Het derde oog symboliseert dat we naar de eenheid der dingen gaan, niet naar hun verdeeldheid (van de twee ogen apart). Het is krachtig om het derde oog, dat de kracht van ons bewustzijn symboliseert, te verstevigen. Naast geen fluoride in tandpasta, helpen ander eten (zie youtube). Een uitstekende instructiefilm is te vinden op youtube https://www.youtube.com/watch?v=yF2OPtAzmx4#t=185.693045973
Een andere oefening met het derde oog. Het spirituele oog, het derde oog, is gelegen tussen onze twee ogen, bij de wortel van onze neus. Voor vele scholen is het de toegang tot het spirituele. Het is het zesde chakra (zie bij chakra’s), een specifieke energieconcentratie. Enige technieken staan vermeld in het boekje van Paul Twitchell, The spiritual Notebook, p. 72 e.v.(ISBN 0 – 914766-15-5, Eckankar.).
The first of these creative techniques is called the Surat technique. Its practise comprises the hearing of Soul, or the melody .It is chiefly a spiritual exercise that involves sitting in silence in a fixed position. ….the practitioner places his attention on the Tisra Til, the spiritual eye. The subject then takes five deep breaths and begins repeating the word HU, the universal name of God. After a considerable length of time has elapsed he takes five more breaths, and continues softly singing the word HU. It is pronounced H- U, in a long drawn out manner. His attention remains fixed on the Tisra Til. He does not try see anything, he just holds it there. After another considerable lapse of time, he again repeats his five breaths, bringing them to a total count of fifteen. Following this he slows down chanting the name of God until it is very, very slow. He begins to listen to what he is singing. He gets still slower on the chanting, until vocally it is halted completely. His attention is then switched to listening to the esoteric sounds as the word HU rolls through him. It starts vibrating like a machine and he shakes considerably, but he does not let this frighten him. Very soon he begins to hear a humming sound in the back of his head, spreading out into his body, until he becomes part of the sound. Then various parts of the ECK melody start. Sometimes it is the roaring of a waterfall, other times the sounds of violins and/or flutes. This means he is out somewhere on the far planes of the higher worlds, beyond the fifth or Soul plane , and travelling in the Atma body in the realms of God. This sounds will gradually become a melody of celestial music unlike anything ever heard. Its beauty is so entrancing that he, now in his state of glory and beauty, will actually be in a high state of spiritual consciousness……
The second of the three creative techniques is called the Nirat. The Nirat technique utilizes the seeing power of Soul, which it uses to witness the subtle entities of the higher worlds… As with the Surat technique, the subject sits in silence in a fixed position….He again fixes his attention on the spiritual eye. This time, however, he puts his mind on the Light, concentrating only on the white Light within the door of the spiritual eye. This is the subtle gateway to the astral world, the first one to pass through on the way to higher worlds. With his attention fixed on this door, the subject is not to look directly at what has been established on the screen of his mind, but he is looking obliquely (= als het ware alsof je het van opzij erbij ziet terwijl je naar iets anders start). If he stares at it in direct confrontation it will disappear, but once he sees it from a right or left angle on either side of his view, the image of the light stays. Now very softly he begins to chant the Zikar, the repletion of the holy names of God. If the chela is an initiate, it will suffice to chant his secret word. If not, he chants the names of the various sounds on each plane that he must pass though in order to reach the Soul region. These are: Sola (physical), Kala (astral), Aum (causal), Mana (mental), Baju (etheric or unconscious) and SUGMAD (Soul plane). These are the various sounds of the ECK as It passes through each plane. By chanting these Sounds the chela is able to lift himself up through the corresponding planes into the Soul world. He begins to see the Light, via the Sound. It is doubtful, though, that he will hear any of the Sounds at this time because his focus is on the light. This Light of God appears on all planes, but the Light that should interest the chela (leerling) the most is the Blue Star. It will come into focus after the techn iques has been practiced for a certain lenth of time. This star represents the who will appear later in his own rediant body. At the outset the ECKneophyte is not developed enough to witness the living ECK master within himself. Thus the master appears often as the Blue Star and sometimes as a misty pale blue light. The star or the light will lead the chela gendly onward hrough the various planes into the soul region……..
The third creative technique is like a triad. In it is practised Sound, the Sight and the contemplation of the living ECKmaster. He awaits us constantly , each and everyone of his chelas, at the threshold of the astral plane, just beyond the sun, moon and lighting worlds…………
Mijn Commentaar op het boekje. Boeiend en voor mij werkelijk een toegang. Het is echte mystiek en overschrijdt sommige bewustszijns niveaus. Volgens de auteur is er echt een verschil tussen ‘het je verbeelden’ en werkelijk horen. Volgens de auteur zijn vele religieuze leiders zoals Boeddha, Jesus, geïnspireerd door deze mystiek, de ECK, de bron en instandhouding van alle leven, de bron van iedere religie; bereikbaar voor mensen.
Heeft men eenmaal, bijv. via een droom, hier een glimp van ontvangen, dan kan mediteren op de ‘gaze’, de manier van kijken van de Master, ons al verder helpen. Bij mij: een combinatie van geruststelling: speelsheid zoals een vader die veel sterker is, met zijn kind speelt. Genegenheid die ineens een warme diepe liefde werd.
