Chanted OM Produces Sri Yantra in Tonoscope

I have,in a post  on Paranormal, narrated my experience, during my college days, as to how the various Gayatri Mantras ,when intoned properly, produced the corresponding God’s Image in a TV Monitor.

Om, Hindu Symbol.jpg Om, Hindu Symbol.

Sri Yantra 3 D Image.jpg Sri Yantra 3 D Image.

Quite a few were sceptical on this.

I write what I believe /know to be true as I do not belong to Ideology to promote.

I try to post facts as I see them.

In the process some times I may rescind some of my views in the light of new evidence.

This is applicable to posts relating to History of Sanatana Dharma, called Hinduism.

However I am yet to come across information that is reliable which contradicts the Truth as explained in the Hindu Texts.

OM produces Sri Yantra.jpg OM produces Sri Yantra.Tonoscope Image on your right. Image credit.http://www.thuban.spruz.com/

In the present article, I would like to share the proof that the sounds used in Hindu practices in Pooja, worship of Gods, really produce images corresponding to the Deities mentioned in the Mantras.

The fundamental sound of Hinduism is OM.

This sound has three letters.




For correct pronunciation one should listen to authentic Vedic chants, for a slight change in intonation changes the results.

Sounds in Humans rise from Three places in the Human body.


Throat and the

Base of Stomach, ( near Duodenum)

Most of the languages are built on these lines and Sanskrit is perfect in this aspect.

The sound A rises from  the Mouth,

U from the Throat and

M from the pit of the stomach.

These three letters together form OM .

This is the primordial sound of the Universe.

Please read my Post’The Universe hums OM with Audio, here I have shown that the Humming in the deep Galaxies produce the sound OM.

Now when OM is intoned in a Tonoscope, it throws the image of the Sri Yantra.

‘The Sri-Yantra-Mandala is the image of the OM mantra, the primordial Hindu sound of creation. When OM is intoned into a tonoscope, it first produces a circle. As the tone is completed, the circle is filled sequentially with concentric squares, triangles and finally, as the “mmm” dies away, the Sri Yantra

How do Yantras work? ?At the basis of yantra operation is something called “shape energy” or “form energy”. The idea is that every shape emits a very specific frequency and energy pattern. Examples of old believes in shape energy are the yantras and mandalas of eastern philosophies, the star of David, the five pointed star (pentagon), the Christian cross, the pyramids and so on. Certain ‘powers’ are ascribed to the various shapes.
When one focuses on a yantra, his mind is automatically “tuned in” by resonance into the specific form energy of that yantra. The process of resonance is then maintained and amplified. The yantra acts only as a “tune in” mechanism or a doorway. The subtle energy does not come from the yantra itself, but from the macrocosm.
Basically yantras are secret keys for establishing resonance with the benefit energies of the macrocosm. Very often the yantras can put us in contact with extremely elevated energies and entities, being of invaluable help on the spiritual path. Available at http://sivasakti.com/articles/intro-yantra.html

For more on OM, Yantras check my posts on these under Hinduism category.





Dasa Maha Vidya Stuthi For Grand Children Wisdom

I have written a couple of blogs on Dasa Maha Vidya, as a part of Vidya Upasna.


I provide the Dasa Maha Vidya Stuthi below fo the benefit of Sri Vidya Upasakas.


(The goddess with ten heads , black as night and has a horrific and fearful appearance. She is represented to be standing on Lord Shiva who is lying down.She is considered to represent all the ten Maha Vidhyas. While she blesses her devotees with all their wants, worship of her is believed to remove Sani dosha)

1.Maha devi maha kala Priya sakhi ,
Gauri Kaushikhi nama Vikhyate ,
Maha Kali Namosthuthe

Salutations to Maha Kali,
Who is the great goddess, the great companion of Lord Shiva,
Who is well known as Gauri and Kaushiki.

Tara Devi

(She is blue in colour , wears a necklace of corpses . She has only one head stand on Lord Shiva . She is supposed to shower motherly instinct and is the Goddess of knowledge . She is suppose to give wisdom, profit in business and is suppose to be effective against Guru Dosha)

2.Munda mala vibhooshithe neela rupinee ,
Yeka jata neela Saraswathi nama Vikhyathe,
Tara devi namosthuthe.

Salutations to Goddess Tara ,
Who wears the necklaces of dead bodies,
Who is blue in colour ,
Who is well known as Yeka Jata and Neela Saraswathi.

Chinna mastha
( The very ferocious form of the goddess. She is red in colour , with severed head , drinks blood and stands on a couple in copulation. She is supposed to grant courage to fight with enemies. Magicians also worship her to cause harm to someone.)

3.Rudhira pana priye , khaditha Siro rupini,
Rakthakesi , chinnabala nama vikhyathe ,
Chinnamastha namosthuthe

Salutations to Goddess Chinnamastha ,
Who likes to drink blood , who appears without head,
Who is well known as Rakthakesi and Chinna bala.

Shodasi or Laitha Maha Tripura Sundari

She is of golden colour and is normally depicted together with Lord Shiva. Sitting on a throne or seat with four legs. She is the supreme goddess and removes the dosha due to Budha.

4.Shodasa Kala paripoorne AAdhya Shakthi roopini ,
Sri Vidhya Pancha vakthra nama Vikhyathe ,
Shodasi namosthuthe

Salutations to the Goddess Shodasi ,
Who has completed sixteen years of age ,
Who has the l,ook of the primeval power ,
Who is well known as Srividhya and Panchavakthra


She is the goddess of the universe. She is normally depicted with four hands, with goad, rope and the other two showing giving boons and another protection. She removes Chandra Dosha.

5,Pasankusa dari durgam asura samharini,
Shatakshi sakambari nama Vikhyathe ,
BHuvaneswari namosthuthe.

Salutations to Goddess BHuvaneswari,
Who holds the rope and the goad ,
Who kills very ferocious asuras ,
Who is well known as Shatakshi and Sakambari


She is mother to the good people terror to bad ones. She is seen holding book, rosary, and making fear-dispelling and boon-conferring gestures. She is also known as Baala or Tripurabhairavi.

6.Arunambara dari , pranava roopini ,
Yogeeswari , Uma nama vikhyathe ,
Tripura BHairavi Namosthuthe

Salutations to Goddess Tripura BHairavi ,
Who wears cloths of the red purple colour,
Who has the form of letter “Om”,
Who is well known as Yogeswari and Uma


Dhumavati represents the fearsome aspect of Devi, the Hindu Divine Mother. She is of smoky colour , an old, ugly widow (I,e Withoutr Shiva) and is associated with things considered inauspicious and unattractive in Hinduism, such as the crow and the Chaturmas period. The goddess is often depicted on a horseless chariot or riding a crow, usually in a cremation ground.She is supposed to remove Rahu Dosha.

7.Dushta abichara dwamsini , kaka dwaja Radha roode,
Suthara thamasi nama Vikhyathe ,
Dhoomavathi namosthuthe

Salutations to Goddess Dhoomavathi ,
Who destroys the attack of black magic ,
Who rides on a chariot with flag of crow ,
Who is well known as Suthara and Thamsi

Bagalamukhi has a golden complexion and her dress is yellow. She sits in a golden throne in the midst of an ocean of nectar full of yellow lotuses. A crescent moon adorns her head. She is believed to have the power to remove Kuja Dosha,

8.Pitambara dari shathru bhaya nivarini,
Jwalamuki Vaishhnavi nama Vikhyathe ,
Bagala Mukhi namosthuthe

Salutations to Goddess BHagalamuki ,
Who wears yellow silk cloths ,
Who removes fear as well as enemies ,
Who is well known as Jwalamukhi and Vaishnavi

She is considered as the Tantric form of Sarasvati, the goddess of music and learning. Like Sarasvati, Matangi governs speech, music, knowledge and the arts. Her worship is prescribed to acquire supernatural powers, especially gaining control over enemies, attracting people to oneself, acquiring mastery over the arts and gaining supreme knowledge.. Those with family problems worship her to get peace .

9.Ardha chandra dhari , Kadamba vana vasini,
Vaagdevi Saraswathi nama Vikhyathe ,
Matangi namosthuthe.

Salutations to goddess Matangi,
Who wears the crescent and lives in a garden of Kadamba trees,
Who is well known as Vaagdevi and Saraswathi


She is of golden complexion, sits on a lotus flower and is bathed by four elephants, She removes the Shukra dosha.

10.Suvarna kanthi samanvithe , maha Vishnu sahacharini ,
BHargavi Mahalakshmi nama vikhyathe ,
Kamala Namosthuthe

Salutations to Goddess Kamala,
Who has a golden aura and is companion of Maha Vishnu ,
Who is well known as Bharagavi and Mahalakshmi

Phala Sruthi
Dasa maha vidhya stotram sarva shathru roga nivaranam,
SArva sampath karam, puthra pouthradhi vardhanam.

Effect of chanting

This prayer addressed to the ten great Vidhyas ,
Destroys all diseases and all enemies ,
Gives all types of wealth and leads to increase of sons and grand sons.


Translation by P.R.Ramchander.







Pitrus Presiding Deties Sraddha

Details of Pitrus present and the Deities of Sraddha.


1 Pururav-Aardrav and Dhurilochan

Pururav-Aardrav and Dhurilochan are deities of ancestors’ souls. They are referenced in the ritual of Shraddha.

1.2. Vasu-Rudra-Aditya

1.‘Shraddha is associated with the benevolent deities Vasu, Rudra and Aditya of the ancestors’ souls. The mantras chanted during the Shraddha and the rites performed enables one to connect to these deities.’ (6)

2. The deceased person for whom the ritual of Shraddha is being performed, is considered as a follower of Vasu, his parents are considered as followers of Rudra and his grand parents are considered as followers of Aditya. Therefore during Shraddha, the names of father, grandfather and great grandfather (or mother, grandmother and great grandmother) are pronounced as representatives of Vasu-Rudra-Aditya respectively.


Presiding Deity of
the departed ancestors
Associated mission
Vasu Desire
Rudra Dissolution
Aditya Action

During the ritual of Shraddha the Vishvedevs called Pururav-Ardrav and Dhurilochan are also invoked. Vishvedev means the ‘group of Deities which represents the Deities during a sacrificial fire’.


Pitrus, Ancestoes present during Mahalaya Sraddha.


. Father, grandfather, great grandfather (Pitrutrayi) 10. Maternal uncle
2. Mother, grandmother and great grandmother (matrutrayi) 11. Brother
3. Step mother 12. Father’s sisters
4. Mother’s father, grandfather and great grandmother (matamahatrayi) 13. Mother’s sisters
5. Mother’s mother, grandmother and great grandmother 14. Sisters
6. Wife 15. Father-in-law
7. Sons 16. Other relatives
8. Daughters 17. Guru (if the Guru-disciple relationship exists)
9. Paternal cousins 18. Disciple (if the Guru-disciple relationship exists)



Three Levels of Pitrus

English: brahma temple in tirupattur

English: brahma temple in tirupattur (Photo credit: Wikipedia)

Pitru Pooja has various levels of Pitrus.


1.Somapa Pitrus.


These  are the privileged ones among the Pitrus.


They are provided with Somaras.


Their life-span extends for the full period of kalpa and they worship ‘marutas’.


Sage Maricha belongs to this category of Pitrus.


2.Vairaja Pirtus.


Maruta Ganas respect these Pitrus.


Sanaka belongs to this category.


These have Seven Ganas.


3.  Bhaswara’ Pitrus.


They live in  Santanaka Loka,


These  are revered by the Deities.


They are ‘Brahmavadis’ (one who has realized Brahma, not Brahman)


They manifest themselves  again after every hundred Yugas.


People belonging to any caste can worship the revered Pitrus with an appropriately modified rituals and obviously with the permission of the Brahmin.


Some Prominent Pituas : Vasu’, Kashyap’, Marichi’, Sanaka
Worship of Pitrus was ordained by Brahma.


The Saptha Rishis were mentally created by Brahma and were given the pride o place.


They became arrogant and started worshiping themselves instead of worshiping Brahma


Brahma Cursed them to become bereft of their knowledge.


As a Vimochana, atonement, Brahma established the Pirtu Rituals and the Saptha Rishis’s sons performed the Sraddha and the Rishis became themselves again.


Source.  Varaha Purana.




No Sandhyavandan Procedure In The Vedas ?

There was a question in Facebook as a comment on Sraddha as whether Sraddha procedures were laid down in the Vedas.


I replied that, to the best of my knowledge , the procedure for Sraddha is laid down in the Smritis and that I do not find a reference to it in the Veda.


While making this comment I made a remark that I was not sure whether Sandyavandana procedure was mentioned in the Vedas.


I received a feedback that Vedas and Upanishads do mention Sandhyavandana.


I have been able to locate the reference, which I reproduce.



“There are references in the vedas regarding Sandyavandanam. A reference occurs in “Second prasna, Second Anuvaka of Thaithria Aranyaka (Yajur Veda)”, explaining procedure of worship. The procedure of worship indicated is by offering “Arghya” (water in the palms of both hands thrown up), at the time of sunrise and sunset, meditating on Aditya (Sun).

Verses 15 & 16 of Ishvashya upanishad of Shukla Yajurveda also refers to Sun worship as above at sunrise and sunset.

Chandogya upanisad (Chapter 2 Section ix) discusses “Aditya vidya” explaining the importance of meditation of Sun or Aditya at sunrise and sunset, bringing out also the points mentioned above. Chapter 3, Section xii, of this upanishad explains meditation of aditya through gayatri. It also explains that the sun in the horizon outside and the sun element inside us are one and the same and there is no difference. The identity should be kept in mind while meditating through gayatri. This is the meaning of “Asavadityao brahma” recited during sandyavandanam.

These views are also echoed in Aditya Hridaya of the Yuddakanda of Ramayan. Agasthya explains to Sri Rama, the merits of worshipping Aditya. Aditya protects everyone, helps them in their duties, gives lustre, removes ignorance and provides happiness. He is friend of water and resides in every living thing.

Various Rishis set the procedures. Variations are there in Rig, Yajur and Sama Santhyavanthanam and Madhyaniham procedures. Various Sutras difined various procedures. Apastamba, Boudhayana, Parasara and Yajnvalkya sutras are some of them. “


1.Verses 15 and 16 of Isavasya Upanishad  refer only to the extent that the Sun is to be worshiped.


2.References in Chandogya Upanishad.


Section 2 Chapter 9 says thus,


Verse 15.

हिरण्मयेन पात्रेण सत्यस्यापिहितं मुखम् ।
तत्त्वं पूषन्नपावृणु सत्यधर्माय दृष्टये ॥१५॥

hiranmayena patrena satyasyapihitam mukham ।
tattvam pusannapavrnu satyadharmaya drstaye ॥ 15॥


The face of truth is covered with a
golden disc. Unveil it, O Pushan, so that I
who love the truth may see it.

16.पूषन्नेकर्षे यम सूर्य प्राजापत्य व्यूह रश्मीन् समूह तेजः ।
यत्ते रूपं कल्याणतमं तत्ते पश्यामि योऽसावसौ पुरुषः सोऽहमस्मि ॥१६॥

pusannekarse yama surya prajapatya
vyuha rasmin samuha tejah ।
yatte rupam kalyanatamam tatte pasyami
yo’savasau purusah so’hamasmi ॥ 16॥


16. O Pushan, the sole seer, O Controller,
O Sun, offspring of Praja-pati, spread forth
your rays and gather up your radiant light
that I may behold you of loveliest form.
Whosoever is that person that also am.
I do not think this is a Procedure for Sandhyavandana.
Chandogya Upanishad Section 2,Chapter 9, says thus,
1. One should meditate on the sevenfold Saman as yonder sun. The sun is the Saman because he is always the same (sama). He is the Saman because he makes everyone cherish the same thought: “He faces me,” “He faces me.”2. One should know that all beings depend upon him (i.e. the sun). What he is before his rising is the syllable Him. The animals depend upon it (i.e. Him). Therefore the animals say “Him” before the sunrise, for they partake of the syllable Him of the Saman (sun).3. What he (the sun) is just after he has risen, that is the Prastava. Men depend upon it. Therefore men love praise (prastuti) and eulogy, for they partake of the Prastava of that Saman.

4. What he is when the rays go forth, that is the Adi. Birds depend upon It. Therefore birds hold themselves without support in the sky and fly about, for they partake of the Adi of that Saman.

5. What he is just at midday, that is the Udgitha. The devas (gods) are dependent upon it. Therefore they are the best of the offspring of Prajapati, for they partake of the Udgitha of that Sa man.

6. What he is after midday and before afternoon, that is the Pratihara. The foetuses depend upon it. Therefore they are held in the womb after being conceived and do not fall, for they partake of the Pratihara of the Saman.

7. What he is after the afternoon and before sunset, that is the Upadrava. The animals of the forest depend upon it. Therefore they run (upadravanti) to the forest and their caves when they see a man, for partake of the Upadrava of that Saman.

8. What he is just after the sunset, that is the Nidhana.,The Manes depend upon it. Therefore they put them (i.e. the Manes) down (nidadhati), for they partake of the Nidhana of that Saman. Thus a man meditates on the sevenfold Saman as the sun.

Chandogya Section3, Chapter 3.

Meditation on the Udgitha as the Sun and the Vyana

1. Now is described the meditation on the Udgitha with reference to the gods: One should meditate on the Udgitha as the sun who gives warmth. When he (the sun) rises he sings the Udgitha for the benefit of all creatures. When he rises he destroys darkness and fear. He who knows this becomes the destroyer of darkness and fear.

2. This prana and that sun are the same. This is warm and that is warm. This they call svara (what goes out) and that, pratyasvara (what returns). Therefore one should meditate on the Udgitha as this and that.

3. One should meditate on the Udgitha as the vyana. That which one breathes out is the prana and that which one breathes in is the apana. That which is the junction of the prana and the apana is the Vyana. This vyana is speech. Therefore when one utters speech one stops the prana and the apana.

4. That which is speech is the Rik. Therefore when a man utters a Rik he neither breathes out nor breathes in. That which is the Rik is the Saman. Therefore when a man sings a Saman, he neither breathes out nor breathes in. That which is the Saman is the Udgitha. Therefore when a man sings the Udgitha he neither breathes out nor breathes in.

5. And other works also which require strength, such as the kindling of fire by rubbing, running a race and stringing a strong bow, are performed without breathing out or breathing in. Therefore one should meditate on the Udgitha as the vyana.

6. One should meditate on the letters of the word Udgitha (i.e. ut, gi and tha). Ut is the prana, for a man rises (uttishthati) by means of the prana. Gi is speech, for speeches are called girah. Tha is food, for all this subsists (sthita) on food.

7. Ut is heaven, gi the mid—region and tha the earth. Ut is the sun, gi the air and tha fire. Ut is the Sama—Veda, gi the Yajur—Veda and tha the Rig—Veda. To him who thus meditates speech yields milk and milk is speech. He who knows this and meditates on the letters of the Udgitha becomes the possessor of food and the eater of food.

8. Next follows the fulfilment of prayers. One should thus meditate on the object one wishes to obtain through meditation: he (i.e. the udgatri priest) should meditate on the Saman with which he is going chant the praise.

9. He (the udgatri priest) should meditate on the Rik in which that Saman occurs, on the rishi to whom it was revealed and on the deity whom he is going to praise.

10. He (the udgatri priest) should meditate on the metre in which he is going to chant the praise; he should meditate on the hymn by which he is going to chant the praise.

11. He (the udgatri priest) should meditate on the quarter of space facing which he is going to chant the praise.

12. Finally, he (the udgatri priest) should meditate on himself and then on the object desired and chant the praise correctly. Thus will be quickly fulfilled for him the desire, desiring which he may offer the hymn of praise, yea, desiring which he may offer the hymn of praise.


There are more references cited as below in some web sites on this subject.


Rig Veda Samhita 3.62.10


Here one finds a reference to Gayathri Mantra, no procedures.


Again The Taitriya Aranyaka says,


Pancha Maha Yajna

Pancha vaa ete mahayajnaassatati
Prataayante satati santishtante
Devayajnah pitr
yajno bhutayajno
Manushya yajno brahmayajna iti
These are the five great sacrifices which are to be performed on a daily basis and completed.
They are
deva yajna, pitr
u yajna, bhuta yajna, manushya yajna
brahma yajna  2.10.
2.11 goes on to describe the Gayatri Mantra recitation procedure.
No procedures for Sandhyavandan as a whole.
As to Agasthya instructing Rama, this too stresses the importance of Sun worship, no procedures.
One may well remember that Rama had Upanayana performed much before Yuddha Kanda and as such should have known the Sandhya vandana.
Again, No procedure.
All these do not constitute a procedure for performing Sandhyavandana.
References to worship of the Sun is mentioned, no procedures to be followed are set.
As I said of Sraddham, these procedures are set by Smriti, not by Sruthi.
Inputs clarifications welcome.