Você está na página 1de 14

What Tattwas are & Uses for the Aspirant in

Developing Psychic Energy


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 coolingoff 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 evidenced by the human breath which is
referred to as Swara. This prana either comes directly
from the sun (IDA) or indirectly from the moon
(PINGALA). And the neutral point of rest between 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 exercise. 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 exercise: 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 exercise, 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
-and12 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)
Petal
Number
and
Chakkra Location Colors Function Tattwa
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 exercise to assist in this effort. It will prepare
you for the more sophisticated exercise of visualizing
the Chakkras and will sensitize you to their presence.
It is called the middle pillar and works as follows:
The Middle Pillar Exercise
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 item 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 cocoon of light within which
you are standing. It will then land down 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 leave 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 interfere 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 order is as follows:
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 perceive the physical 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 vapor 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 the
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
synchronicities 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.