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| Home > The Subtle Body > The Seven Chakras
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| | The Seven Chakras
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 Along the "Chitrini-Nadi" are said to be strung the major `force centres` called chakras. The term Chakra means `wheel`, and may refer to the wheel of a vehicle, or to certain circular objects such as the discus that Vishnu is commonly characterised as spinning upon one of his fingers.
Chakras of this sort, which may take the form of a two-dimensional geometric design or a three-dimensional sculpture, are used as aids for meditation, and they usually have a central focal point towards which, or `into` which, the meditator`s attention is drawn. They represent not simply the immediately perceptible world, but the multiple levels of reality that are present in the universe as a whole and within the human being.
In the context of human subtle physiology, Chakra signifies a `centre` or `vortex` of `force` or `energy` situated at various junctions throughout the subtle matrix of nadis. It is considered that, just as there are thousands of nadis, so also are there thousands of chakras, although comparatively few of these are mentioned in the yoga literature.
Several of the Yoga Upanisads provide varying descriptions of the chakras, as do certain Tantras. Of this latter category of texts, one of the most notable and comprehensive is the already mentioned Sat-Chakra-Nirupana (`Exposition of the six cakras`). The text work describes the chakras as being strung along chitrini, the most refined conduit residing within sushumna-nadi; and it is up through chitrini that Kundalini-shakti is held to surge, activating the major chakras as she penetrates each one in turn, breaking through the three granthis located at the base, heart and brow centres.
The descriptions of the chakras in the Sat Chakra Nirupama are highly elaborate, each being represented as a lotus flower (Padma) with a specified colour and number of petal`s. Each Chakra, or Padma, is also assigned a central geometric shape, which itself has a particular colour, plus an animal or mythological creature, a tattva (existent principle) and a bija-mantra (seed sound).
Brief descriptions of the six main chakras are given below along with listing of several of their numerous associations.
Muladhara-chakra
Mula means `root` or `base`, and adhara means `support`. Thus Muladhara denotes the `foundational` or `root-support` chakra. Its located `below the genitals and above the anus`. Corresponding to the centre of the perineum in the sthula-Sarira.
It has Four Crimson colored Petals. Its geometric shape is Yellow Square. The tattva of the chakra is Prithvi, and animal is elephant.
The correspomding deity is Sisuh srstikan (`Child creator/emanator`, i.e. Brahma),seated upon Harnsa, the `Great swan`.
The Shakti emanated by the chakra is known as "Dakini."
Sat Chakra Nirupama describes it with a lightning-like triangle` that `constantly shines` within the pericarp of muladhara-cakra. The triangle is red and downward-pointing, and has the `form of love` (kamarupa). Inside the triangle is Svayambhu-linga, around which K-undalinT is said to be coiled three and a half times.
Svadhisthana-chakra
Definition and location: Sva means `own` or `ownmost`, and adhisthana means `standing place` or `abode`. Thus svadhi-sthana denotes one`s `ownmost abode`. Its location corresponds to the root of Genitals.
It has six, vermilion colored Petals.
The geometric shape of the chakra is white crescent moon. Tattva is Jal (water), and corresponding animal is Makara (the body of a fish with a head resembling that of a crocodile).
Its Shakti is known as Rakini, and corresponding deva is Hari (VIshnu) seated on Garuda (Mythical bird).
Manipura-Chakra
Mani means "Gems" and Pura means "City". Manipura denotes a region that`s gems filled. The chakra is located at the root of the navel, and hence is known as Nabhi-padma or `Navel Lotus`.
The chakra`s lotus has Ten petals with the grayish color of Heavily laden Rain clouds. The geometric shape is that of downward pointing Red triangle. The tattva is Tejas (fire), and animal Ram. The corresponding Deva is Rudra (Shiva) Seated upon a white Bull named Nandini. The force of Shakti of the chkra is called as Lakini.
Anahata - Chakra
Anahata means `unrestricted`, which refers to the `sacred inner sound` (shabda or nada) that is heard during deep introspective meditation.
Number of petals is Twelve and colour is that of `shining colour of the Bandhuka flower` (i.e. red).
The Geometric shape of chakra is hexagram (two overlapping triangles, one
pointing upwards, the other downwards). Tattva of manipura is Vayu, and animal is Black antelope. The resembling Deity is Shiva himself, while the energy genearated is Kakini.
Anahata is the second of three chakras to be represented with a Shiva-linga in its pericarp, the first being Muladhara and the third being Ajna. The presence of the linga, referred to in this centre as bana-linga (bna means arrow), signifies special potency.
A minor chakra, possessing eight red petals and described as containing `the Kalpa Tree` and a `jewelled altar surmounted by an awning and decorated by flags and the like`, is situated just below Anahata.
Visuddha-chakra
Visuddha means `pure` or `cleansed` both in a hygienic and a moral sense. This chakra is sometimes called visuddhi, which is the feminine form of the
same word. It is located `At the base of the throat` (kanthamula).
Number of petals of the Chakra is Sixteen and has a smoky purple color. The geometric shape is a white circle within a downward-pointing triangle.
The Tattva of the chakra is akasha (space, ether). The corresponding animal is white elephant. The deva for the chkra is Sadasiva or Eternal shiva.
The Shakti that evokes is called Sakini.
Ajna-chakra
Ajna means `command` or `order`, and it is when one`s attention is centred in this chakra that direct communication with the guru is said to occur;". It can also be said that, one receives the wisedom of one`s guru, or of the `inner conscience or the supreme Self. The term may also indicate that this is the `command centre`, instrumental in controlling bodily operations. Its location is that of the `eye of Siva` ot the Third eye, in the centre of the brow, just above the bridge of the nose.
The number of Petals of this Chakra is two with colored defined as white.
The geometric shape of the Chakra as perceived is downward-pointing golden triangle, within which is the third, or the Shiva-linga. The Chakra tattva is of the Mula prakriti (root-substance) and antahkarana (the `inner instrument` or `mind`).
Bija mantra for the Chakra is "Om", and the deity associated with it is Vishnu.
The Shakti emanated from the Chakra is known as Sakim.
Different Chakras are also characterised by various other aspects as well. The above-mentioned traits happen to be the most common reference.
Chakras are also defined as the centres of different perception or awareness.
Like the koshas discussed in the previous chapter, they stand for different modes of `seeing` and of self-identification. That is the reason why their actual locations in relation to the physical body become of only secondary importance. The seven lokas perceived by these chkras are:
Bhu-loka is the `physical` or `earthly` plane, i.e. the plane of existence that is accessible to the ordinary physical senses, and of which the Sthula-sharira is an integral part. When one`s self-identity is centered in the gross physical world, then one may be said to be operating from the perspective of Muladhara. This does not mean that the awareness of such a person is literally centered in the region of the perineum. But, rather, the dominant elements in that awareness will be the physical phenomena of which the root Chakra is symbolic of.
Bhuvar-loka corresponding to svadisthana-cakrar roughly translates as the `atmosphere` or `world of air`. But it really refers to a plane of existence which is more `refined` or `subtle` than that of gross physical objects. It is the World of development or growth -- so called because it is one of the higher astral realms acting as one of the fields for the evolution of sentient beings.
Svarga-loka is the `celestial realm` or `plane of light`. This is also a place of bliss and peace. It corresponds to the faculties of Manipura chakra.
Mahar Loka is the plane of Greatness. Corresponding to the Anahata chakra, it is situated in the Sushumna nadi (Sukshma Centre). Anahat chakra has control over the heart. It corresponds to the Cardiac Plexus in the physical body.
Jana Loka is the generative plane. It governs the creative faculties, whose corresponding Chakra is Visshudhi Chakra.
Tapo Loka is the "Plane of Heat." The corresponding Chakra is Ajna Chakra.
Each Loka being yet more ethereal than the one before.
The highest plane is, of course, Satya-loka. Satya meaning `truth` or `reality`, this is the sphere of clear perception and absolute knowingness. It is also known as Brahma Loka with corresponding Chakra of Sahasrara.
The lokas are not so much alternative `worlds` as alternative levels of the world. One`s awareness of the lokas develops as one`s perception becomes more acute. This process is characterised in hatha-yoga as the `opening` or `piercing` of the chakras by the ascending force of Kundalini.
The chakras are also connected with certain vrttis, are `modifications` or `turnings` of the mind-field. Vrttis include thoughts, emotions, attitudes, and other mental phenomena. According to yoga philosophy, the presence of any vrtti influences one`s mode of perception, facilitating a distorted impression of reality.
Several vrttis which tend to identify with, either moral or mental qualities are linked to each chakra (according to the number of its `petals`). They lie between Svadisthana and going up to the soma-chakra, which is one of the minor (though nevertheless important) centres located between the ajna-cakra and Sahasrara-Padma. It is stated that particular Vrttis are assigned to a particular lotus. There exist a connection between such Vrtti and the operation of the Shaktis of the Tattva at the centre to which it is assigned.
The vrittis associated with higher chakras are more `virtuous` than those associated with lower ones. Hence known to be the basest elements of human nature they are first to `disappear`, followed by those, which are more honorable. Rather than `disappearing`, it would be more appropriate to think in the sense that they no longer affect one. One`s moods, emotions, mental attitudes, moral predilections, etc. may be said to `dissolve` back into the waters of consciousness from which they arose. Although they still exist in a latent form, to be utilized when required. The important point is that, as one`s sense of self moves closer to its true home, the vrttis of what-ever kind cease to constitute the perception of the world in its distorted form.
Chakras as the `centres`, `accumulators`, or `transformers` of vital force in the subtle body are symbolized by many representations. At the very least, such signs or symbols provide considerable assistance to the yogi in so far as they facilitate the concentration of attention upon, or within a particular region of the subtle matrix. It also helps a yogi to understand the nature and various aspects related with the chakras. In the absence of such imagery, there would be much less to focus upon and to `draw the mind inwards`. The specific shapes, colours, sounds, and so forth, connected with each chakra are held to furnish an accurate representation. The tantric methodology deals majorly in the awakening of the proper senses of the related concentration point.
Every object of perception is held, rather, to have a stimulating effect upon all five senses. Thus, on this view, it is impossible to hear a sound without simultaneously `feeling` it, `seeing` it, `tasting` it, and `smelling` it. For example, the roar of a tiger, the sound will be accompanied by mental impressions of a tiger corresponding to the other four senses. Rather, what the idea is meant to convey is that the sound itself provokes the other sensual impressions, and that these impressions are not necessarily of the object that produced the sound.
Furthermore, there is considered to be a hierarchy of sensual impressions. According to which auditory impressions `give rise to` palpatory ones, which in turn generate visual images, and so on. Sound is regarded as the initial vehicle, or mechanism, of manifestation, which is why the universe, including the human form, is held to be constituted by shabda (word, utterance). This being internally perceptible in the form of nada or mantra. No wonder, according to Tantra philosophy, `The whole human body is in fact a Mantra, and is composed of Mantras.`
Underlying any audible sound, there is a series of progressively more subtle vibrations which are imperceptible to the auditory faculties of the Sthula-sharira, but which correspond to the more subtle levels of one`s own being and are therefore potentially audible. The same applies to the other four senses.
Therefore for every visible image there exist a number of potentially visible ones, for every taste, more `subtle` tastes, and so on. To describe-or even to conceive-what a `subtle taste`, is an impossible task to describe but can be experienced quite well through yoga in which the aim is to identify with increasingly rarified aspects of one`s being, and to cultivate the `inner` or `psychic` perception of the subtle elements corresponding to those aspects.
The written or spoken bija-mantra of any chakra is, then, only the outward expression, and thus the physical manifestation, of a far more subtle vibrational quality. It is the uttered speech dimension of shabda, which exists simultaneously in three more refined modes known respectively as madhyama (intermediate), pasyanti (`perceiving with the inner faculty) and prana (highest).
The attribution of mantras whether to the chakra as a whole or to its several `petals` are regarded as `incarnations` of the Shakti (power) which is the generative force underlying the chakra. In fact, the idea that mantras are `attributed` to the chakras is itself misleading, since a chakra cannot exist independently of its mantras.
A bija-mantra represents the `seed` (Bija) that forms the core of a particular chakra. The minor mantras radiating out from this `seed` and written as syllables upon the lotus petals-stand for certain qualities of that chakra. Similarly, the geometric shape associated with any particular chakra is held to be a visible manifestation of that Charka`s Shakti, as is its colour. The sound, form and colour are inseparable, for the presence of the one implies the (real or potential) existence of the others, all of them having emanated from the presiding Shakti, who is, her- self, only an aspect of the supreme Sakti or the `power` of Siva.
To fully appreciate the significance to the chakras of particular animals, as well as that of the presiding Shaktis and devas as they are variously represented, one would need to delve deep into Indian mythology. The principle states that all the imagery connected with the chakras is held to emanate from the essential nature of the chakras themselves. All this is derived from the nature of the experience as these centres are `opened` by the awakened Kundalini-Shakti.
The very faculties of perception may be perceived in ways, which vary from one individual to another, and this is almost bound to result in different descriptions being given of what is basically the same object. It is for this reason that the chakra pictograms provided in the Sat Chakra Nirupama and elsewhere are perhaps best regarded as Yantras or Mandalas of the kind mentioned in the opening paragraph of this section. They act as diagrammatic models, which approximate to a certain aspect of reality and are the gateways between human and cosmic levels of experience.
Any discussion of the chakras would be incomplete without some mention of those said to reside above the ajna-cakra. These include the Manas-chakra, which is ascribed six petals (corresponding to the five ordinary senses plus the `internally generated` sense responsible for dreams and similar experiences).
Another is the sixteen-petalled Soma-chakra, already noted with regard to the vrttis. Still higher, is the chakra or lotus of twelve petals (dvadasarna), said to be situated in the pericarp of the highest centre of all, namelysahasrara-padma, the `thousand-petalled lotus`.
The sahasrara is not typically regarded as a chakra in the strict sense, since, the sahasrara represents the very pinnacle of yogic attainment, and the transcendence of all other centres. Like the chakras, however, it is symbolised as a lotus-flower, and on its thousand petals are said to be written the letters of the Sanskrit alphabet twenty times over, thereby implying the absorption of all the qualities of sound. Synonyms for the Sahasrara include Parama purusa (supreme self), Prakriti purusa etc.
In short, the Sahasrara-Padma is the place where the static pole or universal principle is rejoined by the active or emanative pole. These principles-personified, or deified, as Siva and Sakti respectively-are commonly represented as reunited lovers engaged in intimate and potent embrace, with the resultant orgasm leaving the yogi, whose body has provided the instrument for this union, in a state of `Eternal and Transcendent Bliss`. Shakti is also, of course, frequently portrayed as the she-serpent Kundalini, about which more shall now be said.
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