1. VEDIC SCHOOL

              VEDAS are the most sacred  scriptures which depict the science of Natures workings .they  reveals the occult workings of Nature underlying in manifestation of all the worlds we live in

. “Veda” means wisdom. It is derived from the root “Vid” meaning “to know”, to realise. The text of the Veda is passed on as wisdom to be realised by us. Veda is known as “Sruti”, ‘what is heard’, or ‘revealed by the Supreme being Brahman’. That is why the composers of the hymns are called “Drashtarah”, lit. seers. The Veda is described as ‘apaurusheya’ to emphasise its superhuman, divine origin. According to the tradition of Brahmavidya, Veda consists of Mantram, Brahmanam, Aranyakam and Upanishad. The mantra part is known as Samhita. The Brahmanas elaborate upon the use of the mantra. The Aranyakas lay stress on Upasana and meditation while the Upanishads focus on Jnana. Sometime the ordering of the fourfold Veda is very striking as in Taittiriya Samhita (Krishna or Black Yajur Veda), Taittiriya Brahmanam, Taittiriya Aranyakam, and Taittiriya Upanishad. There are four collections or Samhitas of the Veda known as Rig Veda, Yajur Veda, Sama Veda and Atharva or Atharvana Veda. 

Ranked among the most ancient of the scriptures in the world, the four Vedas have an inner truth about them. The word “Rig” means “Voice uttered”. We utter a word through our voice. “Yajus” means ‘plan’ or ‘work executed’. Whenever we speak, it is for the purpose of explaining, learning, or working out something. Without any meaning or significance, no one goes on speaking. Always we mean something, we want to explain something or listen to something. We call this the meaning of a sentence and also the subject of our conversation. When we read a book, we call it the material or input of the book. “Sama” means ‘the song of breath’ or ‘respiration’. The realisation of the voice uttered as respiration is called Sama Veda. The word “Atharva” means ‘wisdom of lesser importance’. We have an intelligence that works on day to day application. With this intelligence we take up professional activities, we meet each other, we go to the office, come home, get educated, we marry and have children, have a house, a vehicle and many other things. This is what is called Lower Wisdom and what we call Worldly Wisdom. We scientifically call it the applied aspect of wisdom. This wisdom undergoes change over a period of time with change of values.

The four Vedas exist in everyone of us. 

H.P. Blavatsky’s cryptic remark in “The Secret Doctrine” hints at the true nature of Veda, the scripture. [ Citing her own words in “Isis”, she comments about on old book” : “It is the only original copy now in existence” (The Secret Doctrine”, XLIII)

By “the only original copy”, she refers to the “I am” consciousness in you. In the nature of things, it is always singular, never plural. So the consciousness in you is called the scripture that exists in the world. This is called the “Only original copy”. Many readers thought of the loss of all copies, leaving behind a rare book in its only form, the one copy existing in the world. When she added that this copy is preserved in a cave temple, people began exploring mountains, caves, and jungles, but in vain. Madame Blavatsky meant, of course, the inner layer of our psychological labyrinth, where we have to delve into the innermost recesses of consciousness to find that copy.

We must know how to understand these great books. They teach only about one book: Always you are the only “I AM” i.e., singular. In Sanskrit, “Aham” means “I am”. According to Yogasastra, “so” means ‘objectivity’, “something different from yourself”. In Sanskrit “so” means “He”, “Aham” means “I (AM)”. We are expected to practice through respiration the idea that he is myself and I am himself. Inhale with the sound “so” and breathe out with the sound “ham” and meditate upon the idea that objective air within is the same as subjective air without. To utter the word I AM, we use the same air as when we utter HE IS. Respiration links objectivity and subjectivity. These are called the original forms of scriptures and if you remove S and H sounds from “SOHAM”, you get “OM” – the mystic sound which is common to everyone. Madame Blavatsky called it the Universal Affirmative and Lord Krishna called it I AM.

On this basis, let us try to understand the meaning of the Scriptures. A Scripture never means any book existing somewhere or any book on any religion. A religion owns this original book. All the scriptures of various religions explain this one book only. Whenever any book is written about this one existence, that book is called a Scripture. If any book is written about something else it is called an ordinary book. This book of wisdom is there within you not outside and this is exactly the esoteric and original meaning of the word Veda. If a scholar speaks of Veda as books, he does not know what it means esoterically. But if a Master of Wisdom speaks about Veda, he is speaking about the ONE who is speaking as well as listening in everybody.

Our speech passes through four stages. The first is our respiration. The next is our voice which comes out of respiration and then when we are breathing, we have mind and this mind is called Yajur Veda or existence as mind. So we have respiration, voice, the mind and the application. The respiration which is called Sama Veda is without our intention or knowledge but we are only conscious of ourselves after breathing. The Bible says ” first there was the word, the word was with God and the word was God.” These are the three stages after that the word is there with us and we are here ourselves, different from the word. The Vedas explain and discuss these things. That is why the subject of discussion is called Veda, and not the book. The Bible or Bhagavad Gita, mean not the paper or ink or the print, but the content and we have to understand “Veda” in the same sense.

These are the four Vedas or the four topics that are to be studied in the name of scripture. If you approach an orientalist, he will be able to give the number of mantras in the Vedas , how they are translated , how they are printed etc. This is all exoteric work which is important but if you stop there, it has no significance. So there is something higher which is intended and we are expected to go into in the next stage of our existence. This is the reason why we are asked to read the scriptures.

The Secret of Veda

Veda is the modulation of the melodious cosmic rhythm through the human voice. It is given to man to inculcate a spiritual outlook in him and to lead him towards the goal of self realisation. Its sacred potency lies hidden to be tapped only through its correct pronunciation and its use of the correct intonation (“Swara”). The cosmic melody is bound by the laws of harmonious rhythm in nature known as “Chandassu.” (Metre)

The principles of chandassu are revealed in the secrets of the mathematical science expounded by Pythogoras. 

When cosmic movement adheres to laws a stable wave length for sound will be established in our biosphere. At that time cosmic matter will concretise in a regulated pattern. 

This symmetry is referred to by the seer Plato as the Geometrical science of the universe. It has to be realised that all forms, from that of a crystal of salt to that of the amazingly dextrous human body, are etched by the same master sculptor-God. He is verily the Viswakarma celebrated in the scriptures as the sculptor of devas. What is the ultimate goal of the vedas that revealed themselves to man? It is to explain that this whole universe is an expansion of the primordial sound “Omkara”. This sound-matter synthesis Omkara first divided itself into three sound-forms. From these three sound forms were derived the seven vowels. These seven vowels later descended to earth as seven swaras or tunes. After that they emerged as musical notes formed by the integration of these swaras. Thus it was said that the vedic chants originated from the first triad of manifested sound. The concretisation of these sounds into chants was achieved by the utterance of consonants. Then after union with defined forms and meanings these sounds collectively crystallised into this manifested universe. To one who has the power to visualise, such an utterance of Sound is verily the materialisation of the advancing pace of Goddess Saraswathi in the form of mantra.

           MIHIRA imparts the Vedas  through vedic schools which nourishes the infant souls with divine wisdom of the god and miraculous workings and methods to identify with him through chanting Vedas vocally to taste the bliss of life. This increases first ray activity and develops will power and enables  oneself  to travels towards his destiny.

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2. WISDOM TECHING TEMPLE

                Mihira through wisdom teaching temple opens source wisdom learning through various lectures and discourses which mainly includes ancient wiasdom , theosophy occult sciences and all secret knowledge which transforms human nature into serene arena and places him into the path of service to his  fellow brothers and realization of one eternal truth. T                              Wisdom teachings series are spread through publications and  music library which contains wisdom teachings in cd for matte  this in turn stimulates second ray activity through right knowledge which develops   right action. Thus  through love man places himself into the path of service.

3.ANCIENT VEDIC YOGIC LIVING

                        EVERY YEAR MIHIRA conducts group living  every year in the month of januvary at 11 12 13  at vaibhava datta ashram at tegada which promotes our rich heritage and ancient cult  and develops sense of oneness and brotherhood through active work . it helps to organize oneself in all modes and organize the work in order to  participate on the sacred events and occasions with all others to promote integrity from diversity.  On those three days sacred rites like marriages ,upnayams and are perofmed .

Thus stimulating third ray activity. Bring order from diversified sections of people. To be good organizer and fit youself one among the group living we give you

Twelve propositions to an organiser

“By your thought you rise. By your thought you fall”, is the key to the progress of an individual, a family, an organisation or an institution. The thought patterns of a man decide his progress. The man who cherishes the welfare of his family and his society always progresses in his individual and social life. Indian scriptures abound in words of advice on this theme, and leaders, a heads of the organisations, or institutions can profit immensely from them. Here, we present to the learned readers a few ethical aspects gathered from the scriptures. 

Proposition 1: Try to understand why you like a person. Likes and dislikes are two sides of a coin. Therefore, make sure your likes are backed by sound reasoning.

Proposition 2 : Try to understand why you dislike a person. The dislike in your mind should have a logical basis as well. If you get a satisfactory answer to the question of your dislike, your opinion is right. 

Proposition 3 : Your interpretations of likes and dislikes depend on your emotions. It follows that if you like a person on the emotional plane, you will not get a rational reasoning for your likes. You are not yet ready to become a successful organiser. 

Proposition 4 : If there are too many persons whom you dislike, it means you have many blind spots in understanding others. 

Proposition 5 : The presence of bad traits in others need not drive you to dislike them. Dislike resides your mind. This is one of the secrets an organiser is expected to understand and accept. 

Proposition 6 : Everyone likes himself. You should understand why and in which respect you like yourself. You should note why others like themselves and on which grounds. An organiser should not look at bad traits in others He should discover how others can be useful to the organisation. If an organiser notices only the bad traits in others, it shows that he is petty minded. 

Proposition 7 : If the bad traits of another person come in the way of the functioning of the organisation, a difficulty arises. Even then there is no need for the organiser to dislike him/her. He can ask him/ her to improve his/her skills. 

Proposition 8 : When you tackle a person, question yourself as to how you can make him work in the organisation meaningfully and gainfully. If a change of responsibility benefits the organisation, this can be suggested to him. 

Proposition 9 : If you can not put up with a person whom you cannot like, it means you will meet with serious obstacles in the functioning of the organisation. 

Proposition 10 : Personal difficulties at work should be tackled with sympathy before you can make another person work properly. 

Proposition 11 : The best way to meet the personal difficulties of various individuals is to include two procedures :
a) Preparing a good substitute for each job. b) Persuading everyone in the organisation to contribute a small amount of money every month. After a few months you will be able to lend this money to individuals in need. This gives them a sense of security and prevents them from spending time on borrowing from others. Let the individual repay in instalments. Even small sums of interest will add up to a considerable amount. 

Proposition 12 : Arrange for medical aid which will foster loyalty to the organisation.

4. HARMONY THROUGH MUSICAL AND CULTURAL AWARENESS

                      Believing the music is doorway to reach god and it is tool which helps tranmutates the lower nature into divine nature  Mihira is conducting musical classes and literary programmes inoder to promte fine sense of knowledge about impoertance of ancient Indian peorty and music.

 Indian Music
The beginning
                       

[ Indian music has a glorious history as it has originated from time immemorial. It evolved over the centuries right from the Vedic period and its vital tradition is carried on even today by Bhaktas (devotees) singing in praise of God. Surprisingly little attention is paid to the historical evolution of Indian music by learned men. A noted musician and scholar, Mr. IVL Sastry in a series of articles made sincere attempts to present the historical growth of Indian music over the years. The present article focuses the Vedic period and the development of music in this subcontinent.
                                                               


The history of Indian music can be broadly divided into three periods: 1) From the ancient times, i.e., Prehistoric period 2000 B.C. to 500 B.C; 2) From the Medieval Period, i.e.,500 BC to the time of Purandara-dasa 1500 AD, and 3) From Purandara dasa to the time of post – Thyagaraja period i.e., the Modern period.

(1) Ancient Music :

Between 2000 BC and 500 BC Vedic literature developed. This literature can be divided into main sub-heads. a) “Samhita” which was written in poetry and (b) “Brahmana” which was written in prose. The “Samhita” portion contains sacred hymns which were either narrated or sung during religious performances. The “Brahmana” portion described the rules and regulations of various religious rites, and is further divided into (1) “Aranyaka” and (2) “Upanishad”. Besides these parts, Vedic literature comprises portions called “Vedanta”, “Siksha”, “Prati-Sakhya” etc., The literature of the Vedas was very rich, and the language and the system of grammar were far superior to languages prevailing during that period. Vedic literature is divided into 4 heads. (a) Rig-Veda (b) Sama Veda ( c ) Yajur-Veda, and (4) Atharvana-Veda.

Rig-veda :

This is the oldest source, and contains various Rigs (Poems) in praise of deities such as Indra, Varun, Agni, Vayu etc. Eminent Rishis such as Viswamitra, Athri, Bharadwaja, Vasishta are among the chief composers, to whom the hymns were revealed. 

It is said that the Vedas were created by Brahma, the creator of the Universe. This means that this literature dates from time immemorial, and no human being is credited with the authorship of this vast and rich literature. Rig-Veda is also called “SRUTI”.

Sama – veda and music :

Ancient Indian music is to be found in Sama-Veda. This is the oldest text of music in the world. The word “Sama” means sweet note, or tune based on harmony. “Sama” also contains the sol-fa letters, of Indian music “Sa” and “Ma”, which are harmonical and very important notes in the Indian and world music systems. Sama Veda is suitable to be sung to the accompaniment of instruments both tonal and percussion.

This is also a part of Rig-Veda, sung in a style unique to “Stavam” or eulogy. Sama Veda is also divided into two main parts i.e., “Samhita” “Brahmana”. The “Sama-samhita” has two further divisions called the “Archika” and “Stavika” There are 585 Rigs or Suktas (poems) in the Archika part and 1223 Suktas in the “Stavika” part. Out of these, 539 and 794 Suktas were taken from Rig Veda and the balance was the creation in Sama Veda. Samaganam was related to religious performance and was sung by “Ritwiks” or priests. Separate tunes and rhythms were employed to perform different kinds of religious rites. Apart from religious performances, Sama-gana was part of social ceremonies also and made the occasions graceful. Sometimes dances and percussions accompanied vocal music in varied metres and rhythms. Generally men used to take part in percussions and women in dances. The names of the various percussion and stringed instruments used in the functions are mentioned in the Vedas. The Sama Veda was sung according to strict rules.

In the Vedic period two main classes of music were in vogue. They were “Aranya” gana and Gramageyagana. The first one was used in religious performances and the second one in social functions connected with the village people. Aranya Gana was sung by Vedic Rishis who were generally called Samagas. They officiated in the ritual roles known as “Hota”, “Adwaryu”, “Udgata” and “Brahman”. “Brahman” was regarded as the director of the party and the whole musical performance was conducted under his guidance. In the modern times this systems is still followed as in the case of Brinda Ganam of Keertanas.

Samagana used to be sung on the basis of Seven Bhaktis with twenty-two “Aksharas” as detailed below :

S.No. Name of the Bhakti No. of Aksharas

The process of singing and the category of the singer were predetermined for different Bhaktis. For example Himkara-Bhakti which was a chorus song was first sung by all “Ritwiks” to sanctify the atmosphere of the pujasthali or place of worship. Other Bhaktis were sung to summon the deity, to install Him to worship, for praise and to take leave of Him after seeking his blessing. The allocation of Aksharas in these Bhaktis conforms to that of Sruthis in Gandhara-Grama which was in vogue in the Medieval period. Before the beginning of the Samagana, there was he custom of meditating upon the feet of the God who was going to be worshipped. In the medieval period this gave rise to the interpretation of ragas through appropriate, evocative , pictorial sketches. 

Aranyagana is aristocratic in nature and was sung in Tapovan or hermitage only. The ancient Rishis did not lose sight of the requirements of the village people also. For that purpose they created Gramageyagana. As this was to be sung by villagers for the villagers the rules were not stringent. Among its chief expressions are  (1) “Vegna”, involving distortion of systematic musical structure without following grammar and theories (2) “Prakriti-Gana” in conformity to the surrounding nature, and (3) Yoni-Gana, concerned with birth and development.

“Gramageyagana” was indigenous in nature. After the arrival of the Aryans, the Rishis made many improvements in the subject and refined it into Aranya-Gana which was latter called “Marga-Sangeet”. The involvement of several scales in music was first mooted by the Aryans in their Aranya-Gana.
It was said that the aboriginal Indians of the hunter class used to charm wild animals and birds by applying Gandharagrama in their music and kill them for their own selfish needs. The Aryan Rishis imposed many restrictions on the propagation and practice of these classical arts so that they were not misused by the illiterate and the purity of the science was preserved. This created defections among the people of that time and an inferior variety of Veda was called “Atharvana Veda” was created later on. It was rather harmful to human society instead of being beneficial. 

The work of the Aryans paved the way for the emergence of several musical scales in the medieval period which were founded on pure scientific principles. The system evolved subsequently was so great that the musicians all over the world acclaimed this as the best science based on sound principles.

In the Vedic period several kinds of musical instruments were in vogue. These include (1) Tata (String), (2) Sushir (Wind), (3) Ghana (Metallic – Symbol type), (4) Avanatha (Membrano Phone).
Many types of Veenas and percussion instruments were popular during that period. Veena and Flute find their place in the Pre-Historic times. Some varieties of Veena are (1) Ektara (with one string) Chitra Veena (Sitar) with Seven Strings and other varieties called as Vipanchi Veena, Phani Veena, Karkari Veena, etc. Percussion instruments of that time are Mridangam, Dumdubhi, Bhumidumdubhi, Damarukam etc.,

In the Rig, Yajur and Atharva Vedas only 3 notes called Anudatta (Nishada), Swaritha (Shadjama) and Udatta (Rishabha) were used. But in Samaganam 7 notes Ma Ga Ri Sa Ni Da Pa were used in the order of descent (Avarohana). These notes correspond to the notes of Hara-Priya (Modern Kharaharapriya). Subsequently the full scale of Hara Priya both “Arohana” and “Avarohana” was developed. Thyagaraja, in his krithi, “Nada Thanumanisam” defined the “Sama Saptakam” (SA-RI-GA-MA-PA-DA-NI) of the above notes.

Further developments occurred after 500 BC, i.e., the period of Narada, the Medieval period.

A brief history of IndianMusic – II
Medieval period
                       

At the end of the Vedic period, the contemporary munis wrote some books called Sikshas and Pratisakhyas detailing the rules of grammar involved in Vedic literature in respect of its language and music so that the purity of the original Vedic literature is not mauled by raw and immature Pandits.

The first of its kind can be found in Naradiya-Siksha supposed to have been written in the 5th century BC. There were some other books also said to have been written by “Narada” but in different subsequent periods. They are 1) Sangeetha – Makarandam 7th-11th centuries A.D., 2) Ragini-Roopam, Swarnaravam and Naradeeyam 16-18th centuries A.D. There was also another ancient book called Sangeetopanishad written by “Narada” the period of which is not known. From the above it is assumed that in the ancient times musicologists used to be called “Naradas” till the period of Muni “Bharatha”. Subsequent Musicologists were called either “Bharatha” or “Narada” where the original name of the writer of a book was not traced.

Naradiya Siksha deals mainly with the musical notes and the pronunciation of the words in the Vedic language. Vedic language contained 16 vowels and the Naradiya Siksha gives the details to maintain the sonorousness of the language.

According to Naradiya Siksha, Samagana used to be performed by a combination of vital musical elements comprising of 1. Seven-notes (Saptha-swaras) 2) Three gramas (Shadja, Madhyama, Gandhara grama) 3. Twenty one Murchanas (Scales) and 49 Tanas. Names of the seven notes mentioned therein were 1. Prathama (first) (2) Dvitiya (second) 31 Tritiya (third) 4) Chaturdha (forth) 5. Mandra (low) 6. Krusta (loud) 7. Atiswara (too loud) In Yajnavalkya Siksha the names of the seven were given as SA-RI-GA-MA-PA-DA-NI- which belong to Gandharva-Veda. During that period all these notes were used by the Rishis in the “Aranya Gana” 

“Sangeetha Makaranadam” written by another Narada subsequently deals among other things, the classification of Ragas as “Sthree” (feminine)” Purusha (Masculine) “Napumsaka” (Genderless) and the time in which a Ragam has to be sung such as “sandhi-prakasa” “Suryamsa” “Chandramsa” “Udaya” “Madhyahna” “Sayankala” and the mode in which a ragam has to be sung such as “Mukthangampita” “Ardha-kampita” Kampa-Viheena” etc.,

The next important mile stone in musicology can be traced from the renowned work Natya Sastra supposed to have been written in the 4th century. Here too the controversy in respect of the time as well as the existence of more than one Bharatha exists. Various musicologists trace the period of Natya-Sastra from 4th century BC to 3rd century A.D. stretching over a period of 700 years and all the musicologists give valid arguments for their conclusions which can not be dismissed as unsubstantive. Hence the logical conclusion to this controversy is that the works of some musicologists whose names were not available were given the names of either “Bharatha” or “Narada”. So the book Natya-Sastra or the Natya-Veda was associate with the names “Brahma Bharatha”, “Adi Bharatha”, “Druhin Bharatha” or Sadashiva Bharatha” “Muni Bharatha” etc., as its author. At present the Natya-Sastra Compiled by Muni-Bharatha only is available.

Natya Sastra written by Muni-Bharatha dealt with various aspects of drama, i.e., the nature and quality of the actor and actress and their movement, various types of dresses used during action, the system of entrance and exit, formation of stage and its directions, the size and dimension of auditorium, various constituents of drama, the system of rehearsal, various manners of acting, construction of orchestral group and their setting arrangement, etc. Only 5 or 6 chapters have been ted to music. Here an interesting point is that, Muni Bharatha has himself written in Natya Sastra that he collected the material from Natya-Veda created by “Brahma-Bharatha” who compiled the information from Chatur Vedas. The book Natya Veda could not, however, be traced for the purpose of reference.

Regarding music the following aspects were dealt with besides various other matters.

1. Nibaddha Gana i.e. circumvented by rhythm and Anibaddhagana (Not bound by rhythm) i.e. Ragalapana.

2. Various types of songs called “Druva”, “Madraka”, “Vardhamanaka” “Brahmageethi,” “Magadhi,” “Ardha-Magadhi”, “Sambhavita” etc. These were sung either in chorus or solo. So both polyphonic and monophonic music were in vogue in ancient India.

At the end of The Vedic period, the Samagana which was popular till then, went in to the state of oblivion due to various restrictions imposed by The Hindu caste system and the difficulties involved in its performance. Further with the growth of Buddhism religious ritualism and sacrifices received a set back and along with it the Samagana too.

During that period in the state of Gandhara (now in Pakistan) a group of people practised a special type of music as a profession for generations and they possessed and perfected it by hierarchy and heredity. This music was called Gandharvagana which attracted the common man during that period. In respect of Samagana also the common man yelled for a change and Marga-Sangeetha with some relaxations in the Samagana was created.

Natya Sastra says that Nibaddha and Anibaddhagana can be called Marga-sangeetha. This was used for ritual and devotional purposes for the upliftment of man whereas Gandharvagana used to be performed in Royal courts and sophisticated musical circles only for enjoyment. 

Natyasastra further deals with the Shadja-grama and Madhyamagrama and the existence of 22 sruthis in a Swara Saptaka. Though a mention was made of Gandhara-grama, it was not in existence and was supposed to be sung in heaven only. Muni-Bharata carried out some experiments with the help of Dhruvaveena (Immovallotable) and “Chala veena” (Movable) to determine the number of srutis existing in each note.

The next important development in Indian music came during the period of Matanga who existed during the post Bharatha and pre Sarangadeva periods. The book written by him called Brihaddesi was very famous and authoritative in dealing with the subject of musicology. Several aspects were dealt with by him among which were. 1. Decisions on 22 sruthis 2. Several scales 3. Several thans 4. 33 Alankaras 5. The characteristics of Ragas 6. 40 varieties of prabandhas 7. Several wind and stringed instruments, etc.

It was said by Matanga that Nada is the origin of all sounds which over cast the entire universe. It is lying in Brahma grandhi of the human body. It was further said that “Na” means life (air) and “Da” means (Agni-energy) and “Nada” is produced with the combination of internal air and energy. He further divided Nada

1. Atisukshma (extremely delicate) and Sukshma (delicate)
2. Avyakta (inexpressible) and “Vyakta” (expressible) and
3. Kritrima (artificial)

Human voice does not posses musical quality by nature. Great effort has to be made to suit it to musical tune. That is why it was called as artificial Nada though it is very sweet.

The next important stage for the development of Indian music occurred in the 12th and 13th centuries A.D. From the 4th century BC to this period all the musicologists concentrated their works mainly on dancing and dealt with music as a secondary item, but hereafter much attention was paid to the subject of Music also.

Saranga Deva (12th & 13th centuries A.D.) was a great scholar in music and literature. He was the Aasthanavidwan” of Devagiri estate (a part of erstwhile Hyderabad state). His book titled Sangeetha ratnakara was very famous and authoritative. He elaborated vividly the formation of twenty two Srutis on the basis of “Shadja-panchama” and “Shadja -madhyama” relationship. Further he has dealt with and explained in detail the contents of the great works of Bharatha, Mathanga, Keerthidhara, Kohala, Abhinavagupta, Someswara etc. Further he devoted separate chapters to “Swara prastara, Ragalapa, Prabhadham, Thalam, “Instrumental Music and Dance.

During this period Indian music was divided into two main branches, i.e. Hindusthani Music and Carnatic Music Due to Mohammedan rule in Northern India Indian music of that region got mixed up with the Persian style of music and was called Hindusthani – Music. So Hindustani Music has many similarities with the Carnatic Music as well as dissimilarities. Subsequently these two styles developed in different routes. Hindusthani musicians concentrated mainly with sruthi, purity of the note by applying the Gamaka to the minimum extent, “Ragalapana” based on prolonged notes, Thalaprasthana based on Aakaram, etc.,. Carnatic Music developed on the application of more Gamakas, Thalaprasthara based on Swara Kalpana Ragalapana in small bits of phrases, and intricate thala patterns etc.

In Sangeetha – Ratnakara The principles of formation of Vikrita swaras were dealt with but these principles underwent several changes in the hands of subsequent musicologists and the present system of Vikrita swaras varies with the principles enunciated in Sangeetharatnakara.

The next important event in the evolution of Carnatic Music in the last lap of the medieval period can be traced to the time of Vidyaranya and Annamacharya. Vidyaranya wrote a book called Sangeetha-Saramu and he was the pioneer for the formation of Mela Kartha and Janya-Raga system now in vogue which was subsequently perfected by Venkata Makhi and “Govinda-mathya”. Annamacharya was a great Vaggeyakaraka (composer of music and literature) and created innumerable “Padams” also called as Sankeerthanas. He wrote in Sanskrit a unique book called Sankeerthana – lakshanam” which was translated into Telugu by his grandson China Thirumalacharya. His compositions were preserved in The T.T. Devasthanam in several copper plates. The literary part of his compositions only is available and the music portion of his composition was not available as no notational background to these compositions could be traced. Further the system of writing the notation for the songs created was not developed during that period.

Indian Poetician
                                               

On reading a good poem or viewing a well-presented drama, one’s heart is filled with as inexplicable joy called Rasa in the parlance of literature. One can understand if this is with reference to a poem or drama where the theme is love. Because love is the most blissful experience in real world also. But one is at a loss to understand the joy that pervades his heart even while reading or viewing a pathetic scene or a frightening episode. Because one’s experience in the real world with regard to pathos and horror are not on the same lines. Here comes the term Rasa which explains this phenomenon.

Rasa as used by the poeticians has two meanings one is sentiment. There are nine Rasas in literature, namely Sringara (erotic), Hasya (comic) , Karuna (pathetic), Vira (heroic), Raudra (furious), Bhayanaka (terrible), Bibhatsa (odious) ,Adbhuta (marvellous) and Santa (peaceful). The other meaning of Rasa is the aesthetic experience or the joy aroused in the hearts of the connoisseurs by the proper delineation of a sentiment in a poem or drama. In this sense we come across phrases like “awakening of Rasa”, the poem is full of Rasa etc.
It is Bharata, the author of Natyasastra who first explained how Rasa is accomplished in his maxim- Vibhavanubhava- vyabhicari-samyogad Rasa-nispattih. Rasa is accomplished as a result of the conjunction of Vibhava, Anubhava and Vyabhicaribhava.

What are these Bhavas? Let’s acquaint ourselves with technical terms first, because these are inseparably associated with the discussion of Rasa.

Vibhava, is the objective condition that causes an emotion hence an excitant. It is of two types. Alambana, the person with reference to whom the emotion is manifested and Uddipana, the circumstances that excite the emotion. For the hero, the heroine is the Alambana and the Moon cool breeze etc. are the, Uddipana.

Anubhava is the consequent i.e., the bodily expression that reveals the emotions. For ex: the enchanting smile of the lady, her bashful glances etc. Eight temperamental states called Sattvikabhavas are also considered as Anubhavas. 

Vyabhicaribhavas are the transitory feelings that accompany the emotion, such as anxiety, stupor, delight etc. These are enumerated as thirty three. As these are not permanent and pass in quick succession associating themselves with almost all the sentiments, these are called transitory feelings.

Then there are nine Sthayibhavas corresponding to the nine Rasas. The Sthayis are of the nature of Vasanas and reside in the connoisseur permanently.

Now what is the nature of the conjunction of all these Bhavas? There have been a number of explanations presented by the various commentators and poeticians according to the school of thought they belonged to. The two works Samyoga (conjunction) and Nispatthi (completion or production) are the main sources of contention.

What is the relation between the Bhavas and Rasa? Is it cause and effect? This can’t be because in poetry the pathetic environment also causes delight. Then is it that of the created and the created? This also can’t be as there is not anything created anew. Rasa is only a manifestation of the inherent emotion.

Abhinavagupta explains the realisation of Rasa in his Abhinavabharati ,a commentary on Bharata’s Natyasastra and Locana, a commentary on Anandavardhana’s Dhvanyaloka. His explanation is based on the concept of universalisation propounded by his teacher Bhatta Tauta. It can be thus summarized.

The aesthetic composition of a poet because of its being pregnant with suggestive force is comprehended by the connoisseur devoid of all its local character. Thus the Rama on the stage is neither the real Rama nor the actor who played the part. This Rama becomes a universal character who is experiencing the pangs of separation from his love. This universalisation in its turn leads to a new experience that gets connected with the past impressions and memories dormant to the mind and there by lifting the present experience into a transcendental exhilaration that is akin to the spiritual bliss. This is why even tragedy becomes a source of joy to the connoisseur. 

This is a presentation of the concept of Rasa in brief to acquaint the lay reader with the concept and show how the Indian mind worked to find a solution on philosophical lines about aesthetic experience.

 Anciebt Indian classical  Musical programmes  are conducted on various events and cultural awareness is created on various events in order to develop sense of beauty and bring harmony in ones thoughts action and speech from his conflicting nature. For interested ones musical training is imparted in order to develop harmonious rhythm in their  daily life in resonance with natural rhythm which is produced by nature through rotation of planets which inturn produces   various time cycles which creates  life upon the planet .This rhythm can be studied through concrete sciences which helps oneself to place oneself upon the path of light and beauty . This stimulates fourth ray activity.

 Photos on various musical events and paper adds on mscal programmes afrom varma garu

5.HEALING THOUGH MEDICINE  ,PLANNING THROUGH ASTROLOGY

                               Mihira through medical and astrological sciences serves the people by providing them good health and proper guidance to place oneself in to better prospects of life through horoscope study and case study.

 Mihira through charitable trust opened many new dispensaries and clincs in cities and remote areas to serve the needy and poor with good medical ai with qualified doctors.

 Through Astrological school with personal consultancies clarifies various aspects and doubts regarding various prospects of life with horoscope study and  right guidance. You can have consultancy

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Thus deep study of sciences stimulates the fifth ray activities

6. DEVOTION THROUGH SERVICE

                                MIHIRA  with the help of charitable trust serving the society with dedication though various means like free medical aid in remote areas, serving the poor and needy with educational support and scholarships ,providing the artificial limbs to the physically challenged ones, protecting the environment with green plantations and many others with the help and support of many organizations  and many dignitaries in the society. Thus mihira is trying to serve the society in its way welcomes any kind of support to this seren cause with which this sacred mission was established.

 Thus six ray is stimulated through devotional service to society.

7SACRED RITUALS AND PUJAS;

Mihira conducts various  prayers  meditations yagas and yagnas on sacred events like dasara and many sacred occasions to beget the holy and spiritual blessings of the god . through these sacred rites we  heal various   psychological delusions  and hysteric illusions and physiological  health problems through mantras and pujas which develops spiritual energies which helps in curing of  many  disturbances both in physical and mental illness and bestows with good health and prosperity . the sacred rites and rituals which are ordained  for the human beings for true realization of self and that of  realization of god presence are performed at  . an akanda dhuni is present at our ashram  and mihira  . people come and visit the dhuni and  offer spiritual offerings to it to cherish their wishes .

    thus this sacred rites and rituals stimulates seventh ray activities .

Calendar of events. At mihira  dyhyan mandir  and   vaibhava data ashram

gurupujas                                                                                    Jan                             

 shivaratri                                                                                     feb               

 ugadi                                                                                          Mar

 ramanavami                                                                                Apr

  may call day                                                                              May

   founders day                                                                             Jun

   annual day                                                                                 Jul

our masters birthday celebrations day   krishanastmi                                                                                Aug

 vinayakachaviti                                                                            Sep

  dussera                                                                                      Oct

   kartika pournima                                                                        Nov

  Christmas day                                                                             dec

            Our common prayer

which we perform daily at 6am and 6pm

Om……………..!

Om……………..!

Om………………!

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Gurur Brahma, Gurur Vishnuhu, Gurur Devo Maheswarha

Gurur Sakshat, Param Brahma, Tasmai Sri Gurave Namaha

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Namaskarams Masters

Namaskarams Master EK

Namaskarams Master MN

Namaskarams Master CVV

Namaskarams Master CVV

Namaskarams Master CVV to your lotus feet

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Gayatri Mantram

Om Bhoor Bhuvas Suvaha, Om Tat Savitur Varenyam, Bhargo Devasya Dheemahi, Dhiyo Yonah Prachodayat

Om Bhoor Bhuvas Suvaha, Om Tat Savitur Varenyam, Bhargo Devasya Dheemahi, Dhiyo Yonah Prachodayat

Om Bhoor Bhuvas Suvaha, Om Tat Savitur Varenyam, Bhargo Devasya Dheemahi, Dhiyo Yonah Prachodayat

Om Bhoor Bhuvas Suvaha, Om Tat Savitur Varenyam, Bhargo Devasya Dheemahi, Dhiyo Yonah Prachodayat

Om Bhoor Bhuvas Suvaha, Om Tat Savitur Varenyam, Bhargo Devasya Dheemahi, Dhiyo Yonah Prachodayat

Om Bhoor Bhuvas Suvaha, Om Tat Savitur Varenyam, Bhargo Devasya Dheemahi, Dhiyo Yonah Prachodayat

Om Bhoor Bhuvas Suvaha, Om Tat Savitur Varenyam, Bhargo Devasya Dheemahi, Dhiyo Yonah Prachodayat

Om Bhoor Bhuvas Suvaha, Om Tat Savitur Varenyam, Bhargo Devasya Dheemahi, Dhiyo Yonah Prachodayat

Om Bhoor Bhuvas Suvaha, Om Tat Savitur Varenyam, Bhargo Devasya Dheemahi, Dhiyo Yonah Prachodayat

Om Bhoor Bhuvas Suvaha, Om Tat Savitur Varenyam, Bhargo Devasya Dheemahi, Dhiyo Yonah Prachodayat

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Harihi Om………………………!

San No Mitraha Sam Varunaha

San No Bhavat Varyama

Sanna Indro Brihuspatihi

San No Vishnu Rurukramaha

Namo Brahmane Namaste Vayo

Twameva Pratyaksham Brahmasi

Twameva Pratyaksham Brahma Vadishyami

Ritham Vadishyami Sathyam Vadishyami

Than Mamavatu Tad Vaktaramavatu

Avatu Mam Avathu Vaktaram

Om Shanthi Sshanthi Ssanthihi

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Invocation for the Morning Prayer

From the Point of Light within the mind of God,

Let light stream forth into the minds of men,

Let Light descend on Earth.

From the Point of Love within the heart of God,

Let love stream forth into the hearts of men,

May Christ return to Earth.

From the center where the will of god is known,

Let purpose guide the little wills of men,

The purpose which the Masters know and serve.

From the center which we call the race of men,

Let the plan of love and light workout and

May it seal the door where evil dwells.

From the Avatar of synthesis who is to come,

Let his energy pour down in all kingdoms.

May he lift up the earth to the kings of Beauty.

Let Light, Love and Power restore the Plan on Earth.

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Invocation for the evening prayer

May the light in me, be the light before me.

May I learn to see it in all.

May the sound I utter, reveal the light in Me.

May I listen to it while others speak.

May the silence in and around me present itself.

This silence which we break every moment.

May it fill the darkness of the noise we do and convert it into the light of our background.

Let Virtue be the strength of my intelligence.

Let Realization be my attainment.

Let my purpose, shape into the purpose of our earth.

Let my plan be, an epitome of the divine plan.

May we speak the silence without breaking it.

May we live in the awareness of the background.

May we transact light in terms of joy.

May we be worthy to find a place in the eternal kingdom Om.

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Lokan Samastah Sukhino Bhavanthu

Lokan Samastah Sukhino Bhavanthu

Lokan Samastah Sukhino Bhavanthu

Om Shanthi, Sshanthi, Sshantihi

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Hymn to Master EK

Ekkirala, kulambodhi vedho ananda rupinam

Anantharya tanujatham,krishnam vande jagadgurum

Sri Krishnamacharya manantha putram, satsadhu mitram

Karunardhra netram, gurum guroonam, pitaram pitroonam

Ananya sesha saranam prapadhye, Ananya sesha saranam prapadhye

Ananya sesha saranam prapadhye

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Hymn to Lord Maitreya

Jagadguro Namasthubhayam, Himalaya Nivasiney

Namasthe DivyaDehaya, Maitreyaya Namonamaha

Namognana swarupaya, mayamoha vidariney

Nirmalaya prasanthaya, maitreyaya namonamaha

Namo bodhisatwaya, namaha punyamoorthaye

Purnaananda swarupaya, maitreyaya namonamha

Siddhibuddi prayukthaya, siddhi buddhi pradayine

Bhavabheethi vinasaya, maitreyaya namonamaha

Namasthe karmanishtaya, yoginam pataye namaha

Brahmagnana Swarupaya, maitreyaya namonamaha

Namasthe gurudevaya, namasthe dharmasethave

Narayana niyukthaya, maitreyaya namonamaha

Namasthe karunasindho, premapeeyusha varshine

Jagatbandho namasthubhyam, maitreyaya namo namaha

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Ending

DIVINE LIGHT, DIVINE LOVE, DIVINE LIFE

NAMASKARAMS MASTER CVV TO YOUR LOTUS FEET

NAMASKARAMS MASTER EK

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FULL MOON PRAYERS:

NAMASKARAMS MASTERS ;

DIP DEEP

AXIX ARRANGED HOURS

HIGHER BRIDGE BEGINNING

TRUTH LEVELS

NIL NONE NAUGHT LEVELS

NORMAL TEMPERAMENT

TIME EXPAND

ELECTRIC HINT

ETHER WORK OUT

EQUATOR EQUAL

PITUITARY HINT

HIDDEN CIRCUMFERENCE

SIDE WAYS

MILLER FORM CENTRE

VERTICAL LEVELS

MEET CENTRES

NAMASKARAMS MASTER C.V.V TO YOUR LOTUS FEET.