Text extracted from the book Treatise of Yôga by DeRose and translated by John Conway Chisenhall.
Once I dreamed my Mentor offered me an object loaded with the power of the Ancient Teachers, it materialized amid a swirl of golden light in his palm, right before my eyes. When the luminous fog dispersed I could see it was an extremely beautiful medallion with the appearance of an antiquity aged by time, carrying a magnificence and dignity so evident that it leaped to the eye. In the center, I recognized the ÔM, the universal symbol of Yôga in Sanskrit, written in the Devanagari alphabet.
It was just a dream, without any pretension of being a precognition. But, it was a clear and strong dream that I remembered vividly for a long time.
The years passed by and I traveled to India often for twenty years. During one of my trips to the Himalayas, I attended a very prestigious monastery, where I participated in diverse modalities of Yôga. There was a library with some very old, rare and precious works. I was rummaging through one of the books when I found an ÔM with a design that fascinated me. It was aesthetically superior to those that typically appear in most of the Yôga books. It had an impressive harmony and equilibrium. I let myself travel within its lineage of power and entered into deep meditation as I contemplated it.
After the experience, I was enraptured by this incredibly strong symbol. I couldn’t resist a photograph. When I arrived in Brazil, I sent the ÔM to be photolithographed and expanded. The result was surprisingly good. The small irregularities of the ancient form were well pronounced on the rustic paper. The outline of the Ômkára acquired an even more ancient and weathered appearance.
It was so beautiful that my students and the other instructors, everyone, wanted a copy. Some of the students began to make gold medallions trying to mimic this noble ÔM but evidently the goldsmiths had difficulty recreating it because frequently they made serious errors in the layout or in the proportions. These imperfections were imperceptible to the layman, nevertheless, significant enough to be capable of changing its characteristics.
It's common to find errors when someone who hasn't been initiated attempts to make an ÔM pendant. For example:
a) usually, the jewelers that recreate the ÔM don't understand anything about the symbol they are trying to reproduce and end up committing serious blunders, often creating designs with poor taste, thus losing the original character and nullifying its positive effects.
b) otherwise, because gold is an expensive metal, the jewelers would make inadmissible cost-saving measures. When worn, it is common for the pendant to turn around, showing the inverted image of the ÔM, giving an observer the antithesis perspective of the yantra ÔM! Since the power of symbols is transmitted by the codified archetypes of the unconscious in deep areas of the human mind, this flipped perspective of the ÔM generated the opposite of the expected effect. I don't know if it is mere coincidence, but most of the people who used this ÔM, that flipped around and stayed inverted, ended up showing signs of dissonance.
The ÔM should not be cut-out or hollowed-out, because if so it will frequently flip around reversing the ÔM, i.e., representing its’ antithesis in terms of symbolism, hence generating opposing effects;
This is why I decided it was more prudent to assume the responsibility of having the pendants coined with the powerful ÔM that I brought back from the Himalayas, just as I had dreamed about years earlier and made with the same metal alloys that are often used in Indian handicrafts, brass (copper and zinc), sterling silver and gold. So, I had a pendant coined in its ancient format, with the ÔM on one side surrounded by Sanskrit inscriptions and the ashtánga yantra, the symbol of SwáSthya Yôga, on the other side.
When the first pendant was made it moved everyone with its exceptional beauty, harmony, sensibility and strength. It was a work of art. Never before had I seen a pendant with such a beautiful ÔM anywhere in the world, not even in India.
Even in India, people asked us where we got such an authentic remarkably stamped pendant. Thanks to this medallion, DeROSE Method practitioners and friends are always finding each other, expanding their network of friendships around the world in airports, trains, buses, theaters, etc.
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