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ahamkara (ä·hämˑ·kä·r),

n in Sanskrit, egotism or pride.
References in periodicals archive ?
El cuerpo insigne es un agregado compuesto por los tres organos internos (buddhi, ahamkara y manas), los diez organos externos (buddhindriya y karmendriya) y los cinco elementos sutiles (tanmatra).
Yoga divides the functioning of the mind into four components: manas (the lower or sensory mind), buddhi (the inner witness), chitta (the bed of memory), and ahamkara (self-identity) (Archarya, n.
The Sanskrit word ahamkara denotes a state of subjective illusion, the identification or attachment of one's ego with only a small part of the human Being (the Self), rejecting everything else as "not me".
First of the three tattva that constitute mind is buddhi, consciousness of being but without awareness of an ego; the second is ahamkara, the personal consciousness aware of being a particular 'I'; and finally manas, which as the seat of the desire to perceive or act, gives rise to and is the organizing principle of the senses.
From this causal body emerges the subtle body (sukshma-sharira) which is composed of mind (made up, as we have seen of buddhi, ahamkara, and manas).
The order of production is as follows: Buddhi, then Ahamkara, from the latter the Manas, Indriya and Tanmatra and from the last the Bhuta.
All the 25 elements just described involved in Kundalini yoga--the five mahabhuta, the ten indriya, the five tanmatra, manas, ahamkara, buddhi, purusha and prakriti (pradhana)--are not only commonly encountered in Balinese texts, they are specifically mentioned and symbolized in the Balinese pitra yadnya, as we shall see.
The multiplicity of cosmic evolutes include the mahat or buddhi (intellect), the ahamkara (ego principle), the manas (lower mind), the ten indriyas (five cognitive senses of sight, smell, taste, touch, and hearing and five conative senses of speech, prehension, movement, excretion, and reproduction), the five tanmatras (subtle essences) underlying the five sensory abilities, and the five bhutas (gross material elements of earth, water, fire, air and space).
In the fifth stage, the artist meditates on the vast emptiness (sunyata) to destroy his ahamkara, the consciousness of self, which would otherwise intervene between him and the object of his meditation.
This reflection is what gives us the "I-sense" of individuality (the ahamkara, or "I-sense"), as well as the ability to cognize the world around and within us.
Here na is correlated with gandha 'smell', vayu 'anus', and cittu 'intellect'; ma with rasa 'taste', guhya 'genitals', and buddhi 'judgment'; si with rupa 'sight', pada 'feet', and ahamkara 'egoism'; va with svara 'touch', pani 'hands', and manas 'mind'; and ya with sabda 'speech', yakki 'mouth', and jnana 'wisdom'.
In Samkhya, prana is an evolute of prakrti, having activity as its power, and the five bodily winds are the common functioning of buddhi (intellect), ahamkara (ego), and manas (mind).