Writers are often inspired by this Eastern tradition, handcrafted, blank, lined Om Meditations Journal for its visually enlightened form. Ideal for prose or poetry alike; it serves nicely as a meditation journal, prayer journal, life diary, yoga journal, or exercise record book, and makes a perfect gift for yourself or others. Every page lays perfectly flat due to the hand-stitched binding, and the Siddham Script Buddhist Syllable Aum journal features a memento accordion pouch in the back to keep all of those loose odds-and-ends in one easy-to-access place. A handy, elastic, end-leaf enclosure marks your place, or encloses the entire book. Ideal with our genuine bamboo pens. Also available in an Ha Journal.

Back Cover View: Om Meditations Journal.

In the Dharmic religions of Buddhism, Hinduism, Jainism, and Sikhism meditation on a single character or mystic-syllable is a transcendent and transformational gift. Each mystic-syllable is utterly sacred; each posses distinct mystical powers. According to Tibetan philosophy, the written mystic-syllable is as potent as a spoken prayer. The Om Meditations Journal is based on the Siddham Script Buddhist Syllable Aum and this omnipotent mystic-syllable character is exclusively reserved for meditation. To meditate the mystical symbol Aum character is drawn very large in either a formal style or a soft style (the Om on this journal is soft style) and placed on a wall. Our Om Meditations Journal with its large Siddham Script Buddhist Syllable Aum cover is inspirationally used for meditation, by focusing on the front cover's mystic-syllable, or as a meditation journal for your spiritual writings–all in the process of enlightenment.

Om Meditations Journal Details
Measuring 7 x 9 x .6 inches, the journal covers are high quality, silky smooth, and matte varnish finished, with a soft style brushed Siddham Script Buddhist Syllable Aum on the front cover, with reproductions of black ink plum blossom paintings on the front and back covers; all mounted on archival boards, traditionally hand-bound in a coptic fashion. Inside are 128 softly lined, wide-ruled, archival quality, pH balanced, acid-free, lignin-free, cream colored pages; and in the back is a handy memento accordion pouch, all held together with an elastic closure.

About Calligraphy
Western calligraphy is mostly characterized by aesthetics and utility, while Eastern calligraphy is distinctly related to meditation and one's enlightenment–and rarely to artistry. Western calligraphy can be deeply religious, predominantly in the context of art. The Book of Kells is a wonderful example of Western religious devotion to Western calligraphy, in stunning artistic majesty–nonetheless, the power of Eastern calligraphy is in the mystic-syllable itself.

Symbols and characters in our Western alphabet represent a way to express ideas and information from the writer to the reader. How we groups letters together–exactly what words we use, and ultimately what is said–determines what value we give to a written text. Of course, we can punch up the meaning of text effectively using artistic skills such as typography or calligraphy; still the value only exists based on the final success of what is conveyed or not. At first glance an outsider might only see art in Eastern calligraphy, or maybe, view it as a tool of communication, all the while missing its deep spiritual promise as a path to god.

Front Cover Notation View: Siddham Script Buddhist Syllable Aum.

About the Siddham Script Buddhist Syllable Aum
There are two parts to the mystical symbol Aum. The Phenomenal Realm, representing three states of an individual's consciousness, which is shaped like a big "3" on the diagram to the left, and the Noumenal Realm, which is shaped like a dot on top of a symbol shaped like a horizontal comma.

1. State of Bliss. The dot at the top of the mystical symbol Aum (1) represents the Noumenal Realm; a state of highest being, and the unapproachable bliss that is true reality–Enlightenment.
2. Separation from Bliss. Below the dot (1) at the top of the mystical symbol Aum is a horizontal, comma looking, curvature forming a wall (2), and the void, which keeps us from the state of bliss–unavoidable separation from the Noumenal Realm.
3. State of Unconciousness. The highest plane in the Phenomenal Realm, shown as the upper curvature of the lower figure in the mystical symbol Aum (3), this unconscious state represents a deep sleep. Close to the wall of the Noumenal Realm, one exists here seldom, if ever. Being a state of unconsciousness and complete nothingness, one would not easily remember, nor offer explanation for existence there–a place with no wants, no needs, no desires, and no observation that there is nothing.
4. Dream State. Middle way in the Phenomenal Realm, shown as the outer part of a segment joining the upper (3) and lower (5) two curvatures, of the lower figure, in the mystical symbol Aum (4), is the dream state and conscious separation from reality (being responsible)–where consciousness is directed inward.
5. State of Consciousness. At the bottom of the Phenomenal Realm of the mystic-syllable Om (5) we experience being awake, and are the furthest from bliss–this is where we experience our lives and the world around us–Entanglement.

Meditation and Chanting with b
One might chant the mystical symbol Aum (AUM) as part of meditation where each letter of the Siddham Script Buddhist Syllable Aum is spelled out: A-U-M, corresponding progressively to each one of the three states of the Phenomenal Realm, followed by a pause; and a final clearing of one's self as the Noumenal Realm and the two higher states are encountered.
Example: Eyes and voice in unison; eyes on the Om (5) sound coming from the back of the mouth sing the "A"; transitioning your eyes to the Om (4) sound coming from the center of the open mouth sing the "U"; transitioning to eyes on the Om (3), with sound coming from your closing lips as you sing the "M"; and finally move your eyes slowly up to the top of the Om (1) in silence of voice and thought–meditate and rest on the dot. Repeat when ready.

About the Paper
Lovely, smooth, acid-free, lignin-free, extra-thick, cream colored pages fill the journal; this, along with a superior binding method, give our book a long term archival survivability of over 100 years! The inside paper is superiorly engineered and ideally suited for modern writing instruments such as: ballpoint pens, rollerball pens, gel pens, marker pens, most technical pens, and pencils; writing with these instruments is exceptionally smooth. Bleed through is not a problem as the paper is 5.5 mil thick. Due to the archival engineering of the paper, some Sumi inks may not form an even spread on the page. While some fountain pens write just fine on this paper, we recommend modern pen or pencil, as non-modern era inks work best on paper manufactured just for calligraphy (see our caligraphy blank books).

Detailed View: Using the Memento Accordion Pouch.

Memento Accordion Pouch
A large memento accordion pouch in the back of the journal is ideal for storing odds and ends, money, your passport, plane tickets, a small book, photos, and whatever else you want to tuck away–very handy! While this 8.5 x 6 inch cloth gusseted memento accordion pouch expands to a full 1.5 inches at its opening, and is technically large enough to fit a whole turkey sandwich, we don't recommend using your journal as a replacement for a lunch box, as your lunch would get smashed to the size of a pancake! Editor's Note: I can easily fit my quarter inch thick pocket museum guide (which is too big to fit in my pocket!) into the memento accordion pouch–as the Coptic Binding has the ability to withstand the added .25 inch thickness without breaking the book–no modern binding would do that!

Detailed Spine View: Coptic Binding Benefits.

Close up View (above): Om Coptic Binding Hand-stitching Detail.

Benefit of Coptic Binding: Lays Perfectly Flat for Ease of Writing.

About the Om Meditations Journal's Coptic Binding
Coptic bound journals are ideal for writing, either right or left handed, on either side of the page. Coptic Binding was introduced in the far east more than 2000 years ago and is a MORE DURABLE binding method than standard adhesive or modern sewn bindings. If you removed the cover on a modern bound book, it would be very evident why many binding methods fail–they are not bound by a means that will withstand extended use. The fact that coptic binding doesn't need to rely on any additional, and mostly cosmetic, coverings over the spine is apparent the moment you open the journal. The extremely thick thread used in coptic binding, is six times the size of threads commonly used in modern binding techniques, and provides great advantages when no paper, cloth, or other encumbrance is needed over the bound edge. Coptic bound journals serve the needs of writers and readers better; lending to comfortable handing and the long term archival qualities of the book.

Coptic Stitching is a unique looking non-adhesive hand-stitched binding method introduced during the 4th century A.D. in ancient Egypt by the Copts and followers of the Christian Coptic Church. Various forms of coptic stitching techniques have remained popular for over 1500 years and are still in use today. The spine of the book is usually left exposed when a coptic stitching technique is used. The type of knot that is used in the journals and blank books JournalsandBooks.com sells is called a chain stitch, and it is appreciated by bookmakers and booklovers alike for its intricate beauty. Chain stitching allows the book to open a full 360 degrees without damage to the book! While machines can be used to sew a coptic stitch, hand-stitching is still preferred; as such, this journal is completely hand-stitched. The combination of an open-backed binding method and the braided look of a coptic stitch yields an attractive and interesting journal.

Coptic stitching uses separate threads in pairs or groups. Waxed linen thread is used for ease of handling. Pages are grouped together into signatures, which is common to most methods of book making. The greatest advantage to coptic stitching is the ability of the book to open and lay completely flat with no stress on the spine and no damage to the book. Sketchbooks and journals are ideally bound using coptic stitching as artists and writers especially enjoy unfettered access to the entire page without bending at the spine. Journal pages and signatures hold tight, and do not shift around loosely without the use of glue or posts, yielding a durable archival quality book.

Om image from Sacred Calligraphy of the East, third edition, by John Stevens copyright 1981, 1988, 1995
Image on Journal front cover reprinted by arrangement with Shambhala Publications Inc., Boston