Silk Road Singing Bowls

SIL K ROA D SINGIN G B OW L S

“What you seek is seeking you.” ~ Rumi

“Do not dwell in the past, do not dream of the future, concentrate the mind on the present moment, for nature is our greatest teacher�

Gautama Buddha

S I N G I N G B OW L S Tibetan Singing Bowls have been utilized by the Buddhist Monks from the ancient past for ref lection reason and religious ceremonies. From the East, they passaged along The Silk Road, over the Himalayas, and now can be found all over the world in many shapes and sizes, resonating vibrations.

Most of the singing bowls discovered in the West today began in such nations as Nepal, Bhutan, India, Tibet and even Korea, China and Japan, each one holding the traits of the Himalayan district from which they were initially crafted.

Silk Road singing bowls are crafted in Nepal and traded to support local artisans. Each of the Singing Bowls offered by Silk Road has been personally selected and tested for sound quality, drawing on f ifteen years experience in Nepalese handicraft products. Local craftspeople make these contemporary singing bowls, and each bowl is then meticulously assessed for tonal clarity, after rejecting any that seem incomplete or feel unbalanced, only the f inest singing bowls remain in the collection for passage to the West. Singing Bowls when played by striking or gradually rubbing inside or on the top external surface of the metal bowls, creates an

overtone accompanying a fundamental tone, at a f ixed interval. This is produced by vibration, a fundamental frequency of an oscillation or wave, rippling out in circles from the bowl, in much the same as a raindrop does when it hits a puddle. These frequencies when aligned with the frequencies of the human brain, cause the brain to slow down from the 13+ cycle for each second (Hertz) frequency of the rational mind to between 7-12 cycles per second, the Alpha dreaming state, resulting in a state of deep therapeutic relaxation.

The sound nature of singing bowls relies on the formula of metals combined, the more alchemic the elements and components, the more precise the sound amplif ication.

The crafting of handcrafted singing dishes can be classif ied into two processes, Hand Hammered (Beaten) Singing Bowls and Cast Singing Bowls. Four inch Silk Road bowls are cast from brass alloy and hand coated in bronze.

“Do you know what you are?

You are a manuscript of a divine letter.

You are a mirror reflecting a noble face.

This universe is not outside of you.

Look inside yourself; everything that you want, you are already that.” ~ Rumi

T H E S I N G I N G B OW L L E G E N D Singing bowls were brought to light in Tibet by the Buddhists who arrived after Buddha’s departure in 600 BCE. The singing bowls were shrouded in mystery and played primarily for religious and mystical purposes by the Buddhist shamans who used them, reciting particular oral ritual texts that were chanted. It is said that these shamanic professionals were the holy metallurgists.

These old artisans of earth enchantment are thought to have been the ones who began the technique for playing the bowls with a wooden mallet for purposes in their rituals, sounding the bowl in Buddhist custom, between meditations, and after entering and leaving a sanctuary.

Recipes with shamanic blends of singing bowls appear to have been kept well concealed, their practical use as asking bowl, eating bowl and peacemaking bowl keeps on enduring. These days singing bowls are used for mending, aural back rub, sound treatment and chakra adjusting.

There is a myth that from the Bronze Age on (3500 BCE) little gatherings of traveling chemists and metallurgists navigated the Trans-Himalayan pinnacles and nations. They were the enigmatic ones who knew how to construct foundries, how to smelt bronze in the right succession, the metals

were identif ied with the Seven Sacred Planets of the Solar System, and how to shape the bronze until it uncovered its most sonorous tone.

At times, they consolidated nine or more distinctive metals, prevalent to the times and districts in which they voyaged.

The 4-inch Silk Road singing bowl is made of a composition of Copper, Tin, Zinc, Iron, and Lead.

The actual proportion of each metal is known only to the Nepalese craftspeople who make them. The liquid form of these f ive metals is poured into a mold.

Finally, it is coated with bronze and given shape again by hand beating.

T H E S E V E N S AC R E D M E TA L S Metal/Planet Gold/Sun

Indeed, even with the mysterious formulas, there was an extraordinary distinction in every individual bowl, even made by the same artisan, from the same smelting process.

Silver/Moon Mercury/Mercury Copper/Venus

Metallurgy recognizes Bronze compounds, which contain fundamentally Copper and Tin, and Brass composites which include Copper and Zinc.

Iron/Mars Tin/Jupiter Lead/Saturn (Mercury has now been replaced by zinc).

Recipes right up until the present time are f irmly guarded, and formulas for the holiest compounds were never shared. Finding a specif ic uncommon rock, known as Meteorite (Iron/Nickel today), was thought to be a blessing sent down from the sky. This secretive metal generated an exceptional reverberation and was used as a part of the most sacrosanct of the singing bowls.

Early metal smiths overcame the scarcity of varying elements in areas due to availability before roads became well journeyed, resulting in a great variety of advanced harmonic overtones and resonant sustain.

Thus, every bowl f luctuates extraordinarily in consonant hints and resonants.

A Bronze compound gives out a lower, more resounding tone, bowls comprised of brass alloy bring out sharp and splendid sounds, the reason a brass alloy and bronze coat was chosen for making the Silk Road singing bowls.

Their tones are pure, clear and in the mid-range, they carry sound for a long time. The vibrations can be tangibly felt in the air or on the skin when it sings.

In the old process, the molten bronze alloy f illed a shallow round mold. A disc-shaped gong formed as the metallic mass cooled. A short time later, with the chanting of mantras, it would be beaten and pounded, into a bowl-molded shape amid times of auspicious cosmic and lunar occasions. Indeed, even today, instrument makers meditate on a psychospiritual otherworldly vitality so that the bowl they mallet and tune can turn into an appropriate vehicle for the high creative intelligence “held inside.�

YO U R F I R S T B OW L At the point when looking for a bowl, if it doesn’t resonate with you, keep looking. You will know when you have found the right one for you. Although there are many thoughtful ways to select a bowl for yourself, ultimately it is an intuitive response that informs our choices.

Don’t try to polish it up with a chemical solvent. Let it be and just rinse it out with water and buff with a soft cloth, its naturally aged skin is part of its sound persona. After a time of meditation and practice, you will f ind its exceptionally uncommon tonal

qualities and divine shamanic control. By expressing its multi-layered hum-line, we can experience a tonal Ray, a gentle beam of tone that takes the mind on a one-pointed journey into timelessness.

This practice is especially valuable for individuals who think that it’s hard to calm the brain. Like a yoga work out, we are utilizing our physical, mental and psychic capacities at the same time to improve our immune system and decrease strains identif ied with stress.

B OW L P L AY I N G TECHNIQUE The bowl can be ignited in two ways. The f irst is by slowly massaging the striker on the outside of the top of the bowl, raising the vibration gently.

For a striking burst of sound, the bowl can be played by tapping the singing bowl tenderly with the wooden striker, and before the tone wanes, catch the wave of the sound, and start to massage the striker on the outside of the upper outer edge.

Ensure you are not over holding the bowl as it will muff le the sound to f ind the sea of syntonic qualities innate in every bowl. You can likewise investigate the interior mouth of the bowl. This technique is used to open up and expand the tones.

Singing bowls were not made to f it into the plan of notes in present and western musical structures, and there are no set harmonies or discordances. They are as unique in relation to each other, as Earth is from the other planets. They summon a visceral presence, since they are felt and additionally heard. One gets to be submerged in a sea of sound. At a certain point when playing a singing bowl for contemplation, an awareness arises in its enigmatic tone to create an altered state of consciousnesses in player and listener.

In recent history we can plainly observe that the singing bowls have become important for both wellbeing professionals, and in addition, aspirants opening themselves to their higher potential by improvising with sacred tone, meditation, massage, self-healing, stress reduction, ceremonial music, and that’s only the tip of the iceberg.

The sonic wave characteristics of bronze bowls, alongside their remarkable non-harmonic overtone frequencies, are highly individual expressions discovered no place else in the musical world.

You will f ind that every bowl shows a distinct quality of tone to empower, profoundly unwind, exorcise, facilitate astral travel, help access into lucid dream states, rinse chakras, improve psychospiritual attunement and deep emotional release, quieten youngsters, reset amid the day, begin and end savasana in yoga sessions and the sky is the limit from there.

Seas of union and solitude

T H E R A P E U T I C V I B R OACO U S T I C T R E AT M E N T S In giving sonic treatments the bowls are placed near a person, around the body and on the body to directly inf luence the cells and organs, and affect an enhanced lymbic system response as well.

In today’s therapeutic profession, vibroacoustic treatments are being used as a part of progressive research and recovery treatments for spinal cord damage. This music of the spheres, (thought to be ecological, encompassing, and contemporary sacred music), is likewise appearing in pre-natal care programs and labor rooms for mother and infant.

Certain bowls may be chosen by pitch, for particular chakra activation, or for cleansing and purifying.

At the point when a singing bowl “sings,” it in a split second causes the brain to slow down from the 13+ cycle for each second (Hertz) frequency of the rational mind to between 7-12 cycles per second: (the Alpha dreaming state), on occasion down to the Theta Visionary State of 4-7 cycles, and even slower to the 0.5-4 Hz. of deepest sleep. Be that as it may, regardless of how much logical or scientif ic learning we obtain about the Singing Bowl, a journeyman player holds true to the custom of tending to every bowl as a shamanic power device, a vehicle of high innovative insight, and not just a musical instrument.

RA TIONAL MIND 13HZ A LPH A DR E AMING 7 -12HZ TH ETA V ISIO NARY 4 -7 HZ DEEPEST SLE EP 0 . 5-4

“He who knows others is learned: He who knows himself is wise.”

~Lao-Tzu, Tao te Ching

HOW THE BOWLS R E L AT E TO C H A K R A S B = crown/seventh chakra

A = third eye (pineal organ)/sixth chakra

G = throat/f ifth chakra

F = heart/fourth chakra

E = sun powered plexus/third chakra

D = sacral/second chakra

C = root/f irst chakra Although it varies, in most cases the 4-inch Silk Road singing bowl emits a ‘D’ note, identifying with the sacral second chakra. Most singing bowls create more than one note (most produce somewhere between two and all of the seven notes) and in this manner inf luence more than one chakra.

The chakra system is an ancient framework, known to numerous societies for a great for thousands of years.

Chakra (claimed CHUK-ruh) means wheel or circle in Sanskrit. Singing bowl therapy is a complex discipline based on the control and circulation of these vital energies seen as vortexes.

and accepting from the chakras. The chakras work as transmitters of vitality starting with one level then onto the next, diffusing chi, qi or prana to the physical body.

Chakras are likewise called lotuses, which gives us some idea of the way of the chakras. The lotus with its elegant blossoms sprouting on the surface of the water, under the light of the Sun (soul), has its roots buried in the muddy obscurity of the depths (the physical). Much the same as the lotus bloom, the chakras can be shut, in a bud, opening or blooming, dynamic or inert.

The ancient western alchemical tradition used the chakra system, with metals and planets being assigned to the chakras in an intricate arrangement of correspondences, which shaped the premise of the alchemists’ quest for spiritual transformation.

With the decline of alchemical arts, knowledge of the chakras faded too. Enthusiasm for the chakras re-developed in the West with the presence of the Theosophy development in the late nineteenth and early twentieth centuries.

The chakra system is an energetic data storage system, much like a PC. It is the metaphysical interface between the human body, through the sensory system, our soul body, and the holographic web. The nervous system is our physical interface, conversing with all aspects of the physical, offering data to

Every one of the commonly recognized seven chakras corresponds to a physical framework and its related organs and glands. Sound is appointed to each chakra. However, the sounds of each chakra f luctuate to some degree according to various traditions.

“This is my simple religion. There is no need for temples; no need for complicated philosophy. Our own brain, our own heart is our temple; the philosophy is kindness. ~ 14th Dalai Lama

N OT E S #C 1ST CHAKRA BASE The First Chakra: The Base Chakra situated at the base of the spine identif ies with the adrenals, large intestines, and rectum. It shares the responsibilities of the kidneys to the second chakra. This chakra is known as the kundalini or serpent’s f ire; life force for survival, life or “death” struggle, family personality, bonding, and loyalty. The root chakra’s expression of energy is specif ically identif ied with a person’s nature of wellbeing. The cosmic f ire that anticipates release lies untapped until the higher self can properly use the intensity of its ethereal vitality source on physical and spiritual levels of life. The lesson of the f irst chakra is that of Oneness instead of detachment.

#D 2ND CHAKRA S AC R A L The Second Chakra: Sacral Chakra is found halfway between the pubic bone and naval, relates to the testicles, prostate, and ovaries. The pelvis is the physical representation of the Void and The Goddess.

This is the place the Inner Feminine/Goddess Self stays. It is the innovative focus and identif ies with erotic nature as well as sexuality, inf luence (personal power when it is well adjusted, and ego and dominance when it is unbalanced) and money or plenitude, the capacity to create and go out on a

limb, f ight or f light, versatility, diligence, and money related sharpness. This then is our creative center, the seat of our passion and our sexuality - being comfortable in our body as a woman or man. Shadow perspectives: Disempowering/controlling or utilizing others for your particular favorable position.

In spite of the fact that it differs, as a rule, the 4-inch Silk Road singing bowl emits a “D” note.

#E 3RD CHAKRA SOLAR PLEXUS The Third Chakra: Solar Plexus Chakra identif ies with the pancreas, liver, gallbladder, stomach, spleen and digestion. This is the place our uncertain feelings are put away and is in this way the place where we “process” our feelings, or not. This chakra identif ies with resolution, self-regard, self-restraint, aspiration, strength, liberality, morals and senses, conf idence and respecting of self. Shadow angles: Giving away personal power of choice out of a requirement for endorsement; narcissistic conduct.

#F 4TH CHAKRA

#A 6TH CHAKRA

HEART

THIRD EYE

The Fourth Chakra: Heart Chakra is situated in the center of the chest identif ies with the thymus gland and heart. This is the chakra of affection for self as well as love for other people, compassion and forgiveness. Shadow Aspects: envy, joylessness, disdain, and the failure to forgive.

The Sixth: Brow Chakra is frequently called the third eye, is situated between and somewhat over the eyebrows. It identif ies with the pineal gland and spiritual sight, and the capacity to articulate vision and inspiration. Shadow perspectives: characterizing reality in self-serving ways.

We must f irst cherish ourselves before we can love another.

#G 5TH CHAKRA T H R OAT The Fifth Chakra: Throat Chakra is situated at the base of the throat, identif ies with the thyroid and parathyroid voice and the neck. It identif ies with our capacity to speak our truth and trust ourselves and is the place we permit love into our lives. It is the place we apply our will over others or give our energy/will away to others. This is the focal point of faith, selfinformation, individual power and the capacity to keep your word. Shadow viewpoints: An over the top need to control connections and occasions.

#B 7TH CHAKRA HEAD The Seventh Chakra: Crown Chakra is situated at the highest point of the head and can be found by “drawing� a line up from the highest point of the ears and straight up from the tip of the nose. It identif ies with the pituitary gland and is our direct connection with soul and higher cognizance. This is the focal point of faith in the Divine and as well as internal direction, knowledge into recuperating and dedication to the Divine. Shadow perspective: the need to know why things happen as they do, which causes you to live in the past.

Each bowl might work on an aspect of one person, but not that of another. As we are all different, so are our energies. As singing bowls have different effects on different people, it is a matter of experience to find out what the singing bowls you have will do to other people or yourself.

Because everything is impermanent, so are our necessities and inclinations. On account of this one needs to remember constantly changing energies in oneself, in others and one’s surroundings. Then again, bear in mind that your goals in using the bowls can influence the outcomes. A single bowl can be utilized as a part of a meditation, placed on or around all the body areas and their related chakras, coordinating meditation, breathing, and personal focus through the energy centers one by one. Explore different avenues regarding what you have and see what works for you.