Why is milk or sandalwood paste used when making vastra from cotton?

 

The cotton vastra represents the Central channel (Sushumna nadi) of the Cosmic energy system (Kundalini) of the body of the embodied soul (worshipper). The seven cotton beads in the vastra are associated with the seven chakra (centres) of the Kundalini system, in the body of the embodied soul. The cotton thread joining these beads is the link of the manifest divine consciousness providing Sattva predominant frequencies to the entire body. When the attributeless divine consciousness in the Zero (Shunya) manifests as per the spiritual emotion of the embodied soul towards God, its colour is white and shining. In contrast the attributeless divine consciousness is like transparent water, but in this state it is dormant. The cotton beads and the thread joining them are the carriers of the manifest divine consciousness in the body. Milk is used to make the constrictions in this thread because the flow of manifest divine consciousness, is like the flow of milk. When this divine consciousness is provided to these beads, these centres (chakra) of the Kundalini, in the form of beads in the body are activated and the embodied soul (worshipper) comes into duality. It then carries out the functions related to the physical body in the universe with the help of non duality.

Use of sandalwood paste is better then milk when making this vastra. Due to the coating of sandalwood paste the frequencies of the deities are activated early and get attracted to the cotton vastra. By adorning the deity’s neck with this Sattva predominant vastra, the deity assumes It’s ‘with attributes’ form faster and begins functioning for the embodied soul (worshipper) in a shorter span of time. (Divine knowledge received through the medium of ‘Sadhak’)

 

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How to identify pure vermilion?

Turmeric and Vermilion

 

Turmeric

Turmeric

‘Turmeric being an underground stem, the frequencies of earth in it are far greater than stems growing above the surface of soil. Vermilion is prepared from turmeric. Since turmeric and vermilion are offered to deities the worshipper benefits from the frequencies of earth in them as well as the frequencies of deities. Consequently the Sattva attribute is enhanced in him. At the same time his ability to tolerate raja-tama (distressing) frequencies also increases.’ (Divine knowledge received through the medium of ‘Sadhak’)

 

How to identify pure vermilion ?

Pure Vermilion

Pure Vermilion

Pure vermilion is made from pure turmeric, water of soda lime powder and a small quantity of pure camphor. Though it is made from turmeric, the odour of turmeric is entirely eliminated and a divine scent takes its place. The odour of turmeric is evident only when it is sniffed. In contrast the scent of pure vermilion is evident upto a certain distance. Pure vermilion though possesing humidity is completely dry. Its touch is ice-cold. Pure vermilion is blood red in colour. It has a high iron content. By application of this vermilion on the forehead, negative energies are prevented from entering through the midbrow region (bhrumadhya).

In the past (Satyayug, Tretayug and Dwaparyug) pure vermilion was available. With the passing of the eras the Sattva attribute in the vermilion has also deteriorated. In the Kaliyug people making pure vermilion are very few. (Divine knowledge received through the medium of  ‘Sadhak’)

 

What is the Science behind offering the sacred thread (janave) to deities?

‘Offering the sacred thread to deities means binding the expanse of the brilliance of deities in the rounds of the sacred thread and evoking It to function in duality. As the janave is made of thread and is enriched with mantra-energy, the frequencies of sound emitted by it activate the attribute less principle of God from the universe. This then functions for the embodied soul (worshipper) as per its spiritual emotion towards God through the medium of the ‘with attributes’ frequencies. The sacred thread represents the silvery link between God, that is, non duality and the embodied soul, that is, duality. Offering the sacred thread in ritualistic worship is an important process of interaction of duality-non duality. Wearing this sacred thread after the ritualistic worship endows the wearer with the Sattva predominant divine consciousness of the deity.’ (Divine knowledge received through the medium of a seeker)

Why in ‘aukshan’ the platter with lit lamp waved in a complete circular manner?

Contents

Ritual of waving a lit lamp (Aukshan)


Ritual of waving a lit lamp (Aukshan)

A. The spiritual meaning of ‘Aukshan’:Aukshan’, the ritual of waving lit lamp means, welcoming of the divine frequencies brought on the earth with the help of the lit lamp, and surrendering to those frequencies at the same moment.

B. The Importance of the ritual of waving a lit lamp (aukshan)

  • Development of an armour: While waving the lit lamp around the embodied soul the frequencies projected and imbibed by the soul, create an active armour around the body of the embodied soul.
  • Assists in blessing of the Deity: The spiritual emotion thus awakened, brings about the activation of the Divine frequencies, and the embodied soul is blessed by the Deity. When the ritual is being performed on the embodied soul, the prayer made for one’s spiritual progress with a complete attitude of surrender, helps the jiv in availing the Deities blessings to the maximum.

C. For whom is the ritual of waving lit lamp performed?: The ritual of waving lit lamp is performed on young ones, elders, respectable individuals, King, Soldier embarking on a battle and Saint.

D. Where is the ritual of waving lit lamp performed?: Generally the person is made to sit in front of the Deity at home, while performing the ritual of waving the lit lamp. During some specific occasions (for e.g., thread ceremony, marriage) it is performed at the venue of the ceremony.

Why is the ritual of waving lit lamp performed inside the home and not while standing at the door?

‘The elevations at the threshold (Umbara) is a seat (medium) of to and fro travel of the frequencies from the hell region. These distressing vibrations are consolidated in the threshold at the entrance. When standing at the door the jiva suffers from the field which is infused with the raja tama frequenciess. These frequencies create a sheath around the jiv. This in turn affects the mental sheath of the jiv. Increase in the raja–tama attribute thus increases the irritability of the affected jiv. Thus the ritual of waving lit lamp at the door step is not allowed in the Hindu Dharma. Rather than at the doorstep, the ritual may be performed inside the home, and in front of the temple-room at home as far as possible. The Swastika symbol is drawn on the ground with rice powder (rangoli) and a wooden seat is kept on it, for the jiv to sit. This helps in obtaining the benefit from the Divine chaitanya activated due to the spiritual emotion of the jiv at the time of ritual and the blessing for the required energy for further mission.

For a person affected by distressing energy, a ritual for removal of the evil eye is performed with red chilies, rock salt and mustard seeds and also by waving a coconut. This ritual is performed at the doorstep and when this ritual is performed with the coconut, it is broken just outside the threshold. This is because the threshold is a seat for the transmission of the distressing energies to the region of hell.

1. Articles required for the ritual of waving lit lamp and their arrangement

Articles required for the ritual of waving lit lamp: Turmeric powder, kumkum (vermilion), unbroken rice grains (akshata), cotton wicks, oil, lamp, gold ring, whole beetle nut etc.

Arrangement of the articles  in the platter and the underlying science:

  • In the dish, on our left, the turmeric powder and vermilion is placed as symbolic of the Aadishakti (primal energy) required for any action. The subtle fragrance emitted from the turmeric powder and vermilion attracts the divine sutble particles (pavitrake)of the Deities present in the universe.
  • The gold ring and beetle nut is placed on the right hand side as symbolic of the active Shiva (male) principle
  • As the unbroken rice grains are of all-encompassing attribute, they are kept in the center of the dish.
  • Just in front yet closer to the unbroken rice grains, the lit lamp is centrally placed. The lit lamp denotes the central channel activated by the energy of the embodied soul. When the primal energy received through the vermilion and turmeric joins the divine male principle received through the gold ring and beetlenut, the blessing flowing from the Deity through the medium of the unbroken rice are transmitted towards the embodied soul. This activated central channel in the jiv, thus brings success in the mission, with the divine grace.

This correct arrangement of the articles in the platter, help in gaining of the divine principle by the embodied soul.

Question: When arranging the platter for the ritual of waving lit lamp, the turmeric and vermilion is to be kept of the left hand side. On the other hand in the platter arrangement for ritualistic worship (puja), the turmeric and vermilion is placed on the right hand side. How can one bridge the seeming discrepancy?

Answer: The arrangement of the articles in the platter for ritualistic worship is done, so that the respective Divine principle gets attracted and the place of worship gets purified. The ingredients are included for their inherent color and fragrance. Amongst these items, vermilion and turmeric, have maximum ability to attract the active and raja predominant manifest principle so they are placed on the right hand side of jiv.

In the platter used for the ritual of waving lit lamp, the gold ring and betelnut is included. These have more ability to attract the raja attribute at an inferior level as compared to turmeric and vermilion, thus they are placed on the right hand side and the turmeric and vermilion is shifted to the left hand side. Thus the placement is done as per the kind of raja attribute required for the ritual.

2. Method of waving a lit lamp

  • Keep a wooden stool and draw a design with rice powder (rangoli) around it. Let the one on whom the ritual is done, be seated on this stool.
  • Wet vermilion is applied on the forehead of the individual undergoing the ritual, with upward movement using the tip of the middle finger. Then few akshatas are placed on the vermillion.
  • Then with the platter in hand, the gold ring and the beetlenut is held together and waved around the face in following manner.A. Begin by touching the ring and the beetlenut at the level of the Adnya chakra (mid-brow)

    B. Then wave the ring and beetlenut from the right shoulder, in a clockwise direction to the left shoulder. Then repeat the process but in opposite direction that is waving from left to right shoulder. Repeat thus thrice. Everytime one should touch the ring and beetlenut to platter.

  • Then the individual undergoing ritual should be waved with the whole platter.
  • The individual is then fed with sweets
  • The one who waves the lamp then prays for the betterment of the individual.
  • While keeping the platter down akshatas are placed underneath it.

How to arrange the components of the ritualistic platter?

Before actually commencing the ritualistic worship it is important to arrange the tools and other components of the ritualistic worship. From the viewpoint of the Science of Spirituality it is appropriate to arrange them based on the level of the five cosmic elements. This is because such arrangement balances and coordinates the five cosmic elements that are active in the universe. This helps the embodied soul (worshipper) to derive maximum benefit of the ‘with attributes’(sagun) and attributeless (nirgun) frequencies emitted by the deity. Such arrangement indicates the sojourn of the embodied soul from the Great Illusion (Maya) to Brahma associated with the absolute earth to the absolute ether elements. An important component at the first level is the ritualistic platter. The arrangement of the components of the ritualistic platter is explained further.

  1. ‘In the ritualistic platter turmeric and vermilion is to be placed to the right of the embodied soul and bukka, gulal and shendur to the left.
  2. The perfume bottle, fragrant paste (usually sandalwood paste), flowers, durva and leaves (patri) are to be placed at the forefront in the platter. The subtle frequencies of the deities are activated by the fragrance particles in the perfume, sandalwood paste, flowers and also by the colour particles in the durva and leaves.
  3. The betel leaves, betel nut and the money to be offered in the ritual of offering money (dakshina) are to be placed at the lower end of the platter because they are an effective medium of transmission of frequencies of the deities.
  4. In the center, the all encompassing unbroken rice grains are to be placed. As the unbroken rice grains become the central portion of the platter, the frequencies of the five superior deities namely, Lord Shiva, Goddess Durga, Lord Shriram, Lord Shrikrushna and Lord Ganapati are attracted to them. They are then transmitted as per the requirement to the other components, e.g. vermilion, turmeric, etc. placed around them in a circular manner.’

What is the spiritual significance of water from the seven rivers?

The seven rivers referred to here are, the Ganga, Godavari, Narmada, Kaveri, Krushna, Brahmaputra and Yamuna. Water collected from these seven rivers is put in the ritualistic pot, which is used during ritualistic worship. ‘Water from the seven rivers has the ability to attract and transmit the frequencies of seven superior deities. (Lord Shiva, Lord Shrirama, Lord Shrikrushna, Lord Maruti, Lord Ganapati, Lord Datta and Goddess Durga). India is known as the most sattva predominant place on the face of earth because all these seven rivers flow only through it. Many yogis have undertaken penance on the banks of these rivers so as to acquire the principles of the seven superior deities in the universe. This water from the ritualistic pot is used for the consecration of the idol of the deity by sprinkling on it (abhishek). The subtle sound frequencies from the ritualistic pot absorb the frequencies of the seven superior deities in the water and effectively transmit them into the atmosphere.

Since these subtle sound frequencies have a higher speed and expanse, the effectiveness of the frequencies of the seven deities transmitted into the atmosphere through the water of the seven rivers remains in the environment for longer periods. Since these frequencies are transmitted with the help of the particles of the absolute water element in the water and the particles of the absolute ether element from the sound frequencies in the ritualistic pot, this water can be used as holy water (tirtha). If consumed with spiritual emotion and devotion, then due to the divine frequencies in this holy water the dormant five vital energies surrounding the navel in the body of the devotee are activated. With the help of these vital energies these divine frequencies spread all over the body of the devotee. As a result purification of the vital energy body and its sheath of the embodied soul (worshipper) occurs and the devotee derives sattva predominant happiness and enthusiasm from it.

Name of the river Ability to attract and transmit principle of the deity Sensation on contact with frequencies in water The level of the ‘with attributes’/attributeless
principle in the associated frequencies
1. Ganga Lord Shiva Cold Attributeless
2. Godavari Lord Shriram Cool Attributeless-‘with attributes’
3. Yamuna LordShrikrushna Cool-hot Attributeless-‘with attributes’
(in equal proportions)
4. Sindhu Lord Hanuman Hot-cool ‘With attributes’-attributeless
(in equal proportions)
5. Saraswati Lord Ganapati Luke warm ‘With attributes’-attributeless
(more attributeless incomparison to Kaveri)
6. Kaveri Lord Datta Hot ‘With attributes’-attributeless
7. Narmada Goddess Durga Very hot ‘With attributes’

Note 1 : The rivers have been arranged in the order of the level of the principle of the associated frequencies.

The differences between ‘with attributes’-attributeless (in equal proportion) and attributeless-‘with attributes’ (in equal proportion) is explained in the table below.

‘With attributes’- attributeless
(in equal proportions)
Attributeless-‘with attributes’
(in equal proportions)
1. The principle that manifests when becoming functional ‘With attributes’. The ‘with attributes’ appears with the help of the attributeless ‘With attributes’ with more of the attributeless. Along with greater attributeless, a small proportion of the ‘with attributes’ appears
2. Functioning Functioning by the ‘with attributes’ with the help of the attributeless Functioning by the ‘with attributes’ that has more function with the attributeless with the help of the attributeless
3. Level of the frequencies Subtle Subtler
4. Spiritual experiences Energy Bliss
5. Potential and expanse of the frequencies Less More
6. Speed of the frequencies High Low
7. Attraction of frequencies Towards conversion into more ‘with attributes’ To go towards the attributeless’

Presently water from the seven rivers is not easy to procure. If it is unavailable for putting in the ritualistic pot, then one may use ordinary water. When filling the ritualistic pot with ordinary water the mantra ‘Gange cha Yamunechaiva’ is recited to invoke the seven rivers.

Why do we apply gandha to deity?

a. Gulal

The divine Energy (Shakti) principle in the universe is attracted to the fragrance particles in the subtle air generated by the gulal. Also the dormant frequencies enriched with divine consciousness in the aerial atmosphere become mobile because of the gulal. Thus the worshipper benefits from them.’

b. Fragrant paste (Gandha)

‘When fragrant paste (gandha) is applied to the midbrow region of the deity in the picture or idol, due to the qualities of the substance from which the paste is made (e.g. sandalwood) and the subtle scent and specific colour of the paste, the Sun channel of the deity is activated. Consequently the principle of the deity is attracted to the picture or idol. As a result the picture or idol of the deity becomes enhanced in divine consciousness.

Among the various fragrant pastes applied to deities ashtagandha and sandalwood paste are the most Sattva predominant.’

1. What is the significance behind rubbing the sandalwood stick on the stone slate with both hands when obtaining a paste for deities but with only one hand when making paste for a corpse ?

(Activation of the Central channel in the body when rubbing sandalwood with both hands to obtain paste for application to deities and protection from distress by negative energies as the Sun channel is activated when rubbing to obtain paste for corpse) ‘Holding the sandalwood stick with both hands is indicative of devotion with expectation stemming from duality. When done with both hands the posture (mudra) activates the Central channel (Sushumna nadi). The Central channel is conducive to spiritual progress. That is why when doing spiritual practice with expectation (sakam sadhana) with the physical body (karmakand) importance is given to making paste with both hands. When performing any action, to take it to completion it is necessary to complement it with Lord Shiva and Divine Energy (Shakti). The left hand signifies Lord Shiva, while the right hand signifies divine Energy.

Contrary to this when obtaining sandalwood paste for application unto a corpse only the right hand should be used. This is because using the right hand signifies the Energy of Action, the act of directly performing an action with the help of the right channel i.e. Sun channel (Pingala). Obtaining paste for a corpse, is performing the actions required for the subtle body and lending it motion with the help of the Energy of Action made functional through the medium of the right hand. It also includes praying for the further advancement of the subtle body by the Energy of Action of these frequencies of action. Because of this posture (mudra) as the Sun channel is activated in the body of the embodied soul (worshipper) of the one preparing the paste, the raja frequencies emitted by the paste strike the corpse. The sub units of vital energy (upapran) dormant to some extent in the corpse are thereby activated and thrown out of it or their disintegration to some extent is facilitated. Otherwise making use of these sub units of vital energy dormant to some extent in the corpse, negative energies can take control of the subtle body.’

2. Why is turmeric and vermilion not added when making sandalwood paste ?

When turmeric and vermilion are added to the sandalwood paste, due to the raja frequencies emitted by the turmeric and vermilion, also due to the particles of the absolute fire element emitted by the vermilion, the Sattva particles in the sandalwood paste disintegrate. This destroys its Sattva predominance. When rubbing sandalwood on the stone slate to make paste, due to the friction, the raja particles in the turmeric and vermilion gain momentum. Consequently the residual Sattva particles in the paste can also undergo disintegration. Thus the sandalwood paste becomes raja predominant because of turmeric and vermilion. That is why when making sandalwood paste, turmeric and vermilion are not added to it.