Thumi Sambhota

The term "Thumi" likely derives from the Sanskrit root "sthūma," meaning "thick" or "dense," potentially implying a substantial or fundamental essence. "Sambhota" is derived from "sam" (together, completely) and "bhūta" (become, exist), suggesting "fully realized" or "completely manifested." Together, they point to a fully formed divine perfection.

An Indian mystic and man nt' .■nulition. the inventor of the Tibetan alphabet. Thummim fTT(h.). "Perfections. "" An ornament on tlie brea.stplates of the aneiiiit High Priests of Judaism. ^lodern Rabbins and Hebraists may well pretend they do not know tlie joint inirj^oses of the Thuwmim and the Urim; but the KabbalLsts do and likewise the Occultists. They were the instruments of magic divination and oracular communication — theurgic and astrological. This is shown in the following well-kni>wn facts: — (1) upon each of the twelve precious stones was engraved the name of one of the twelve sons of Jacob, each of these ".sons" ]>er.sonating one of the signs of the zodiac; (2) both were oracular images, like the t<raphim, and uttered oracUa by a voice, and both were agents for hypnotisation and throwing the priests who wore them into an ecstatic condition. The Urim and Thummim were not original with the Hebrews, but had been borrowed, like most of their other religious rites, from the Egyptians, with whom the mystic scarabanis, worn ou the breast by the Hierophants, had the same functions. They were thus purely hcatfu ii (Did magical modes of divination; and when tlu^ Jewi.sh "Lord God" was called upon to manifest his presence and sjieak out his will through tlie I' rim by preliminary incantations, the modus operandi was the same as th.it u.sed l)\all the Gentile priests the world over. 310 THK(>St)PHlc.\lThumos idr.i. Tlic ;isli-;il, iniinial soul; tlif haiiKi-Mciiiiis : Thuinas means passion, ilcsirtand confusion and is so used by Homer. The word is pr()l)al)ly derived from the Sanskit Tunuis, which has the same meaning'. Tia-Hiianaco il'intw). Most ma<rnitieint ruins (»t' a pn'-historie city in Pei-ii. Tiamat ( I'liahL). A female draj?on jx-rsonifyinj? the ocean; the "^rr.at mother" or tiic livin«j principle of chaos. Tiamat wanted to swallow liel. hut Hv\ sent a wind which entered jier o]ien mouth and killed Tiamat.

Blavatsky's inclusion of Thumi Sambhota, alongside the Kabbalistic Urim and Thummim, points to a cross-cultural understanding of divine knowledge and its manifestation. The term hints at a perfection that is not merely conceptual but embodied, a fully realized state of being. Mircea Eliade, in his studies of shamanism and archaic religions, often highlighted the importance of sacred objects and adornments as conduits for spiritual power and divine communication. The Urim and Thummim, as described, served this function, acting as oracular instruments that facilitated ecstatic states and direct divine contact.

This resonates with the idea of "Sambhota" as something fully come into being or realized. In the Hindu context, this could be the Samadhi state, a profound meditative absorption where the yogi achieves complete union with the divine, a state of perfect realization. The Sanskrit roots suggest a substantial, thick perfection, not ethereal but grounded in existence. This is echoed in the Hermetic principle "As above, so below," implying that the divine perfection reflected in sacred artifacts or spiritual states has a tangible correspondence in the material world. The pursuit of Thumi Sambhota, therefore, is not just about intellectual understanding but about embodying that perfection, making the abstract concrete through practice and devotion.

The notion of "inventor of the Tibetan alphabet" as mentioned by Blavatsky, while potentially a historical attribution, also carries symbolic weight. The creation of a sacred script is often seen as an act of divine revelation, a means to codify and transmit spiritual truths. This act of bringing order and form to the ineffable aligns with the idea of a fully manifested perfection. It suggests that divine knowledge, when properly channeled, can manifest in structures that guide human understanding and spiritual progress. The very act of naming and defining, of creating an alphabet, is an attempt to grasp and share that ultimate reality.

Ultimately, Thumi Sambhota invites us to consider divine perfection not as a distant, unattainable ideal, but as a potentiality within existence, accessible through dedicated spiritual inquiry and the symbolic language of sacred traditions. It challenges us to seek the fully realized essence, both within ourselves and in the world around us.