- « You have eternity to explore all the treasures that the Creator has put in you. Do not look elsewhere, it is in you that they are to be found. Every day you must discover them, search, dig. As long as you do not search within yourself, even if you are magically cast into a paradisiacal place, you will continue to wander hungry, thirsty, destitute. But if you have begun to discover Paradise within you, wherever you go, whatever the conditions, nothing will be able to chase you away from it. More and more you will live in peace, beauty, light ».
- 1 Vehadi – Ré mineur
- 2 Explanations of the Song
- 3 Œuvres et/ou conférences d’O.M. Aïvanhov sur le sujet traité
- 4 Related articles
Vehadi – Ré mineur
Explanations of the Song
Although most of Peter Deunov's songs are written in Bulgarian, some songs are written in a very ancient sacred language called Adamic Language or Vatan, and according to Peter Deunov, the oldest but forgotten spoken language on earth. This is the case of the song Vehadi. Vehadi is an untranslatable word. However, thanks to the indications of Omraam Mikhaël Aïvanhov, we know that the melody of this song "awakens the mystical sense and marks the beginning of spiritual work. The melody is of an oriental type and originates from a fragment of a sacred song". Vehadi is also part of the chants written in the form of a mantra.
Theme and key words
Transmit the divine into matter. Key words: Illumination, peace, stability, eternity, infinity.
Course of the chant
The main melody of Vehadi unfolds in a deep and mystical atmosphere by drawing the curves of several lemniscates. These lemniscates represent the symbol of infinity and revolve around the notes A, D and F which are the notes of the D minor chord. Through the articulation of these notes and the rhythmic punctuation of the melody, Peter Deunov generates energy centres that allow the singer or listener to cross the limits of time and plunge into "moments of eternity". These "moments of eternity" can be understood as different levels of consciousness; singing Vehadi invites us to explore them and to permeate our cells with them. How can we understand the notion of eternal life? « Eternal life is not a duration of time, but a state of consciousness. From the moment we come into contact with the divine Source, and as long as we remain in it, eternal life begins to flow within us. Let us take a stick... It is a straight object with a beginning and an end, therefore something limited. This is time. But, let us now suppose that this stick is flexible and that we bend it until it joins the two ends: it becomes a circle, and with this circle we can have an idea of eternity: no beginning, no end... an infinite unity ».
The melodic structure of Vehadi can also be analogized to the seven major chakras.
At the beginning of the song, the melody first describes a lemniscate around the "A". The note "A", located in the middle register, is an energy pole that we connect to the laryngeal chakra and the word "conscious self". The "conscious self" invocates the divine world to bring down its light and impregnate our whole being with it.
The melody then describes a lemniscate around the "high D", an energetic pole in analogy with the frontal and coronal chakras, the superior "I" or the divine world. Symbolically, this part of the chant is the response of the Divine World to the call of the 'conscious self'.
In the rest of the song, the melody begins a gradual descent. It first turns around the "F", then settles on the low "D". The note "F", located in the middle register, is in analogy with the heart chakra. The spiritual heart will be the tool of transmission so that the inspiration received from above reaches the bottom and permeates the cells of divine life. The note "low D", a reflection of the "high D", is in analogy with the Hara centre, the reservoir of the inner wealth that we have accumulated. It also symbolizes the destination where the behaviour of the new life will manifest itself.
Finally, the melody finishes its descent by focusing around the note "A" in a movement of embroidery towards the " B flat " located just a half tone higher. The note "A", in the lower register, is an energy pole in analogy with the root chakra, the reservoir of our origins and our unconscious force.
Conclusion of the trace
The path taken by the melody around the five energy poles draws a vertical line, a luminous ray of the spirit travelling to penetrate our matter.
Œuvres et/ou conférences d’O.M. Aïvanhov sur le sujet traité
- O.M. Aïvanhov, Centres et corps subtils, Coll. Izvor n°219, éditions Prosveta (1990)
- Songs by Peter Deunov
- Vehadi, Chœur de Chambre Intrada de Moscou. Dir : Gilles Hainault.
- Vehadi, Dir.: Peter Ganev - Concert "To be Videlina" (2003), Hall Bulgaria
- O. M. Aïvanhov, Pensées quotidiennes 2019, pensée du 22 mai : Les richesses que nous pouvons découvrir chaque jour en nous; éditions Prosveta (2018).
- The authors of the original version of this article are Gilles Hainault and Marie Kinique
- Donné par le Maître le 17 juin 1925, classe d'ésotérisme général, 4e année, conférence 28 (Beinsa Duno, Prayers, Formulas, Devotional songs; Byalo Bratsvo Publishers, 2017; ISBN 978-954-744-314-3; p.161).
- O. M. Aïvanhov, P. Deunov, Commentaires des chants (Fraternité Blanche Universelle).
- Extrait de la Pensée du 12 mai 2019 – La Vie éternelle
Reader's note: the writing of this entry is temporary and limited to only a starting point, since the topic is more deeply examined by Omraam Mikhael Aïvanhov in the context of thousands of lectures he held between 1937 and 1986. The researcher will find important aspects of further interest by reading or listening directly to his lectures, published by the Prosveta, the sole and exclusive owner of the rights to his work. Therefore, this article does not fully and comprehensively describe Omraam Mikhael Aïvanhov's thought on the subject matter.
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