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Om ligature in Devanagari script
Om (ௐ) in Tamil script with a trishula at Sri Veeramakaliamman Temple, Singapore; Om appears frequently as an icon in temples (kovils) and spiritual retreats
A rangoli featuring Om surrounded by stylised peacocks; Om often features prominently in the religious art and iconography of Indian religions
A rakhi in the shape of Om
This article contains Indic text. Without proper rendering support, you may see question marks or boxes, misplaced vowels or missing conjuncts instead of Indic text.

Om (or Aum; listenⓘ; Sanskrit: ॐ, ओम्, romanized: Oṃ, Auṃ, ISO 15919: Ōṁ) is a polysemous symbol representing a sacred sound, seed syllable, mantra, and invocation in Hinduism as well as in other Indian religions.[1][2] Its written form is the most important symbol in the Hindu religion.[3] It is the essence of the supreme Absolute,[2] consciousness,[4][5][6] Ātman, Brahman, or the cosmic world.[7][8][9] In Indian religions, Om serves as a sonic representation of the divine, a standard of Vedic authority and a central aspect of soteriological doctrines and practices.[10] It is the basic tool for meditation in the yogic path to liberation.[11] The syllable is often found at the beginning and the end of chapters in the Vedas, the Upanishads, and other Hindu texts.[9] It is described as the goal of all the Vedas.[12]

Om emerged in the Vedic corpus and is said to be an encapsulated form of Samavedic chants or songs.[1][10] It is a sacred spiritual incantation made before and during the recitation of spiritual texts, during puja and private prayers, in ceremonies of rites of passage (samskara) such as weddings, and during meditative and spiritual activities such as Pranava yoga.[13][14] It is part of the iconography found in ancient and medieval era manuscripts, temples, monasteries, and spiritual retreats in Hinduism, Buddhism, Jainism, and Sikhism.[15][16] As a syllable, it is often chanted either independently or before a spiritual recitation and during meditation in Hinduism, Buddhism, and Jainism.[17][18]

The syllable Om is also referred to as Onkara (Omkara) and Pranava among many other names.[19][20]

Common names and synonyms

[edit]

The syllable Om is referred to by many names, including:

  • Praṇava (प्रणव); literally, "fore-sound", referring to Om as the primeval sound.[21][22]
  • Oṅkāra (ओङ्कार) or oṃkāra (ओंकार); literally, "Om-maker", denoting the first source of the sound Om and connoting the act of creation.[23][24][25][26]
  • Udgītha (उद्गीथ); meaning "song, chant", a word found in Samaveda and bhasya (commentaries) based on it. It is also used as a name of the syllable Om in Chandogya Upanishad.[27]
  • Akṣara (अक्षर); literally, "imperishable, immutable", and also "letter of the alphabet" or "syllable".
    • Ekākṣara; literally, "one letter of the alphabet", referring to its representation as a single ligature. (see below)

Origin and spiritual significance

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The etymological origins of ōm (aum) have long been discussed and disputed, with even the Upanishads having proposed multiple Sanskrit etymologies for aum, including: from "ām" (आम्; "yes"), from "ávam" (आवम्; "that, thus, yes"), and from the Sanskrit roots "āv-" (अव्; "to urge") or "āp-" (आप्; "to attain").[28][A] In 1889, Maurice Bloomfield proposed an origin from a Proto-Indo-European introductory particle "*au" with a function similar to the Sanskrit particle "atha" (अथ).[28] However, contemporary Indologist Asko Parpola proposes a borrowing from Dravidian "*ām" meaning "'it is so', 'let it be so', 'yes'", a contraction of "*ākum", cognate with modern Tamil "ām" (ஆம்) meaning "yes".[28][29] In the Jaffna Tamil dialect spoken in Sri Lanka, aum' is the word for yes.[citation needed]

Om emerged in the Vedic corpus and is said to be an encapsulated form of Samavedic chants or songs.[1][10] The Samaveda, the poetical Veda, orthographically maps Om to the audible, the musical truths in its numerous variations (Oum, Aum, Ovā Ovā Ovā Um, etc.) and then attempts to extract musical meters from it.[9] The Aitareya Brahmana of Rig Veda, in section 5.32, suggests that the three phonetic components of Om (a + u + m) correspond to the three stages of cosmic creation, and when it is read or said, it celebrates the creative powers of the universe.[9][30] However, regardless of its original meaning, the syllable Om evolves to mean many abstract ideas even in the earliest Upanishads. Max Müller and other scholars state that these philosophical texts recommend Om as a basic tool for meditation[11] and explain the various meanings that the syllable may hold in the mind of one meditating, ranging from "artificial and senseless" to the "highest concepts such as the cause of the Universe, essence of life, Brahman, Atman, and Self-knowledge".[31][32]

In the Aranyaka and the Brahmana layers of Vedic texts, the syllable is so widespread and linked to knowledge, that it stands for the "whole of Veda".[9] The Brahmana layer of Vedic texts equates Om with bhur-bhuvah-svah, which symbolizes "the whole Veda". They offer various shades of meaning to Om, such as it being "the universe beyond the sun", or that which is "mysterious and inexhaustible", or "the infinite language, the infinite knowledge", or "essence of breath, life, everything that exists", or that "with which one is liberated".[9] The symbolic foundations of Om are repeatedly discussed in the oldest layers of the early Upanishads.[33][34] In the Upanishads, it has been associated with various concepts, such as "cosmic sound", "mystical syllable", "affirmation to something divine", or as symbolism for abstract spiritual concepts.[9] However, in the eight anuvaka of the Taittiriya Upanishad, which consensus research indicates was formulated around the same time or preceding Aitareya Brahmana, the sound Aum is attributed to reflecting the inner part of the word Brahman. Put another way, it is the Brahman, in the form of a word.[35]

Pronunciation

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When occurring within spoken Classical Sanskrit, the syllable is subject to the normal rules of sandhi in Sanskrit grammar, with the additional peculiarity that the initial o of "Om" is the guṇa vowel grade of u, not the vṛddhi grade, and is therefore pronounced as a monophthong with a long vowel ([oː]), i.e. ōm not aum.[B][36] Furthermore, the final m is often assimilated into the preceding vowel as nasalisation (raṅga). As a result, Om is regularly pronounced [õː] in the context of Sanskrit.

However, this o reflects the older Vedic Sanskrit diphthong au, which at that stage in the language's history had not yet monophthongised to o. This being so, the syllable Om is often archaically considered as consisting of three phonemes: "a-u-m".[37][38][39][40] Accordingly, some denominations maintain the archaic diphthong au viewing it to be more authentic and closer to the language of the Vedas.

In the context of the Vedas, particularly the Vedic Brahmanas, the vowel is often pluta ("three times as long"), indicating a length of three morae (trimātra), that is, the time it takes to say three light syllables. Additionally, a diphthong becomes pluta with the prolongation of its first vowel.[36] When e and o undergo pluti they typically revert to the original diphthongs with the initial a prolonged,[41] realised as an overlong open back unrounded vowel (ā̄um or a3um [ɑːːum]). This extended duration is emphasised by denominations who regard it as more authentically Vedic, such as Arya Samaj.

However, Om is also attested in the Upanishads without pluta,[C] and many languages related to or influenced by Classical Sanskrit, such as Hindustani, share its pronunciation of Om ([õː] or [oːm]).

Written representations

[edit]

South Asia

[edit]
Statue depicting Shiva as the Nataraja dancing in a posture resembling the Devangari ligature for Om; Joseph Campbell argued that the Nataraja statue represents Om as a symbol of the entirety of "consciousness, universe" and "the message that God is within a person and without"[42]

Nagari or Devanagari representations are found epigraphically on sculpture dating from Medieval India and on ancient coins in regional scripts throughout South Asia. Om is represented in Devanagari as ओम्, composed of four elements: the vowel letter अ (a), the vowel diacritic ो (o), the consonant letter म (m), and the virama stroke ् which indicates the absence of an implied final vowel. Historically, the combination ओ represented a diphthong, often transcribed as au, but it now represents a long vowel, ō. (See above.) The syllable is sometimes written ओ३म्, where ३ (i.e., the digit "3") explicitly indicates pluta ('three times as long') which is otherwise only implied. For this same reason Om may also be written ओऽम् in languages such as Hindi, with the avagraha (ऽ) being used to indicate prolonging the vowel sound. (However, this differs from the usage of the avagraha in Sanskrit, where it would instead indicate the prodelision of the initial vowel.) Om may also be written ओं, with an anusvāra reflecting the pronunciation of [õː] in languages such as Hindi. In languages such as Urdu and Sindhi Om may be written اوم‎ in Arabic script, although speakers of these languages may also use Devanagari representations.

The commonly seen representation of the syllable Om, ॐ, is a cursive ligature in Devanagari, combining अ (a) with उ (u) and the chandrabindu (ँ, ṃ). In Unicode, the symbol is encoded at U+0950 ॐ DEVANAGARI OM and at U+1F549 🕉 OM SYMBOL as a "generic symbol independent of Devanagari font".[43]

In some South Asian writing systems, the Om symbol has been simplified further. In Bengali and Assamese Om is written simply as ওঁ without an additional curl. In languages such as Bengali differences in pronunciation compared to Sanskrit have made the addition of a curl for u redundant. Although the spelling is simpler, the pronunciation remains [õː]. Similarly, in Odia Om is written as ଓଁ without an additional diacritic.

In Tamil, Om is written as ௐ, a ligature of ஓ (ō) and ம் (m), while in Kannada, Telugu, and Malayalam, Om is written simply as the letter for ō followed by anusvāra (ಓಂ, ఓం, and ഓം, respectively).

There have been proposals that the Om syllable may already have had written representations in Brahmi script, dating to before the Common Era. A proposal by Deb (1921) held that the swastika is a monogrammatic representation of the syllable Om, wherein two Brahmi /o/ characters (U+11011 𑀑 BRAHMI LETTER O) were superposed crosswise and the 'm' was represented by dot.[44] A commentary in Nature (1922) considers this theory questionable and unproven.[45] A. B. Walawalkar (1951) proposed that Om was represented using the Brahmi symbols for "A", "U", and "M" (𑀅𑀉𑀫), and that this may have influenced the unusual epigraphical features of the symbol ॐ for Om.[46][47] Parker (1909) wrote that an "Aum monogram", distinct from the swastika, is found among Tamil-Brahmi inscriptions in Sri Lanka,[48] including Anuradhapura era coins, dated from the 1st to 4th centuries CE, which are embossed with Om along with other symbols.[49]

East and Southeast Asia

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The Om symbol, with epigraphical variations, is also found in many Southeast Asian countries.

In Southeast Asia, the Om symbol is widely conflated with that of the unalome; originally a representation of the Buddha's urna curl and later a symbol of the path to nirvana, it is a popular yantra in Southeast Asia, particularly in Cambodia and Thailand. It frequently appears in sak yant religious tattoos, and has been a part of various flags and official emblems such as in the Thong Chom Klao of King Rama IV (r. 1851–1868)[50] and the present-day royal arms of Cambodia.[51]

The Khmer adopted the symbol since the 1st century during the Kingdom of Funan, where it is also seen on artefacts from Angkor Borei, once the capital of Funan. The symbol is seen on numerous Khmer statues from Chenla to Khmer Empire periods and still in used until the present day.[52][53][better source needed]

In Chinese characters, Om is typically transliterated as either 唵 (pinyin: ǎn) or 嗡 (pinyin: wēng).

Representation in various scripts

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You may need rendering support to display the uncommon Unicode characters in this section correctly.

Northern Brahmic

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Script Unicode Image
Bengali-Assamese ওঁ
Devanagari ॐ
Devanagari ओम्
Devanagari (Jain symbol) ꣽ
Gurmukhi (Ik Onkar) ੴ
Gurmukhi (Ik Onkar) ੴ
Lepcha ᰣᰨᰵ‎
Limbu ᤀᤥᤱ
Meitei Mayek (Anji) ꫲ
Modi 𑘌𑘽‎
Odia ଓ‍ଁ
Odia ଓ‍ଁ
ʼPhags-pa ꡝꡡꡏ[a]
Pracalit 𑑉‎
Ranjana
Sharada 𑇄
Siddham 𑖌𑖼
Soyombo 𑩐𑩖𑪖‎
Takri 𑚈𑚫
Tibetan (Uchen) ༀ
Tirhuta, Mithilakshar 𑓇‎
Zanabazar 𑨀𑨆𑨵‎


Southern Brahmic

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Script Unicode Image
Balinese ᬒᬁ
Burmese ဥုံ
Chakma 𑄃𑄮𑄀
Cham ꨅꩌ
Cham (Homkar) ꨀꨯꨱꩌ
Grantha 𑍐
Javanese ꦎꦴꦀ
Kannada ಓಂ
Kawi 𑼐𑼀
Khmer ឱំ
Khmer (Unalome) ៚
Lao ໂອໍ
Malayalam ഓം
Sinhala ඕම්
Sundanese ᮇᮀ
Tai Lanna ᩒᩴ
Tamil ௐ
Telugu ఓం
Thai โอํ
Thai (Khomut) ๛

Non-Brahmic

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Script Unicode Image
Latin Ōm̐
Arabic اوم[b]
Chinese 唵
Hangul 옴
Kanji 阿吽
Katakana オーム
Manchu ᢀᠣ
Mongolian (Ali Gali) ᢀᠣᠸᠠ
Tangut 𗙫[c]
Thaana އޮމ
Warang Citi 𑣿‎

Hinduism

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Om appears frequently in Hindu texts and scriptures, notably appearing in the first verse of the Rigveda[D]
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In Hinduism, Om is one of the most important spiritual sounds.[3] The syllable is often found at the beginning and the end of chapters in the Vedas, the Upanishads, and other Hindu texts,[9] and is often chanted either independently or before a mantra, as a sacred spiritual incantation made before and during the recitation of spiritual texts, during puja and private prayers, in ceremonies of rites of passages (sanskara) such as weddings, and during meditative and spiritual activities such as yoga.[13][14]

It is the most sacred syllable symbol and mantra of Brahman,[54] which is the ultimate reality, consciousness or Atman (Self within).[7][8][4][5][55]

It is called the Shabda Brahman (Brahman as sound) and believed to be the primordial sound (pranava) of the universe.[56]

Vedas

[edit]

Om came to be used as a standard utterance at the beginning of mantras, chants or citations taken from the Vedas. For example, the Gayatri mantra, which consists of a verse from the Rigveda Samhita (RV 3.62.10), is prefixed not just by Om but by Om followed by the formula bhūr bhuvaḥ svaḥ.[57] Such recitations continue to be in use in Hinduism, with many major incantations and ceremonial functions beginning and ending with Om.[18]

Brahmanas

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Aitareya Brahmana
[edit]

The Aitareya Brahmana (7.18.13) explains Om as "an acknowledgment, melodic confirmation, something that gives momentum and energy to a hymn".[3]

Om is the agreement (pratigara) with a hymn. Likewise is tathā = 'so be it' [the agreement] with a [worldly] song (gāthā) [= the applause]. But Om is something divine, and tathā is something human.

— Aitareya Brahmana, 7.18.13[3]

Upanishads

[edit]
Ōṃ is given many meanings and layers of symbolism in the Upanishads, including "the sacred sound, the Yes!, the Vedas, the udgitha (song of the universe), the infinite, the all encompassing, the whole world, the truth, the Ultimate Reality, the finest essence, the cause of the universe, the essence of life, the Brahman, the ātman, the vehicle of deepest knowledge, and self-knowledge (ātma jñāna)".[32]
Chandogya Upanishad
[edit]

The Chandogya Upanishad is one of the oldest Upanishads of Hinduism. It opens with the recommendation that "let a man meditate on Om".[58] It calls the syllable Om as udgitha (उद्गीथ; song, chant), and asserts that the significance of the syllable is thus: the essence of all beings is earth, the essence of earth is water, the essence of water are the plants, the essence of plants is man, the essence of man is speech, the essence of speech is the Rigveda, the essence of the Rigveda is the Samaveda, and the essence of Samaveda is the udgitha (song, Om).[59]

Ṛc (ऋच्) is speech, states the text, and sāman (सामन्) is breath; they are pairs, and because they have love for each other, speech and breath find themselves together and mate to produce a song.[58][59] The highest song is Om, asserts section 1.1 of Chandogya Upanishad. It is the symbol of awe, of reverence, of threefold knowledge because Adhvaryu invokes it, the Hotr recites it, and Udgatr sings it.[59][60]

The second volume of the first chapter continues its discussion of syllable Om, explaining its use as a struggle between Devas (gods) and Asuras (demons).[61] Max Muller states that this struggle between gods and demons is considered allegorical by ancient Indian scholars, as good and evil inclinations within man, respectively.[62] The legend in section 1.2 of Chandogya Upanishad states that gods took the Udgitha (song of Om) unto themselves, thinking, "with this song we shall overcome the demons".[63] The syllable Om is thus implied as that which inspires the good inclinations within each person.[62][63]

Chandogya Upanishad's exposition of syllable Om in its opening chapter combines etymological speculations, symbolism, metric structure and philosophical themes.[60][64] In the second chapter of the Chandogya Upanishad, the meaning and significance of Om evolves into a philosophical discourse, such as in section 2.10 where Om is linked to the Highest Self,[65] and section 2.23 where the text asserts Om is the essence of three forms of knowledge, Om is Brahman and "Om is all this [observed world]".[66]

Katha Upanishad
[edit]

The Katha Upanishad is the legendary story of a little boy, Nachiketa, the son of sage Vājaśravasa, who meets Yama, the Vedic deity of death. Their conversation evolves to a discussion of the nature of man, knowledge, Atman (Self) and moksha (liberation).[67] In section 1.2, Katha Upanishad characterises knowledge (vidyā) as the pursuit of the good, and ignorance (avidyā) as the pursuit of the pleasant.[68] It teaches that the essence of the Veda is to make man liberated and free, look past what has happened and what has not happened, free from the past and the future, beyond good and evil, and one word for this essence is the word Om.[69]

The word which all the Vedas proclaim,
That which is expressed in every Tapas (penance, austerity, meditation),
That for which they live the life of a Brahmacharin,
Understand that word in its essence: Om! that is the word.
Yes, this syllable is Brahman,
This syllable is the highest.
He who knows that syllable,
Whatever he desires, is his.

— Katha Upanishad 1.2.15-1.2.16[69]

Maitri Upanishad
[edit]
A Pahari painting of Om (ओं), c. 1780-1800, decorated with deities: Shiva and Shakti (could be Vaishnavi or Siddhidatri); Vishnu and Lakshmi seated upon Shesha; Harihara (Vishnu-Shiva fusion deity); Brahma; and Dattatreya as a representation of the Trimurti (top-to-bottom, left-to-right)

The Maitrayaniya Upanishad in sixth Prapathakas (lesson) discusses the meaning and significance of Om. The text asserts that Om represents Brahman-Atman. The three roots of the syllable, states the Maitri Upanishad, are A + U + M.[70]

The sound is the body of Self, and it repeatedly manifests in three:

  • as gender-endowed body – feminine, masculine, neuter;
  • as light-endowed body – Agni, Vayu, and Aditya;
  • as deity-endowed body – Brahma, Rudra,[E] and Vishnu;
  • as mouth-endowed body – garhapatya, dakshinagni, and ahavaniya;[F]
  • as knowledge-endowed body – Rig, Saman, and Yajur;[G]
  • as world-endowed body – bhūr, bhuvaḥ, and svaḥ;[H]
  • as time-endowed body – past, present, and future;
  • as heat-endowed body – breath, fire, and Sun;
  • as growth-endowed body – food, water, and Moon;
  • as thought-endowed body – intellect, mind, and psyche.[70][71]

Brahman exists in two forms – the material form, and the immaterial formless.[72] The material form is changing, unreal. The immaterial formless is not changing, real. The immortal formless is truth, the truth is the Brahman, the Brahman is the light, the light is the Sun which is the syllable Om as the Self.[73][74][I]

The world is Om, its light is Sun, and the Sun is also the light of the syllable Om, asserts the Upanishad. Meditating on Om, is acknowledging and meditating on the Brahman-Atman (Self).[70]

Mundaka Upanishad
[edit]
Shri Yantra with Om (ௐ) at its center, Sri Mariamman Temple, Singapore; yantras are frequently used as aids in Hindu meditation

The Mundaka Upanishad in the second Mundakam (part), suggests the means to knowing the Atman and the Brahman are meditation, self-reflection, and introspection and that they can be aided by the symbol Om. It uses a bow and arrow analogy, where the bow symbolizes the focused mind, the arrow symbolizes the self (Atman), and the target represents the ultimate reality (Brahman).[76][77]

That which is flaming, which is subtler than the subtle,
on which the worlds are set, and their inhabitants –
That is the indestructible Brahman.[J]
It is life, it is speech, it is mind. That is the real. It is immortal.
It is a mark to be penetrated. Penetrate It, my friend.

Taking as a bow the great weapon of the Upanishad,
one should put upon it an arrow sharpened by meditation,
Stretching it with a thought directed to the essence of That,
Penetrate[K] that Imperishable as the mark, my friend.

Om is the bow, the arrow is the Self, Brahman the mark,
By the undistracted man is It to be penetrated,
One should come to be in It,
as the arrow becomes one with the mark.

— Mundaka Upanishad 2.2.2 – 2.2.4[78][79]

Adi Shankara, in his review of the Mundaka Upanishad, states Om as a symbolism for Atman (Self).[80]

Mandukya Upanishad
[edit]

The Mandukya Upanishad opens by declaring, "Om!, this syllable is this whole world".[81] Thereafter, it presents various explanations and theories on what it means and signifies.[82] This discussion is built on a structure of "four fourths" or "fourfold", derived from A + U + M + "silence" (or without an element).[81][82]

  • Om as all states of Time.
    In verse 1, the Upanishad states that time is threefold: the past, the present and the future, that these three are Om. The four fourth of time is that which transcends time, that too is Om expressed.[82]
  • Om as all states of Ātman .
    In verse 2, states the Upanishad, everything is Brahman, but Brahman is Atman (the Self), and that the Atman is fourfold.[81] Johnston summarizes these four states of Self, respectively, as seeking the physical, seeking inner thought, seeking the causes and spiritual consciousness, and the fourth state is realizing oneness with the Self, the Eternal.[83]
  • Om as all states of Consciousness.
    In verses 3 to 6, the Mandukya Upanishad enumerates four states of consciousness: wakeful, dream, deep sleep, and the state of ekatma (being one with Self, the oneness of Self).[82] These four are A + U + M + "without an element" respectively.[82]
  • Om as all of Knowledge.
    In verses 9 to 12, the Mandukya Upanishad enumerates fourfold etymological roots of the syllable Om. It states that the first element of Om is A, which is from Apti (obtaining, reaching) or from Adimatva (being first).[81] The second element is U, which is from Utkarsa (exaltation) or from Ubhayatva (intermediateness).[82] The third element is M, from Miti (erecting, constructing) or from Mi Minati, or apīti (annihilation).[81] The fourth is without an element, without development, beyond the expanse of universe. In this way, states the Upanishad, the syllable Om is indeed the Atman (the self).[81][82]
Shvetashvatara Upanishad
[edit]

The Shvetashvatara Upanishad, in verses 1.14 to 1.16, suggests meditating with the help of syllable Om, where one's perishable body is like one fuel-stick and the syllable Om is the second fuel-stick, which with discipline and diligent rubbing of the sticks unleashes the concealed fire of thought and awareness within. Such knowledge, asserts the Upanishad, is the goal of Upanishads.[84][85] The text asserts that Om is a tool of meditation empowering one to know the God within oneself, to realize one's Atman (Self).[86]

The Hindu deity Ganesha is sometimes referred to as "oṃkārasvarūpa" (Omkara is his form) and used as the symbol for Upanishadic concept of Brahman.[87][88]
Ganapati Upanishad
[edit]
See also: Ganesha § Om, and Ganapatya

The Ganapati Upanishad asserts that Ganesha is same as Brahma, Vishnu, Shiva, all deities, the universe, and Om.[89]

(O Lord Ganapati!) You are (the Trimurti) Brahma, Vishnu, and Mahesa. You are Indra. You are fire [Agni] and air [Vāyu]. You are the sun [Sūrya] and the moon [Chandrama]. You are Brahman. You are (the three worlds) Bhuloka [earth], Antariksha-loka [space], and Swargaloka [heaven]. You are Om. (That is to say, You are all this).

— Gaṇapatya Atharvaśīrṣa 6[90]

Jaiminiya Upanishad Brahmana

[edit]

The Jaiminiya Upanishad Brahmana, a Samavedic text, outlines a story where those who chant Om can achieve the same rewards as deities. However, the gods are concerned about humans ascending to their realm. To address this concern, a compromise is reached between the gods and Death. Humans can attain immortality, but it involves relinquishing their physical bodies to Death. This immortality entails an extended celestial existence after a long earthly life, where the practitioner aspires to acquire a divine self (atman) in a non-physical form, allowing them to reside eternally in the heavenly realm.[91]

Ramayana

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In Valmiki's Ramayana, Rama is identified with Om, with Brahma saying to Rama:

"You are the sacrificial performance. You are the sacred syllable Vashat (on hearing which the Adhvaryu priest casts the oblation to a deity into the sacrificial fire). You are the mystic syllable OM. You are higher than the highest. People neither know your end nor your origin nor who you are in reality. You appear in all created beings in the cattle and in brahmanas. You exist in all quarters, in the sky, in mountains and in rivers."

— Ramayana, Yuddha Kanda, Sarga 117[92]

Bhagavad Gita

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An illustration of Om from a Mahabharata manuscript, 1795, decorated with murtis of Surya, Brahma, and Vishnu to the left, Shakti (could be Maheshwari) on the chandrabindu point, and Shiva (holding a trishula) to the right

The Bhagavad Gita, in the Mahabharata, mentions the meaning and significance of Om in several verses. According to Jeaneane Fowler, verse 9.17 of the Bhagavad Gita synthesizes the competing dualistic and monist streams of thought in Hinduism, by using "Om which is the symbol for the indescribable, impersonal Brahman".[93]

"Of this universe, I am the Father; I am also the Mother, the Sustainer, and the Grandsire. I am the purifier, the goal of knowledge, the sacred syllable Om. I am the Ṛig Veda, Sāma Veda, and the Yajur Veda."

— Krishna to Arjuna, Bhagavad Gita 9.17[94][93]

The significance of the sacred syllable in the Hindu traditions, is similarly highlighted in other verses of the Gita, such as verse 17.24 where the importance of Om during prayers, charity and meditative practices is explained as follows:[95]

"Therefore, uttering Om, the acts of yagna (fire ritual), dāna (charity) and tapas (austerity) as enjoined in the scriptures, are always begun by those who study the Brahman."

— Bhagavad Gita 17.24[95][96]

Puranas

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The medieval era texts of Hinduism, such as the Puranas adopt and expand the concept of Om in their own ways, and to their own theistic sects.

Vaishnava traditions

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The Vaishnava Garuda Purana equates the recitation of Om with obeisance to Vishnu.[97] According to the Vayu Purana,[citation needed] Om is the representation of the Hindu Trimurti, and represents the union of the three gods, viz. A for Brahma, U for Vishnu and M for Shiva.[98] The Bhagavata Purana (9.14.46-48) identifies the Pranava as the root of all Vedic mantras, and describes the combined letters of a-u-m as an invocation of seminal birth, initiation, and the performance of sacrifice (yajña).[99]

In Śrī Vaiṣṇava tradition, sub-traditions differ on who has eligibility to say Oṁ, but it is generally a "nonissue" as it is not necessary for salvation. The Teṉkalai division, represented by Piḷḷailokācārya in his Parantapaṭi, allow everyone to recite the praṇava, arguing the syllable arises spontaneously from all. The Vaṭakalai division, represented by Vedāntadeśika in his Rahasyatrayasāra, disallows women and śūdras from reciting the praṇava, citing older scriptural injunctions to support the stance.[100]

Shaiva traditions

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Om symbol with a trishula at Kanaka Durga Temple, Vijayawada

In Shaiva traditions, the Shiva Purana highlights the relation between deity Shiva and the Pranava or Om. Shiva is declared to be Om, and that Om is Shiva.[101] After this, an epithet of Shiva is Omkareshwar, the Lord, Ishvara, of oṃkāra.

Shakta traditions

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In the thealogy of Shakta traditions, Om connotes the female divine energy, Adi Parashakti, represented in the Tridevi: A for the creative energy (the Shakti of Brahma), Mahasaraswati, U for the preservative energy (the Shakti of Vishnu), Mahalakshmi, and M for the destructive energy (the Shakti of Shiva), Mahakali. The 12th book of the Devi-Bhagavata Purana describes the Goddess as the mother of the Vedas, the Adya Shakti (primal energy, primordial power), and the essence of the Gayatri mantra.[102][103][104]

Other texts

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Radha and Krishna intertwined with an Om (ওঁ) and surrounded by scenes from their life

Yoga Sutra

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The aphoristic verse 1.27 of Pantanjali's Yogasutra links Om to Yoga practice, as follows:

तस्य वाचकः प्रणवः ॥२७॥
His word is Om.

— Yogasutra 1.27[105]

Johnston states this verse highlights the importance of Om in the meditative practice of yoga, where it symbolises the three worlds in the Self; the three times – past, present, and future eternity; the three divine powers – creation, preservation, and transformation in one Being; and three essences in one Spirit – immortality, omniscience, and joy. It is, asserts Johnston, a symbol for the perfected Spiritual Man.[105]

Chaitanya Charitamrita

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In Krishnava traditions, Krishna is revered as Svayam Bhagavan, the Supreme Lord himself, and Om is interpreted in light of this. According to the Chaitanya Charitamrita, Om is the sound representation of the Supreme Lord. A is said to represent Bhagavan Krishna (Vishnu), U represents Srimati Radharani (Mahalakshmi), and M represents jiva, the Self of the devotee.[106][107]

Tantrasāra

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According to the Tantrasāra of Kr̥ṣṇānanda Āgamavāgīśa, a śūdra may not be initiated with a mantra beginning with Oṁ aka praṇava.[108]

Jainism

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Painting illustrating the Jain Om symbol, from Jaipur, c. 1840
See also: Jainism and non-creationism and Jain symbols § Om

In Jainism, Om is considered a condensed form of reference to the Pañca-Parameṣṭhi by their initials A+A+A+U+M (o3m).

The Dravyasamgraha quotes a Prakrit line:[109]

ओम एकाक्षर पञ्चपरमेष्ठिनामादिपम् तत्कथमिति चेत अरिहंता असरीरा आयरिया तह उवज्झाया मुणियां
Oma ekākṣara pañca-parameṣṭhi-nāmā-dipam tatkathamiti cheta "arihatā asarīrā āyariyā taha uvajjhāyā muṇiyā".
AAAUM [or just "Om"] is the one syllable short form of the initials of the five supreme beings [pañca-parameṣṭhi]: "Arihant, Ashariri, Acharya, Upajjhaya, Muni".[110]

By extension, the Om symbol is also used in Jainism to represent the first five lines of the Namokar mantra,[111] the most important part of the daily prayer in the Jain religion, which honours the Pañca-Parameṣṭhi. These five lines are (in English): "(1.) veneration to the Arihants, (2.) veneration to the perfect ones, (3.) veneration to the masters, (4.) veneration to the teachers, (5.) veneration to all the monks in the world".[109]

Buddhism

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Om is often used in some later schools of Buddhism, for example Tibetan Buddhism, which was influenced by Hinduism and Tantra.[112][113]

In East Asian Buddhism, Om is often transliterated as the Chinese character 唵 (pinyin ǎn) or 嗡 (pinyin wēng).

Tibetan Buddhism and Vajrayana

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The mantra Om mani padme hum written in Tibetan script on the petals of a sacred lotus around the syllable hrih at the center; Om is written on the top petal in white

In Tibetan Buddhism, Om is often placed at the beginning of mantras and dharanis. Probably the most well known mantra is "Om mani padme hum", the six syllable mantra of the Bodhisattva of compassion, Avalokiteśvara. This mantra is particularly associated with the four-armed Ṣaḍākṣarī form of Avalokiteśvara. Moreover, as a seed syllable (Bīja mantra), Om is considered sacred and holy in Esoteric Buddhism.[114]

Some scholars interpret the first word of the mantra Oṃ maṇi padme hūṃ to be auṃ, with a meaning similar to Hinduism – the totality of sound, existence, and consciousness.[115][116]

Oṃ has been described by the 14th Dalai Lama as "composed of three pure letters, A, U, and M. These symbolize the impure body, speech, and mind of everyday unenlightened life of a practitioner; they also symbolize the pure exalted body, speech and mind of an enlightened Buddha".[117][118] According to Simpkins, Om is a part of many mantras in Tibetan Buddhism and is a symbolism for wholeness, perfection, and the infinite.[119]

Japanese Buddhism

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Nio statues in Kyoto prefecture of Japan, are interpreted as saying the start (open mouth) and the end (closed mouth) of syllable "AUM"[120][121]

A-un

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See also: Om mani padme hum

The term A-un (阿吽) is the transliteration in Japanese of the two syllables "a" and "hūṃ", written in Devanagari as अहूँ. In Japanese, it is often conflated with the syllable Om. The original Sanskrit term is composed of two letters, the first (अ) and the last (ह) letters of the Devanagari abugida, with diacritics (including anusvara) on the latter indicating the "-ūṃ" of "hūṃ". Together, they symbolically represent the beginning and the end of all things.[122] In Japanese Mikkyō Buddhism, the letters represent the beginning and the end of the universe.[123] This is comparable to Alpha and Omega, the first and last letters of the Greek alphabet, similarly adopted by Christianity to symbolise Christ as the beginning and end of all.

The term a-un is used figuratively in some Japanese expressions as "a-un breathing" (阿吽の呼吸, a-un no kokyū) or "a-un relationship" (阿吽の仲, a-un no naka), indicating an inherently harmonious relationship or nonverbal communication.

Niō guardian kings and komainu lion-dogs

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Main articles: Niō and Komainu

The term is also used in Buddhist architecture and Shinto to describe the paired statues common in Japanese religious settings, most notably the Niō (仁王) and the komainu (狛犬).[122] One (usually on the right) has an open mouth regarded by Buddhists as symbolically speaking the "A" syllable; the other (usually on the left) has a closed mouth, symbolically speaking the "Un" syllable. The two together are regarded as saying "A-un". The general name for statues with an open mouth is agyō (阿形; lit. "a" shape), that for those with a closed mouth ungyō (吽形; lit. "'un' shape").[122]

Niō statues in Japan, and their equivalent in East Asia, appear in pairs in front of Buddhist temple gates and stupas, in the form of two fierce looking guardian kings (Vajrapani).[120][121]

Komainu, also called lion-dogs, found in Japan, Korea and China, also occur in pairs before Buddhist temples and public spaces, and again, one has an open mouth (Agyō), the other closed (Ungyō).[124][125][126]

Some a-un pairs
  • An ungyō komainu
    An ungyō komainu
  • An agyō komainu
    An agyō komainu
  • Ungyō Niō at the Central Gate of Hōryū-ji
    Ungyō Niō at the Central Gate of Hōryū-ji
  • Agyō Niō at the Central Gate of Hōryū-ji
    Agyō Niō at the Central Gate of Hōryū-ji

Sikhism

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Main article: Ik Onkar
Ik Onkar of Sikhism

Ik Onkar (Punjabi: ਇੱਕ ਓਅੰਕਾਰ; iconically represented as ੴ) are the first words of the Mul Mantar, which is the opening verse of the Guru Granth Sahib, the Sikh scripture.[127] Combining the numeral one ("Ik") and "Onkar", Ik Onkar literally means "one Om ";[128][L] these words are a statement that there is "one God",[129] understood to refer to the "absolute monotheistic unity of God"[127] and implying "singularity in spite of the seeming multiplicity of existence".[130][M]

According to Pashaura Singh, Onkar is used frequently as invocation in Sikh scripture; it is the foundational word (shabad), the seed of Sikh scripture, and the basis of the "whole creation of time and space".[131]

Ik Onkar is a significant name of God in the Guru Granth Sahib and Gurbani, states Kohli, and occurs as "Aum" in the Upanishads and where it is understood as the abstract representation of three worlds (Trailokya) of creation.[132][N] According to Wazir Singh, Onkar is a "variation of Om (Aum) of the ancient Indian scriptures (with a change in its orthography), implying the unifying seed-force that evolves as the universe".[133] Guru Nanak wrote a poem entitled Onkar in which, states Doniger, he "attributed the origin and sense of speech to the Divinity, who is thus the Om-maker".[127]

Onkar ('the Primal Sound') created Brahma, Onkar fashioned the consciousness,
From Onkar came mountains and ages, Onkar produced the Vedas,
By the grace of Onkar, people were saved through the divine word,
By the grace of Onkar, they were liberated through the teachings of the Guru.

— Ramakali Dakkhani, Adi Granth 929-930, Translated by Pashaura Singh[131]

"Onkar" is the primordial sound/word. It is the soundless word (anahat naad or anahad naad). It is both the source as well as manifestation of the source. "Onkar" pervades the entire creation. The soundless sound is present everywhere and inside everything including us. In Sikhism, the Guru Granth Sahib is manifested form of this "Onkar". Hence, the Guru Granth Sahib is called "Shabad Guru". Shabad (word) is Guru and Guru itself is the Primordial Sound "Onkar" (God).[citation needed]

Thelema

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For both symbolic and numerological reasons, Aleister Crowley adapted aum into a Thelemic magical formula, AUMGN, adding a silent 'g' (as in the word 'gnosis') and a nasal 'n' to the m to form the compound letter 'MGN'; the 'g' makes explicit the silence previously only implied by the terminal 'm' while the 'n' indicates nasal vocalisation connoting the breath of life and together they connote knowledge and generation. Together these letters, MGN, have a numerological value of 93, a number with polysemic significance in Thelema. Om appears in this extended form throughout Crowley's magical and philosophical writings, notably appearing in the Gnostic Mass. Crowley discusses its symbolism briefly in section F of Liber Samekh and in detail in chapter 7 of Magick (Book 4).[134][135][136][137]

Modern reception

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The Brahmic script Om-ligature has become widely recognized in Western counterculture since the 1960s, mostly in its standard Devanagari form (ॐ), but the Tibetan Om (ༀ) has also gained limited currency in popular culture.[138]

In meditation

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Further information: Pranava yoga

Meditating and chanting of Om can be done by first concentrating on a picture of Om and then effortlessly mentally chanting the mantra. Meditating and mental chanting have been said[by whom?] to improve the physiological state of the person by increasing alertness and sensory sensitivity.[139][unreliable source?]

See also

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Notes

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References

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Bibliography

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Further reading

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Om

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Om (also spelled Aum) is a sacred and in , regarded as the primordial sound of the from which all creation emerges and which symbolizes the ultimate reality, . In ancient Indian scriptures, particularly the , Om is described as encompassing everything—past, present, future, and the transcendent—serving as the essence of supreme consciousness and a tool for realizing the unity of the individual self (Atman) with the cosmic whole. Composed of three phonetic elements—A (representing the waking state), U (the dreaming state), and M (deep sleep)—followed by a fourth soundless aspect (, the state of pure consciousness), Om encapsulates the four quarters of existence and is invoked in , , and rituals to align personal vibration with the universal, fostering spiritual liberation (). Its significance extends across Vedic texts like the , where it denotes the divine, and Patanjali's Yoga Sutras, which prescribe its repetition for attaining , while modern studies highlight its role in enhancing mental alertness and reducing physiological stress during chanting. Beyond , Om influences practices in , as a symbol of the infinite, underscoring its transcultural resonance in spiritual traditions.

Fundamentals

Pronunciation

In standard , Om is pronounced as a tripartite comprising A, U, and M, often rendered as AUM to reflect its composite structure. The phonological breakdown involves the 'A' sound (pronounced as "ah") articulated from the back of the , the 'U' sound (as "oo") produced from the middle of the vocal tract or , and the 'M' sound (as a hummed "mm") formed by closing the lips, followed by a period of silence that completes the utterance. In the International Phonetic Alphabet (IPA), Om is typically transcribed as [õː] or [oːm], where the tilde indicates nasalization, particularly in contexts influenced by Classical Sanskrit such as Hindustani. During Vedic chanting and ritual recitation, the syllable undergoes elongation for emphasis, with the 'M' component nasalized through anusvara (a dot-like diacritic denoting nasal resonance), and the overall chant often ascending in pitch from low to high to enhance its vibrational quality.

Written Forms

The Om symbol, known as praṇava in Sanskrit, has evolved graphically across various scripts derived from the ancient Brahmi system, reflecting regional linguistic and orthographic adaptations while preserving its core syllabic structure of a long vowel "o" nasalized with a bindu (dot) for the "m" sound. In the standard Devanagari script, prevalent in northern India and for classical Sanskrit texts, Om is represented as the single Unicode character ॐ (U+0950 DEVANAGARI OM), a ligature combining the letter ओ (U+0913 DEVANAGARI LETTER O, itself a fusion of अ + उ) and the chandrabindu (U+0901 DEVANAGARI SIGN CHANDRABINDU, a crescent-shaped nasalization mark above the letter). In linear orthography, it appears as ओम्, incorporating the anusvara (U+0902 DEVANAGARI SIGN ANUSVARA, a simple bindu for nasalization) instead of or alongside the chandrabindu when space is limited. Visually, the iconic ॐ glyph comprises three curved elements symbolizing the phonetic components "a," "u," and "m," a semicircle denoting the transitional silence (turīya state), and a surmounting dot (bindu) representing ultimate transcendence; this quaternary structure, termed the four kālas or phases, underscores the symbol's layered composition beyond mere phonetics. Regional variations in adapt this form to local , often simplifying the ligature for phonetic fidelity. In , used in southern and , Om is represented by the dedicated character ௐ (U+0BD0 TAMIL OM) in religious contexts; it can also be approximated linearly as ஓம் (U+0B92 TAMIL LETTER O + U+0BAE TAMIL LETTER MA). Bengali and Assamese scripts render it as ওঁ (U+0993 BENGALI LETTER O + U+0981 BENGALI SIGN ), omitting the elaborate curl of for a streamlined form suited to the script's rounded aesthetics, as seen in eastern Indian manuscripts. Other , such as Gujarati (ૐ, U+0AD0 GUJARATI OM, or linearly U+0A93 GUJARATI LETTER O + ) and (ਓੰ, U+0A13 GURMUKHI LETTER OO + U+0A02 GURMUKHI SIGN BINDI), follow similar linear patterns with nasal dots, emphasizing phonetic over symbolic elaboration. Adaptations in East and Southeast Asian scripts, influenced by Buddhist and Hindu transmissions, incorporate Om into non-Indic systems while retaining . In , Om is represented by the dedicated character ༀ (U+0F00 TIBETAN SYLLABLE OM), appearing in mantras like on prayer wheels and texts. Thai script, derived from Khmer and Mon, represents it linearly as โอม (U+0E42 THAI CHARACTER O ANG + U+0E21 THAI CHARACTER MO MA), used in tattoos and chants. features the sign ៚ (U+17DA KHMER SIGN KOOMUUT), commonly used as the Om symbol (known as Unalom) in Angkorian inscriptions and modern , distinct from composite vowels like ុំ (U+17BB KHMER VOWEL SIGN U + U+17C6 KHMER SIGN NIKAHIT). Beyond Indic traditions, Om is transliterated into Roman script using the (IAST) as oṃ (with a macron over "o" and underdot "ṃ" for ), or more commonly as Aum to phonetically capture the tripartite "a-u-m" pronunciation in English contexts; artistic ligatures, such as stylized calligraphic versions blending curves and dots, appear in global but adhere to the core Devanagari-inspired form for authenticity. Additionally, includes a generic Om symbol 🕉 (U+1F549 OM SYMBOL) for neutral representation independent of specific scripts.

Etymology and Origins

Linguistic Roots

The syllable Om (ॐ), known as praṇava in , traces its linguistic origins to the Proto-Indo-European (PIE) root *, an introductory particle used in invocatory or affirmative contexts, akin to marking the onset of sacred utterances or s. Alternative proposals include a Dravidian origin from *ām ("yes"), as suggested by . This etymology, proposed by Sanskritist Maurice Bloomfield in , posits Om as evolving from au through phonetic and morphological adaptations in early , where it functioned as a sonic marker for rather than a standalone word with lexical meaning. Bloomfield's analysis draws on comparative evidence from Vedic particles like atha ("now, thus"), highlighting Om's role as a primal sound evoking assent or protection in oral traditions. The first attestations of Om appear in during the middle , around 1200–1000 BCE, in the Samhitas, primarily in ritual texts where it denotes the udgītha, the resonant chant opening Sama-Veda recitations. In the Chāndogya Upaniṣad (1.1.1), dated to circa 800–600 BCE, Om is explicitly identified as the udgītha, a melodic sung at the start of sacrificial hymns to invoke , marking its integration into priestly liturgy as a condensed form of longer chants. Earlier implied uses may exist in the Ṛgveda (ca. 1500–1200 BCE), such as in hymn 1.164.39, but the syllable is not orthographically distinct until the Brāhmaṇa layers, reflecting its emergence as a specialized sacred vocable in Indo-Aryan . Semantically, Om underwent a shift from a practical —serving as an affirmative or protective in sacrifices—to a cosmic symbol by the late Vedic era (circa 1000 BCE), embodying the essence of sound itself as a generative force. This evolution is evident in texts like the Taittirīya Āraṇyaka (7.8.9), where it transitions from a liturgical tool to an abstract emblem of totality, analyzed phonetically as A-U-M to represent vibrational stages of existence. The change aligns with broader Vedic linguistic trends toward monosyllabic sacralization, condensing polysyllabic invocations into potent, reverberant forms for meditative efficacy. In , Om shares phonetic and functional parallels with sacred syllables in other Indo-European and Semitic traditions, such as the Hebrew āmēn ("verily, truly"), both serving as confirmatory affirmations in ritual speech despite distinct etymological paths—Om from *au- and āmēn from Semitic ʾ-m-n (to confirm). These similarities underscore a pattern of bilabial-nasal sounds (m) in sacred utterances, evoking finality and assent, though no direct genetic link exists between Indo-European and Afro-Asiatic lineages.

Historical Development

The sacred syllable Om, also known as Pranava, traces its origins to the , with the earliest conceptual references appearing in the (circa 1500–1200 BCE) as a primordial sacred utterance underlying chants, though the explicit term emerges later in Vedic texts. The first direct mentions occur in the Samhitas (circa 1200–1000 BCE), where Om is invoked at the beginning of sacrificial recitations to invoke divine essence. During the subsequent phase in the Brahmanas and Aranyakas (circa 1000–800 BCE), Om evolved from a ritual prefix to a central meditative tool, representing the fundamental sound of creation and the core of Vedic knowledge. Texts like the Aitareya Brahmana and Chandogya Aranyaka describe Om as the Udgitha, the resonant chant embodying cosmic harmony, used by ascetics in forest meditations to transcend sensory perceptions and attain spiritual insight. By the early centuries of the , Om spread to through maritime trade, migration, and the dissemination of Hindu and Buddhist traditions, integrating into local cultures as evidenced by its depiction in Khmer and Javanese inscriptions and temple reliefs from the CE onward. In , grammatical codifications further standardized Om; Panini's Ashtadhyayi (circa 500–400 BCE) includes rules for its phonetic formation and metrical duration, treating it as a four-matra Vedic essential for correct recitation.

Symbolic and Spiritual Significance

Philosophical Interpretations

In , Om is regarded as the sonic embodiment of , the ultimate, non-dual reality that underlies all existence. This identification stems from the recognition that Om encapsulates the totality of being, serving as both the name and the symbol of the absolute, beyond which nothing exists. , in his commentary on the , emphasizes that meditating on Om leads to the realization of the identity between the individual self (Atman) and , dissolving the illusion of duality. The syllable Om, often written as AUM, carries profound triad symbolism in , representing the cosmic functions of creation, preservation, and dissolution. The initial "A" corresponds to , the creator, evoking the expansive beginning of manifestation; the middle "U" aligns with , the preserver, symbolizing sustenance and harmony; and the concluding "M" relates to , the transformer or destroyer, signifying the dissolution that paves the way for renewal. Beyond this triad lies the silence following the utterance, interpreted as transcendence, pointing to the formless that subsumes all cycles of existence. This layered symbolism underscores Om's role as a microcosmic representation of the universe's eternal rhythm. The provides a foundational philosophical framework by delineating Om's structure across four states of , each corresponding to a quarter of the syllable and illuminating the path to . The waking state (Vaishvanara), linked to "A," involves external and engagement with gross objects through the senses. The dream state (Taijasa), associated with "U," pertains to internal subtle experiences and imaginative constructs. (Prajna), represented by "M," is a unified, blissful condition free from distinctions, where merges into undifferentiated . The fourth state, Turiya—symbolized by the silence after Om—transcends these three, embodying pure, non-dual that is the essence of itself, beyond all empirical limitations. This progression reveals Om as a meditative tool for attaining liberation by recognizing the unity of all states in the absolute. In yogic philosophy, Om relates to the (sukshma sharira), comprising the network of nadis (energy channels) and (psychic centers), facilitating the flow of (vital energy) toward spiritual awakening. Chanting Om is said to resonate through these centers, particularly activating the (crown chakra), which connects the individual to universal consciousness, while harmonizing the lower chakras to purify blockages in the subtle . Classical texts like the describe Om as the primal vibration (pranava) that aligns the subtle body's energies with the cosmic order, enabling the ascent of (latent spiritual energy) from the base to the crown. This integration underscores Om's function in bridging the physical, subtle, and causal dimensions of existence.

Universal Symbolism

Om is regarded as the primordial that underlies the structure of the in various Indian philosophical schools, particularly in Vedantic traditions, where this represents sound-Brahman, the initial emanation from the absolute, encapsulating the of creation as a cosmic hum from which all phenomena arise. The describe Om as the original sound from which all other sounds and forms emerge, signifying the Supreme Power that permeates . Ancient Indian acoustics, rooted in Vedic traditions, emphasize the precision of production in chants, transmitted orally to preserve acoustic integrity, with śabda () encompassing both audible and inaudible vibrations that generate cosmic order. This is seen in the fourfold model of speech—para (unmanifest), paśyantī (subtle), madhyamā (intermediate), and vaikhari (manifest)—originating from the subtle realm and aligning with natural wave patterns, fostering harmony between human utterance and universal frequencies. As a symbol of unity across dualities, bridges the microcosm and macrocosm in Vedantic thought, representing the interconnectedness of the individual self (atman) with the cosmic whole (). It embodies the non-dual essence where apparent oppositions—such as subject and object, finite and infinite—dissolve into a singular , with the projecting the entire as its manifestation. This linkage underscores Om's role in revealing the shared structure between personal and universal existence, promoting a holistic view of .

Role in Hinduism

Vedic and Upanishadic References

In the Vedic corpus, the syllable Om, known as Pranava, appears in association with hymns and invocations to deities, particularly within the ritualistic framework of the early Vedic texts. Although not explicitly present in the Samhita itself, the concept of Pranava emerges in the associated Brahmanas, such as the , where it is described as the sacred encapsulating breath and immortality in devotional hymns to gods like and . This early usage positions Om as a sonic emblem supporting divine communication and cosmic order during sacrificial praises. The , a principal text of the Sama Veda, elaborates Om as the quintessential essence of the entire Vedic tradition, specifically identifying it with the Udgitha, the chanted portion of the Sama Veda. In its opening chapter, the text states that the essence of the , worlds, knowledge, and ultimately the Sama Veda is the Udgitha, which is Om, rendering it the supreme worthy of for spiritual elevation (Chandogya 1.1.2-3). Further, it asserts that the threefold Vedic knowledge—encompassing rituals, hymns, and discussions—proceeds through this , establishing Om as the foundational that integrates all sacred learning and leads to when intoned properly (Chandogya 1.1.9-10). In the , affiliated with the Yajur Veda, Om is intrinsically linked to the breath and vital life force, or , through its role in the on the five sheaths of the self. The text associates the mystic utterances Bhur, Bhuvas, and Suvah—components integral to the chanting of Om—with the incoming, downward, and diffused breaths, respectively, underscoring Om's embodiment of as the sustaining energy of existence (Taittiriya 1.5.4). Moreover, Om is presented as itself, the ultimate reality that permeates the pranamaya , the vital sheath composed of breath and life forces, thereby facilitating the realization of the self through respiratory and sonic discipline (Taittiriya 1.8.1; 2.1-5). The Jaiminiya Upanishad Brahmana, connected to the Sama Veda, integrates Om into sacrificial s as the cosmic support upholding the world. In its initial verses, Om is depicted as the essence of speech and the primary utterance in Soma sacrifices, serving as the structural pillar that harmonizes ritual actions with universal stability (Jaiminiya 1.1.1-1.2). This text emphasizes Om's function in unifying , deities, and cosmic elements during ceremonies, portraying it as the imperishable that sustains the ritual and prevents disorder (Jaiminiya 3.12).

Epics, Puranas, and Sectarian Traditions

In the , part of the epic, Lord Krishna describes the syllable Om as the essential in a single , stating that one who chants it while remembering the Supreme at the time of death attains the highest liberation. This verse underscores Om's role as a liberating sound in devotional practice, emphasizing its vibration as a direct path to the divine. In the , Om features prominently in invocations to , portraying him as the embodiment of the divine sound that upholds and protects devotees. The Rama Gayatri Mantra, "Om Dasarathaye Vidmahe, Sitavallabhaya Dhimahi, Tanno Ramah Prachodayat," invokes Rama's grace through Om, integrating the epic's narrative of with sonic . This usage highlights Om as the primordial resonance underlying Rama's avataric presence. The expand Om's significance through sectarian lenses, adapting it into core for deity worship. In Vaishnava texts like the , the Ashtakshara "" serves as the foundational invocation to (), promising fulfillment of desires, removal of obstacles, and ultimate when chanted devotionally. Similarly, the extols the Panchakshara "" as the essence of Shiva's form, equating its five syllables (Na-Ma-Shi-Va-Ya) to the deity's body and attributes, granting salvation and protection from worldly ills. In Shakta traditions, the incorporates Om into bija mantras such as "Om Aim Hrim Klim Chamundayai Vicche," invoking the Goddess as the supreme power () for empowerment, victory over evil, and spiritual awakening. These sectarian mantras play a central role in temple rituals and deity worship, as prescribed in the Agama scriptures. In Vaishnava Agamas like the Pancharatra, Om initiates puja sequences, sanctifying offerings to Vishnu forms and aligning the ritual with cosmic harmony. Shaiva Agamas, such as the Kamika, mandate Om's utterance during abhisheka (anointing) and japa to awaken Shiva's lingam energy in temple settings. Shakta Agamas, including the Kularnava Tantra, use Om-prefixed mantras in yantra worship and homa (fire rituals) to invoke the Devi's dynamic presence, ensuring ritual efficacy and devotee protection. Across these traditions, Om thus bridges epic narratives with lived devotion, structuring worship as a sonic communion with the divine.

Yoga, Tantra, and Meditation Practices

In Patanjali's Yoga Sutras, the syllable Om is identified as the pranava, the sacred verbal designation of , the supreme consciousness, in 1.27: "Tasya vachakah pranavah." This designation serves as a primary tool for meditative focus, enabling practitioners to transcend mental distractions and cultivate one-pointed awareness (ekagrata) essential for . The subsequent 1.28 prescribes the repetition () and contemplation () of Om to eliminate obstacles such as doubt and dullness, thereby illuminating the path to within the framework of ashtanga yoga. Within tantric traditions, Om functions as a potent for awakening , as elaborated in Krishnananda Agamavagisha's Tantrasara. The text describes Om's vibrational essence as the primordial sound that activates the dormant at the , purifying the subtle channels (nadis) and propelling the energy upward through the central pathway (sushumna) to unite with at the . This practice involves ritualistic and visualization of Om's components—A-U-M—as corresponding to the triadic aspects of creation, preservation, and dissolution, facilitating energetic transformation and ecstatic states of awareness. Key techniques employing Om include , where the syllable is methodically repeated—typically 108 times per session using a mala—to foster mental clarity and pranic harmony, as rooted in and tantric sadhana. Complementing this is , the discipline of inner sound, in which practitioners attune to the resonant frequencies produced by vocalizing Om, progressing from external (ahata) vibrations to internal () subtle sounds that symbolize the dissolution of duality and communion with . These methods, drawn from hatha and raja texts, emphasize sustained practice to internalize Om's transformative power.

Presence in Other Dharmic Traditions

Jainism

In Jainism, the syllable Om serves as a symbolic abbreviation of the Navkar Mantra, the most essential prayer that expresses fivefold reverence to the Panch Parameshti, or five supreme beings worthy of veneration: Arihants (conquerors of inner enemies), Siddhas (liberated souls), Acharyas (spiritual leaders), Upadhyayas (preceptors), and Sadhus (ascetics). This mantra, recited daily by Jains, honors these figures not as deities but as exemplars of the path to liberation from karma, emphasizing ethical conduct, knowledge, and asceticism. The symbolism of in breaks down phonetically and visually into its components: the three "A" sounds represent Arihants, Siddhas, and Acharyas; "U" stands for Upadhyayas; and "M" for Sadhus, collectively forming A+A+A+U+M as a condensed of the Panch Parameshti. This interpretation underscores Om's role as a meditative tool for cultivating reverence toward enlightened beings who guide souls toward non-attachment and non-violence. Om features prominently in rituals centered on worship, where it is chanted during daily prayers, temple devotions, and festivals to invoke the virtues of these ford-makers across the river of existence, such as , the 24th . In both Svetambara and traditions, Om integrates into the recitation as a unifying element, though Svetambaras often emphasize its use in communal idol worship with white-clad monks, while Digambaras incorporate it in ascetic practices highlighting nudity as a of detachment; the core and remain consistent across sects. Historically, Om's integration into Jain practices occurred around the 6th century BCE during the time of , adapting the syllable from broader Indian phonetic traditions, including Vedic influences, but recontextualizing it to reject ritualistic sacrifices in favor of ascetic visualization and ethical reverence for liberated souls. This adaptation reflects Jainism's emergence as a distinct sramana tradition that repurposed shared cultural elements to emphasize personal liberation over Vedic orthodoxy.

Buddhism

In Tibetan Buddhism, the six-syllable mantra Om Mani Padme Hum holds profound significance as an invocation of Avalokiteshvara's compassion, where Om specifically acts as the purifying syllable that cleanses the practitioner's ego, ignorance, and accumulated negative karma, facilitating the union of bliss and emptiness. This mantra, widely recited in meditative practices and inscribed on prayer wheels, underscores Om's role in transforming ordinary perception into enlightened awareness, with even a single recitation credited for purifying violations of root vows. Within Vajrayana traditions, Om serves as a foundational bīja or seed syllable, encapsulating the essence of enlightened qualities and forming the basis for deity yoga visualizations. Practitioners meditate on Om—often in combinations like Om Ah Hum—to generate the mandala and form of deities such as Vairocana, where the syllable radiates light and dissolves into the visualized figure, embodying the practitioner's transformation into the deity's awakened state. This use of Om as a sonic seed highlights its potency in tantric rituals, enabling the realization of non-dual wisdom through concentrated mantra recitation and symbolic invocation. In the Japanese Shingon school of esoteric Buddhism, Om manifests symbolically as the A-un pair, derived from the Siddham script, representing the opening of the cosmic gates with "A" (the first sound, denoting birth and emptiness) and their closing with "Un" (the final sound, denoting completion and form). This duality symbolizes the full spectrum of phenomena, from inception to dissolution, integral to Shingon mandala practices and rituals conducted by Kūkai in the 9th century. Temple iconography vividly illustrates this through the Niō guardians—fierce protectors at entrances, with Agyō's open mouth intoning "A" and Ungyō's closed mouth intoning "Un"—warding off malevolent forces while embodying Vajrapani's protective energy. Likewise, komainu lion-dog statues at temple and shrine gates replicate the A-un mouth configuration, serving as apotropaic figures to safeguard sacred spaces from evil spirits since the 14th century.

Sikhism

In Sikhism, the concept of Om is reinterpreted through the central symbol and phrase Ek Onkar (ੴ), which signifies "One God" or "One Supreme Reality" and forms the foundational tenet of monotheistic belief. This expression opens the , the root verse of the , the Sikh holy scripture, where describes the divine as the singular, formless creator: "There is one God, Eternal Truth is His Name, Creator of all things, Fearless, Without Hatred, Timeless and Formless, Beyond Birth, Self-existent, Realized by the Kind Favor of the True Guru." Here, Onkar—derived from the Sanskrit , the vocalization of Om—represents the primal, all-pervading essence of the divine, but stripped of any polytheistic connotations, emphasizing absolute unity rather than a or multiplicity of deities. The term Onkar symbolizes the unity of the divine presence, often equated with (Wonderful Enlightener), the most common Sikh name for , as both evoke the singular, transcendent creator invoked throughout the . In Sikh theology, Onkar underscores the oneness of existence, where the divine is immanent in all creation yet distinct from it, fostering a monotheistic that rejects idol and hierarchical pantheons. This philosophical divergence from polytheistic traditions highlights Ek Onkar as an affirmation of , where devotion focuses on internal realization and service rather than ritualistic multiplicity. In daily Sikh practices, Ek Onkar is prominently featured in the Ardas, the communal prayer recited at the conclusion of religious services and ceremonies, beginning with "Ek Onkar, ji ka , ji ki Fateh" to invoke the one divine power and affirm the community's sovereignty under God. The symbol ੴ, rendered in script, adorns the entrances of Gurdwaras (Sikh temples), the , and personal artifacts, serving as a visual reminder of divine unity and often chanted during to cultivate spiritual focus. This integration reinforces Om's adapted role in as a meditative tool for connecting with the formless absolute, distinct from its Vedic origins.

Interpretations in Other Traditions

Thelema and Western Esotericism

In the late 19th century, Helena Petrovna Blavatsky played a pivotal role in introducing the symbol and significance of Om (or Aum) to Western esotericism through her foundational Theosophical writings, particularly The Secret Doctrine. She interpreted Aum as the sacred syllable embodying the primordial sound of creation, syncretizing it with Western and ancient traditions by equating it to the Greek Aiōn (eternity or cosmic cycle) and the Roman Aevum (eternal duration), representing the universal All or Pan. This portrayal positioned Aum not merely as a Hindu mantra but as a universal esoteric key to cosmic unity, bridging Eastern mysticism with Hermetic and Neoplatonic philosophies, thereby influencing the Theosophical Society's emphasis on hidden wisdom across cultures. Blavatsky's works further impacted New Thought movements by promoting vibrational sound principles akin to Aum for mental and spiritual transformation within Western psychological and metaphysical frameworks. Aleister Crowley, building on Theosophical foundations while developing his own system of Thelema, reinterpreted Om as a vibrational key in ritual practice, most notably through the formula AUMGN outlined in Magick in Theory and Practice. This five-letter extension of the Sanskrit AUM—symbolizing negative unity (A), the manifested son (U), death (M), and generation with knowledge (GN)—serves as a Thelemic mantra encapsulating the creative process of the universe, with a gematric value of 93 equating to "Thelema" itself (will). In Liber Samekh, Crowley further described it in terms of breath: from free breath (A), through willed breath (U), stopped breath (M), to continuous breath (GN). Crowley emphasized its use in invocations to align the practitioner with the Aeon of Horus, transforming the traditional Hindu pranava into a tool for personal gnosis and magical operation, chanted to vibrate through the body and subtle planes during meditation and ceremonial work. Thelemic symbolism further integrates Om with Egyptian elements, reflecting Crowley's syncretic vision where Hindu vibrational mysticism merges with the solar and hawk-headed deities of Liber AL vel Legis, such as and Ra-Hoor-Khuit, to symbolize the awakening of divine will amid cosmic cycles. In practices like the Gnostic Mass, AUMGN is intoned thrice during the Introit (including the Creed) and thrice during the consummation of the elements to invoke attention, purify the space, and facilitate union of opposites, echoing Egyptian resurrection motifs while drawing on Aum's creative resonance. Chanting extends to within , where calls are vocalized with mantric intensity, sometimes incorporating Aum-like forms (e.g., OM-EL-OM-IA from the elemental tablets) to amplify angelic invocations and , blending John Dee's angelic language with Eastern sonic for transcendent communion. In the post-1960s New Age movement, the Om symbol and chant gained prominence as emblems of spiritual unity and holistic wellness, often detached from their Vedic origins and integrated into Western practices like yoga and meditation. This era saw Om adopted in yoga studios worldwide, where it is commonly chanted at the beginning and end of sessions to invoke focus and closure, reflecting the movement's emphasis on Eastern mysticism for personal transformation. Wellness apps such as Insight Timer feature guided Om chant sound baths, layering the mantra with ambient sounds to promote relaxation and mindfulness, making it accessible for daily digital routines. Similarly, modern sound baths at centers like OHM Center incorporate Om mantra chanting alongside crystal bowls to facilitate deep relaxation and energetic balance. Om has permeated popular media, appearing as a symbol of enlightenment and exotic . In music, ' 1960s exploration of during their Rishikesh retreat influenced tracks like "Within You Without You," where incorporated Eastern sounds and concepts akin to Om's vibrational essence, popularizing such elements in Western rock. In films, Om features in wellness-themed narratives, such as sequences in "" (2010), where the chant underscores personal awakening. Tattoos of the Om have become a staple of celebrity and , with stars like inking it in 2011 as a mark of , contributing to its mainstream aesthetic appeal on and trends. Scientific research since the 2010s has explored Om chanting's physiological impacts, particularly on brainwaves and stress reduction. Studies using (EEG) show that Om chanting increases and alpha brainwave activity, associated with relaxation and reduced anxiety. Additional research indicates modulation of the processing of negative stimuli in the . Heart rate variability analyses indicate enhanced activation post-chanting, lowering stress markers like and , with effects more pronounced in experienced practitioners. These findings, drawn from controlled trials, position Om as a non-invasive tool for , though researchers emphasize the need for larger longitudinal studies. As of , ongoing research continues to affirm these benefits, with studies showing improvements in sleep quality, cardiovascular parameters, and cognitive functions following regular Om chanting. Debates on cultural appropriation highlight tensions between Western commercialization of and its traditional reverence in . Scholars argue that adorning studios, apparel, and apps with the Om symbol often strips its sacred context as the primordial sound of creation, turning it into a commodified aesthetic for profit. This practice, amplified by consumerism since the 1970s, risks diluting its spiritual depth, prompting calls for ethical engagement that honors origins over superficial trends.

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