

What Tattwas Are & Uses for the Aspirant
Frater Adonis
0=0 A.'.A.'..
There is a theory that Solar Prana vibrates through the universe from the
sun by way of the etheric current. Think
of this current as an electrical wire that can carry all kinds of messages from
pure power for appliances to sophisticated voice and computer signals.
Faith is not something that is required; all you need to do is to begin
to use the etheric current and test it in a scientific manner.
With experience you can verify its existence and learn about its
capacities.
The Tattwas represent a westernization of the Hindu theory of the
elements. They represent a
synthesis of western and eastern ideas about the mystic elements in the Western
Mystery Schools. Your Tattwa cards
will prove useful in showing you some of the facets of Solar Prana as it is
carried through the etheric current. As
well, these cards will prepare you for the more advanced visualization exercises
that the student will become involved with when learning the Tarot later on.
But first, let's examine a working theory in order to better describe
exactly what Solar Prana is, and its relationship to the Tattwas. For starters, lets travel to the beginnings of what is to
become our galaxy. Now imagine the
existence of a formless cloud. If
you are already familiar with the Qabalah, this can be equivocated with Kether
on the Tree‑of‑Life. This
is a cloud that contains the potential for all that will exist and is called
AKASA.
As this scattered cloud begins to contract, it will begin to whirl.
The 'matter' will start to move in a fashion as if blown by some etheric
or solar wind. The spirit that is
AKASA is stirring in its wholly inorganic state and pushing itself to maneuver
from an unmanifested state; eventually towards a state of manifestation.
This whirling is an airlike quality that is referred to as VAYU.
Now, these particles, in their whirling have formed a Nebula.
And as they co‑exist, they each react to the magnetic pulse of the
surrounding particles. This
increases, not only the intensity of the whirling; pushing it into a feverish
and frenzied state, but the increase in friction between each magnetic particle
creates a potent heat. This heat
rises in temperature to a point of incandescent luminosity and a raging fire
breaks out. This condition is known
as TEJAS.
When this Nebula reaches its climax of motion, it will then begin to slow
down; thereby producing a cooling‑off in temperature. Along with this, the Nebula will coagulate into a
fluid‑like substance; still hot and molten, like the lava of a volcano
‑‑ or moreover, the lava that once covered this planet that still
remains hot at the center of this planet. This
watery phase is known as APAS.
The final stage is reached when it cools completely. It will then solidify and form a large mass such as our own
planet earth. Here the original
primordial substance is manifested and moving at its slowest rate of vibration.
As well, it is in its most dense form.
The particles are dense and close together; tightly wound into complex
molecular structures. This is the
manifestation that was originally sought; and in the Qabalah it is known as the
tenth sephirah called the Kingdom. In
the Tattwa system, it is referred to as PRITHIVI.
From what has been delineated above, the Tattwas could be said to be
modalities of matter as it transitions from the primordial and unmanifested
state into the finite and manifested state.
These are the elemental conditions of being (and non‑being) that
serve not only as points of reference for the development of material
substances, but are the base substances which the Prana acts through.
However, this paradigm but can be empirically applied to the immaterial,
as well ‑‑ such as conditions of the soul or functions of the
personality.
A study of these same ancient Greek elements would be advisable.
The student will note that there are only four elements in the Greek
system as compared to the five of the Tattwas.
But in actuality, fire in the Greek system does the double duty of taking
on the Spiritual qualities as AKASA does in the Tattwa system.
The Tattwas being eastern and Hindu in origin do not necessarily
represent a divergence from the western model, however.
If the student examines the five points of the Pentagram, note that the
four bottom points represent the four Greek elements and the top point
represents those four elements being ruled by Spirit.
Therefore, it is only a matter of perspective as to whether or not Spirit
is to actually be considered an element.
Up to this point we have discussed the five Tattwas in their course of
existence. To summarize more
succinctly the Tattwas, they are listed as follows; showing their geometric
representation:
Akasa
Spirit
Black Egg
Tejas
Fire
Red Triangle
Apas
Water
Silver Crescent
Vayu
Air
Blue Circle
Prithivi
Earth
Yellow Square
The five principal tattwa cards denote these symbols. The prana is evendenced by the human breath which is referred
to as Swara. This prana either
comes directly from the sun (IDA) or indirectly fromt he moon (PINGALA).
And the neutral point of rest betwen the two is referred to as Susumna
‑‑ which relates directly to the human spinal column.
Therefore, the IDA is in the left side of the body and the PINGALA is in
the right side.
Now the Tattwas break down into sub‑elements which correspond to
the remaining cards in the Tattwa deck. This
is listed as follows:
Akasa
Tejas
Apas
Vayu
Prithivi
Tejas of
Akasa of
Akasa of
Akasa of
Akasa of
Akasa
Tejas
Apas
Vayu
Prithivi
Apas of
Apas of
Tejas of
Tejas of
Tejas of
Akasa
Tejas
Apas
Vayu
Prithivi
Vayu of
Vayu of
Vayu of
Apas of
Apas of
Akasa
Tejas
Apas
Vayu
Prithivi
Prithivi of
Prithivi of
Prithivi of
Prithivi of
Vayu of
Akasa
Tejas
Apas
Vayu
Prithivi
Note that sub‑elements such as Apas of Vayu and Vayu of Apas are
not identical. The former
represents the watery qualities of air and the latter represents the airy
qualities of water. In that way,
the former is a silver crescent within a blue circle and the latter is a blue
circle within a silver crescent. So
you can see that even from a visual point of view, there is a dramatic
difference.
TATTWA
VISUALIZATION
The beginning student should endeavor to memorize the cards as
efficiently as possible. The first
use for your Tattwa deck can be as flash cards.
The student should endeavor to open the deck to any card and be able to
instantly call out the name of the card, denoting both the Hindu title and the
corresponding element or sub‑element.
After this is mastered, then the student can proceed with the next
exercize. But note that a new vocabulary has been established in both
word and visual image.
Next, note that there is a twenty‑sixth card in the deck of Tattwas
and it is a blank white card. This
is to be used for the following exercize: Start
with one of the major elemental shapes; it is recommended that you start with
the shape and color that most appeals to you initially.
Sit under a comfortable lamp ‑‑ perhaps in a favorite chair.
In one hand, hold the Tattwa card of choice, and in the other the blank,
white card.
Stare at the Tattwa card. Allow
the eyes to dry up and begin to play tricks on you.
When you have reached this subtle state of visual exhaustion, quickly
transfer your eyes to the blank white card in your other hand.
You may want to actually maneuver that card to cover up the Tattwa card;
thus aiding in your concentration. What
are you now seeing? What you should
be seeing is the astral complement of the color of the Tattwa card.
The astral complements are listed, for your convenience, as follows:
Material Astral
Element
Tattwa
Color
Complement
Spirit
Akasa
Black
White
Fire
Tejas
Red
Green
Water
Apas
Silver
Black
Air
Vayu
Blue
Orange
Earth
Prithivi
Yellow
Purple
To further your work in this exercize, you should then practice on taking
the Material Colors of the Tattwas and focusing on seeing them with your inner
eye. Again, sit in a comfortable
chair, or in an asana with your eyes closed.
Focus on your memory of the particular Tattwa that you are working with
and try to see it in front of you. You
may also want to practice on making it larger or smaller.
The next step in visualization is to place the Tattwas in the body.
For this, it is necessary to learn about the centers of energy in the
body. These centers exist along the
path of the Susumna and are called Chakkras.
The Chakkras are listed in the table below:
Petal
Number
and
Chakkra
Location
Colors Function
Tattwa
Sahasrara
Crown of Head 972
Perfection
Akasa
All Hues but
of
predominantly
Astral
Violet
Body
‑and‑
12 in Center
white‑gold
Ajna
Between Eyes
96
Seeing
Tejas
Rose Red (48)
and
Blue Violet (48)
Intuition
Visshudha Throat
16 Alternating
Personal
Silvery Blue (8)
Integrity
Silvery Green (8)
Anahata Heart
12 Regulator
Apas
Golden
of
Emotional
Life
Manipura
Solar Plexus
10 Alternating
Personality
Vayu
Red (5)
and
Green (5)
Food
Assimilation
Svaddisthana Below Navel
6 Alternating
Sexuality
Red (3)
and
Orange (3)
Creativity
Yellow
Green
Blue
Violet
Mulhadhara Base of Spine
4 Alternating
Resistance
Prithivi
Red (2)
and
Orange (2)
Solidity
Spend time visualizing these Chakkras.
There is a simple exercize to assist in this effort.
It will prepare you for the more sophisticated exercize of visualizing
the Chakkras and will sensitize you to their presence.
It is called the middle pillar and works as follows:
Perform
Star Ruby (or LBR)
Stand
in middle of circle and close eyes.
I.
Visualize
silver light descending from above and forming ball around the crown of your
head.
Vibrate
NUIT several times and imagine that with each time the light becomes stronger.
Imagine
a shaft of light descending to the throat with another ball of light forming.
Vibrate
AIWASS several times and imagine that with each time the light becomes stronger.
Imagine
a shaft of light descending to the middle of your chest with another ball of
light forming.
Vibrate
RA‑HOOR‑KHUIT several times and imagine that with each time the
light becomes stronger.
Imagine
a shaft of light descending to the base of your spine with another ball of light
forming.
Vibrate
HADIT several times and imagine that with each time the light becomes stronger.
Imagine
a shaft of light descending to your feet with another ball of light forming.
Vibrate
THERION/BABALON several times and imagine that with each tiem the light becomes
stronger.
II.
Next,
imagine the light going up and down the shaft of light that you have just
created (from head to toe). Do this
several times.
Then,
bring the light up the shaft and out the top letting it spill down in front of
you falling under the feet and rising up behind you, back to the top of your
head. Continue this oval pattern
around you several times.
After
this, when next it gets to the top, send the light down the left side of your
body and again, around the bottom of your feet and up the right side of your
body. Continue this oval pattern
around you several times.
Finally,
when it next reaches the top, send it back down and up the spine.
Only this time, when it gets back to the top of your head, have it shoot
out like of fountain falling down all around you. This should appear as an egg‑shaped coocoon of light
within which you are standing. It
will then neetdown at your feet and you will bring it back up the spine and have
it shoot out again, around you. Repeat
this several times.
Swara
The Swara are the ten principle nerves throughout the body.
These nerves are the ten principle manifestations of the Swara within
which the Vayus move. The ten Vayus
are as follows:
1. Prana
‑ in the breast.
2. Apana
‑ about the excretory organs.
3. Samana
‑ in the navel.
4. Udana
‑ middle of the throat.
5. Vyana
‑ pervading the whole body.
6. Kurmana
‑ the eyes, helping them open.
7. Kirkala
‑ in the stomach, producing hunger.
8. Nag
‑ whence comes vomiting.
9. Devadatta
‑ causes yawning.
10. Dhananjaya ‑ that
which does not leav the body after
death.
These Vayus are the regulators of the body and are active in all ten
principle nerves. Their proper
functioning preserves the health of the body.
The key to the ten nerves is found in working the Prana Vayu.
Solar Prana
The Solar Prana is under the influence of Swara and hence the breath.
It is said that the Swara is the breath of the universe or its soul and
spirit. It appears in positive,
negative and centered modes corresponding to the nerves and the right, left and
center (spine) of the body. The positive breath which corresponds to the nerves on the
right side of the body is called Pingala. The
negative breath which corresponds to the nerves on the left side of the body is
called Ida. And the centered point
of rest between breaths is called Susumna.
The Prana breaths are organized into units or intervals of time called
Gharis. During any particular Ghari,
the breath may be in Pingala, Ida, or Susumna.
The way to determine this is to first be in good health. Then draw the breath with a quick inspiration.
If it is felt in the right nostril, then the prana is in Pingala.
Please note that your health is vital in making such a determination. Should you have a head‑cold, this will certainly
intefere with the free‑flow of your breath.
The course of each Ghari is determined by the moon. On the first sunrise after the new moon, the cycle is begun.
Here, the prana is in Ida or the left nostril for two hours.
This alternates with the Pingala and the breath in the right nostril for
the next two hours. Now, the last
ten minutes of the Ida Ghari up through the first ten minutes of the Pingala
Ghari is where the Susumna breath (both nostrils) occurs.
This entire cycle continues for three days.
At sunrise on the fourth day, the first Ghari is in Pingala and
alternates from there for three more days.
Then, at the sunrise of the seventh day, it starts again, with Ida.
Notice that the end of each three day period, the prana is in the same
Ghari as it will be at the start of the next three‑day period.
This all proceeds until the sunrise following the full moon.
Here, the first Ghari is Pingala and continues as outlined until the
sunrise after the new moon.
During each Ghari, the five tattwas are active in succeeding order;
starting with Akasa for a period of twenty minutes each.
The forder is as follws:
Akasa
Vayu
Tejas
Apas
Prithivi
Each subtattwa comes into course for four minutes of the
twenty‑minute cycle. Thus for
Akasa it is as follows:
Akasa of Akasa
Vayu of Akasa
Tejas of Akasa
Apas of Akasa
Prithivi of Akasa
Timing
the Gharis
Don't despair that calculating which Ghari and Tattwa in course may be
too complicated. Of course, you
could create a chart using an ephemeris and calendar. However, a more interesting method does exist.
To determine which Tattwa is in course at the moment, place five small
marbles, each painted with one of the five colors of the Tattwas, into a small
pouch. Draw out the marbles
blindly. This should be the same
color as the Tattwa that is presently in course.
If that does not satisfy you, there is another method. Instead, close your eyes and wait to see a color in the
darkness. The first color that you
see should be the Tattwa in course. With
practice, your sensitivity will increase. Then
you can percieve the phsical effects of the Tattwa in operation.
They are as follows:
Vayu ‑
A feeling of restlessness;
Tejas ‑
Warmth and energy;
Apas ‑
A cold phlegmatic sensation;
Prithivi ‑ Steadiness
and solid strength;
Akasa is spirit and has no physical effects.
You can use your breath to determine your actions in any given situation.
For example, for all activities demanding energy, these should be
performed during the sun breath (Pingala) and the corresponding Tattwa.
All activities of imagination or a receptive nature will prosper under
the moon breath (Ida) and again, the appropriate Tattwa.
Mastering
the Tattwas
Eventually, the serious student can forecast the future with the Tattwas.
You can also learn to command nature with the visible world before your
eyes. During the day, sit on an
easy chair and fix your eyes on the sky with your mind withdrawn from all
external things. At first, you will
see the watery vapour in the atmosphere. Eventually,
with practice over time, you will see different sorts of buildings in the air. This is the first success you are looking for.
After this, you will see different Tattwic colors in the sky.
To test this, close your eyes and compare what you see in the sky to what
you see when you close your eyes. (Refer
to the Tattwa visualization exercise given above).
When these both correspond, this is the second success that you are
looking for.
During the night, wait till all is calm, rising about 2:00am.
There is a special holiness in the stars at this hour and the sleeping
world is in silent rapture. Wash
your hands, feet, the crown of your head, and hte nape of your neck with cold
water.
Assume your asana from your Yoga practice and meditate on the inhalation
and exhalation of your breath. Discover
the Tattwa in course at this time. When
that is discovered, vibrate the appropriate corresponding mantra.
These are as follows:
Akasa ‑
HAM
Vayu ‑
VAM
Tejas ‑
PAM
Apas ‑
RAM
Prithivi ‑ LAM
When this third success is achieved, you will now have the tools to
prevent and cure disease as you have achieved the proper regulation of the Swara
of the body. This is an excellent
command to hold over nature!
Divination
with the Tattwas
To use the Tattwas for divination, you must first ask a question and
determine which Tattwa is in course. If the Tattwa in course is Prithivi then
the question should pertain to mundane affairs.
If in Apas, then the question should be an emotional issue.
If in Tejas, then gain or loss should be involved in the issue.
And if it is Akasa, then the
issue is not really that important. There
is however, another more important issue in this event.
And if it is in Vayu then the querent seeks knowledge that may require a
journey to a distant place.
Next, determine which nostril the breath is flowing through and which
fortnight of the moon is in course. Also
determine whether the number of the day is odd or even and which direction it is
that you are facing.
If the breath is in Ida, the following synchronicities must be met for
the success of the question:
o Bright fortnight ‑ Waning moon
o The day is even numbered
o You must be facing East or North
If the breath is in Pingala, then the opposite synchronicites must be
present:
o Dark fortnight ‑ Waxing moon
o The day is odd numbered
o You must be facing West or South
Any mixture of these shows mixed results in success of the matter and of
course, the complete lack of any synchronicities assures failure.
From here, trust your intuition to develop your perception of the matter
at hand.
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