The Swadisthan chakra is placed at the level of the hip and is suspended like a satellite on a cord from the Nabhi chakra (located in the area of the navel). It moves around the Void (located in the abdominal area) , giving sustenance to any weak areas.
The quality of Swadhistan on the right side is creativity, i.e. truly inspired thoughts, ideas and actions. The quality of Swadhistan on the left side is pure knowledge, i.e. the truly discerning and discriminating power to see the innate nature of things at a new stage in our awareness called vibrational awareness.
Sahaja Yoga affirmations to open and clear the Swadisthan chakra include, “Mother, please give me the true knowledge,” “Mother, please make me the creative knowledge,” and “Mother, verily You are the doer and enjoyer.”
At the Swadisthan chakra the energy and purity of our creativity are generated. On the right side it manifests as intellect; on the left side as imagination. These aspects integrate in the central channel creating our aesthetic sense.
The development of aesthetics was the third step in human evolution when humanity transcended the audiovisual senses. For the first time humanity entered the abstract; we could imagine, forecast and conceive of images or ideas beyond the senses. Moreover, this asthetic sense can discern true beauty, and so the Swadhistan is capable of authoring truth concepts and ideas that are auspicious, i.e. pleasing to the Divine.
To create, one first has to be a visionary. One has to have the capacity to project something beyond the three dimensions. Animals don’t have this capacity; it is a special gift to humans. The one who has true genius becomes a creative force, an avant-garde, the forerunner of society. Scientists like Einstein, artists like Monet, composers like Mozart, writers like Shakespeare are capable of inspired works. Often they proclaim their minds were vacant at the time of their in-spirit-ation, and so the meditative state is best for achieving the best inspirational ideas and activities. This is consistent with being in the “zone” of high level achievement in many endeavours including reflecting on or thinking about things.
Unfortunately, human beings have a tendency to pursue everything to extremes. The Swadisthan centre is also responsible for breaking down fat particles in the abdomen to replace the grey and white cells of the brain, thus regenerating the capacity for thinking. Non-stop thinking exhausts the right Sun/Pingala channel and swells the ego. This pushes the superego down and thus severs the connection with the central channel which is nurtured by the All-pervading Spirit, the real reservoir of creativity. Instead of a sponge, the brain becomes like a rock, losing its capacity for absorption.
The Swadisthan chakra also looks after the liver, pancreas, spleen and parts of the reproductive system. If this centre is overworked by the thinking process, the other organs it has to look after are neglected and the whole attention can really suffer.
This centre on the right is particularly important in that it is the seat of our attention. Therefore, if it is not balanced we find it hard to relax and to be in the meditation state. The quality of the left side of this chakra is true knowledge. This is a pure knowledge that is beyond the ego. When our knowledge is pure we reflect the inner beauty that is like a still and silent lake. We can locate this inner pool of truth and beauty and become the reflective channel for it.
(Photograph courtesy of pdphoto.org)
“The work of art is born of the artist in a mysterious and secret way. From him it gains life and being. Nor is its existence casual or inconsequent, but it has a definite and purposeful strength, alike in its material and spiritual life. It exists and has power to create spiritual atmosphere; and from this inner standpoint one judges whether it is a good work of art or a bad one”.
“That is beautiful which is produced by the inner need which springs from the soul. ”
“All those variety of picture, when they are really art, fulfill their purpose and feed the spirit.”
“Painting is an art, and art is not vague production, transitory and isolated, but a power which must be directed to the improvement and refinement of the human soul.”
“It is very important for the artist to guage his position aright, to realise that he has a duty to his art and to himself, that he is not king of the castle but rather a servant of a nobler purpose. He must search deeply into his own soul, develop and tend it, so that his art has something to clothe, and does not remain a glove without a hand”.
From Concerning the Spiritual in Art by Wassily Kandinsky, first printed in 1914
Have you ever looked, really looked, without thinking, at the unopened coils of a tree-fern frond? If you give yourself time to absorb the shape and contours you find your attention becomes one with the plant. It’s so mathematically perfect and alive at the same time. You can almost feel the force of life that will gradually unfurl the coils as the fern grows.
As artists and writers we love to find examples in nature of what happens inside us when we enter the meditative state. So, drawing a tree-fern really appeals because we can relate the uncoiling of our own energy to the pattern of the fern’s growth. Spiritually, we are born from the light above, and in that light we can see our own true potential for the first time.
Several of us gathered in a friend’s garden in front of her tree-ferns and looked intently at the plants for some time until our attention became one with them. Then we examined runner bean seeds by separating the different parts to look at the primule and storage material and to search in vain for any image of the bean plant it would have become.
From that we closed our eyes and put attention on the base of the spine where the earth is represented in us and from where the wisdom and innocence needed for our growth into the true self come. Next the attention moved up the spine to the “seed” germinating within the sacrum bone and rising to meet the nurturing energy from the light above. With attention at the top of the head we watched the silence between the thoughts in the same way that we had observed the fern and the seed.
Afterwards, one lady who was new to meditation said that she had experienced a gap between her thoughts for the first time ever. So, we talked about the Kundalini as a mothering, nurturing energy expanding our creativity as we grow closer to our inner potential and about how to use this attention during such activities as drawing and writing. She was able to feel the Cool Breeze coming from the top of her head. We sat in meditation again for some time.
The next step was to write in silence and continuously for about ten minutes on the subject of “myself and my art”. All of us felt it was easier to write after being in meditation and that what we wrote was valuable for our growth in spirit as well as in art practice.
Finally we drew a self-portrait with the aid of hand-held mirrors, while focusing on the thought, “Am I what I see?” You may find this an interesting activity whether or not you are an artist.
The Mona Lisa, the best-known painting in the world: it has held a certain mystery to all who have seen it. The beautiful face is commanding in its beauty and compelling in its atmosphere. A controversy still remains, however, as to whose portrait Leonardo Da Vinci actually painted. A Florentine matron? Who?
Compare the painting with the photograph of Shri Mataji. This photograph provides the answer, if someone only has eyes to see. Shri Mataji’s beauty, gesture and mood all speak of the secret of the Mona Lisa. Da Vinci, a realized soul and genius, has painted the ideal woman, through thoughtless inspiration. The identity of the actual model for the work seems unimportant in comparison with the resemblance of the painting to the photograph.
The painting (completed between 1503 and 1506) has been an object of contemplation and admiration for centuries. The painter’s use of many layers of transparent colour gives a subtle brilliance to a realistic face of a woman. This technique of sfumato (half-light) puts the woman painted seemingly in two worlds: sitting in a chair, in front of a natural, almost primeval landscape.
The photograph of Shri Mataji: the soulful eyes, the part of the hair, the clasped hands, the pose in the chair, even the way the tapestry and the open land beyond give a sense of depth similar to the painting’s landscape! The qualities of pure beauty and intelligence that radiate from the painting in a quietly mystical way say, “Who is She?” And finally we know.
Source: Light of Sahaja Yoga Newsletter