Inner Light and Sound in the Teachings of Sant Thakar Singh,
Mantras, Fragrances, and Tibetan Singing Bowls
Vibrational Ontology: From Inner Shabda to the Singing Bowl
An Essay on the Synergy of Light, Sound, and Mantra in Eastern Spiritual Practices
Introduction: Hearing the Invisible, Seeing the Inaudible
In most spiritual traditions, there exists an intuition: the world is permeated by a primordial vibration that is simultaneously light and sound. "In the beginning was the Word" (John 1:1) — this biblical verse finds a striking parallel in the Indian concept of Shabda-Brahman (sound as the Absolute) and in the teachings of Sant Thakar Singh on Inner Light and Sound. This essay is an attempt to build a bridge between seemingly disparate phenomena: the mystical practice of Surat Shabd Yoga, the use of mantras as psycho-acoustic keys, and the application of Tibetan singing bowls in meditative culture. Our task is not merely to describe them, but to reveal their profound synergy: how the external physical sound of the bowl helps activate inner spiritual hearing, and how the mantra acts as a universal cipher for transitioning from one level of reality to another.
Chapter 1. Religious Studies Context: The Path of the Masters and Its Roots
The Sant Mat tradition (Sanskrit: 'Path of the Saints'), to which Sant Thakar Singh (1929–2005) belonged, represents a syncretic movement from Northern India, incorporating elements of:
Bhakti Yoga (the Hindu path of love and devotion)
Sufism (Islamic mysticism with its concept of Sama' — spiritual listening)
Nathism (Tantric Yoga of sound)
The key distinction of Sant Mat from other Indian schools is its emphasis not on internal images (yatha-bhava), but precisely on two modes of perceiving the Absolute: Jyoti (Inner Light) and Shabd (Inner Sound). If classical Patanjalian Raja Yoga requires the cessation of mental modifications (citta-vritti-nirodha), Surat Shabd Yoga offers a replacement: directing attention from external noises to the inner, uncreated sound (the "un-struck music of the spheres").
Thakar Singh radicalized this approach: he taught that the inner sound can become louder than any external irritant if the practitioner has received the proper initiation (naam-daan, "gift of the Name/vibration"). From a religious studies perspective, this is an example of esoteric elitism, where the mantra is not a prayer, but a technological key transmitted only by a living Master.
Chapter 2. Historiosophical View: The External Crisis and the Search for the Inner
Historiosophy (the philosophy of history) allows us to understand why the teaching of Inner Light/Sound became in demand in the West precisely during the second half of the 20th century. It was a response to:
Secularization — when traditional religions lost their grip on consciousness.
Information noise — industrial and post-industrial civilization created acoustic pollution, depriving people of the ability to hear silence.
Materialism — the external world (maya for Hindus, the lower world for Gnostics) was declared the only reality.
Thakar Singh's teaching offered a counter-historical narrative: true history unfolds not in politics or economics, but in the soul's movement through the inner planes of existence — from the physical body to astral light, then to causal sound, and finally to the pure vibration of Anahata (the un-struck sound). Tibetan singing bowls, in this context, are interesting as instruments of historical nostalgia: their sound mimics an archaic, pre-verbal past when humans supposedly could still hear the harmony of the cosmos.
Chapter 3. Spiritual-Psychological Mechanism: How Sound Alters Consciousness
Modern neuroscience (research by neuroscientist David Eagleman) confirms what mystics have known for centuries: certain sound patterns induce altered states of consciousness. Let's examine three levels of impact.
3.1. Mantra as a Psycho-Acoustic Key
A mantra (especially bija mantras, e.g., "Om") operates on several levels:
Phonetic: the vibration of the sound *A-U-M* resonates in the three body cavities (throat, mouth, nose), massaging the vagus nerve, which triggers a parasympathetic relaxation response.
Semantic: for a novice, a mantra might be meaningless (beneficial for meditation as it doesn't engage the left hemisphere), but for the initiated, it carries archetypal meaning (e.g., "Om" = the entire universe).
Pragmatic (following J.L. Austin): uttering a mantra is a performative act that makes the reality of inner sound accessible.
3.2. Singh's Teaching: Transforming Perception
Thakar Singh asserted that in an ordinary state, a person hears only vaikhari (gross external sound). Meditation on the Inner Sound awakens the ability to hear pashyanti (vibrations not yet formed into words) and para (transcendent vibration). Psychologically, this corresponds to switching from exteroception (perception of external stimuli) to interoception (perception of bodily signals), and further — to pure soul proprioception.
Interestingly, Singh described the "inner sound" as multi-voiced: from a bell and flute to thunder and the buzzing of a bumblebee. This completely coincides with descriptions from practitioners of Tibetan sound meditation.
3.3. Singing Bowls: An External Trigger for Inner Experience
Tibetan singing bowls (ring-sal in the Bon tradition) represent a unique instrument:
Acoustically: they produce difference tones (beats) which the brain interprets as low-frequency vibrations (alpha and theta rhythms). The listener involuntarily enters a meditative state.
Phenomenologically: the bowl's sound is perceived as coming from everywhere and nowhere — it has no attack (beginning) and no end, mimicking the experience of eternity. This is the perfect external analogue of the "un-struck sound."
Psychologically: the physical vibration of the bowl, transmitted through the skull bones (bone conduction), creates a feeling of grounding, critically important for Western individuals prone to dissociation during meditation.
Chapter 4. Cultural Analysis: The Symbolism of the Bowl as Mantra
Culturologically, the Tibetan singing bowl is a materialized mantra. Traditionally, they are made from seven metals corresponding to the seven planets (and seven chakras). When the mallet is rubbed around the bowl's rim, not one tone but a spectrum of overtones arises, perceived as "singing" — a direct analogue of the polyphony of inner sounds Thakar Singh spoke of.
A special case is bowls engraved with mantras, such as "Om Mani Padme Hum." Here we have:
Visual mantra (the engraving)
Auditory mantra (the bowl's sound, which Tibetans believe is the utterance of "Om Mani Padme Hum" on a subtle level)
Kinesthetic mantra (the hand movement playing the bowl)
Thus, the bowl becomes a total mantric instrument, engaging all channels of perception. From a cultural studies perspective, this is an example of synesthesia — the fusion of the senses characteristic of archaic and mystical consciousness.
Chapter 5. Musicological Analysis: The Score of the Heavens
From a musicological standpoint, the teaching of Inner Sound and practices with bowls are two poles of the same musical universe.
5.1. Inner Sound According to Singh as Music Without Structure
Singh describes inner sounds as anahata-nada (un-struck music). This is music without a composer, without duration, without tonality or rhythm. It resembles:
The drone of Indian music (tanpura) — a continuous sonic foundation.
Schumann resonances (natural electromagnetic waves of the Earth) — a background that never ceases but is usually inaudible.
The paradox: inner "music" is anti-musical in the classical sense — it has no development, form, or climax. This makes it the ideal object for meditation: the mind cannot latch onto it to begin an associative train of thought.
5.2. The Singing Bowl as an Instrument Playing Silence
From an acoustics perspective, the singing bowl is interesting for its decay: after a strike or rubbing with the mallet, the sound doesn't cut off but dissolves into silence. The pause after the bowl's sound is often more important than the sound itself — it is in this pause that the meditator may hear their own inner sound.
Thus, the bowl acts as a mediator: its external sound first synchronizes the brain (the "frequency following response" effect), and then, as it fades, it illuminates the inner silence within which the Shabd already resounds.
5.3. The Mantra as a Voice Between Sound and Silence
The mantra occupies a middle position:
Spoken aloud (vaikhari) — external sound, close to the bowl.
Spoken mentally (manasika) — inner sound, close to the Shabd.
Ideally, the mantra erases the boundary: the practitioner ceases to understand where their own humming of "Om" ends and the sound of the universe begins. This is synergy.
Chapter 6. Synergy: Bringing It All Together
We can now describe a model of integrative practice that unites the three elements:
Element Function Spiritual Level Psychological Mechanism
Tibetan Bowl External trigger Preparation (antar yoga) Brain entrainment (synchronization) via difference tones
Mantra (aloud or mentally) Bridge Dhyana (meditation) Retuning hearing from external to internal
Inner Sound/Light (per Singh) Goal Samadhi (absorption) Interoception + spiritual experience
6.1. Example of a Hypothetical Session
Beginning: The practitioner sits with closed eyes. A Tibetan singing bowl sounds (5–10 minutes). The brain enters the alpha range (8–12 Hz).
Entry Phase: The practitioner begins mentally repeating a mantra, synchronizing it with the decaying sound of the bowl. When the bowl fades, the mantra continues in the mind.
Main Phase: After 15–20 minutes, the practitioner may begin to hear the first, coarsest inner sound (e.g., a small bell or cicadas). Thakar Singh described this as a sign of progress.
Deepening: Attention shifts from the mantra to the pure Inner Sound. Patches of light appear — the Inner Light. This state can last for hours.
Conclusion: A light strike on the bowl returns awareness to the physical body.
Conclusion: Returning to the Primordial Vibration
The teaching of Sant Thakar Singh on Inner Light and Sound, the practice of mantras, and the use of Tibetan singing bowls are not three different traditions, but three projections of a single reality — vibrational ontology. In it, the Absolute is conceived neither as a personal God nor an impersonal law, but as the primordial tremor of existence, which is simultaneously light (for the eyes), sound (for the ears), and meaning (for the mind).
The synergy of these elements allows modern humans, disconnected from shamanic and monastic cultures, to rediscover an ancient truth: to hear the divine sound, one does not need to flee to the Himalayas. It is enough to close your eyes, let the singing bowl fall silent, and — listen to the silence within, where the Shabd is always already resounding.
"Do not seek happiness outside. It is in the sound you do not hear, and in the light you do not see because of the sun's brightness. When the external falls silent, the internal begins to sing." — from the discourses of Sant Thakar Singh (paraphrase).
https://blog.cassiopeia.center/vospriyatie-zvukovoj-volny-kletkami-organizma
Cassiopeia - Perception of Sound Waves by Body Cells
In your science, there is proof that sound can influence individual cellular structures, meaning not an organ of the body, but those cellular structures grown in certain apparatuses. And they can be influenced by specific sounds — the rate of biochemical reactions, the rate of division, the rate of accumulation and introduction of beneficial substances. Yes, this is possible because sound, as a wave in the air of different frequencies, different strengths, different pitches and tones, passes through cells. As it passes through them, the cell itself (which has a semi-liquid content called cytoplasm) oscillates. From these micro-vibrations of the cytoplasm, reactions can already change. The cell on a mental level will not understand what is happening, what this sound is, but this can still have an effect. Infrasounds especially can destroy a cell, at a certain number of decibels and a certain wave frequency.
The Effect of Bell Ringing and Tibetan Bowls. The Action of Incense, Sandalwood, and Myrrh Fragrances
Bell ringing, as well as the ringing of metal objects in general (he is now showing me Tibetan bowls). You simply play it, and bubbles appear from the vibrations. Bell ringing and Tibetan bowls create such vibrations in space, such sounds (not only in the audible range, but in general), which are attractive to high-vibrational plasmoid civilizations. Much in the same way the smell of incense is attractive to them.
There are aromas — aromatic resins, for example, frankincense, sandalwood, myrrh, and so on. When they are dispersed through smoke, as the substance burns and the smoke begins to spread, this smoke, on an energetic level, attracts high-vibrational plasmoids, who, by their presence, begin to clear the space of all low-vibrational forms.
Those pathogenic viruses and bacteria you mentioned are also animal group souls of microorganisms, which are also created by plasmoid civilizations. But which specific civilizations create these souls? The fact is that plasmoids also come in different types: by their nature, their development, whether they perform their tasks or not, they can be different, just like people. If a plasmoid has negative qualities or blockages (only they are not in its chakras, but within itself), then the created group soul (for example, of microorganisms) also turns out to be distorted. In the sense that it subsequently shifts to parasitism and creates generations of its offspring as distorted.
Those plasmoid civilizations that create souls for them also have certain vibrations. They are located in that space where many of these microbes exist. Therefore, when there is bell ringing, the smell of incense, or the sound of Tibetan bowls, it is uncomfortable for these low-vibrational plasmoids to remain in that space. They leave it unless they have a special, specific goal for which they can tolerate this discomfort. As is known, they can even be in a church. But in any case, it will be more difficult for them to remain, so the space will be cleansed, including by bell ringing.
Question: By saturating space with high vibrations, do we get rid of low, destructive civilizations in that space?
Yes. And the souls that are there (for example, if there are just microbes, but those plasmoids are no longer nearby) — in any case, it's a group animal soul, and the microbes also hear. They don't hear sounds with ears like we do. But they perceive this on an energetic level, they feel it. And if this is incompatible with the plasmoids that created them, then their development is also suppressed.
01:20:46, #344 Petr Garyaev – Contactee with Extraterrestrial Civilizations?
Wave Genetics, Garyaev Matrices.
MidgasKaus – Representative of planet Esler, biologist, psychologist, microbiologist, specialist in extraterrestrial life forms.
LiShioni – Representative of planet Shimor, sociologist, specialist in the astral world and its interactions with the material world.
Lahresh – Representative of planet Saama, biologist, geneticist, studying the energetic components of human internal organs, the etheric field, its influence on the physical body of humans and other anthropomorphic humanoids.
Tukhti Khor – Representative of planet Gihor, studies methods of healing, therapy, treatment using energy waves and various energies of the surrounding space — physical and energetic.
September 2021
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