising the breath with the letter ‘Ra’ along the region of fire, one should contemplate on Rudra, who has three eyes, who grants all wishes and who is of the colour of mid-day sun. Practising Dharana there daily for a period of two hours, he is not burnt by fire, even though his body enters into the fire-pit.
Vayavya Dharana
From the heart to the middle of the eyebrows is said to be the region of Vayu. It is black in colour and shines with the letter ‘Ya’. Carrying the breath along the region of Vayu, one should contemplate on Isvara, the omniscient. The Yogi does not meet his death through Vayu.
Akasa Dharana
From the centre of the eyebrow to the top of the head is said to be the region of Akasa. It is circular in shape, smoky in colour and shines with the letter ‘Ha’. Raising the breath along the region of Akasa, one should contemplate on Sadasiva. By practising this Dharana one obtains the power of levitation. The Yogi gets all the Siddhis.



GEMS OF YOGA DUBAI PRAYER


GEMS OF YOGA PRAYER  NIRVANASHATAKAM


Atma-Shatakam / Nirvana Shatakam
The Song of the Self

by Adi Shankara
788-820 CE

( by Shankaracharya)
The great Adi Shankara (first Shankaracharya) of the eighth century summarized the entirety of Advaita Vedanta (non-dualistic philosophy) in six stanzas. When a young boy of eight, while wandering in the Himalayas, seeking to find his guru, he encountered a sage who asked him, "Who are you?" The boy answered with these stanzas, which are known as "Nirvana Shatakam" or "Atma Shatakam." "Nirvana" is complete equanimity, peace, tranquility, freedom and joy. "Atma" is the True Self. The sage the boy was talking to was Swami Govindapada Acharya, who was, indeed, the teacher he was looking for.
These few verses can be of tremendous value to progress in contemplation practices that lead to Self-Realization.
 
1)I am not mind, nor intellect, nor ego,
    nor the reflections of inner self (chitta).
I am not the five senses.
I am beyond that.
I am not the ether, nor the earth,
    nor the fire, nor the wind (the five elements).
I am indeed,
    That eternal knowing and bliss, Shiva,
    love and pure consciousness.
 
2)Neither can I be termed as energy (prana),
    nor five types of breath (vayus),
    nor the seven material essences,
    nor the five coverings (pancha-kosha).
Neither am I the five instruments of elimination,
    procreation, motion, grasping, or speaking.
I am indeed,
    That eternal knowing and bliss, Shiva,
    love and pure consciousness.
 
3)I have no hatred or dislike,
    nor affiliation or liking,
    nor greed,
    nor delusion,
    nor pride or haughtiness,
    nor feelings of envy or jealousy.
I have no duty (dharma),
    nor any money,
    nor any desire (kama),
    nor even liberation (moksha). 
I am indeed,
    That eternal knowing and bliss, Shiva,
    love and pure consciousness.
 
4)I have neither merit (virtue),
    nor demerit (vice).
I do not commit sins or good deeds,
    nor have happiness or sorrow,
    pain or pleasure.
I do not need mantras, holy places,
    scriptures (Vedas), rituals or sacrifices (yagnas).
I am none of the triad of
    the observer or one who experiences,
    the process of observing or experiencing,
    or any object being observed or experienced. 
I am indeed,
    That eternal knowing and bliss, Shiva,
    love and pure consciousness.
 
5)I do not have fear of death,
    as I do not have death.
I have no separation from my true self,
    no doubt about my existence,
    nor have I discrimination on the basis of birth.
I have no father or mother,
    nor did I have a birth.
I am not the relative,
    nor the friend,
    nor the guru,
    nor the disciple. 
I am indeed,
    That eternal knowing and bliss, Shiva,
    love and pure consciousness.
 
6)I am all pervasive.
I am without any attributes,
    and without any form.
I have neither attachment to the world,
    nor to liberation (mukti).
I have no wishes for anything
    because I am everything,
    everywhere,
    every time,
    always in equilibrium.
I am indeed,
    That eternal knowing and bliss, Shiva,
    love and pure consciousness.
 

Sanskrit:
 
Mano Buddhi Ahankara Chitta Ninaham
Nacha Shrotra Jihve Na Cha Ghrana Netre
Nacha Vyoma Bhoomir Na Tejo Na Vayu
Chidananda Rupa Shivoham Shivoham
 
Na Cha Prana Samjno Na Vai Pancha Vayu
Na Va Saptadhatur Na Va Pancha Koshah
Na Vak Pani Padau Na Chopastha Payu
Chidananda Rupa Shivoham Shivoham
 
Na Me Dvesha Ragau Na Me Lobha Mohau
Mado Naiva Me Naiva Matsarya Bhavah
Na Dharmo Na Chartho Na Kamo Na Mokshah
Chidananda Rupa Shivoham Shivoham
 
Na Punyam Na Papam Na Saukhyam Na Dukham
Na Mantro Na Teertham Na Vedo Na Yajnaha
Aham Bhojanam Naiva Bhojyam Na Bhokta
Chidananda Rupa Shivoham Shivoham
 
Na Me Mrityu Shanka Na Me Jati Bhedah
Pita Naiva Me Naiva Mata Na Janma
Na Bandhur Na Mitram Gurur Naiva Shishyah
Chidananda Rupa Shivoham Shivoham
 
Aham Nirvikalpo Nirakara Roopaha
Vibhur Vyapya Sarvatra Sarvendriyanam
Sada Me Samatvam Na Muktir Na Bandhah
Chidananda Rupa Shivoham Shivoham
                 

PATANJALI COMPOSITION OF SHIVA



GEMS OF YOGA DUBAI PRESENTS A NEW SECRET OF PATANJALI NOT KNOWN TO MANY



At Sandhya kalam (Pradosha kalam) Shiva dances at all places not only at Chidambaram. Wherever he dances, Pathanjali muni, Vyagrapada muni, Nandhi and Bhringi will be with him. While Bhringi and Nandhi stay with Shiva always, Pathanjali and Vyagrapadar are there whenever and wherever he dances.
Pathanjali is stated to be the Avatar of Adisesha and is depicted with a human face and the body of a snake. Vyagrapadar has also a human face and his legs are like that of a tiger with long nails. Nandhi, the divine vahana has two horns (Kombu, in Tamil) and four feet (Kaal in Tamil). Bhringi has three legs. Pathanjali was teased by the other three saying that he has neither Horn (Kombu) nor Kaal (legs).
Pathanjali gave a rejoinder stating that the other three have separate eyes and ears which was a disadvantage. If they concentrate on Ishwara’s dance form by seeing, they will miss the laya or thala and if they concentrate on the laya and listen, they will miss out on the visual treat. However, Pathanjali, in his serpent form, had a common organ for perceiving sound and sight (it was commonly believed that snakes make use of the same organs for hearing and seeing) and therefore could concentrate on both the form and laya simultaneously.
Pathanjali also stated that inspite of his not having Kombu and Kaal, he can appreciate the cosmic dance of Shiva better and will sing His praises. The trio of Nandi, Bhringi and Vyagrapadar teased Pathanjali further saying that he had no Kombu and Kaal and how will he sing Shiva’s praise without Kombu and Kaal. Pathanjali said that since he himself had no Kombu and Kaal, he will sing Shiva’s praise also with a sloka in which the letters had no Kombu or Kaal ( e  E  a etc.)
The Shambu natana sthothram has no words with Kombu or Kaal. This was sung according to the laya/ thala of Shiva’s cosmic dance.
Lyrics:
Shambu Natanam - Text in Sanskrit