ANCIENT TECHNOLOGY OF SOUND AND STONES
Beyond Egypt, in ancient Israel, the Old Testament book of First Kings 6:7,
records that in the building of Solomon's Temple, "Only blocks of undressed
stone from the quarry were used; no hammer or ax or any iron tool whatsoever
was heard in the house while it was being built." This feat was accomplished,
the Talmudic traditions recount, with the use of a stone called the Shamir,
which caused stone to be separated and shaped by vibration, and levitated
into place with sound.
The Mahatma Dhut Kuhl, in his "A Treatise on Cosmic Fire," stated: "The laws
governing the erection of large buildings and the handling of great weights
will someday be understood in terms of sound.... They were raised through the
ability of the early builders to create a vacuum through sound."
In nearby Chaldea, the ancient Magi were said to generate a similar force
called, in the Aramaic, "rukha shakintu," by using rods of gold with special
energising powers. Of interest in this respect is the Chaldean work, the
"Sifr'ala," which dates back more than 5000 years and, though fragmentary, is
a lengthy work filling almost 100 pages of English translation.
Farther to the east, in India, researcher Andrew Thomas reported that
levitation is still performed to this day using chanting. In the village of
Shivapur, near Poona, is a little mosque dedicated to the Sufi holy man Qamar
Ali Dervish. Outside, in the courtyard of the mosque, is a stone weighing 138
pounds and during daily prayer, 11 devotees surround the stone, repeating the
holy man's name. When they read a certain pitch, the 11 men are able to lift
the stone by using one finger each. As soon as the chanting stops, the
devotees jump back, for the stone resumes its weight and falls to the ground
with a heavy thud.
As Thomas noted: "The key seems to be in the chanting, and the 11 voices must
be the required formula to achieve the correct pitch that makes the boulder's
vibrations change and renders it seemingly weightless or at least lighter.
The name of the saint is probably unimportant; the frequency is the key
factor. It is a similar principle to the one whereby a trained singer can
strike and hold a note that matches a wine glass and shatters it."
A second fascinating eyewitness account of modern levitation, this one from
Tibet, was reported by Swedish aircraft industrialist Henry Kjellson, who
travelled through the Himalayas in the post-war era. Kjellson described how
Tibetan monks hauled stones measuring one-and-one-half metres square by yak
up to a plateau, and placed them in a specifically designed hole, bowl-shaped
at one metre in diameter and 15 centimetres deep in the centre. The hole was
situated 100 metres from a cliff wall, 400 metres high, on top of which was a
building to be constructed.
Behind the hole, by 63 metres, stood 19 musicians, and behind each of them 20
priests radiating out in lines, separated from one another in groups at five
degree intervals, forming a quarter circle with the hole as its focal centre.
These distances appear to have been of utmost importance, for all were
carefully measured by the monks using lengths of knotted leather. The
musicians possessed a total of 13 drums of three different sizes, and
alternating between them were six large trumpets.
On command, the drums and trumpets were sounded, and the priests chanted in
unison, together forming sharp blasts of sound at a beat of two-per-minute.
After four minutes, Kjellson observed that the stones placed in the target
hole began to wobble, move side to side, and then as the beats of sound
increased, they suddenly soared the 400 metres in a parabolic arc to the top
of the cliff. In this manner, Kjellson recorded that the monks were able to
move five or six blocks an hour.
Significantly, the ancient Chinese medicine men also used the element jade as
a healing tool, and possessed singing stones made of flat pieces of jade,
which vibrated pleasant and soothing notes when struck, calming and aiding in
the recuperation of their patients. The great tone of nature the Chinese
called the Kung, corresponding in our music scale to F. To the neighboring
Tibetans, the notes of A, F, and G were sounds of power.
In ancient times, the Emporer would keep the peace by a very simple means.
Each year he would travel with his entourage to the various provinces.
He would listen, and then carefully tune the notes of the scale.
And in that way, peace reigned for thousands of years.
- Geoffrey Keyte
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