They also believed in �Naada�, the profound sound which covers all matters vibrating or non-vibrating in space. Having spoken of Swara, Sruthi and Naada, I would like to stress upon the need to understand that these three are always complementary and co-existent. Swara in general means a musical note which would have a definite number of oscillations, wave length and amplitude, On the other hand, Sruthi cannot be given a particular wavelength or amplitude just for the reason it is very much micro in nature. But we can say that it would have only a particular oscillation and not a range of oscillations, Hence Sruthi is an atomic sub-division of Swara.
While on the subject of Sruthi and Swara, let me make one thing absolutely clear:-
�Swara is always oscillatory. Hence it is unstable. Sruti is never oscillatory, it is very minute in nature and absolutely stable. Here we can say that, Sruthi being the smallest division of Swara, enables us to not only identify a particular note or Swara, but also the duration of the struck note. There are twelve Swaras and sixteen Swarasthaanas. Sruthi is always considered at the mid-point of a Swara and Naada is such a Swara, which is so complete in nature that it sustains for a very long duration, without being desorbed by any of the sub-tones and their sub-tones. Hence, �Naada� draws maximum attention in music, especially, when the music is in a slow tempo or laya or rhythm."
So, we can say that sound can be subdivided into non-musical notes, musical notes, intervals of notes, escalation and decaying of notes and last but not the least, the duration for which it remains struck.
Within the 16 Swara-sthaanas of 12 Swaras are 22 musical Sruthis. Out of these Sruthis, four Sruthis are each assigned for Shadja, Madhyama and Panchama, two each for Gaandhaara and Nishaada, three each for Rishabha and Dhaivata. This division of Sruits is clearly described in the following Sloka:--
�Chatush, chatush, chatushchaiva,, Shadja, Madhyama, Panchama, dwai, dwai, Nishaada-gaandhaarou, thrisri Rishabha-Dhaivatashcha� Which means, Shadja(SA), Madhyama(MA) and Panchama(PA) have Four Intervals each and two intervals each for Gaandhaara(GA) and Nishaada(NI) and three intervals each for Rishabha(RI or Re) and Dhaivata( DHA)."
The Nature of Sound
Sukhini Sukhanidhaanam Dukhitaanaam vinodaha , Shravana Hrudaya Hari Manmathasyaagradootaha
Aatichatura sugamyo vallabhaha kaamininaam , Jayati Jayati Naadaha Panchamashchopachedaha
�Sound {Naada} is the treasure of happiness for the happy, the distraction of those who suffer, the winner of the hearts of healers, the first messenger of the God of Love. It is the clever and easily obtained �beloved� of passionate women. May it ever, ever, be honored. It is the fifth approach to the eternal wisdom, the veda. �(Sangeeta Bhaashya)
Sound is said to be of two kinds, one, a vibration of ether and the other a vibration of the air. The vibration of ether, remains unperceived by the physical sense and is considered the principle underlying all manifestation, the basis of all substance. It corresponds to what Pythagorous called the �Music of the spheres� and follows permanent numerical patterns which lie at the very root of the world�s existence. This kind of vibration is not due to any physical shock, unlike audible sounds. It is therefore called Anaahata, �Unstruck�. The other kind of sound is an �impermanent� vibration in the air, an image of ether vibration of the same frequency. (Yat-pinde � Tad-Bramhaande) It is audible and is always produced by a shock. It is therefore called Aahata or �Struck�.
The Sangeeta-Makaranda mentions the same � These two aspects are described in great detail in �Naarada-Purana�. �Sound produced from ether is known as �un-struck�. In this un-struck sound the Gods delight. The Yogis, the Great Spirits, projecting their minds by an effort of the mind into this un-struck sound, depart, attaining Liberation or Moksha�
�Struck sound is said to give pleasure, un-struck sound gives liberation�. But this un-struck sound having no relation with human enjoyment does not interest ordinary men. Not all audible vibrations are musical sounds. The sounds used in music are those whose mutual relations form an image of the basic mathematical laws of the universe. Thus musical sounds reproduce the first creation of the primordial intellect. This creation is at the same time a rhythm and a thought. In correspondence with this, the main characteristic of musical sounds, is that, although they form simple physical relations, yet at the same time they convey ideas. {they are expressions.} That is why the sound of music is called �Naada�, intelligible sound, and is said to result from the union of physical breath with the fire of intellect.
The syllable �Naa� means breath, �Da� the fire (of intellect). In musical sound three main elements are usually considered � intensity, pitch and timbre, Intensity is the relative strength of the sound � whether soft or vigorous.
Pitch is defined by the interval of the number of vibrations (shruthis) Timbre is the resonance of harmonies which differentiates the sound of various instruments of voices. Timbers are classified into five main categories:- �Those of the struck sounds are produced by:
- nails (strings)
- wind(flutes)
- leather (drums)
- metal (percussion � instruments) or
- from the body (voice)
�From sound is evolved �Sruti� microtone. Microtones adorn �Swara�. �Swaras give shape to �Geeta�. �Sangeeta� is the finished product, a fit offering to the Gods. Such is the origin and function of Indian Music�, says Prof. Rangaramanuja Iyengar, in his treatise on �Sangeeta Ratnakara�.
�Sangeetam�, in turn, has an indefinable mysterious charm. It can please, captivate, intoxicate, hypnotise. The nature and intensity of its appeal depend upon its texture, quality and definite objective. On one hand, �Sangeetam� can titillate and stir the emotions, on the other, it can still the mind and irrigate it with a soothing, ethereal calm, so that it functions as a springboard for sublime contemplation touching various levels of consciousness. Thus music is the favourite of all celestial beings.
What is �Sruti�?
By tradition, the lute is said to produce Swaras of one, two, three and four srutis. Bharatamuni�s Natya-Sastra gives five more, to bring the total to nine. Matanga says in his treatise, �Brihaddeshi�: �Only a sensitive ear can discern the minute pitch indicated by one Sruti�. �Those who understand Sruti believe that it is an audible sound of the lowest vibration adding to the individuality of a Swara�, says Viswavasu (This is very much debatable).
Some who are skilled in elucidation of the nature of Sruti, state an octave �harbours� twenty two Srutis. Others say that there are sixty-six Srutis. Some are of the opinion that there are Srutis as infinite as the sounds vibrating in the atmosphere (Kohala).
I am of the opinion that we consider twelve Swaras, or musical notes within an octave, then each of these Swaras can have independent manifestations and hence there would be �seven� Srutis for each, of which three Srutis would precede and an equal number succeed. Thus, the fourth would be the Sruti for any note, (when the relationship between notes is not to be considered.)
� The curved lines in the figure indicate Srutis preceding and succeeding (in equal numbers) the main note or Swara.
Sruti is the finest tangible streak of musical sound heard by a very sensitive ear trained in melodic values.
Musicians world over have expressed their views on the complicated science of �sound�. Referring to the ancient texts and having to decipher many times the same verses, and every time arriving at a new �meaning� to those, none of the experts have been able to throw any light on the most important aspects of Indian classical music � �Raaga�. Why I wish to suddenly jump to the subject of Raga, from that of Sruti, Swara and Naada? It was an interesting exercise for me, when a music fanatic, once posed a query to me thus: �If Ragas and their existence is eternal, then which could be taken as the first �Raga� in creation and why? For many reasons, musicians won�t touch such a sensitive subject, as it would generally put them on the �Anvil� of music-critics and fanatics, for any semblance of deviation from �original� beliefs. You pick up any ancient or modern text book on music, you would always hear of �Saama-veda � being the very reason for the existence of music. Our ancients practiced �HYMNS� in musical tones or Swaras; especially �Saama-veda� is given full credit for enlightening people with �Divine Music�. As history goes �Rigveda� has always been considered to be the beginning of vedic culture. Then followed Yajurveda, Saama-veda and finally came Atharva-veda.
When on the subject of vedas and hymns, it is well known that the Vedas were chanted, by the masters and students in tandem and usually comprised of only three of the �Musical� notes or Swaras. These were called Udaatta, Anudatta and Swarita. Now, the biggest hassle for the masters of music has been to explain with some clarity, what are Udaatta, Anudaatta and Swarita. Whenever, we are speaking of Musical Notes or Swaras, we must bear it in our mind that we are intentionally or unintentionally bringing the Octave or �Saptak� {please observe the anamoly in the terms, here itself} into play. While the word Octave means a group of notes which are eight in number, {Octave- eight} a Saptak means a group of seven. Another expression used for an Octave is �Sthaayi�. This not necessarily seven or eight, but it is precisely 16 in number, where in Shuddha and Vakra or Vikruta Swaras are clubbed in an Octave. Later on, I would again clearly state, why the difference in the terms used for Octave, Saptak and Sthaayi, is to be treated with greater care. Whenever, some student asks about the vedic hymns being sung �monotonously� in 3 notes only, the teacher is often unable to answer and hence the dilemma continues. There has not been sufficient attempts to suggest as to which of the seven notes are to be �addressed� by the names of Udaatta, Anudaatha and Swarita.
If you, for instance, say that �Shadja� or �Sa� is to be take as Swarita, then we can easily �Re� (Rishabha or �Ri�) asAnudaatta and �ga� or Gaandhaara as Udattaa. This could be explained in the form of a diagram as follows:-
This being a sound oscillation, it has to begin from silence of sound reach its peak and slowly �decay� to reach its original dormant state. Here, I can state that instead of calling these two situations as a) Silence and b) �Soundful�, I would prefer to use the terms Anaahata and Aahata, or simply the Unstruck and struck sound. So, if we closely observe the names depicting the Swaras, Ri and Ga, we can make out a clear pattern and uniformity in the ascension and descension of the notes, in wave form. We also have to bear in mind that Sa or Shadja, itself is a combination of a number of oscillations and hence we should not be misled by a single stroke or line, representing �Shadja� {Shat-Janyam or that Janmam} which means, �giving birth to six others�. After taking due care and going through lots of practical analysis, I have come to this conclusion.
�Shadja or Shadjam is a combination or compression of 6 Swaras or notes.� What is believed.
Instead: �Six Swaras are born, as soon as Shadja itself is struck�. So, Shadja plus six other Swaras combine to give us the Saptak�.
Let me demonstrate and substantiate my contention by taking you into the depths of sound. Whenever, any sound is emitted, by whatever method or means, we must know that such a sound has a definite dimension. Also, it is heard for the same duration by people in and around the place, from where the source of the sound is activated. Suppose, we hold that sound for a longer duration then, the first thing we will observe is that there are a number of other �vibrations� or to be precise sub-tonics or Anu-swaras, which accompany the note Sa or Shadja itself. Here, I would like to stress upon the necessity to know that for any emission of sound to be called a Swara, it must be long enough in sustenance for it to be �measured� uniformly by one and all. Small beeps of sound or sharp and short spurt of sound (similar to the report of a gunshot) cannot be termed as Swara or a musical note. Any sound when already in a struck state can be easily given a number of subdivisions or intervals. {That would always be odd in number}. These are known as �Srutis� or subtonics of the Swara. In case of Shadja we can say that the fourth such sub-tone is to be called as �pure� or perfect Shadja. The first three sub-divisions are in actuality the final three Srutis of a note or Swara which is definitely lesser and lower than Shadja. (lesser does not mean oscillations, but lower on the Octave. Hence, if the octave starts from �Sa� itself, then obviously the three preceding Srutis belong to the lower Octave, than the one we are exploring). On the higher side, the other three (succeeding) are complementary to the preceding Sruits and they belong to the same Octave as Shadja itself.
We can assume a number of Srutis in the intervals between them coming back to the point of Shadja giving birth to the other six notes, I must impress upon all musicians and students to understand the Cycle of fifths or harmonics as explained very beautifully by Prof. Alain Danielou. But, being a musician by profession, I wish to throw some more light on the silent subject of Raga�s Evolution, I would like to bring in the following points for one and all to understand this great subject very clearly, with the help of charts and subsequent �Slokas� or hymns as well. But, before doing so, let me talk about the Cycle of fifths. In Indian classical music, we call these: - Vaadi and Samvaadi.
To begin with, i.e., if Sa, Re, Ga, Ma, Pa, Dha, Ni, being the seven, notes are to be continuously written in 3 or 4 Octaves then we can pair-up notes which are harmonic or synchronous to each other and complement each other. This is where a trained ear of a musician is of great help. For, a lay man, or a person without much musical acumen, cannot really identify interval relationship between notes, unless he is given audio-examples for each pair of such harmonic notes. So, if you arrange the seven notes in a linear scale, we can simply arrive at the following conclusions, which are duly substantiated with the charts and graphical analysis explained in the next few pages. From here on the �decibel� difference comes into play. So, our ancients had to lean on to the adjustment of such a minute difference arising out of Vadi-Samvaadi relationship between notes. This they did by lowering the Octave level (refer; Graama-Moorchhanaa). In the Vedic times, there used to be three Graamas or notes taken as the basic note for synchronous chanting of the Mantras. This was done, to facilitate the master and the pupil to chant evenly in voice. Although each individual may possess different �pitch� of voice, (deep throated/ set) for masculine and �Bass� oriented voices, the lower Octave Madhyama (Shuddha), for normal voices Aadhaara Shadja, for (high/shrill) children and females, Panchama are taken as basic notes or �Graama�, thus facilitating everybody to chant Mantras in �Harmony�. But, the �Graamas� in vogue were Shadjam Gaandhaara and Panchama-Graama. Each of these is called Swarita notes. Now, if we draw three separate charts, we can conclude thus: Now, if we consider any of three combinations of Swarita, Udaatta and Anudaatta they have the same ratio and relationships, i.e., �Now, if we consider any of three combinations of Swarita, Udaatta and Anudaatta have the same ratio and relationships, ie. ( refer: Raga Maarva Swarita Anudaatta Udaatta )are in fact the same ratio-depicted by different names. Therefore, we can understand Vedic mantras allowed people to chart from different swarita notes, so that, each person would be able to chant the mantras without having to adjust their respective �pitches� with that of the Master. This practice continued until the time, when vocal music was considered as the primordial form of music. Then came a time when music became heavily dependent on instruments especially the Veena. It was considered to facilitate students of music to know about the placement of musical notes or Swaras, judging by means of distance.
This was primarily the reason for people to bring a different Graama known as Madhyama Graama instead of Gaandhara graama. The reason behind this major change was the fact, which musicians found it very difficult to recognize or identify those of the sub-harmonics, which were too shrill and out of audibility range of the musicians. As is clearly evident every sub-tone or harmonic note is brought to existence by the prime note on to the next octave. So, if we have audibility range reaching four Octaves, then Shadja of first Octave would generate Panchama as Harmonic on the second Octave. This would lead to Rishabha on the next Octave and then Dhaivata, gandhara, Nishaada and so on. But, the last sub-harmonic is the most important which is Teevra-Madhyama or Prati-Madhyama, brought borth by the preceding Nishaada. Since, Shadja is Harmonic to Shuddha Madhyama on the audible lower Octaves, it was conveniently said that the last harmonic or Sub-harmonic �has� to be Shuddha or Komala Madhyama and hence the first Raga or full scale to be given real cognizance was taken as �Dheerasankarabharanam� or Bilaawal. But, in reality the Raga which is created as a result of self-generation of Harmonics and Sub-Harmonics of Shadja was Mechakalyani or Kalyan or Yaman as it is today known. (This is always going to be debated).
ART forms of all variety follow a definite pattern of mathematical principles. This concept holds true only unto the stage of an Artists execution of an art, when in the formative years Once the artist is on a platform, where from he can begin to execute his art with a touch of non-challance, the wide gap between the �Originals and Reproductions� comes to the obvious stage. Over a period of time, the artists become so much akin to their tools of exhibiting their art, that they make it look quite simple and popular. They also make it look as though every attempt is a new one.
Whether it is a musician, a painter,, a sculptor, Astrologer or an artist of many other performing fields, the psyche of the phrase, lashes, cutting of the stones, body language etc., first appear as a �concept of origination� in the artists� thoughts. Regular practice and constant self-analysis, would then lead the artist to a stage, wherefrom he starts to polish them with embellishments, ornamentation and refinement. The finished product thus becomes his/her original concept. But to the person who receives these �Transmissions�, it is more often than not �colored� or altered in a minor or major way. Imagination of the artist and the audience or spectators is never the same. They are identical only in patches, when the duration of the execution/exhibition is longer in nature.
Arts of all forms have two concepts which can remain individual and general at the same time viz., (a) Traditional (b) Aesthetic. The three forms of art that I am going to deal with in my �Dissertation� are 1. Classical Music (Indian and Western) 2 Naadi Astrology (Ancient Indian technique of using thumb impressions of life forms.) and 3 The most important: Understanding the relationship between vibrations, frequencies & origin of each manifestation (life forms & son).
Since, we are dealing with �the Theme of: � Originals and Reproductions in Arts� I must make it very clear that this topic of mine, is an attempt to decipher the �Hidden links between Indian Classical Music, Western Classical Music and the ancient Indian Science and Art of Naadi-Astrology�-based on the principles of Harmonics sub-Harmonics & Modulation of frequencies vibrations and Manifestations of all life forms.
How is it connected with the theme of originals and reproductions�? First of all let me state clearly about the concept used in Music for thousands of years As it is universally known that there are �seven� musical notes for all forms of music, we can hold this factor to the original, with no historical data on when this was established. But going by the Indian history of music , the antiquity is established up to the birth period of �Saama veda�. Among the four �Vedas� (Originals to remain ever-permanent) the (Classification) and nomenclature of Musical expressions are attributed to �Saama-Veda�, �Saama-veda� gave mankind the �Gaandharva Veda� In Gaandhara-Veda� Vocal Music� of Ancient India developed for a long, long time, Here, one must emphasize on the facts that are rarely made known to the students of Indian Music. �Gandharvas� knew the ins and outs of the articulate sound called �Naada� and vocal music. On the other hand �Kinnaras� are known to have acquired the complete knowledge of conventional instruments of music. (Wind, string and percussion).
Wherever we try to understand an artists� depiction of Indian classical music, the starting, point for anybody becomes: �How does the Tradition go?� so, we are subjected to patterns of musical expressions, which are based on an earlier (read as already executed) manifestation of �sound�, to which names are attributed such as �Raga�, Thaala, �Laya�, Composition�s, �Bhaava� (expressions) �Rasa�(Emotions) and finally the �style� (Baani).
All these concepts are based on and are a result of continuous attempts of the artist, to execute the aforementioned �components� of a complete Musical expression. This leads to the artists lean towards vigorous practice sessions of his art and repetitions of the same expressions to the point of reaching a personal level of satisfaction, reach perfection in the Art.
The facinating Art of Healing.
�May I see for a hundred years,
live for a hundred years,
hear for a hundred years.
May I speak for a hundred years,
live in comfort and freedom for a hundred years.�
- Yajurveda.
Ancient sages of India, who formulated the above mentioned prayer were engaged in finding ways for man to live in perfect health harmony and happiness. To this end they prescribed ways of �healing� man afflicted with �disease�. Disease means disturbance of �one�s ease�.
Hence �healing� meant not merely �physical disease� or �disease of the body�, but any aspect of life - mind, finance, parents, children, friends etc. which �disturbs� one�s ease. Today there is renewed worldwide interest in healing the �disease of man�, and hence we have many claimants to �Alternate Healing� practices rediscovered from ancient Indian, Chinese, Japanese texts, including �Reiki�, transcendental meditation, color therapy etc.
What we are concerned with here is the subject of �Vedic astrological healing� or � Vedic astrological remedies�.
Before we go into the details of procedures of different astrological remedies, we must resolve the fundamental dichotomy or contradictions that automatically come to the mind when we talk of �astrological remedies�. � If everything is predetermined by our destiny or �Karma� then what is the use of astrological remedies ? � This is not the place for a detailed discussion on �Karma� and what it signifies as per Vedic philosophy. It will suffice to mention that man�s destiny is based on his �Karma�, whether in past life or this life.
A professional astrologer can point out which of the results from past Karma can be overcome and which cannot be overcome and therefore have to be suffered.
As per an individual�s natal horoscope, some planets will give either benefic or malefic effects on some aspects of his life or life of people connected with him. This could be disease, accident, loss of wealth etc. An astrologer can predict when such benefic or malefic events will occur. He will then advise the individual about specific remedies and how to undertake them.
An astrologer usually prescribes some remedial procedures like:
A religious ritual or �Anushthan� - This consists of religious worship, fire sacrifice and chanting of appropriate prayers.
A charity - An appropriate �daan� or specific charitable gift of material wealth to a deserving person.
Mantra/Tantra/Yantra - This consists of a pattern depicting different cosmic entities and special prayers which the astrologer prepares for the individual. The individual is advised to view the pattern and/or chant the prayers/mantra as many times as possible. Also it can be administered in the form of a talisman (Tabeez/Yantra) where the talisman may contain some pattern, prayers or materials obtained after some ritual worship.
Gem Therapy - This is the most common of all astrological remedies. For each planet a specific gem stone is indicated. The gem stone recommended to be worn not only for minimizing / neutralizing the malefic effects of a planet but also to strengthen and optimize the benefic effects of a planet.
Special bath - There are different plants and materials indicated for each planet. The individual has to take a bath with extracts of such material during an auspicious time as per the advice and recommendation of the astrologer.
Therapy with plants and herbs - Like gem stones, a specific plant or herb is indicated for a planet, recommended by the astrologer to an individual, to wear on the body.
Which Therapy to Choose - Which therapy to choose is to be recommended by the astrologer, but the role of the astrologer in the process of healing is that of an agent or that of a catalyst only. In fact in any spiritual healing it is the individual who plays the most active part. It is the individual who is invoking the cosmic power through the remedies to heal himself.
Gem therapy� naturally because of the use of precious stones is far costlier than �Herbal therapy�.
In today�s commercial environment, there is a lot of abuse and exploitation by the practitioners of astrological remedies. In India particularly, astrologers have been converted into value added resellers, by jewelers.
After all there cannot be a greater statement of this fact than that is mentioned in the Bhagawad Gita which we quote here-
�Whatever man gives me, In true devotion
Fruit or water, a leaf, a flower
I will accept it.
That gift is love
His heart�s dedication.�
Extract Courtesy of www.cyberastro.com
Vibrational Healing
Since everything in the entire cosmos is vibrating or oscillating at some rate and has a direct connection to its frequency with a specific purpose to complete the phenomena called �Whole� every object, is equally important as a component in the cosmic world, regardless of it being on physical, astral, causal, transcendental, mental, and psychical or energy planes of consciousness. The only situation that one can come close to experiencing a �Non-Vibrating� state of mind can be called �Physical Death� even though death is also very momentary in some cases and very prolonged in other cases. Every cell in creation, every blade of grass or grain of sand, has a central theme called the �Core� which is an exact replica of the entire cosmos. Even though all of these appear to be components or indigenous existences on different planes of consciousness, every cell has almost congruent properties when it comes to its vibrational values or contribution towards the completion of a larger concept called the �Whole-Will-Being� ness of the cosmos. There is this constant flip-flop between the Will and Being, without one the other cannot exist, kind of.
Vibrational healing is effected by accessing the limitless energy that surrounds us, penetrates us, and composes all energy and matter in existence. This limitless energy is sometimes called chi, prana, or �the force.� It has also been called the Quantum Particle Flux, or Zero Point energy. Whatever it is called, accessing it is what all living things do in every moment of being, or else they would be dead. Sickness and disease come from blocking the flow of this energy, and vibrational healing is a way to get the energy flowing again. Although it is almost universally accepted that there is a potential energy and there is kinetic and dynamic energy that is at work in the process of healing everywhere, I would like to emphasize here based on my deeper research into this wonderful art called Vibrational healing. But, before I go into the intricacies of the art itself, I would like to throw some light upon the simple concepts that involve the healing itself in relation to the entire creation as a whole.
There is that state of mind one could easily picture, from where we can say that all that is came into being. If one wishes to give that state of cosmic mind or consciousness a name, a label it is acceptable. But I would like to begin from the concept of being in a state of �Equi-poised� as far as the three main qualities of creation are concerned viz. Rhythm, Inertia and mobility.
So, to place only energy as the prime thing in the art of healing would be a little unjust as far as consciousness goes. So, the question arises is are energy and consciousness the same things? If that is so, what are they known as before they are split into two distinct names and existences? Are they nothing but vibrations of different frequencies or values?
Well, however tricky that question may seem to anyone, in my humble opinion energy and consciousness are definitely different vibrations, although one may seem to complement the other. Just as light and dark co-exist and also stem out of a larger concept called �Total acceptance� if one was to understand Light as being in part denial and dark in part acceptance, with the ratio of the qualities changing all the time. Esoteric philosophies world over have indicated that the �Whole� or the Total Acceptance could well be described as �mystery�, �Un-manifested�, Void, un-definable, God, or anything we cannot perhaps place a label on to.
Eastern philosophies such as Adi Sankara�s �Soundarya Lahiri� or oceanic waves of beauty, following the path of Inundation of divine splendor point towards a concept called �Existence-Consciousness-Bliss�. The trinity form of this Will-Being-Communion is given many names such as Brahma, Vishnu and Maheshwara in east. Without having to go into more complicated names of sanskritized versions of this understanding, I would like to quote from the Soundarya lahiri this beautiful verse:-
"Manas tvam vyoma twam marud asi marut saarathir asi, tvam aapas tvam bhoomis tvayi parinataayaam na hi param, tvam eva svaatmaanam parinamayitum viswavapusha. Chidaananda-akaaram Siva Yuvati bhaavena bibhrushe."
Thou art the Mind, Thou art sky, thou art also fire. Thou art water and earth too. When thou hast transformed Thyself in this way into the form of the universe, there is nothing beyond not included in Thee. It is to transform Thyself into the universe that thou assumest this form of Existence-Consciousness-Bliss.
The universe in its subtle and gross forms is described here as the transformation of Energy. Though undergoing actual transformation into all these elements in their gross macro-cosmic aspect of the universe as the universe and in their subtle micro-cosmic aspect as the Chakras in the human body, Energy-Consciousness is not lost in the effects unlike milk when it becomes curd(Yogurt), but retains her identity as Consciousness-Bliss. So, in essence we have Energy-Consciousness and Existence-Consciousness and both of these in a �Constant Communion� called Bliss. Energy has three aspects being potential, dynamic and kinetic where an s, existence too has three aspects gross, Subtle and Cosmic.
Having come to this kind of an understanding about the universe and its cosmic laws, composition, can any healer in the world assume that we can ever manipulate any of these components at our will?
About the Healing Process.
A healer is someone who has learned to access and direct a portion of this energy at will. But many healers are confused about how the process of healing works.
In other words, a healer is a facilitator and not an active partner in any session of healing at all.
Healers who do vibrational healing work believe they are �flowing energy� to the recipient or working through their so called �Powers� or being in a state of mind which is �Higher� than the recipient and that the recipient�s receipt of the healer�s energy is what is causing their recovery. But this is not happening at all. The healer is often acting somewhat like a placebo. There is no way a healer can ever involve or entangle to the aspects that have manifested as an abnormality in the vibrations of the person or creature being healed. Even situations can be healed without the actual intention of a greater mass of people being coaxed or changed to do anything, just normal loving allowance of nature and its laws help this kind of healing.
The healer�s presence makes it comfortable for the recipient to allow his/her source energy to flow. This is the reason why the energy transmitted to another from the same healer feels different to every person. Healers sometimes explain this by saying that the same energy feels different to each individual recipient because each recipient has a different energy structure, and is blocked in different ways. �Therefore,�the energy will flow to different places and do different things. �Or, that each recipient needs different energy from the healer. But really, it is the recipient who is directing the flow of energy to himself and it feels different because the recipient is creating or attracting different energy streams depending upon his or her individual needs.
The recipient is only uncomfortable because he/she is disallowing the flow of energy from his/her energy field which surrounds the body. The recipient is pushing against the natural flow of balanced energy, blocking it. In other words a session of healing can also mean alignment of Chakras, which can be seven major and six minor or all Thirteen considered to be major charkas that correspond to the thirteen Dimensions which would be discussed later on in this chapter.
There are various methods to align these thirteen charkas depending on the actual state of consciousness/ evolutionary state of the seeker. Once the alignment process starts, the healer and recipient are fully responsible to act in accordance with the laws of nature. Never can one attempt to disturb the flow of nature�s laws in such alignment process otherwise sometimes the outcome could be detrimental for both healer and recipient.
In Spandana mudra healing however, the healer has five choices to perform alignment of charkas to just be a �Facilitator� and not act as a doctor would do with the help of gadgets, medicines laboratory experiments etc. The first of these five methods deals with absolutely no body contact between the two. It deals with distance healing, with pure intent and natural flow and connection being made between the healer and recipient and under the strict vigil of all the great healing masters and the universe itself. There is no scope for error here on the part of both healer and recipient as otherwise the chances of astral energies may effect both of their systems and Aura (to be briefly discussed later on in this chapter) is highly possible.
The second method is by holding the recipient�s hand palm facing downward and both of the healer�s hands covering one palm (Preferably the right hand of the recipient, if a natural right handed person) In this method, the merging of the Astral bodies of the two is evident and there has to be a fairly good understanding of the art and intention of both here, while doing this kind of charka alignment for the recipient.
Normally one would think that since healer is the facilitator his/ her chakas would be perfectly in alignment for him/ her to perform this type of healing sessions. It is not true, in a case of such Vibrational Healing both healer and recipient are equally being benefited at different levels. Normal process involved some kind of chants (mostly internalized and not uttered aloud by the healer) and silent observation on the part of the recipient, without holding on to their fears and conditioned mind are key factors here).
The chants could be any vedic chant or any sacred chant that resonates well with both and allows no semblance of doubt in both the minds for them to merge as one being. The healer feels the energy coming through his body and hands, so the healer thinks that this energy, flowing through her/him is the same energy flowing to the recipient. �But while the healer may be directing energy to the recipient, it is the recipient who is attracting or inviting his/her own energy stream via a change of vibration, which the healer, by his/her presence, has enabled. �
Thus, the recipient is completely in charge of the healing process, no matter what the healer is doing! Instead what a good and reasonable sensible healer will do is to provide �Loving allowance� to the recipient and be a compassionate facilitator and yet remain dispassionate about their actual feelings.
The third method used to do a more thorough vibrational healing through spandana is based on the major seven charkas present in the physical body which is clearly �Understood� by both the healer and recipient over a period of time, interacting with each other and analyzing in an unbiased way what the actual need of the recipient is and whether that need does not stem from �Greed� on either side and allows both of them to make indigenous decisions to continue, withdraw, stop for short intervals, or even completely disconnect from each other, without any duress.
Starting from the Crown charka the healing sessions involve only three major points for sending in the healing energies, through the crown, third eye, and solar plexus area of the recipient by making the recipient lay down on the floor and the healer sitting beside to place the two palms simultaneously over these charkas of the recipient and allowing the alignment to take place naturally over a period of 30-60 minutes depending on the actual density of the charkas and following an inner guidance on the part of both recipient and healer.
If the recipient gets better by this method, there is no need to go any further than this and it is a clear indication that the recipient is open to the healing energies and is able to facilitate the energy by self, even though the healer provides the natural balance in the person whose charkas are being aligned. This type of alignment would generally bring out many old issues in both the healer and recipient and should be handled with care and compassion and in an unbiased way. If any need arises, then a short gap in such alignment can be worthwhile.
The amazing thing is that the recipient through a personal change in vibration brought about by the presence of the healer may be attracting energy completely different from the energy the healer is directing! Healers should understand this, because it is often the reason for �failed� healings. For example, a very effective healer may get a recipient who does not respond to treatment. This causes a healer to sometimes feel disappointment, or in extreme cases, even a lack of confidence. But what is happening is that the recipient is not willing to accept the change in vibration that is being effected by the presence of the healer.
The healer is doing his/her job; it is the recipient who is not allowing the vibrational change necessary to unblock his or her energy stream.
This is no fault of the healer (or the recipient for that matter). �It�s important for both healer and recipient to understand the mechanics behind the healing process, so that both can remain empowered throughout the healing cycle. The Healer must always remember to stick to his or her affirmations and must make each point absolutely clear to the recipient before each session of the healing process. If for any reasons the recipient is not able to understand the principles behind the process, the healer must feel responsibly to educate the recipient in terms better understood by the recipient ands not in complicated energy healing language. The healer has to bear in mind that there is always going to be scope for improvement in skills such as vibrational healing technique.
No one can create in the experience of another, because each being is sovereign, creating his or her own world from within. Although energy may flow to a recipient from a healer, only the recipient can allow it. �Of course by attending a healing session, a recipient has already given the healer permission to work with his or her energy. �And equally true, the energy of both healer and recipient are intermingling. But the nuts and bolts of how energy is transmitted from healer and received by recipient are all about how the recipient allows energy to flow into his or her energy field and body. � The recipient will improve to the degree that he or she gives permission, regardless what the healer does.
If the recipient has the idea that the healer�s energy is responsible for physical improvement, it can lead to dependency and disempowerment. It is important to explain to the recipient that he/she alone determines the nature of the healing process. The recipient can invite/allow the natural energy transfer that is necessary for health from his own energy field, without the necessity for the healer�s presence at all.
This is something that should be made absolutely clear to each recipient. Of course, almost all recipients will probably elect to receive treatment even with this knowledge, but treatment will be more effective if the recipient feels empowered. And if treatment is more effective, the healer will draw more recipients!
Sometimes when a healer thinks he or she is �flowing energy� to the recipient and that the healer�s energy is responsible for a recipient�s improved condition, egos can expand. �My energy is more powerful than yours.� �My recipients say they like my energy best.� ��Both healer and recipient should be clear about the process: the healer provides an opportunity for the fully-empowered recipient to allow his/her own betterment.
The fourth method is outlined in the form of a meditation the recipient can get fully involved into with constant help coming from the healer by means of associating his/her Chakras (Thirteen).
Often in healing methods we use the word Recipient instead of Recipient to make the person more comfortable and treat him/her with equality and not as a person who is �Inferior� and hence we never use the word Recipient, unlike as in Medical sciences. anyway, we will use the term recipient if you like.
How the Vibrational Alignment is done.
Now this is how the Vibrational healing alignment is done with deep meditative state to be reached using the following method:-
Try and answer these to yourself, in as much detail as you can think/ feel(use as little logic as you can, this is a hint):-
1) Associate yourself with the Earth element, which signifies and attaches itself with the Sensory Perception of SMELL.---Moolaadhaara
2)Associate yourself with the WATER Element, which signifies and attaches itself with the sensory perception of TASTE---Svaadhishthaana
3)Associate yourself with the FIRE element, which signifies and attaches itself with the sensory perception of SEEING----Manipoora
4)Associate yourself with the SKY element(also called AAKAASHA)which signifies and attaches itself with the sensory perception of Feel/ hear---Anaahata (UNAGITATE STATE)that is the sound we hear, which is not necessarily a result of TWO Bodies striking each other...Communion SOUND... Internal Sound---Anaahata Chakra.
5)Associate you with the Air/Ether, which signifies and attaches itself with the sensory perception of Hearing/ Touch. This hearing is Physical hearing and the touch part is covered due to the Air hitting us and we feel it touching us.(Tricky part)..Visshuddhaa Chakra.
6)Associate yourself with the Mental Faculty --- which is always saying these three states : I(X,Y or Z is there), Maybe I am there/not there , I am not there this part is the activity happening in the Human Brain (different from Mind), wherein Logic-Analysis is on one side and Inadvertent/Intuition-impulsion is on another side. Brain has any thing wit the following analysis:-- Thesis, Anti-thesis and Synthesis. Left side brain, right brain and Harmony.---- Aagnyaa Chakra
7) Pineal Body(the maximum of our vital energy force is drawn by this faculty of our ANATOMICAL system, but very little has ever been said by medicos about this PINEAL GLAND/ BODY, which is the source of the FIVE Praanaas(energy divisions), which helps us respire, circulate, Defecate, go Erect and come down(Pressure), Sexual activity including Menstrual cycles and menopause etc.,. The five divisions are Breathe in, out, Distribute, Go up and Down, Evacuate, Banal/Carnal pleasures-Pains.
Sensory perceptions of Praana or vital Energy force.. that which is Living in all creations, creator, creation.---CALLED the Laalana Chakra.
8)Associate yourself with the pure divine energy at the level of perfect communion---- absolution--- brahman--- SATCHIDAANANDA.. SAHASRAARA CHAKRA..
9) ANTAHKARANA--- Self only--- separate from God conscious..
10) Bramhan.. Saguna with qualities--- Not the original, but duplicate Creator. Go oriented Manifestation of GOD into �I become You�
11)Divided PURE CONSCIOUSNESS--- Sat-Chit- Aananda
12)(UNDIVIDED)--- without qualities--- Nirguna Brahman. Supreme Consciousness
The Thirteenth Plane is a Great Void....where all these are happening... Mundane egg??? Called the Hiranyagarbha. Then we have the Fifth method of Chakra healing or methods used only for advanced recipients and has to be strictly done under situations where there is a long term understanding between the two is well established and has a deeper level of trust and understanding between the healer and recipient. This is important as it requires the touch of (even if it involves only touching) specific points on all parts of the body where charkas are located.
The more trust imposed here between the two makes it more complicated as there is always the peril looming large over both the healer and recipient to get �carried away� or entangled or lose control or loss of ground. In all these cases it is equal responsibility of the two and nobody must resort to blame games if the session doesn�t work out well, for the two. This aspect must be made very clear at the onset of the healing session itself.
However to re-emphasize, there is actually being done by either of them, but simply allowing in unconditional love the healer and recipient to commune to a higher state of consciousness and not in a physical term. The common most of problems that arise from such a special hands on healing method are related to opposite sexes and can be easily misconstrued as a �manipulation of sexual energy� by either healer or recipient.
The choices must be clearly told and understood by both the healer and recipient before attempting to undergo such healing or alignment of charkas. However, healers especially, must not begin working with �Fear� within them. If the healer carries such fears then they are sure to manifest. Same goes for the recipient too. But if the healer is in full control of the situation, it can be easily transcended.
Placing palms over each charka the healer constantly grounds himself/ herself to just allow the passage of divine vibrations into each charka of the recipient and there is no chance for any fallibility in this type of healing. However, if any point midway through the session if the healer or recipient feels the need to stop the session, it must be heeded and no further contact must be made until complete understanding flows between the two.
One must strictly follow the healing affirmations before, during and after each session while performing this kind of healing alignment of charkas. One the frontal position of charkas are aligned then the recipient is turned over on the belly and the points of the spine to be aligned as well and constant touch provides much comfort to both the recipient and healer and gains more trust in each other, if and when done properly with the only intention of exchange of Unconditional Love and get entangled into any kind of �Other� relationship here.
After a couple of such sessions if there is change in the persona of the recipient and healer, with a positive impact clearly showing then there is no need for physical contact, between healer and recipient, they can just communicate through the astral plane and connect with each other from distance too. But, as clearly outlined in the affirmations, after each session, the healer must make sure to disconnect from the recipient and teach this aspect clearly to the latter about how to do it too.
There are other methods of charka alignment available too, I would never make any claim that my method is the only good method or result oriented method, because I totally detach myself from outcome in the process of healing, whether it is for self or for another being. This is what vibrational healing is all about.
I may have taken words, phrases or even sentences from many sources to prepare this particular chapter of my work, but then since I follow the doctrine �All is one and One is All� I feel nobody would feel offended if I used their material in this work, if they do, I shall surely delete their work, if they so aspire. It could even be �Collision� of same thoughts between many healers and recipients world over so, I am no exception in this. Others may already have spoken of this technique or material I have outlined in this process.
The Wonderful Art Of Tantra: Is it misconstrued or 'deluded'? (An Eastern Perspective).
The path of a Saint is a constant battle with the self., for there is no end to the world�s demands; in this world no one can be too good or too kind. The better one is, the better is asked of one, the kinder one is, the more kindness is expected from one and so it goes on through out life.
The happiness a saintly soul finds, through all the continual sacrifices that he makes as he goes through, lies in the fact that his will is gradually becoming harmonized with the will of God or that God�s will and his will become one in time. And no one can imagine the happiness that comes except the souls who have experienced the feeling of resignation to all the �crosses� that one has to bear in life.
The Moment you start to worship another, pray outside of yourself or seek help outside of yourself for anything, you are unfortunately separating from being in God Consciousness yourself, which is a �Gift� actually to learn and grow from each such experience and stand in the Greater Act of forgiveness for self and all that is.
The very act of observation dissolves partially or completely, the observed. hence the Act of observation also gets dissolved...we arrive at a situation called �Observer, Observation and Observed are all the same...depending on the Power of Intention of the Observer...and finally Consciousness cannot be observed by any other than Itself or it remains un-observable or non-computable Consciousness is ever active, with an unlimited energy resource, engaged in the act of objectifying itself into many dimensions of existence. Once this act of manifestation happens, the act of perception starts and then the act of perception is finished. This leads to Consciousness re absorb its reflections unto its own inner most nature, which is undifferentiated.
The existence or non-existence of phenomena within the domain of the empirical cannot be established unless they rest within consciousness. In fact, the phenomena which rest within consciousness are apparent and the fact of their appearing is itself their one-ness with consciousness. This is because consciousness is nothing but the fact of appearing. If one were to say that they were separate from the light of that consciousness and that they appeared �blue� is being viewed separately by itself, unlike its very innate nature (Doctrine of Vibrations, Mark Dychowski)
While on the subject of consciousness, when the soul is awakened, it is as if that person were to wake up in the middle of the night among thousands of people who were fast asleep, he/ she is sitting or standing among them, looking at them, hearing about their miseries, sorrows, their conditions. Hundreds of them moving about in their sleep, in their own dream, not awakened to his condition although he/she is near them. They maybe friends, acquaintances or relatives or even enemies or whatever relationship, they know little about this awakened soul, as each is absorbed in his/ her own conundrums.
The awakened soul, on the other hand, standing over them will listen to everyone, will see everyone, will recognize all that they are saying, thinking or feeling, but nobody will understand his language, as his thoughts or feelings can�t be explained to anyone he/she becomes lonely, : because loneliness is Perfection and an awakened soul is often a Lonely Soul. Imagine living in a world, where nobody speaks your language, but you understand others� yet you can live in the world, for you know the language. When I read the Conversations with God, all parts, I felt one thing coming back at me �If I were to ever have a conversation with God, then there won�t be a dialogue, it shall be a Monologue�.
The awakened person seems to be asleep to those who are asleep, and so the one who has become sober appears drunk to the entire world, for the condition of life is such that no one appears to be sober. It is this soberness which is called by many as Nirvana, Samaadhi, Liberation or Mukti. But if I were asked is it desirable for us to be sober? I shall reply �No. What is desirable for us is to KNOW hat soberness is and once that soberness is known, then take any wine you wish to taste or choose� The funniest part is I have never tasted any kind of beverage that has any alcohol in it.
More on Tantra
In this chapter on Healing, Tantra (let us call it various forms of Art to draw Energy from the Celestial world to use them for the benefit of all human kind and not for particular reasons or persons only, the root word for tantra being �Tanu� which means �to elaborate� have tried to address the fact that tantra is �Mystical powers used to change or utilize the already available natural energy centers and their resources for the benefit of all humankind and not for personal gratifications. Tantra also means �weaving together�.
So I write about all 64 forms of Arts that were addressed as Tantra, subdivided into two main sects of Tantra, one very Hindu, mythological and mystical and the other being Buddhist. The former being Orthodox and the latter being heterodox, the main types of Tantra are �Dialogue between Shiva and Shakti aspect of creation� where in the Aagamas are Shiva�s telling Shakti how he has manifested and what he used for the manifestation...where as the Nigamas, being the replies that Shakti gave from time to time and the question shakti asked Shiva during that exchange and finally the Yaamalas, are all the rituals that human beings developed over ages.
But before I do that let me put this important Affirmation here: -- �Do not be convinced by anything, anyone or any knowledge, unless you have carefully examined these in an unbiased way, yet be as loving as you can, to all that you come across.�
I would like to categorically state here, that as has been misconstrued by many in the west as well as in the east, Tantra does not mean or portray �Use of sexual act as the supreme most of exchange of energy in healing practices or Yoga, .of course, it is one aspect of creation that has been deftly handled and would be used always.
Here is a list of the 64 tantras that have been earmarked by Shivaite tradition of South India and they include almost all mystical powers that are prevalent. The ones that are not included in these are called Siddhis, which are 8 in number. There are two types of Tantra traditions. One is orthodox and the other is heterodox.
Orthodox is pretty much Hindu: and heterodox is Buddhist yes the orthodox was divided into three Agama, NIgama and Yaamala the Agama is where Shiva is telling Shakthi about the Creative Mystical powers and the Nigama is where Shakti is replying or questioning Shiva about the Tantras Yaamalas are normal Human being created rituals etc the root word for Tantra is �Tanu� in Sanskrit which means �To Elaborate� it is a word , which has layers after layers of meaning as we apply that to daily life the main principles of tantra really focus of this:
This principle of tantra really means that matter contains the seed of spirit and the Spirit the seed of matter� Whatever lies in the microcosm also lies in the Macrocosm. �The greatest is within the smallest.� and vise versa. there r 64 Tantras, as explained by Adi Sankaracharya in his great treatise called Soundarya lahiri, the classical work on the inundation of divine splendor of mother nature. 64 follows the principles of Adi Thaala for Four Dimensions of Life...after Fourth Dimension there is no Life as we perceive Life as, that life is like �calling a Comet a person�.
Acharya has described the four dimensions of creation as Bhu-loka(meaning Earth or Physical plane), Bhuva-Loka(Meaning Astral or subtle bodies� plane) Swa-loka( Transcendental plane) and Turiya (Meaning the Fourth Dimension where Time and Space become one factor and have no division). He goes on to describe about all other planes of consciousness too, but here we are coming back to Tantras vide this verse of Soundarya Lahiri:
"Chatuh-shahtya Tantraihi Sakalam Ati Sandhaaya Bhuvanam Stithastat-tat- Siddhi Prasava, Paratantraihi Pashupatihi Punastvan-nirbandhaad-Akhila Purushaarthaika, Ghatana Swatantram tey Tantram Kshititalam-Avaateetarat-Idam."
Meaning: Pashupati(Shiva) at first remained satisfied after �Deluding� the world, by giving out the sixty-four Tantras, which expound practices conferring only one or another of the various psychic powers and worldly fulfillments. Afterwards, on Thy(Mother Nature) special insistence, Shiva revealed Thy own Tantra(called Soundarya lahiri) to the world, independent of all others and capable of conferring all the Purushaarthaas�Dharma(Duty), Artha( Wealth), Kaama( Desires and cause and effect) and Moksha (Liberation from the cycles of birth and death) on the votaries, by itself.
This verse has been the subject of very elaborate and conflicting commentaries by lakshmidhaara and other commentators in time, and they have raised issues regarding the value and validity of the majority of the religious literature known as the Tantras. The names of the Sixty-four tantras and their nature are briefly touched upon by Lakshmidhaara. The purpose of all Tantras is, according to him, attainment of psychic powers, and most of them include rites of the Kapaalikas and Digambaras, which are cruel and immoral in nature. They are called �Veda baahya� not included in vedic tradition. This opinion, however, is not accepted by another great authority on tantras, Bhaaskaraaraaya. According to lakshmidhaara, Shiva had �deluded� the world by giving out the 64 Tantras. �Deluded� here, means only that he gave through them the means for short lived worldly fulfillments, which could only divert a man from the true end of human life, namely knowing the Self or Moksha.
There is a modern view differing from that of old commentators on the meaning of this verse. The sixty-four tantras mentioned here are not the 64 Vaamaachaara tantra (Left hand path), beginning with Mahaamaaya(magic) and Sambhaara (Destructive) Tantras but are known as Sixty-four kalaas or Arts, which are meant to give human beings the joys of the senses. They all can be called tantras, as that word signifies only �means for attainting an end� It is also to be noted that what is signified by expression �Idam tantram�, (This tantra) in this verse can be meaningful only if it refers to Soundaryalahiri as a whole and not to the mantra given in that verse. A Mantra itself cannot be a text.
The 64 tantras or forms of Art are as follows: (Tantra Yoga is actually also Addressed as Kundalini Yoga)
- Orthography
- Caligraphy
- Arithmetic
- The Hindu Vedas
- A Class of sacred books comprising the whole body of Hindu Theology(Puranas)
- Grammar
- Jurisprudence
- Astronomy including Astrology*
- Ethics
- Yoga shastra
- Mantra Shastra
- Science of prognosticating by Omens and Augury(Saguna Shastra)
- Architecture and sculpture
- Science of healing
- Physiognomy
- Heroic History (Itihasas)
- Epic Poetry
- science of Rhetoric(Alankaara Shastra..Ornamentation)
- Eloquence
- Dramatic science
- Art of Dancing
- Directions for Modulation of sounds
- Art of playing the lute or stringed instruments
- Art of playing the wind instruments
- Art of beating the tambourine
- Art of beating the cymbals
- Archery
- Art of an assayer in Gold
- Art of driving chariots
- the knowledge of the Marks on an elephant
- the art of knowing about the marks of a Horse
- Art of examining and choosing gemstones.
- Art of knowing different kinds of Soil
- Millitary Art, Tactics
- The Art of wresting, gymnastics and athletics
- Art of calling or summoning by enchantment
- Exorcism
- Exciting hatred between parties by magical spells
- Erotics...(Perhaps this is the Only one prevalent in west)
- Libidinous fascinations occassioned by enchantment
- Art of Seduction by magic
- Alchemy (See?)
- The knowledge of the conditions of the celestial choristers
- the Art of knowing the languages of brute creatures
- The Art of restoring pleasure to a sorrowful mind
- The knowledge of Pulse
- Charms, incantations against poison
- Information respecting anything lost by astronomical calculations
- Information respecting anything concealed in the Palms of the hands or feet
- Art of Entering into thin Air and becoming invisible (Adi Sankara�s famous Art..He left that way, in the Himalayas, after he waved at his disciples from a distance and they were all freezing, where as he was not and finally he asked them to stop at a point and walked through a water fall and from the other side waved at them and simply vanished into thin air)
- Art of walking in the air (This is what hanuman a.k.a Hulk did it Ramayana, so did Angada, plus Meghanatha is a name for Indrajit who could walk on the clouds...a Metaphor) Indrajit, because one who walks over clouds must be able to �conquer� Lightening
- the Power of leaving one�s body and entering another lifeless body( Both Adi Sankara and Jesus christ had this one, they did it efficiently and also made the dead bodies vanish..)
- the Power of making One�s self invisible parakaya pravesha
- Art of Conjuring and juggling
- Art of performing wonders in heaven and earth
- restraining the action of fire
- Art of counteracting the yielding of water so as to be able to walk on its surface
- the Art of restraining the Power of the wind
- Art of Fascinating of the eyes
- The Art of Fascinating the mouth
- The Art of restraining the Semen Virile
- Art of preventing the discovery of things concealed
- Art of nullifying the power of sword or any other weapon
- The Power of stationing the Soul at pleasure, in any of the three states of awakening, sleeping or dreaming states (Where in this is the mention of Sexual Contact or exchange being the only form of tantra? tell me)
Creation- The Divine Will, Free Will and Absorption.
In this universe, there are always three positions:--
(1) Creator (Drishtaa or Observer Or Seer)
(2) Creation (Drishti Or Observation or Seeing)
(3) Created (Drishya Or Observed or Seen)
The fourth is always either relative or illusory. The first vibration of creation deals with the process of musical vibrations that were first registered as something other than the Vocal-Chord rendered vibrations. It is quite strange, many think that man has evolved in a phased manner. Whether man evolved in a phased manner or not, art forms definitely evolved in phased manner.
Firstly, I would like to throw some light upon the facts about the reason man had to communicate in a certain way to drive his point at times when languages were not quite �grammatically� established. One had to heavily rely on signs and sometimes on objects to reach the listener for him to make out the meaning of the speaker. This way man could not always narrate his feelings to others without many failures and confusions.
Hence, he started to establish a classified way of speech and slowly some order was established. But, when I am dealing with musical vibrations, I must state clearly the necessity to go into the depths of all that is going to follow. The first question that comes to the Traditional �Pundits� and other scholars of music and allied arts is: - �Did vocal music come first or the Instrumental music��
It is very tricky for people to answer that. But, I have gone through various texts and scriptures, to find reliable evidence to very boldly state, that Vocal music preceded the instrumental variety. I have also analyzed the various other possibilities before I arrived at this conclusion. In one of my pursuits I have come across the factual evidence that the first Instrument that could evolve on its own was none other than � The �HARP�. How did I arrive at this? Well, it all started at a time when I was looking for some kind of real evidence to support my contentions regarding the theory I am trying to explain.
The first protective gear that man could find to fight for his survival, when he was regularly threatened by Wild Beasts of the jungles was to use sharp-edged things like a spear, wood-knife etc. And also as there were no laws or social bindings of any kind for him to think twice to kill another being, man learnt by experience that he could thwart the scare of other more powerful animals and by coming to know of newer techniques for attack and defending himself. In this way he learnt to make various instruments with the help of which he could protect himself from a distance too.
This gave birth to his long-standing �friend� in his Armor known as the �BOW� or DHANUSHA in the Indian tradition. As we are well aware about a bow consists of a bent or curved Bamboo which has the two ends tied up with a rope or twine. The use of a bow is further done with the help of an arrow, which is released by stretching the rope to its maximum and letting the opposite force to send the arrow {generally made of a sharp-edged stick}, darting towards the prey. The very release of this arrow produced the first vibration of sound which man was never aware of until then and this was something which was not in anyway close to the� �sounds� made by the Vocal-chord. Thus he started to observe and utilize such a vibration very deftly and closely followed the difference in vibrations and frequencies of the emitted sound.
Due to the different lengths of the rope or twine used for different Bows, man first understood how to place sounds of different frequencies with respect to the lengths of the rope or twine used in a bow. This phenomenon followed only one principle and which was: �The longer the rope, clearer and longer the frequencies {and thus more vibrations} Further, the shorter the length of the rope the lesser the no: of oscillations. Thus the low frequencies�
Hence, the bow started to take the shape of a very appropriate instrument where man could hear all the frequencies in a defined and measurable scale. And what followed was the fact that man could easily build his first Musical instrument known as the Harp. If you observe the Harp, then you can see that it is ANUDAATTA in the shape of a huge bow, to which a number of strings are attached at a particular tension or each string to produce a precise note or SWARA. To further my theory in this direction I have found astonishing evidence in support of my claim. �
It is explained in ancient Indian texts and scriptures that Lord Shiva when in perfect union with Shakti, actually struck the Bow-like Zodiac into action, with the help of an imaginary Equinox, which is in fact the straight and diagonal line starting from 0 Degrees(Aries) to 180 Degrees(Virgo) in the Zodiac. {Ref : - Sri Adi Sankaracharya�s �Soundarya Lahiri�}. For this very reason the point from where this kind of a sound vibration started, was termed as �Dhanusha� or simply, a bow. And to further imply the power of the creator this very point is also known as Moola or Root and it very appropriately concurs with the Moolaadhaara-chakra or the Root-chakra of the Kundalini or the serpent-like evolutionary power of creation.
Then the seven points of this Kundalini correlates perfectly with that of Shadja, Rishabha, Gaandhaara, Madhyama, Panchama, Dhaivata and Nishaada. Here onwards the theory becomes more complicated for ordinary music-lovers or musicians. I have to stress that one can reach this kind of understanding of the sound vibrations only after regular practice of any art form, for many years together.
I would like to illustrate this with the help of charts that follow: --
1. Shadja� ============================ Sahasraara
{A State Of Samaadhi or absolution}
2. Rishabha ========================== Aagnyaa
{Second in importance to Shadja)
3. Gaandhaara ====================== Visshudhha
{Celestial speech)
4. Madhyama� ======================== Anaahata
{Central part in the inner cosmos)
5. Panchama ========================= Manipura
{Fifth harmonic to Shajda / Medium changes}
6. Dhaivata ==========================Swaadhishthaana
(Desire / emotions zone)
7. Nishaada� ========================== Moolaadhaara
The seated or Root. {At Absolute rest or grounded
One can easily visualize the various subtleties brought forth here and understand the importance of sound energy. In this world of advanced state for mankind, every person elaborates on the importance of light, cosmic energy, Reiki, �OJAS etc. I strongly feel that the scholars around the world should try and incorporate into their quests of knowledge, the importance of Primordial sound or AUM or the creative energy it.
As has been repeatedly explained in a number of texts of ancient Indian civilization, that there was only the Nirguna-Brahman or Un-manifested-un-differentiated consciousness that existed before anything was created. This Nirguna Brahman was only aware of its immense creative power and hence it developed the longing to create something. What could it create for a beginning? It chose to create an image of itself, but in three dimensional form and thus our physical world came into being out of a cosmic being-ness. This was known as Saguna-Brahma or that creative power which had dimensions. At this juncture even Saguna Brahman wasn�t aware of its creative energy or power.
Once the Nirguna Brahman asked the Saguna Brahman �Who created you?� To which it replied �You created Me� This has been recorded as the first instance of a Duality or Dwayeeta, in ancient Indian texts. So the creative energy or Nirguna Brahman created its own image and thus gave birth to all dualities in this Universe. From here onwards the process of evolution becomes very closely linked to my theories and its chronology even more important. At the very beginning of my proposed thesis I have quoted the Sloka or hymn from the Vaakya-padya and Manusmriti, which tells us about the importance of Utterance or the Primordial sound. Here, many a scholar would ask if it is already presumed that the creative power or energy was Formless, then how could it produce the sound� It is absolutely clear that this kind of a sound couldn�t have been produced or executed with the help of anything to do with forms or shapes.
Hence, it took Lord Shiva to unite with Shakti or the �Awakened� Kundalini and thus began the process of creation in one stroke or twang, like that of an enormous bow or the imaginary �Diagonal� of the Zodiac. I would like to clarify here that though we did not come to know of the existence of Time and Space to be pre-eternally present, the creative energy had always marveled at the joy it would get on the execution of the job of such magnitude. Hence, Lord Shiva started the continuous phenomena of the neither cyclic, nor linear kind of a dimension within which there was a perfect balance of all that will repeatedly be created and destroyed at the will of the Ever-pervading, �Omnipotent� and Omnipresent. This is known as The Golden Spiral of the entire Cosmos where in individual souls are constantly incarnating and moving in their chosen directions to reach the Supreme soul, called Consciousness.
Since the bow was stretched to the point of its maximum i.e. Moolaadhaara or if clearly understood as the Moola constellation of the innumerable stars that would come into existence on such a twang of the diagonal of the zodiac. We have understood that scientific law always follows the rules of motion, which will certainly have a perfect definition. (after many great scholars of physical sciences have proved and said}
The very fact that, the striking of a String which is fastened to the two ends of a bow, will vibrate in a way, so as to enable it to rotate on an axis created by the force used for such a beginning and follow the rules of a pendulum. So, invariably the structure that is thus brought into existence, is always going to be in the shape of a wave and also almost like the Rugby ball. Very recently, when I was introduced to the meditative technique of Mer-Ka-Bah {which the Sufis called the Muraaqabaah}, I could very easily visualize the immaculate nature of the creation, on being told that the Mer-Ka-Ba was nothing but the spinning of the zodiac in the manner explained above. Only the process is explained in the MER-KA-BA as a Field of energy {Magnetic in nature} that encompasses every component of the entire Universe in the form of two Tetra-hedrons, one inverted and locked into the other very conveniently, to enable the laws of Physics and metaphysics become self-explanatory. The only difference that I could see in these two traditions of MER-KA-BA and the Kundalini Yoga is that the former depicts the whole process in a diagrammatic visualization of three tetrahedrons and not two, where as in Kundalini we can simply visualize these two be two. Hence making it further easier for people understand how an already existing field of energy encompassing all creations independently.
As far as music is concerned, classical Indian and western music has always followed a set pattern of aesthetics and traditions. Whereas, in astrology, it is very difficult to explain the intricacies of in simple terms the intricacies of life manifestations, vibrations and the relevant frequencies. As has been repeatedly explained in this dissertation, astrology deals with more subtle variations as it not only details the aspects of current Life of the native whose horoscope is being scrutinized, but also the past and future lives {Past Birth and Next Birth}.
Here the vibrations are divided into a relative degree, minute and second classification. As we come to understand the life of a person analyzing the horoscope of the native, we have to deal with not only �What will happen in this life for the native, but also for the past life {Janma-punar-janma} and future life. I have found out the subtle differences in these three sciences and arts, by always trying to inter-relate the Vibrations in its required form for the three subjects in question. For this I have decided to chalk out the theory into ten main branches of analysis: --
1. The importance of the numbers 3, 5, 7, 9 and 12
2. The importance of all these dealing with the cycles of such numbers in a �Spiral� forms.
3. The movement of all beings in Clock-wise direction.
4. The importance of �Originals� and �Reproductions�
5. The Subjective analysis of all that moves and appears to be still.
6. The Birth and Death of all Waves, Vibrations and Manifestations.
7. The importance of the numbers 108, 1008, 1800, 1,800,000.
8. The importance of �VE and +VE in these sciences.
9. The importance of ROOT and PEAK in these sciences.
10. The importance of �BEING� and �NOT BEING�.
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