Wa He Guru Painting

Q: study of life Wahe Guru Meditation Taught by Yogi Bhajan on 1/14/1972 This meditation is said to bring a state of calmness and joy to the mind. If practiced several times, the eyes will automatically lock at the third eye point when you inhale. It will even be hard to come out of it. The calmness comes as you consciously unite with the parts of yourself. Posture: Sit with the spine erect in a meditative posture. Eyes, Focus, and Mantra: Fix the eyes at the tip of the nose. Turn the head to the left, bringing the chin over the shoulder and chant Wahe. Then turn the head to the right while chanting Guru. Time: Continue for 11 to 31 minutes. To End: Inhale deeply and immediately meditate at the third eye point for several minutes. In this kriya we focus on the union of the lower and higher triangles. The triangles are formed by the tip of the nose and the two eyes and the brow point and the two eyes; bringing the lower in to the higher is the highest intercourse. When established in the subconscious, it becomes a divine intercourse into ecstasy. Waheguru (Punjabi: ਵਾਹਿਗੁਰੂ, romanized: vāhigurū) refers to the almighty God, the supreme soul, the creator in Sikhism. The word vāhegurū is traditionally explained as vāh "wondrous" + guru "teacher", together said to carry the meaning, "The wondrous Lord/teacher who dispels the darkness of ignorance and bestows the light of truth, knowledge and enlightenment". The word Vāhigurū or Waheguru is also used in Sikhism as a main mantra, called gurmantra or gurmantar. We’ve all come to a point during a particularly tough day when we feel as though we’ve reached our breaking point. However, taking a moment out of your busy life to focus on your breath could be extremely beneficial for your mental health, both in the short and long term. Using a simple breathing technique to soothe your mind is not only effective, but also very easy to learn. The “coherent breathing” method was invented by Stephen Elliott, life scientist and author of The New Science of Breath. Elliott has previously studied different forms of yoga taught in China, Kashmir and India, which inspired the development of coherent breathing. Coherent breathing involves becoming more conscious of the way you inhale and exhale, breathing at an approximate frequency of five breaths per minute. While this concept may not sound particularly groundbreaking, Elliott assures that doing so can have a hugely positive impact on your overall wellbeing. Singing for Breathing has been demonstrated to reduce anxiety about breathing difficulty and increase confidence in self-managing everyday activity and living. Participants have described engaging in more social and valued activities and experience less difficulty breathing. Singing for Breathing aims to improve the quality of life, health and wellbeing of those who have been diagnosed with a respiratory condition. The intended outcome is that individuals have increased confidence to self-manage their condition. Slow breathing practices have been adopted in the modern world across the globe due to their claimed health benefits. This has piqued the interest of researchers and clinicians who have initiated investigations into the physiological (and psychological) effects of slow breathing techniques and attempted to uncover the underlying mechanisms. The aim of this article is to provide a comprehensive overview of normal respiratory physiology and the documented physiological effects of slow breathing techniques according to research in healthy humans. The review focuses on the physiological implications to the respiratory, cardiovascular, cardiorespiratory and autonomic nervous systems, with particular focus on diaphragm activity, ventilation efficiency, haemodynamics, heart rate variability, cardiorespiratory coupling, respiratory sinus arrhythmia and sympathovagal balance. The review ends with a brief discussion of the potential clinical implications of slow breathing techniques. This is a topic that warrants further research, understanding and discussion. Key points • Slow breathing practices have gained popularity in the western world due to their claimed health benefits, yet remain relatively untouched by the medical community. • Investigations into the physiological effects of slow breathing have uncovered significant effects on the respiratory, cardiovascular, cardiorespiratory and autonomic nervous systems. • Key findings include effects on respiratory muscle activity, ventilation efficiency, chemoreflex and baroreflex sensitivity, heart rate variability, blood flow dynamics, respiratory sinus arrhythmia, cardiorespiratory coupling, and sympathovagal balance. • There appears to be potential for use of controlled slow breathing techniques as a means of optimising physiological parameters that appear to be associated with health and longevity, and that may extend to disease states; however, there is a dire need for further research into the area. A Workout to Increase Oxygen Capacity So how would this type of oxygen-capacity-improving workout actually be structured? Here’s a sample bicycle workout to increase oxygen capacity: Warm-up 5-10 minutes by pedaling easy. Prepare the body for the oxygen capacity efforts by doing five hard 30 second efforts, each separated by 60 seconds of recovery. Now, on to the good stuff! Perform three to five efforts of three to five minutes of very hard pedaling, with three to five minute of easy pedaling after each effort. Each of the hard pedaling efforts should be at your maximum sustainable pace. Cool-down until you’re breathing easy. What you actually see on the canvas The contemporary spiritual art in this publication has an effect in the world. It changes minds, broad¬ens understanding, and transforms lives. It is the embodiment of the artists’ spiritual experi¬ence, and it means to evoke the same in us. Such works are dynamic agents of the spiritual: they provide a sense of plentitude, a healing place of respite, allow us to see anew as if for the first time, and celebrate our uniqueness and difference as well as our common human¬ity. The possibilities are endless. My visual signature excites the mind and engages the viewer from a considerable distance. Understanding Texture in Art At its most basic, texture is defined as a tactile quality of an object's surface. It appeals to our sense of touch, which can evoke feelings of pleasure, discomfort, or familiarity. Artists use this knowledge to elicit emotional responses from people who view their work. The reasons for doing so vary greatly, but texture is a fundamental element in many pieces of art. Take rocks, for example. A real rock might feel rough or smooth and it definitely feels hard when touched or picked up. A painter depicting a rock would create the illusions of these qualities through the use of other elements of art such as colour, line, and shape. Textures are described by a whole host of adjectives. Rough and smooth are two of the most common, but they can be further defined. You might also hear words like coarse, bumpy, rugged, fluffy, lumpy, or pebbly when referring to a rough surface. For smooth surfaces, words like polished, velvety, slick, flat, and even can be used. Texture in Two-Dimensional Art Artists working in a two-dimensional medium also work with texture and the texture may either be real or implied. Photographers, for instance, almost always work with the reality of texture when creating art. Yet, they can enhance or downplay that through the manipulation of light and angle. In painting, drawing, and printmaking, an artist often implies texture through the use of brushstrokes lines as seen in crosshatching. When working with the impasto painting technique or with collage, the texture can be very real and dynamic. Watercolour painter Margaret Roseman, said, "I aim for an abstract element of a realistic subject and use texture to add interest and suggest depth." This sums up the way many two-dimensional artists feel about texture. Texture is something that artists can play with through the manipulation of their medium and materials. For instance, you can draw a rose on a rough textured paper and it won't have the softness of one drawn on a smooth surface. Likewise, some artists use less gesso to prime canvas because they want that texture to show through the paint they apply to it. Texture Is Everywhere As in art, you can see texture everywhere. To begin to correlate reality with the artwork you see or create, take the time to really notice the textures around you. The smooth leather of your chair, the coarse grains of the carpet, and the fluffy softness of the clouds in the sky all invoke feelings. As artists and those who appreciate it, regular exercise in recognizing texture can do wonders for your experience. Colour Is the element of art that is produced when light, striking an object, is reflected back to the eye: that's the objective definition? But in art design, colour has a slew of attributes which are primarily subjective. Those include characteristics such as harmony — when two or more colours are brought together and produce a satisfying effective response; and temperature — a blue is considered warm or cool depending on whether it leans towards purple or green and a red whether it leans towards yellow or blue. Subjectively, then, colour is a sensation, a human reaction to a hue arising in part from the optic nerve, and in part from education and exposure to colour, and perhaps in the largest part, simply from the human senses. Early History The earliest documented theory of colour is from the Greek philosopher Aristotle (384–322 BCE), who suggested that all colours came from white and black. He also believed that four basic colours represent elements of the world: red (fire), blue (air), green (water), and gray (earth). It was the British physicist and mathematician Isaac Newton (1642–1727) who figured out that clear light was made up of seven visible colours: what we call (red, orange, yellow, green, blue, indigo, and violet). Colours today are defined by three measurable attributes: hue, value, and chroma or intensity. Those attributes were scientifically operationalized by the Peter Mark Roget of colour, Boston artist and teacher Albert Henry Munson (1858–1918). The Science of Colour Munson attended the Julian Academy in Paris and won a scholarship to Rome. He held exhibits in Boston, New York, Pittsburgh, and Chicago, and taught drawing and painting at the Massachusetts School of Art between 1881 to 1918. As early as 1879, he was having conversations in Venice with the design theorist Denman Waldo Ross about developing a "systematic colour scheme for painters, so as to determine mentally on some sequence before laying the palette." Munson eventually devised a scientific system for classifying all colours with standard terminology. In 1905, he published "A Colour Notation," in which he scientifically defined colours, precisely defining hue, value, and chroma, something that scholars and painters from Aristotle to da Vinci had longed for. Munson's operationalized attributes are: • Hue: the colour itself, the distinctive quality by which one can distinguish one colour from another, e.g., red, blue, green, blue. • Value: the brightness of the hue, the quality by which one distinguishes a light colour from a dark one, in the range from white to black. • Chroma or intensity: the quality that distinguishes a strong colour from a weak one, the departure of a colour sensation from that of white or gray, the intensity of a colour hue. My art does not sit with any of the major art movements, all I can say is that all the art schools sit comfortably within my scope. Part of the joy of painting in the 21st century is the wide range of available forms of expression. The late 19th and 20th centuries saw artists make huge leaps in painting styles. Many of these innovations were influenced by technological advances, such as the invention of the metal paint tube and the evolution of photography, as well as changes in social conventions, politics, and philosophy, along with world events. This list outlines seven major styles of art (sometimes referred to as "schools" or "movements"), some much more realistic than others. Although you won't be part of the original movement—the group of artists who generally shared the same painting style and ideas during a specific time in history—you can still paint in the styles they used. By learning about these styles and seeing what the artists working in them created and then experimenting with different approaches yourself, you can begin to develop and nurture your own style. Realism Realism, in which the subject of the painting looks much like the real thing rather than being stylized or abstracted, is the style many people think of as "true art." Only when examined close up do what appear to be solid colours reveal themselves as a series of brushstrokes of many colours and values. Realism has been the dominant style of painting since the Renaissance. The artist uses perspective to create an illusion of space and depth, setting the composition and lighting such that the subject appears real. Leonardo da Vinci's "Mona Lisa" is a classic example of the style. Painterly The Painterly style appeared as the Industrial Revolution swept Europe in the first half of the 19th century. Liberated by the invention of the metal paint tube, which allowed artists to step outside the studio, painters began to focus on painting itself. Subjects were rendered realistically, however, painters made no effort to hide their technical work. As its name suggests, the emphasis is on the act of painting: the character of the brushwork and pigments themselves. Artists working in this style don't try to hide what was used to create the painting by smoothing out texture or marks left in the paint by a brush or other tool, such as a palette knife. The paintings of Henri Matisse are excellent examples of this style. Impressionism Impressionism emerged in the 1880s in Europe, where artists such as Claude Monet sought to capture light, not through the detail of realism, but with gesture and illusion. You don't need to get too close to Monet's water lilies or Vincent Van Gogh's sunflowers to see the bold strokes of colour, however, there's no doubt what you're looking at. Objects retain their realistic appearance yet have a vibrancy about them that's unique to this style. It's hard to believe that when the Impressionists were first showing their works; most critics hated and ridiculed it. What was then regarded as an unfinished and rough painting style is now beloved and revered. Expressionism and Fauvism Expressionism and Fauvism are similar styles that began to appear in studios and galleries at the turn of the 20th century. Both are characterized by their use of bold, unrealistic colours chosen not to depict life as it is, but rather, as it feels or appears to the artist. The two styles differ in some ways. Expressionists, including Edvard Munch, sought to convey the grotesque and horror in everyday life, often with hyper-stylized brushwork and horrific images, such as he used to great effect in his painting "The Scream." Fauvists, despite their novel use of colour, sought to create compositions that depicted life in an idealized or exotic nature. Think of Henri Matisse's frolicking dancers or George Braque's pastoral scenes. Abstraction As the first decades of the 20th century unfolded in Europe and America, painting grew less realistic. Abstraction is about painting the essence of a subject as the artist interprets it, rather than the visible details. A painter may reduce the subject to its dominant colours, shapes, or patterns, as Pablo Picasso did with his famous mural of three musicians. The performers, all sharp lines and angles,don’t look the least bit real, yet there's no doubt who they are. Or an artist might remove the subject from its context or enlarge its scale, as Georgia O'Keeffe did in her work. Her flowers and shells, stripped of their fine detail and floating against abstract backgrounds, can resemble dreamy landscapes. Abstract Purely abstract work, like much of the Abstract Expressionist movement of the 1950s, actively shuns realism, revelling in the embrace of the subjective. The subject or point of the painting is the colours used, the textures in the artwork, and the materials employed to create it. Jackson Pollock's drip paintings might look like a gigantic mess to some, but there's no denying that murals such as "Number 1 (Lavender Mist)" have a dynamic, kinetic quality that holds your interest. Other abstract artists, such as Mark Rothko, simplified their subject to colours themselves. Colour-field works like his 1961 masterwork "Orange, Red, and Yellow" are just that: three blocks of pigment in which you can lose yourself. Photorealism Photorealism developed in the late 1960s and '70s in reaction to Abstract Expressionism, which had dominated art since the 1940s. This style often seems more real than reality, where no detail is left out and no flaw is insignificant. Some artists copy photographs by projecting them onto a canvas to accurately capture precise details. Others do it freehand or use a grid system to enlarge a print or photo. One of the best-known photorealistic painters is Chuck Close, whose mural-size headshots of fellow artists and celebrities are based on snapshots. • Abstract Expressionism • Art Noveau • Avant-garde • Baroque • Classicism • Conceptual Art • Constructivism • Cubism • Dada / Dadaism • Expressionism • Fauvism • Futurism • Impressionism • Installation Art • Land Art / Earth Art • Minimalism • Neo-Impressionalism • Neo-Classicism • Performance Art • Pointillism • Pop Art • Post-Impressionism • Rococo • Surrealism • Suprematism .Each petals have a character, of their own . Looking beyond colours on canvas. . Spiritual tesseract. .Strong visual signature. . The name of the pattern .and the meaning Waheguru is the name used by Sikhs when referring to God. It is a compound of several words: Wahe - wonderful, awe-inspiring. Gu - dark gooey attachment. Roo - a (liberating) ray of light. The word guru refers to a religious guide or teacher guide. Waheguru means wondrous enlightener. The Sikh scripture Guru Granth teaches that with grace, salvation may be attained by meditating on Naam, or the identity of the divine enlightener. Sikhs are encouraged to remember God always, by a method known as simran. Instruction is given during initiation at the time of baptism to recite Gurmanter, a term which means mantra of Waheguru. Gurmanter is to be recited as a meditation in the Amritvela early morning hours, and also throughout the day. Pronunciation Vaahi gu roo: The Gurmukhi letter for W is close to the sound of V and is pronounced with the teeth touching the lower lip. Alternate Spellings Waheguroo, Vaheguru, Vaahiguroo Examples The scriptures of Gurbani emphasizes the importance of contemplating and praising Waheguru: The word Waheguru appears 13 times in the Scripture of Guru Granth Sahib in a series of divine hymns composed by the Bhatt minstrel Gyand which praise the excellence of the Wondrous Enlightener. This verse is one example: "Vaahehguroo Vaaheguroo Vaaheguroo Vaahe jeeo || Waahe Guru, Waahe Guru, Waahe Guru, Waahe Jee-o. Kaval nain madhur bain kott sain sang sobh kehat maa jasod jiseh dehee bhaat khaahe jeeo || Lotus-eyed, sweet of speech, exalted and embellished with millions of companions, Mother Yashoda invited Thee [as Krishna] to partake sweet rice and curd. Daekh roop at anoop moh mehaa mag bhee kinkanee sabad jhanatakaar khael paahe jeeo || Seeing Thy supremely beautiful form, and hearing the musical tinkling of Thy silver bells when Thee played, intoxicated the mother with loving delight. Kaal kalam hukam haath kehhu koun maett sakai ees banmya gyaan dhyaan dharat heeai chaahe jeeo || Death's pen is commanded by Thy hands, who can erase Thy writ? Shiva and Brahma meditate yearning to enshrine Thy spiritual wisdom in their hearts. Sat saach sree nivaas aad purakh sadhaa tuhee vaaheguroo vaaheguroo vaaheguroo vaahe jeeo ||1||6||Thou are forever just and true, the abode of Excellence, the Primal Supreme Being. Waahe Guru, Waahe Guru, Waahe Guru, Waahe Jee-o. "||1||6|| SGGS 1402 Sikhs are ultimately meant to contemplate Waheguru with every thought, deed, and breath. Fifth Guru Arjan Dev wrote: "Baitat ootat sovat jaagat visar naahee toon saas giraasaa ||1|| rehaao|| Sitting down, standing up, while sleeping or awake with each morsel of food, and every breath I never forget You." ||1||Pause|| SGGS||378 First, let’s discuss the meaning of Waheguru because it’s been mistranslated many times by people to give their message, which is wrong. Waheguru name started from Guru Nanak Dev ji, someone in the answer said that it’s at the time of Guru Teg Bahadur Sahib ji, which is wrong. I have said many times that it’s okay if we do not have the answer. There’s no need to write a wrong answer or copy paste from some website. ਨਾ ਹਮ ਹਿੰਦੂ ਨ ਮੁਸਲਮਾਨ ॥ ਅਲਹ ਰਾਮ ਕੇ ਪਿੰਡੁ ਪਰਾਨ ॥੪॥ I am neither a Hindu, nor am I a Muslim. My body and breath of life belong to the Great Almighty (Allah-Raam). ਪੂਜਾ ਕਰਉ ਨ ਨਿਵਾਜ ਗੁਜਾਰਉ ॥ ਏਕ ਨਿਰੰਕਾਰ ਲੇ ਰਿਦੈ ਨਮਸਕਾਰਉ ॥੩॥ I do not perform Hindu worship services, nor do I offer the Muslim prayers. I have taken the One Formless Lord into my heart; I humbly worship Him there.

Painting:Gouache on Canvas

Original:One-of-a-kind Artwork

Size:48 W x 48 H x 1 D in

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.