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The Vijnanamaya Kosa. REFERENCES OF VIJNANA IN THE SCRIPTURES.

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Presentation on theme: "The Vijnanamaya Kosa. REFERENCES OF VIJNANA IN THE SCRIPTURES."— Presentation transcript:

1 The Vijnanamaya Kosa

2 REFERENCES OF VIJNANA IN THE SCRIPTURES

3 METHODOLOGY ب The Jnana Yoga method ب SRAVANA – Hearing ب MANANA - Recapitulation ب NIDHIDHYASANA - Contemplation

4 YOGA VASISHTA PRAYER PRAYER “ SALUTATIONS TO THAT INFINITE INTELLIGENCE BEYOND SPACE AND TIME, WHICH IS PURE CONSCIOUSNESS AND PEACE EMBODIED” “ SALUTATIONS TO THAT INFINITE INTELLIGENCE BEYOND SPACE AND TIME, WHICH IS PURE CONSCIOUSNESS AND PEACE EMBODIED”

5 VIJNANA   ivze; }animit iv}anm!  It is also known as the knowledge of the material objects sometimes  The knowledge that is realised but not that is imparted

6 TAITARIYA UPANISHAD Fifth anuvaka of brigu vaaruni chapter Fifth anuvaka of brigu vaaruni chapter … iv}anae äüeit Vyjanat! … He knew knowledge as BRAHAMAN for, from this knowledge spring all the beings having been born, sustained by the same. They move towards and merge in IT. He knew knowledge as BRAHAMAN for, from this knowledge spring all the beings having been born, sustained by the same. They move towards and merge in IT. äü puCDm! àitZqa,

7 CHANDOGYA UPANISHAD CHANDOGYA UPANISHAD Φ Ghora’ s teachings to devaki’ s son KRISHNA Φ Φ tTvmis ñetketae, Φ Φ THAT THOU ART!!!

8

9 HAPPINESS-AN ANALYSIS HAPPINESS -The goal of life HAPPINESS -The goal of life NEED OF HAPPINESS ANALYSIS NEED OF HAPPINESS ANALYSIS METHOD OF ANALYSIS:- METHOD OF ANALYSIS:- Happiness lies in the objects of enjoyment- Happiness lies in the objects of enjoyment- Leading towards more & more accumulation of material objects. Leading towards more & more accumulation of material objects.

10 FACTORS INVOLVED IN ANALYSIS INDIVIDUAL DIFFERENCES INDIVIDUAL DIFFERENCES LAW OF DIMINISHING RETURNS LAW OF DIMINISHING RETURNS MOOD OF THE PERSON MOOD OF THE PERSON EGO SATISFACTION EGO SATISFACTION DEEP CONCENTRATION & THRILL DEEP CONCENTRATION & THRILL

11 WHAT IS HAPPINESS? ALL ARE SAME QUALITATIVELY BUT DIFFER QUANTITATIVELY. ALL ARE SAME QUALITATIVELY BUT DIFFER QUANTITATIVELY. HAPPINESS IS NO THOUGHT STATE OF MIND = SILENCE HAPPINESS IS NO THOUGHT STATE OF MIND = SILENCE

12 VISAK Vijnana sadhana kausala Introduction to Advanced technique. pancakosa

13 BENEFITS To overcome the fear Increase vitality Harmonious growth Notional corrections

14 BASIC STEPS Step: 1 PRAYER Step: 2 PRACTICE a) RECALL INCIDENCES OF THE GREATEST HAPPINESS b) ANALYSE AND STAY IN SILENCE.

15 Step:3 RECALL INCIDENCES OF INVOKING FEAR AND ANALYSE. Step:4 FEAR AND HAPPINESS COMBINE. Step:5 SREYAS AND PREYAS.

16 Step:6 SILENCE Step:7 RESOLVE Step:8 CLOSING PRAYER

17 Vijnanamaya Kosa operations Yogic Counseling

18 Yogic counseling Any counseling requires the counselor to know  Medical history  Psychological history  Religious history  Family history

19 Why YOGIC? Concepts in psychology  Matter is the essence of creation  Mind is the product of matter  Therefore the soul or the self is ‘secondary’  Solution oriented discussion

20 Why YOGIC? Concepts in yoga  Conciousness is the essence of creation  Matter is the product of mind  Therefore the soul or the self is ‘primary’  Problem oriented discussion

21 Why YOGIC? External changes to suit problems

22 Why YOGIC? Internal changes to suit problems

23 Why YOGIC? Concepts of  Ego  Peace of mind  Responsibility  Dharma

24 ANANDA Concept of Panca Kosa VIJNANA MANA PRANA ANNA GROSSSUBTLE

25 Counselor’s tips  LISTEN ïv[ very important  Allow the participant to articulate the problem – ‘solution will emerge’  Do not mislead  Do not judge

26 Counselor’s tips  Never mix priorities with emotions  Make him feel that he is right  Keep the ‘confidentiality’ Be Trustworthy - Be Useful

27 Role of the mind  Pain is always more in the mind  Participant has less ‘space’ to work with  Give your mind and heart space so that he feels that he has enough to work with for the problem

28 Watch yourself !!  Secure  Gestures  Language  Tone of speech  Descriptions  Intonations


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