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8/12/2019 1The Art of Subration_Ashoka Aurora Ishaya_5!10!2012[1]
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Ashoka Aurora Ishaya The Art of Subration
THE ART OF SUBRATION
What i s t he h i ghes t o r de r covenan t ou r s pec i es has w i t h i n na t u r e? I t
i s a p r omi s e ! Th i s p r omi s e ba i t s many ques t i ons whi ch t h i s t r ea t i s e s eeks
t o unr ave l : s uch as , wha t i s t he s ac r ed con t r ac t o f the omo s ap i ens ? r e
w e a s a s p e c i e s d e s t i n e d t o b e e n l i g h t en e d ? W h a t i s t h e i n t e r n al d y n a mi c
o f th i s pr o ce s s o f e vo l ut i on ? W h at f or c es g o v er n th i s pr o ce s s? s a
s pe ci es , c an w e e nt er t he a re n a o f t hi s p ro ce ss w it h g ra ce a n d s ki ll ?
" oo ki ng a t t he k al ei do sc op e o f o u r c ho ic e s, i t s ee ms e vi de nt i n t he
W e s t e r n c o n s u m p t i v e , d o m i n a t o r s o c i e t y , w e h a v e b e e n a c t i n g o u t o f t h e
pa ra d ig m #a the r ine epbur n s o e loqu en t l y s t a t ed t o umph re y $og ar t in
T h e f r i c a n % u e e n , & ' a t u r e , ( i s t e r l l n u t t , i s w h a t w e a r e p u t i n t h i s
wor l d t o r i s e above ) * The r t o f +ubr a t i on i s t he p r oces s wh i ch e l uc i da t e s
t he goa l s o f cons c i ous nes s and ou t l i nes t he t r ans l a t i on s k i l l s neces s a r y t o
g r o w t h r o u g h g a p c o n s c i o u s n e s s a n d f u r t h e r r e f i n e s t h e f i n a l s t a g e s o f
+ ub ra ti on i nt o nl ig ht en me nt a s I h av e d is co ve re d b y m y p er so na l
- ou r ney)
Goals o f Consc iousness
is to ri ca ll y, t he re h av e b ee n m an y p at hs l ea di ng t ow a rd m an y
d i f fe r e n t e n d p o i n ts i d e n ti f i ed b y w h i c he v e r + a i n t o r . u r u w a s p o p u l ar a t
t ha t g i ven t i me ) Whi chever t r ad i t i on one obs e r ves , wha t eve r t he i den t i f i ed
e n d p o in t o n e i s s e e k i n g , i t m a t t er s n o t ) / o r Subrat ion i s T p r o c e s s a n
i n di v id u a l u n de r go e s t o a c h ie v e g r ow t h o f c o ns c io u sn e ss t o w h at e ve r
e n d p o in t y o u r p a r t ic u l a r t r a di t i o n i d e nt i f ie s a s n l i g h t en m e n t) 0 n c e t h e
bas ic s t eps o f g r owth a r e und ers tood the p r ocess can be u nder t aken wi th
much l e s s conf us i on )
I n each age , man has deve l oped t oo l s t o enab l e cu l t u r a l evo l u t i on t o
con t i nue ) The s u r v i va l cond i t i on i ng o f man1 s ho r i 2on t a l ou t war d d i r ec t ed
f o c u s m u s t b e t r a n s f o r m e d ) s o n e i s b o r n i n t o t h e p h y s i c a l v e h i c l e , t h e
s el f m us t s uc ce ss fu ll y c og ni 2e t hi s h or i2 on ta ll y o ut wa rd m od e o f
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Ashoka Aurora Ishaya The Art of Subration
fu nc tio nin g) Th ose w ho f ai l to t r a ve rs e th is in te rn al t o e 3te rn al
o r i en t a t i on a r e l o s t i n t he i r own r ea l i t y ) 4epend i ng on t he s eve r i t y o f t he
i nwar d f ocus mos t o f t hes e i nd i v i dua l s a r e l abe l ed au t i s t i c ) 0nce t he s e l f
h as s uc ce ss fu ll y c om pl et ed t hi s h or i2 on ta l o u tw ar d e 3p lo ra ti on , t he
a w ar e ne s s c a n b e r e co n di t io n e d, t a ug h t t o c o nt r ac t i n wa r dl y t o s u pp o rt
mor e compl e3 , abs t r ac t t h i nk i ng ) Th i s ho r i 2on t a l i nwar d d i r ec t i ona l mode
i s f u r t he r s uppor t ed f i r s t , by l ea r n i ng t o r ead , and t hen by movi ng t owar d
a m o r e c o m p le 3 e d u c a t io n a l p r o c es s ) / i n a ll y, a s o n e l e a rn s t o q u i e t t h e
mi nd and i n t eg r a t e t hes e t wo d i r ec t i ona l awar enes s es t h r ough a t r ue f o r m
o f m e d i t a t i o n , o n e a g a i n l e a r n s t o e 3 p l o r e n e w g r o u n d b y d i r e c t i n g t h e
a w a r en e s s i n w a r d a n d u p w a r d) T h i s i n w a r d d i r e c t i on a l f o c u s , p r a t y a ha r a ,
& w it h dr a wa l * i s a c r it i ca l m o ve m e nt ) " e ar n in g t o w i th d ra w t h e s e ns e s
f r o m t h e e 3 t e r n a l w o r l d m o v e s o n e t o u n d e r s t a n d t h e s e n s e 5 i m p r e s s i o n s
t h a t a r i s e f r o m e 3 t e r n a l s t i m u l a t i o n a r e c r e a t e d b y r e v e r b e r a t i o n s w i t h i n
y ou r p e rs on al d om ai n) Ve r ti c a l l y I n w a r i s t h e d i re c ti o n a n e v ol v in g
cons c i ous nes s mus t g r ow) The h i ghes t up i s t he deepes t i n 6 t he d i mens i ons
a r e nes t ed and i n t e r pene t r a t i ng )
7 s y c ho l o g y i s t h e s c i e nc e o f t h e m i n d ) 7 s y c h e i s a . r e e k w o r d a n d
i ts . er ma n t ra ns la ti on i s 8 so ul 1) Wit ho ut a p syc he t he re c an b e n o
7 s yc h o lo g y) 7 s yc h o lo g y, a s t h e s t ud y o f t h e p s yc h e , o r ig i na l ly m e an t
s t u d y o f t h e s o u l ) & I n t h e i n d u t r a d i t i o n , t h e t e r m p s y c h e h a s r e p l a c e d
+ ou l a s t he l in k b et we en s pi ri t a nd m at te r) W he n t he p sy ch e i s r aw ,
u nd ev e lo pe d , a nd q ui te p ri mi ti ve i t i s s ub -e ct t o g ro ss i ll us io n a nd
uncons c i ous r epe t i t i ve behav i o r s ) s i t g r ows i n b r ea t h and s ens i ti v i t y, i t
beco mes a pe r f ec t l i nk be tween p ure ma t te r and p ure sp i r i t a nd g i ves
m ea n in g t o m at te r a nd e 3 pr es si on t o s pi ri t ) * 9 I n o th er w or ds , y ou r
behav i o r s evo lv e a l ong wi th yo ur l eve l s t age o f co ns c ious nes s ) ls o , in
g y p ti a n m y st i c i sm t h e & t e r m s f o r t h i s s e p t e n ar y c o n s t it u t io n o f m a n , a s
f o un d i n t h e # a b b al a : C ha - m a t e r i a l b o d y , Anch - v i ta l f o rc e , Ka th e
e t he r ea l c o un t er p ar t o r a s tr a l b o d y, Ha t i a ni ma l s ou l, Ba i ; r a t io n a l
s ou l , Cher b i ; s p i r i t ua l s ou l , Ku ; t he d i v i ne s p i r i t ) n i v e r s a l a w a r e n e s s i s
- us t tha t 6 aware ness o f the >n ive r se ! /or thos e who choos e the pa th , i t can
be t r av e r s ed 5 n l igh t enmen t i s ob ta i nab l e ! The famou s 9 t h @en t u r y
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Ashoka Aurora Ishaya The Art of Subration
p ro phe t , (ich e l d e 'os t rad amu s p red ic ted a thou san d ye a r s o f p eace ,
& w h e n t h e s e v e n th m i l le n n i u m h a s c o m e , i n w h i c h m a n i s t r a n s f o rm e d ) I t
i s t o be a pe r i od wher e t he t wo s i des o f t he hemi s pher e mee t , s c i ence and
r e l i g i on mer ge and a ga l ac t i c communi t y come i n t o be i ng ) * A
i s to r i c al l y, t h i s p r o c e s s h a s b e e n d e f i n e d a s & T h e . r e a t W or k * o r
c r ea t in g t h e $ u d dh a fi e ld ) T h om a s $ e rr y d e fi n es T h e . r ea t Wor k a s a
p ro cess wher eby W &ca r r y o u t the t r an s i t ion f r om a pe r iod o f human
devas t a t i on o f t he ar t h t o a pe r i od when humans wou l d be p r es en t t o t he
p lan e t in a mutua l l y b ene f i c ia l manner )* B s w e a p p r o a c h t h i s e p o c h i n
o ur s pe ci es e vo lu ti on , m an y c ul tu re s1 m yt hs a n d l eg en ds d ef in e o ur
p lan e t 1s covenan t ) +ome o f th ese p rophe s ie s a r e :
& Th e e nd o f t hi s c en tu ry i s t he e nd o f t he ma gi ca l s ev en th
m il le nn iu m, t he l as t t ho us an d ye ar s o f o ur k no wn h is to ry)
s t r ol o g i ca l l y, w e a r e a t t h e c h a n g e o v e r p o i n t f r o m t h e g e o f t h e
7 i s ces t o t he ge o f t he quar i us ) Th i s a l s o mar ks the f i ve hundr ed
y e ar p s yc h ic c y cl e , w h e n t h er e i s s u p p os e dl y a m a rk e d c h a n g e o f
cons c i ous nes s p l ane t 5 wi de ) The @e l t s be l i eved t ha t t he ve i l be t ween
t h e w o r l d o f m a n a n d t h e w o r l d o f t h e s p i r i t b e c o m e s v e r y t h i n a t
ce r t a i n s eas ons , i n ce r t a i n ages and epochs ) @e l t i c t r ad i t i ons mar k
t hi s p e ri od a s t a ki ng p la ce e v er y f i ve h u n dr ed y ea rs ) ve n t h e
m y t hi c a l 7 h o e n i 3 , w h i c h h a s a l i f e o f f i v e h u n d r e d y e a r s, i s d u e t o
r e5 ap pe ar i n a m ig ht y h ol oc a us t t o r is e a ga in , r eb or n f ro m i ts
a s hes ) * C
/ ro m t he i nd ig e no us t ri be s, t he op i I nd ia n 7 ro ph ec y s pe ak s o f t he
e m e rg e n c e o f t h e f i f t h w o r ld ) T h e i n d i g en o u s p e o p le s o f + o u t h me r i c a
s peak o f t he t i me when t he condor and t he eag l e f l y t oge t he r )
& /r om t he 4 ia mo nd + ut ra , w e l ea rn t ha t . au ta ma t he $ ud dh a
c l a i me d t h a t a f t e r e a c h t w e n ty 5 f i ve c e n t u ri e s t h e r e c o m e s a r a d i ca l
c h a n g e o f c o n s c i o u s n e s s o n a r t h w i t h a n a c c o m p a n y i n g p e r i o d o f
i n t e ns e c h a o s ) $ u d d h a mo v e s t h e w h ee l o f 4 h a rm a o n c e e v e ry t w o
t h ou s an d f i ve h u n d re d y e a rs ) T h e w h ee l t h at $ u d d ha m o v e d h a s
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Ashoka Aurora Ishaya The Art of Subration
f in al ly c o m e t o r e st a n d h i s a ge d i e s) T he w h e el m u st t h e n b e
s t a r t ed aga i n f o r t he 4har ma mus t be r enewed )*
s ub se qu en t t as k o f t hi s . re at Wor k a s s ee n b y nl ig ht en ed
( a s t e r s o f o u r a g e i s t o c r e a t e t h e $ u d d h a f i e l d , a g r o u p o f e n l i g h t e n e d
be in gs wh o co l l ec t ive l y c r ea te a morp hog ene t i c t r ans i t i on )
& D ) # r i s h na m u r ti o n c e s a i d t h a t i t w o u l d t a k e 9 E a w a k e ne d b e i n g s
w o rk i ng i n c o ns o rt 6 w h il e . u rd - ie f f a s s es s ed t h e n u m b er o f s u ch
be i ngs needed to change the w or ld a t 9 EE ) $hagwan +h ree
=a - nees h , who has a t t empt ed t o b r i ng 9E ,EEE d i s c i p l e s i n t o h i s own
$ ud d ha fi el d, a gr ee s w it h . ur d- ie ff t ha t t he n u mb e r n ee de d t o
d et on at e t h e e vo lu ti on ar y m e ga b o m b i s a ro un d 9 E E) n d y et
maybe , i t i s on l y one ) * F
I s t h e n a t u r e o f t h i s $ u d d h a f i e l d u n i f o r m ? > l t i m a t e l y , t h e r e i s n o
s epa r a t i on o f awar enes s i n t he $uddhaf i e l d ) 0n l y t he ego bas ed i l l u s i on o f
g o o d o r e v i l , r i g h t o r w r o n g c r e a t e s o u r p e r c e p t i o n o f s e p a r a t i o n ) & / r o m
the p er s pec t i ve o f non5 dua l w is dom the r e i s no impor tan t and
un i mpor t an t ) * G s o n e g r o w s o r + u b r a t e s t o i n h a b i t t h i s k n o w l e d g e , o n e
e3per i ences t ha t T= i s on l y t he 0', wi t hou t a s econd ) T r u t h mus t be
e3per i enced ) 4 i r ec t knowl edge i s no t t h i nk i ng ) Th i nk i ng and knowi ng a r e
qu i t e d i f f e r en t )
o w d o w e a s h u m a n b e i n g s c o n n e c t t o t h i s f o r m l e s s f i e l d t h r o u g h
t he $H++? nd beyond The 4a l a i "ama s t a t e s , t ha t :
& #no wledge and under s t and ing deve l op on t he bas i s o f a
cons c i ous nes s t ha t has t he ab i l i t y t o pe r ce i ve i t s ob - ec t s ) When t he
n e c e s sa r y c o n d i t i on s a r e m e t , i t s a b i l i t y t o p e r c ei v e i n c r e a s e s, t h e
s co pe o f i ts o b -e ct s o f k no w le dg e e 3p a nd s, a n d u nd er st an di ng
d e ep e n s) I n t h is w a y t h e m i n d c a n d e v el o p i ts f u l l p o te n ti a l) * J
n d , & T h r o u g h s u c h a p r o c e ss , t h e m i n d 1s t r u e c o l o r , s o t o s p e a k ,
w i ll g r ad u al l y d a w n o n t h e p r a c ti t io n e r) W h e n t h e m i nd i s f r ee
f r om a l l k i nds o f t hough t s and concep t s , s udden l y a f o r m o f vacu i t y
w il l a pp ea r) I f t he m ed it at or t ri es t o g a in f am il ia r it y w it h t ha t
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Ashoka Aurora Ishaya The Art of Subration
vacu i t y , t he c l a r i t y o f t he cons c i ous nes s w i l l na t u r a l l y become mor e
obv i ous ) * 9 E
+ a i n t / r a n c is o f s si s i o n c e s a i d , & W h a t w e a r e l o o k i n g f o r i s w h a t
i s l o o k i n g ) * 0 n e o f t h e c l e a r e s t d i s c o u r s e s o f t h e s t a t e s a n d s t a g e s o n e
ma y g ro w th ro ug h i s fo un d i n ( +I 1s Ascens io n (1991 ) , a n d f u rt h er
e 3 p o u n d e d o n i n E n l i g h te n m e n t K 9 J J C L) ( + I r e f e rs t o t h i s v a c u i t y a s t h e
s c e n d a n t ) 0 v e r t i m e t h e m e d i t a t o r i s t a u g h t t o r e c o g n i 2 e T T , a n d i s
t a u g h t t o p l a ce m o r e a n d m o r e o f o n e 1 s a tt e n t io n o n t h e s c e nd a n t ) T h i s
e 3p er ie nc e i s s ti ck y t o t he m in d) 0 ne c an l ea rn t o c ho os e t hr ou gh
e 3p er ie nc e to r ec og ni 2e a nd s tr e ng th en th is l e ve l o f a wa re ne ss )
v en t ua l ly, i t w i ll b e co m e a s h ad o w p r e s en c e6 t h is i s t h e h a l l ma r k o f
w i t n e s s i n g ) T h e n i t w i l l b e c o m e H 0 > a n d t h e b o u n d a r i e s b e g i n t o b l u r )
nd t hen , one l ea r ns t h i s i s t he Tr u t h , t he $uddhaf i e l d , and The >ni ve r s e )
I a m T h a t! @ h r i s t i an s c r ip t u r e r e s t a te s t h i s t r u t h i n 8 I a n d m y / a t h e r a r e
0 ' ) 1 T hi s s t at e me n t i s n o t a e u ph e mi s m6 i t i s a r e 5s t at e me n t o f w h at
o n es 1 c o ns c io u s e 3 p e ri e nc e s t ab i li 2 es i n to b e in g ) 4 i ff er e nt s p ir i tu a l
t r a d it i o n s l a b e l t h i s e 3 p e r i e n c e d i f f e r en t l y) Wo rd s o n l y p o i n t t h e f i n g er 6
t he e3per i ence i s t he goa l )
I n t h e p r a c ti c e o f s c e n si o n , o n e i s t a u g h t t o w o r k w i t h t h e n a t u ra l
cyc l e o f the g r owt h o f cons c i ous nes s ) 0ur s pec i es 1 cons c i ous nes s cyc l es ,
t h r o ug h t h e t h r e e s t a te s o f a w a re n e s s 6 W ak i n g , 4 r e a m i ng a n d + l e e p in g ,
r e l a ti v e l y e f f o r t le s s l y) 4 i s tu r b a n ce s i n t h e a b i l it y t o c y c l e t h r o u g h t h e
s t a t e s o f c o n s c i o u s n e s s i n d i c a t e u n d e r l y i n g i m b a l a n c e s o b s c u r a t i o n s ) $ y
g ai ni ng i ns ig ht i nt o t he r es ti ng c yc le o f o ur b od ie s o ne b eg in s t o
u n d e r st a n d t h e u n d e r ly i n g p r in c i p le s o f t h e g r o w t h o f c o n s c io u s n e ss ) I n
t h e w a k i n g s t a t e t h e b o d y i s i n i t s 1 l e a s t m o s t r e s t f u l s t a t e ) T h e w a k i n g
s t a t e o f cons c i ous nes s i s mos t l y r ep r es en t ed by a r a - a s i c f o r ce , t he t ens i on
be twee n c rea t i v i t y an d des t ru c t ion ) Th i s gun a i s neu t r a l in f o rc e un les s
a pp li ed t o o ne o f t he o th er t wo g un as ; + at tv a a nd Tam as ) = a- as i s
r ep r es en t ed by t he cu r ved l i ne d r awn b e t ween t he Hin and Hang r eg i ons i n
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Ashoka Aurora Ishaya The Art of Subration
t h i s a l c h e m i c a l s y m b o l ) I t s e p a r a t e s o r p a r a d o 3 i c a l l y h o l d s t o g e t h e r t h e
f o r ces o f H i n and Hang ) nd , c l a s s i ca l l y i s d r awn wi t h a =ed " i ne )
I n t h e 4 r e a mi n g + t a t e o f c o n s c io u s n e ss , t h e b o d y h a s s e t t l e d i n t o a
l e s s a c t i v e p h y s i o l o g i c a l l y s t a t e t h a n W a k i n g ) T h e b o d y h a s p r o g r e s s e d
i n t o a mor e r e s t f u l s pace ) 4r eami ng i s cha r ac t e r i 2ed a s +a tt v i c i n na t u r e )
I t i s ou t war d d i r ec t ed , e3pans i ve , pos i t i ve , (as cu l i ne 5 Hang ) =epr es en t ed
b y the whi te r eg i on in the Hin Hang s ymb o l and i s t he evo lu t i ona r y fo rce
f o r t he g r owt h o f cons c i ous nes s ) I n con t r a s t 6 + l eep i ng i s cha r ac t e r i 2ed a s
Tamas i c i n na t u r e ) I t i s i nwar d d i r ec t ed , con t r ac t i ve , nega t i ve , /emi n i ne 5
H i n ) = e p r e s e n t e d b y t h e b l a c k r e g i o n i n t h e H i n H a n g s y m b o l a n d i s t h e
i nvo l u t i ona r y f o r ce f o r t he g r owt h o f cons c i ous nes s )
s i mpl i ed t he r e i s a cyc l i ng a s pec t t o ou r cons c i ous nes s ) +moot h l y
m o v in g t h r o ug h t h e s t a t e s o f c o n s c io u s n e ss e n a b l es a n i n d i vi d u a l t o l i v e
l i f e in a so me wh at & no rma l* mo de ) s o ne l e ar ns t he p ra ct ic e o f
sc en si on , o ne t e ac he s t he b od y mi nd to e nt er a fo ur th s ta te o f
cons c i ous nes s , even mor e r e s t f u l t han t he p r ev i ous t h r ee ) Th i s f ou r t h s t a t e
o f cons c i ous nes s i s l abe l ed : Tur i ya ) 'ami ng i t makes i t s o?
s t he t oo ls o f s ce ns io n a re u ti li 2e d o n a d ai ly b as is , < E5 AE
m i n u te s , < 5 A t i m es a d a y, t h e b o d y m in d i s t a u g h t t o e n t e r c y cl e t h r o ug h
t h i s mor e r e s t f u l s t a t e ) s t h i s f ou r t h mor e r e s t f u l s t a t e , Tur i ya beg i ns t o
cha r ac t e r i 2e co l o r pu r i f y t he o t he r t h r ee s t a t e s o f cons c i ous nes s t he / i r s t
+ ta g e o f nl ig ht en me n t i s a ch ie v ed ) T he d ai ly p ra ct ic e o f s ce ns io n
c r e a t e s 7 e r p e t u a l @ o n s c i o u s n e s s ) T h i s f i f t h s t a t e o f c o n s c i o u s n e s s i s t h e
/ i r s t + t a g e o f n l i g h t e n m e n t a n d i s k n o w n a s ' i r v a n a o r + a m a d h i ; i n
o t he r t r ad i t i ons )
7 e rp e tu a l @ o ns c io u sn e ss i s = a -a s ic i n n a tu r e, c r ea t es a d u a li t y i n
pe rc ep t io n a nd s t ab i l i 2es in t o w i tn ess ing ) Wit ness in g a l lo ws one to
m ai nt ai n a n e v er 5p re se n t a wa re n es s o f t he s ce nd an t a s o n e c yc l es
t h r o u g h W a k i n g , 4 r e a m i n g a n d + l e e p i n g ) s t h i s p u r i f i c a t i o n , g r o w t h o f
c on sc io u sn es s c on ti nu es , t he b od y l ea rn s t o s et tl e d ow n i nt o a n e v er
d e ep e r, h i gh e r v i br a ti o na l h a bi t at io n a n d h e al s t h e o b sc u ra t io n s o f t h e
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Ashoka Aurora Ishaya The Art of Subration
bod y mi nd and ones pe rcep t ion aga in beco mes mor e re f i ned ) Th i s p roc ess
c re at es t he n e3 t s ta te o f c on sc io u sn es s K si 3t hL , t he + ec on d + ta ge o f
n l i g h t e n m e n t , 3 a l t e d @ o n s c i o u s n e s s ) 3 a l t e d @ o n s c i o u s n e s s i s + a t t v i c
i n na t u r e and ou t war d d i r ec t ed )
s one moves t o f u r t he r pu r i f y i n t o t h i s + t age o f n l i gh t enment , t he
n e 3 t s t e p n e e d e d t o s t a b i l i 2e t h e n e 3 t s t a te o f c o n s c i o u sn e s s , t h e s e v e n t h
s t a t e 5 i s a c o n t r a c t i v e p r a c t i c e ) e r e o n e l e a r n s t h e v a l u e o f p r a t y a h a r a )
T hi s d is ci pl in e b u il ds s tr uc tu re s i n a wa re ne ss w hi ch a l l ow s o ne t o
s t ab i l i 2e i n t o an even mor e r e f i ned awar enes s , >n i f i ed @ons c i ous nes s ) The
t hi rd + ta ge o f nl ig ht en me nt mo re c om mo nl y r ef er re d t o a s @ hr is t
@ons c i ous nes s ) @hr i s t o r @hr i s t os i s one who has been ano i n t ed ) (ean i ng
o ne s e ye s h av e b ee n w as he d c le an o f o bsc ura ti on s) Th is s ta te o f
cons c i ous nes s i s mor e Hin i n na t u r e an d con t r ac t i ve ) 4! K +e l f conf i dence
i s n o t a r ro g a nc e 6 f r o m m y p l at f or m i t i s a s e v id e nt a s t h e n o se o n y o u r
f ace ) L
s one con t i nues t he p r ac t i ce o f s cens i on , mov i ng ones awar enes s
o u t w a r d i n f o c u s a n d a c t i v i t y , t h e e i g h t h s t a t e o f a w a r e n e s s b e g i n s t o
s ta bi li 2e : t he / ou rt h + ta ge o f nl ig ht en me nt ; $ ra hm an ) $ ra hma n
c o n s c i o u s n e s s i s u l t i m a t e l y n e u t r a l i n f o r c e a n d i s c h a r a c t e r i 2 e d a s t h e
mai n t a i ne r a s pec t o f cons c i ous nes s )
+ u c c i nc t l y, t h e d a i l y p r a c ti c e o f s ce n s i on r e s u lt s i n t h e g r o w t h o f
c o n s c i o u s n e s s ! T h e u n d e r s t a n d i n g o f t h e o u t w a r d p h a s e o f e v o l u t i o n a n d
t h e i n wa r d p h a se o f i n vo l ut i on o f c o n sc i ou s ne s s g i v e s o n e a c o g ni ti v e
p la t fo r m wi th i n whi ch o ne i s ab le to more eas i l y g r asp t he wo rk to be
d o n e ) ( a n y g r o w t h s p u r t s c a n b e c o n f u s i n g ) n d r e s u l t i n b e i n g l a b e l e d
i ns an e i n o ur c ul tu re ) n d q ui te f ra nk ly, m ov in g w it hi n b an ds o f
a w a r e n e s s c a n b e c r a 2 y m a k i n g ) t d i f f e r e n t t i m e s d u r i n g o n e s g r o w t h a
m o r e o u t w a r d , a c t i v e l i f e s t y l e m a y s e r v e t h e g r o w t h o f y o u r a w a r e n e s s )
nd , a t o t he r t i mes a mor e i nwar d , qu i e t l i f e s t y l e s uppor t s g i ven s t ages o f
g r owt h ) The #H i s t o know wha t t o do When!
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Ashoka Aurora Ishaya The Art of Subration
> l t i ma t e l y, t h i s s t a g e o f n l ig h t e n me n t , $ r a h ma n @ o n s ci o u s n es s i s
cha r ac t e r i 2ed a s hav i ng a t t a i ned $uddha5 na t u r e ) Ten2 i n Wangya l = i npoche
f ur th er d ef in es $ ud dh a n at ur e a s o ne w it ho u t o r o n e w it h a p u ri fi ed
k u n 2 h i n a ms h e ) T h i s k u n2 h i n a m s h e i s o u r c o ll e c t io n o f o b s c u r a ti o n s o f
cons c i ous nes s o r ,
& #a rmic t ra ce s th at r e ma in a s p syc hi c r e mn an ts o f a ct io ns
pe r fo r med wi th g r asp i ng o r av e r s ion ) I t i s no t a th i ng o r a p lace 6 i t
i s th e d yn ami c th at u nd er li e s th e o rg an i2 at i on o f d ua li s ti c
e 3 p e r ie n c e ) T h e k a rm i c t r ac e s c o n t in u e i n t h e c o n sc i o u sn e s s u n ti l
t h e y a re p u r i fi e d ) W h e n th e y a r e c om p l e te l y p u r if i e d , th e r e i s no
l onger a kun2h i nams he and t he i nd i v i dua l i s a BU!!HA"* 9 9
s t h e m e d i ta t o r b e g i n s t o e 3 p e r ie n c e t h e s c e n d a nt , o n e b e g i n s t o
e 3 p e r ie n c e t h e s u b t le r e a l m s o f t h e > n iv e r s e) ( + I s p e ak s o f t h e $ r a h m a
a n d e 3 p er ie n c in g t h e w o nd e rs o f $ r ah m an c o ns c io u sn e ss ) 4 a vi d $ o hn
s p e c u la t e d , & T h e n a t u r e o f t h e u n i v e r se m i g h t b e m o r e l i k e a h o l o g ra m , a
r ea lm o f f re qu en ci es a nd p ot en ti al it ie s u nd er lyi ng a n i ll us io n o f
concr e t enes s ) * 9 9
o w d o w e a s a w i l l f u l , c o n s c i o u s s p e c i e s , c r e a t e a m o r p h o g e n e t i c
f i e l d t o c a t a l y 2 e t h e c h a i n r e a c t i o n o f o u r s p e c i e s e v o l u t i o n a r y p r o c e s s ?
ccor d i ng t o (c4ouga l l , who wor ked wi t h r a t cons c i ous nes s , s co r e t heor y
s t a t e s : once a f i e l d i s e s t ab l i s hed , i t accumul a t e s ) e f u r t he r s t a t e s t ha t a
f i e l d may e3 i s t f o r l ong pe r i ods w i t hou t a f f ec t i ng any t h i ng s i mpl y becau s e
t h e r e i s n o f o r m w h i c h f i t s i t ) f o r m m i g h t a r i se b u t th e e n v ir o n m en t
mi gh t be t oo a l i en t o s uppor t i t s o t ha t i t wou l d d i e ou t )
T#e $rocess o f Subrat ion
I f we accep t t he $ i g $ang Theor y o f @r ea t i on , i t s t ands t o r eas on t ha t : t he
> ni ve rs e s t ar te d f r o m o n e p o i nt o f e 3 is te nc e) W hi ch m ov e s o n e t o
pos tu l a te : the r e i s a s i ngu l a r und er l y in g f i e l d o f e3 i s t en ce ) s sc i en t i s t s
c o nt e mp l at e & W hy d o e s m a t t er h a v e ( a ss ? * a n ot h er q u es t io n c o me s t o
mi nd , does (at t e r have cons c i ous nes s ? I f t he r e i s an under l y i ng f i e l d , i s
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Ashoka Aurora Ishaya The Art of Subration
i t c o n sc i ou s ? i ns t ei n s t a te d , & h um a n b e in g i s a p a rt o f t h e w h ol e ,
c al l e d b y u s & >n iv er se * ; a p ar t l i mi te d i n t ime a nd s pa ce ) e
e 3 pe r ie n ce s h i ms e lf , h i s t h ou g ht s a n d f e el in g s a s s o me t hi n g s e pa r at e d
f r om t he r e s t ; a k i nd o f op t i ca l de l us i on o f cons c i ous nes s * 9 < 4r ) / r ances
Mau g ha n s t at e d, & 0 ur a b il it y t o c o rr e ct w h a t i ns t ei n c a ll e d & o p ti c al
d el us io n o f c on sc io us ne ss * d ep en ds o n a n ew v is io n o f r el at io na l
e 3 c h a n ge a t a l l l e v e ls o f t h e s p e c t ru m o f c o n s c i o u s ne s s ) * 9 A T h e a b i l i t y t o
c o rr e ct t h is o p ti c al d e lu s io n o f c o ns c io u sn e ss i s t h e r t o f + u b ra t io n )
+ u b r a t i o n a s d e f i n e d b y l i o t 4 e u t s c h i s & t h e ( e n t a l ? 7 r o c e s s w h e r e b y
o ne r e5 ev al ua te s s om e p re v io us ly a p pr ai se d l ev el o f c on sc io us ne ss
becaus e o f i t s be i ng cance led , o r a t l eas t se t in a d i f f e ren t co n te3 t , b y t he
e3per i ence o f a new l eve l o f cons c i ous nes s ) * 9 B The r t o f +ubr a t i on i s no t
l im it ed t o t h e m e n ta l f ie ld ) / or t he p ro ce ss t o b e c om pl et e, i t m u st
e n c o m pa s s t h e f u l l s p e ct r u m o f o u r s o u l1 s h ab i t at ) # e n W il b e r f u r th e r
i l l umi na t es :
&The mys t i c means t ha t a l l t he e l emen t s on each f l oo r ha r moni ous l y
i n t e ra c t , ' 4 m o s t i m p or t a n tl y, e a c h o f t h e f l o o r s i n t e r a ct s w i t h
e a c h o t h e r ) s f o r t h i s m u l t il e v e l ed i n t e ra c t i on , t h e m y s t i c m e a n s
t h at t h e p h y s ic a l e l em en t s i n te r ac t w i th t h e b i o l o gi c al e l em e nt s
whi ch i n t e r ac t w i t h t he men t a l wh i ch i n t e r ac t w i t h t he s ub t l e wh i ch
i nt er ac t w it h t he c au sa l w hi ch p as s i nt o i nf in it y, e ac h l ev el
s upe r s ed i ng i t s p r edeces s o r bu t mut ua l l y i n t e r pene t r a t i ng wi t h i t ) 9 C
+ ub ra ti on i s a p ro ce ss w he re by t he i nd iv id ua l i s e ng ag ed i n
u n d e r s t a n d i n g w h a t l e v e l o f t h e s p e c t r u m h e s h e i s i n t e r a c t i n g w i t h , a n d
w h a t m a t e r i a l i s b e i n g p r e s e n t ed f o r e v a l u a t i on a n d e v e n tu a l i n t e gr a t i on )
I ni ti al ly, o ne s ee s t hi s n ew l ev el o f t he s pe ct ru m a s a n o b- ec t o f
i n t e r ac t i on ) s t h i s p r oces s o f +ubr a t i on con t i nues , t he ve i l o f s epa r a t i on
d i s s ol v e s ) T h i s e 3 p a n si o n l e a d s o n e t o n e w o b s e r va t i o ns o f a n e w s u b - e c t
w i t h in t h i s n e w e 3 p a n d ed s p e c tr u m ) T h e 8 I 1 of s e l f o b s e r v es a n o u t e r I T ,
a s n o t s e l f) T h e n a w a r e n e ss e 3 p a n d s t o e 3 p l o r e t h i s n e w o b s e r v e d I T ) s
th i s g ro und o f a warenes s i s in teg ra ted i n to be in g, a n ew W i s
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Ashoka Aurora Ishaya The Art of Subration
es t ab l i s hed ) I n o t he r wor ds , a new awar enes s i s obs e r ved whi ch appea r s t o
be d i s t inc t l y s epa r a te f rom the s e l f K I L , h owever a s c ons c ious nes s g r ows
t he s e l f and ob - ec t o f obs e r va ti on K I TL merge i n t o a knowi ng o f W) The
c o g n i t i v e a b i l i t y o f r e c o g n i 2 i n g w h a t b a n d , w h a t n e w g r o u n d , w h a t n e w
s k i l l s e t s o t o s peak , one i s e3pand i ng i n t o and wha t s ubs t r uc t u r e f a i l ed t o
s u p p o r t t h e e 3 p a n s i o n i s T c r i t i c a l s k i l l o n e n e e d s t o c u l t i v a t e ) T h i s
g r o w th i s c h a r a ct e r i 2e d b y a n e 3 p a n si v e p e r i o d , f o l l o w ed b y a g a p w h i c h
ma y l i t e ra ll y f ee l l i ke a n in te rn al sh if t, fo llo we d b y a p er i od o f
c o n t r a c t i o n ) 4 u r i n g t h i s b r e a k , t h i s g a p , a w i d e r a n g e o f e 3 p e r i e n c e s o f
c o n s c i o u s n e s s c a n a n d m a y o c c u r 5 0 = ' 0 T ) T o m a s t e r t h i s s k i l l s e t t h e
m e d i t a t o r m u s t b e c o m e c o g n i 2 a n t o f t h e f u l l s p e c t r u m o f c o n s c i o u s n e s s
o u r s p e c i e s i n h a b i t s , f r o m t h e g r o s se s t , m o s t d e n s e v e h i c l e 5 o u r p h y s ic a l
bod y in to the mos t s ub t l e veh ic l e ) +us an +hums ky de f i nes o u r spe c ies 1
veh i c l e s o f hab i t a t i on :
&s a phys i ca l en t i t y , you a r e a bund l e o f ene r gy wi t h a name and a
u n i q u e f or m ) $ u t t h e n o np h y si c a l p a r ts o f y o u r s e lf , s u c h a s yo u r
e mo ti on s a n d t h o ug ht s a r e a l so c om po se d o f v ib ra t i on s) Hou r
i den t i t y a l s o i nc l udes i nv i s i b l e a s pec t s s uch as your mi nd , i n t e l l ec t ,
e g o , a n d e m o t i o n s a n d d e e p e r a s p e c t s o f y o u r s e l f , w h i c h c o m p r i s e
your &h i ghe r s e l f * ) s an en t i t y , you a r e a s t r eam of cons c i ous nes s ,
r e ac h in g f r o m t he d i v in e l e v el t o t h e g r o ss p h y si c al l e v el ) Hou
pos s ess myr ia d i nne r iden t i t i e s w i th i n one reco gn i2ab l e i den t i t y,
and many s ub t l e bod i es compr i s e your i nne r f o r m) +ub t l e bod i es a re
n o t n e c e s sa r il y c o nf i ne d t o t h e s p a c e o c c u p ie d b y y o ur p h ys i ca l
bod y6 inne r bod ies ma y even e3 i s t in more than on e p l ace a t a
t i me )* 9
s a c h a i n i s n o s t r on g e r t h a n i t s w e a k e s t l i n k , w e a l s o e 3 p a n d a n d
l ea rn t he o pe ra ti on o f t he n e3 t h ig h es t v eh ic le o f c on sc io us ne ss , t he
gr owt h o f t h i s h i ghe r v i b r a t i ona l body s ubs equen t l y caus es a l i gh t en i ng up
o f t h e l o w e r b o di e s o f h a b i ta t i o n ) T h i s r e su l t s i n t h e w o u nd o r w e a k n e s s
w i t h i n t h e l o w e r s t r u c t u r e K s L t o c o m e t o l i g h t , t o b e & e n l i g h t e n e d * ) T h i s
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Ashoka Aurora Ishaya The Art of Subration
u n v e i l i n g p r o c e s s i n i t i a t e s t h e h e a l i n g o f t h e i l l u s i o n o f s e p a r a t i o n ) T h e
h ig he r t he v ib ra ti on al v eh ic le o ne i s w ork in g t o in ha bi t a nd th e
c om pl e3 it y o f t he w ou nd in g o ne h as e nc ou nt er ed p re vi ou s t o t hi s
s u b s e qu e n t e 3 p a n s i o n d i c t a t e s t h e c o m p le 3 i t y o f t h e a b r e ac t i o n: t h o u g ht ,
d r ea m , f l as h ba c k, o r b o d y5 m em o ry) T h e o u t5 p ic t ur e d m a te r ia l m a y b e
c o m p l e 3 o r n o t ) I t m a y h a v e d i s r e g u l a t e d e m o t i o n a l c o m p o n e n t s c o u p l e d
w i th b o d y m e mo r ie s o v e rl a id w i th m e nt a l f la s hb a ck s c o nc u rr e nt w i th
s e e i n g a n d o r h e a r i n g a r t h b o u n d + p i r i t s , 4 e v a s o f t h e l e m e n t s a n d o r
+ p i r it . u i d es ) 4 i o n / o r t u n e i n f o r m s t h e m e d i ta t o r d u r i n g t h e t r a n s l a t io n
p ro cess :
& l l t h e p l a n e s o f m a n if e s t at i o n a r e d i f fe r e n t t y p e s o f e 3 i s t e n c e,
a nd t he s ev en b od ie s o f ma n, n ot e 3c ep ti ng t he p hy si ca l, a re
d i f f e r en t modes o f cons c i ous nes s and d i f f e r en t t ypes o f o r gan i 2a t i on
o f f o r c e) > n le s s w e k n o w e 3 a c tl y w h at c o n sc i ou s ne s s i s a n d h o w
a pp re he ns io n t ak es p la ce , w e s ha ll b e u na bl e t o t ra ns la te o ur
c on sc io us ne ss f r o m o ne m od e t o a n o th er) T he p ro c es s m a y b e
l i k e n e d t o t h a t o f t r a n s p o s i n g f r o m o n e k e y t o a n o t h e r i n m u s i c )
T h e a m a t e u r w h o c a n v a m p a l i t t l e m a y n o t n e c e s s a r i l y b e a b l e t o
t r ans pos e ) The g r ea t mi s t ake t o wh i ch t he un t r a i ned ps ych i c i s l i ab l e
i s t h a t o f c o n f u s i n g t h e p l a n e s , a n d t h i n k i n g i n t e r m s o f o n e p l a n e
when f unc t i on i ng on ano t he r ) * 9 F
0 ur n at ur al a pp re he ns io n, c on tr ac ti on i n n ew e 3p er ie nc es m us t b e
r e co n d it i on e d ) T h is s k il l i s c r it i ca l w h en a p p ro a c hi n g t h e g a p p h a se o f
+ubr a t i on )
T h e t a s k o f s t u d y i n g t h e s p e c t r u m o f c o n s c i o u s n e s s , u n d e r s t a n d i n g
t h e l a n d s c a p e o n e m a y t r a v e r s e i n u p c o m i n g e v o l u t i o n s o f e 3 p a n s i o n , i s
t he m os t v al ua bl e s ch ol ar sh ip o ne c an d ev ot e t im e a nd e ff or t t o)
7 r epa r a t i on i s t he key t o s ucces s ) 0nes cogn i t i ve ab i l i t i e s mus t ma t u r e i n
compl e3 i t y t o g r asp t he f u t u r e wor k under t aken ) To enhance t h i s s k i l l t he
m e d i t a t o r i s e n c o u r a g e d t o s t u d y t h e w o r k o f p r e v i o u s e 3 p l o r e r s ) I n s o
do i ng , one wi l l f u r t he r compr ehend t he l ands cape p r ev i ous l y t r ave r s ed and
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Ashoka Aurora Ishaya The Art of Subration
t h e g r o u n d o n e h a s y e t t o + u b r a t e ) T h i s t a s k c a n n o t b e o v e r e m p h a s i 2 e d !
( +I 1s b oo ks As cens ion K9J J9L an d En l i gh ten men t K 9 JJ C L e s po u se t h e
c o n c e p ts a n d t e r ri t o r y t h e T ea c h i n g: s ce n s i o n i l l u m i na t e s ) T h e W o r o !
t he K ab b al is t K 9J JA L b y N 1e v $ en + hi mo n al ev i i s a ls o a n e 3c el le n t
r e f e r ence , a s we l l a s , #en Wi lber 1 s "#ec t r um o ! Cons c i ous nes s K 9JJJL )
s can be in f e r r ed , The r t o f +ubr a t i on i s a compl e3 p r oces s ) The
t as k o f bu i l d i ng i n t e r na l s t r uc t u r es t o s uppor t a mor e r e f i ned awar enes s i s
t i m e c o n su m i n g a n d c o mp l e 3 ) T h e t e a si n g o u t a n d p r o c es s i n g o f v ar i o u s
l e v e ls o f t h e s p e c tr u m i s n o t a s t r ai g h t 5l i n e f u n ct i o n ) I s i t f o r a n yo n e ?
The p r oces s o f s ubr a t i ng 8 ve r t i ca l l y 1 t o s t ab i l i 2e new s ta%es o f hab i t a t i on
i s e a rn e d a n d i s a r e la t iv e ly h o lo g ra p hi c g r ow t h) lw a ys p u sh i ng a n d
pu l l ing wi th in t he s e l f t o s t ab i l i 2e in to th e ne3 t g r ea te s t d omain )
ow ev er , a ll s ta tes o f c on sc io us ne ss a re a cc e ss ib le f ro m a ny g iv en
p la t fo r m o f co gn i t ive awaren ess w i t h in one s 1 b i o log i ca l evo l u t ion ) s l ong
a s t h e b i o l o g i c a l b o d y m i n d h a s m a t u r e d e n o u g h t o h a v e g r o w n t h r o u g h
t h e o u t w a r d h o r i 2 o n ta l a s p e c t o f a w a r e ne s s a n d t o h a v e b e g u n t h e i n w a rd
mar ch o f cons c i ous evo l u t i on t o be p r epa r ed t o cond i t i on t he awar enes s t o
a v e r t i c a l i n w a r d p a t h ) + i m p l y , t h i s c o n d i t i o n e d p a t h w a y o f o u t w a r d , t o
i n wa r d a n d t h en u p wa r d K h ol o gr a ph i ca l ly, d e ep e r i n L i s t h e m o de l f o r
s ucces s f u l +ubr a t i on ) Th i s i s t he d i r ec t i on o f t he g r owt h o f cons c i ous nes s
o ne w is he s t o f ol lo w) s o n e f lo ws i nt o t hi s p at hw a y o f g ro wt h, t he
beau t y an d chaos fo r mi ng pa rad o3 o f t he acces s i b i l i t y o f each s t a te o f
a wa re n es s s hi ne s f or th ) # en Wi lb er e 3p la in s w hy + ub ra ti on c an b e
di f f i cul t )
& T h e r e i s a d i ff e r e nc e b e t w e e n d i ff e r en t i a ti o n a n d d i s so c i a ti o n ) I t
i s neces s a r y and des i r ab l e t ha t t he ego and t he body d i f f e r en t i a t e ;
i t i s d is as tr ou s i f t he y d i ss oc ia te a nd f ra gm en t) I n g e ne ra l,
whenever d i f fe r en t i a t i on occur s , d i s s oc i a t i on can occur ) +ucces s f u l
d e v e l op m e n t m e a n s a s e r ie s o f c l e a n d i f f er e n t ia t i o ns w i t h l i t t le o r
no d i s s oc i a t i ons ) ; $u t tha t , o f cour se i s ra r e ) 4 i s s oc i a t i on s impl y
m e a n s t h e e 3 i l i n g o f a s t r u ct u r e t o t h e s u b me r g in g c o n s c i o u s n es s ,
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Ashoka Aurora Ishaya The Art of Subration
n o t i t s t r a n s c e n d e n c e , b u t i t s r e p r e s s i o n ) 9 G s o n e u n de r go e s t h is
e v o l u ti o n a r y 8 b o u n c e 1 p r o ce s s , & t r a n s l at i o n b e c o me s a n a b s o lu t e l y
n ec es sa ry a nd c ru ci al f un ct io n) T ho se w ho c an no t t r an sl at e
adequa t e l y w i t h a f a i r amoun t o f i n t eg r i t y and accur acy f a l l qu i ck l y
i n to s e ve r e n e u r os i s o r e v e n p s y ch o si s : t h e w o rl d c e as e s t o m a ke
s en se t he b ou nd ar ie s b et we en t he s el f a nd t he w or ld s a re n ot
t r ans cended bu t i n s t ead beg i n t o c r umbl e ) * 9 J
T he i nd iv id ua ls w ho h av e c ru mb le d i n o ur @ ul tu re a re t ol d t he y a re
& g en et ic al ly a bn o rm al * a nd & me nt al ly i ll *) W ha t a re t he se s ki ll s o f
t r ans l a t i on? @an t hey be f ound i n p i l l f o r m?
S&i l l s o f Trans la t ion
I n t h e 4 i a m o n d p p r o a c h , l m a a s d e f i n e s t h i s p r o c e s s a s a n
u n f o ld m e n t) W h e re b y, & t h e v a r i o u s s e l f 5i m a ge s a r e e 3 p o s ed f i r st ) T h e y
t h e n b e c o m e e g o 5 a l i en ) T h e n t h e p e r s o n l e t s g o o f t h e m b y u n d e r s t a nd i n g
t he i r p s ychodynami cs ) Th i s l eads t o empt i nes s and t hen t o $e i ng ) * < E The
t r ut h o f o u r s t r u ct u re s i s t h at e v er yo n e h a s s o m e l e ve l o f d i so r de r o f
s t r uc t u r e ) Ther e i s a con t i nuum of d i s s oc i a t i on ) Th i s ve r y bas i c p r oces s
o f un f o l dmen t i s much mis under s t ood ) 7 r ac t i t i one r s s ee t he ou t 5 p i c t u r ed
s t r ugg l e o f t he s e l f t o r ede f i ne new g r ound as &men ta l i l l nes s * ) I ns t ead o f
a n es t he t i2 i ng t h e p r oc e ss , c a n w e g r ow t o ol s t o a i d t h is e v ol u ti o na r y
unf o l dmen t ?
T he - ud gme nt m us t c ea se , w he th er t he m at er ia l p re se nt ed f or
i nt eg ra ti on i s p re 5 go ic o r t ra n s5 g o ic o r s om ew he re i n t he m id dl e
m at te rs n o t! T he p ro ce ss o f + u br at io n m us t b e u n de rs to o d w it hi n a ll
bands ) #en Wilb e r adds :
& + i m pl y b e c a u s e p r e s c r i bi n g p r a c t i ti o n e rs h a v e n o w a y t o t e l l t h e
d if fe re n ce b et we e n p re 5p er so na l r eg re ss io n a n d t ra ns pe rs on al
p r ogre ss ion , we th row the baby ou t w i th the ba t h wa t e r) The
a ss um pt io n i s t ha t e ve ry t im e t he re a ri se s a c on sc io us ne ss n ot
e3c l us i ve l y bound t o h i s t o r y , ego , t i me o r l og i c , t he pe r s on i nvo l ved
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Ashoka Aurora Ishaya The Art of Subration
mus t be r eg res s i ng in to 7 re 5 soc i a l and 7 r e 5ego ic wor l ds ,
ove r l ook i ng t he f ac t t ha t t he pe r s on mi gh t , - u s t m i gh t , be con t ac t i ng
t ra ns 5t em po ra l a n d t ra n s5 e go ic t ru th s) T he se c ri ti cs w ou ld b e
f o r c ed , b y t h e i r v e r y r e a s o n in g , t o t h e c o n c l u s io n t h a t @ h r i st m u s t
h av e b ee n h a ll uc in a ti ng , " 0 T 2u w as p sy ch o ti c, $ ud dh a w as
s ch i 2ophr en i c , and s o wi t h 7 l a t o and ege l , ur ob i ndo and "")* < 9
I t i s i mp o ss ib le t o s er vi ce a n ot he r 1s g ro wt h o f c o ns ci ou sn es s
wi t hou t hav i ng t r ave r s ed t ha t l ands cape ones e l f ) Th i s r t i s no t t augh t a t
t he a ca de mi c l ev el ) % ui te f ra nk ly, t hi s p ro ce ss c an b e v er y 8 cr a2 y
m a ki n g1 ) ' e w e 3 p e ri e nc e s a n d v e ry n e w w a y s o f f u nc t io n in g m us t b e
c o g n i 2 e d a l o n g w i t h u n d e r s t a n d i n g w h e n a n d w h e r e e a c h i s a p p l i c a b l e )
3per i ence i s t he Tr ue Teacher ! t t a i n ing con t ac t w i t h Teacher s who have
e3per i enced t he p r oces s i s a l s o a ve r y va l uab l e g i f t ) 0nes who a r e ab l e t o
r ecogn i 2e t he s t age and ma t e r i a l encoun t e r ed a t e ach phas e o f t he - ou r ney )
>l t i ma t e l y t hough , @ ). ) D ung s a i d i t bes t , &+e l f 5 r ea l i 2a t i on i s a ma t t e r o f
t h e m o m e n t 5 to 5 m o me n t h e r e a n d n o w r e l at i o n sh i p t o o u r d e e p e s t s e n s e o f
t r u t h and mean i ng i n l i f e 6 i t r evo l ves a r ound 8 / i de l i t y t o t he "aw of 0ne1 s
0 w n $ e in g )1 + e l f 5r e al i 2a t io n i s n o t t h e c u lm in a ti o n o f a - o ur n ey 6 y o ur
des t i na t i on i s t he D our ney )*
$ y m o v i n g t o u n d e r s t a nd a n d i n c o r p o r at e m o d a l i t i es w h i c h h e a l t h e
l eve l o f d i s s oc i a t i on i nd i v i dua l 1 s e3pe r i ence , a s a cu l t u r e W mus t evo l ve
be yo nd d i sp ens ing damag i ng b r a in cock t a i l s ) I t i s lud i c rou s fo r thos e
in di vid ua ls d ir ec tl y in vo lv ed i n th is e vo lu tio na ry p ro ce ss t o b e
a n es t he t i2 e d d u ri n g t h is c o sm ic i n te g ra t io n b y p r ac t it i on e rs w h o u s e
s u p p re s s i ve p s y ch o p h a r ma c o l o g ic a l i n t e rv e n t io n b e c a u se t h e c o m p le 3 i t y
o f t h e + u b r a ti o n p r o c e ss i s n o t u n d e r st o o d ) s a c u l tu r e , w e n e e d t o a i d
t h e p r o c e s s o f + u b r a t i o n , t o a u g m e n t t h e p r o c e s s e s o f m e n t a l c o g n i t i o n ,
a n d t o p r o m o t e t h e p s y c h i c i n t e g r a t i o n o f t h i s g r a n d s p e c t r u m ) I e q u a t e
ps ych i a t r i c p rac t i ces o f t oda y, a s t he do l in g ou t o f to poma3 , ha l do l ,
l it hi um , t ho ra 2e n e, d ep ac o te , 2 yp re 3a , b io d on a n d m an y m or e, t o t he
t emper i ng o f t he 4amas cus s wor d b l ade ) 4ean K 9JFCL s t a t ed :
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Ashoka Aurora Ishaya The Art of Subration
&ar l i e r days r equ i r ed r unn i ng t he r ed 5 ho t b l ade t h r ough t he body o f
a s u r p l us s l a v e) W h e n s la v e s b e c a me e 3 p e n s iv e , i t w a s fo u n d t h a t
o i l w o u l d d o t h e - o b a s w e l l 6 i t w a s a l s o o n c e t h o u g h t n e c e s s a ry t o
t h r o w a v i r g i n i n t o t h e m o l t e n m e t a l f o r c a s t i n g a s u i t a b l e p e a l t o
t em pl e b e ll s i n a nc ie nt D ap an 6 t he b od y s up pl ie d t he p ot as si um
r e q u ir e d ) v e n tu a l l y t he y f o u n d ou t t h a t an y o l d b on e s w o u ld d o )
T he se e 3a mp le s i ll us tr at e t ha t s ci en ce u su al ly e vo lv es o ut o f
empi r i ca l obs e r va t i ons o f na t u r e , and t he ques t f o r caus es t o e3p l a i n
t he e f f ec t s obs e r ved ) < <
T o c o n f u s e s y m p t o m s o f t h e + u b r a t i o n p r o c e s s w i t h t h o s e o f a c h e m i c a l
i m b a l a n c e i s a b s u r d ) T o p o s t u l a t e + u b r a t i o n c a n b e & h e a l e d * , & c u r e d * b y
o ra ll y i ng es ti ng s om e l ab or at or y p ro du ce d c he mi ca l c omp ou nd i s
a nt iq ua te d) & 0u r p sy ch ia tr is ts g ro w r ic h b ec au se w e a re a n at io n o f
m e t a ph y s ic a l i l l it e r a te s ) * < A Th e foc us on b alanc i ng the chemi ca l
c o mp o n en t s a s a r e me d y t o s ys t em d i sr e gu l at io n w i ll g o t h e w a y o f t h e
cas s e t t e t ape p l aye r ) $ewar e o f t hos e p r ac t i t i one r s t ha t f ocus s o l e l y w i t h i n
t h e c h e m i c a l d o m a in ) t b e s t t h e y o n l y o f f e r a p l a c e b o a n d a t w o r s t t h e y
a r e t r u l y i g n o r a n t o f t h e s u b t l e s t r u c t u re s a n d i m b a la n c e s t h a t m a y o c c u r
a n d w o rk i n i g no r an c e t o f u rt h er t h e d i sr e gu l at io n ) 7 e rs o na l ly, I f i nd
i n h a la t i o n t h e r a p y w o r k s b e s t t o e a s e t h e i n t e gr a t i on p r o c e ss : I n c e n s e o f
/ r ank i ncens e and (yr r h K 9E cen t s a s t i ck ! L ) I s i nce r e l y bes eech t he who l e
of ( t o r ev i s i t t he i r i ppocr a t i c 0a t h , w i t h t he ques t i on i n mi nd , &ow
bes t can I se r ve an vo l v ing , n l igh t ened s pec i es? *
T h e m o v i e , & I ' e v e r 7 r o m i s e d H o u a = o s e . a r d e n * i l l u s t r a t e s t h e
n e c e s sa r y s k i l l s i n d i v i du a l s n e e d t o g r o w a n d u t i l i 2 e, a s w e l l a s , t h o s e a
s u c c e ss f u l p r ac t i ti o n e r n e e ds t o d e v e l o p f o r su c c e s sf u l i n te g r a ti o n ) I n
s ho rt , i t t ak es c o mm it me n t o f t im e a n d r es ou rc es o n t he p ar t o f t he
t#era'is t a nd t he m ed it at or ) > lt im at el y, t he s ki ll a t he ra p is t s ho u ld
cu l t i va t e i s p r es ence 5 i ng t he 0') i d i ng c l i en t s and s t uden t s t o s ha r e an
au t hen t i c e3per i ence o f uncond i t i oned mi nd i s t he & t r ue med i c i ne* K$ le ase
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Ashoka Aurora Ishaya The Art of Subration
r e ! e r t o%The "acr e& 'i r r or on&ua l Wis &om an& $s *cho t her a#* +.
e& / $ren&ergas t , 0enner , Kr*s ta l ) /
To anes t he t i2e t he acu t e phas e , t he t i me o f d i s s oc i a t i on , t he c r umpl e
2 o n e o f t h i s p r o c e s s , i s o n l y t o p r o l o n g a n d c o m p l i c a t e t h e m e d i t a t o r 1 s
t a s k ) I h a v e n o t c o m e t o u n d e rs t a n d m y k n o w i n g b y r e a d in g b o o k s ) I t h a s
been the o the r wa y a roun d ) I have h ad e3 per i ences and h ave wor ked to
under s t and t hem) #ni pper K 9JGL s a i d :
& m a n y i m p o rt a n t c o n c e p t s h a v e h a d t h e i r o r i g i n s i n n o n 5 r a ti o n a l,
non l i nea r , i n t u i t i ve t hough t s t ha t have bur s t un 5 e3pec t an t l y f r om t he
i m ag i na t iv e d e p th s o f t h e p e r s on a li t y w h o & d a nc e d t o a d i ff e re n t
d r um me r * o r l o ok e d a t t h e p a t te r n f r o m a d i ff e re n t a n g le ; T h e
T=H5angle*) < B
s o n e i nc o rp or at es t hi s n ew w ay o f l iv in g , t he t ry 5a ng le a pp ro a ch
beco mes the new mode o f fun c t ion ing ) "ea r n ing and g rowing to
u n d e r s t a n d t h e o p e r a t i o n a n d h a b i t a t i o n o f n e w b a n d s o f e 3 i s t e n c e , n e w
veh i c l e s o f ou r s ub t l e s t r uc t u r es i s a p e r s ona l - ou r ney o f e3p l o r a t i on ) Th i s
- ou r ney mus t be under taken wi t h an a t t i tu de o f d i s cove r y and ad ven tu re )
D u ng i an s r e fe r t o t h is p r oc e ss a s t h e 8 I nn e r D o ur n ey 1, # a bb a li s ts , t h e
8 s c e n t o f t h e " a d d e r 1 , i n e b r e w t h e w o r d v o d a h d e f i n e s t h i s p r o c e s s
a s b o t h w o r k a n d w o r s h ip , i n lc h e m y i t i s d e f i n e d a s t h e 8 . r e a t W or k 1 )
Th i s .r ea t Work i s t he .r andes t dven t u r e o f "")
Wi th in t he . re at Wor k o ne o f t he m os t m is un de rs to od t as ks i s
t r ave r s i ng t he Tr ans pe r sona l $ands ) (any peop l e quest i on t he i r e3 i s t ence
a n d n l i g h t e n e d ( a s t e r s c h a r a c t e r i 2 e t h e w o r k a s i l l u s i o n ) + e n s i n g i n t o
t h i s v i b r a ti o n a l l e v e l a n d c o m p re h e n d i ng t h e m e a n s o f i n t er a c t io n c a n b e
t a 3 i n g ) " i m i t i n g t h e h a b i t a t o f o u r s p e c i e s t o a t e r r e s t r i a l e 3 i s t e n c e i s
s hor t s i gh t ed and damag i ng t o t he f u t u r e g r owt h and under s t and i ng o f ou r
s pec i es ) #en Wil be r s t a t ed ,
& b e l i e2e t ha t t hes e bands do i ndeed e3 i s t K a l t hough no t neces s a r i l y
a ll t he p h e no me na t ha t s u pp os ed ly o c c ur h e r e? L ) nd t h a t, i n
t he ms el ve s, t he se b a nd s a re n ot p at ho lo g ic a l ; a lt ho ug h m an y
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peo p le who a re d iagno sed & me n ta l l y i l l * ma y b e lo s t in thes e bands
f o r wan t o f an adequa t e gu i de , an t hus r eac t a s any nor mal ng l i s h 5
s pe ak in g p er so n m ig ht r ea ct i f d um pe d i nt o @ hi na w it ho ut a
t r ans l a t o r ) $e t ween t he 3 i s t en t i a l "eve l and t he "eve l o f (i nd a r e
t he mos t mys t e r i ous , une3p l o r ed , mi s under s t ood , f ea r 5 i nduc i ng and
g e n er a ll y p u 2 2l in g p o rt i on o f t h e s p ec t ru m ; t h e T r an s pe r so n a l
$ a n d s ) T h e y c a n b e e3 p e r ie n c e d a s t he & d a r k n ig h t o f t he s o u l * o r
t he b ou nd le ss l ig ht o f m it ab ha 6 h er e o n e c an m ee t v is io ns o f
bod h i s a t tv as an d an ge l s , o r be accos ted by t he l eg ions o f (ar a , t he
a r che t ypa l v i l 0ne 6 one can d i s cover he r e t he I nne r .u i des , o r f a l l
i n to t h e h a n ds o f t h e t e rr i bl e 4 w el l er o n t h e T h re s ho l d) 0 n e1 s
i d e n ti t y c a n s h i f t t o o u t o f t h e b o d y o r o n e c a n b e w h i s k e d a w a y t o
a st ra l t r av el ) I t i s h e re t ha t p a ra no rm al o cc u rr en c es o f + 7,
c l a i r voyance , and c l a i r aud i ence a r e f ound , t ha t one can r e l i ve &pas t
l i ves * o r p r o - ec t ones e l f i n t o f u t u r e occur r ences )
T h e s e b a n d s h i s t o ri c a ll y h a v e n o t b e e n w i d e l y s t u d i e d a s t h e
o t he r s , f o r s eve r a l r eas ons :
9 L TH +@= T 4H"I .T+ 0>T 0/ (0+T 707"! 6
< L 0 r t h o d o 3 p s y c h ia t r y c o n s i d e rs t h e m a s s i g n s o f a v e r y d i s t ur b e d
ps ych e 6 a nd
AL n l i gh t ened (as t e r s cons i de r t hem (akyo ; i l l u s i ons o f t he mos t
decep t i ve na t u r e ) * < C
I # '0 W t h e y e 3i st 6 I h av e b e en t hr ou gh t he p ro ce ss , a nd h av e
l e a r n e d f r o m p e r s o n a l e 3 p e r i e n c e ) W h a t d o I k n o w t h e t r y 5 a n g l e t o b e ?
What do I know I was do i ng? I was t r ave r s ing t he Tr ans pe r s ona l $ands )
I n m y e 3p er ie nc e , t h e f ir st t wo a re v er y t r ue ! ( y - o ur ne y h a s
b ro ugh t me t o the t h i r d t r u i s m) I f ound mys e l f caugh t in t he p r ocess o f
t e as i ng o u t w h a t I s a w, h e ar d a n d f e lt p h ys i ca l ly a n d p s yc h ic a ll y a n d
m e l ti n g i n t o t h e a by s s ) I a m r e m in d e d o f a l i n e i n t he m o v i e 4 u c k + o up
wher e @h i co (ar 3 p l ay i ng t he r o l e o f a 4oc t o r s a i d &Wel l , who you gonna
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Ashoka Aurora Ishaya The Art of Subration
be l i eve , me o r you r own e yes ? * To fu r the r i l lu s t r a t e th i s co ncep t , "a4ag e
document s :
& I k n e w a m in i st e r 1s w i f e w h o , f o r n o a p pa r en t r e a s on , s t ar te d
s ee i ng t h i ngs & t ha t 3er e no t t her e /* er hus band f i na l l y had t o have
h e r c o m m i t t ed t o t h e s t a te i n s a n e a s y l u m) f t e r l e n g t h y t r e a t m en t
s he was r e l eas ed a s &cu r ed ) * +he came t o v i s i t me no t l ong a f t e r he r
r e l e as e a n d t h e f i r st t h i n g s h e s a i d t o m e i n a n s w e r t o m y q u e s t i o n
as t o how s he was do i ng was , &'ow I know I am no t s ee i ng any t h i ng
b e c a u se t h e & o c t o rs h a 2 e t o l & m e a m n o t , b u t i t s t i l l s e e m s t h a t I
am)* <
s o n e s 1 s e n s e s b e c o m e m o r e r e f i n e d , a s k i l l n e c e s s a r y t o m a s t e r i s t h e
a b i l it y t o & w a t ch * t h e a s t ra l s h o w a n d n o t b e a f f ec t e d u n l e s s o n e c h o o s e s
t o i nt er ac t w it h t he c h os en r ea lm a nd i ts i nh ab it an ts ) s a wa re n es s
beco mes mo re r e f ined and one i s ab l e to e3 ten d s e l f 5 5 chos e w hich veh ic l e
t o o p e r a t e w i t h i n , t h e c h o i c e o f t e a c h in g o r l e a r ni n g f r o m e a c h e n c o u n te r
cha r ac t e r i 2es t he i n t e r ac t i on )
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a nd a ll l iv in g a nd s o5 ca ll ed n on 5l iv in g t hi ng s, a re a pp ar en tl y
o ut si de o f u s) t a d ee p er l ev el w e m ee t 8 as tr al 1 e n ti ti es t ha t
i n h a b it t h e l o w e r s p h e r e s ) T h e s e 8 a s t r al b e i n g s1 i n c lu d e t h o s e w e
m e et i n d r ea m s, a s tr a l p r o- e ct i on s , f a nt a si e s, v i su a li 2 at i on , a n d
i nc l ude a l l s ymbol s and t hough t 5 f o r ms ) i gher up , deepe r w i t h i n , we
make con t ac t w i t h our .uar d i an nge l s ) Whe t he r t hes e nge l s e3 i s t
ou t s i de o f us ma t t e r s l i t t l e i n p r ac t i ca l t e r ms 6 when we make con t ac t
w i th t h is r e al m w e f i nd s u ch b e in g s i n a t te n d an c e) T h en o n e v en
deeper l eve l s we man 8 con t ac t 1 r change l s and even h i ghe r we may
con t ac t 4e i t y o r s ome as pec t o f i t ) < F
s a w a r e n e s s e 3 p a n d s a n d l i f e e 3 p e r i e n c e m a t u r e s t h e c o g n i t i v e n e e d t o
c r e a t e s e p a r a t i o n d e c l i n e s ) T h e d e f i n i t i o n o f s e l f a n d n o n 5 s e l f b e g i n s t o
b lu r 6 b oundar ie s l o se impor tan ce an d g r ea te r awaren ess f o l l ows the
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Ashoka Aurora Ishaya The Art of Subration
p r i nc ip l e o f sha r i ng domains ) >n t i l +ub ra t i on e3 tends t o i nc lude the l l 6
$ound l es s nes s becomes t he s ubs t r a t e o f i n t e r ac t i on )
& T h e b o u nd a ri e s d o n o t c e a se t o e 3 i s t, b u t t h e y a r e n o l o n g e r t h e
d o m i na n t f e a t u r e o f w ar e n e ss ) + i n c e o n e i s n o l o n g e r a t t a c h e d t o
t he ob - ec t s o f pe r cep t i on , one i s e s t ab l i s hed i n f r eedom) / r eedom or
" i b e ra t i o n m e a n s b e i n g a b l e t o m o v e t h r o ug h t h e c h a r a ct e r is t i c s o f
th e wor l d K s L w i thou t lo s ing t he s t ab i l i t y and in teg ri t y o f
@ o ns c io u sn e ss ) T h e w h o le r a ng e o f c r ea t io n i s p e r c e iv e d b y t h e
pe r so n es tab l i shed i n >n i f i ed @on sc io usn ess ) * < G
I # '0 W th er e i s a n u nd er ly in g u ni tiv e p rin ci ple a t w or k) I h av e
pe r s ona l l y e3per ience d th i s who l i ng p r oces s o f evo l u t ion ) Thro ugh each
s u c c e s s i v e e 3 p e r i e n c e , m y c o n s c i o u s n e s s h a s s h i f t e d f r o m a w a r e n e s s o f
t h e u n i v e r s e K + e l f L, t o a w a r e n e s s o f t h e o r g a n i sm K s e lf L , t o a w a r e ne s s o f
m a n y t h i n g s ) & I t f o l l o w s, t h a t e a c h l e v e l o f t h e s p e c tr u m i s p r o d u ct i v e o f
a s p e c i f i c c l a s s o f d y s 5 e a s e s ) * O P P P P ' o t a t i o n : + e e W i l b e r 1 s c h a r t s t h a t
f le sh o ut t he se c la ss es )Q < J We st e rn p s yc h o lo g ic a l a p p ro a ch e s l o ok t o
r e s o l v e a n g s t b y s t r e n g t h e n i n g t h e e g o ) $ y b u i l d i n g s e l f 5 c o n f i d e n c e a n d
c o rr e ct i ng o n e 1s s e lf 5 im a ge , t h e i n di v id u al c a n m o re e a si l y e n g ag e i n
o ut er l if e a nd f ul fi ll t he g oa ls o f o ut 5w ar d m a n if es ta t i on ) as te rn
t r a n s c e n d e n t a l p r a c t i c e s l o o k t o d e s t r o y t h e e g o ) s o n e i s b i r t h e d o n t o
t h is p l an e t, i n to t h is 7 r ec i ou s u ma n Meh i cl e t h e g o al s o f a c h ie v in g
c o n s c i o u s n e s s b e c o m e l o s t o r f o r g o t t e n ; s e e m i n g l y ) T h i s s u b t l e v o i c e o f
r e t u r n t o t h e u n 5 m a n i f e s t b e c o m e s d i s t o r t e d b y m a n y o t h e r v o i c e s ) I t i s
i mpor t an t t o d i s t i ngu i s h t he vo i ces o f t he va r i ous r ea l ms )
T h e w o r k o u t l i n e d b y + u s a n + h u m s k y i n 4 i2 i ne 5e2e la t io n i s q u i t e
v a l u a bl e i n d e v e l op i n g t h e s k i ll s o f d i s c e rn m e n t) e r w o r k h a s a i d e d m y
u n d e r st a n d in g o f D a c o b 1s l a d d e r a n d t h e a b i li t y t o b e g u i d e d b y a n d w o r k
w i t h i n t h e r e a l m s ) I h a v e f o u n d i t q u i t e h i l a r i o u s t h a t t h e q u e s t i o n I a m
mo st f r eq ue nt ly a sk ed d ur in g th e a cu te p ha se , t he g ap w he n I a m
e 3 pe r ie n ci n g d i ss o ci a ti o n i s 8 re y o u h e a ri n g v o ic e s? 1 0 f c o ur s e I a m
h e a r i n g v o i c e s ! T h a t i s p a r t o f t h e d y n a m i c o f + u b r a t i o n i n t o t h e h i g h e r
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Ashoka Aurora Ishaya The Art of Subration
r ea l ms ) (y s ens or y pe r cep t i on i s e3pand i ng t o hea r and s ee K c l a i r aud i ence
a n d c l a ir v o y a nc e L i n t o t h e m o r e s u b t l e , h i g h e r v i b r at i o n a l f r e q u e n ci e s )
T h is i s t h e p r a c ti c e o f $ h ak t i y o g a ) I w i sh p r ac t it i on e rs w e re a b le t o
r e c o g n i 2 e t h i s p r o c e s s i n i n d i v i d u a l s a n d w e r e a b l e t o h e l p t h e i r c l i e n t s
t u n e t h e i r i n t e r n a l & r a d i o d i a l * t o d i s c e r n w h i c h s u b t l e r e a l m i s b e i n g
a c t iv a t e d , s u b r a t e d i n t o ) I n s te a d o f s e e k i n g c h e m ic a l s t o a n e s t he t i 2 e t h i s
s t age o f t he +ubr a t i on p r oces s ! ! !
T h e s e s u b t l e v o i c e s a r e w h i s p e r i n g t o o u r c o r e , i n s p i r i ng a n i n n a t e
des i r e f o r t he evo l u t i on o f cons c i ous nes s w i t h i n us ) Th i s p r oces s i s o f t en
r ef er re d t o a s t he tm an 7 ro -e c t) ow c an t he g o al s o f as te rn a nd
Wes t e r n cu l t u r es move t o dance i n ha r mony t o c r ea t e t h i s d i v i ne p r o - ec t ? 5
$ y m o v i n g t o @ o 5 @r e a t e t og e t h e r! $ y c o m i ng t o u n d e r s t a nd t h e p o t h o l e s
i n t he u pc o mi ng p at h, w e c an m or e e as il y t ra ns fo rm t he e 3p er ie nc e)
Wi lbe r under s t ands :
&0ne o f t he ma i n t hemes o f t he t man 7r o - ec t i s t ha t i f deve l opment
m is c a rr i es a t a n y p o in t , t h e n i n st e ad o f d i ff e re n ti a ti o n t h er e i s
d i s s oc i a t i on , i n s t ead o f t r ans cendence , r ep r es s i on ) The h i ghe r s t age
d o e s n o t t r a n sc e n d a n d i n c l ud e t h e l o w e r , I T 4 I + + 0 @ I T + ' 4
=7=+++ I T K 0= +7@T+ 0/ I TL ) The d i s s oc ia t ed componen t
;no w cu t o f f f rom the co nsc i ous s weep o f ong o ing deve lop ment a nd
s t r uc t u r a l i 2a t i on ; s ends up i t s d i s t u r b i ng de r i va t i ves i n t he f o r m o f
pa t ho log ic a l s ymp t o ms and s ymbo ls ) 0 n t hese in s t ances , a s / r eud
d e m o n st r a t ed , t h e r ap y i n v o l v e s , i n s o m e s e n s e , a r e i n te g r a ti o n o f
t h e d i s s o c ia t e d a s p e c t , a r e 5 me m b e r in g o f c o m p o n e n ts p r e v io u s l y
d i s member ed ) * A E
$ a r b a r a $ r e n n a n t h e r a p i s t s a r e t r a i n e d t o h e a l t e a r s i n t h e s u b t l e
s t r uc t u r es , t o r epa i r , t o r e 5 member s ub t l e s t r uc t u r a l damage ) 4epend i ng on
t he t ra in in g a nd p er so na l g ro wt h t he se t he ra pi st s h av e u nd er go ne
pe r s ona l l y, the y can be an inv a luab l e r e s our ce ) They a re the quan t um
ph ys ic i ans o f ou r e ra ) ls o , Tao i s t p r ac t i t ion e r s o f @h ines e med i c ine
u n d e r st a n d t h e i m b a la n c e s t h a t g r o w th o v e rw o r k in g m a y c a u s e ) n o th e r
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Ashoka Aurora Ishaya The Art of Subration
v e ry v a lu a b le r e so u rc e t o a i d t h e d e v el o pm e nt o f t r an s la t io n s k il l s i s
(ar s ha " i nehan1 s 4 i a l ec t i ca l $ehav i o r Ther apy (!BT) a s o u t l i n e d i n h e r
e3empl a r y wor k Cogni t i 2e Beha2 i or a l Trea t men t o ! Bor &er l ine $er s ona l i t *
4 is or&er K 9JJAL / + h e h a s w r i t t e n a c o m p a n i o n W o r k b o o k w h i c h o u t l i n e s
m an y p ra ct ic e s eq ue nc es a nd f ur th er s tu dy m at er ia l f or p ra ct ic al
a pp li ca t i on ) 4 o n ot b e d et er re d b y t h e l ab el , s he c ha ra ct er i2 es t hi s
t r ea t men t moda l i t y i s app l i cab l e t o ) er appr oach i s Nen bas ed and wor ks
t o c o rr ec t m an y e rr or s i n c og n it iv e p ro ce ss in g a n d b e in g p re se nt t o
c#an%e ) > l t i m a t e l y , t h i s t h e r a p e u t i c m o d a l i t y w o r k s t o a t t a i n a n o n 5 d u a l
l ev el o f c on sc io us ne ss ) 4 $T w o rk s t o d ev el op B b as ic s ki ll g ro u ps :
( i n d fu l n e ss s k i l ls , I n t e rp e r s on a l f fe c t i ve s k i l ls , m o ti o n = e g u l at i o n
s k i l l s and 4i s t r e s s To l e r ance s k i l l s ) +he has c l eve r l y i ncor por a t ed Hog i c ,
Tan tr ic , a nd Tao is t s ki ll s o ne u se s t o g ro w c on sc io us ne ss i nt o h er
cogn i t i ve bas ed t he r apy ) ga i n , t he cogn i t i ve under s t and i ng o f t h i s body
o f w o r k l e a d s t o a s m o o t h e r p r a c t ic e o f t h e r t o f + u b r a t io n a t a l l l e v e l s
o f t he s pec t r um)
s o ne e ng ag es in + ub ra tio n, a wa re ne ss o f th e e ve r p re se nt
u n d e r ly i n g f i e l d b e g i n s t o s h i ne t h r o u gh ) T h i s a w a r e ne s s a g r e e s w i t h t h e
Medanta :
& Tha t a l l l eve l s and s t ages a re on wi th +"/, bu t p rio r to
en l i gh t enment , t h i s onenes s i s uncons c i ous nes s ! + i nce t he +e l f was
bo t h t he g roun d o f eve r y s t age and deve lop ment and the goa l o f
eve r y s t age o f deve l opment , i t i s pe r f ec t l y accep t ab l e t o s ay t ha t t he
+ el f w as p re se n t a l l a lo n g, & g ui di ng *, & pu ll in g* a n d d ir ec ti ng
deve l opment , s o t ha t eve r y s t age o f deve l opment i s d r awn c l os e r and
c l os e r t o +e l f 5 r ea l i 2a t i on ) * A 9
7 r oc e ss i ng , c l ea r in g o u r u n c on s ci o us a n d r e di r ec t in g o u r a w ar e ne s s t o
g r ea t e r and g r ea t e r f i e l ds o f t r u t h , l eaves one i n t he p r es ence o f t he 0')
s our awar enes s i s pu r i f i ed t o cogn i t i ve l y and cons c i ous l y ma i n t a i n t h i s
e3per i ence , t h i s a t 5 one 5 men t , mor e and mor e one beg i ns t o s ubr a t e i n t o an
i n t e r es t i ng e3per i ence ) The ab i l i t y t o d i s s o l ve i n t o ""5 TT5 I + moved
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Ashoka Aurora Ishaya The Art of Subration
me to q ues t ion &What i s cons c ious nes s ?* 6 & Wha t i s 4ea th o f
cons c i ous nes s ?*
Unerstanin% Ga' Consc iousness
I n t h i s e v o l u t i o n a r y p r o c e s s , a s i g n i f i c a n t s k i l l o n e m u s t m a s t e r i s t h e
ab i l i t y t o become cogn i 2an t o f and ab l e t o move t h r ough t he dea t h , r eb i r t h
cyc l e , c r os s t he t h r es ho l d o f 4ea t h o r i n #abba l a t e r ms c r os s t he =a i nbow
$ ri dg e) T he Ti be ta n $ oo k o f t he 4 ea d , $ ar do T ho d ol s pe ak s t o t hi s
p ro cess )
& $ a rd o m e an s & g a p* , & t ra n si t io n s t at e *) T h e a c tu a l b i rt h e v en t ;
d e li v er y f r om t h e w o mb ; is n o t t h e o n ly t y p e o f b i rt h ) T h e b ar d o
s t a te o c c u r s m o m e n t t o m o m e n t w i th t h e r i s e a n d f a l l o f t h e w o r l ds )
T h e T i b et a n t r a d i ti o n d e f i n e s t w o m a - o r b a r d o s o r & i n b e t w e e n s* ;
one occur s a s a s e r i e s o f t empor a l ev en t s l a s t i ng up t o BJ days a f t e r
ph ys i ca l dea t h , and the o the r occu rs '0W, momen t to mo me nt ) The
T ib e t a n t r a d i ti o n a d d s o n e s i m p l e a n d c r u c i a l p o i n t , T + T W 0
$=40+ = T +()* A < When t he r i s e o f t he 7 r i mar y 4ua l i s m
beco mes th e o b- ec t o f in teg ra t i on , o ne beg ins to g r asp & the s ub - ec t
i s i ll u so r il y s e pa r at e d f r o m t h e o b - e c t, a n d t h at s e pa r at i on , t h at
& %a' * b e tw e en s e er a n d s e e n , i s n o th i ng o t he r t h an s p ac e i t se l f)
umani t y, i n i den t i f y i ng e3c l us i ve l y wi t h t he o r gan i s m as s epa r a t ed
f ro m t he e nv ir on me nt , n ec es sa ri ly c re at es t he v as t a nd g ra nd
i l l u s i on o f s pace , t he .7 be t ween s ub - ec t K s e l f 5 t manL and ob - ec t
K >ni ve r s e 5 +"/5 $r ahmanL ) * A A
What i s t he u l t i ma t e $ar do o f ou r s pec i es i nca r na t e evo l u t i on? I s t h i s t he
ans wer t o i mmor t a l i t y?
The 0ne who p r ac t i ces t o d i e do es no t d i e when he d i e s 6 i f he s t ays
f ocus ed on t he t r ans f o r mat i on o f cons c i ous nes s ) + t an i s l av R @r i s t i na .r of
w i t nes s ed t h i s under s t and i ng and conc l uded ,
& @ o nf r on t at io n w i th d e at h i n a r i tu a l c o n te 3 t, o r p r ec i pi t at e d b y
e m o t io n a l o r s p i r it u a l c r i s e s, c a n b o t h e l i m i n a te t h e f e a r o f d e a t h
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Ashoka Aurora Ishaya The Art of Subration
a nd l ea d t o t ra ns fo rm at io n ; t ha t i s, t o a m or e e nl ig ht en e d a n d
pe r so na l l y s a t i s fy in g way o f l iv ing ) The sp i r i t ua l c r i se s o f
s c hi 2 op h re n ia , w h en t h ey i n cl u de e l em e nt s o f t h e d e at h ;r e bi r th
p r oces s , can , i f appr oached wi th under s t and in g , become un i que
moment s o f g r owt h and r e s t r uc t u r i ng ) A B
I n c o n t ra s t a n o t h e r i m p o rt a n t t y p e o f t r a ns p e r so n a l c r i s i s d e s c r i b e d b y
@ al if or ni an p sy ch ia tr is t a nd D un gi an a na ly st D oh n Wei r 7 e rr y i s t he
rene3al #rocess )
& $ ec au se o f i ts d ep th a nd i nt en si ty, t hi s i s t he t yp e o f p sy ch o
s pi ri tu al c ri si s t ha t i s m os t l ik el y d ia gn o se d a s s er io us m en ta l
d i s eas e ) The e3per i ences o f peop l e i nvo l ved i n t he r enewal p r oces s
a r e s o s t ra n g e, e 3 tr a va g an t , a n d f a r f r om e v e ry d ay r e al i ty t h at i t
s ee ms o b vi ou s t ha t s om e s er io u s p at ho lo gi ca l p ro ce ss m us t b e
a f f ec t i ng t he f unc t i on i ng o f t he i r b r a i ns ) * A C
s I have en t e r ed i n t o t he r enewal p r oces s , my body mi nd began g r app l i ng
w i t h t h e u n d e r ly i n g c o n t i n u u m o f t h e i n f i n i te ) I f e l t t h e i n t e r n a l s t r u g g l e
t o s u r r ender t o t he p r oces s o f d i s pens i ng wi t h bur n i ng o f f o f t he s ams ar as
o f i m p e d a n c e t o m y f u r t h e r k n o w i n g , c o n s t a n t m o m e n t 5 t o 5 m o m e n t l i v i n g
a w a r e n e s s w i t h o u t b o u n d a r i e s ) T h i s s t a t e o f b o u n d l e s s n e s s i s e 3 t r e m e l y
d if fi cu lt f or o ne t o & gr ok *) 7 ra ct ic e m ak es p er fe ct ! s t he re i s a
c o nt i nu u m o f d i ss o ci a ti o n, t h er e i s a c o n ti n uu m o f s t ru c tu r e) & I t i s t h e
d i st in c ti v e a c h ie v em e nt o f m a n t o b r ea k a p ar t t h e u n d if fe r en t ia t ed o r
d ia le ct ic a l u ni ty o f t he i ns ti nc ts O of " if e a nd 4 ea th Q a t t he a ni ma l
l eve l ) * A I t i s n o t a n e a s y t a s k t o t e a s e t h r o u g h t h e s t r u c t u r e s o f t m a n 5
$ r ah m an a n d e s t ab l is h t h e s u bt le t ie s o f l e sh a vi d ya ) " e sh a vi d ya i s t h e
r e f l ec t i on o f maya ove r t he mi nd o f yog i +a i n t s ) I t i s t he t h i n , s oap bubb l e
o f ego t ha t ma i n t a i ns phys i ca l i t y ) &"es hav i dya i s t he ve r y s ub t l e l aye r o f
t he s a t t v i c a s pec t o f maya t ha t ma i n t a i ns t he i nd i v i dua l i t y o f a Hog i +a i n t
up t i l l t he end o f h i s he r des t i ned l i f e i n t he man i f es t wor l d ) * A F
Thi s h i e r os gamos o r & s ac r ed mar r i age* i s t he p r oces s o f p r o - ec t i ng
o utw ard t he p rim ar y d ua li s m) $ e a ble to p ro -e ct o utw ard v ia th e
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Ashoka Aurora Ishaya The Art of Subration
$ r a h m a r a n d h r a i s t h e 7 a t h o f t h e + a g e s ) T h i s . 7 c o n s c i o u s n e s s c a n b e
r e vi s it e d m a n y t i me s ) $ e in g c o mf o rt a b le e 3 is t in g w i th i n t h is p a ra d o 3
r es o l ves t he f ea r o f dea t h and p r epa r es one f o r t he r o l e o f t he $od h i s a t t va
i n t h e s u b t l e r e a l m s ) T h e c o g n i t i v e a b i l i t y t o r e s o l v e t h i s d i a l e c t i c , t o
ba lan ce in to the knowin g th a t " i f e and 4ea th i s the i l lu s io n and tha t
&.7* cons c i ous nes s , t he s pace be t ween t he e3pans i on and con t r ac t i on i s
t h e T = > T , m o v e d m e t o b e c o m e a w a r e o f a n o t h e r u n d e r l y i n g p r o c e s s )
T h i s r e n e w a l p r o c e ss o f & = e t u rn t o t h e @ e n t e r * p o i n t s t o a n e v e n g r e a te r
T = > T ) ( + I e 3 p e r i e n c e d : & T h e h e a r t i s t h e f o u r t h c h a k r a , t h e p r i m a r y
s e a t i n th e h u m a n o f t h e so u l ) T h e a l ta r t o . o d e 3 is t s i n t he h e a r t 6 it i s
t h e m o s t i m p o r t a n t e n e r g y c e n t e r i n t h e b o d y b e c a u s e - u s t h e r e i s t h e
s t ron ges t connec t ion t o the I '/ I'IT)* A G T he m ys ti c5 sa ge ,
Hoges hwar ananda +a r as wa t i under s t ood :
& T h e b r a i n i s t h e c e n t e r o f t h e w h o l e p s y c h o 5 p h ys i o l og i c a l l e v e l o f
t he o r gan i s m whi l e t he hea r t i s f e l t t o be t he s ea t o f t he +ou l o r t he
8 At*an 1 K se lf L) T he w ho le c ur re nt o f v i br at or y f o rc e, w hi ch
pe r vades the bo dy5 min d o f an in d iv id ua l , has i t s s ource wi th i n the
hea r t ) * A J
$ ut , fo r o ur s pe cie s t o mo ve t o e sta bl ish im mo rta li t y w it hin t# i s
%enerat ion , w e a s a c o l l ec t i v e m u s t m o v e t o u n d e r st a n d t h e p r i n c i p le s o f
e v o l u ti o n o f $ r a h ma n + e lf > n iv e r s e i n r e s p e c t t o t ma n s el f b od y) T h e
s o u r ce o f $ r a h m a n c o n n e c t s o u r ' a v e l @ e n t e r s t o t h e 4 e e p e st 4 i m e n s i o n
a t t h e @ o r e + t a r l e v e l o f o u r + p e c i e s t o t h e s u b t l e s t f i e l d o f a w a r e n e s s 5
T h e > n i v e r s e ) T h e h i g h e s t v i b r a t i o n a l b o d y o f p e r s o n a l h a b i t a t i o n i s t h e
deepes t i n ) Ha t r i conc l udes :
& T he f in a l a w a ke ni ng c an o nl y h a pp en w he n t he re i s a r ad ic al
e 3p lo si on o f u nd er st an di ng o f t he w ho le i ll us io n o f se pa ra te
e 3 i s te n c e , a v a st a n d u n i ma g i n a b le s h i f t in g e s t al t ) T h i s co u l d b e
l i k e ne d t o t h e f i n a l p a r a d i g m s h i f t a n u t t e r s h o c k o f r e c o g ni t i on o f
t he t r u e r ea li ty o f t h e s i t ua ti on ) t t he e 3p lo si ve m om en t t h e
r e l e a s e d e n e r g i e s s e e m t o p e n e t r a t e t h e b r a i n r o o t , t h e t o t a l b o d y 5
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m in d i l lu m in a ti n g t h e e n ti r e b r a i n, r e le a si n g i t a l l b a c k i n to t h e
u n b o u n de d M 0 I4 ) M 0 I 4 t o M 0 I4 t h e l as t s t ag e o f e v o lu t i o n th a t
we know* B E
Thi s p r oces s o f d i s s o l u t i on , t he ab i l i t y t o d i s s o l ve i n t o t he bs o l u t e
i s ve r y we l l de f i ned by Ten2 i n Wangya l = i npoche i n h i s The Tibetan 6ogas
o ! 4r eam an& " l ee# K 9JJGL ) s one beg i ns t o cogn i 2e :
& wa ki ng l if e i s a ct ua ll y t he s am e a s d re a m, t ha t a l l m ea n in g i s
i mpu t ed , and t ha t wha t eve r we e3per i ence i s due t o t he i n f l uence o f
ka r ma and t he r ea l i 2a t i on t ha t a l l phenomena a r e empt y and t ha t t he
a p p a r en t s e l f 5 n a t u re o f b e i n g s a n d o b - e c t s a r e i l lu s o r y, a r i s i n g a n d
s e l f 5 l i be r a t i ng i n t he empt y , l umi nous bas e o f e3 i s t ence ) * B 9
0 nl y a s t hi s l ev el o f a w ar en es s b eg in s t o d aw n w it hi n y ou r i nt er na l
l a n d s c a p e d o e s t h e s t a t e m e n t b e g i n t o m a k e s e n s e 5 8 n l i g h t e n e d ( a s t e r s
cons i de r t hes e bands (akyo5 i l l u s i ons o f t he mos t decep t i ve na t u r e 1 ) They
ar e i l l u s i ons f r om t he pe r s pec t i ve o f non5 dua l i t y ) $u t f r om t he pe r s pec t i ve
of dua l i t y th ey s t i l l ho l d t rue t o th ere ow n id en t i t y) Wor k in g
t h r ough a t t a i n i ng a non5 dua l l eve l o f cons c i ous nes s enab l es one t o l e t go ,
t o e 3 p e r i e n c e l i b e r a t i o n f r o m c r e a t i n g k a r m a w i t h b e i n g s i n h a b i t i n g t h e
c h i m e r a o f d u a l i t y ) " i f e a n d o n e s 1 p e r s p e c t i v e t r u l y b e g i n s t o c h a n g e a s
" i be r a t i on beg i ns t o dawn wi t h i n t he l ands cape o f your t man , i n r e s pec t
t o $r ahman )
F ina l Sta%es o f Subrat ion
s I h a v e s u b r a t e d t o e 3 p e r i e n c e t h i s v o i d 5 t o 5 v o i d s t a t e , a s u b t l e
p ro cess appea r ed to be fu nc t io n ing ) ga i n , in my e3p lo r a t io n , I s ea r ched
f o r ans wer s to e3p l a i n my d i s cover y) I r e f e r t o i t a s t he inb r ea t h and ou t 5
b rea th o f .04) $ar ba ra $re nnan s peaks o f th i s c rea t ive p r ocess a s the
pu l s e o f l i f e )
& / i r st , t h e r e i s t h e s t i ll n e s s o f t h e e m p t y v o i d d e e p w i t h i n t h e c o r e
s t a r ) Ther e i s a po i n t o f s t a s i s ) Then comes t he e3pans i on ou t o f t he
c o re , a s t h e e s s en c e o f w h o y o u a r e e 3 p r es s es i ts e lf t h ro u g h t h e
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l eve l s o f i n t en t i on K ha r i c l eve l s L , pe r s ona l i t y K au r i c l eve l L , and i n t o
t h e p h y si c a l w o rl d ) t t he h e i g h t o f p h ys i c a l e 3 pr e s si o n , w h e n w e
l o o k i n t o o ur h i g h l y p o li s h e d m ir r o r, w e g o i n t o t h e n e 3 t p h as e ) I t
i s t h e s ta s i