There are many ways to explore the question of who we are. We usually begin with what we can recognize easily: the body, the senses, thoughts, emotions, memories, relationships and personal identity. The Nirvana Shatkam, also known as the Atma Shatkam, takes a different route. Its six verses gradually move attention through these layers and point toward the Self as pure consciousness and bliss.<\/p>\n\n\n\n
Traditionally attributed to Adi Shankaracharya, the Nirvana Shatkam is a concise expression of the Advaita Vedanta vision of the Self. Each verse examines another aspect of individual experience and concludes with the same powerful declaration: Cid\u0101nanda-r\u016bpa\u1e25 \u015aivo\u2019ha\u1e43 \u015aivo\u2019ham, meaning, \u201cI am of the nature of consciousness and bliss; I am \u015aiva, I am \u015aiva.\u201d<\/p>\n\n\n\n
The teaching unfolds through a process of recognition. As attention moves through the mind, senses, body, emotions, social identity and concepts of bondage and liberation, the verses point toward the consciousness in whose presence all these experiences are known.<\/p>\n\n\n\n
The Nirvana Shatkam, also written as Nirvana Shatakam, is a six-verse Sanskrit hymn traditionally attributed to Adi Shankaracharya. It is also called Atma Shatkam, with Atma<\/em> referring to the Self. The hymn presents a contemplative inquiry into the nature of the Self from the perspective of Advaita Vedanta.<\/p>\n\n\n\n The six verses examine different layers of human experience. The first explores the mind, intellect, ego, memory, senses and elements. The second moves through pr\u0101\u1e47a, the five vital airs, the seven dh\u0101tus, the five koshas and the organs of action. The later verses examine emotions, desires, the four aims of life, religious practices, relationships, birth, death, form, bondage and liberation.<\/p>\n\n\n\n Each verse returns to the same refrain:<\/p>\n\n\n\n \u091a\u093f\u0926\u093e\u0928\u0928\u094d\u0926\u0930\u0942\u092a\u0903 \u0936\u093f\u0935\u094b\u093d\u0939\u0902 \u0936\u093f\u0935\u094b\u093d\u0939\u092e\u094d \u0964<\/strong> \u201cI am of the nature of consciousness and bliss; I am \u015aiva, I am \u015aiva.\u201d<\/strong><\/p>\n\n\n\n Here, \u015aiva is understood in the Advaita context as auspicious, pure and undivided reality. The declaration therefore points toward the essential Self rather than personal pride or individual status.<\/p>\n\n\n\n The central movement of the Nirvana Shatakam meaning can be understood through a simple question: what remains when changing aspects of experience are carefully examined?<\/p>\n\n\n\n Thoughts change. Feelings change. Memories appear and disappear. The body changes, the senses receive different experiences, and personal circumstances continue to develop. The hymn directs attention toward the awareness in whose presence these changes are known.<\/p>\n\n\n\n This approach reflects the Advaita Vedanta inquiry into the Self. The verses examine one layer after another and gradually turn attention away from identification with changing experience toward cid\u0101nanda, consciousness and bliss.<\/p>\n\n\n\n The process gives the hymn its contemplative depth. Each verse becomes an invitation to observe what we normally call \u201cI\u201d and to look more closely at the nature of that identity.<\/p>\n\n\n\n The first verse begins with the mind and the different functions through which individual experience takes place.<\/p>\n\n\n\n \u092e\u0928\u094b\u092c\u0941\u0926\u094d\u0927\u094d\u092f\u0939\u0919\u094d\u0915\u093e\u0930\u091a\u093f\u0924\u094d\u0924\u093e\u0928\u093f \u0928\u093e\u0939\u0902<\/strong> Mano-buddhy-aha\u1e45k\u0101ra-citt\u0101ni n\u0101ham<\/strong> The verse examines manas, buddhi, aha\u1e45k\u0101ra and citta. Manas relates to thinking and feeling, buddhi to understanding and decision, aha\u1e45k\u0101ra to the sense of individual identity, and citta to memory and mental impressions.<\/p>\n\n\n\n The verse then considers the senses. Ears hear, the tongue tastes, the nose smells and the eyes see. These are instruments through which experience takes place, while the teaching directs attention toward the consciousness that knows their experiences.<\/p>\n\n\n\n The verse also refers to vyoma, space, bh\u016bmi, earth, tejas, fire, and v\u0101yu, air. These belong to the field of physical manifestation, while the refrain points toward the Self as cid\u0101nanda, consciousness and bliss.<\/p>\n\n\n\n The second verse takes the inquiry further into the structure of embodied existence.<\/p>\n\n\n\n \u0928 \u091a \u092a\u094d\u0930\u093e\u0923\u0938\u0902\u091c\u094d\u091e\u094b \u0928 \u0935\u0948 \u092a\u091e\u094d\u091a\u0935\u093e\u092f\u0941\u0903<\/strong> Na ca pr\u0101\u1e47a-sa\u1e43j\u00f1o na vai pa\u00f1ca-v\u0101yu\u1e25<\/strong> The verse introduces pr\u0101\u1e47a, the vital force that sustains and animates the body, along with its five principal movements: pr\u0101\u1e47a, ap\u0101na, sam\u0101na, ud\u0101na and vy\u0101na. It then refers to the seven traditional bodily constituents described in \u0100yurvedic thought: rasa, rakta, m\u0101\u1e43sa, medas, asthi, majj\u0101 and \u015bukra.<\/p>\n\n\n\n The verse also introduces the pa\u00f1ca koshas, or five sheaths:<\/p>\n\n\n\n These five sheaths describe different layers through which embodied existence is experienced. The teaching directs attention beyond identification with any single layer toward the deeper Self.<\/p>\n\n\n\n The final part of the verse considers the organs of action, including speech, hands, feet, the organ of generation and the organ of elimination. These function as instruments through which the body engages with the world.<\/p>\n\n\n\n Once again, the verse returns to its central declaration:<\/p>\n\n\n\n Cid\u0101nanda-r\u016bpa\u1e25 \u015aivo\u2019ha\u1e43 \u015aivo\u2019ham.<\/strong><\/p>\n\n\n\n The third verse turns toward the emotional and psychological dimensions of human experience.<\/p>\n\n\n\n \u0928 \u092e\u0947 \u0926\u094d\u0935\u0947\u0937\u0930\u093e\u0917\u094c \u0928 \u092e\u0947 \u0932\u094b\u092d\u092e\u094b\u0939\u094c<\/strong> Na me dve\u1e63a-r\u0101gau na me lobha-mohau<\/strong> The verse names several familiar movements of the mind: r\u0101ga, attraction or attachment; dve\u1e63a, aversion; lobha, greed; moha, delusion; mada, pride; and m\u0101tsarya, jealousy. These qualities arise within changing circumstances and can be observed within one’s own experience.<\/p>\n\n\n\n The verse then introduces the traditional four aims of human life, known as the puru\u1e63\u0101rthas<\/strong>:<\/p>\n\n\n\n Dharma<\/strong> refers to righteous living and responsibility. These four aims have an important place within traditional Indian thought. The verse places them within the field of individual life while directing attention toward the Self that remains deeper than these roles, aims and experiences.<\/p>\n\n\n\n The fourth verse moves into religious practice, action and experience.<\/p>\n\n\n\n \u0928 \u092a\u0941\u0923\u094d\u092f\u0902 \u0928 \u092a\u093e\u092a\u0902 \u0928 \u0938\u094c\u0916\u094d\u092f\u0902 \u0928 \u0926\u0941\u0903\u0916\u0902<\/strong> Na pu\u1e47ya\u1e43 na p\u0101pa\u1e43 na saukhya\u1e43 na du\u1e25kha\u1e43<\/strong> The verse considers pu\u1e47ya and p\u0101pa, merit and demerit arising from action, along with pleasure and pain. These belong to the changing field of individual experience.<\/p>\n\n\n\n It then mentions mantra, t\u012brtha, Veda and yaj\u00f1a, representing sacred recitation, pilgrimage, sacred knowledge and ritual offering. These have an important place within spiritual practice, while the Self is presented as the consciousness in whose presence such practices and experiences are known.<\/p>\n\n\n\n The verse uses the experience of eating to illustrate this distinction. Bhojana refers to the act of eating, bhojya to that which is eaten, and bhokt\u0101 to the experiencer. The entire relationship is known in consciousness, and the Self is described beyond any single part of this experience.<\/p>\n\n\n\n The fifth verse moves into one of the most intimate areas of human identity: birth and relationships.<\/p>\n\n\n\n \u0928 \u092e\u0943\u0924\u094d\u092f\u0941\u0930\u094d\u0928 \u0936\u0919\u094d\u0915\u093e \u0928 \u092e\u0947 \u091c\u093e\u0924\u093f\u092d\u0947\u0926\u0903<\/strong> Na m\u1e5btyur na \u015ba\u1e45k\u0101 na me j\u0101ti-bheda\u1e25<\/strong> Human life naturally develops through relationships. A person may understand identity through family, friendship, social position and roles such as parent, child, teacher or student. These relationships have meaning within ordinary life, while the verse directs the inquiry toward the essential Self beyond these changing identities.<\/p>\n\n\n\n The statement concerning birth points specifically toward the distinction between the physical body and consciousness. The body enters the world through birth and remains subject to change and death, while the teaching describes the Self as consciousness rather than as a physical object.<\/p>\n\n\n\n The verse also speaks of j\u0101ti-bheda, distinctions based on birth or social identity. The essential consciousness is presented as undivided by these categories.<\/p>\n\n\n\n Even the relationship between guru and \u015bi\u1e63ya, teacher and disciple, is ultimately transcended in the non-dual Self. Within the spiritual path, the distinction has an important practical role, while the Self itself remains undivided.<\/p>\n\n\n\n The final verse brings the inquiry to its culmination.<\/p>\n\n\n\n \u0905\u0939\u0902 \u0928\u093f\u0930\u094d\u0935\u093f\u0915\u0932\u094d\u092a\u094b \u0928\u093f\u0930\u093e\u0915\u093e\u0930\u0930\u0942\u092a\u094b<\/strong> Aha\u1e43 nirvikalpo nir\u0101k\u0101ra-r\u016bpo<\/strong> The word nirvikalpa points toward that which is free from conceptual division and distinction. Nir\u0101k\u0101ra means formless, directing attention toward the Self beyond limitation by physical form. Vibhu means all-pervading or unlimited.<\/p>\n\n\n\n The verse then presents samatva, sameness or non-difference. The Self remains undivided by the changing conditions of body and mind.<\/p>\n\n\n\n The final declaration is particularly significant:<\/p>\n\n\n\n Na muktir na bandha\u1e25<\/strong> At the level of individual experience, a person may experience limitation and seek liberation. From the standpoint presented in the hymn, the true Self as consciousness was never bound in the first place. Liberation therefore becomes a recognition of what is already true.<\/p>\n\n\n\n The verse closes once again with:<\/p>\n\n\n\n Cid\u0101nanda-r\u016bpa\u1e25 \u015aivo\u2019ha\u1e43 \u015aivo\u2019ham.<\/strong><\/p>\n\n\n\n The repeated refrain forms the heart of the Nirvana Shatkam meaning.<\/p>\n\n\n\n Cid\u0101nanda combines the ideas of consciousness and bliss. R\u016bpa\u1e25 means nature or form, giving the expression the sense of being of the nature of consciousness and bliss.<\/p>\n\n\n\n \u015aivo\u2019ha\u1e43 \u015aivo\u2019ham means \u201cI am \u015aiva, I am \u015aiva.\u201d Within the Advaita context described in the text, \u015aiva points toward the auspicious, pure and undivided reality. The declaration therefore moves beyond individual personality and points toward the essential Self.<\/p>\n\n\n\n Because the same line appears after every verse, it becomes the thread connecting the entire hymn. Each verse examines another layer of experience, and each one returns to the same recognition.<\/p>\n\n\n\n The six verses can be understood as a gradual movement through layers of identification.<\/p>\n\n\n\n The first verse examines the mind, intellect, ego, memory, senses and elements. The second moves through pr\u0101\u1e47a, the bodily constituents, the five koshas and the organs of action. The third considers emotions, desires and the four aims of life. The fourth examines religious practice and experience, while the fifth explores birth and relationships. The sixth brings the inquiry toward the formless, all-pervading and undivided Self.<\/p>\n\n\n\n This movement gives the Atma Shatkam its contemplative structure. The practitioner observes the things usually included within the idea of \u201cI\u201d and gradually turns attention toward the consciousness through which those things are experienced.<\/p>\n\n\n\n The process can be approached as a form of discrimination. The hymn examines what changes and directs attention toward that which remains as the knowing presence.<\/p>\n\n\n\n The Nirvana Shatkam can become a meaningful text for meditation because each verse offers a specific field of contemplation.<\/p>\n\n\n\n A practitioner can begin by settling the body and observing the breath. Attention can then move toward thoughts, emotions, sensations and memories, allowing each experience to arise and pass while remaining aware of the process.<\/p>\n\n\n\n The verses provide a philosophical framework for this observation. The mind, senses, body, emotions and identities can each become subjects of awareness, while the teaching directs attention toward the consciousness in whose presence they are known.<\/p>\n\n\n\n The repeated Shivo’ham can then become a contemplative refrain. Rather than treating it as a statement about the personality, the practitioner can contemplate its meaning within the Advaita vision of the Self.<\/p>\n\n\n\n The connection between Nirvana Shatkam and Nada Yoga can be explored through the practice of attentive listening.<\/p>\n\n\n\n Nada Yoga places importance on sound, listening and awareness. A practitioner may work with mantra, voice, music or other forms of sound while developing greater sensitivity to the experience of hearing and listening.<\/p>\n\n\n\n The Nirvana Shatkam provides a philosophical direction for this attention. The ear and other senses appear in the first verse, while the deeper inquiry points toward the consciousness that knows sensory experience.<\/p>\n\n\n\n This gives sound a place within a broader contemplative process. Listening can become an opportunity to observe the senses, the mind and attention, while the philosophical inquiry turns toward the consciousness behind experience.<\/p>\n\n\n\n
Cid\u0101nanda-r\u016bpa\u1e25 \u015aivo\u2019ha\u1e43 \u015aivo\u2019ham<\/strong><\/p>\n\n\n\nNirvana Shatkam and the Advaita Vedanta view of the Self<\/h2>\n\n\n\n
Nirvana Shatkam lyrics and the first verse<\/h2>\n\n\n\n
\u0928 \u091a \u0936\u094d\u0930\u094b\u0924\u094d\u0930\u091c\u093f\u0939\u094d\u0935\u0947 \u0928 \u091a \u0918\u094d\u0930\u093e\u0923\u0928\u0947\u0924\u094d\u0930\u0947 \u0964<\/strong>
\u0928 \u091a \u0935\u094d\u092f\u094b\u092e \u092d\u0942\u092e\u093f\u0930\u094d\u0928 \u0924\u0947\u091c\u094b \u0928 \u0935\u093e\u092f\u0941\u0903<\/strong>
\u091a\u093f\u0926\u093e\u0928\u0928\u094d\u0926\u0930\u0942\u092a\u0903 \u0936\u093f\u0935\u094b\u093d\u0939\u0902 \u0936\u093f\u0935\u094b\u093d\u0939\u092e\u094d \u0965<\/strong><\/p>\n\n\n\n
Na ca \u015brotra-jihve na ca ghr\u0101\u1e47a-netre<\/strong>
Na ca vyoma bh\u016bmir na tejo na v\u0101yu\u1e25<\/strong>
Cid\u0101nanda-r\u016bpa\u1e25 \u015aivo\u2019ha\u1e43 \u015aivo\u2019ham<\/strong><\/p>\n\n\n\nThe second verse: pr\u0101\u1e47a, koshas and embodied life<\/h2>\n\n\n\n
\u0928 \u0935\u093e \u0938\u092a\u094d\u0924\u0927\u093e\u0924\u0941\u0930\u094d\u0928 \u0935\u093e \u092a\u091e\u094d\u091a\u0915\u094b\u0936\u0903 \u0964<\/strong>
\u0928 \u0935\u093e\u0915\u094d\u092a\u093e\u0923\u093f\u092a\u093e\u0926\u094c \u0928 \u091a\u094b\u092a\u0938\u094d\u0925\u092a\u093e\u092f\u0942<\/strong>
\u091a\u093f\u0926\u093e\u0928\u0928\u094d\u0926\u0930\u0942\u092a\u0903 \u0936\u093f\u0935\u094b\u093d\u0939\u0902 \u0936\u093f\u0935\u094b\u093d\u0939\u092e\u094d \u0965<\/strong><\/p>\n\n\n\n
Na v\u0101 sapta-dh\u0101tur na v\u0101 pa\u00f1ca-ko\u015ba\u1e25<\/strong>
Na v\u0101k-p\u0101\u1e47i-p\u0101dau na copastha-p\u0101y\u016b<\/strong>
Cid\u0101nanda-r\u016bpa\u1e25 \u015aivo\u2019ha\u1e43 \u015aivo\u2019ham<\/strong><\/p>\n\n\n\n\n
The third verse: emotions, desires and the four aims of life<\/h2>\n\n\n\n
\u092e\u0926\u094b \u0928\u0948\u0935 \u092e\u0947 \u0928\u0948\u0935 \u092e\u093e\u0924\u094d\u0938\u0930\u094d\u092f\u092d\u093e\u0935\u0903 \u0964<\/strong>
\u0928 \u0927\u0930\u094d\u092e\u094b \u0928 \u091a\u093e\u0930\u094d\u0925\u094b \u0928 \u0915\u093e\u092e\u094b \u0928 \u092e\u094b\u0915\u094d\u0937\u0903<\/strong>
\u091a\u093f\u0926\u093e\u0928\u0928\u094d\u0926\u0930\u0942\u092a\u0903 \u0936\u093f\u0935\u094b\u093d\u0939\u0902 \u0936\u093f\u0935\u094b\u093d\u0939\u092e\u094d \u0965<\/strong><\/p>\n\n\n\n
Mado naiva me naiva m\u0101tsarya-bh\u0101va\u1e25<\/strong>
Na dharmo na c\u0101rtho na k\u0101mo na mok\u1e63a\u1e25<\/strong>
Cid\u0101nanda-r\u016bpa\u1e25 \u015aivo\u2019ha\u1e43 \u015aivo\u2019ham<\/strong><\/p>\n\n\n\n
Artha<\/strong> refers to prosperity and the material means of life.
K\u0101ma<\/strong> refers to desire and enjoyment.
Mok\u1e63a<\/strong> refers to liberation.<\/p>\n\n\n\nThe fourth verse: mantra, pilgrimage and spiritual practice<\/h2>\n\n\n\n
\u0928 \u092e\u0928\u094d\u0924\u094d\u0930\u094b \u0928 \u0924\u0940\u0930\u094d\u0925\u0902 \u0928 \u0935\u0947\u0926\u093e \u0928 \u092f\u091c\u094d\u091e\u093e\u0903 \u0964<\/strong>
\u0905\u0939\u0902 \u092d\u094b\u091c\u0928\u0902 \u0928\u0948\u0935 \u092d\u094b\u091c\u094d\u092f\u0902 \u0928 \u092d\u094b\u0915\u094d\u0924\u093e<\/strong>
\u091a\u093f\u0926\u093e\u0928\u0928\u094d\u0926\u0930\u0942\u092a\u0903 \u0936\u093f\u0935\u094b\u093d\u0939\u0902 \u0936\u093f\u0935\u094b\u093d\u0939\u092e\u094d \u0965<\/strong><\/p>\n\n\n\n
Na mantro na t\u012brtha\u1e43 na ved\u0101 na yaj\u00f1\u0101\u1e25<\/strong>
Aha\u1e43 bhojana\u1e43 naiva bhojya\u1e43 na bhokt\u0101<\/strong>
Cid\u0101nanda-r\u016bpa\u1e25 \u015aivo\u2019ha\u1e43 \u015aivo\u2019ham<\/strong><\/p>\n\n\n\nThe fifth verse: birth, relationships and identity<\/h2>\n\n\n\n
\u092a\u093f\u0924\u093e \u0928\u0948\u0935 \u092e\u0947 \u0928\u0948\u0935 \u092e\u093e\u0924\u093e \u0928 \u091c\u0928\u094d\u092e \u0964<\/strong>
\u0928 \u092c\u0928\u094d\u0927\u0941\u0930\u094d\u0928 \u092e\u093f\u0924\u094d\u0930\u0902 \u0917\u0941\u0930\u0941\u0930\u094d\u0928\u0948\u0935 \u0936\u093f\u0937\u094d\u092f\u0903<\/strong>
\u091a\u093f\u0926\u093e\u0928\u0928\u094d\u0926\u0930\u0942\u092a\u0903 \u0936\u093f\u0935\u094b\u093d\u0939\u0902 \u0936\u093f\u0935\u094b\u093d\u0939\u092e\u094d \u0965<\/strong><\/p>\n\n\n\n
Pit\u0101 naiva me naiva m\u0101t\u0101 na janma<\/strong>
Na bandh\u016br na mitra\u1e43 gurur naiva \u015bi\u1e63ya\u1e25<\/strong>
Cid\u0101nanda-r\u016bpa\u1e25 \u015aivo\u2019ha\u1e43 \u015aivo\u2019ham<\/strong><\/p>\n\n\n\nThe sixth verse: the nature of the Self<\/h2>\n\n\n\n
\u0935\u093f\u092d\u0941\u0930\u094d\u0935\u094d\u092f\u093e\u092a\u094d\u092f \u0938\u0930\u094d\u0935\u0924\u094d\u0930 \u0938\u0930\u094d\u0935\u0947\u0928\u094d\u0926\u094d\u0930\u093f\u092f\u093e\u0923\u093e\u092e\u094d \u0964<\/strong>
\u0938\u0926\u093e \u092e\u0947 \u0938\u092e\u0924\u094d\u0935\u0902 \u0928 \u092e\u0941\u0915\u094d\u0924\u093f\u0930\u094d\u0928 \u092c\u0928\u094d\u0927\u0903<\/strong>
\u091a\u093f\u0926\u093e\u0928\u0928\u094d\u0926\u0930\u0942\u092a\u0903 \u0936\u093f\u0935\u094b\u093d\u0939\u0902 \u0936\u093f\u0935\u094b\u093d\u0939\u092e\u094d \u0965<\/strong><\/p>\n\n\n\n
Vibhur vy\u0101pya sarvatra sarvendriy\u0101\u1e47\u0101m<\/strong>
Sad\u0101 me samatva\u1e43 na muktir na bandha\u1e25<\/strong>
Cid\u0101nanda-r\u016bpa\u1e25 \u015aivo\u2019ha\u1e43 \u015aivo\u2019ham<\/strong><\/p>\n\n\n\n
\u201cFor me there is neither liberation nor bondage.\u201d<\/strong><\/p>\n\n\n\nThe meaning of Cid\u0101nanda-r\u016bpa\u1e25 \u015aivo\u2019ha\u1e43 \u015aivo\u2019ham<\/h2>\n\n\n\n
Nirvana Shatkam and the practice of self-inquiry<\/h2>\n\n\n\n
Nirvana Shatkam and meditation<\/h2>\n\n\n\n
Nirvana Shatkam and Nada Yoga<\/h2>\n\n\n\n