Churning of the Milky Ocean
at the Dawn of Time


The Churning of the Sea Milk, painting, Punjab Hills, 19th Century


In his book, Myth, Ritual and Religion, Andrew Lang wrote that, "...nothing in all mythology is more difficult than the attempt to get a clear view of the gods of Vedic India". For centuries the many-armed, multi-headed creatures of the Vedic pantheon have eluded all attempts at scholarly categorization. As a consequence, the myths and hymns of the ancient Rishis have become regarded as simply curious stories of a primitive and barbarous people who made ritual sacrifices to the powers of nature in order to increase their agricultural bounty. It appears however that the ancient Vedic civilization was much more sophisticated than modern scholars had ever imagined. While these strange stories remain tantalizingly obscure to the unenlightened, it has been revealed that the myths and hymns of Vedic India conceal an initiatic knowledge on the order of the Eleusinian and Orphic mysteries. Commentaries on the Veda by the philosopher/sage Sri Aurobindo, have disclosed that the Vedic gods and goddesses were invested with deep Psychological conceptions as well as representing the Powers and Personalities of the Supreme Godhead.
Yet even more complex is their embodiment of important cosmological concepts which have become all but lost to modern scholars. Chief among these cosmic concepts is the creation of the Axis as described in the classic Vedic myth, 'The Churning of the Milky Ocean at the Dawn of Time'. According to Patrizia Norelli-Bachelet, the leading authority in Vedic Cosmology, the concept of the "Axis" is the most important cosmic realization ever to come into being and it lies at the core of the Rishis' obsession with alignment. "In fact', writes Norelli-Bachelet, 'one could say that all of Vedic spirituality is an expression of this axial alignment." The classic Churning myth recounts the creation of that axis and its profound Cosmogonic significance.

One of the most important concepts in Indian metaphysics is the principle of Dharma or duty. It is the rule of law or action which literally holds things together. In the Vedic conception of the universe, this principle is expressed in the delicate balance of opposing forces, exemplified by the gods in their struggle against the demons. Thus good and evil, light and darkness and creation and destruction are all integral parts of this dharmic process. The dynamics of our evolving universe are expressed in the tensions of the conflict between these forces.

Over the great cycles of time the Dharma begins to degenerate and the balance between the forces of light and darkness becomes lost. The Demons, ever watchful for an opportunity to gain the upper hand, seize the moment and chaos reigns in the upper and lower kingdoms. As a result of this disorder, things of great value are lost, the most important of which is "Amrita", the cream of the great Milk Ocean whose absence threatens the very existence of the universe. After complaints from Indra, warrior king of the three worlds, to Brahma, the creator, the god Vishnu is called to restore the Dharma and the cosmic order.

According to the myth, Vishnu, the preserver, devised a plan to restore order and set the mighty axis in motion and churning once more. By insisting on the co-operation of both the gods and the demons his plan was to activate the dynamic equilibrium by churning the great Milk Ocean using Mount Meru as a churning stick. However, the weight of Mount Meru was such that it began to sink into the soft bed of the Milk Ocean and so Vishnu assumed the form of the Tortoise, Kurma, whose curved back became the stable support and pivot upon which the churning stick could rest. He then called on the cosmic serpent Vasuki who conveniently wrapped himself around the Mount Meru axis, as a churning rope. Following a ruse by Vishnu which convinced the demons that the gods wanted to hold Vasuki's head, they became irate and insisted that the demons should take the head and the gods the tail. Thus the demons and the gods took opposite ends of the cosmic serpent and the churning process began. Unbeknownst to the demons, as the churning progressed Vasuki's breath became hot and out of his mouth came poisonous fumes which suffocated the demons while the gods, at the tail, were refreshed by cool ocean winds. As the churning of the Milk Ocean continued, treasures began to appear in the manner as butter might emerge from the churning of cream. Most important of the treasures was Amrita, the nectar of immortality. Surabhi, the cow of plenty also emerged from the churning process as did Airavata, a beautiful white elephant and Uchchaisravas the white horse. However, as these treasures arose so did a poison which the myth tells us was consumed by Shiva in order to save the world. The poison was caught in Shiva's throat which turned his neck blue but it also purified the serpent Vasuki which Shiva thereafter wore as his girdle.

Many treasures appeared as the churning continued but the demons were interested in only one thing, the Amrita, which was borne in a cup by Dhanwantari, the physician of the gods. When Dhanwantari appeared, both gods and demons dropped Vasuki and rushed to seize the Amrita. The demons reached it first and made off with it but they began to quarrel over which of them should be first to drink. As they argued, there appeared among them a girl named Mohini, the most beautiful woman they had ever seen. Having been enchanted by her charms the demons asked Mohini how to apportion the Amrita and promised to abide by her decision. Mohini pointed out that since the gods and demons had labored equally to produce the Amrita, that the gods were also entitled to a share. Reluctantly the demons agreed since they had made a promise. Then Mohini insisted that the gods and demons face each other in two long rows. She began to pass down the row of gods giving each a drink of the Amrita. But as she reached the end of the row, she suddenly vanished and the cup of Amrita vanished with her. For Mohini was none other than Vishnu in a female incarnation. A fight immediately broke out between the gods and the cheated demons but the gods, strengthened by the Amrita won an easy victory.

This charming tale, while extraordinarily simple, contains the details of a profound occult process. It illustrates the 'alchemical' dynamic between two opposing forces which generates the passage from chaos to cosmos. The most important aspect of the churning tale is the creation of an axial alignment, a stable point around which the dynamic motion occurs. In the process of churning, treasures emerge like butter rising from the working of the cream. Gifts appear which can only come into being through the dynamism of the creative process. Alchemically, this means that at the core of mass it is Time's energy which can be found and then released and this is what permits the 'treasures' to arise. Out of the churning and all that follows comes a new cosmic alignment. The Dharma is once again restored and harmony rules throughout the worlds.

The myth is not simply a tale of Vedic times and cosmic battles, but an eternal parable which reveals the ebb and flow of great civilizations. Throughout the ages humanity goes through alternating periods of light and darkness. When chaos reigns, the ancient texts refer to this period as the "Kali Yuga", or age of degeneration. It is described in the Vishnu Purana as a time when vice and injustice mount the throne: when society reaches a stage, where property confers rank, wealth becomes the only source of virtue, passion the sole bond of union between husband and wife, falsehood the source of success in life, sex the only means of enjoyment, and when outer trappings are confused with inner religion. Then say the sages, we are in the Kali-Yuga - the Dark Age - the world of today. At that time, between the two ages, the god Vishnu will take birth upon the earth as the Avatar. He will revisit the world in visible form, and by his influence and teachings He will destroy evil and injustice and reestablish the eternal truths of the Sanatana Dharma.

In the following article, Patrizia Norelli-Bachelet discusses the relevance of the 'Churning Myth' in our contemporary culture and details its connection with the process surrounding the construction of the Shadow Temple in Auroville which was built in the Mother's name.

RW


The Evolutionary Avatar in the Cosmic Harmony
and in Contemporary Vedic Culture
The Vishaal Newsletter, June 1993 - Vol. 8, Number 2
by: Patrizia Norelli-Bachelet

In a very distant past Vedic civilisation sent out waves beyond the boundaries of the subcontinental mass of the Capricorn hieroglyph. These carried seeds of the culture, some of which may still be recognised. One such is the great temple at Angkor Vat in Cambodia. I mention this particular example of Vedic culture beyond the Capricorn border because it is clear that in its construction there was an attempt to capture a most essential part of the ancient Veda. This was indeed the case as the temple of Angkor Vat depicts the wonderful myth of the Churning of the Milky Ocean at the dawn of time. There is the Mountain in the larger lines of the structure, as in all Hindu temples, and then the bas-reliefs which recount this magnificent tale. Indeed, perhaps the most exquisite is the depiction of the act of churning with its clear axial alignment conveyed in stone via the harmony of the design. There are the gods, the titans, the Tortoise upon which Vishnu conducts the operation and who is Vishnu himself, as the Serpent Vasuki is pulled and movement begins.

For this is the, meaning of the myth. It is the birth or that which moves, and hence of time as it evolves in our material universe from the seed of Itself. From this churning the primordial mass then throws up diverse 'treasures' which can only come into being through a stirring of this mass. Statics do not create. It is only dynamism that can generate the creative Energy.

Time is the motor of this great Machine, this mighty 'mountain', as we have seen in The Magical Carousel. In the deepest heart of the Mountain the essence of creation is found, which is Time. The meaning is that at the core of mass it is time's energy which can be found and then released; similar to the release experienced in the Great Churning which permits the treasures to arise.

The goal of this portion of our study is to demonstrate factually the manner in which the essence of the Veda is brought forth again in a contemporary 'act of churning', as it were. I wish to demonstrate with solid evidence how this is achieved not only by highlighting certain perhaps recondite aspects of the myth but also by indicating in which way this essence is 'extracted' in today's great Churning. The result is the re-establishment of the Vedic Dharma in the only way appropriate to its original essence - that is, through the lived experience.

This has been demonstrated regarding myth itself and a contemporary seeing along those very lines. Now we shall carry over this vision into the actual temple; but not of antiquity. We shall locate this same 'mountain' in the Mother's design of her Temple, but at the same time we shall come upon the release engendered by Time when the 'churning' began, or the moment the temple construction moved from its static to dynamic mode; or the transition of the construction from the plan stage to the beginning in time of the actual construction process. This was in early 1971, a most appropriate year in that it marked the beginning of the last three enneads of this millennium, 1971 to 1998, certainly the most important 27 years of our period of recorded history, though this may not be appreciated by the layman. For the importance of these 27 years lies in the recondite dismantling of the binary creation, the supreme achievement of this Age.

In a manifestation of this order there are various stages to be respected. The first is the Seeing, as when the Mother first entered this Chamber in the Subtle dimension. As such it was the seed of the entire experience. This Seeing covered the first days of January, 1970. It was as if veils were drawn aside and her luminous Eye cast light into that 'hidden chamber closed and mute'. And there lay the Treasures.

From that point the 'churning' began, particularly from the time the actual construction was set on its way, a date and hour set by the Mother herself. Later, on the actual foundation stone she wrote, Om.

What I wish to highlight is the fact that in a most precise manner the experience of constructing this temple reenacted the Churning of the Milky Ocean myth. Treasures arose as well as an initial poison, as the myth conveys, duly consumed by Shiva. Therefore he is also known as Neelakanta, or the Blue-Throated One, because the poison remained blocked in his throat and turned it blue. By this magnanimous act he saved the world. Shiva is also known as Mahakala, the Great Time. In what way might Time then be connected to the generation of poison as well as the treasures that followed? And what role might Shiva play? These questions are answered in the Puranic tales themselves. But our desire is to find the answers, the same as of old, in contemporary history in the making.

To begin, let me demonstrate how the Vedic temple is reestablished in and through the Mother's vision, and how all its essential features are not only captured in her original plan but enhanced, rendered in stone in an unparalleled exaltation of that original truth-seeing of old.

The Churning of the Milky Ocean myth has several versions, some quite elaborate in detail. For the purpose of our study we need only dwell on certain essential features or greater lines of the tale. We note therefore that the stage is set for the act by descriptions of the great commotion among forces occupying the three worlds and that the powers inhabiting these realms, or dimensions, appeal to Brahma, the Creator, to come to their succour and put order therein. Brahma, in turn, sends them to Vishnu, the Preserver, who himself carries out the great Churning. Thus order or cosmos comes into being.

The myth is concerned primarily with establishing the central role of the Axis in creation. This much is very clear. But there is more involved and this has reference to certain important or key features of our material dimension. This simple tale in fact sheds light on the very structure of Form. Indeed this, it must be stated, is the purpose of the myth. And this feature pertains to macrocosms as well as microcosms. It pertains as well to the primordial age as well as to the stages of cosmic evolution well beyond the so-called Big Bang.

But was there ever any such thing as a Big Bang? According to the myth creation did not come into being by anything of the sort, and especially not through any process of collapse of energy. It was simply the emergence of an axis and then the conspiracy to set that 'churning'. That the myth refers to the elaboration of the physical components of our universe is obvious from the fact that it adopts the symbol of churning the Milky Ocean, or the Milky Way, and then from this motion gradually the treasures arise as butter would from the curdled, churned creamy substance. There is, in addition, a separation process in the manufacture of butter; the same does indeed occur in the cosmic process until finally the substance of form emerges from this primordial soup, as it were, and the dross is discarded.

It is another demonstration of the consistency or the Vedic Knowledge that milk is used in this grand myth, mother of all others. For the foundation of the Seeing is ever that sacred Cow, Surabbi, as she is known, or Kamadhenu. Indeed, the very first crystallised form that emerges from the churned 'milk' is precisely the Cow, Surabhi.

Science must then ask what the nature of an axis is and what are its origins. We are of course aware that macrocosmic bodies do indeed possess axes and that they 'churn away' around their fixed poles. But how did this come into being in the first place? We seem to take for granted that axes always existed or that in some way, unknown to us, they arose simultaneously with the first crystallsed substance. This hypothesis may not be sufficient to understand the nature of our physical dimension because, as the ancient Vedic Seer realised in the dawn of history, the discovery of the origin of the axis is essential both for the proper understanding of the cosmic process and evolution, as well as the evolution of smaller bodies and finally the human species. Given this central importance, the axis is found in all cultural expressions of the subcontinent which can trace their roots to that original Vedic act of seeing.

The next feature of the myth to note is the setting in motion of the churning rod. To achieve this the services of Vasuki are demanded. The Serpent is thus wrapped around the churning stick and - please note - the powers of both Darkness and Light are employed for the great tugging of Vasuki's head and tail. Finally they complete the labour, the result of which is the emergence of treasured Forms, first of which is Surabhi the sacred Cow.

Why a cow, we might ask? In Vedic symbolism, given the use of dual meanings of words in Sanskrit, cow is equally a ray. But, as I have pointed out elsewhere in this series, the Cow indicates that luminous consciousness of the solar world, prior to differentiation. Indeed, the churning of her precious 'milk' is intended to produce just that: differentiated forms. We are thus reminded of this when the Seer relates that Surabhi is the very first 'form' to arise from the primordial milky ocean churned so valiantly by gods and demons alike, under the beneficent overseer, Vishnu, stabilised on the mighty Tortoise.

Two points must be noted: the relevance of centrality and axial alignment, both magnificently displayed in the Angkor Vat sculptured rendition of the tale. Indeed, the perfect Centre - in this case the Mountain - is what engenders an axis. But the myth is very specific in that the involvement of Vishnu is necessary for any of this to take place. It is Vishnu of whom the Evolutionary Avatars are said to be emanations, who not only sets the axis in motion but who, in his Tortoise form, provides the prerequisite stability.

Hence a stable point is required, a foothold, as it were. Only then can the axis be churned and order be made of the chaos. This is an ever recurring exercise, however. Vishnu periodically is called upon to 'put order' in the chaos of life, of Time, and to reestablish that 'Stable Constant', as I have called it; or, on other occasions, the Vedic ecliptic Base. The Evolutionary Avatar is his direct instrument for this mighty periodic Churning which must take place at regular intervals if the cosmic Machine is to be kept 'churning'.

This introduces a further element. The question of generation of energy. Indeed, every cosmic body possessing an axis and in rotation around that 'churning rod' is a generator of energy. This, indeed, is the deepest purpose of all macrocosmic bodies. Their revolutions generate the energy that propels material creation forward in Time (and not backward, or to collapse upon itself). But not only does the macrocosmic body serve this function. The human structure is equally a generator of energy; with the difference that our species, for example, is hopelessly aligned to produce collapse. That is, the energy turns back upon itself, consumes itself, as it were. Brought to a more appreciable level, it is a structure which does not repose upon the Tortoise, which has no stable constant or base to uphold its 'churning', and that therefore begins to age at a certain critical turning point in its evolution and begins to consume itself or feed upon an energy supply which has not made contact with an ever-replenishing source. Expansion is overtaken by contraction in such a situation. They are not Simultaneous directions or mutually supportive.

What this means is that the churning, by virtue of a certain axial alignment, ceases to produce expanding energy or growth, if you will, the process being fed by a replenishing source of energy; contraction is then experienced. This is a turning in on itself, or a source which is not unlimited but is rather subject to the limitations of a self-enclosed system. The rest of our lives thereafter serve simply to eat our energy base away. There is no further replenishing source insofar as the Tortoise is missing. More appropriately, we do not possess an axial alignment based on centrality (Mt Meru). Ours is a binary system by consequence of which the two directions are not mutually supportive but at odds with each other. Tension arises from the contest and this is the description of the world we have created in our own image.

The creation of a perfect Centre is then the means to make contact with the Source in the other dimension, the Vedic Solar World or SWAR. In so doing, the instrument is perfectly balanced, poised not on an off-centre cross as the mortal human creation is, so accurately depicted in Christian symbolism by the Cross on which Jesus is nailed. In the supramental body the perfect Centre engenders an intersection of the two fundamental cosmic directions, contraction and expansion, mutually supportive by virtue of this centred poise and therefore possessing an axis aligned in such a manner as to be that sacred Pillar, that 'Skambha' up-pillaring creation.

This means, quite simply, that fullness lies at the core of a sun, a material sun and a luminous sun of consciousness which is the birthright of all creatures born on planet Earth where this alignment can manifest. The generation of energy in the core of the Sun is due to the centre and axis which sustains it (the tortoise/stable constant of the myth) and therefore no collapse is experienced. Similarly, the human being in transition to a gnostic being has to bring about a new alignment in his or her consciousness-being in order for contact with the Fullness to occur, in order to 'become the Sun', as the Veda prophesies.

In the myth we are shown the structure of a unitary system More than this, the myth is a prophecy - as indeed all true myths are - which relates the actions of the Evolutionary Avatars in 'putting order'. And, more especially, in bringing into being the unitary system based on a perfect centre; or a centering process which generates a perfect axial alignment whereby that collapse, that turning back upon itself cannot occur. This is indicated in the cosmic order by the Midday Sun, the Ray that 'casts no shadows'.

The Churning Mountain myth is indicative of a world in chaos or on the border between a binary and unitary system. The tension described is similar to our stage of evolution. Vishnu stands for that perfect centre which comes into being in the evolutionary process - that is, in the recondite processes of time in the material dimension - through the action of the Evolutionary Avatars.

All these elements have been reestablished in the mythic dimension, as I have described in the last issue with the 'seeing' of The Magical Carousel in March of 1970. Now we must search for these same elements in the reestablished temple, product of the Mother's 'seeing'. Indeed, her act preceded mine by three months and without which I could not have seen, could not have entered my own inner recesses; or that 'hidden chamber closed and mute', to use Sri Aurobindo's description from his epic poem, Savitri, which does indeed describe the true character of that recess.
The Mother Accelerates the Ocean of Time

When the Mother penetrated the subtle dimension and entered the Chamber, she let loose upon the world that sacred Ray. She set in motion the 'churning'. All were gathered together, - the Gods and the titans, the powers of Light and Darkness. Indeed, she was more than specific about her act when she declared, after 18 days of battling with her entourage over the question of whose vision to be implemented by the architects, hers or theirs, that she was entrusting the operation to the 'force of Consciousness' to sort out the energies. She used the French word, décanter (to decant), which refers specifically to a settling of sediment, leaving the pure substance free. She stated,
In these brief words the Mother prophesied the events which were to accompany the journey of her Temple through tumultuous corridors of time and circumstance in a process very much akin to the Churning of the Milky Ocean. Central to both is the Evolutionary Avatar, emanation of Vishnu. Essential to both is Time, set in accelerated motion with the Mother's original act of seeing which drew aside certain veils and released energy. The Act of Seeing is thus a power. Every yogic act of this order does indeed release energy. It is not simply passive, as one's condition before a cinema screen. When a Yogi penetrates a particular subtle plane or dimension, he or she allows the essence of that plane to filter down to Earth, and, in certain highly advanced achievements of this order, to find a firm and lasting foothold here. This is especially evident when Time is an ally in the process and not the Destroyer. Then the seeds of that Seeing are carried on and on in the evolutionary process, brought to fruition as it were by Time. And insofar as we are dealing with a release of energy, it is this act which causes an acceleration.

The contemporary unfolding of the ancient myth witnessed the same protagonists as of old. Both gods and titans took part. Both engaged in the labour of churning the mighty axis of Mount Meru, utilising Vasuki - or Time. And, given the Mother's uncanny ability to identify the forces at her disposal, she did indeed hand over to the titans the hardest part of the labour, the part which would produce 'poisonous fumes' thrust into the faces of these demons, possessors of unsurpassable physical-vital power. Thus, the actual physical construction was given to those in her entourage fashioned by destiny and constitution in such a manner as to permit them to carry the churning to completion in spite of those poisonous fumes they were constantly exposed to and consuming. Indeed, it is important to note that the more accomplished instruments, the more commendable in a sense were the titans, inasmuch as they possess a tenacity and will unparalleled by anything the gods can offer to the Divine Labour. But the gods too are required in equal measure, aligned on either side of the Rod so that a balanced and orderly churning may ensue on the basis of the two powers aligned along the horizontal axis. Vishnu, the Preserver and spirit of the Avatar, stands central in the vertical alignment setting the rhythm as a coxswain would of old in the rhythmic rowing of a ship. He sets the Pulse, the harmony both for gods and titans.

The Mother may also have been as naughty as Vishnu in tricking the titans, or Asuras, into accepting to hold Vasuki's head, through whose mouth the noxious fumes were to emanate. In the myth the deception by Vishnu of the Asuras is described in delightful detail. The Asuras are fooled into demanding to hold Vasuki's head by the simple fact that the Devas pretended to want that position in the Churning Act. Limited as the Asuras are in their vision, they immediately deduced that the head was the best position and that Vishnu would be favouring the gods if it were granted to them. They remonstrated before him, voicing their grievance and pleading for justice. Vishnu, a party to the ruse - nay, its creator readily appeased the Asuras by granting them the Serpent's head to hold which was being so coveted by the gods, to all appearances. The churning was thus begun on this basis, by this ruse.

Contemporary history in the making reveals a very similar ruse. The coveted position in the case of the Mother's creation was the actual physical centre as well as the actual physical labour. That is, to hold possession of the physical construction. And that she did indeed grant to the titans who, as tenaciously as their counterparts of old, clung to the 'head' with all their might, never releasing it for one moment. And it is there, from that cauldron, that the fumes arose. That is, the waste, so essential a product of a true churning of time.

The entire operation must be viewed as a mighty machine, a cosmic generator of energy necessary in order to set time moving in higher gears, or to avoid collapse of energy. The period reserved for the acceleration is 27 years - or 3 x 9. In calendar time, it began exactly with the onset of the construction, 1971 , or the start of the last three enneads of the millennium - 1971 to 1998. It is more than evident to even the most materially-minded observer, in whatever field of human endeavour, that this period has indeed seen the most remarkable 'acceleration' of our age. We have the titans to thank for this spectacular advance.

And the gods? What has been, and continues to be, their contribution, as well as their recompense? While the titans hold the coveted 'head' (and enjoy the noxious fumes in the bargain), what is the reward of the gods? Clearly the tail is the less important or prominent position. But in this case, being at the other end of the pole, away from that vexing mouth of Vasuki emanating poisonous wastes, the atmosphere is clear, uncontaminated, as clean as mountain air. The gods also tug , they too are engaged in the hard labour. But Vasuki does not cloud their vision with his fumes. They can thus see.

The objective of the churning is a stirring of the Milky Ocean. that is, the vast expanse of Consciousness. This is what the Cow stands for: With her in the creation of material things is the Horse, or force. They describe together the axis of Being of macro and microcosm, consciousness-force.

Thus the churning implies that the undifferentiated consciousness must be set in motion in such a manner as to produce differentiated forms. But the essence of that Consciousness is light. Hence Cow, go, also means ray in Sanskrit. The Cow Surabhi, first of the treasures to emerge is the equivalent of a consolidated body of Light. In more appreciable terms it is a body of knowledge, or veda. And indeed one of the 'treasures' stolen by the Asuras at the time of the churning was precisely the Vedas. The tale describes the ruses employed by Vishnu and the gods to rescue them, which did come to pass.

On the other end of the pole is Force. Thus the churning demands the contribution of instruments for the act who embody power. Consequently, both gods and titans engage in the churning in equal measure. They set the mighty Axis in motion which requires this alignment of light and darkness, or consciousness-force, as embodied by gods and titans. The Axis holds them to itself, thereby bringing order into the chaos; or differentiating forms from the undifferentiated essence of the Supreme Consciousness.

It is clear from this brief analysis of the myth that order is synonymous with axis, and that no harmony of elements can come into being without that central Mt Meru; and for Mt Meru to serve in this noble act of creating order there must, above all else, come into being the stable constant, the base, the Evolutionary Avatar in the mythic form of the Tortoise.