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Atman

Ātman (Sanskrit: आत्मन्, meaning "self" or "essence") is a foundational concept in Hindu philosophy, denoting the eternal, immortal inner self or soul that transcends the physical body and mind, serving as the core of individual identity and consciousness.^[1] In Hinduism, it is central to Vedānta and soteriology, often equated with the ultimate reality Brahman. The concept is rejected in Buddhism as anātman (no-self), while in Jainism, it relates to the eternal soul or jīva. The term also refers to:

In film: ''Ātman'' (1975 film) and ''Atman'' (1996 film)
People with the surname or given name Atman, such as Atman Shah, Pavel Atman, and Cynthia Atman

In Religion and Philosophy

In Hinduism

In Hinduism, Ātman refers to the eternal, unchanging essence or true self of an individual, distinct from the transient physical body, mind, and ego (ahaṃkāra). It is conceived as the immortal soul that underlies all experiences and remains unaffected by birth, death, or worldly changes.^[2] This concept marks a shift from the ritualistic focus of the early Vedic period to introspective philosophical inquiry in the Upanishads, composed between approximately 800 and 200 BCE, where Ātman emerges as the core of human existence and spiritual pursuit.^[3] The Upanishads portray Ātman as fundamentally identical to Brahman, the ultimate reality or universal consciousness, a doctrine central to Advaita Vedanta as systematized by Adi Shankara in the 8th century CE. In this non-dualistic view, the apparent separation between the individual self and the cosmic whole is an illusion (māyā), and realizing this unity dissolves all distinctions.^[4] By contrast, Vishishtadvaita, propounded by Ramanuja in the 11th century CE, describes a qualified non-dualism in which Ātman forms an inseparable part of Brahman while retaining its individuality, akin to a body-soul relationship where the soul (Ātman) qualifies the supreme being without merging completely.^[5] Dvaita Vedanta, founded by Madhvacharya in the 13th century CE, posits a strict dualism, where individual Ātmans are eternal, distinct, and dependent on but never identical to the supreme Brahman (Vishnu).^[6] Ātman plays a pivotal role in the cycle of saṃsāra, the repeated births and deaths driven by karma, where the soul transmigrates through various bodies until liberation (mokṣa) is attained via self-realization (ātma-jñāna). Mokṣa occurs when one recognizes Ātman's true nature, breaking free from ignorance and the illusions of duality, leading to eternal bliss and freedom from rebirth.^[7] Key Upanishadic texts illustrate Ātman's qualities vividly. The Chāndogya Upaniṣad (6.8.7) declares "tat tvam asi" ("thou art that"), equating the individual self with Brahman through the teachings of Uddalaka to his son Śvetaketu. In the same text (6.13), the analogy of salt dissolving in water demonstrates Ātman's pervasiveness: just as salt permeates the water invisibly yet is tasted everywhere, Ātman infuses all existence without being directly perceived.^[4] The Bhagavad Gītā (2.13–2.25) further affirms Ātman's immortality, stating that as the embodied soul passes through stages of life unchanged, it endures beyond the body's decay, untouched by weapons or fire.^[8] Realizing Ātman involves practices like jñāna yoga, the path of knowledge, which emphasizes meditation and viveka (discrimination) to distinguish the eternal Ātman from the illusory māyā. Through scriptural study, contemplation, and guidance from a guru, one cultivates direct insight into the self's unity with Brahman, fostering detachment and ultimate liberation.^[4]

In Buddhism

In Buddhism, the concept of ātman (Pali: attā), understood as a permanent, eternal self or essence, is categorically rejected in favor of anattā (no-self), which forms one of the Three Marks of Existence (tilakkhaṇa): impermanence (anicca), suffering (dukkha), and no-self (anattā). This doctrine asserts that all conditioned phenomena, including the apparent self, lack any inherent, unchanging substance and are instead transient processes subject to arising and cessation.^[9] The realization of anattā is essential for liberation, as attachment to a supposed self perpetuates delusion and the cycle of rebirth (saṃsāra).^[9] The rejection of ātman originates in the early Buddhist texts of the Pāli Canon, most notably the Anattalakkhaṇa Sutta (SN 22.59), traditionally the Buddha's second discourse delivered to his first five disciples at Sarnath shortly after his enlightenment. In this sutta, the Buddha systematically refutes the notion of a permanent self by examining the five aggregates (skandhas or khandhas): form (rūpa), sensation (vedanā), perception (saññā), mental formations (saṅkhāra), and consciousness (viññāṇa). He declares that if any aggregate were the self, it would be permanent, controllable, and free from suffering, but since they are all impermanent, afflicted, and beyond mastery—"Form is not-self... Were form self, this form would not lead to affliction"—none can be identified as an eternal ātman.^[10] This analysis underscores that the self is a conventional label for the ever-changing interplay of these aggregates, devoid of independent existence.^[10] Buddhist critiques of ātman arose in dialogue with contemporaneous Hindu traditions, such as those in the Upaniṣads, which posited an eternal soul identical with Brahman. Within Buddhism itself, the Pudgalavāda schools—early sects like the Vātsīputrīyas and Sāṃmitīyas—challenged the strict no-self view by affirming a real but inexpressible "person" (pudgala), neither identical nor different from the aggregates, to explain continuity in rebirth and karmic fruition.^[11] However, mainstream Theravāda and Mahāyāna traditions rejected this as tantamount to an ātman-like entity, insisting that the pudgala is merely a nominal designation without ultimate reality, grounded in the aggregates' dependent arising.^[11] The doctrine of anattā is inextricably linked to dependent origination (pratītyasamutpāda), which describes how the illusion of self emerges from a chain of conditioned factors, beginning with ignorance and leading through volitional actions, consciousness, sensory contact, craving, clinging, and eventual rebirth.^[12] Clinging to this conditioned "self" generates suffering (dukkha), as it reinforces the cycle of saṃsāra; insight into its interdependent, non-autonomous nature dissolves this attachment, paving the way for nirvāṇa.^[12] In the later Mahāyāna development, particularly the Yogācāra school, the concept evolves through the notion of storehouse consciousness (ālayavijñāna), the eighth consciousness that serves as a subtle, underlying continuum storing karmic seeds (bīja) and providing continuity across lives, akin to a provisional self-process.^[13] Yet, this is not an eternal ātman but an impermanent, conditioned layer of mind, empty of inherent essence and transformable into pure wisdom (vijñapti-mātra) through practice, aligning with the broader Mahāyāna emphasis on emptiness (śūnyatā).^[13] This insight into no-self crystallized during the Buddha's enlightenment under the Bodhi tree in Bodh Gaya around the 5th century BCE, where, after years of ascetic practice, he contemplated the impermanence and conditioned arising of the aggregates, realizing the absence of any permanent self and thereby attaining awakening.^[14]

In Jainism

In Jain philosophy, the ātman, synonymous with jīva, refers to the individual soul as an eternal, conscious entity possessing infinite attributes known as ananta-catuṣṭaya: infinite knowledge (ananta jñāna), infinite perception (ananta darśana), infinite bliss (ananta sukha), and infinite energy (ananta vīrya).^[15] These qualities are inherently pure but remain obscured by the accumulation of karmic particles, which bind the soul and perpetuate the cycle of birth and death (saṃsāra).^[15] The jīva is distinguished from ajīva, the non-soul categories of matter, space, time, and motion-rest, forming the foundational dualism of Jain metaphysics.^[16] The concept originates in early Jain scriptures, most systematically defined in the Tattvārtha Sūtra (c. 2nd–5th century CE), composed by the scholar Umasvati, who outlines the jīva's attributes and its separation from ajīva as one of the seven tattvas (fundamental truths).^[16] Umasvati's work, accepted across Jain sects, describes the jīva as a sentient substance (dravya) characterized by consciousness (upayoga), existing infinitely in number and capable of experiencing bondage and liberation.^[17] This scriptural foundation emphasizes the soul's intrinsic purity, independent of external influences, contrasting with non-eternal views in other traditions.^[15] Central to Jain thought is the karmic theory, where subtle karmic matter (karmic pudgala) influxes (āsrava) into the jīva through activities like attachment and aversion, binding it via eight principal types of karma that obscure its qualities and dictate rebirth.^[18] These include jñānāvaraṇīya (knowledge-obscuring), darśanāvaraṇīya (perception-obscuring), vedanīya (feeling-producing), mohaniya (deluding, with subtypes like darśana-mohaniya causing perceptual delusion), āyu (lifespan-determining), nāma (body-determining), gotra (status-determining), and antarāya (obstructing).^[17] This bondage results in rebirth across four realms or gatis: deva (heavenly beings), manuṣya (humans), tiryañca (animals and plants), and nāraka (hellish beings), with the human realm offering the optimal conditions for spiritual progress.^[15] The path to liberation (mokṣa) involves attaining kevala jñāna, or perfect omniscience, by eradicating all karma through the ratnatraya, or three jewels: samyag-darśana (right faith, conviction in the truths of Jainism), samyag-jñāna (right knowledge, understanding the tattvas and soul's nature), and samyag-cāritra (right conduct, ethical living).^[15] Essential practices include ahiṃsā (non-violence toward all jīvas), truthfulness, non-stealing, chastity, and non-possession, often pursued through asceticism such as fasting, meditation, and vows to minimize karmic influx.^[19] These disciplines purify the soul, gradually unveiling its infinite attributes and leading to the destruction of karmic bonds (nirjarā).^[17] Mahavira (c. 6th century BCE), the 24th tīrthaṅkara and reviver of Jainism, taught the inherent purity of the ātman, asserting that every soul is potentially divine and capable of liberation through self-effort and moral discipline, free from creator gods or divine grace.^[20] Sectarian differences persist between Digambara and Śvetāmbara traditions: Digambaras hold that the liberated soul transcends gender and requires complete nudity for male ascetics as a symbol of renunciation, while Śvetāmbaras affirm the soul's gender-neutral purity in liberation and permit white robes for both monks and nuns.^[21] Upon achieving mokṣa, the purified ātman becomes a siddha, ascending to siddha-loka at the summit of the universe, where it exists eternally as an omniscient, bodiless entity basking in unblemished bliss, devoid of all karma and rebirth.^[22] Siddhas form a realm of infinite liberated souls, each retaining individuality without interaction, exemplifying the ultimate state of the jīva's innate perfection.^[23]

In Film

Ātman (1975 film)

Ātman is an 11-minute Japanese experimental short film directed by Toshio Matsumoto and released in 1975, renowned for its exploration of identity and perception through hypnotic circular camera movements.^[24] The film employs avant-garde techniques, including 480 distinct camera positions arranged in a circular pattern around the central subject, creating a disorienting, loop-like visual rhythm that fragments the viewer's sense of reality.^[25] Shot on 16mm infrared film and rephotographed frame by frame with precise calculations, it features erratic zooms, strobing flashes, and surreal color shifts in reds and greens, accompanied by a hypnotic electronic score composed by Toshi Ichiyanagi.^[26] Matsumoto, a key figure in Japan's post-war experimental cinema, produced Ātman as part of his broader oeuvre bridging documentary realism and abstract experimentation, with the film's intense visual effects carrying a warning for viewers prone to epilepsy due to its dizziness-inducing rotations.^[27] The narrative centers on a lone, seated figure in an outdoor setting, clad in a robe and wearing a traditional hannya mask from Japanese Noh theater, which depicts a vengeful female demon.^[26] As the camera relentlessly circles the masked subject—symbolizing the demonic inner self—the film eschews linear storytelling in favor of montage and crash zooms that evoke a trance-like fever dream, emphasizing the instability of subjective perception.^[24] Thematically, Ātman draws inspiration from the Hindu concept of ātman as the true, eternal self, yet subverts it through horror elements, portraying the mask as a manifestation of fragmented identity and inner turmoil.^[27] This critique extends to modern alienation and the chaos of post-war Japanese society, where rapid industrialization amplified existential disorientation.^[26] The hannya mask's grotesque expression reinforces themes of duality and destruction, linking to early Buddhist deities associated with annihilation.^[25] Ātman received acclaim for its visual innovation at international film festivals, including screenings at the Media City Film Festival, where it was praised for its meticulous technical execution and psychological intensity.^[27] Critics have highlighted its influence on subsequent experimental and horror cinema, particularly in using repetitive motion to unsettle perceptions of the self, with an average user rating of 6.5 out of 10 on IMDb based on 715 votes.^[24] Filmed amid Japan's vibrant 1970s avant-garde art scene, the work reflects broader cultural dialogues on tradition versus modernity, incorporating Noh theatrical elements to probe the boundaries between spiritual introspection and visceral dread.^[26]

Atman (1996 film)

Atman is a 1996 Finnish documentary film (premiered 1996, released 1997) directed by Pirjo Honkasalo, with a runtime of 76 minutes.) It chronicles the arduous pilgrimage of two Indian brothers, Jamana Lal and his sibling, as they travel approximately 6,000 kilometers up the Ganges River from its mouth toward the Himalayas. Jamana, born with severe physical deformities including paralyzed legs and a twisted spine, undertakes the journey to scatter his late mother's ashes at the river's source, seeking spiritual purification and inner peace. The film employs an observational style with minimal narration, capturing intimate moments of their encounters with Hindu rituals, extreme poverty, death along the riverbanks, and ascetic holy men.^[28]^[29] The narrative explores profound themes of mortality, familial devotion, and the quest for self-realization, drawing on the Hindu concept of ātman—the eternal soul—as a metaphor for personal transcendence amid physical and existential suffering. Contrasting the brothers' unwavering faith and endurance with the chaotic backdrop of India's religious landscape, Honkasalo highlights universal human struggles for meaning, including grief and redemption. The pilgrimage reflects traditional Hindu practices, such as the journey to sacred sites like Haridwar, evoking the scale of events like the Kumbh Mela through vivid depictions of communal bathing and cremations. Despite companions abandoning them along the way, the brothers persist, culminating in a village ritual distributing Ganges water, symbolizing renewal.^[28]^[30] Produced on 35mm film entirely in India, Atman forms the final installment of Honkasalo's "Trilogy of the Sacred and the Satanic," emphasizing her interest in spirituality and human resilience through a feminist perspective on vulnerability and devotion. The director's close-up cinematography fosters emotional intimacy, avoiding didactic commentary to let the subjects' voices—such as Jamana's voice-over reflections on life—convey philosophical depth. Released in the post-Cold War era, the film aligns with 1990s Western fascination with Eastern mysticism, offering an ethnographic portrait of devotion without exoticizing its subjects.^[31]^[30] Upon release, Atman received critical acclaim for its raw ethnographic insight and transformative tone, earning the Joris Ivens Award for best feature-length documentary at the 1996 International Documentary Film Festival Amsterdam (IDFA). It holds a 6.9/10 rating on IMDb based on 51 user votes (as of November 2025), praised for its emotional depth and visual splendor, though some noted challenges in following the non-linear structure. The film's reception underscores its impact in bridging cultural divides, portraying Indian spirituality as a lens for global self-discovery.^[32]^[33]

People

Atman Shah

Atman Shah (born February 14, 1957) is an Indian film actor predominantly working in Gujarati cinema.^[34]

Pavel Atman

Pavel Nikolayevich Atman (born 25 May 1987) is a Russian professional handball player who competes as a centre back for Maccabi Rishon LeZion in Israel and the Russian national team.^[35]^[36] Born in Volgograd, Russia, Atman began his professional career in 2005 with hometown club Kaustik Volgograd, where he developed into a reliable scorer and playmaker during his five-year tenure from 2005 to 2010.^[35] Atman's club career has taken him across Europe, showcasing his versatility and consistency at high levels. After leaving Kaustik, he joined HC Dinamo Minsk in Belarus from 2010 to 2013, scoring 63 goals in the 2010/11 EHF Champions League season alone.^[35] He then moved to RK Metalurg Skopje in North Macedonia (2013–2015), followed by stints at HC Meshkov Brest in Belarus (2015–2017), TSV Hannover-Burgdorf in Germany (2017–2019), and RK Vardar in North Macedonia (2019–2020). In 2020, he returned to Russia with HC Spartak Moscow for a brief period before transferring to HC CSKA Moscow (2020–2022), and he signed with Maccabi Rishon LeZion in 2022, where he continues to play as of 2025.^[35]^[37] Throughout his club career, Atman has accumulated over 300 goals in EHF competitions, highlighting his scoring prowess from the centre back position.^[35] On the international stage, Atman has been a mainstay for Russia since his senior debut in the late 2000s, participating in multiple major tournaments. Atman has earned more than 100 caps for the national team, known for his speed, accurate throws, and ability to orchestrate plays in high-pressure games.^[38] His career spans the post-Soviet era of Russian handball, exemplifying resilience amid evolving domestic and international challenges, and he remained active at the elite level into the 2020s, including appearances in the 2019 IHF Super Globe and 2021 World Championship qualifiers.^[39]^[40]

Cynthia Atman

Cynthia J. Atman is an American engineer and academic who has advanced the fields of human-centered design and engineering education since earning her B.S. in Industrial Engineering from West Virginia University in 1979.^[41] She obtained her M.S. in Industrial and Systems Engineering from Ohio State University in 1983 and her Ph.D. in Engineering and Public Policy from Carnegie Mellon University in 1990, focusing her doctoral research on decision-making processes in engineering design.^[41] Atman's career emphasizes integrating empathy and reflection into technical education to foster inclusive STEM environments, particularly for underrepresented groups like women in engineering.^[42] Atman joined the University of Washington in 1998 as the founding director of the Center for Engineering Learning & Teaching (CELT), where she continues to serve, and became a full professor in the Department of Human Centered Design & Engineering in 2009.^[41] Prior to this, she was a faculty member in Industrial Engineering at the University of Pittsburgh from 1991 to 1998.^[41] Her research explores engineering cognition, design expertise, and student reflection, with seminal work on how novices and experts approach design problems, including studies on decision-making and iterative processes in engineering projects.^[43] Atman has secured major funding from the National Science Foundation, including a $12.2 million grant for the Center for the Advancement of Engineering Education (CAEE) from 2003 to 2010, which developed innovative curricula to support diverse engineering student success, and a $4.4 million grant for the Consortium to Promote Reflection in Engineering Education (CPREE) from 2014 to 2018, emphasizing reflective practices in design pedagogy.^[41] Among her key achievements, Atman co-authored the book Enabling Engineering Student Success: The Final Report for the Center for the Advancement of Engineering Education in 2010, which synthesized findings from multi-institution studies on improving engineering learning outcomes.^[43] She has published over 40 refereed journal articles and numerous conference papers on topics like designerly ways of knowing, with her work cited more than 13,000 times, influencing global engineering education reforms.^[43] Atman has received prestigious recognitions, including election as a Fellow of the American Society for Engineering Education (ASEE) in 2006 and the IEEE Frank G. Goldsmith Career Achievement Award in 2017 for her contributions to engineering education research.^[41] She has also been active in accreditation efforts through ABET and served on National Academy of Engineering committees, promoting standards for inclusive and empathetic engineering practices.^[41] Atman's impact extends to curriculum development and professional development programs that prioritize human-centered approaches, such as the Design Signatures framework, which helps educators teach reflective design thinking to enhance student empathy and innovation in technical fields.^[44] Her initiatives have shaped engineering programs at multiple universities by integrating research on design processes into teaching, leading to broader adoption of student-centered pedagogies that address equity in STEM.^[45] Through mentoring over a dozen graduate students to degrees and leading interdisciplinary consortia, Atman has fostered a legacy of advancing diverse talent in engineering.^[41]

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Pavel ATMAN, Centre, Back, Profile, Country Russia, Date of Birth 25 May 1987, Place of Birth Russia, Age 35, Height 194 cm, Weight 100 kg.
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Cynthia J. Atman is the founding director of the Center for Engineering Learning & Teaching (CELT), a professor in Human Centered Design & Engineering.Missing: Boulder | Show results with:Boulder