scratching the surface

When you are heading into new territory, it is helpful to have a map. Hiking in Yosemite, you need a topography map showing the mountainous terrain. In New York City, you need to know the city blocks and major sites to orient yourself. Within yoga, a different guide is needed—one that charts the landscape of the self. The koshas, “layers” or “sheaths,” make up one such map, charted by yogic sages some 3,000 years ago. Written about in the Upanishads, the kosha model navigates an inner journey—starting from the periphery of the body and moving towards the core of the self: the embodied soul.

According to the map of the koshas, we are composed of five layers, sheaths, or bodies. Like Russian dolls, each metaphorical “body” is contained within the next: annamaya kosha—the physical body; pranamaya kosha—the breath or life-force body; manomaya kosha—the mental body; vijanamaya kosha—the wisdom body; and anandamaya kosha—the bliss body. This is not a literal anatomical model of the layers of the body, although you can find physiological parallels to the koshas, like the nervous system and the “mental” body. As a metaphor, the koshas help describe what it feels like to do yoga from the inside—the process of aligning what in contemporary language we often call “mind, body, and spirit” or “mind-body connection.”

From the kosha perspective, yoga helps us bring body, breath, mind, wisdom, and spirit (bliss) into harmony. Like a tapestry, the koshas are interwoven layers. You have no doubt experienced this in your own body: When you are tense or strained, your breath becomes shallow, your mind becomes easily agitated, and wisdom and joy seem far away. When you are filled with joy and communion with life, these feelings permeate your entire being. Separating the strands of the tapestry is a way to look at how your whole being can become integrated or in discord. The kosha map is not a rigid truth but a template for exploring the mystery of being alive.

Excerpt from Yoga Journal Article, You Are Here, by Shiva Rea

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