According to the ancient knowledge contained in the Vedic texts, the world is a materialised sound, in short, world is sound or “nada brahma”.
Another motive of Indian tradition, in this context is the dancing Vishnu representing the whole cosmos, the whole cycle of creation and destruction. Great idea that the whole progression of the world is only possible and will go on as long as the god Vishnu is dancing and is in motion. Music sound and rhythm are the at the base of everything.
I would only believe in the god that can dance said Nitzche.
Looking back at Vishnu, everything is in dynamic movement, and at the same time it is so cleverly designed that in all this movement there is a mysterious stillness which we will later find in our water mandalas.
Vishnu is holding little drum in his right hand , symbolising the creation of the world with the sound, which means that in the beginning out of the still calm ocean vibration have come into existence, and out of the interaction of these waves the first shapes have formed.
As Goethe has said the wave is a primal phenomenon of all form creating processes.
And so you can see the four limbs of Vishnu represent the up and down, forwards and backwards, the two primal opposing movements. Looking at his two feet, very important, one leg on the ground in a firm, forming, materialising gesture and the other leg in a swinging upward, dissolving, freeing movement, symbolising a pulsating expression of primal metaphor of the human heart.
The contracting, systolic (as the doctors would say), movement, and the diastolic movement, or opening. Living means to balance those two movements that seem to be so different to each other, living means to create the harmony and balance between these two seemingly so opposite processes.
The Shiva is standing on the little figure that symbolises that part of us, or a world that tries to withhold itself from this continuous change. As Goethe would have said: it is the fear of that which has been created, of the creation process. Anything that’s stagnant, not moving, stiff and hard, everything that does not want to be transformed and part of this process will as indian mythology say be naturally left out of the progression of the world.
If you take the figure of Shiva and put them in this particular order which represents modern quantum physics research, mirroring ancient mythology. In the middle is the creation of our material world in a decompressed state, on the other hand the rhythmic movement in a non material outer sphere. The hair of Shiva represents the primal liquid element in which the primal water comes into movement. This represents the modern quantum physics where they talk about quantum fluctuation which means solid matter rests basically in the continuously changing vibrations of a non materialistic reality. On one side we have a quantum physics on the other the indian mythology, talking about the same process. And a physics has said for all these years that solid matter was the start of creation, where now they’ve come to agreement that movement is a base for creation. The stillness is an exception in the process of creation.
This picture is observation of vibrations in water. You can really observe the two polar movements, where you have outwards and inwards processes, which demonstrates what we’ve talk about before, namely these two opposing movements in one process.
excerpts from a lecture by Alexander Lauterwasser at a 2011 Congress in Germany
Number of scientists in the past and present decided to confirm this view and devoted long hours to research. One of them, Mr Emoto, the scientist from Japan, is by now “world famous” for his photographs of “happy water”. Hans Jenny a swiss medical doctor and Alexander Lauterwasser in their own scope searched for the sound created images laying foundation for cymatics. Read more about the history of cymatics here.
Another of those pioneers is Peter Hess. This German national spent countless months in Nepal and Himalaya regions, researching the alternative medicine practices of the indigenous people, following in footsteps of Wilhelm Reich and others.
Since the early eighties, Peter Hess, a then young engineering graduate, was interested in the research on effect the sound has on people. His life passion came forth, when in search for the alternative healing methods, he made numerous trips to India, Nepal and Tibet. Experiences with traditional healers and observations in the Newari region, inhabited by the oldest ethnic group in the Kathmandu Valley, demonstrated to him the importance of sound in traditional healing. During his travels, Peter Hess experienced on his own body, that sound can be a strong healing element, but can also have a negative effect. For everything in this world is marked by polarity.
His investigations and experiments on the effect the traditional music has on the human mind and body, form the basis for what we now know as the Sound Massage. Based on those diverse experiences with sound, on return to Germany, Peter Hess proceeded to work with singing bowls. He has also endeavoured to pass on his newly acquired knowledge and experiences in various courses and seminars. He established a flexible system of feedback from the practice and evolution of the method – for as the sound itself, so is the Peter Hess sound massage method – in motion. Positive outcomes led to a rapid development of the sound massage method.
The result of this work is the Peter Hess®-Sound Massage.
Today, Peter Hess-sound massage is used successfully in many occupations in the fields of education, counselling, therapy and medicine.
The extensive training and continuing education offered by the Peter Hess Institute and Peter Hess Academies around the world, reflect many possibilities for the use of professional sound massage therapy and singing bowls. This new service offers development of professional competence in the use of Sound at the highest level.
© Peter Hess Academy Australia 2016