FORGIVENESS

 

                                FORGIVENESS IS THE PART OF OUR LIFE

                     1. GOD, OR LIFE, IS NO RESPECTER OF PERSONS. LIFE PLAYS NO FAVORITES. LIFE, OR GOD, SEEMS TO FAVOR YOU WHEN YOU ALIGN YOURSELF WITH THE PRINCIPLE OF HARMONY, HEALTH, JOY, PEACE.

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                    2. GOD, OR LIFE, NEVER SENDS DISEASE, SICKNESS, ACCIDENT OR SUFFERING. WE BRING THESE THINGS ON OURSELVES BY OUR OWN NEGATIVE DESTRUCTIVE THINKING BASED UPON THE LAW AS WE SOW, SO SHALL WE REAP.

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                  3. YOUR CONCEPT OF GOD IS THE MOST IMPORTANT THING IN YOUR LIFE. IF YOU REALLY BELIEVE IN A GOD OF LOVE, YOUR SUBCONSCIOUS MIND WILL RESPOND IN COUNTLESS BLESSINGS TO YOU. BELIEVE IN A GOD OF LOVE, YOUR SUBCONSCIOUS MIND WILL RESPOND IN COUNTLESS BLESSINGS TO YOU. BELIEVE IN A GOD OF LOVE.

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                4. LIFE, OR GOD, HOLDS NO GRUDGE AGAINST YOU. LIFE NEVER CONDEMS YOU. LIFE HEALS TO SEVERE CUT ON YOUR HAND. LIFE FORGIVES IF YOU BURN YOUR FINGER. IT REDUCES THE EDEMA AND RESTORES THE PART TO WHOLENESS AND PERFECTION.

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                5. YOUR GUILT COMPLEX IS A FALSE CONCEPT OF GOD AND LIFE. GOD, OR LIFE, DOES NOT PUNISH OR JUDGE YOU. YOU DO THIS TO YOURSEFL BY YOUR FALSE BELIEFS, NEGATIVE THINKING, AND SELF-CONDEMNATION.

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              6. GOD, OF LIFE, DOES NOT CONDEMN OR PUNISH YOU. THE FORCES OF NATURE ARE NOT EVIL. THE EFFECT OF THEIR USE DEPENDS ON HOW YOU USE THE POWER WITHIN YOU. YOU CAN USE ELECTRICITY TO KILL SOMEONE OR TO LIGHT THE HOUSE. YOU CAN USE WATER TO DROWN A CHILD, OR QUENCH HIS THIRST. GOOD AND EVIL COME RIGHT BACK TO THE THOUGHT AND PURPOSE IN MAN'S OWN MIND.

            7. GOD, OR LIFE, DOES NOT CONDEMN OR PUNISH YOU. THE FORCES OF NATURE ARE NOT EVIL. THE EFFECT OF THEIR USE DEPENDS ON HOW YOU USE THE POWER WITHIN YOU. YOU CAN USE ELECTRICITY TO KILL SOMEONE OR TO LIGHT THE HOUSE. YOU CAN USE WATER TO DROWN A CHILD, OR QUENCH HIS THIRST. GOOD AND EVIL COME RIGHT BACK TO THE THOUGHT AND PURPOSE IN MAN'S OWN MIND.

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            8. IF ANOTHER CRITICIZES YOU, AND THE THESE FAULTS ARE WITHIN YOU, REJOICE, GIVE THANKS, AND APPRECIATE THE COMMENTS. THIS GIVES YOU THE OPPORTUNITY TO CORRECT THE PARTICULAR FAULT.'

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           9. YOU CANNOT BE HURT BY CRITICISM WHEN YOU KNOW, THAT YOU ARE MASTER OF YOUR THOUGHTS, REACTIONS, AND EMOTIONS. THIS GIVES YOU THE OPPORTUNITY TO PRAY AND BLESS THE OTHER, THEREBY BLESSINGS YOURSELF.

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            10. WHEN YOU PRAY FOR GUIDANCE AND RIGHT ACTION,  TAKE WHAT COMES. REALIZE IT IS GOOD AND VERY GOOD. THEN THERE IS NO CAUSE FOR SELF-PITY, CRITICISM, OR HATRED.

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             11. THERE IS NOTHING GOOD OR BAD, BUT THINKING MAKES IT SO. THERE IS NO EVIL IN SEX, THE DESIRE FOR FOOD, WEALTH, OR TRUE EXPRESSION. IT DEPENDS ON HOW YOU USE THESE URGES, DESIRES, OR ASPIRATIONS. YOUR DESIRE FOR FOOD CAN BE MET WITHOUT KILLING SOMEONE FOR A LOAF OF BREAD.

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            12. RESENTMENT, HATRED, ILL WILL, AND HOSTILITY ARE BEHIND A HOST OF MALADIES. FORGIVE, YOURSELF AND EVERYBODY ELSE BY POURING OUT LOVE, LIFE, JOY, AND GOOD WILL TO ALL THOSE WHO HAVE HURT YOU. CONTINUE UNTIL SUCH TIME AS YOU MEET THEM IN YOUR MIND AND YOU ARE AT PEACE WITH THEM.

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            13. TO FORGIVE IS TO GIVE SOMETHING FOR. GIVE LOVE, PEACE, JOY, WISDOM, AND ALL THE BLESSINGS OF LIFE TO THE OTHER, UNITL THERE IS NO STING IN YOUR MIND. THIS IS REALLY THE ACID TEST OF FORGIVENESS.

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             14. LET US SUPPOSE YOU HADAN ABSCESS IN YOUR JAW ABOUT A YEAR AGO. IT WAS VERY PAINFUL. ASK YOURSELF IF IT IS PAINFUL NOW. THE ANSWER IS IN THE NEGATIVE. LIKEWISE, IF SOMEONE HAS HURT YOU, LIED ABOUT AND VILIFIED YOU. AND SAID ALL MANNER OF EVIL ABOUT YOU, IW YOUR THOUGHT OF THAT PERSON NEGATIVE? DO YOU SIZZLE WHEN HE OR SHE COMES INTO YOUR MIND? IF SO, THE ROOTS  OF HATRED ARE STILL THERE, PLAYING HAVOC WITH YOU AND YOUR GOOD. THE ONLY WAY IS TO WITHER THEM WITH LOVE BY WISHING FOR THE PERSON ALL THE BLESSINGS OF LIFE, UNTIL YOU CAN MEET THE PERSON IN YOUR MIND, AND YOU CAN SINCERELY REACT WITH A BENEDICTION OF PEACE AND GOOD WILL. THIS IS THE MEANING OF FORGIVE UNTIL SEVENTY TIMES SEVEN. 

                    

                                      TECHNIQUE OF FORGIVENESS

                    THE FOLLOWING IS A SIMPLE METHOD, WHICH WORKS WONDERS IN YOUR LIFE A YOU PRACTICE IT.

                    QUIET YOUR MIND, RELAX, AND LET GO. THINK OF GOD AND HIS LOVE FOR YOU, AND THEM AFFIRM, " I FULLY AND FREELY FORGIVE (MENTION THE NAME OF THE OFFENDER), I RELEASE HIM MENTALLY AND SPIRITUALLY. I COMPLETELY FORGIVE EVERYTHING CONNECTED WITH THE MATTER IN QUESTION. I AM FREE, AND HE/SHE IS FREE. IT IS A MARVELOUS FEELING. IT IS MY DAY OF GENERAL AMNESTY. I RELEASE ANYBODY AND EVERYBODY WHO HAS EVEN HURT ME, AND I WISH FOR EACH AND EVERYONE HEALTH, HAPPINESS, PEACE, AND ALL THE BLESSINGS OF LIFE. I DO THIS FREELY,JOYOUSLY, AND LOVINGLY, AND WHENEVER I THINK OF THE PERSON OR PERSONS WHO HURT ME, AND WHENEVER I THINK OF THE PERSONS OR PERSONS WHO HURT ME, I SAY, I HAVE RELEASED YOU, AND ALL THE BLESSINGS OF LIFE ARE YOURS. I AM FREE AND YOU ARE FREE. IT IS WONDERFUL.

                  THE GREAT SECRET OF TRUE FORGIVENESS IS THAT ONCE YOU HAVE FORGIVEN THE PERSON, IT IS NECESSARY TO REQUEST THE PRAYER. WHENEVER THE PERSON COMES TO YOUR MIND, OR THE PARTICULAR WELL, AND SAY, "PEACE BE TO YOU" DO THIS AS AFTER AS THE THOUGHT ENTERS YOUR MIND. YOU WILL FIND THAT AFTER A FEW DAYS THE THOUGHT OF THE PERSON OR EXPERIENCE WILL RETURN LESS AND LESS, OFTEN, UNTIL IT FADES INTO NITHINGNESS.'

                                    THE ACID TEST FOR FORGIVENESS

             THERE IS AN ACID TEST FOR GOLD. THERE IS ALSO AN ACID TEST FOR FORGIVENESS. IF I SHOULD TELL YOU SOMETHING WONDERFUL ABOUT SOMEONE WHO HAS WRONGED YOU, CHEATED YOU, OR DEFRAUDED YOU, AND YOU SIZZLED AT HEARING THE GOOD NEWS ABOUT THIS PERSON, THE ROOTS OF HATRED WOULD STILL BE IN YOUR SUBCONSICOUS MIND, PLAYING HAVOC WITH YOU.

                 LET US SUPPOSE YOU HAD A PAINFUL ABSCESS ON YOUR JAW YEAR AGO, AND YOU TOLD ME ABOUT IT. I WOULD CASUALLY ASK YOU IF YOU HAD ANY PAIN NOW. YOU WOULD AUTOMATICALLY SAY, "OF COURSE NOT, I HAVE A MEMORY OF IT BUT NO PAIN". THAT IS THE WHOLE STING OR HURT ANY MORE. THIS IS THE ACID TEST, AND YOU MUST MEET IT PSYCHOLOGICALLY AND SPIRITUALLY , OTHERWISE, YOU ARE SIMPLY DECEIVING YOURSELF AND NOT PRACTICING THE TRUE ART OF FORGIVENESS.

                                 TO UNDERSTAND ALL IS TO FORGIVE ALL

 

                      WHEN MAN UNDERSTANDS THE CREATIVE LAW OF HIS OWN MIND. HE CAUSE TO BLAME OTHER PEOPLE AND CONDITIONS FOR MAKING OR MARRING HIS LIFE. HE KNOWS THAT HIS OWN THOUGHTS AND FEELINGS CREATE HIS DESTINY. FURTHERMORE, HE IS AWARE THAT EXTERNALS ARE NOT THE CAUSES AND CONDITIONERS OF HIS LIFE AND HIS EXPERIENCES. TO THINK THAT OTHERS CAN MAR LIFE AND HIS EXPERIENCES. TO THINK THAT OTHER CAN MAR OUR HAPPINESS THAT YOU ARE THE FOOTBALL OF A CRUEL FATE THAT YOU MUST OPPOSE THE FIGHT OTHERS FOR A LIVING-ALL THESE AND OTHERS LIKE THEM ARE UNTENABLE WHENYOU UNDERSTAND THAT THOUGHTS ARE THINGS. THE BIBLE SAYS THE SAME THING. FOR AS A MAN THINKETH IN HIS HEART, SO IS HE.

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DIFFERENT TYPES OF IKAT AND BROCADE

 

            TECHNIQUE ARE USED FOR PATTERNS DURING THE WEAVE?

                  FOR PATTERING DURING THE WEAVES TWO DIFFERENT ARE USED IKAT AND BROCADE.

               IKAT : IKAT, OR IKKAT, IS A STYLE OF WEAVING THAT USES A RESIST DYEING PROCESS SIMILAR TO TIE-DOWN ON EITHER THE WARP OR WEFT BEFORE THE THREADS ARE WOVEN TO CREATE A PATTERN OR DESIGN.  A DOUBLE IKAT IS WHEN BOTH THE WARP AND THE WEFT ARE TIE-DYED BEFORE WEAVING.

     

              IKAT MEANS "TO TIE"  OR "TO BIND" IN THE MALAY LANGUAGE AND HAS THE SAME ROOT AS THE WORDS DEKAT (CLOSE), LEKAT (TO STICK), PIKAT (T CATCH) ETC. THE WORD KATT HAS THE SAME MEANING IN ALL OF THE SOUTH INDIAN LANGUAGE BUT THERE MAY KATT HAS THE SAME MEANING IN ALL OF THE SOUTH INDIAN LANGUAGE BUT THERE MAY BE NO RELATION. THROUGH COMMON USAGE, THE WORD HAS COME TO DESCRIBE BOTH THE PROCESS AND THE CLOTH ITSELF. IKATAS HAVE BEEN WOVEN IN CULTURES ALL OVER THE WORLD. IN CENTRAL AND SOUTH AMERICA, IKAT IS STILL COMMON IN ARGENTINA, BOLIVIA, ECUADOR, GUATEMALA AND MEXICO. IN THE 19 THE CENTURY, THE SILK ROAD DESERT OASES OF BUKHARA AND SAMARKAND (IN WHAT IS NOW UZBEKISTAN IN CENTRAL ASIA) WERE FAMOUS FOR THEIR FINE SILK UZBEK IKAT. INDIA, JAPAN AND PRODUCTION. DOUBLE IKATS CAN STILL BE FOUND IN INDIA, GUATEMALA, JAPAN AND THE INDONESIAN ISLANDS OF BALI AND KALIMANTAN.

                    LIKE ANY CRAFT OR ART FORM, IKATS VARY WIDELY FROM COUNTRY TO COUNTRY AND REGION TO REGION. DESIGS MAY HAVE SYMBOLIC OF STATUS, WEALTH, POWER AND PRESTIGE. PERHAPS BECAUSE OF THE DIFFICULTY AND TIME REQUIRED TO MAKE IKATS, SOME CULTURES BELIEVE THE CLOTH IS IMBUED WITH MAGICAL POWERS.

                  BROCADED TEXTILE : IT IS SAID WHEN BUDDHA ATTAINED NIRVANA, HIS BODY WAS WRAPPED IN BANARAS FABRIC, WHICH EMITTED RAYS OF DAZZLING BLUE, RED AND YELLOW. INDIAN FABRIC, WHICH EMITTED RAYS OF DAZZLING BLUE, RED AND YELLOW, INDIAN FABRICS ENJOYED UNDISPUTED SUPREMACY ALL OVER THE WORLD FOR OVER 2000 YEARS. EVENT THE RIG VEDA REFERS TO HIRANYADRAPI OR A SHINING GOLD-WOVEN CLOTH, THE MAHABHARATA TO MANICHERA AND VALIMIKI'S RAMAYANA DESCRIBES RAVANA, THE DEMON KING, AS DONNING A GOLD FABRIC. PALI LITERATURE MENTIONS THE KASEYYAKA (SILK OF BANARAS) WORTH A HUNDRED PIECES OF SILVER. 

                    THE TRADITION : BROCADE WEAVING, ESPECIALLY WITH GOLD AND SILVER, HAS BEEN AN AGE-OLD TRADITION IN INDIA. THERE ARE TWO BROAD CLASSES OF BROCADES. BROCADES OF PURE SILK AND COTTON BLENDS AND ZARI BROCADES WITH GOLD AND SILVER THREADS.

                    THE MOST IMPORTANT MATERIAL IN BROCADE WEAVING IS SILK, IT FACILITIES LOVELY WEAVES, IS DURABLE, STRONG, FINE AND SMOOTH. THERE ARES SEVERAL VARIETIES OF RAW SILK OF WHICH THE CHIEF ONES USED FOR BROCADES ARE TANDURI, BANAKA AND MUKTA. TANDURI IS IMPORTED FROM MALDA AND OTHER PLACES IN BENGAL, BANAKA IS THINNER AND FINER VARIETY AND IS MOSTLY USED TO WEAVE SOLF FABRICS SUCH AS TURBANS AND HANDKERCHIEFS. MUKTA IS A COARSE AND DURABLE SILK USED FOR KIMKHABS, AS FINE SILK WOULD NOT WITH STAND HEAVY GOLD PATTERNS.

                   REFININGS SILK FOR BROCADE MAKING : RAW SILK IS SPECIALLY TREATED FOR BROCADES. IT IS FIRST TWISTED (CALLED SILK THROWING) AFTER WHICH THE THREADS UNDERGO REELING AND CHECKING FOR UNIFORMITY AND ROUNDNESS. WHEN THE YARN HAS BEEN PROCESSED, IT IS BLEACHED AND "DEGUMMED" AS RAW SILK HAS A GUM LIKE SUBSTANCE (SERICIN) IN ITS COMPOSITION. THIS HAS TO BE REMOVED IN ORDER TO BRING SUBSTANCE (SERICIN) IN ITS COMPOSITION. THIS HAS TO BE REMOVED IN ORDER TO BRIBG OUT THE SHEEN ANS SOLFTENESS AND TO ENABLE PENETRATION OF THE DYE. THE TASK HAS TO BE DONE WITH GREAT CARE AS THE FIBERS CAN WEAKEN OR GET DAMAGED. THE SILK IS BOILED IN SOAP WATER FOR A CERTAIN DURATION AND THEN SENT FOR DYING.

                    IMPORTANT OF COLOR : COLOR PLAYS A VITAL PART IN WEAVING BROCADE. THE CHARM AND SUBTLE BEAUTY OF THE BROCADE DEPENDS UPON COLOR SYNCHRONIZATION. COLORS ARE SURCHARGED WITH NUANCES OF MOOD AND POETIC ASSOCIATION IN FABRICS AND WEAVING AS MUCH  AS IN PAINTING.

                   RED - THE COLOR OF LOVE. THE THREE TONES OF RED EVOKE THE THREE STATES OF LOVE.

                  YELLOW - IS THE COLOR OF VASANT (SPRING) OF YOUNG BLOSSOMS, SOUTHERN WINDS AND SWARMS OF BEES.

                 HARI NILA - THE COLOR OF WATER IN WHICH THE SKY IS REFLECTED.

               GERWA (SAFFRON) - THE COLOR OF EARTH AND OF THE YOGI THE WANDERING MINSTREL, THE SEER, THE POET WHO RENOUNCES THE WORLD.

                   EARLIER, VEGETABLE DYES WERE USED DURING WEAVING. THESE PRODUCED FAST COLORS, LASTED FOR ALMOST A GENERATION, AND REMAINDED AS BEAUTIFUL AND VIVID AS EVER. NOWADAYS ANILINE DYES HAVE GAINED POPULARITY AS THEY AS CHEAPER, LESS TIME-CONSUMING AND PRODUCE A LARGER VARIETY OF COLORS.

                  MAKING NAKSHAS (DESIGNS) ON BROCADES : MAKING OF NAKSHAS (DESINGS) FORMS AS IMPORTANT PART OF BROCADE WEAVING. BANARAS IS THE MAIN CENTER WHERE THE NAKSHABANDHA (DESGINGER) TRADITION PREVAILS. THE SKILL AND IMAGINATION OF NAKSHABANDHA PLAYS A PROMINENT PART IN MAKING OF DESIGNS. DESIGNS ARE ASSOCIATED WITH LEGENDS AND SYMBOLISM. THE MOST POPULAR MOTIFS ARE DRAWN FROM NATURE.

                   IN BANARAS, IT IS SAID THAT NAKSHABANDHA FAMILIES WERE BROUGHT TO THIS COUNTRY DURING THE REIGN OF MUHAMMED TUGHLAK . THEY WERE SUPREME MASTERS OF THE ART OF TYING DESIGNS INTO THE LOOM. LOCAL ARTISIANS AND WEAVES LEARNED THIS ART FROM THESE GREAT CRAFTSMEN.

                  SOME OF THESE CRAFTMEN WERE ALSO GREAT POETS-PERHAPS THEY WOVE THEIR POETRY INTO THEIR DESIGNS. ONE SUCH REMOWNED POET WAS GHIAS-I-NAQSBAND, MENTIONED IN ABUL FAZL'S 'AIN-I-AKBAR'. THE NAKSHAS ARE FIRST WORKED ON PAPER. THIS PART OF THE WORK IS CALLED LIKHAI (WRITING). THE NAKSHABANDAN THEN MAKES A LITTLE PATTERN OF IT IN A FRAMEWORK OF COTTON THREADS LIKE GRAPH. THIS PATTERN GIVE GUIDANCE TO THE WORKING OF THAT DESIGN INTO WEAVING.

 

                  WHAT ARE THE DIFFERENT TYPES OF EMBRODERED TEXTILE ?

                  EMBROIDERED TEXTILES : 

               KANTHA : THE KANTHA, PATCHED CLOTH, WAS MAINLY MADE OUT OF WORN OUT AND DISUSED SAREES AND DHOTIS. BORDERS OF THESE USED SARIS ETC. WERE CUT PATCHED AND EMBRODERY. WOMEN OF ALL CASTES, BUT BRAHMIN INCLUDING MUSLIM WOMEN DO THIS EMBRODERY. THE STITCHES USED ARE OF SIMPLEST KIND. THE RUNNING STITCH I THE MAIN. RED AND BLUE COLOURS ARE GENERALLY USED. THE DESIGN IS MOSTLY IN THE SQUARE OR RECTANGLE, AT THE CENTRE SPACE IS OCCUPIED BY A LOTUS FLOWER AND AND ITS PETALS WHICH MANIFEST ANCIENT INDIAN SYMBOL OF UNIVERSE. FOUR TREES MARK THE COMERS SYMBOLIZING  FOUR DIRECTIONS. THEMATICALLY ITS AN ENRICHED TEXTILE VERSION OF THE ART OF THE ALPHONA. THEMES FROM ANCIENT MYTHOLOGY AND LEGENDS ARE TAKEN. IN SOME KANTHAS ONLY THE FIGURES OF ANIMALS ARE USED. HOWEVER, MUSLIM KANTHAS LACK FIGURES, ETC. INSTEAD THEY USE SCROLL.

                     THE ART OF KANTHA DIED AFTER THE FIRST QUARTER OF THE 20TH CENTURY. IT IS NOT KNOWN WHEN IT BEGAN AGAIN, THE NEW KANTHA, THOUGH SAME IN TECHNIQUE, WITH WIDELY SPACED DESIGNS RESEMBLES MORE WITH CERTAIN TYPE OF PAINTINGS IN BIHAR AND BENGAL.

                     CIKAN : IT IS DONE MAILY IN WHITE COTTON THREAD ON WHITE COTTON. THE EMBROIDERY IS COMPOSED OF LARGE AND SMALL, SIMPLE OR INVERTED SATIN-STITCH, BUTTON HOLDING, DARN STITCH, KNOT-STITCH, NETTING AND APPLIQUE. THE ART DEVELOPED AT LUCKNOW UNDER THE PATRONAGE OF THE RULERS OF AVADH. BOTH, HINDU AND MUSLIM CRAFSMEN ARE SKILLED IN THE CRAFT. AT PRESENT FIVE DIFFERENT STYLES OF CIKAN WORK ARE COMMON. TAIPCHI, KHATWA, BAKHIA, MURRI AND PHANDA AND JALI.

                  APPLIQUE WORK : THE TRADITIONAL HOMES OF APPLIQUE AND PATCHWORK ARE KUTCH, SAURASHTRA, ORISSA (PIPLI), BENGAL, BIHAR, U.P ANDHRA PRADESH AND TAMILNADU. THE PEOPLE OF BANNI IN KUTCH MAKE A VARIETY OF DHADKI, SPREAD-CUM-QUILT BY USING THE APPLIQUE TECHNIQUE. SIMILARLY, KATHIS, RAJPUTS, MERS, KUNBIS, VANIA, ETC. OF SAURASHTRA USE BOTH APPLIQUE AND PATCHWORK TECHNIQUE.

                 IN APPLIQUE TECHNIQUE MOTIFS ARE CUT OUT FROM COLOURED FABRIC AND APPLIED TO A PLAIN GROUND, NORMALLY WHITE, TO CREATE A RANGE OF PATTERNED SPREADS, QUITS, COSTUMES, ETC. MOTIFS LIKE HUMAN FIGURES, ANIMALS AND FLOWERS ARE ALSO CUT OUT AND APPLIED TO THE GROUND / PLAIN CLOTH.

                  PHULKARI (FLOWER WORK) : IT IS A FORM OF EMOBRODERY OF PUNJAB DONE IN DARN-STITCH OVER COUNTED THREAD BY USING FLOSS-SILK THREAD ON A COARSE MADDER RED OR INDIGO BLUE HOMESPUN COTTON. IT IS TRADITIONALLY DONE BY HINDU JAT WOMEN ON ODHNIS SKIRTS AND BLOUSES. NOW-A-DAYS, BESIDES THE TRADITIONALLLY PHULKARI "BAGH" TECHNIQUE IN WHICH DENSE SILK EMBROIDERY IS USED, PATTERNS WHICH ONLY EDGES ARE COVERED AND SISADES ON MIRROR WORK EMBROIDERY USE ALSO COMMON.

                  ARI BHARAT : IT IS A CHAIN STITCH EMBROIDERY DONE PRIMARILY BY GUJARAT WOMEN. IN THIS FLORAL MEDALLIONS AND PEACOCKS PREDOMINATES. THE MEGHVALS, AHIRS, RABARIS, KATHIS AND GARASIAS ARE FIGURATIVE MOTIFS, LOCAL NARRATIVES AND PURANIC LEGENDS UNLIKE THEIR COUNTERPARTS THE ISLAMIC BANIAS.

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THE DIFFERENCE OF NRITTTA AND ABHINAYA

 

                                WHAT IS THE DIFFERENCE BETWEEN

                                       "NRITTA" AND "ABHINAYA"?

                     NRITTA : THE NRITTA TECHNIQUE OF INDIAN DANCE EMPHASIS HUMAN MOVEMENT. INDIAN DANCE IS, INFACT, A STRINGING TOGETHER OF A NUMB ROF HIGHLY STYLIZED AND SYMBOLIC POSES. THE NRITTA TECHNIQUE ENCOMPASSESS NOT ONLY THE TECHNIQUE OF RENDERING RYTHM (TALA) THROUGH MOVEMENTS WHICH DO NOT HAVE MEANING, BUT ALSO IMPORTANT FEATURE OF PROJECTING SPECIFIC POSES WITHIN THE GIVEN RHYTHMIC CYCLE.

                   INDIAN DANCE PURPOSELY EMPHASIZE ONLY CERTAIN TYPES OF MOVEMENTS. IT EXPLORES THE FULL POSSIBILITIES OF THOSE MOVEMENTS WITHIN CONSCIOUSLY IMPOSED LIMITATION. NONE OF THE INDIAN STYLES USE LARGE LEAPS EXCEPT FOR CERTAIN ASPECTS OF KATHAKALI AND CHHAU FORMS AND LITTLE OR NO DISCUSSION OF THEN APPEARS IN THE TREATISE OR INDIAN DANCE.

                 NATYASHASTRA CONTAINS DETAILED ANALYSIS OF THE MOVEMENTS OF MAJOR LIMBS (THE ANGAS) AND  MINOR LIMBS (THE UPANGAS). THE HEAD, BREAST OR CHEST, SIDES (WAIST), HIPS AND FEET CONSTITUTE MAJOR LIMBS (ANGAS) AND THE EYES, EYEBROWS, NOSE, LIPS, CHIN, MOUTH ETC. CONSTITUE THE MINOR LIMBS (UPANGAS). THIS IS FOLLOWED BY A DISCUSSION ON BASIC STANCES I.E, THE STHANAS - THE COMBINATION OF THESE PRIMARY MOVEMENTS.

                 ABHINAYA : THE MIMING ASPECT OF THE NATYA TERMED AS A ANGIKABHINAYA IN THE NATYASHASTRA IS ALSO AN INTEGRAL PART OF DANCING. IN DANCE (NRITYA) IT IS KNOWN AS ABHINAYA. SAME PRINCIPLES APPLIED TO BOTH DRAMA AND NRITYA OR ABHINAYA.

                IN THE NRITTA PORTION, MUSICAL ACCOMPANIMENT UTILIZES SWARNAS OF A MELODY IN A GIVEN RHYTHMIC CYCLE (TALA) AND THE VARIATIONS OF TALA ARE INTERPRETED BY THE FEET AND THE OTHER ANGAS AND UPANGAS OF THE BODY. IN THE ABHINAYA PORTION, THE MUSICAL ACCOMPLISHMENT INVARIABLY CONSISTS OF POETRY, LYRICAL OR NARRATIVE, WHICH IS SET TO MUSIC AND RHYTHM. IT IS THIS POETRY WHICH IS INTERPRETED BY THE DANCERS. IN THE ACTUAL INTERPRETATION, ESPECIALLY IN THE SOLO DANCING OF ALL THE CLASSICAL STYLES, IT CONSISTS OF PORTRAYING THE VARIOUS TRANSIENT STATES (SANCHARIBHAVAS), OF THE PARTICULAR DOMINANT STATE (THAYIBHAVA). THIS IS DONE THROUGH A SERIES OF THE ANGIKABAHINAYA IN WHICH EACH WORD OR LINE OF POETRY IS INTERPRETED IN AS MANY DIFFERENT WAYS AS POSSIBLE. IN DOING SO, THE PRINCIPLE OF NATYADHARMI IS FULLY FOLLOWED - THE DANCER ASSUMES DIFFERENT ROLE WITHOUT CHANG3E OF DRESS OR COSTUME.

                   FROM AMONGST THE MOVEMENTS OF THE ANGAS AND UPANGAS THE NRITYA OR ABHINAYA PORTION DEPENDS MOSTLY ON THE GESTURE OF THE HANDS AND FACE ESPECIALLY THE MOVEMENTS OF THE EYES, EYEBROWS, EYEBALLS ETC.

                  THE TECHNIQUE OF INDIAN DANCE IS AS COMPLEX AS THE TECHNIQUE OF ANY OTHER ART IN INDIA. IN BUILDS FROM ITS SMALLEST PART INOT A COMPOSITE WHOLE BY A SERIES OF LAWS APPLIED SYSTEMATICALLY. ALL THIS IS DONE WITH A VIEW TO EVOLVING A PARTICULAR STAGE OR MIND OR RASA.

                        WHAT IS THE MATURE OF ARCHAEOLOGICAL AND LITERARY EVIDENCE ON DANCE IN INDIA?

 

                   ARCHAEOLOGICAL AND LITERARY EVIDENCE : IT WAS IN THE SECOND PERIOD THAT THERE WAS THE FIRST ARTICULATION OF A SELF-CONSCIOUS UNDERSTANDING OF DANCE AS AN ART. THE COMPILATION OF NATYASHASTRA CONFIRMS IT. WE ALSO FIND THAT THERE WAS AN EFFORT AT STYLIZATION ALTHOUGH NONE OF THE MONUMENTS AND THE SCULPTURAL RELIEFS SHOW THAT THEY HAD ARRIVED AT A STEREOTYPED CONVENTION MERELY TO BE FOLLOWED REPEATED. THE MOTIFS IN THE SCULPTURAL TRADITION WERE THOSE OF THE TREE AND WOMAN, THE YAKSHA AND YAKSHANI AND MANY OTHERS, ALL THESE FINALLY CRYSTALISED INTO THE DANCE OF SIVA AND THAT OF KRISHNA. IN BHARHUT, SANCHI, MATHURA AND ELSEWHERE THERE ARE INNUMERABLE YAKSHA AND YAKSHNIS WHO STAND AGAINST TREE AND PILLAR, HOLD BRANCHES OR BIRDS ETC. EACH OF THESE MEN AND WOMEN ARE SEEN IN THE DANCE POSE. ALONGSIDE ARE DANCE SCENES WITH FULL ORCHESTRA. THIS IS ALSO THE PERIOD OF THE EMERGENCE OF THE SCULPTURAL FIGURES OF GODS AND GODDESS ESPECIALLY SIVA, DURGA, SARASWATHI, AND GANESHA. EACH HAS A DANCE ASPECT POPULARLY CALLED, THE NRITTAMURTI. FROM THIS SCULPTURAL EVIDENCE OF THE SECOND PERIOD, WE REALIZE THAT THE DANCE MUST HAVE BEEN CENTRAL TO THE CULTURE FOR THE SCULPTURE TO HAVE BEEN INSPIRED TO ARREST IT IN STONE REPEATEDLY.

                 TO THIS SECOND PERIOD ALSO BELONGED THE CONSTRUCTION OF STUPAS AND TEMPLES. DIFFERENT ASPECTS OF LIFE HAVE BEEN DEPICTED ON THE RAILINGS AND GETS THE DANCE RECITAL AS ALSO THE DANCING ASPECT OF GOD AND GODDESS. THE ORISSAN TEMPLES OF BHUBANESWARA AND EVEN EARLIER THE STUPAS OF RATNAGIRI TELL US OF THE PRE-OCCUPATION OF THE SCULPTURE WITH THE IMAGE OF DANCE. THE TEMPLES OF RAJA RANI, OF PARASURAMESWARA AND OF LINGARAJA - ALL REVERBERATE WITH MUSIC AND DANCE. INNUMERABLE FIGURES ENTWINED WITH TREES OR PILLAR HOLDING BIRDS, STANDING ON ANIMALS OR DWARDS SMILING OR MORE SERIOUS, ARE DEPICTED IN PANEL AFTER PANEL ON THE OUTER WALLS OF THESE TEMPLES. LOOKED AT CLOSELY, ONE IS IMRESSED BY THE FACT THAT THE SCULPTURE WAS NOT ONLY A KEEN OBSERVER OF MOVEMENT, BUT WAS ALSO A SELF-CONSCIOUS ILLUSTRATOR OF THE BASIC POSITION I.E. THE STHANAS AND THE  FUNDAMENTAL MOVEMENTS CALLED THE CHARIS DESCRIBED IN THE NATYASHASTRA. THE MONUMENTS OF CENTRAL INDIA ESPECIALLY THOSE OF KHAJURAHO BUILT BY CHANDELES AND UDAYESHWAR OF THE  PARMARAS BELONGING TO THE 11TH AND 12TH CENTURIES ALSO PRESENT A WIDE ARRAY OF MOVEMENT PATTERNS FROM SOLO STANDING FIGURES TO FIGURES IN ARDHAMANDALI, TO GROUPS AND FINALLY TO THE MOST IMPRESSIVE SERIES OF FLYING FIGURES, LEAVES A STAGGERING IMPRESSION OF THE POPULARITY OF DANCE.

                      THESE SCULPTORS AND PAINTERS RECORD IN STONE AND IN PAINTING, THROUGH LINE AND MINIATURE PAINTING. SOME ARE INSPIRED BY BUDDHIST TEXTS OTHER BY JAINA THEMES AND YET OTHERS BY HINDU PURANIC MYTHS AND LEGENDS. THE EVIDENCE OF DANCE IN MURAL PAINTINGS RANGES FROM THE FAMOUS DANCE SCENES OF BAGH CAVES TO AJANTA, ELLORA AND PANNAMALAI.

                    LITERARY EVIDENCE : THIS IMPRESSION OF THE PERVASIVE POPULARITY OF THE DANCE MOTIF IS FURTHER REINFORCED BY THE EVIDENCE AVAILABLE IN SANSKRIT LITERATURE OF THE CLASSICAL PERIOD. IN THE EPICS RAMAYANA AND THE MAHABHARAT, MANY DANCE PERFORMANCES ARE PRESCRIBED. IN THE WORKS OF POETS BHASA, KALIDAS AND OTHERS UNTIL THE TIME OF HARSHA, WE ENCOUNTER MANY PRECISE DESCRIPTIONS OF DANCERS AND DANCE RECITALS. FROM ALL THIS, ONCE CAN GATHER THAT THE POET AND THE DRAMATIST WERE EQUALLY WELL-VERSED IN THE TECHNICAL INTRICACIES OF DANCE. THEY APPRECIATED THE AESTHETIC BEAUTY AND DREW UPON THIS ART TO STRUCTURE THEIR PLAY ON POETIC OR DRAMATIC EDIFICE. NONE OF THE PLAYS OF KALIDAS, BHAVBHUTI AND HARSHA AND BEEN  CONCEIVED OF AS DRAMA DEPENDENT ON THE SPOKEN WORD ALONE. THE COMMUNICATION SYSTEM EMPLOYED BY THE WRITER TAKES INTO ACCOUNT NOT ONLY THE VERBAL COMMUNICATION THROUGH GESTURES, COSTUMES, DECOR ALONE BUT ALL THE INNER STATES OF BEING WHICH ARE REFLECTED IN INVOLUNTARY EXPRESSIONS. 

                 THIS TRADITION WAS ESTABLISHED IN INDIA  MANY CENTURIES PRIOR TO THE WRITING OF THE PLAYS OF BHASA OR KALIDASS. THIS IS EVIDENT FROM THE CODIFICATION OF THESE COMMUNICATION TECHNIQUES IN THE FIRST TREATISE ON DRAMATURGY I.E. THE NATYASHASTRA. THIS TRADITION CONTINUES IN THE PLAYS OF BHAVABHUTI AND HARSHA AND CULMINATES IN THE WORK OF RAJSHEKHARA. MANY EXAMPLES OF THIS COULD BE CITED FROM THE DRAMATIC WORK OF RAJSHEKHARA MANY EXAMPLES OF THIS COULD BE CITED FROM THE DRAMATIC WORKS OF THE 10TH CENTURY A.D. KARPURAMANJARI IS THE EXAMPLE OF THIS WHERE THE DRAMATIC FORM, CHIEFLY UTILIZING THE VERBAL LAND, GIVES PLACE IN THE SANSKRIT TRADITION. HOWEVER, ITS FULL AND VIGOROUS FLOWERING TOOK PLACE ONLY IN THE EARLY AND THE LATE MEDIEVAL PERIOD SAY 9TH CENTURY A.D. AND CONTINUING UNTIL 11TH AND 12TH CENTURY A.D.

                        IN THE 9TH 10TH CENTURY A COMMENTARY OF NATYASHASTRA BY ABHINAVAGUPTA WAS WRITTEN. THE COMMENTARY OF ABHINAVAGUPTA BEGAN A NEW PHASE OF THE EVOLUTION OF DIFFERENT THEORIES OF AESTHETIC AND ARTISTIC CREATION.

                     FROM THE 13TH CENTURY ONWARDS ONCE CAN FIND MANUALS ON DANCE FROM PRACTICALLY EVERY REGION OF THE COUNTRY. EVEN A SUPERFICIAL STUDY OF THESE MANUALS EMPHASIZES TWO BROAD FACTS.FIRST. THAT DESPITE REGIONAL VARIATIONS ALL SCHOOLS SUBSCRIBED TO THE BASIS PRINCIPLES OF THE NATYASHASTRA TRADITION. THE DANCE CONTINUED TO BE DIVIDED INOT NATYA AND NRITTA ON ONE HAND AND INTO TANDAVA AND LASYA ON THE OTHER. THE SECOND IS THAT, ALTHOUGH THEY CONTINUED TO FOLLOW THESE BROAD PRINCIPLES, MANY DISTINCTIVE REGIONAL STYLES EVOLVED AND EACH REGION ULTIMATELY DEVELOPED A DISTINCTIVE REGIONAL STYLES EVOLVED AND EACH REGION ULTIMATELY DEVELOPED A DISTINCTIVE VOCABULARY. THIS SECOND FACT LED TO THE VONTEMPORARY CLASSICAL STYLES - BEIT BHARATNATYAM, KATHAKALI, MANIPURI, ODISSI OR KATHAK - CAN BE TRACED BACK TO DEVELOPMENTS IN THE MEDIEVAL PERIOD, ROUGHLY DATING FROM 1300 A.D TO 1800 A.D.

               THE RECENT REVIVAL OF INTEREST IN DANCE, DEVELOPED AS A SIGN OF NATIONAL PRIDE IN THE GLORIES OF INDIGENOUS ART AND CULTURE, HELPED THE DEVELOPMENT AND POPULARITY OF OUR VARIOUS DANCE STYLES. DURING THE PAST FIVE DECADES MANY LAYERS OF THE PAST ARTISTIC GLORY HAVE BEEN UNCOVERED. THE DIGGING CONTINUES AND EACH TIME ONE DELVES DEEPER, A GREATER TREASURE IS DISCOVERED.

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WHY GAYATRI MANTRA

 

                                                      GAYATRI MANTRA

                   WHERE SHOULD I BEGIN? ALTHOUGH I HAVE CHOSEN THE PATH OF MEDITATION IN MY OWN LIFE, MUCH OF WHAT I KNOW, IF NOT ALL OF IT, IS ATTRIBUTABLE TO THE GRACE OF DIVINE MOTHER. IN THIS DAY AND AGE, WHEN WE ARE CONTINIONED WITH WESTERN THOUGHT, IT IS NATURAL TO QUESTION THE EFFICACY OR THE RELEVANCE OF MANTRAS.

                    I CAN TELL YOU FROM MY FIRSTHAND EXPERIENCE THAT TEH POWER OF MANTRAS IS ONE, IMMENSE, TWO REAL, AND THREE, ACCESSIBLE. WHEN WE LISTEN TO MUSIC, WE CAN HEAR THE HARMONY WITHIN IT - AND WE KNOW THAT CERTAIN CHORDS, MELODIES, RHYTHMS AND SCALES CAN EVOKE CERTAIN EMOTIONS IN US. THIS IS REGARDLESS OF WHETHER WE KNOW HOW TO SING, PLAY AN INSTRUMENT OR READ MUSIC NOTATION, ETC.

                    AS A LISTENER, LISTENING TO MUSIC CAN MAKE YOU CRY, IT CAN MAKE YOU LAUGH AND SO ON. SIMILARLY - AND IT'S NOT JUST A METAPHOR, IT IS VERY REAL - WHETHER OR NOT YOU KNOW IT, THE SOUND OF MANTRAS CAN BRING ALIVE LONG - FORGOTTEN MEMORIES IN YOU. TENDENCIES, FEELINGS, EMOTIONS, KNOWLEDGE, WISDOM, POWER AND SIDDHIS YOU HAVE BEEN WITHIN YOURSELF OVER LIFETIMES CAN BE EVOKED WITH THE POWER OF A MANTRA.

 

                   THE ABIDING DILEMMA IS SANATANA DHARMA IS, WHAT IS THAT ONE SUPREME ENERGY ONE SHOUD TAP INTO? PEOPLE ASK ME THIS ALL THE TIME THAT THERE ARE SO MANY GODS OR FORMS OF GOD, TO WHOM SHOULD WE PRAY? MOST FASCINATINGLY, EVEN IN A RELIGION AS DIVERSE AS SANATANA DHARMA, WITH AS MANY SECTS AS STARS IN THE SKY (OKAY, MAYBE NOT AS MANY)  THERE'S ONE VEDIC MANTRA THAT HAS BEEN WIDELY RECOGNIZED AS THE QUINTESSENTIA MANTRA OF OUR DHARMA.

                  EVEN THOUGH I'M CALLING SANATANA DHARMA A RELIGION - COMMONLY KNOWN AS HINDUISM - IT IS ACTUALLY NOT A RELIGION BUT A WAY OF LIFE, A MANNER OF THINKING. THEREFORE, IN INDIA'S ANCIENT OR MEDIEVAL HISTORY, YOU WILL NEVER FIND AS EPISODE OF TWO KINGS OR STATES GOING TO BATTLE JUST BECAUSE THEY PRAYED TO A DIFFERENT FORM OF GOD. IT IS QUITE REMARKABLE THAT IN A COUNTRY WITH TENS OF LANGUAGES AND HUNDREDS OF DIALECTS, A COUNTRY WITH EXTRAORDINARY CULTURAL AND HISTORICAL DIVERSITY, WHERE STATES WERE ETERNALLY FIGHTING TERRITORIAL AND POLITICAL WARS, THERE HAD NEVER BEEN ANY PERSECUTION IN THE NAME OF RELIGION. THAT'S BECAUSE SANATANA DHARMA ALLOWED PEACEFUL CO-EXISTENCE OF CONTRADICTIONS.

                  WHEREVER YOU MIGHT HAVE BEEN IN THIS BEAUTIFUL COUNTRY, THROUGH ANY PERIOD IN ITS SEVERAL MILLENNIA - OLD HISTORY, SANATANA DHARMA HAS STOOD ON FOUR PILLARS - GAU, COW, GITA, THE BHAGAVAD GITA, WHICH MEANS THE SONG OF THE LORD, AND IS OUR SCRIPTURE, GANGA, MOTHER GANGA, AND GAYATRI.

                 ADI SHANKARACHARYA WROTE IN BHAJA GOVINDAM, GAIYAM GITA NAAM SAHASRAM, DHEYAM SHRIPATI ROOPAMAJASRAM, NEYAM SAJAN SANGE CHITAM, DEYAM DEEN JANAYE CHAVITTAM.

                 THE PURPOSE OF HUMAN LIFE IS FOURFOLD. GAIYAM GITAM NAAM SAHASRAM, SHANKARACHARYA URGES THAT WHENEVER YOUR MIND HAS A MOMENT TO SPARE, CHANT THE HOLY NAMES, SING THE DIVINE GLORIES AND EXPRESS YOUR GRATITUDE TO THE DIVINE (ITS BETTER THAN GOSSIPING, SULKING OR SPEAKING ILL OF ANYONE). BECAUSE, AS YOU HAVE HEARD IN MY EARLIER DISCOURSES, NOTHING GIVES YOU STRENGTH LIKE GRATITUDE, HAPPINESS AND INNER PEACE. HAPPINESS IS A DIRECT OUTCOME OF YOUR GRATENESS. THE MORE GRATEFUL YOU ARE, THE HAPPIER YOU WILL FEEL.

                   DHEYAM SHRIPATI ROOPAMAJASRAM: MEDITATE UPON THE DIVINE ENERGY, NEYAM SAJAN SANGE CHITAM, SPEND YOUR TIME IN THE COMPANY OF GOOD PEOPLE - IT'S THE HARDEST THING TO DO.

                  WHEN YOU SOCIALIZE WITH OTHER POEPLE, YOU WILL DISCOVER THAT THEY SPEND MORE OF THEIR TIME GOSSIPING THAN DOING ANYTHING ELSE, AND IT GOES BEYONG THE STANDARD EXCHANGING OF PLEASANTRIES, " HEY, HOW ARE YOU DOING TODAY"? IT'S JUST PLAIN GOSSIPING. THIS WEAKENS YOU, BECAUSE WHEN YOU RELAX IN YOUR FREE TIME, YOUR MIND ALWAYS PLAYS BACK WHAT IT HAD HEARD DURING THE DAY. THA'S HOW THE MIND WORKS. IT YOU DON'T FEED IT GARBAGE, IT WON'T FEED YOU GARBAGE BACK.

                    SHANKARACHARYA SAID, "NEYAM SAJAN SANGE CHITTA". SPEND YOUR TIME IN THE COMPANY OF GOOD PEOPLE. I ONCE READ SOMEWHERE THAT AT ANY POINT IN TIME, YOU WILL DISCOVER THAT YOU ARE A REFLECTION OF THE FIVE MOST SIGNIFICANT PEOPLE IN YOUR LIFE. WE BECOME THE KIND OF PEOPLE WE SURROUND OURSELVES WITH. THE WHOLE PREMISE OF MEDITATION, OF BHAKTI, OF DEVOTION, IS BASED ON THIS ALONE - THAT IF I HAVE TO DERIVE MY INSPIRATION FROM SOMEBODY, LET THAT PERSON NOT BE AN ORDINARY PERSON WITH ORDINARY CHALLENGES, WITH ORDINARY, PETTY THINKING. LET ME DRIVE MY INSPIRATION FROM SOMETHING GRAND, SOMETHING EXTRAORDINARY, SOMETHING BEAUTIFUL.

                  "DHEYAM DEEN JANAYE CHAVITTAM" MEANS BE CHARITABLE TO THOSE WHO ARE NEEDY. SUCH A LIFE IS USELESS WHERE YOU LIVE JUST FOR YOURSELF. SOMEWHERE YOUR LIFE HAS TO HAVE MEANING. IT HAS TO BE OF USE OF SOMEBODY ELSE, TO SOME OTHER POEPLE, BECAUSE THE UNFAILING LAW OF THE UNIVERSE IS WHATEVER YOU GIVE, IT WILL GROW. WITH THAT IN MIND, SHARE YOUR RESOURCES WITH THOSE WHO NEED IT. SO THESE FOUR PILLARS OF SANATANA DHARMA FORM THE BASIS OF A MEANINGFUL LIFE, OF A PURPOSEFUL LIFE, SO THAT WE SPEAKER OUR WORDS CAREFULLY, USE OUR RESOURCES JUDICIOUSLY TO HELP OURSELVES AND THSOE AROUND US AND BE ETERNALLY GRATEFUL FOR EVERYTHING IN OUR LIVES.

                     THIS PARTICULAR BOOK IS ABOUT THE FOURTH PILLAR, THE GAYATRI MANTRA. MY VIEW IS THAT BY THE TIME YOU FINISH THIS BOOK, YOU WILL KNOW, A) HOW TO INVOKE THE GAYATRI MANTRA BECAUSE UNTIL YOU INVOKE IT, YOU WON'T BENEFIT FROM IT AND  B) EVEN MORE IMPORTANTLY, HOW TO PUT IT TO USE. MERELY ACCUMULATING THE ENERGY OF THE MANTRA IS NOT ENOUGH, ONE NEEDS TO KNOW HOW TO BENEFIT FROM IT, IT'S LIKE HAVING A MILLION DOLLARS IN YOUR BANK ACCOUNT BUT NOT KNOWING HOW TO WITHDRAW THE MONEY, YOU DON'T HAVE ANY CHEQUE BOOK OR AN ATM CARD.

                   MANTRA SCIENCE IS SOMETHING LIFE THAT. THE WEALTH THAT YOU SEEK, THE SPIRITUAL WEALTH, IS INSIDE YOU. IT'S ALREADY THERE. THE QUESTION IS, HOW DO YOU PUT IT TO USE? NOW, THERE ARE MANY METHODS AND I DON'T WANT TO GIVE YOU MORE METHODS. (I DID THAT EXTENSIVELY IN MY BOOK THE ANCIENT SCIENCE OF MANTRAS) HERE, I WANT TO MAKE IT EXREMELY SIMPLE FOR YOU.

                  A WIFE WAS LEAVING HOME TO GO TO THE MARKET.

                 SHE SAID TO HER HUSBAND, "HONEY, I'M GOING OUT FOR A COUPLE OF HOURS, DO YOU NEED ANYTHING FROM THE MARKET"?

                 HE SMILED AND SAID, "THANKS, THAT'S ENOUGH"!

               CHANTING IS A LITTLE LIKE THIS. WHAT I AM GOING TO SHARE WITH YOU MAY SEEM LIKE NOTHING AT THE END OF THE DAY, BUT DEPENDING ON YOUR STATE OF MIND, THIS IS GOING TO BE ENOUGH, NOTABLY, MANTRAS, INCLUDING THE GAYATRI MANTRA, HAVE NO CREATORS. MANTRAS HAVE WHAT WE CALL SEERS, WHICH MEANS RISHIS THERE - WE ONLY NEED EYES TO SEE IT. 

                OF THE FOUR VEDAS, RIG VEDA IS CONSIDERED THE OLDEST. IN THE  RIG VEDA, 3RD CANTO, 61ST CHAPTER. MOTHER DIVINE IS REFERRED TO AS USHA. USHA MEANS DAWN, USHA MEANS DAYBREAK, THE FIRST LIGHT. MOTHER DIVINE IS REFERRED TO AS THE LIGHT. BUT IT IS IN THE 3RD CANTO, 62ND CHAPTER AND 10TH VERSE WHERE THE GAYATRI MANTRA IS FIRST FEATURED IN ANY SCRIPTURE.

               THE VERSES IN VEDAS ARE ORGANIZED IN METERS, CALLED CHANDRA IN SANSKRIT, AND KRISHNA SAYS, "GAYATRI NAAM CHANDASAAM AHAM" (THE BHAGAVAD GITA 10.30), HERE, KRISHNA SAYS, OF  ALL THE VEDIC METERS, I AM GAYATRI. THE METER OF GAYATRI HAS MANY MATRAS, WITH GAYATRI BEING THE MOST SIGNIFICANT. IN OTHER WORDS, THE METER OF THE GAYATRI MANTRA IS ALSO GAYATRI, THE GAYATRI MANTRA SITS IN THE 3RD CANTO, 62 ND CHAPTER, 10TH VERSE, AND IT DOES NOT BEGIN WITH THE USUAL BHUR-BHUVAH-SVAH. THE MANTRA FOUND THERE IS :

                                          TAT-SAVITUR-VARENAYAM

                                          BHARGO-DEVASYA-DHIMAHI

                                          DHIYO-YO-NAH-PRACHODAYAT.

               THE COMPLETE AND RECOMMENDED MANTRA, HOWEVER, BEGINS WITH OM BHUR-BHUVA-SVAHA. TO UNDERSTND THE STRUCTURE, POWER AND ENERGY OF THE GAYATRI MANTRA, WE HAVE TO REVISIT A CHAPTER IN OUR ANCIENT HISTORY, WHEN, HOW AND UNDER WHAT CIRCUMSTANCES THE FIRST RISHI INVOKED THIS MANTRA.

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BLUEPRINT OF SUCCESS

 

                                            BLUEPRINT OF YOUR SUCCESS

                    AN ENGINEER HAS A TECHNIQUE AND A PROCESS FOR BUILDING A BRIDGE OR AN ENGINE. LIKE THE ENGINEER, YOUR MIND ALSO HAS A TECHNIQUE FOR GOVERNING, CONTROLING, AND DIRECTING YOUR LIFE. YOU MUST REALIZE THAT METHODS AND TECHNIQUES ARE PRIMARY.

                 IN BUILDING THE GOLDEN GATE BRIDGE, THE CHIEF ENGINEER UNDERSTOOD MATHEMATICAL PRINCIPLES, STRESES AND STRAINS. SECONDLY, HE HAD A PICTURE OF THE IDEAL BRIDGE ACROSS THE BAY. THE THIRD STEP WAS HIS APPLICATION OF TRIED AND PROVEN METHODS BY WHICH THE PRINCIPLES WERE IMPLEMENTED UNTIL THE BRIDGE TOOK FORM AND WE DRIVE ON IT. THERE ALSO ARE TECHNIQUES AND METHODS BY WHICH YOUR PRAYERS ARE ANSWERED. IF YOUR PRAYER IS ANSWERED, THERE IS A WAY IN WHICH IT IS ANSWERED, AND THIS IS A SCIENTIFIC WAY. NOTHING HAPPENS BY CHANCE. THIS IS A WORLD OF LAW AND ORDER. IN THIS CHAPTER YOU WILL FIND PRACTICAL TECHNIQUES FOR THE UNFOLDING AND NURTURE OF YOUR SPIRITUAL LIFE. YOUR PRAYERS MUST NOT REMAIN UP IN THE AIR LIKE A BALLOON. THEY MUST GO SOMEWHERE AND ACCOMPLISH SOMETHING IN YOUR LIFE.

                    WHEN WE COME TO ANALYZE PRAYER WE DISCOVER THERE ARE MANY DIFFERENT APPROACHES AND METHODS. WE WILL NOT CONSIDER IN THIS BOOK THE FORMAL, RITUAL PRAYERS USED IN RELIGIOUS SERVICES. THESE HAVE IMPORTANT PLACE INGROUP WORSHIP. WE ARE IMMEDIATELY CONCERNED WITH THE METHODS OF PERSONAL PRAYER AS IT IS APPLIED IN YOUR DAILY LIFE AND AS IT IS USED TO HELP OTHERS.

                  PRAYER IS THE FORMULATION OF AN IDEA CONERNING SOMETHING WE WISH TO ACCOMPLISH. PRAYER IS THE SOUL'S SINCERE DESIRE. YOUR DESIRE IS YOUR PRAYER. IT COMES OUT OF YOUR DEEPEST NEEDS AND IT REVEALS THE THINGS YOU WANT IN LIFE. BLESSED ARE THEY THAT HUNGER AND THIRST AFTER RIGHTENOUSNESS, FOR THEY SHALL BE FILLED. THAT IS REALLY PRAYER, LIFE'S HUNGER AND THIRST FOR PEACE, HARMONY, HEALTH, JOY, AND ALL THE OTHER BLESSINGS OF LIFE.

                                        THE PASSING - OVER TECHNIQUE

              THIS CONSISTS ESSENTIALLY IN INDUCING THE SUBCONSCIOUS MIND TO TAKE OVER YOUR REQUEST AS HANDED IT BY THE CONSCIOUS MIND. THIS PASSING OVER IS BEST ACCOMPLISHED IN THE REVERIE-LIKE STATE. KNOW THAT IN YOUR DEEPER MIND ARE INFINITE INTELLIGENCE AND IN-FINITE POWER. JUST CALMLY THINK OVER WHAT YOU WANT, SEE IT COMING INTO FULLER FRUITION FROM THIS MOMENT FORWARD. BE LIKE THE LITTLE GIRL WHO HAD A VERY BAD COUGH AND A SCORE THROAT. SHE DECLARED FIRMLY AND REPEATEDLY. IT IS PASSING AWAY NOW. IT IS PASSING AWAY NOW. IT IS PASSING AWAY NOW. IT PASSED AWAY IN ABOUT AN HOUR. USE THIS TECHNIQUE WITH COMPLETE SIMPLICITY AND NAIVETE.

                 YOUR SUBCONSCIOUS WILL ACCEPT YOUR BLUEPRINT

                    IF YOU WERE BUILDING A NEW HOME FOR YOURSELF AND FAMILY, YOU KNOW THAT YOU WOULD BE INTENSELY INTERESTED IN REGARD TO THE BLUEPRINT FOR YOUR HOME, YOU WOULD SEE WOULD WATCH THE MATERIAL AND SELECT ONLY THE BEST WOOD, STEEL, IN FACT, THE BEST OF EVERYTHING. WHAT ABOUT YOU MENTAL HOME AND YOUR MENTAL BLUEPRINT FOR HAPPINESS AND ABUNDANCE? ALL YOUR EXPERIENCES AND EVERYTHING THAT ENTERS INTO YOUR LIFE DEPENDS UPON THE NATURE OF THE MENTAL BUILDING BLOCKS, WHICH YOU USE IN THE CONSTRUCTION OF YOUR MENTAL HOME.

             IF YOUR BLUEPRINT IS FULL OF MENTAL PATTERNS OF FEAR, WORRY, ANXIETY, OR LACK AND IF YOU ARE DESPONDENT, DOUBFUL, AND CYNICAL, THEN THE TEXTURE OF THE MENTAL MATERIAL YOU ARE WEAVING INTO YOUR MIND WILL COME FORTH AS MORE TOIL, CARE, TENSION, ANXIETY, AND LIMITATION OF ALL KINDS. THE MOST FUNDAMENTAL AND THE MOST FAR-REACHING ACTIVITY IN LIFE IS THAT WHICH YOU BUILD INTO YOUR MENTALITY EVERY WAKING HOUR. YOUR WORD IS SILENT AND INVISIBLE, NEVETHELESS, IT IS REAL.

               YOU ARE BUILDING YOUR MENTAL HOME ALL THE TIME, AND YOUR THOUGHT AND MENTAL REPRESENT YOUR BLUEPRINT. HOUR BY HOUR, MOMENT BY MOMENT, YOU CAN BUILD RADIANT HEALTH, SUCCESS, AND HAPPINESS BY THE THOUGHTS YOU THINK, THE IDEAS WHICH YOU HARBOR, THE BELIEFS THAT YOU ACCEPT, AND THE SCENES THAT YOU RE-HEARSE IN THE HIDDEN STUDIO OF YOUR MIND. THIS STATELY MANSION, UPON THE CONSTRUCTION OF WHICH YOU ARE PERPETUALLY ENGAGED, IS YOUR PERSONALITY, YOUR IDENTITY IN THIS PLANCE, YOUR WHOLE LIFE STORY ON THIS EARTH.

                GET A NEW BLUEPRINT, BUILD SILENTLY BY REALIZING PEACE, HARMONY, JOY, AND GOOD WILL IN THE PRESENT MOMENT. BY DWELLING UPON THESE THINGS AND CLAIMING THEM, YOUR SUBCONSCIOUS WILL ACCEPT YOUR BLUEPRINT AND BRING ALL THESE THINGS TO PASS, BY THEIR FRUITS YE SHALL KNOW THEM.

                

                                   THE SCIENCE AND ART OF TRUE PRAYER

                   THE TERM "SCIENCE" MEANS KNOWLEDGE, WHICH IS COORDINATED, ARRANGED, AND SYSTEMATIZED. LET US THINK OF THE SCIENCE AND ART OF TRUE PRAYER AS IT DEALS WITH THE FUNDAMENTAL PRINCIPLES OF LIFE AND THE TECHNIQUES AND PROCESSESS BY WHICH THEY CAN BE DEMONSTRATED IN YOUR LIFE, AS WELL AS IN THE LIFE OF EVERY HUMAN BEING WHEN HE APPLIES THEM FAITHFULLY,. THE ART IS YOUR TECHNIQUE OR PROCESS, AND THE SCIENCE BEHIND IT IS THE DEFINITE RESPONSES OF CREATIVE MIND TO YOUR MENTAL PICTURE OR THOUGHT.

                  ASK, AND IT SHALL BE GIVEN YOU, SEEK AND YE SHALL FIND, KNOCK, AND IT SHALL BE OPENED UNTO YOU.

                                                                                                     MATTHEW.

                     HERE YOU ARE TOLD YOU SHALL RECEIVE THAT FOR WHICH YOU ASK. IT SHALL BE OPENED TO YOU WHEN YOU KNOCK, AND YOU SHALL FIND THAT FOR WHICH YOU ARE SEARCHING. THIS TEACHING IMPLIES THE DEFINITENESS OF MENTAL AND SPIRITUAL LAWS. THERE IS ALWAYS A DIRECT RESPONSE FROM THE INFINITE INTELLIGENCE OF YOUR SUBCONSCIOUS MIND TO YOUR CONSCIOUS THINKING. IF YOU ASK FOR BREAD, YOU WILL NOT RECEIVE A STONE. YOU MUST ASK BELIEVING, IF YOU ARE TO RECEIVE. YOUR MIND MOVES FROM THE THOUGHT TO THE THING. UNLESS THERE IS FIRST AN IMAGE IN THE MIND, IT CANNOT MOVE, FOR THERE WOULD BE NOTHING FOR IT TO MOVE TOWARD. YOUR PRAYER, WHICH IS YOUR MENTAL ACT MUST BE ACCEPTED AS AN IMAGE WHICH YOUR MIND BEFORE THE POWER FORM YOUR SUBCONSCIOUS WILL PLAY UPON IT AND MAKE IT PRODUCTIVE. YOU MUST REACH A POINT OF ACCEPTANCE IN YOUR MIND, AN UNQUALIFIED AND UNDISPUTED STATE OF AGREEMENT.

                      THIS CONTEMPLATION SHOULD BE ACCOMPANIED BY A FEELING OF JOY AND RESTFULLNESS IN FORESEEING THE CERTAIN ART AND SCIENCE OF TRUE PRAYER IS YOUR KNOWLEDGE AND COMPLETE CONFIDENCE THAT THE MOVEMENT OF YOUR SUBCONSCIOUS MIND, WHICH WHICH IS ONE WITH BOUNDLESS WISDOM AND INFINITE POWER. BY FOLLOWING THIS PROCEDURE, YOUR PRAYERS WILL BE ANSWERED.

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TECHNIQUE OF THANK YOU AND VISUALIZATION

 

                                            THANK YOU TECHNIQUE

                      

                          IN THE BIBBLE, PAUL RECOMMENDS THAT WE MAKE KNOWN OUR REPRESENTS WITH PRAISE AND THANKSGIVING. SOME EXRAORDINARY RESULTS FOLLOW THIS SIMPLE METHOD OF PRAYER. THE THANKFUL HEART IS ALWAYS CLOSE TO THE CREATIVE FORCES OF THE UNIVERSE, CAUSING COUNTLESS BLESSINGS TO FLOW TOWARD IT BY THE LAW OF RECIPROCAL RELATIONSHIP, BASED ON A COSMIC LAW OF ACTION AND REACTION.

                      FOR INSTANCE, A FATHER PROMISES HIS SON A CAR FOR GRADUTION, THE BOY HAS NOT YET RECEIVED THE CAR, BUT HE IS VERY THANKFUL AND HAPPY, AND IT AS JOYOUS AS THOUGH HE HAD ACTUALLY RECEIVED THE CAR. HE KNOWS HIS FATHER WILL FULFILL HIS PROMISE, AND HE IS FULL OF GRATITUDE AND JOY EVEN THOUGH HE HAS NOT YET RECEIVED THE CAR, OBJECTIVELY SPEAKING. HE HAS, HOWEVER, RECEIVED IT WITH JOY AND THANKFULNESS IN HIS MIND.

               I SHALL ILLUSTRATE HOW MR.BROKE APPLIED THIS TECHNIQUE WITH EXCELLENT RESULTS. HE SAID, "BILLS ARE PILIG UP, I AM OUT OF WORK, I HAVE THREE CHILDREN AND NO MONEY. WHAT SHALL I DO"? REGULARLY EVERY NIGHT AND MORNING, FOR A PERIOD OF ABOUT THREE WEEKS, HE REPEATED THE WORDS, "THANK YOU, FATHER, FOR MY WEALTH, IN A RELAXED, PEACEFUL MANNER UNTIL THE FEELING OR MOOD OF THANKFULNESS DOMINATED HIS MIND. HE IMAGINED HE WAS ADDRESSING THE INFINITE POWER AND INTELLIGENCE WITHIN HIM KNOWING, OF COURSE, THAT HE COULD NOT SEE THE CREATIVE INTELLIGENCE OR INFINITE MIND.

             HE WAS SEEING WITH THE INNER EYE OF SPIRITUAL PERCEPTION, REALIZING THAT HIS THOUGHT-IMAGE OF WEALTH WAS THE FIRST CAUSE, RELATIVE TO THE MONEY, POSITION, AND FOOD HE NEEDED. HIS THOUGHT FEELING WAS THE SUBSTANCE OF WEALTH UNTRAMMELED BY ANTECEDENT CONDITIONS OF ANY KIND. BY REPEATING, "THANK YOU, FATHER," OVER AND OVER AGAIN, HIS MIND AND HEART WERE LIFTED UP TO THE POINT OF ACCEPTANCE, AND WHEN FEAR, THOUGHTS OF LACK, POVERTY, AND DISTRESS CAME INTO HIS MIND, HE WOULD SAY, "THANK YOU, FATHER, AS OFTEN AS NECESSARY. HE KNEW THAT AS HE KEPT UP THE THANKFUL ATTITUDE HE WOULD RECONDITION HIS MIND TO THE IDEA OF WEALTH, WHICHIS WHAT HAPPENED.

               THE SEQUEL TO HIS PRAYER IS VERY INTERESTING. AFTER PRAYING IN THE ABOVE-MENTIONED MANNER, HE MET A FORMER EMPLOYER OF HIS ON THE STREET WHOM HE HAD NOT SEEN FOR TWENTY YEARS.

 

                THE MAN OFFERED HIM A VERY LUCRATIVE POSITION AND ADVANCED HIM $500 ON A TEMPORARY LOAN. TODAY, MR.BROKE IS VICE-PRESIDENT OF THE COMPANY FOR WHICH HE WORKS. HIS RECENT REMARK TO ME WAS, "I SHALL NEVER FORGET THE WONDERS OF "THANK YOU, FATHER". IT HAS WORKED WONDERS FOR ME".

                                          THE AFFIRMATIVE METHOD

                THE EFFECTIVENESS OF AN AFFIRMATION IS DETERMINED LARGELY BY YOUR UNDERSTANDING OF THE TRUTH AND THE MEANING BACK OF THE WORDS, "IN PRAYING USE NOT VAIN REPETITION". THEREFORE, THE POWER OF YOUR AFFIRMATION LIES IN THE INTELLIGENT APPLICATION OF DEFINITE AND SPECIFIC POSITIVES. FOR EXAMPLE, A BOY ADDS THREE AND THREE AND PUTS DOWN SEVEN ON THE BLACKBOARD. THE TEACHER AFFIRMS WITH MATHEMATICAL CERTAINLY THAT THREE AND THREE ARE SIX, THEREFORE, THE BOY CHANGES HIS FIGURES ACCORDINGLY. THE TEACHER'S STATEMENT DID NOT MAKE THREE AND THREE EQUAL SIX BECAUSE THE LATTER WAS ALREADY A MATHEMATICAL TRUTH. THE MATHEMATICAL TRUTH CAUSED THE BOY TO REARRANGE THE FIGURES ON THE BLACKBOARD. IT IS ABNORMAL TO BE SICK, IT IS NORMAL TO BE HEALTHY. HEALTH IS THE TRUTH OF YOUR BEING. WHEN YOU AFFIRM HEALTH, HARMONY, AND PEACE FOR YOURSELF OR ANOTHER, AND WHEN YOU REALIZE THESE ARE UNIVERSAL PRINCIPLES OF YOUR OWN BEING, YOU WILL REARRANGE THE NEGATIVE PATTERNS OF YOUR SUBCONSCIOUS MIND BASED ON YOUR FAITH AND UNDERSTANDING OF THAT WHICH YOU AFFIRM.

                  THE RESULT OF THE AFFIRMATIVE PROCESS OF PRAYER DEPENDS ON YOUR CONFORMING TO THE PRINCIPLES OF LIFE, REGARDLESS OF APPEARANCES. CONSIDER FOR A MOMENT THAT THERE IS A PRINCIPLE OF MATHEMATICS AND NONE OF ERROR, THERE IS A PRINCIPLE OF TRUTH BUT NONE OF DISHONESTY.

               THERE IS A PRINCIPLE OF INTELLIGENCE BUT NONE OF IGNORANCE, THERE IS A PRINCIPLE OF HARMONY AND NONE OF DISCORD. THERE IS A PRINCIPLE OF HEALTH BUT NONE OF DISEASE, AND THERE IS A PRINCIPLE OF ABUNDANCE BUT NONE OF POVERTY.

             THE AFFIRMATIVE METHOD WAS CHOSEN BY THE AUTHOR FOR USE ON HIS SISTER WHO WAS TO BE OPERATED ON FOR THE REMOVAL OF GALL-STONES IN A HOSPITAL IN ENGLAND. THE CONDITION DESCRIBED WAS BASED ON THE DIAGNOSIS OF HOSPITAL TESTS AND THE USUAL X-RAY PROCEDURES.

               SHE ASKED ME TO PRAY FOR HER. WE WERE SEPERATED GEOGRAPHICALLY ABOUT 6,500 MILES, BUT THERE IS NO TIME OR SPACE IN THE MIND PRINCIPLE, INFINITE MIND OR INTELLIGENCE IS PRESENT IN ITS ENTIRETY AT EVERY POINT SIMULTANEOUSLY. I WITHDREW ALL THOUGHT FROM ALL CONTEMPLATION OF SYMPTOMS AND FROM ALL CORPOREAL PERSONALITY ALTOGETHER. I AFFIRMED AS FOLLOWS. "THIS PRAYER IS FOR MY SISTER CATHERINE. SHE IS RELAXED AND AT PEACE, POISED, BALANCED, SERENE, AND CALM. THE HEALING INTELLIGENCE OF HER SUNBCONSCIOUS MIND, WHICH CREATED HER BODY, IS NOW TRANSFORMING EVERY CELL, NERVE, TISSUE, MUSCLE, AND BONE OF HER BEING ACCORDING TO THE PERFECT PATTEN OF ALL ORGANS LODGED IN HER SUBCONSCIOUS MIND.

                SILENTLY, QUIETLY, ALL DISTORTED THOUGHT PATTERNS IN HER SUBCONSCIOUS MIND ARE REMOVED AND DISSOLVED, AND THE VITALITY, WHOLENESS, AND BEAUTY OF THE LIFE PRINCIPLE ARE MADE MANIFEST IN EVERY ATOM OF HER BEING. SHE IS NOW OPEN AND RECEPTIVE TO THE HEALING CURRENTS, WHICH ARE FLOWING THROUGH HER LIKE A RIVER, RESTORING HER TO PERFECT HEALTH, HARMONY, AND PEACE. ALL DISTORTIONS AND UGLY IMAGES ARE NOW WASHED AWAY BY THE INFINITE OCEAN OF LOVE AND PEACE FLOWING THROUGH HER, AND IT IS SO".

                     I AFFIRMED THE ABOVE SEVERAL TIMES A DAY, AND AT THE END OF TWO WEEKS MY SISTER HAD AN EXAMINATION, WHICH SHOWED A REMARKABLE HEALING, AND THE X RAY, PROVED NEGATIVE.

 

                TO AFFIRM IS TO STATE THAT IS SO, AND AS YOU MAINTAIN THIS ATTITUDE OF MIND AS TRUE, REGARDLESS OF ALL EVIDENCE TO THE CONTRARY, YOU WILL RECEIVE AN ANSWER TO YOUR PRAYER. YOUR THOUGHT CAN ONLY AFFIRM, FOR EVEN IF YOU DENY SOMETHING, YOU ARE ACTUALLY AFFIRMING THE PRESENCE OF WHAT YOU DENY.

                REPEATING AN AFFIRMATION, KNOWING WHAT YOU ARE SAYING AND WHY YOU ARE SAYING IT, LEADS THE MIND TO THAT STATE OF CONSCIOSNESS WHERE IT ACCEPTS THAT WHICH YOU STATE AS TRUE. KEEP ON AFFIRMING THE TRUTHS OF LIFE UNTIL YOU GET THE SUBCONSCIOUS REACTION, WHICH SATISFIES.

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