Sanskrit: the healing language
In the Indian traditions of knowledge, the sounds of the Sanskrit language
are believed to have a profound healing effect. The healing effect of the
sequential flow of sounds in the Sanskrit language is said to not only
balance the mind and the body, but even extend further to create harmony in
the collective consciousness of society as a whole. In a way, this is a
natural extension of the idea that the Vedic hymns are considered to be the
expressions of the immutable laws of creation that exist in the unmanifest
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Sound and meaning of cosmic consciousness. Language has the hidden truths
inside about the reality which solves every query and its reason. Since
these expressions of cosmic harmony flow in the Vedic Sanskrit language, it
is only natural that certain sequences of Sanskrit sounds would be utilized
to heal and restore balance, and to elevate human consciousness to higher
levels. The understanding about the language for communication has lower
importance then signifying more absolute communication. The language was
directly passed on to those who meditate on it and it was received and
given by the same. Constructed in infinite possibilities of understandings
open the new neurons which might be sleeping. It opens the door to the
light and clarity through listening, reciting, and contemplating on it,
which relates to the states of consciousness. An interesting point is that
in order to experience the beneficial effect of the Sanskrit sounds,
understanding the meaning is not necessary. This is because in Sanskrit
there This website uses cookies to ensure you get the best experience This
means that even without understanding the meaning, chanting or listening to
Sanskrit verses (or repeating short mantras in meditative procedures, or
even reciting the flow of the Sanskrit alphabet) could generate a very
beautiful effect on the mind and the body. is a special connection between
the sound and the meaning, between the name and the form it represents. In
Sanskrit, the sound and the meaning are not considered as two different
entities but as one and the same.
In other words, the sounds of Sanskrit carry the qualities of the
meaning on the very level of their vibrational frequency. In Sanskrit,
alphabets are called वर्णमाला (Varnamala). Literally speaking, वर्ण (Varna)
represents letters and माला (Mala) means a garland. So Varnamala means
garland of letters. अक्षर-समाम्नाय (Aksarasamaamnaaya) – Yet another term
in Sanskrit for alphabets. अक्षर (Akshara) refers to letters and समाम्नाय
(Samaamnaaya) means tradition, instruction. So अक्षर-समाम्नाय may mean the
tradition or instruction on the basic sounds of the language. Going to the
root sounds आम्ना (Aamana) means to repeat, so समाम्नाय means well-repeated
or mentioned together. So, composition leads to अक्षर-समाम्नाय meaning –
where the basic sounds of the language are well repeated or mentioned
together. There are 48 basic sounds in Sanskrit alphabets. Like any other
language, in Sanskrit these sounds are categorized into vowels and
consonants.
The terminology used for vowels is अस्पृष्ट (Asprushta) means
Untouched. स्पृष्ट (Sprushta) means touched and prefixing अ before स्पृष्ट
negates it – so अस्पृष्ट means untouched. So, it essentially refers to the
sound that is produced without touching any part of the speech producing
organ. So, sound without any contact is Vowel Sound. For example – अ (a).
Whereas, consonants are called स्पृष्ट because they are produced by contact
with some part of the mouth, either tongue or lips. For example – ब (Ba).
Vowel sounds are free-flowing sounds and one can intone it, whereas
consonants are mute sounds – they cannot be intoned. Using the Sanskrit
definitions – अस्पृष्ट for Vowels and स्पृष्ट for Consonants, one can
distinguish between vowels and consonants in any language. Another word
used for a vowel is स्वर (Svara) and for consonant is the word व्यन्जन
(Vyanjana) is used. Svara means स्वयम्राजते (Svayam [itself] Rajate), so
स्वर (Svara) means one that shines by itself. Whereas the word व्यन्जन
(Vyanjana) means Decoration. Consonantal sounds are decorative sounds.
Vowel sounds are the life of the language and the very soul of the
language, therefore called आत्मा (Aatma) means soul, or प्राण (PraaNa)
meaning life, whereas consonants can be compared with the body because the
body can be decorated. The soul cannot be decorated.
Sound and logic (arrangement of alphabets) The entire
arrangement of sounds in Sanskrit is based on the following: 1. The place
of its production or pronunciation. 2. The effort required to produce it.
3. The duration for which it is produced. 4. The quality of the sound. When
we recite a sound, the air gets translated to sound. When air moves out
through the vocal cord, it can be obstructed at different places in the
mouth to produce speech sounds. However, one cannot obstruct the air at any
position in the mouth where one pleases and generate a sound. There are
possible positions in the mouth where the air can be obstructed. The first
possible position where the air can be obstructed is from where one
produces – क (Ka) ख (Kha) ग (Ga) घ (Gha) ङ (ṅa). These sounds are also
referred to as Gutters. At this position, the जिव्हा मूल (Jivha Mula) means
the root of the tongue comes in contact with मृदु तालु (Mridu Taalu) means
the soft palate and obstructs the airflow. It is not possible to obstruct
the flow of air below this position by any human being. Therefore, क (Ka)
is not only the first consonantal sound in Sanskrit but also for humanity.
The second possible position is from where the consonants – च
(ca), छ (cha), ज (ja), झ (jha), ञ (ña) are produced. At this place, the air
is obstructed when the upper middle of the tongue comes in contact with the
back of the hard palate. There is space between the first and second
positions, however, it’s not possible to obstruct the air in that space.
The third possible position is from where we say – ट (ṭa), ठ (ṭha), ड (ḍa),
ढ (ḍha), ण (ṇa). The tongue is rolled back to touch its tip to the middle
hard palate. They are also referred to as Retroflexed. The fourth possible
position is from where we say – त (ta), थ (tha), द (da), ध (dha), न (na).
Here the tip of the tongue touches back of upper teeth when producing these
consonants. They are also referred to as Dentals. The fifth possible
position is from where we say – प (pa), फ (pha), ब (ba), भ (bha), म (ma).
Here both the lips are pressed together. They are also referred to as
Labials. The consonants are tabulated below summarizing the above partly
(There is more to the table that we’ll see later).
release Apla prana (min. release) Maha prana (max. release) Apla
prana (min. release) Maha prana (max. release) Breath Release from Mouth
Cavity (Oral) Mouth Cavity (Oral) Mouth Cavity (Oral) Mouth Cavity (Oral)
Mouth and nasal cavity (oralnasal) Vocal cord Contracted Expanded
Contracted Expanded Place of pronunciations Consonants Vowels Sibila
Guttrals क (ka) ख (kha) ग (ga) घ (gha) ङ (ṅa) अ (a) आ (aa) Palatals च (ca) छ
(cha) ज (ja) झ (jha) ञ (ña) इ (i) ई (ii) श (Sh Retroflexes ट (ṭa) ठ (ṭha) ड
(ḍa) ढ (ḍha) ण (ṇa) ऋ (ṛ) ॠ (ṝ) ष (Ṣa Dentals त (ta) थ (tha) द (da) ध (dha)
न (na) लृ (ḷ) स (Sa Labials प (pa) फ (pha) ब (ba) भ (bha) म (ma) उ (u) ऊ
(uu) Now, consider the first row, क (Ka) ख (Kha) ग (Ga) घ (Gha) ङ (ṅa).
These are produced from the same position, that is, Guttral. What makes all
of them different? How is क (Ka) different from ख (Kha)? More air is
released when we recite ख (Kha), whereas less air is released when क (Ka)
is recited. So, sound क (Ka) is produced with minimum breath release
whereas ख (Kha) is produced with maximum breath release. In other words, क
(Ka) is contracted and ख (Kha) is expanded. This is like concentration and
meditation. This play of contraction and expansion is repeated again in ग
(Ga) and घ (Gha). In Sanskrit, the sounds that are produced with minimum
breath are called अल्प प्राण (Alpa Prana) and the ones that are produced
with maximum breath are called महा प्राण This website uses cookies to
ensure you get the best experience (Maha Prana). In all the 4 sounds that
we saw, the air was released through the mouth and the nasal cavity was
closed. If the air is allowed to pass through the nasal cavity and the
mouth simultaneously, the fifth sound ङ (ṅa) is produced from the same
position. This website uses cookies to ensure you get the best experience
However, this is not pure nasal sound. All the sounds in the
fifth group – ङ (ṅa), ञ (ña), ण (ṇa), न (na) and म (ma) are referred to as
अनुनासिक (Anunasika) or मुखनासिकवचन (Mukh-nasikavachan) मुख means mouth,
नासिका means nose and वचन means expression, so मुख-नासिकवचन or Oro-Nasal
expressions/sounds as both mouth and nose need to be open simultaneously
when reciting these sounds. It is not possible to produce these 5th group
sounds by opening either the mouth or the nose, both need to be open
simultaneously. Experiment and verify it for yourself. If you very slowly
and consciously repeat these sounds you will find that there is an in-built
system of Pranayama in the alphabets itself. If you recite these alphabets
starting from अ (a) to ह (Ha), Pranayama takes place and it begins the
healing process
Sanskrit Vowels In Sanskrit, there are 13 Vowels –
अ (a), आ (aa), इ (i), ई (ii), ऋ (ṛ), ॠ (ṝ), लृ (ḷ), उ (u), ऊ (uu), ए (e), ऎ
(ai), ओ (o), औ (au). Of these 13, 9 are Basic Vowel sounds, they are – अ
(a), आ (aa), इ (i), ई (ii), ऋ (ṛ), ॠ (ṝ), लृ (ḷ), उ (u), ऊ (uu). In the
tantric tradition, the entire human body is conceived as a शब्द शरीर
(Shabda Sharir) शब्द means sound and शरीर means body, so शब्द शरीर means
sound body. It is called so because of the flow of प्राण (Prana) means the
Life-force or Life-energy through different channels or nadis (72,000 of
them) in the body. The movement of the Prana generates sounds. These sounds
are created in our system all the time. They are heard by the tantric
sages, seers, practitioners in their meditation. That is why, in the
tantric scriptures we find the location of these sounds in the human body.
They gave names to these locations based on the number of energy currents.
The place where 2 energy currents meet is called as सन्धि
(Sandhi). The place where 3 energy currents meet is called as मर्म (Marma).
There are about 52- 55 मर्मस्थान (Sthana) means location in the body and
each location has its own sound. In the rituals, when they do अङ्ग स्पर्श
(Anga Sparsha) अङ्ग means body and स्पर्श means to touch, they touch
different मर्मस्थान in the body. For example, using the sound they touch
the eyes or ears; doing this purifies and energizes those locations. In
the tantric scriptures, when they conceived the human body as शब्द शरीर,
they called an individual – अहम (Aham). अहम means it starts with अ (a) and
ends with ह (Ha). So, an individual comprises of everything between अ (a)
and ह (Ha), both inclusive. म (Ma) is added to make it a proper verb, hence
the word अहम (Aham) means “I”.
Dr. Sampadanandaji (director of Sri Aurobindo Foundation
for Indian Culture) pointed out that when ह (Ha) is combined with the seven
special alphabets – ण (ṇa), न (na), म (ma), य (ya), र (ra), ल (la) and व
(va), then one gets a completely different experience with it when
articulated correctly. ह (Ha) + ण (ṇa) = ह्ण (Hṇa) ह (Ha) + न (na) = ह्न
(Hna) ह (Ha) + म (ma) = ह्म (Hma) ह (Ha) + य (ya) = ह्य (Hya) ह (Ha) + र
(ra) = ह्र (Hra) ह (Ha) + ल (la) = ह्ल (Hla) ह (Ha) + व (va) = ह्व (Hva)
LANGUAGE OF VIBRATIONS: This is because it makes natural
कपालभाति (KapalaBhati). It is also very good for clearing the throat and
other throat related problems. These 7 sounds are known as उरस्य (Urasya).
उरस (Uras) means the chest and the lungs, so उरस्य (Urasya) means belonging
to lungs. ह (Ha) sound comes from the lowest depths, and by combining it
with the 7 sounds, it further extends the depth. There are many words in
Sanskrit that are उरस्य (Urasya). For example, when saying the word ब्रह्मा
(Brahma), many (including me) pronounced it incorrectly as Bramha. मध्याह्न
(Madhyahna) means Midday. “Sanskrit is a language of vibration.” Scientists
tell us that everything in the manifest universe is nothing but the
vibration of atoms and molecules. So, to come in contact with a language of
vibration is to come in contact with what we are essentially. It gets
deeper than that.
As per Indian Meta-Physics, the moment a स्पन्द् (Spanda)
means Vibration is created, it is imperishable. The moment one thinks, one
creates vibration. Once created the sound of vibration is permanent, it
never dies, it does not decay, instead it gets absorbed in the आकाश
(Akasha) means Space and it remains there. So, the स्पन्द् is imperishable.
This realization of the Sages and Rishis resulted in the word Akshara,
attributing the imperishable property of sound. It refers to the philosophy
of शब्दो नित्यः (Shabdo Nityaah) means the eternity of sounds. However, the
word अक्षर (Akshara) got confined to the speech sounds, the fundamental
sounds of the language. Again, I would like to emphasize that, Akshara is
not the gross sound that we hear, listen, spear or write, it essentially
means स्पन्दन (Spandana) or vibration.
ROOT MEANING: Principle on which the roots of the
devabhāṣā were formed. All Shabda (a speech sound, vāk - words) as it
manifests out of the ākāśa (space) by the force of mātariśvan, the great
active and creative energy, and is put in its place in the flux of formed
things (apas) carries with its certain definite significances (artha).
These are determined by the elements through which it has passed. Śabda
appears in the ākāśa, travels through vāyu, the second element in which
sparśa is the vibration; by the vibrations of sparśa, it creates in tejas,
the third element, certain forms, and so arrives into being with these
three characteristics, first, certain contractual vibrations, secondly, a
particular kind of Tejas or force, thirdly, a particular form. These
determine the bhāva or general sensation it creates in the mind and from
that sensation develop its various precise meanings according to the form
which it is used to create.
The root-sense of sound is "determined by the elements through
which it has passed" and these "determine the bhāva or general sensation it
creates in the mind and from that sensation develop its various precise
meanings according to the form which it is used to create." The building
blocks, elementary parts, of sense are six in number 1. Being 2 Motion 3
contact 4. Sound 5. Form 6. Action. From the persistent evidence of the
Sanskrit language, it is clear that to the initial idea of existence the
Aryans attached, as fundamental circumstances of being, the farther ideas
of motion, contact, sound, form and action and there are few root-families
in which there are not the six substantial ideas which form the
starting-point of all farther development of use and significance. Sri
Aurobindo (Indian philosopher, yogi, guru, poet) has given this chart of
the psychological sense in the root Sanskrit sounds on the metrics of the
six ideas as is present in the Dev-Bhasha: अ — a — absolute existence इ — i
— relative existence उ — u — pervasive, contained or progressive existence क
— ka — possession, mastery, creation, action ख — kha — attack, invasion,
insistence, attrition or detrition ग — ga — contact, motion, action upon घ
— gha — violent contact, hostile action, strong motion च — ca — swift and
brilliant action, existence, contact छ — cha — the same like ca with a
greater lightness ज — ja — restless, brilliant, decisive action, existence
or contact झ — jha — the same like ja with a greater lightness ट — ṭa —
hardness, force, crudity - rajasic ठ — ṭha — the same with greater
impetuosity, -rajasic ड — ḍa — dullness, persistence, obstinacy -
rajaso-tamasic ढ — ḍha — obstinacy, tenacity त — ta — touch, impact,
-lighter than थ — tha — the same like ta with greater force द — da — hard
forcible impact or action ध — dha — softer but strong impact or action न —
na — gentle but effective relation प — pa — soft touch or impact, kindly
relation, possessive action फ — pha — the same like pa with greater force ब
— ba — soft, strong, embracing contact, possession, action भ — bha — the
same like ba with a sense of containing म — ma — limitation, finality,
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Spine of the language य — ya — relation र — ra —vibration, play ल — la —
love, sweetness, etc. in relation व — va — manifest existence श — śa —
vehemence in union ष — ṣa — strong action in rest स — sa — repose, union ह
— ha — force From our experience and experience of others, we can testify
that simply listening or reciting Sanskrit hymns, verses, or mantras, has a
very profound soothing, healing and revitalizing effect. Various Sanskrit
mantras including specific sequences of the sounds of the Sanskrit alphabet
are described as part of the inner structure of the circular centers of the
energy body. These kinds of sounds, as well as other mantras, verses, and
hymns in Sanskrit, were used since times immemorial for the purpose of
solving and avoiding problems in life, and for healing various aspects of
the energy body and the physiology. They were also used as tools to achieve
meditative states, and to elevate the human consciousness towards unfolding
its full potential.
Sanskrit sounds emanate from five distinct mouth positions
that exist on your palate. These five positions correspond to different
points in the brain and/or body, which exponentially magnifies their
potency. In other words, as you say, for example, the sound ‘A’ you are not
just mindlessly saying ‘A.’ You say the sound and if you pay attention you
can feel the prana contact the back of the throat, the vocal cords rub
together creating gentle friction and the vibration of the sound energy
rising to the front of the face, the crown of the head and then extend down
to the heart. This whole process culminates together to create a kind of
inner soul dialog between the head and the heart.
https://youtu.be/5CejzPaW9Pk UNIVERSAL TRUTH OF SOUND DEMO
[from HIMALAYAN ACADEMY OF SOUNDS] K RAJARAM IRS 18925
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