SHENJIVA
A Journal of Inner Work and Therapeutic Arts
Immanence and Identity in Plural Personality
Richard Dagan

Briefs Index...

Developing the cognitive framework...
Pathfinding and eclectic incorporation in a transformational process.

15-22 May 2014

As explored at length in recent posts and studies, during multiple slow-mover transits and the egress of progressed Sun from the 12th House, this has been a period of fundamental change.  The large illustration below is a comparative study of several factors in the cognitive framework now developing. Some of this was dealt with in a dream last night...

Dream of the 22nd :
Walking though the South half of a building situated in the Northeast quadrant of the dreamscape I note the deterioration and ongoing deconstruction of the structure, which, over the years, has been renovated repeatedly, often at great expense and frequently to temporary effect. I am responsible for those efforts, inadequate as they now appear, yet the long memory of that engagement does not plague me now; instead, it presents with vague feelings of disappointment, sadness at my poor performance, my ignorance, my belief in the importance of and failure to achieve perfection. But that was the path. I wonder why the deconstruction seems paused at the moment, why the changes aren't more immediate, but I also appreciate how little I know. Renovation and new construction are being handled by powers infinitely more knowledgable and capable. I feel relieved...

This is not about 'me' anymore, nor about playing a role. Just outside and heading South, I have the impression this property is bounded to my right by one or two properties owned by others, part of an extensive community to the West. My focus is before me, however, where I see the cement foundation and basement walls of a structure newly revealed with removal of the forms. Wood framing of the building will soon begin, I realize, as I walk close to the edge, taking careful steps to avoid falling in. To my left I see a foreman, an older man, seasoned, confident, relaxed, his back against the temporary crude wooden fence to the East, marking the boundary of the property. I approach him with questions and in response, he begins to reveal the overall plan for the site.

The old structure will be demonlished and rebuilt in the area I've been, he says, and the North half will be renovated. The new foundation to the South will support an administrative building. Along the East side of the old structure, on the comparatively narrow but long, lush green grassy stretch of land that runs its length, another new building will be built, for a paint manufacturer, he tells me. The "crowbar", referring to the construction blueprints and plans, is already complete, he says. I have to think about what that means. I 'see' → digging down through clay below, where corpses used to go — some sort of morgue or mortuary — the need to repurpose the space. And in my vision, the buildings rise... — END

And so, as indicated above, the illustration is a comparative study, an attempt to assimilate and integrate a flood of recently researched and newly irrupting material. Concepts of the Pancha Mahābhūtas (the five elements), their names, descriptors and conceptual correlates vary across cultures. The same applies to the chakras, apprehended as energy points in the subtle body; names, locations, functions, and additional characteristics may differ from one school to another. In Mahayana Buddhism and Vajrayana (Tantric) Buddhism in particular, the Five Dhyani Buddhas (dhyai to meditate, contemplate + buddha awakened one) are representations of the five qualities of the Buddha, visualized in tantric meditation. Each of the five — in Sanskrit → Vairocana, Amoghasiddhi, Amitābha, Akṣobhya, and Ratnasambhava — represents a different aspect of enlightened consciousness and an aid to its realization.

The Five Buddhas represent the purified manifestations of the five aggregates, elements, sense organs and sensory perceptions. Each Buddha is assigned a direction, a colour, a seed syllable, an animal throne, a consort, a progeny of Bodhisattvas and deities, a specific mudra, and a symbolic emblem or attribute. To this list are added an array of fivefold qualities, including the five tastes, phonetic sounds, precious substances, times of the day, and seasons (spring, summer, rainy season, autumn and winter). Essentially the Five Buddhas represent the transmutation of the five delusions or poisons (ignorance, desire, aversion, jealousy and pride), into the five transcendent wisdoms (all-pervading, discriminating, mirror-like, all-accomplishing, and equanimous).

Robert Beer is an artist, author and scholar of Tibetan Art whose take on the symbolism is informed by more than 40 years of practice and study. He identifies the Buddhas as "Blue Akshobhya (centre or east): White Vairocana (east or centre): Yellow Ratnasambhava (south): Red Amitabha (west), and Green Amoghasiddhi (north)" but adds that "[i]n different tantric systems the positions, aggregates and wisdom qualities of Vairocana and Akshobhya may be interchanged, with either Buddha occupying the central or eastern position". Correlation of the chakras and Buddhas is also different from the system I am using, described below as the Godai or Gorinto framework. Beer places "Vairocana at the crown, red Amitabha at the throat, blue Akshobhya at the heart, yellow Ratnasambhava at the navel, and green Amoghasiddhi at the sexual center".

Hand correspondences with the chakras and Buddhas vary across schools, as do elements and color attributions. Correspondences in the Subtle System of Sahaja Yoga taught by Shri Mataji Nirmala Devi include a different name for the third chakra, called Nabhi, a middle zone referred to as Void, as well as planets and astrological signs corresponding with the seven chakras represented on the hands, soles of the feet and elsewhere on the body.

Radix, Sidereal, Fagan/Bradley, Azimuth

A widely used yogic system of correspondences is shown at A, the upper left hand in the illustration below. The middle finger, that of Saturn in palmistry, is shown as white, corresponding with Vishuddhi, the throat chakra, and Vairocana.

The Bön system shows color correlations like those of the Godai or Gorinto, the framework that feels apposite to me   all of the frameworks make sense, but not all of them resonate.

In the palmistry illustration, note that the first phalange of the thumb is here associated with Chiron, a correlation I'm mulling over with respect to Vairocana and Vishuddhi. As indicated in the note below, however, Mars, Venus, and Uranus might as easily be applied. Each option works, I find, but the last two are of particular interest to me; while I have measure of Mars in the context of creative drive, and whilst Mars is Atmakaraka, I cannot (yet) identify with it, can't "take control" in that sense.

  1. Venus is conjunct my North Node and MC, going to will and determination, a focus on harmonization; and
  2. in considering the placement of 1st-House Uranus in the sidereal Azimuth radix, the same correlation applies but with respect to unequivocal pursuit of my own psychospiritual course.

The chakra models and associations presented below, at upper right, have been discussed in a previous study. The image of Vajasattva, Dorje Sempa (Tibet), goes to the overall focus on self-purification and transcendence, the path I pursue.

The mudra (məˈdrä) is a hand gesture of symbolic and ritual importance, although some involve the entire body. The practice of mudras is thought to have effect on all levels, biophysical, psychoemotional, and psychospiritual. There are many sites that present detailed information on mudras along the lines discussed here, many with drawings or pictures of mudras for different purposes. Healing Therapy: Vibrational Healing (Internal) > Mudra Therapy presents a simple, straightforward explanation I quite like, using the system of correspondences I favor. Mudras may be understood as...

[...] hand gestures which express specific energies or powers. Each area of the hand has a reflex reaction in a specific part of the brain. The finger tips of every living being have many concentrated nerve root endings which are free energy discharge points. Science also confirms that around every tip there is a concentration of free electrons. By touching together of the tips of the fingers or the finger tips to other parts of the palms this free energy (Prana) is redirected back into the body along specified channels, back up to the brain. A Mudra locks and guides energy flow and reflexes to the brain. [...]

Nature's all important and minute scientifically created components in the human body are made of the five elements namely - Air, Water, Fire, Earth and Sky. Imbalance of these elements disrupts the immunity system and causes disease. Each finger belongs to one of the 5 elements. The union and separation of these five elements with the help of the five fingers can enhance and also diminish the presence of elements in the human body.

Shuni Mudra. Image in the public domain.

To balance any element, join the foretip of the thumb with that of the respective finger.
To increase any element, press the foretip of the thumb at the base of the respective finger.
And to decrease any element, fold the respective finger to the base of the thumb, and hold it there with the thumb. For pictures and more complete descriptions see, for instance, Mudraguide.