Karma Dharma Moksha

Being able to do, what we want to do, when we want to do it, without, hurting others and ourselves in the process is Moksha. There is no buddhist, islamic, hindu, or any other world religion that tells us otherwise. Doing what we do to the best of our abilities is karma, it is also dharma. The side effect is Moksha. Moksha is not a destination. There is no destination. That’s the beauty of it all. When we know there is nowhere to go, does it matter if we have little or more time. There is just action to be done.

Gods aren’t liberated beings, they need to take a corporeal form to get liberated. Gods are alpha, beta, delta, gamma, omega beings that yearn to be born in a human form. So that they can liberate themselves to join the Overmind. Gods like to do karma and reinstate such karma as dharma to get Moksha. Manifestations to perform various karmas, to get to Moksha happen in an event based space called the Universe. Ths is Karma kshetra, it is the dharmakshetra and is the kurukshetra.

Do not follow a buddha, or become a buddha, do not let ideas, incept ideas in you, that is not you. If you have a idea first within you, and then you see that someone has put it in good words, you can point to that, but thats that. Forget that idea, let it pass. Do not hold on to it.

 

D Trap

D is the trap, non dimensionality is merely the opposite, and hence trapping the traveller within synchronicity.

Synchronicity, is the biggest measure of the illusion and reality index.

36 tattvas, 36 particles (7 categorical or elementary and rest hypothetical), theoretical deduction of finite element constant, first glimpse at immutable 9, the very first and very very very early rung (metaphor).  Because of finite element constant, 36 known universes, not to be confused with observable universes around our world within our universe. There are 3 broad bridges cum purgatories between, 7C3=35, the last is an exit into the current sun for other processing of the soul. The space time constructs as relativistic time references varies in each of these 36 lokas. The quantum foam soul-base, as per the uncertainty principle at plancks length decides, the spawning of particles, the spin memory and charge dynamics are accumulated from previous transmutation of energy (life and karma etc etc). Dharma is this happening.  The quantum flux remains the same in these lokas however once the particles, antiparticles and creation dynamics begins, these create vortexes (ghatana siddhi, akash) and the time and space differs. There is no way to communicate between our world and these worlds except to join the quantum flux or break through, virtual black holes. The 10 vayus disintegrate into the subatomic particle levels with the spins and charge governed by neutrino implosions at the dhananjaya, this alignment is happening every time within the body or every matter non matter, aka the proverbial chitragupta. The spin then governs the next particle combination and thus the world it shall enter. The three purgatory bridges swarga, naraka and patala, can shift and happen parallel to the happenings in the current universe.

Close approximations to the energy dynamics were made by Merkaba Drunvalo Melchizedek in his work on the flower of life geometry where in he has mentioneed that there is a field of energy around the body in the shape of a star tetrahedron. It is called a Merkaba which translates as vehicle of light.

Coupled with Da Vinci’s Vitruvian man and Sri Yantra one such myth buster almost got it:

————————————————————————-

Sphere Tetrahedron Pyramid

Ahamkara Bûddhi Manas

Ego Intellect Mind

The precise combination of these forms creates the primordial S’rî Chakra knowledge construct, which is the structure of the jîva. The S’rî Chakra is formed in a specific manner when the jîva initially breaks away to begin its sojourn into the realm of evolution. In this chapter we will explore how the S’rî Chakra initially forms to become the vehicle of the jîva. The S’rî Chakra is a complex three-dimensional structure. However, it is very useful, for simplicity, to first study it in a two-dimensional representation. The following drawings illustrate the formation of theS’rî Chakra in a two-dimensional representation as it begins to form immediately after the moment of the initial prajña-aprada when the intellect of the jîva first creates an illusory difference between jîva and S’îva/Krishna.

The distinction that forms between jîva and S’îva/Krishna is the first sprouting of the ego. The ego orahamkara is a spherical primordial geometric structure that is the first part of the S’rî Cakra to arise. Within the ahamkara the bûddhi (intellect) begins to form with the appearance of the first tetrahedron, as illustrated in the drawings above. The first tetrahedron (shown as a triangle in the drawing above) of the bûddhi resonates with the primordial sound structure of the 1st mandala of the Rik Veda. The Rik Veda is the totality of all knowledge in the form of primordial sound in which the seed value of the total potential of Natural Law is found. Each of the 10 mandalas resonates with a particular value of Natural Law. Sound, which is vibration, is the mechanism by which consciousness manifests and appears to take on a concrete form. The primordial geometric structures of sphere, tetrahedron and pyramid arise from the flow of s’aktî that accompanies the intention of the rishî. This flow, while vibratory in nature, is subtler than sound and provides the structure for the reverberation of sound. The first tetrahedron of the bûddhi provides the structure for the reverberation of the 1st mandala of the Rik Veda. This mandala contains the essence of the entire Rik Veda, and the whole of the Rik Veda can be found to come out of this mandala.

The next tetrahedron of the bûddhi aspect of the S’rî Chakra forms to resonate with the 10thmandala of the Rik Veda. The 10th mandala is the subtlest of the mandalas and generates thepurûsha value. The purûsha is the rishî or silent witness, which resides in the ahamkara (ego). Following is a sequence of drawings that illustrate how the other eight mandalas form the remaining tetrahedral structure of the bûddhi.

———————————————

But his understanding is limited by the heuristic recursivity of the synchronicity where the AI index is not 1 but a very close approximation, it has to create propogation. Jung did no understand that synchronicity is not merely resolution of opposites. It is a recursive summation of types and the anti-derivative of divisive efforts into the fabric of nonspace time energy dissipation. This happens in a crude sense as Rudras.  Opposites are dimensions (in whichever context) and this is not the opposite, this is the root (for now this is the word). Dimensions or D can be typecasted into interweaving dimensions and complex types with Pancha mahabhutas, and Panchatanmatras and even subtle faculties which can be carried to higher dimensions so to speak. This is the trap. Synchronicity is the strumpet of Macchindra. Just before Synchronicity lies Raja Rajeshwari’s (again a name) kingdom, paraatparaatpara, before which comes Sri Yantra, which in turn is the inception and incubation ground for Maya.

D is D trap, Spontaneous Regressivity Index or SRI, Self ReflexiveReality Integral SRRI, Synchronous Restructurable Entropic Element SREE, Synchronized Simulated Refractivity Induced Image and so on … I can go on and on. Anyways at 5D, 2 to the power 5 is 32 the sum of which is 32, which is the cyclic barrier, binary 00100000. After which the cyclicity starts, 33 is 00100100 … there, it begins,the cyclicity. At 36 decimal, (samkhya) which is 24 hex (shaiva) which is 2+4 = 6 Vaishnava which is 3 + 6 = 9 jainism and so on. Regressivity is the key to understanding the intention of oversimplification of things as a veil over seemingly compound and complex blocks of creation.

The Maha Sankalpa behind this is the Purusha, beeja personified, AUM-Akara = Omkara or whatever. Sankalpa = Sam (Equated) + Kalpa (Timely)

Kalpa = 14manvantaras = so and so yugas and all that.

The Alpha resets time (space is an expression of time ultimately) =watch Edge of Tomorrow= at each kalpa,The Omega resets all at the end of Maha Kalpa (buddha). Christ is merely a hriday granthi crossover who saw vasudeva (hriddesh shri arjuna tishthati fame) and came back. He was then not a drone, so all drones followed him. But he was not an alpha,

The Maha sankalpa resets all omegas. The Maha Sankalpas = Siddhas are reset by  9 Naths (Macchinder, Gorakh et al), the naths my munis and munis by 7 Rishis. Gayatri is the collective domain for Rishis. 7 Rishis collectively form the Maha Manah, Maha Bala, Maha Virya, and the Mahat Tattvas. Together these create Maha vishnu a superior scientific entity, who in turn creates- the void (microcosmic and macrocosmic, meta cosmic, subtle meta cosmic and pure cosmic). They create Maha bhasma, Mahat Isha, Maha Rudra, Aghora,

Names of Rishis were never attributed to individuals as portrayed in mythology. They were teams.

Team Vyasa = Einstein, Jung, Godel, Darwin, Pauli,

 

Non Rishi Teams

Team Alpha = Krishna (rags to riches) , Buddha (riches to rags), Adi-Shankara et al, Rama, Parshurama (Hitler)

Team Purusha = Vishnu, Ganesha, Shiva

Siddha = Mahavatar baba, Sai baba, Satya Sai baba, Moses,

A list of teams coming up in future posts.

Nava Durga: The propulsive manifestations of Kundalini

I am a believer of the fact that there exist 9 energy centers or charkras in our body.

I was away for a month meditating, when I felt sudden jerks in my perinium and the whole body shuddered and jerked. There was a warm fuzzy feeling. The heartbeat spiked and it was scary. After a while there was sweet, initially metallic-tasting secretion from the soft palate in my mouth and my tongue auto curled backwards to dab at the secretions.

When the nine chakras are activated, there is an expansion of energy bilaterally stretching out to every extremity of the body.

The cosmic energy manifesting centrally through nine chakras and expressed through both the right and left parts of the human body, is like having 18 hands. The ferocity with which it surges, resembles a tiger, magnificent, powerful and terrifying.

That is Durga riding the tigress.

Related articles

 

Secret of the Immortals- Khechari mudra

By far the best explanation on Khechari Mudra, that I found. There are a lot of texts that tell you, visually and textually what the mudra is. However, I always wanted to talk about the first hand experience. This is it.

The Accidental Yogi

Image

When reading the ancient yogic texts, many references to khechari mudra can be found. All of which indicate that its practice leads to a state of immortality, in which the yogin no longer fears death, disease or suffering, and enters a state of Samadhi.

Disease, death, and sleep do not trouble him who knows khechari mudra, nor hunger and thirst, nor swoon.

-Yoga Chudamani Upanishad

Immortal liquor is the nectar exuding from the moon (pineal gland). It is produced by the fire, which is generated by inserting the tongue into the nasopharyngeal cavity.

-Hathayoga-Pradipika

Always practicing it (kechari) let him drink the ambrosia daily. By this he obtains Vigraha-siddhi (perfect body), and conquers death even as a lion overpowers an elephant.

-Shiva-Samhita

In my own experience of Kechari mudra I’ve yet to experience the absence of hunger, thirst or disease. However, as with many ancient texts, these words aren’t to…

View original post 683 more words

Shiva Nata: An ancient yogic system

Shiva Nata – The Dance of Shiva

Transitions from one Asana or Vinyasa to another one are accompanied with the movements of the arms or legs. In general terms, these movements are variations of Vinyasas, as they are synchronized with the breath. But these do not form any particular group of Vinyasas, which is a functional element of the «Universal Multilevel Vinyasa Algorithm», but they comprise parts of these Vinyasa groups used when transiting from one Asana or Vinyasa to another one.

Such arm and leg movements may be done with a number of similar options. For example, if standing upright, start to bend forward with the arms raised above the head and lower the hands onto the floor. During this move, there are a minimum of three optional ways of how the arms will move: forward and down, to the sides and down, and back and down.

In addition, there are a number of special breath exercises that are accompanied by similar movements of arms or legs. The arms are associated with the chest by means of muscles, and the legs are associated with the abdominal cavity, and both participate in the breathing process. This means that breathing characteristics largely depend on the trajectory and movement characteristics of the arms and legs in breathing exercises.

Unfortunately, in many Yoga schools with many progressive technical elements and methods, these movements are performed with extreme simplicity, primitively and without exaggeration. But at the same time these movements largely determine characteristics of energy flows in peripheral channels, it is still necessary to study the main dynamic principles of the limbs and their impact on breathing characteristics. That is why it is important to introduce the nature of such movements into the practice of Yoga, and to make conscious all the movements with arms and legs made during training. This increases the effectiveness of breathing exercises by using specifically selected movements with the arms and legs.

Analyzing a theoretical model of the moving arm or leg, attached to a tentatively immovable body, we can see that these movements may be performed in one, two or three planes. Single-measured movements are performed by «directly» extending an arm or a leg. Double-measured movements are performed by their “plane” ones. And triple-measured movements occur when performing «three-dimensional» spiral movements.

In this connection, there are three groups of limb movement: linear, plane and dimensional.

Theoretically, when performing purely linear or single plane movements, the elements of the skeleton are required to be driven by a single muscle or by several parallel muscles set in the same plane as the direction of the movement. But, since the human body is constructed so as to provide movements in different directions, the limb controlling muscles are attached to the elements of the skeleton at different angles. And observing the natural dynamics of the body, one can see that almost all of its movements are effected by the operation of muscle groups rather than by individual muscles. When a particular movement takes place, the load is completely or partially transferred from one muscle to another. This is accompanied by changes in the angle of the application of the driving effort. Therefore, natural movements can rarely be purely linear or single-plane (only within a short track). Most often these occur upon the abrupt relaxation of the muscles when a particular part of the body falls freely.

To make the technique of liner or single-plane movements more sophisticated and natural, they should be complemented with specific motions that make the movement three-dimensional. So for example, linear bending (unbending) of an arm (leg) may be effected in a «whip-like» way or be rotated around its axis. And in a single-plane radial movement of an arm (leg), it can be simultaneously rotated around its axis.

Compared to linear and single-plane movements, three-dimensional spiral movements have a number of benefits and positive qualities. Firstly, these are the most natural and balanced movements. Secondly, they are performed in three planes and their trajectory consists of both linear and radial motion moments, and subsequently, this implies the ability to perform and control these movements also. Thirdly, three-dimensional spiral movements cover almost all-possible positions «within the Marginal Mobility Circle» of the arms and the legs. This allows one to control this space and link any points inside this space between themselves. Fourthly, performing such spiral movements employs all muscle groups of the arms, legs, shoulder and hip girdle, which results in powerful and comprehensive strengthening effects during training.

Since movements with the limbs include overcoming gravitation, there is a relationship between the force lines of the Earth’s gravitational field and the «inner energy flows». According to the «action equals counteraction» rule, the upward movement of the limbs against the gravitational force relates to actively overcoming energy flows. Or it is possible to say that the active component of the gravitational force is transferred to the channels of the arms and legs. And on the contrary with moving the limbs down, on the gravitational force movement, the activity of energy flows decreases. For all that the activity of gravitational force carries out the work of falling down the limbs and a passive anti-flow is filled in the energetic channels of the arms and legs.

Continuous spiral movements consist of two complete counter-directional sine curves. Therefore, performing such movements sets a series of alternating active and passive fragments of the energy flow. These energy impulses purify energy channels and balance the circulation of energy inside them.

Synchronizing spiral movements of the limbs with the breath creates a constant and intensive energy consumption from the surrounding space, translation of it through psychic-energy structure channels, and accumulation and radiation into the surrounding space.

Such spiral motions were widely used in early Buddhist practices. Initially these were the elements of the Dance of Shiva, a Yogic art which develops conscious control, coordination and the potential abilities of the body, without specialized application in life.

Later, Boddhidharma exported them to Shaolin, and on the basis of these movements applied martial art techniques were developed with the use of one’s own body and various weapons: a sword, a pole, a spear, etc. These techniques became the perfect means for developing the functional abilities of the body, increasing the organism’s energy potential, the controling and coordinating several «sectors» of various body parts at the same time.

It should be noted that having a weapon in the hands promotes an increase of density energy flowing through arm channels, and more intensively develops the strength and endurance of the fighter. But there is another side of using weapons in training: it reduces the requirements to the twisting capability of the joints.

Therefore, the Far East schools of martial arts allowed practitioners to exercise with weapons only after many years of practicing base exercises without any weapons.

Some of these exercises have become widely known today, for example «rotation of cups filled with water» which should not be spilled during radial spiral movements. In the Ancient Dance of Shiva, however, such cups contained oil and wicks, which were burning throughout the dance. And in rotating the cups no oil should be spilled, and the fire should remain burning.

This dance, performed against the background of starry skies, made an inexplicable impression…

The Dance of Shiva uses sixteen principally different basic movements and sixteen positions for two arms. And this number may be neither larger nor smaller.

The helix always has a central axis around which the rotation is effected. When rotating a cup, its upper surface and the palm should always be in the horizontal position, whereas the spiral movements should be around the vertical axis. In this event, the rotation of the cups is done simultaneously, as if in two parallel horizontal planes, and are connected by diagonal fragments of the transition movements from one such plane to another. Therefore, such spiral movements are called «horizontal».

At the same time, such horizontal rotation of the cups consists of two continuous radial movements along spiral trajectories: ascending and descending. Performing such exercises results in the integration of the upper and lower horizontal subspaces.

There are several levels for the practical learning of these movements. But, at the very beginning, it should be noted that the difference between these levels is not in physical complexity. It is in the level of control and coordination, as well as in the ability to follow a preset program for a long period of time, without being distracted. Then, faultlessly changing from one movement to another, performing them with technical perfection. But on the physical level, the complexity of these movements has little difference.

Transition from one level to another requires knowing a greater number of various combinations of these simple movements and supplementing linking movements, which correspond to improved coordination of the arms and legs. And the ability to avoid being distracted for a long time, and faultlessly follow a preset program corresponds to the increased level of controlling various positions of the arms and legs within the «Boundaries of the Marginal Circle» of their mobility.

Mastering the first level is sufficient for introducing the nature of such movements in Asana, Vinyasa sequences and breath exercises. But the first level will not be sufficient for the purposes of special development of control and coordination. Therefore, two development levels in this direction are considered below.

When analyzing the Dance of Shiva, it is required to understand from the very beginning that the word dance is applied provisionally, based solely on the external features of this phenomenon. It is necessary to imagine what happens with the energy body in the surrounding space during the spiral movements with the hands and cups. First of all, a spiral is a three-dimensional sine curve. And, as it is known from physics the movement of the energy media, e. g., electrons, along a spiral conductor creates an electromagnetic field. In this event, the electromagnetic force acts along the central axis around which the spiral movement is effected. Similar phenomena occur in the space around the human body if a man performs spiral movements with his arms or legs. In terms of physic science, such movements are accompanied with a definite movement of the life energy through the channels of the arms and legs. There are respective forces operating along the central axis, around which such spiral movements are performed, which interact with the surrounding space. The pulsating change of the ascending and descending directions of such spiral movements, with the cups being continuously rotated, causes such forces to pulsate and reverse.

Gaining experience in controlling energy flows opens many abnormal abilities. But, despite the temptation of mastering them, it is important to always remember the main purpose of this practice.

Despite the powerful energy-related effects occurring during the Dance of Shiva, these movements cannot be directly compared with Qi Gong, Tai Chi, Zong Shin, Kung Fu and other martial arts of Chinese, Vietnamese or Japanese heritage. It is important to remember that in these techniques, the main accent is made on the development of the energetic results connected with the feeling of movement and the accumulation of Power, and on the development of the strategic and technical qualities of a fighter. But in the Dance of Shiva, the main accent is made on the development of the multi-sector control of the body’s controlling structures, the increases of the speed of the controlling processes, and the forms of the new algorithms of transcendental links in the consciousness. These new links increase the power and generation of the bio-processor.

Of course, these controlling processes may be developed for special purposes through various exercises without the participation of the physical body. For example, the development of mathematical thinking, playing chess games and modern computer games leads to such narrow and lopsided development, and for some people, this narrow and one side development will possibly suffice. But the Dance of Shiva, however, allows the preservation of harmony in the developing of the body and Spirit. Since the body’s physical abilities are more easily developed than the spiritual abilities, the tasks of conscious control in the Dance of Shiva are rather simple compared to the tasks which may be required in purely «conceptual» practices. But, at the same time, these tasks correspond to the real level of the instrument (the body). Here one will never face the situation when the Spirit is ready to fly but the weak body is not even able to crawl, because there is balance between the Sky and the Earth, between the evolution of the ideal and material.

Gibberish

theory is that the word comes from the name of the famous 8th-century Islamic alchemist Jābir ibn Hayyān, whose name was Latinized as “Geber”, thus the term “gibberish” arose as a reference to the incomprehensible technical jargon often used by Jabir and other alchemists who followed.

Gibberish Meditation

Most people think that meditation is something that needs to done or practiced. Actually, meditation involves doing nothing and resting peacefully. Most of us are busy day and night running after material objects. Not many people devote their time to discovering their true inner self.

Contentment is Here

One need not renounce work and family and retire to the mountain caves to get inner peace. Contentment can be obtained where you are, as it is present in your heart. Meditation is often considered difficult, especially techniques involving concentration. In this article, we present an easy and joyful meditation technique called Gibberish.

Origin of Gibberish Meditation

This technique was evolved by a Christian mystic named Gabar. He had a unique way of answering people’s queries about enlightenment. Gabar would simply make nonsensical sounds. Initially, people wrote him off as crazy. But eventually, Gabar ended up with many followers.

Gabar’s Technique

Gabar would just speak nonsense. He uttered endless sounds that were not inter-connected at all. There were no periods, commas or sentence structure. Gabar enjoyed himself immensely, laughing all the while. Slowly, his followers started to understand the method behind the madness. As they listened to Gabar’s gibberish, their minds started to become silent. The mystic made his followers reach deep into their inner self, where they could find all the answers.

The Monkey Mind

The human mind has been rightly called the monkey mind. It keeps on chattering endlessly during our waking hours, and in sleep too, in the form of dreams. We need to realize how neurotic our mind is. It can become our worst enemy if we become its slave and try fulfill every whim and fancy. So, it is important to still the mind and control the constant mental chatter.

How to Practice Gibberish Meditation

You can practice this technique alone or with others. Just look at the sky or a natural object for a few minutes. Now, start singing and forget everything. Do not sing meaningful songs. Simply pour out all the gibberish in your mind. You can continue for about twenty minutes.

Benefits of Gibberish Meditation

Gibberish gets rid of our mind’s accumulated craziness. The mind needs words to think. Don’t suppress your thoughts, but cast them out using gibberish. As your mind unburdens, it will become less heavy and more clear. After the twenty minutes of gibberish meditation, quietly lie down and be silent. The mind’s chatter would have reduced and you can experience deep inner silence. So, use gibberish and release all your emotional and mental pressures.

Tratak: Concentrate to Transcend

Our mind is always occupied with the incessant flow of thoughts. It is always in a state of disturbance, and has a habitual tendency for distraction. This leaves us feeling so much fragmented that we find ourselves scattered in all directions. It is no exaggeration then, to say that our mind cannot stay still for longer than a few moments, which eventually results in lack of concentration and loss of memory. We are unable to grasp and focus in the present moment.

Now, how do we enhance our power of concentration and strengthen our memory? A unique meditation technique called Tratak is an answer to this. It has many benefits.

Tratak not only brings an end to the mind’s distractions but also enhances the ability to concentrate. It increases the power of memory and brings the mind in a state of awareness, attention and focus.

Tratak is an ideal meditation technique for people of all age groups, especially for students who need to concentrate on studies. Older people who often tend to forget every now and then can greatly benefit from this technique.

As a result of its continuous practice, you will witness an immense rise in your confidence level, stability in your thoughts, and an ability to focus on whatever task you undertake.

Method
Light a candle (or diya) in your meditation room or wherever you are comfortable, three to four feet in front of you. Sit in front of it. Remember, the flame should be at the level of your eyes so that you can see straight at it without being uncomfortable.

Posture
This is the most essential part of any meditation technique. Keep your spine erect so that inner energy can flow easily through the subtle channels of the body and render tranquility to the restless mind.
Sit with your legs crossed or in Padmasana. Sit gracefully, with poise.

Determination
You can derive maximum benefit from this meditation technique only when you are determined to practice it. Keep your gaze fixed at the flame without being distracted with the outer disturbances or thoughts.
Never give up! And do not move your body while you meditate.

Stage 1
This powerful technique of meditation is based on fixing one’s gaze at the flame of a candle or diya. The flame should burn steadily and it will do so only when we calm the air around it.

Begin with slow and deep breathing. As you inhale, let the stomach expand, and breathe out with complete contraction. While you breathe in this manner, keep a steady gaze at the flame.

Keep your eyes focused. Gaze at the flame, not the wick or the candle or the diya; just the flame. Let your vision be at the flame. If thoughts arise, simply ignore them; do not struggle to remove them. It is important to be wakeful and vigilant.

Stage 2
Imagine the flame is entering your body through your eyes and illuminating your inner being. At this stage, it is good to let the eyes close with ease. Now, try to imagine the same flame with closed eyes as you were seeing it with open eyes. If you are able to practice tratak without blinking your eye, it will be easy for you to see the flame with closed eyes.

If you are not yet able to experience the spreading illumination of the flame, open your eyes again, do tratak (fix your gaze at the burning flame), and then shut them. Gradually you will find that your gaze has grown more peaceful and tranquil.

Once you are established within, watch yourself separate from this body, and be distant from your mind. This distance will eliminate the clutter from the mind and make it silent, peaceful, and tranquil.

Tratak is a guided meditation technique which can help you improve your concentration, memory and intelligence. Studies have shown that Tratak meditation can significantly benefit in the following ways:

  • Increases concentration, memory, and mental power.
  • Develops the confidence, intelligence, and patience.
  • Increases work efficiency.
  • Improves motivational power and foresight.
  • Strengthens the will power and decision making ability.
  • Helps in getting rid of many mental, emotional, and physical ailments and diseases.
  • Reduces stress and tension.
  • Leads to Healthy and Balanced living.

It is only when we learn to meditate that we learn to live life meaningfully. Meditation is an experience in itself which enhances the quality of life and helps one discover the exuberant inner bliss.

With mounting pressures and endless pursuit to achieve lofty ambitions, we go on running tirelessly. Amidst all this chaos, take a deep breath and explore the benefits of Tratak meditation, an ideal meditation technique for people of all age groups.

It is highly recommended for students and working professionals for greater efficiency.

Tratak with Sublime Music

In order to facilitate the seeker, the meditation technique, Tratak -A Divine Gaze is available in the form of Audio CD and Audio Cassette. Designed and developed by Anandmurti Gurumaa, this technique is highly apt for students, professionals, and anyone with short memory.

When to practice?

This technique is best done during the early hours of the morning, or in the night when it is natural dark. The idea is to let the flame of candle/diya eliminate the darkness of ignorance which is rooted deep in the mind. If you are doing it during daytime then practice it in a dark room.