Part 1 Quintessence of Vastu Art and Architecture: Forms of Spirit and Atoms of Consciousness It is not widely known that a traditional Hindu temple is a secret mystical marvel. Its ornate architecture, dimensions, stones, the carved images and motifs, surrounding halls, even the gardens and the lay of the land are all full of metaphysical meaning and purpose, so much so that the temple itself is revered as a form of God. Dr. V. Ganapati Sthapati, the traditional architect who designed Iraivan Temple (Kauai, HI, USA), noted, "The parts of the temple are so integrated that they become a living organism worthy of worship." The Upanishads say, "Look upon the temple building as embodied energy and worship Him with Vedic mantras."
Hinduism Today: January/February/March, 2004
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Preface Since ancient times humans noticed the mysterious influence of the rhythms of the sky on earthly life. Everyone knows the Sun rises and sets every day and this is the basic rhythm of life around which we set our clocks and calendars. We plant by the moon and notice when the tides are high or low. These events guide our actions in life and affect our well-being. Other time cycles exist that are multiples of this basic day cycle – they are called biorhythms. These biorhythms are known to predict energetic events in people and nature. They are cyclical and predictable. All of these observations have been observed by contemplating the outer world. From these observations of what is called conceptual time clocks, calendars and planting guides were constructed and used. Music was also based upon this idea of conceptual time in the for of the beat or rhythem of the music. Conceptual time eventually took a role in science and mathematics in terms of measuring waveforms and hence describing qualities of waves,which make up all of the material world. This is called frequency or vibration of the waveforms and it is described mathematically. Fundamentally this description rests upon the time cycle of a waveform. While most human beings also have the ability to observe the outer and also the power to delve deeply into the secrets of nature through his or her own inner being in an effort to unravel the secrets of gaining health, wellbeing and spiritual bliss or enlightenment, only a rare few have actually cultivated this ability. One such person is an ancient man called variously as Brahmarishi Mayan, Mamuni Mayan and Vishwakarma. Mayan was capable of observing the outer gross and subtle material influences of time cycles. More than that, he was able to penetrate his inner being, meet face to face with God, and unravel the Cosmic Time cycles that form the Cosmic structure of Consciousness itself. This he called Absolute Time or Kaalam. The science of Vaastu (Vastu) is a fundamental field of knowledge recognized by Mayan as Time, or the all-pervading vibratory force of Nature hidden in one’s residence and its surroundings and inner sanctum of the cave of the heart. In fact, it is the unseen subtle force underlying the entire material world and worlds. Adi Shankaracharya, who is considered to be a member of the Vishwakarma clan, mentions the subtle aspects of the physical world in his Vivek Chudamani: Aikyam Tayorlakshitayoh, Na Vacyaya | Nigadyatenyonya Viruddha Dharminoh | Khadyota Bhanyoriv Rajbh— atyayauh | Kupamburashyoh Parmanumevoh ||
Meaning: The divine source of the (existence of the) cosmos and every creature or particle in the universe are subliminally linked together and are similar in the sense of the similarity between ‘the sun and a glowworm’, ‘an ocean and a well’, ‘a king and a laborer’, or ‘a mountain and an atom’. This verse is a reflection of Mayan’s statement found in Silpa Vidya Rahsyopanishad: He, who does not know the exact meaning of the Vedic dictum “anoraniyan mahato mahiyan” is not capable of understanding the subtle principle of the science of Shilpa (Brahmam, Vastu and Vaastu). If we examine the entirety of the Vedas we find similar statements. For example, we find commentary on this subject in the Isha Upanishad:
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The Supreme Lord walks and does not walk. He is far away, but He is very near as well. He is within everything, and yet He is outside of everything. (Isha Upanishad, Vs. 5) In spite of absolutely being an impartite (undivided or indivisible) irradiating Existence, the Supreme Vastu dwells within the smallest heart-space of all beings, assuming the form of individualized self and pervades the entire range of worlds and existents, like the all-pervading space. (Shilpa Vidya Rahasyopanishad, Vs. 19) These statements describe the existence and relationship of the vastness of Cosmic Space (Brahmam) as the whole and the minuteness of Brahmam as the particle / part. Here it is established that the whole and the part are related and indivisible - that the vastness of the worlds and the smallest finest particle are made of the same stuff and a reflection of each other. Hence, by observing either level and levels in between, one can come to understands the Divine secrets of the five Cosmic functions related to the Cosmic realm (Creation, sustenance, dissolution, obscuration, and bestowal of blissful state) - the Cosmic realm being the entirety of energy and matter. In recent years we have witnessed a rapid increase of interest, public lectures, books and web sites on Vaastu focused on certain architectural and design principles (placement of rooms for example). However, this commercialization is replete with misconceptions or half knowledge about this important subject and simply serves to exploit mass psychology. Individuals have mistakenly only analyzed and reverse engineered previously built Vaastu structures and their visual properties rather than deciphering the sublime root elements – Consciousness, Absolute Time, OM light, OM sound and the subtler aspects of the Five Elements or Panchabootas/ Pancha Bhutas. They were and still are unaware of the Cosmic forces and Universal laws that are the real underpinning and cause of the Vaastu effect. Instead, these so called Vaastu experts mistakenly choose to assign the sun, moon and stars as well as other extraneous imagined influences as the causal factors of the Vaastu effect. Instead of understanding the real cause of the Vaastu effect, superstion and mythology arose concerning this science. The concept of Vastu Purusha (the name of the energy governing all demon arose as well as numerous other superstitions have developed. making homes by ignorant Vaastu consultants. When one comes to Science, one comes to see that all of the superstition, fortunemaking insulting concepts. Application of principes of Vaastu Shastras brings homeowners.
created and uncreated substance) as being a Vaastu homes have been relegated to fortune understand the true underpinnings of Vaastu and good luck ascribed to Vaastu are almost nothing less than Moksha – enlightenment to
This has been the historical practice in terms of westerners understanding the actions and functions carried out by Indians throughout time. For example, from Indian Inquirey, Volume 23, Royal Anthropological Institute 1894, which quotes the famous Indologist, A.C. Burnell papers from 1881 – 84 on The Origins of Demons:
The worship of evil spirits is almost universal among the Hindoo inhabitants... Places of worship, which are stones dedicated to them, are to be frequently seen in the fields, and every village has its temple. A peculiar small goblet made of bell metal, into which from time to time water is poured, is kept before the Bhutas, and on special occasions
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flowers and lights are placed before them... The family Bhutas are worshipped by the families among whom they reside. In every Sudra house a room, sometimes a corner, is set apart for the Bhuta, and called Bhuta – Kotya. According to the cited text, Burnell further says, that among the evil spirits is one called Pancha Bhutas and another called Brahmarakshasa or Brahmara. There are sthadnas (sthanas) built for him in the forests, which are called Berma - sthanas (Brahmasthanas). Bhutas who reside in sthanas receive homage and worship from all the Sudras of the village where the sthana is. Upon first reflection one might attribute the actions, buildings, and worship of the citizens as superstitious and replete with some demonic agenda. However if a fuller examination is conducted and the ancient background is understood, it would become clear that what the citizens were worshiping is the subtlest aspect of existence – Brahmam – The Unified Field and the five Elements (Pancha Bhutas). The term used by European indologists - devil - has negative connotation and is a reflection of religious bigotry, and as such should not be applied to Bhuta Kola. In essence, the spirits or the bhutas worshipped are considered to be the guardians of the villages, blessing and protecting the villagers and their livestock. Had the Indologist learned the customs and language properly, they would have learned that the Pancha Bhutas are the five subtle elements from which the manifest world emerges, that the corner where they were worshiped was most likely the NE corner (puja corner) and its energies were of a spiritual nature; that Brahmarakshasa is Space element (Brahmakasha - Brahmam or unmanifest energy in motion); that the sthanas are moolasthans or brahmasthans which are the seat and source of Cosmic Flame or Cosmic/ creative energy and power; that the Bhutas who reside in the sthanas (brahmasthans or abodes of this energy) are the fundamental forces that produce all of the multifaceted variety of creation; and that worship of these brings about an activation of the qualities of these forms for the well being of the community. As you can see, external observation without penetration yields faulty knowledge. This was just the beginning of and only one example of the vast misunderstandings of Vastu Science and Vaastu Technology. Our life is sensitive to not only the environment and its ambience, but also to the structure and design of the residence we live in and the type and topography of the plot of earth on which it is built. Mayan was well aware of this fact and therefore applied his knowledge of Vastu and Vaastu to the field of architecture and interior and exterior design of residence. This field of knowledge became know as Sthapatya Veda and Vaastu Shastra. Many of the ancient temples around the world stand as living monuments of the awe-inspiring majesty and inspiration built according to the Vastu Shastra. In ancient times, a Vaastu house was seen to provide shelter but living within in it was also given the importance of a sacred activity in the Indian Culture and was counted as a part of dharma. The text Vrahad Vastumala – a scripture of the Vaastu Shastra, highlights the purpose of house construction as –– Striputradikabho Aranya, Jananam Dharmarthakama Puram | Jantunamayanam Sukhasyadamidam, Shitambu Dharmaham ||
House (Home) is that which offers the worldly joys of having a family, keeping pets, cattle, etc; which protects from cold, heat, storms and other external hazards, and which facilitates the proper performance of dharma (righteous duties), artha (attainment of wealth/material power and progress) and kama (fulfillment of desires).
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Mayan and the long lineage of Rishis that followed him say that Vaastu Shastras affirm that a house constructed according to the building codes and guidelines of this science, helps alleviate household tensions and minimize the chances of family conflicts and stresses arising out of economic problems, social pressures, sickness, and general lack of wellbeing.
Vishwakarma Prakash states that The divine power of Vastu is pervading everywhere on the earth, on which Lord Vaastu Purusha is (subliminally) lying with his face towards North-East direction (Purvottaramukho Vastu Purusah Parikalpitah). This signifies the subtle presence of divine powers and energies inherent in the five basic elements (the pancha tatvas) and hence in the visible and invisible forces of Nature and stresses the maintenance of a harmonious balance between them in all activities of life. A house built as per the instructions of Vastu Shastra is empowered by Cosmic Law and thus lends enormous support in the progress, happiness and bliss of the inhabitants. Interestingly enough, the worship of Vaastu Purusha is an integral part of Deva Pujana in the major sacraments and religious ceremonies of the Hindu Dharma. The Purusha Sukta (9Oth sukta, Rig Veda) is chanted daily in temples around the world yet the priests chanting it have little idea of the real meaning of the verses. Vastu Shastra is believed to be the oldest science of Architecture. It is literally defined as –– the Shastra (a branch of Vedic Literature), which deals with the knowledge of the topography and the design of any construction to be built for residence, worship or any other purpose. The word "vastu" in Sanskrit language is derived from the verb "vasa", which means living, residing, lodging, etc. The word ‘vastu’ is defined in "Amara Kosha" as –– Graharacanavacchinnabhumeh | Meaning: the plot of land suitable for the construction of a house for living is (the base of ) vastu. According to the "Halayudha Kosha" –– Vastu Samkshepato Vakshye Grahadau Vighnanashanam | Ishanakonadarabhya Hyekashitipade Tyajet || Meaning: In short, vastukala (the art of vastu) is the art of house construction, which teaches perfect (science and techniques of) designs starting from the ishana (east-north) angle so as to protect the house from all natural calamities and other adversities. The scriptures further describe the ‘vastu purusa’ or ‘vastu devata’ as the presiding deity, the divine source of this hidden realm of Nature working in the properties of land and building-architecture. This vastu purusa, is said to be ‘enshrined’ in its global form, facing the ishana (east-north) direction. This is why the construction of houses according to the Vastu Shastra should be started from the ishana (east-north) angle.
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Yaskacarya wrote the oldest known Indian treatise on etymology, philology and semantics sometime during 500 or 600 B.C. According to Yaskacarya, “Meaning is the fruit of the flower (which is) word.” Yaskacarya said, “...to really understand the meaning of a word you must understand its root components. Then and only then can you have a glimmer of the truth of a word.” I have examined the words Vastu and Vaastu in light of Yaskacarya’s criteria. The term Vastu (Vastu Brahmam or Vastu Purusha) refers to primal, unmanifest, potential energy – Consciousness as energy. It is the energy through which and within which material forms manifest. Throughout history and among many cultures, this primal energy has been given many names. The names range from religious (God, Brahmam), artistic (Creative Intelligence) to scientific (the Unified Field). Vastu is that unmanifest, subtle or unseen energy field that lives eternally. It is the Field within which the manifest world exists as particles and is ultimately governed.
The Field is the sole governing agency of the particle. (Albert Einstein) The free Space is the unified field of energy and matter and source of all forms that we see in material world. (Mayan in his Aintiram) An examination of the various Sanskrit and Tamil words, along with the meaning associated with the root “vas” and the combined word Vastu and Vaastu, sheds light on the comprehension of the true meaning of Vastu Science and Vaastu Science and Technolog y (this will be repeated later in this text).
Vas: to shine; to grow bright, to bestow by shining upon, to cause to shine; to enter into, to dwell, becoming light, dawning, the seat or place of, an abiding substance or essence, the pith or substance of something, to cohabit with. Vaas: to make fragrant or to perfume, an intoxicant, to be or make firm, dwelling place, to assume the appearance of, matter. (Cologne Lexicon) The word Vastu is formed of the root “vas. “ “Vas” means to live or to exist. The precise meaning of Vastu is “to live eternally.” (Dr. V. Ganapati, Sthapati, p.52 Temples of Space-Science, Vaastu Vedic Research Foundation, 1996). Thus, Vastu is that energy of force that lives eternally. It is never ending and omnipresent. In examining these definitions, we can see that Vastu is the seat of an abiding, shining luminous substance or essence (the essence of life). It has a quality of growing brightness and is the pith or substance that enters into and cohabits with that in which it dwells and that which dwells within it. It is the source of the material world yet it cohabits with the material world as Vaastu. It does not separate itself from the material world. In fact, the material world (Vaastu) exists within the body of Vastu.
Vaastu is that which assumes the appearance of matter. It makes firm or gives concrete shape to the place where it dwells. It makes fragrant that in which it dwells. That fragrance is the intoxicating spiritual bliss experienced by people who live in or visit a Vaastu structure, listen to Vaastu music or poetry, or view Vaastu sculpture and dance. Here we are speaking of authentically created and executed forms of these arts based on the ancient Shastras. It is clear from this definition that Vaastu Science and Vastu Technology are far more than a set of building rules. The modern notions of Vastu are completely incorrect and few people actually understand that the energy of a Vaastu building comes from the earth as Vaastu Purusha and then manifests directly about the building as Vastu Purusha.
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The ancient science of Vastu stipulates that the basic purpose of building a house is that it should be auspicious and beneficial to the people living in it; it should bring them peace, happiness, success and progress. Therefore, according to Vastu Shastra, the topography and properties of the plot should be analyzed first to examine, apart from its location, solidity, vibration, etc of the land to determine whether or not it would be beneficent to the owner and his family. This applies to Temples as well. Before laying the foundation stone, the architectural design of the house should be drawn so as to maximize the positive effects of Cosmic vibrations or grace of Vaastu Purusha in different directions. For example, what should be the direction, location, design, etc., of the worship hall, study room, living room, kitchen, bedroom, storeroom, entrance, water storage, toilet, bathrooms, etc? How many doors and windows should be there and in which directions? How should doors be placed and where? What should be the interior makeup and exterior surroundings of the house (including trees, orchards, gardens, out buildings ponds, driveway, etc.) Similar constraints are considered for the construction of shops, offices, hospitals, etc. Wherever necessary, the different aspects of the house (or any other building) architecture are also reviewed in Vastu Shastra with respect to the birth star of the owner. The properties of the plot or the piece of land on which a particular building is to be erected that are considered important for Vastu site selection include the color, texture and smell of the soil; the geometrical shape, size, slope of the plot; the types of trees and plants, mountains, spring, river, lake, pond, etc, in the surrounding area and the relative position of these from the plot. The health of vegetation and the behavior of people and animals are also included. The downward slope of the land towards the East is regarded auspicious for prosperity, however flat land is best. Lands with slopes inclined downwards in the West or South are rejected. The land in the shape of the back of a tortoise (i.e. protruded in the center and descended on the boundaries) is also considered bad. Deserts, barren or swampy lands are a hinderance the homeowner’s progress; people are therefore advised not to choose such plots for construction of their houses. This is due to the type of energy Vaastu Purusha is exhibiting, and the balance of the five elements in those particular types of land; they may cause snakes and scorpions to thrive, alligators or spiders to thrive, but not humans and Padadevatas. Having selected the most suitable plot of land, the next important step in the construction of a house, according to the Vastu Shastra, is the proper orientation of the house in terms of the cardinal directions. Without proper orientation, on what is called the earth grid, there is little or no positive Vaastu effect. In fact, the energetic effect can be quite debilitating if the building is off the cardinal directions. If the house is oterwise Vaastu compliant but off in its orientation , negative effects can be amplified. Equally in importance to orientation is something called Ayadi which are a series of mathematical formulas pertaining to assessing a proper perimiter of the main wall of the house. In addition to orientation, and ayadi, door placement, window placement, and selection of the positioning of different rooms according to the directions. Eight directions are regarded significant here – namely, the four principle directions: North, South, East and West and the four diagonal directions in between, namely, East-North, NorthWest, West-South and South-East. While deciding the location and size of the rooms as per the guidelines of the Vastu Shastra, ideally, the architectural plan should also take into account the provision for leaving the central space of th main perimeter free for the
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projection of energy from the center of this space called Brahmasthan.
Samarangana Sutradhara by King Bhojadeva, focuses on the scientific aspects of why directions are given so much importance in Vastu Shastra. It is described that the invisible flow of infinite energy waves pervading the Space together with the sublime qualities of cosmic powers based upon the Ayadi or measure of the main wall continuously affects every being. In particular, our minds, our residence (and hence our activities in it), are influenced by these by this cosmic energy – energized building. The principles of Vastu Shastra have been discovered so as to enable people gain maximum benefits from these energy currents and form a sublime connection with our inner Self – Atman - with the Cosmic forces, and thus obtain support and help of these divine energies for living a happy, peaceful, progressive and enlightened life. If we follow the guidelines of Vastu Shastra and modify the orientation, mathematics and arrangement of new built houses we can experience these positive effects and lead a better and more purposeful life. Furthermore, because the properly built Vaastu house emulates the Cosmic pattern (macro cube) and the energies released by Brahmam within the house contain qualities of spiritual bliss, abundance, and wellbeing, the individual Atman (which is in the same form as the Cosmic form and the house) is brought into perfect resonance with house/ God form and the Cosmic Being. This elevates the individual frequency of one’s Atman to that of an awakened being – to moksha. Such liberation places one in harmony with Cosmic and Natural law and life becomes blissful, practical, and dharmic. In the modern times, architectural studies and practices across the globe have mostly been dominated by the trends of appearance, modern gadgets of comforts, unusual and off - beat design, etc. Enormous cities and developing towns are being flooded with a concrete jungle of small and big multi – storied buildings. Growing populations and the greed of the real-estate market have further blocked the chances of consideration of any of the important factors of the ancient architectural science of Vaastu. At one time the true cardinal directions were the layout of choice even in the past 200 years in the US for example. Entire towns were planned on the earth grid. Modern towns, villages, and housing developments are often haphazard and attempt to maximize so called solar gain, which places the homes in a dangerous agni prachee orientation (orientation to the south east). As a result, even if people are able to get beautiful houses in well-developed localities, they get no peace of mind or spiritual wellbeing. It is evident in world culture that most families are living under acute stressful conditions. We can only hope that enough properly trained Vaastu consultants can join the building industry to effect a major change in the fortune and spiritual wellbeing of humanity. I would like to draw that readers attention to the map below of New Orleans, Lousiana. The design of this large section of the city is cicular. You can see tat the layout emerges fro a central axis and spreds in a circular fashion. The roads and housing plot are arranged in a circular form. In Vaastu Science, the circle is an unstable form. It is the form associated with the Northwest of the Vaastu Purusha Mandala (house plan). It is the area where there is a predominence of air energy. People who spend a great deal of time in that zone may feel a bit nervous as it is an unsettled space and increases the air or wind element in the individual. The only temples that are built in the circular form are Durga temples – the aspect of Divine energy that supports destruction. Any building constructed with this form brings impermanance. For example, the Native Americans of the US who were transitory and migrant – always on the move – lived in teepees, which are round. The transient people of
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Mongolia live in roundsish buildings called yurts. Native Americans who were stable and mostly peaceful lived in rectangular or swuare houses. Round buildings such as domes tend to deteriorate more quickly and produce ineffective results for humans. The form of the building, village, town or city affects the lives of the individuals living there through a balance or imbalance of the Five Elements. In this picture below it is clear that the town is built in a circular fashion. This is the part of New Orleans that was hit the hardest and had the most damage from the famed hurricaine Katrina. The entire area was devistated. Poor town planning creating an unstable environment condusive to an over emphasis of air element.
This is a unique science since it involves four – dimensional visual objects. Application therefore needs enough practice. Theory is neither enough nor complete without field practice. Theory and practice should go hand in hand. However, to understand the theory of Vaastu Vedam, one should be at least a graduate in modern context. Dr. V. Ganapati Sthapati Although some rising trends of general interest and awareness about Vastu are seen among people across the globe in the past few years, there is little improvement in the condition of sick houses, which are out of tune with Cosmic Law. Unfortunately many fake Vaastu experts or those having piecemeal knowledge or stolen information of "Vastu Shastra" have made it their business to dupe the unknowing gullible masses who spend their hard earned money in building a house which will bring them good fortune yet ultimately those houses are no better then their previous non – Vaastu compliant houses. Deep study of the teachings of Vastu Shastra has therefore become very important and relevant today. One of the aspects of this deep study is to understand the general aspects of Vaastu Temple architecture. It is my pleasure to present you with this textbook and to guide you on this remrkable pilgrimage through sacred
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Vaastu sites in Tamil Nadu. It is a sad ocassion for me in that my Guru, Dr. V. Ganapati Sthapati won’t be in India to greet us this year due to his passing. But the knowledge must go on and we must go on. I would like to share a letter Sthapti sent me last year – about one year before he passed in which he gave me his blessings and his blessings to AUM S&T students - you: September 2010 My dear Mdm. Jessie Maya Mercay, Namasthe!
I am getting regularly, not only your teaching programs, but also your continuing your major research on sacred architecture and its survival on the Earth. I am not exaggerating you are made for this Vaastu and Vastu science to reemerge through your sweet voice, and eloquency sweet manners with assertive words, at appropriate contexts... ... May God give you and your students long life, and mind to understand and propagate your Vaastu movement, all the world over, maintaining the purity and chastity of the Sacred Architecture. Thanks for all your team members. With affectionate regards, Yours as ever, Dr. V. Ganapati Sthapati
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Introduction The majestic ancient temples of Tamil Nadu are a silent testament to the profound nature of Mayonic Science and Technology and the traditional craft of Indian Architecture and Sculpture. Contained within their structures are ancient Mayonic Codes that are a visual legacy of the most profound science ever known to human kind. These secret codes have been hidden yet in full view. Millions of people have visited these temples annually throughout history yet very few understood the cosmology presented before them by scientist craftsmen. The scientific principles visually encoded in statues and the forms of the temple and temple complex provide thought-provoking answers to the most profound scientific questions being explored even today. One can experience all of the natural wonders of the world but they pale in the light of the experience to be gained by spending time in these Vaastu structures. Through time and misinformation, the spirit, function and meaning of these great spiritual and scientific edifices has eroded. They have become places of idol worship rather than veneration of the Cosmic Science that they reflect. Their greatness and significance to the well-being and happiness of all humanity has become obscured and, in many cases, only those individuals who proclaim specific religious beliefs can partake of the vibrancy of the sanctum sanctorum. Ironically, those with the most direct access have little or no understanding of the truth of its profound significance. Temple architecture is based upon ancient principles that were held closely by the ancient lineage of Vishwakarmans or Shilpis and Sthapatis as well as builders all over the world. The builder of King Solomons’ temple, Hiram, a trained Sthapati, knew these ancient secrets of building a Temple where God lived - vibrant space. He was killed for refusing to reveal his secrets - the same secrets held by the ancient architects of the Indian sub-continent. The same secrets held even to day by traditional Sthapatis and craftsmen in India. The Source Before embarking on an exploration of traditional Indian art and architecture it will be most informative to understand the source and authority of this body of knowledge. In addition, our understanding will not be complete unless we examine the science behind the manifestation of such remarkable and marvelous forms. More than 12,000 years ago, a scientist/artist named Bahmarishi Mayan developed a scientific and artistic body of knowledge that reveals the smallest and largest particle – atom of Consciousness – that maintains its complete
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integrity at both finite and infinite levels. His science, called Mayonic Science and Technology, reveals a full body of knowledge including knowledge of the quantum operations within the unified field similar to those proposed by Einstein and modern phycisists. It includes scientific principles sought after by modern scientists related to point theory, string theory, spin theory and, chaos theory. It is of itself an ancient nano science. Like Einstein and other scientists, Mayan arrived at his conclusions through observation and internal reflection. But, unlike Einstein and other scientists, internal reflection and profound cognition was his sole source. He did not rely on outer influences and his theories are untainted by the thoughts of others less qualified to make such assertions. His knowledge base, in fact, was a result of penetrating his own inner Space his own Atom of Consciousness - and then observing the actions of that inner Space. Thus, the body of knowledge that has given rise to the forms of art and architecture that are the subject of this text come from the Rishi Siddha, Mayan of Kumari continent and South India who directly cognized within his own inner being - Atman - the principles and codes by which these amazing structures are built. There are many speculations that Mayan received this knowledge from a human teacher, UFO’s, a god who lives in the Sun and many other ideas. None of these are correct. Mayan himself reveals the source of his knowledge. Then, he documents this knowledge in writing. He has written over 32 texts on subjects including architecture, drawing, music, astronomy, dance, ship building, cartography, herbology, and a number of other topics. Mayan himself reveals his source of knowledge in his Aintiram, Surya Siddhanta, and other texts:
Supreme Being is omnipresent and the exceptional art is eternal. Experience of the Supreme Being’s consciousness led me to worship spiritual Light. Blessings of the Supreme Being helped me visualize Nataraja, the dance of Shiva (vibration of the thread of cosciousness). Blessings of the Supreme Being helped me create this magnificant art. Mayan “…I present this work named Aintiram, as guided by the compassionate grace of Nataraja. As directed by the grace of Nataraja, who is the weilder of Time, with folded hands I present this Tamil work Aintiram as the quintessence of 12 great Tamil works (written by me).” (Vs. 892, Aintiram) Mayan’s Surya Sidhanta reveals further evidence of his knowledge source that he calls “Sun God.” With thorough research, it has been found that this name is not what it seems. Kashulka Surye Mayan’s source of information is an essence called Kashulka Surye (from Dr. S.P. Sabharathnam personal communication). Mayan referred to this essence as The Sun God and said that this Sun God is Cosmic Space or Brahmam. This Cosmic Space is omnipresent and referred to as macroabode. It is also localized in the cave of the heart as microabode.
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This “Sun God” has often been misinterpreted as a God of the sun in the sky or in outer space. It is a gross misunderstanding and has led to much misinterpretation of the subtle principles of Vastu and Vaastu. This misinterpretation has led people to think that it is the energy of the sun, moon and other bodies in outer space that have their effect in Vaastu forms and specifically in Vaastu buildings. Nothing could be further from the truth. The energy of the sun and planets is material energy - subtle but material. In Vaastu Science we are only applying principles of the subtlest unmanifest energy – Vastu as it takes shape as Vaastu Purusha. This concept that Mayan got his information from the sun in the sky has its roots in the Surya Siddhanta. The beginning verses of Surya Siddhanta (Vs 2&3) say:
Some time before the end of the Krita yuga, a great asura (person of spiritual power) named Maya, being desirous of obtaining the sound, secret, excellent, sacred and complete knowledge of Astronomy, which is the best of the six sciences subordinate to the Veda, practiced the most difficult penance, the worship of Surya-the Sun. 4. The self- delightful Sun being gratified at such difficult penance of Maya, bestowed on him the knowledge of the science of Astronomy which he was inquiring after. 5. The illustrious Sun said, (O Maya) I am informed of your intention of attaining the knowledge of the science of Astronomy and pleased with your penance. I therfore will grant you the knowledge of Astronomy which treats of Time. 6. But since nobody can bear my light and I have no time to teach you, this man who partakes of my nature will impart to you the whole of the science. 7. The Sun, having thus spoken to and orderd the man born from himself to teach Maya, disappeared. That man spoke to Maya who stood bending and folding his hands close to his forehead in the following manner. 8. O Maya, hear attentively the excellent knowledge of the science of Astronomy which the Sun himself formerly taught to the great saints in each of the Yugas. One who is steeped in the knowledge of Mayonic Science and Technology can immediately see several points in these verses. Worship of the sun in the sky means putting one’s attention to that object outside of himself or herself. However, penance means taking on power and gaining knowledge by going deeply within ones own center of Being. Mayan was known to have done penance and practiced introspection often to gain knowledge from Atman or Microabode. When one engages in that kind of internal awareness then one gains access to the man born of the sun who has the same nature of the Sun. That man is none other than Atman – the individualized internal form of the Cosmic Being as Microabode found in the cave of the heart, according to Mayan. Second, the use of the words “self delightful” means that this Sun spoken of is self -generating. There is only one Being that is self - generating and that is Brahmam. How can we make these assertions? If we continue reading the text in chapter XII, we see that Mayan addresses this “man who partakes of the nature of the Sun.” Ch XII, vs 2. (Mayan says), Tell me, O my omnipotent Master, what is the magnitude of the Earth? What supports it? How is it divided? Here, Mayan addresses this man who has the nature of the Sun as “omnipotent.” The word “omnipotent” immediately gives us a clue that he is addressing Atman and subsequently Brahmam Itself, as it is only Atman/
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Brahmam who is omnipotent. Omnipotent means all - powerful, all knowing, and is only used in reference to the One Brahmam. Further on in the same chapter, (vs. 11- the end of the chapter) this man describes the Supreme Being as Vasudeva – Purusha. He says that this all - pervading Purusha entered nature, made the water and put his influence into it. He says that this water, with that influence, became a golden egg or foetus called the eternal Aniruddha. This omnipotent Aniruddha is called Aditya and also Surya on account of the production of the universe from him. He says that this Aniruddha is excellent light for the destruction of darkness. It gives rise the Utpatti (birth), Sthitti (Life), and Sanhara (death or destruction of animate and inanimate things), illuminating the world as Hiranyagarbha (foetus). He goes on to say that this omnipotent Aniruddha or Surya is the cause of time, all- pervading, universal spirit, omnivagous, and supreme soul and the whole universe depends on him. (This Surya being spoken of can only be Brahmam – not the sun in the sky which is also called surya. The sun in the sky simply does not have these mentioned attributes. In this section of Surya Siddhanta it becomes clear who has given this knowledge to Mayan. It is the all – pervading Brahmam through Mayan’s Atmam (or jivatman to some). This all – pervading Brahmam is also called Surya as can be seen clearly in the verses. Thus, it is indisputable that the source of Mayan’s knowledge is not the god of the sun in the sky but the true, one Sun God – who shines brighter than a thousand suns – Brahmam. Interestingly enough, one of the many meanings of the prefix sur is “to rule, possessed of superhuman powers.” The suffix ya denotes a goer or mover. Thus, that which is the ruler of the entire cosmos, possessed of superhuman powers which, moves itself into manifestation is Surya in the Cosmic sense, not the surya in the sky. The sun in the sky, because of its luminosity and movement, is also called surya. However, from the text, it is clear that the source of Mayan’s knowledge regarding the sun in the sky, the movement of the planets, etc., is from the First Principle also know as Surya or Brahmam. Continuing on with the concept of Kashulka Surye, Mayan says this Kashulka Surye is a Luminous Spark that comes out of Brahmam that is the Ultimate Source of light. Here Ka means Space and ulka means a streak of light. This Luminous spark forms streaks of light like lightning – an on going spark described by Mayan as “unbearable effulgence.” From that source everything gets its energy. This luminosity takes shape and gives that shape energy. In Tamil, it is called Karu Jnayiru (phonetically pronounced na – yi – ru) that means in a literary sense the Sun God. In the Cologne Lexicon, various meanings for the Tamil word “karu” are offered. These meanings give a hint at the technical rather than literary substance of the term used by Mayan. 1. efficient cause 2. foetus or embryo 3. spike like 4. atom or electron, minute particle.
Ka in technical Tamil means Space. In literary Tamil it implies light, splendor. It is also used in interrogatives or a word or particle that is used to form a question “who,” “what,” or “where?” The word Jnayiru is defined as the sun in literary Tamil. According to Dr. S. P. Sabharathanan, scholar of Technical Tamil, jnayiru really implies “floating or roaming; luminous God without any support; self sustaining somewhere in Space; the support for everything; needs no support for its own existence but at the same time is the support for everything.” While the sun in the sky requires support for its existence (the material chemical chain reaction that
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supports its existence) the Sun God Mayan speaks of needs no other support for its existence – it is the core of existence itself. Further exploration of the parts, the word jnay means mother and iru means great, spacious, vast. If we allow all of these implications to melt together in our mind and feeling level what we end up with is a general yet profound notion of what Mayan was really meaning when he said he gained this knowledge from the ‘Sun God.’ And, we find a description of sorts of that Space from which all matter arises. The sum of this is something like this: Kasholka Surye or Karu Jnayiru is a splendorous Luminous Spark or Cosmic fire, streak of light, that is the Ultimate Source of light. This Luminous spark forms streaks of light like lightning – an on going spark that has “unbearable effulgence.” This luminosity is the great, unending, self – sustaining, self – effulgent, spacious, autocatalytic mother of everything and contains/ is the fetus from which life springs. From that Source everything in the entire manifest world takes shape and gets its energy. This great, spacious and vast Essence is the final answer to all questions of whom, what, and where. It is the answer to the human questions of “Who am I?” “What is my Source?” “Where did I come from and where am I going?” This essence is beyond sensory perception and material testing. It cannot be comprehended by thought or thinking or fully expressed through words. It exists as the energy of primal sound and primal light and permeates all beings, all universes, and all of the manifest worlds subtle and gross. It is called Vastu or Vastu Brahmam in its moving, pulsing state. This Kashulka Surya or Karu jnayiru is what we take as our source in Vastu Science and Vaastu Science and Technology – the source or ‘Sun God’ from which Mayan obtained his knowledge through direct internal experience. An interesting point is that there are many temples throughout the world dedicated to the “Sun God.” The fact is, for century’s indigenous people and archeologists have thought that these temples were dedicated to the sun in the sky, which was being hailed as a God. While the material energy of the sun is mandatory for life, it is, in fact, material energy. The energy of the Sun God that Mayan speaks of is the Spiritual energy of Karu jnayiiru – Vastu – the Cosmic Flame. That which the temples are being dedicated to is not always the sun in the sky but Mayan’s Sun God – Vastu Purusha. Two factors point directly to the efficacy of this assertion: 1. The temples are built using principles of Mayonic Science and Technology. 2. Ancient temples built using the principles of Mayonic Science and Technology were not built to worship any god – they were built as energy devices to promote specific qualities of consciousness. Thus, there is little question as to the true meaning of these temples and their significance as Mayonic structures. Their purpose was not to worship some deity but to generate Essence or qualities of consciousness for the well being of humanity. This essence is Kashulka Surye or Karu Jnayiru. The effect of this on humanity is the deep and profound scientific and spiritual event called resonance or Bhakti. What is this knowledge cognized by Mayan and what are the principles involved? We must examine the process cognized and subsequently applied by Mayan called Vastureva vaastu in his cognition of manifestation of energy into matter.
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The Absolute Theory of Manifestation: Vastureva Vaastu and the Birth of the Material World
“Though I am unborn and of imperishable nature, though Lord of all beings, yet remaining in My own nature I take birth through My own power of creation.” (Bhagavad-Gita Ch 4. v6) Mayan’s greatest achievement, and root of all of his other achievements, was the discovery of the Brahmam principle which is akin to modern Unified Field Theory and quantum physics. Not only did he discover that principle but he also discovered principles akin to modern point theory, wave theory, string theory, spin theory, and particle theory. He, in a nutshell, was able to describe the fabric of the universe and the innate functioning of an underlying intelligence responsible for the formation of matter. And in that description, he explained a fundamental particle (micro and macro) from which all of life arises – an Atom of Consciousness – called Microabode. Mayan in his understanding of the Unified field and quantum field activities (ripples in the Unified field) was able to go farther than modern science. Mayan states: There exists an order in the Universe - subtle universe, and material universe. This power is attributed to the consciousness of the cosmic space as well as of the inner space of the animate beings. This consciousness, by its personal effort to express its own inner feelings, causes a kind of vibration or pulsation in the inner space, resulting in energy-grids. The vibration or pulsation, being the causal element of all these events, is called Kaala (Absolute Time). This is actually the force of energy aroused by the inner consciousness, causing waves and contributing to the growth of living forms. This Kaala resides in all living beings. So, space is the offshoot of the vibration of the primordial energy. This is how the space was born. All forms of nature are manifest forms of subtle energy. For all to get manifested, the force is Kaalam. This wave-form frequency realm is the creative element of the universe. (Aintiram) Without exception, the ancient Vedic texts speak of Mayans’s Brahmam principle. Modern science has, in theory, come to understand that there is that one unified field from which the material world arises yet it is only a theory today. However, Mayan thought of it, saw it and described it - the Brahmam principle. Mayan identified the structure of infinite and finite energy particles. Mayan defined the vibration of inner Space and outer Space as a quantifiable one by virtue of which he was able to identify the structure of these energy particles and an order in the development of forms of matter. He discovered that the subtlest and smallest particle exists as a cubical structure containing a vibrating Thread of Consciousness or Cosmic Fire. This Cosmic Fire is the creative element. This particle he called anu or Microabode (Dr. V. Ganapati Sthapati). The Microabode is the smallest particle in the Absolute or relative existence. It is the foundation from which all matter rises. Absolute Space is packed with these energy particles. It is from these particles that Absolute Space manifests itself through Time, OM Light, OM Sound, the subtle aspects of the Pancha Bhootas (five elements –air, fire, water, earth, space). At this point, there is a question in the minds of
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almost every human in history: Why? A philosopher asks -Why did the Absolute manifest Itself? A religious person asks - Why did God create the world? A scientist asks – Why does the quantum field project forth sound and light waves that form the material world? At last, we have the answer thanks to Mamuni Mayan: Dr. Sthapati says that “the paradox lies in the utter simplicity of the answer: The Moolam (Brahmam) is in love with its own inherent beauty and this beauty it searches for on the outside and this perfection it constantly creates, so that it may forever savor and enjoy this ultimate beauty. In its desire to create a substantive representation of itself on the outside, in order to savor its own beauty, the Moolam impels itself into a spin. Upon rotating the particles are thrown out all around the center. Mayan says that it is from this action of discharging particles of light from the luminous core that the Moolam anticipates the end product of a manifested outer phenomenon. The very act of anticipation of a final outcome and the effort put into bringing this about are the reasons for the ultimate object to be transformed into a reality from being figment of an inner dream.” Let us explore this process more deeply with a summary written by an advanced American University of Mayonic Science and Technology student of Dr. Mercay’s commentary on Dr. Sthapati’s writing:
This Cosmological View of Mamuni Mayan in His Mayonic Science is a very profound and deeply moving description by Dr. Jessie Mercay of Dr. Sthapati’s translation of The Center of Origination, a chapter in his overview of Mayan’s Aintiram. It follows the theme of revealing why Brahman or Consciousness chose and chooses to manifest and ultimately helps one understand why he or she was born and what brings true happiness. What most inspires me about this description of the unfoldment of life is that it is a love story, the greatest love story, in that it is this Supreme 1st impulse of Love that brought and continues to bring into being, in every nano second, all that we know and experience as our world and the pulsating universe. It starts as the Originating One Source, called Moolam, Brahman, The Quantum field, finding itself to be so beautiful and perfect and so in love with that beauty and perfection that it begins to vibrate, pulse, spin and order itself, manifesting over and over again into the myriad of material forms in the universe in order to experience and savor that beauty eternally. This process of manifestation besides being vibrant with the impulse of love is spontaneous, orderly, intelligent, unforced, autocatylic, and pure. These are its beginnings, where even in its stillness it is not frozen but filled with the promise of its throbbing, where it then impels itself into a spin discharging particles of light from its luminous core in anticipation of the end product of a manifested outer form, as the birth of a now and later are born, bringing Time and limits into being. An intrinsic order is created as Moolam exercises control on its luminous particles. This is what we call Mayonic Order or Tala Purusha. This vibrant energy flutters to this ceaseless rhythm and is compared to an eternal dance of love, the dance of all reality, the divine dance of Nataraja. In love with its own beauty and pulsing itself to this divine dance it transforms itself into infinitely complex material forms. The knowledge of this process not only thrills the reader with intense happiness it shows us that our true happiness lies in the ability to savor our own individual beauty and perfection that pulsates with great luminosity from our own vibrant core. It tells us that we are a perfect creation/manifestation of the ultimate Divine Love that sprung from its own desire to savor its own beauty in our living form. To know this brings one into resonance with that highest vibration of Love that vibrates us and everything into being. (Rosie O’Sullivan, PA, USA, Advanced Student AUM S&T)
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How does unmanifest, potential energy become manifest, material form? As stated above, the fundamental crux of Mayonic Science is that Mayan perceived that there is one force, one fundamental First Principle from which all life emerges, and in which all life resides and ultimately returns to its Primal state of pure energy. He named this principle Brahmam. He saw that Brahmam, (Absolute Space, Consciousness, Potential Energy) by its own initiative, goes through a specific process to transform and manifest itself as the material world and its objects, Kinetic Energy. Mayan perceived that that process was accomplished through a mathematical order and that that order could be replicated by humans to unfold specific qualities of Brahmam that would vibrate with specific frequencies that bring health, happiness and spiritual bliss. This is essentially the Science of beginning with an unmanifest nanoparticle called microabode, activating it into a material nanoparticle also called microabode then building from there. We must begin with the unmoving vast expanse called Shiva (pronounced as Civa). Shiva is one name for the Ultimate undifferentiated Quantum Field. He is called Brahmam when he causes manifestation or grows through Time. The cube – Microabode – is the first manifestation of Brahmam. As you read on, remember that the word Brhamam means to grow, to swell, to expand – that is the meaning of Brahmam. What grows, swells, expands? It is Consciousness. From the field of consciousness we begin with the point value (Point theory) of the source of creativity. Dr. V. Ganapati Sthapati , Vaastu Vyasa articulated Mayans discoveries about this fundamental level of the unified field known as Brahmam. He says that in the beginning, there is a square flatish form (Eka Pada) that is filled with potential – it is like a burning ember. Mayan refers to that point value in the Pranava Veda when he speaks of the quantum mechanical process of manifestation. Mayan says that from that point (eka pada) a Cosmic flame arises, by its own effort.
The self- spread Om light exists in a permanent state of luminosity (like a burning ember throbbing with potential). This luminosity is amazingly creative in appearance. The orderly shape of this primal source of luminous flame is four-sided (square – Eka Pada)… The luminous primal ember contained within this square has enormous potency. (Pranava veda Vs. 2 Translated by Santhanam Krishna and Krithika Karrupiah.) Dr. S.P. Sabarthanan says of this verse: The science of OM, which includes OM light and OM sound, is of the nature of explaining all the functional aspects of luminous rays and sparks which give rise to the emergence of universe, the nature of various kinds 21
of space, the space-born luminous lights, the inspiring effulgence and beauty of cosmic totality called ‘ murugu’, six sparks functioning within inner space and in outer space, five cosmic locales, five scriptures and five cosmic orders. The genesis of this self-activating process begins with Zero Space - Soonyambara. Imagine a vast, unbounded field of pure, unmoving potential energy. This field has no beginning and no end. It just is. This is the field called Absolute Space. This Zero Space can be visualized as a concentrated square energy form (Eka pada) likened to a burning ember (Moolak Kanalnilai) pregnant with potential yet in vibrant stillness (nilaiyasi).
From a cross section or side view, it can be represented here for the sake of analogy as a flat line.
This Absolute Space can be called Zero Point or Zero Time, no time, Absolute stillness and silence yet filled with potential energy. Now imagine that at some “point” in Space that flat unbounded Absolute Space begins to move within itself or pulse within itself. An autocatalytic activation (pulse or Time) begins from this highly concentrated square cosmic energy point (point theory). This point surges upwards and becomes a verticle shaft of pure energy called moolasthan – referred to by the sage as Cosmic Flame. The sage Mayan describes this as, “Naarpurat Thiyalnilai Kalaisudarey” (Four-sided creative flame). Using the flat line, we will create a pulse or waveform in that line as a cross section of the event.
This Cosmic pillar, or Moolasthan, goes into a clockwise self- spin (spin theory), as it spins light particles (OM Light) or waveforms are emitted; through the movement of these light particles sound (OM Sound) is emitted; this begins a process of emission of chaotic light and sound particles (chaos theory). Mayan articulates this entire process in the Pranava Veda. The following is a verse in his own words.
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Om Light and Om Sound are the Primal Source of all manifest forms. Om Light is aroused by its own effort in a state of disorder and appears as a flame. The state of OM light and OM Sound in Space is a magnificent luminous six-faced Light that is called Murukoli. The transformation of Om Light and OM Sound through the five stages is concealed in the five-fold knowledge, of which this is the First. This process of transformation of disorderly Om Light and Om sound into creative orderliness is found in all five fold material forms. (PV Vs. 1, Santanam Krishna, Krithika Karuppia) Dr. S. P. Sabarathanan says this about this verse: Various aspects of all the scientific pursuits concerned with cosmic Primal Light, the invisible space, the visible space, eight spots, eight forces emerging from the eight spots—all these are explained in the Pranava Veda. Energetic sound waves, which give rise to the powerful Light and potential Universe, are explained in this Veda. The act of pulsing or moving within itself, created an element called Absolute Time. Here we see the full range of a waveform pulse. B
C F
A
D
E
What do we mean by Absolute Time? From the moment that Absolute Space began to pulse (point A) it went through a time sequence. That is, it took “time” to move from point A to point B; from point B to Point C; from point C to point D; from point D to point E and point E to point F. The pulse rises and then falls back to the steady state – represented as the flat line.
It is said by Mayan in The Aintiram “Time creates, sustains, and destroys all, so created.” It is easy to see that it is indeed “Time” that created and destroyed the form or pulse in Absolute Space. 23
At this point in the genesis of Space becoming matter, we have two elements present: Absolute Space and Absolute Time. These two elements form a micro cube. As these two elements continue and co-mingle, a clockwise self spin occurs as time marches on from point A to B to C to D to A. The formation of the six – sided cube is of great significance the imoportance of which will be seen as we explore architectural forms. The genesis of this cube is simple: The Moolasthan or pillar of Cosmic Fire replicates itself four times. Each replication of itself becomes the corner of the cube.
Thus, being self conscious, Moolasthan principle multiplies itself four times creating the four corners of what then becomes a six - sided cube (Murukoli arusudar – beautiful Light form with six faces). This six – sided cube provides a boundary within which the particles of light and sound in the form of square waves can be contained, and manifest as the visual and auditory forms through dispersion into sine waves and thus take form without complete dissipation. The central Moolasthan then becomes the infinite thread or string that continuously emits light and sound particles that give rise to matter. This macro-cube becomes filled with untold numbers of micro-cubes each of which have a lively, vibrant thread of light through its verticle center (minature Cosmic Flame called Brahma Sutra). The entire Cosmic Body or Cosmic Space is filled with these microabodes with a vibrant thread of light that is akin to String Theory (a series of strings or threads make up the fabric of the Unified field). Representation of this Self spin is noted throughout history in many cultures including China, Tibet, Nepal, Mexico, Native American, South Pacific and of course India. The images or a permutation of the image is in the form of the swastika. This image is not to be confused with the tilted swastika used by the Nazis.
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As the comingling of the elements of 1. Absolute Space and 2. Absolute Time continues, a third element 3. OM Light is produced. Then, with the comingling of 1. Absolute Space + 2. Absolute Time + 3. Om Light a fourth element is produced called OM Sound. Right here at this very moment you can see that OM Sound is a well-known element mentioned profusely in Vedic texts but OM Light has been left out of the Vedas. OM Light eventually gives rise to all visual forms and OM Sound eventually gives rise to all aural forms (language etc). As this unmanifest structure continues to spin around the central point called the Bindu Point (micro cube), and with the comingling of the four elements the cubicle shape gains more structure and mass.
With the continued self-spin and additive, commingling effect of 1. Absolute Space + 2. Absolute Time + 3. OM Light + 4. OM Sound we see the formulation of yet another element called Air. This is still in pre-manifest crystalline structure. The qualities of the element are not yet the gross qualities that can be perceived in the manifest world. Note the position of the formation of the air element within the cubicle structure. It is as if the centrifugal force of the self-spin caused the previous elements to coalesce as the air element in that locality in the Time/Space continuum.
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Self-spin continues, and with the addition of the Air element, the micro cube begins to take on more mass as 1. Absolute Space + 2. Absolute Time + 3. OM Light + 4. OM Sound 5. Air comingle and coalesce. Through Time, that is, the Time it takes to spin a half turn, the comingling and coalescence of the existing elements form a new element. That element is Fire. Notice that the elements form the Fire element in a specific quadrant just as the previous elements formed the air element in a specific quadrant. Why? It is due to Time. Absolute Time. “Time creates, sustains, and destroys all, so created.” (Mayan, Aintiram) As self-spin continues, the elements with their new companion Fire continue to add unto each other and coalesce again and again. Once again in the progression continues with process of all of the previous elements adding together with each other and combining to form yet another element Earth. 1. Absolute Space + 2. Absolute Time + 3. OM Light + 4. OM Sound +5. Air 6. Fire +7. Water = 8. Earth. Creating Eight Absolute Elements in all. All of the aforementioned Elements continue to comingle and develop together in a natural order and frequency to form the Earth element and simultaneously the fully realized 8x8 Manduka Mandala. This all takes place in the Unmanifest Field of Vastu. As we see, through Time or pulse the comingling of these elements (Space, Time, Light, and Sound) all potentiality exists. Inherent within this Light and Sound pulse, pre-manifest forms of the material elements (subtle space, air, fire, water, earth) exist. These are the elements that eventually form material space, air, fire, water, and earth. As these pre-elemental forms arise an 8x8 cubical form with 64 cells emerges – as yet unmanifest pure energy. This 8x8 form called Manduka Mandala or Vastu Purusha Mandala continues to spin in a clockwise direction. The drama of material creation occurs. A subtle but important point is that the word creation is not fully appropriate here. Creation implies making something out of nothing. In this process something is made – but not out of nothing. That something is the material world from the finest to the grossest form. What has been described as nothingness by modern science and philosophy is really a
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Unified Field packed with vibrant cuboidal luminous forms each of which is a foetus (Karu) for birthing the material world. Thus, the term manifestation is more accurate because the actual event is a transformation of energy to matter and the two are equal (E=mc2). In other words, this Unified Field called Brahmam does not create something outside itself – rather, It manifests itself as innumerable forms within itself. There are several important points to note here: 1. We now have an 8x8 cube. This 8x8 cube is called Manduka Mandala. Manduka means frog. The significance of this name of a leaping or jumping creature associated with this Mandala will become clear as you read on. 2. There are 64 modules or padas within the 8x8 cube. Each module/pada within the cube is of equal size and shape. Within each module or sub–cube, the process just described (formation of Time, OM Light and OM Sound, Air, Fire, Water etc.) is occurring on a miniscule level and mirroring the original process that we are discussing. 3. As the original micro cube continues to spin and expand through Space and Time, and as the elements of Air, Fire, and Water and Earth are formed, Space organizes itself in cubes that mirror the original micro cube. These cubes are strung together forming bands around the central point. Remember that the origin of the micro cube was a pulse in Absolute Space. This pulse caused the onset of Absolute Time. Pulses in Time linked together form rhythm; rhythm through Space forms frequencies; frequencies form meter or beat; frequencies and meter/beat have a numerical equivalent; the numerical equivalent can be translated into specific qualities based upon the length of the beat and frequency just as the various lengths of strings on a musical instrument produce different qualities of sound when plucked. 4. The individual horizontal and vertical lines contain the potency of Primal Light and Sound in the form of frequency. 5. The frequencies created by the cubes strung together form Space/ Time bands around the central module or pada that expand outward as each element is created. These are bands of energy or frequency that have particular attributes based upon the elements that predominate within these bands. This will become clear as you read on. 6. The cubical structure of the 64 squares of the Manduka Mandala is the graphic and atomic structure of the whole Cosmos and is the modified version or representational version of the Pranava Veda. The exact center of the 64 squares is called Moolam or Primal Dot. The Primal Dot is square in shape and has within itself the presence of 64 squares. Within those 64 squares is another Primal Dot with 64 innate squares with Primal Dot ad infinitum. (Dr.S.P. Sabharathnam, p xi, Mayan’s Aintiram) 7. Each module or pada within the 8x8 structure resonates with a specific Space, Time, Light, Sound and Elemental frequency based upon its position in the Space/Time continuum. This frequency is called a luminous body or Devata. This Devata has particular attributes based upon its position and qualities in the Space/Time continuum (placement among the 64 sub-cubes or padas). While the above are just static images, it is important to remember that this is a very dynamic process. Each of the bands around the central nucleus are vibrating frequencies in constant motion fluctuating and pulsing in a specific rhythm that creates a whole structure that is in constant motion. This 8x8 Manduka Mandala is a vibrant structure of Primal Space, Time, Light, Sound, Air, Fire, Water, and Earth. It is the manifested movement of rhythm or frequency over the space of the mandala constituted of 64 squares that gives
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rise to Form. What we have thus far is the invisible process of manifestation. Now we move to the visible process – while invisible to the naked eye, it is nevertheless the transformational process that leads to the formation of all material objects. The 8x8 grid – Manduka Mandala - is the fabric of the Unmanifest Universe. It is the unfolding of Absolute Space born of its love for its own beauty and desire to savor that beauty.
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Mayan speaks of this mathematical order born of this process: Ōm Ōm Iyalviri Olinirai Nilai Iyal Kalaiperu Miyalvirivey Ōm Ōm Moolap Porulneri Naarpurat Thiyalnilai Kalaisudarey Ōm Ōm Ennilai Arupaan Naankiyal Kanakkiyal Sittravayey Ōm Ōm Sudaroli Moolak Kanalnilai Onkurum perunthiraney
The self spread Ōm light exists in a permanent state of luminosity. This luminosity is amazingly creative in appearance. The orderly shape of this primal source of luminous flame is four sided (square).The mathematical state of this square is a composition of sixty four microbodes or grids. The luminous primal ember contained within this square has enormous potency. (Vs. 3 Ibid) From this fully developed 8x8 cubicle set of vibrating particles, the self-spin causes the corners of the cube to fold in on itself forming first polygonal structures and then a circular structure. Continuing on with the manifestation process, the 8x8 grided microabode continues to spin in a clockwise direction. Due to the centrifugal force of spin, the corners of the cube begin to fold into the body of the cube. The mass remains the same but the shape of a hexagon begins to emerge. With the continued spin, the corners of the hexagon
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fold inward and a circular shape emerges. This circular shape then settles into a six - sided 9x9 cube with 81 cells called Vaastu Purusha Mandala. The area of the cube is the same as the 8x8 but has divided itself into 81 cells. The circular form generated is the beginning of material form at the atomic level. This same form is mimicked throughout the material world as are variations of these forms. The material world can be seen as being made up of unmanifest six-sided luminous 8x8 gridded microforms with a vibrant vertical shaft or string that transforms itself into innumerable forms and settles into 9x9 luminous six-sided micro forms with vertical shafts or luminous threads.
Curving back onto myself I create again and again. - Bhagavadgita
The increasing density then causes a fully developed 9x9 six-sided cube called Vaastu Purusha Mandala to appear. This is the stable six-sided cubical structure from which all material forms emerge. These forms are visually depicted below.
8x8
9x9
These three “gunas” or qualities are examples of the intermediary forms of Brahmam as it transforms itself from unmanifest to manifest. The entire manifestation process occurs in an orderly and systematic way through a specific mathematical order, giving rise to space units and time units born of pulse or frequency. These units of measure evolve out of amorphous Space or pure energy and develop in an orderly fashion into tangible units of conceptual time and physical digital measurement. Hence, the primordial particles or minute quantum particles (called microabodes) that Mayan identified are the minute particles from which the material world is created. Modern science, specifically physics, provides knowledge of waveform behavior that helps explain this process. It is profoundly amazing to note that Mamuni Mayan was aware of the physics of waveform behavior thousands of years before modern scientists. These fundamental forms along with the swastika and mandalas formed during the manifestation process can be seen throughout traditional Indian temple art and architecture. They form the foundation of the entire material world and are visually articulated and encoded in pillars, statues, lingams, temple structure and numerous primary and secondary forms in and around traditional Indian/Vaastu Temples.
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From an email sent to Dr. Mercay by Dr. V. Ganapati Sthapati. Sthapati began to adopt my name - Fabric of the Universe - as a description for Brahmam and energy grid and used it in many lectures.
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Time or Kaalam/Kaala as a Process We think of Time as having to do with minutes ticking by on a clock. With this definition in mind, Mayan’s writings can at first be confusing unless a deeper understanding of the word “Time” is discovered. Mamuni Mayan refers to Absolute Time as Kaalam or Kala. He says that it is Time that creates, maintains and destroys. As I investigated this word, I asked many Indians what they took the word Kala to mean. Without hesitation they all answered, “Time.” Knowing the deep significance of every word used by Mamuni Mayan, I felt compelled to dig further. Many dictionaries reported that the meaning was “time.” One dictionary, the Cologne Online Tamil Lexicon, gave a deeper and much more significant meaning to the word Kaala: 1. to mix, unite, join; to commingle, combine; to be absorbed, 2. a process. Elsewhere, I found the meaning to be "to flow as one". I find this to be very revealing in light of what Mamuni Mayan says and what is written in Fabric of the Universe based upon his writings. It is written that the 8 gunas/elements grow from one another as a result of Time. Time is described as a pulse of movement in Absolute Space. As a result of that movement or pulse, OM Light arises. As Time and OM Light comingle and flow together within Space, OM Sound arises. Space, Time, OM Light and OM Sound comingle and “flow together” forming Air; then all of those comingle forming fire, and so on. When Mayan uses the word Time or Kaalam, what he really meant is that Time is a process in which Absolute Space comingles with itself and creates OM Light, which comingles with Space and manifests OM Sound, etc. Ultimately, all of those individual elements mix, unite and flow together ultimately manifesting as the material world. Here we are given a deeper insight into Mayan’s meaning of Time or Kaalam. When we see "Time" written, what is really implied is that it is a Cosmic process that has the elements of mixing, uniting and flowing as one. It is this mixing, uniting and flowing as one that is the creator, maintainer and destroyer of all things. Thus, the notion of Time becomes a concrete scientific term that describes a scientific process fundamental to Vastu Science, the science of manifestation. Dr V. Ganapati Sthapati provides another view of Time that deepens ones understanding even more.
“The vibration of this OM Light is called Time or Kaalam. The vibration of the Primal OM Light is the dance of Lord Shiva and that of sound is Uma. Hence, 'Omkara' Natana. Uma is 'word' (vaak) and Shiva is 'meaning' (artha). So Mayan says that Kaalam is the creative element of all the objects of the universe and adds that the universe itself is the product of Time. ‘Time is the creative source of all objects. It is Time that changes into form. It is Time that blossoms into the universe and Kaalam thus does wonders’ -Mayan. Therefore Kaalam itself is designated as Kaala Brahmam. Kaalam, in simple words is the speed or vibration of energy or light. The summum-bonum of these discussions is that vibration causes all phenomena. This concept is extended to poetry, music and dance where Kaalam is re-designated as Taalam, maatra or Kaalam, the ruling element of all forms of poetry, music and also dance. What would be unique and astonishing is that the same Taala measure is extended to create visual material forms (time-spaces) of which one is the building whether it is a temple or house. Sculptural representations are also born of this scientific theory of rhythm (Taala) and therefore they are divine and worship worthy.” Temple Architecture: The Living Tradition Dr. V. Ganapati Sthapati
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The scientific principles revealed in Vastu Science give rise to Vaastu Science and Technology, the science of the birth of forms in the material world. Scientist artists who employ these scientific principles in dance, music, poetry, sculpture, and architecture can literally create perfect, living, vibrating forms of the Divine by use of these principles. Vastu and Vaastu Defined At this point it would be beneficial to discuss the deeper definition of Vastu and Vaastu. This will reveal the profound importance of this knowledge. The term Vastu refers to primal, unmanifest, potential energy. It is the energy through which all material forms manifest. Throughout history and among many cultures, this primal energy has been given many names. The names range from religious (God, Brahmam) to scientific (the Quantum Field). Vastu is that unmanifest energy that lives eternally. An examination of the various Sanskrit and Tamil meanings associated with the root “vas” and the combined word “Vastu” and “Vaastu” will shed light on the comprehension of the meaning of Vastu Science. Vas: to shine; to grow bright, to bestow by shining upon, to cause to shine; to enter into, to dwell, becoming light, dawning, the seat or place of, an abiding substance or essence, the pith or substance of something, to cohabit with. Vaas: to make fragrant or to perfume, an intoxicant, to be or make firm, dwelling place, to assume the appearance of, matter. (Cologne Lexicon) “The word “Vastu” is formed of the root “vas. “ “Vas” means to live or to exist. The precise meaning of “Vastu” is “to live eternally.” (Dr. V. Ganapati Sthapati, p.52 Temples of Space-Science, Vaastu Vedic Research Foundation, 1996). Thus, Vastu is that energy of force that lives eternally. It is never ending and omnipresent. In examining these definitions, we can see that Vastu is the seat of an abiding, shining substance or essence. It has a quality of growing brightness and is the pith or substance that enters into and cohabits with that in which it dwells. It is the source of the entire material world yet it cohabits with the material world as Vaastu. It does not separate itself from the material world.
Vaastu is that which assumes the appearance of matter. It makes firm or gives concrete shape to the place where it dwells. It makes fragrant that in which it dwells. That fragrance is the intoxicating spiritual bliss experienced by people who live in or visit a Vaastu structure. Vastu Science is an ancient science that describes the process through which Vastu (unmanifest) turns itself into Vaastu (manifest forms and material). Vastu written with one “a” refers to unmanifest Absolute Space or Pure consciousness. Vastu written with two “a’s” (Vaastu) refers to the unmanifest Absolute Space having taken on its material form. Vastu Science then is the science of unmanifest Pure Consciousness and Vaastu Science is the science of manifest Pure Consciousness (Vastu as the material world).
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Vastu Science gives rise to Vaastu science and Vaastu Science gives rise to Vaastu technology. That is, an understanding of Vastu Science provides the basis for understanding the use of Vaastu technology in the relative material world. Vaastu Technology arises from Vastu Science. One must understand Vastu Science before one can understand and execute Vaastu technology. “This science deals with the eternal process of the subtle energy manifesting into material space or material form. In short, it is the science of manifestation of energy into matter or material form.” (Dr. V. Ganapati Sthapati). Vaastu Dharma Dharma reefers to “that which upholds or supports.” It also refers to teachings, rules and doctrines that support spiritual and material life. Beings that live in accordance with dharma proceed more quickly with moksha or personal liberation. Vaastu Dharma refers to living in accordance with the laws of nature or more specifically, in harmony or resonance with Brahmam through specific rules. These rules are not rules for daily living that must be practiced on a daily basis by the individual seeking refuge in the Divine. They are the rules or processes in which Brahmam or Consciousness transforms itself from energy to matter. The artist applies these rules directly to the arts and then the individual partaking of the art experiences the effects. In a sense, this process is a passive process in that the art form does the work for the participant. The individual simply needs to be and something called Atman fully awakens within them. Vastu Dharma refers to the true nature of things. Mayan’s discovery is that there is one life force that is vast beyond vastness, it is undifferentiated and uncompoundedin its primal state and that It, God, does not create anything but manifests himself as objects of the universe and the universe itself by means of a formula identified by him (Mayan) as a scale with which all tridimensional forms come into being in the material world. This is called ‘order’ or Vaastu dharma. …or secret of creation. (Building Architecture of Sthapatya Veda, Dr. V. Ganapati Sthapati)
Vaastu architects design building spaces using time and space units enabling people to live in harmony with both gross and subtle nature. Vaastu Dharma is not religious, but is secular and scientific. Enclosing free space creates a living organism. The dimensions that are used to enclose the space determine the vibrational qualities of the space. If the dimensions resonate with the indweller, spiritual well being, physical welfare and material prosperity are experienced. Vastu becomes vaastu by its own efforts. All vaastu contains vastu. All vaastu forms are governed by a unique rhythm based upon the vibration of the enclosed space. Rhythm, usually associated with dance or music, is the scale of time. However, buildings are also visible rhythms that are embodied with energy, and hence living beings. Time and Space equal Measure and Form. All forms are visible rhythms, or music. The mathematical formula of creation is based on vibration. Vaastu Purusha is the energy contained within the body of all living things as well as the energy within the earth (all living organisms). This energy is invoked and worshiped. The zenithal achievement is the understanding and incorporation of the energies into built structures. The architect, through mathematical calculations and configurations of functional spaces, must create space that vibrates with its occupants. Personalized space-design refers to creation of space for a family.
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Generalized space-design refers to creation of space for society, such as public spaces, public temples, villages, and towns. (Betsy Pierce (Architect) Advanced Student, The American University of Mayonic Science and Technology) “Seeing himself in his own creations, the shilpi experiences joy. The Divine Shilpi too, seeing Himself in His own manifestations, experiences joy. It is an advantic experience, the experiencer becoming the experienced. Hence the traditional experience is that the sculptor becomes the sculpture; the poet becomes the poem. He sees with his own eyes the extended form of his I-ness (Thaniayl Vadivu). How blessed he is! He realizes Brahman (the ultimate source). He becomes Brahmavid (one who knows the substance of the universe). He experiences Parasukham (spiritual comfort; supreme bliss). As the grammar adopted by the Human shilpi and the Divine shilpi are one and the same for their creations, it is absolutely true that the Divine shilpi delights to reside in the Human Shilpi’s creations. It is resonation caused by the numerical measures. It is indeed His own form wrought out in His own measure and material. Hence the Human Shilpi’s creations are worship worthy. He holds the forms created from this experience as Spiritual and Divine. He takes them to the people and evokes in them the same vibration, the same experience and the same joy. He re-moulds his rasika (the spectator) in his own substance and order, it is re-creation in flesh and blood. This is Vaastu dharma (the experience), the universal and eternal order.” (Building Architecture of Sthapatya Veda, Dr. V. Ganapati Sthapati) Vaastu Rahasya: the secret of vibrant built space Mayan is someone who saw that all life emerges from one First Principle, resides there, and then returns to this Primal state which he calls Brahman. This process has a mathematical order. He framed the knowledge that is called Vaastu Shastras to elucidate his cognitions. “The purpose of Vaastu Science is to give form to consciousness. That is, it is the transformation of consciousness into visual and aural forms governed by the science of Time and Space using Light and Sound as raw materials.” (Dr. Jessie Mercay, Fabric of The Universe) Ancient and modern Shilpis are creative architects who give concrete expression to the cosmos. Vastu Shastra outlines the very nature or Primal Existence then shows us how to mirror that primal existence in something called built space. We take various building materials and manifest a direct mirror of Nataraj in the material world. This is the essence of Mayonic Science and Technology. The Vaastu tradition (Mayonic Science and Technology) possesses a unique and supreme science concerning energy, time, space and spatial forms that is as old as human civilization. The Spirit or energy that is all pervasive is called Vastu meaning eternal substance, denoting the Ultimate - the substance of all substances - the quintessence. The subtle and gross objects that come out of it (always containing an element of Vastu in them) are all called Vaastus meaning embodied energies. Purusha (Vastu) is another name for the all pervading eternal substance and Vaastu Purusha is embodied energy or material form. Absolute Time (Kaalam) is that which creates life or the material world. Kaalam is held to be the creative force, creative energy, and creative principle - Shakti. It is Time – Absolute Time or frequency/pulse - that creates, sustains and removes from existence all that has been created or manifested.
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Mayan said, Time is the creative source of all objects. It is time that changes into form. It is time that blossoms into the universe and Kaalam thus does wonders. Cosmic Space turns itself into form according to its own desire. The Source material called Cosmic Fire or Brahma Sutra is the thread of light or consciousness also known as “Luminous Nataraja.” The primal form is known as microabode in English. It is square at its base and cubical in structure with six sides. It is called Chidambaram in Sanskrit. This square pattern is the subtle unit of Space (anu) and is the shape of the subtle space contained in our heart known as Atman (some people refer to individual Atman as jivatman – but there is no difference so we use the term Atman). There is a creative hotness in this Cosmic fire called vaisvanara Agni or Cosmic Fire – the flame is blue. On the journey to manifestation, this subtle cube or microabode replicates itself through frequency or waveform by virtue of Absolute Time or Shakti. Thus, Absolute Time or Shakti is frequency, pulse, vibration or waveform. When this unitary cell goes into action, it splits itself into 64 or 81 smaller cubes or ‘padas’; this is called Vaastu Purusha Mandala. These fractional spaces unfold in sequential order as concentric square belts called Brahma Pada (luminous space of fire), Devika Pada (space of effulgence), Maanusha Pada (space of awareness) and Paisaachika Pada (space of grossness). These concentric belts are wave patterns and form one large wave pattern.
“This wave pattern, called Vaastu Purusha Mandala, is the plan of any thought form that could turn into intelligible, luminous and meaningful form. The concentric belts strung with padas, soar upward into a pyramidal structure because of the effortive attempt made by the conscious Inner Being. This is the basic science behind the construction of a pyramid. This is the subtle structure of human emotions. Every inner experience erupts into a subtle pyramid something like a bud, later flowering into the form experienced.” (Vaastu Vyasa Dr. V. Ganapati Sthapati, Temples of Space Science) This is called, viditthuk-koduttha – the orderly behavior of divine energy. The Science and Technology of Vaastu Shastra embodies a unique technique of modulating built space into a particular order within a frame work of ‘Time and Space’ units bringing into human experience not only physical welfare but also spiritual peace and bliss. The role of the Vaastu architect is: 1) In residential buildings – to create a space whose frequency resonates with that of the individual or individuals who are to cohabit in the built space. 2) In temples and public spaces – to create a space whose frequency would resonate with that of the society as a whole.
“….if a part of free space is isolated and confined into a four walled structure called building, it becomes a living organism and the space enclosed will start vibrating in a particular order. If such a building is designed to vibrated in the same numerical order, as that of the indweller, the resultant phenomenon is that he will experience harmony or perfect union with the Universal Self…” Dr. V. Ganapati Sthapati The principles governing creation of spiritual ambience in the built space are anchored in the concept of free space turning into spatial from by its own effort. The knowledge of this enables the Sthapati to apply principles of Vaastu Technology without error. The measure that is adopted for the design of built space is the measure of the vibrations of the Cosmic Spirit that should resonate with the vibrational measure of the individual Spirit occupying the space. This response is called resonance or harmony and is achieved by “Ayadi ganana”.
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In addition, since the Earth itself is Vaastu Purusha and emanates a grid form just as the Vaastu Purusha Mandala, to benefit from the energy grids of the earth, the grid plan of the building should be made to rest and rise up on the earthly grid, as well as oriented to the cardinal directions, whereby the flow of positive energy is made available to the indweller. Through application of Vaastu Shastra, human beings can live in harmony simultaneously with gross nature or the manifest world and subtle nature (the unmanifest world), which fulfills the human desire to live in harmony with the Cosmic Spirit. Mayan states that at first as Brahmam began to vibrate OM light and OM Sound existed in a disorderly fashion. They are then transformed and integrated or made orderly thus called Kaala Sakthi. This can be understood by the vibrant tuning fork, with different sounds at different pitch levels. If the quality of vibrations is one and the same, they are said to resonate with each other. So when the Time is controlled some kind of sensible and pleasing sound becomes audible. This is musical sound. Vaastu Science applies principles of manifestation to the material world to enhance the positive qualities of Pure Consciousness and transmit these to humans. Through our understanding and experience, we come to know that the Dancer and the Dance are the same. These potent truths entrain you to become potent truth. The remainder of this document will present general details on the use of these Mayonic principles in temple architecture. Temples of the Indian subcontinent will be the primary focus. In this presentation, the traditional knowledge about temples, idols, and folklore will be presented. In addition, there will be a number of presentations on the Mayonic Science and Technology perspective relating to the various topics covered. Careful study will reveal deeper meanings to various topics than is evident in local or regional lore. The facts are not always what they seem. The real meaning is sometimes surprising and enlightening. With these principles in mind, we can begin our journey to understanding the significance of Vaastu Temples.
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What is a Temple? First and formost we must understand that temples thoughout the world were built using Vaastu scriptures. By this scripture, is established the wellbeing and happiness of all the worlds; the attainment of all the four goals of human life are possible through the study of this work. Beyond doubt, the empirical world is transformed into an eternal world. Through mastery over the Shilpa Shastra, even mortal man attains immortality. It is proclaimed that this scripture is capable of yielding supreme bliss for all the divine beings. Vishwakarma Vaastu Shastram: 2:30-31
This supreme and great Sivajnana Shastra (Silpa Shastra) is absolutely meant for the betterment and nourishment of the world; meant for the guidance of the yogins; meant for the beatific state of the divine beings. Kasyapa Shilpa Shastram 1: 3b-4a Traditionally a temple on the Indian subcontinent is a house of worship for the followers of Hinduism, Jainism, Buddhism, and other sects. The structure is generally reserved for religious and spiritual activities. In the evenings many people go to the temple to worship or to sit with family and friends. In many Indian languages, a temple is known as a Mandir. It is also known as Devasthana (Kannada) or Gudi (Kannada) or Koil (Tamil) or Alayam (Tamil). Etymology The word Mandir is derived from an ancient Sanskrit name for the house of the God. Man - symbolizes the inner-self while dir - means dwelling place. In seven Hindu texts, the lord is described as one's "inner-self" or in other words the "inner conscience". It is interesting to note that while that is the real meaning (referencing the inner being or Atman) worship has evolved to mean worship of an idol or icon rather than the inner being. Temples are known by different names in different parts of the world, depending upon the native language. For example, temples are known as Alayam or Koil in Tamil. It is also known as Devasthana/Gudi in Kannada, Gudi/Devalayam/Kovela in Telugu and Puja pandal in Bengali. Koil Koil is the Tamil name for a Hindu temple. The word literally means, "abode of the king" (Ko = king; il = residence). The koil in Tamil Nadu has a long history and has always been associated with the ruler of the time. Most kings patronized temple building in their kingdom. Temples not only acted as the places of worship, but also as civic centers for the population. There are thousands of temples in Tamil Nadu. There are 35,000 on the register and thousands not yet registered. The Tamils have been one of the greatest of temple builders. The Sangam (three major periods of meetings or Academies with scientists and writers of the time presenting their ideas) literature scripted before the Common Era refers to some of these temples. The songs of the revered Saivite Saints (Nayanmars) and the Vaishnavite Alwar Saints that date back to the period 7th to the 9th century CE provide ample references to the temples of those days, and
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these are a valued source of reference in estimating the age of temples. Stone inscriptions found in most temples throw much light on the history, and on the patronage extended by various rulers. Mayonic Science Perspective In a discussion during the American University of Mayonic Science and Technology 2006 summer Resident Scholars Program at Santa Fe, NM and Las Vegas, NM, Architect Kalavanishakti, visiting faculty from India, mentioned that in the ancient times, temples in Tamil Nadu were not run by Brahmin priests and were not used in the same way that they are used today. Rather, they were considered meeting places and healing places. Dr. V. Ganapati Sthapati also mentioned that in ancient times, people were aware that it was the empty vibrant Space supercharged with microabodes of specific wavelengths based upon the Ayadi calculation that vibrated with qualities that would elevate them to spiritual bliss. When they entered these spaces it was Absolute Space that they revered. There were no idols or Brahmin priests as there are today. There were sculptures that were visually encoded with principles that were both scientific and spiritual in nature. But these sculptures or the image represented in the sculpture were not the basis of the vibrant energy felt – it was the building itself that had become a living being thus transferring energy to the sculptures. In cases where the image was created in strict accordance with specific scientific principles of Vaastu technology then the form could give rise to the frequency. But it was not the image itself (the so called deity it represented) that gave rise to the feeling of spiritual bliss nor was it the faith of the devotee that brought spiritual bliss. This will be discussed later in this text. The two bodies of knowledge that are the only authentic authority on temples and icons are the Agama Shastras and the Vaastu Shastras. These texts have been held and only fully understood by the Shilpis and Sthapatis (sculptors, architects, and builders) of ancient days. These scientific/spirit centric artisans were literally segregated from society to the point of being considered untouchables (Who Created God, Vaastu Vyasa Dr. V. Ganapati Sthapati). Both Shastras state that God has a definite form in subtle as well as gross state, and they are both the same. These Shastras establish a science-based link between the image of God or Brahmam and the devotee. They establish that the term spiritual experience or bhakti to be a science based experience. God is only one, being the most scientific, energetic substance, full of consciousness, which in tune with itself turns into many forms known as self-manifestation. (Ibid) Mamuni Mayan is clear in his writings that Absolute Space, which he sometimes called Vastu or Brahmam or Vastu Brahmam, is that only which is worthy of worship. For, according to Mayan, it is Absolute Space that is the locus of origination of the entire material world and worldly systems. This Absolute Space is packed with minute particles of Consciousness that are cubicle in structure and contain a thread of Primal Fire or Consciousness. It is called the Microabode and is the smallest particle that contains Consciousness. According to Mayan we humans, as forms of Vastu, known in the materialized form as Vaastu, ourselves contain the Primal Microabode with the creative thread of Primal Fire. This Primal Microabode is somewhat dormant in that it is generally not functioning to its fullest value of vibrant Consciousness. The function and purpose of the giant vibrating Vaastu structures was to excite the Primal Fire within each human so that we could resonate perfectly with Vastu or Brahmam. This resonance would in turn fulfill Brahmam’s desire to
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savor itself in its most beautiful form (see The Cosmological View of Mamuni Mayan in His Mayonic Science by Dr. Jessie J. Mercay). This phenomenon of the Microabode within the human being in resonance with the pulse of the Divine is the true meaning of the word bhakti. In more recent centuries, bhakti has been taken to mean devotion and acts of devotion. This devotion has been practiced by showing devotion to Guru or to idols that reside in temples. This form of worship shows a profound lack of understanding of the true meaning of bhakti and a lack of understanding of the significance of the temple structure itself. Modern “worshipers” have no idea that it is the empty Space (Vaastu) within the temple structure and compound that brings spiritual bliss and awakening - not the idols. In truth, Mayan discovered the principle of bhakti and that principle is as described above, resonance with the Divine through being inside a Vaastu structure. This resonance may be temporarily experienced through Vaastu dance, music, literature and sculpture. However, architecture is the supreme form of Vaastu because, while one may experience bhakti or resonance by listening to Vaastu music and poetry or experience it through viewing Vaastu dance or sculpture, that experience is only fleeting as one, at some point, leaves the dance or turns off the music. On the other hand, if one lives and works in a Vaastu architectural form, the bhakti or resonance is uninterrupted and ongoing day in and day out. This ongoing experience ultimately creates a permanent state of bhakti or spiritual awakening - a Gnostic experience of the All-pervading Divine Consciousness.
"When inner space and outer space resonate together in harmony then peacefulness, vitality, health, prosperity, and dynamic, ecstatic creativity become the natural order and effortless experience." Brahmarishi Mayan, circa 10,500 BC Mandir and Koil In terms of the meanings of the words mandir and koil, from a Mayonic Science perspective, the traditional definitions of these two words are very telling. Mandir – dwelling place of the inner self or inner conscience – is precisely derived from Mayonic Science. Mayan was the first individual in recorded history to perceive that the fundamental energy particle of the Unmanifest Brahmam or Vastu is the Microabode with its primal creative Thread of Consciousness. He also noted that that same Microabode resides in the human being. Thus, the indwelling place of God or Brahmam is seen to exist within the architectural temple and within the human temple – the body. The two are a mirror of each other. In terms of the Tamil word Koil, the definition is related to the dwelling place of the king. What king? The king referred to is the king who rules all of humanity and the material world – the supreme Divine King – Vastu or Brahmam. Thus, in Mayonic Science, the term koil is seen as the dwelling place of the Divine. The human koil or human body is then also the dwelling place of the Divine. None other than Mamuni Mayan in his Mayonic Science and Technology revealed this fundamental truth. Contemporary Beliefs Regarding Temple Architecture The main focus of temple architecture in Vedic India according to Wikipedia, the online encyclopedia, was to blend the temple with its natural surroundings.
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“A major consequence of this style of temple design, was the construction of several cave temples across the Indian subcontinent. The 5th century caves of Ellora are one of the most magnificent examples of rock-cut architecture in the world. Most of the early Hindu cave temples were carved out of a single large rock. A prominent feature of these cave temples was the elaborate sculptures of various Hindu deities. By the 10th century, stylized pyramids became a crucial component of Hindu temples. These pyramids were thought to represent sacred Himalayan mountain peaks. It was during this period, that two major styles of temple architecture: the Dravidian-style and the Naagra-style developed. While Dravdian-style temples featured stepped pyramids, the Naagra-style temples featured slightly curved pyramids. The Naagra style is mostly prominent in northern India while most of the temples in southern India follow Dravidian style of temple architecture. Most of the major Hindu temples are constructed as per the Agama Shastras. The gopuram is a distinctive temple tower and is an integral part of all Dravdian-style temples. The gopuram and vimana will be discussed in more detail in later text.” As you continue to study Mayonic Science and Technology, you will find the above information from Wikipedia to be somewhat incorrect and lacking in understanding. The lack of knowledge of Mamuni Mayan’s writings and the general negligence in communicating with Sthapatis (architects) and Shilpis (sculptures and stone carvers) has given rise to enormous misinformation. The Sthapatis and Shilpis that come from very ancient family traditions have known the truths behind the form and function of temples. Unfortunately they were ignored and over time even many of them lost the knowledge.
Nagara-style Vishnupad Temple, Gaya
Dravidian-style Brihadeswara
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Mayonic Science Perspective The writings of Mamuni Mayan of the Kumari Continent and Indian sub-continent are the scientific and scriptural authority for temple construction. The Vastu Shastras (knowledge on building architecture) and the Agamas (knowledge of worship), give precise details and formulas prescribing how to design, carve and assemble a temple. The resulting structure and its relationship with its surroundings create a subtle, sublime atmosphere that lifts the veil of ignorance and elevates the human visitor to the transcendent level of direct experience of the Divine. This direct experience is called bhakti. This was the original focus of temple architecture. The simple essence of this bhakti is the automatic resonance with the qualities of the Divine that are produced by the temple structure when it is properly constructed using principles of Mayonic Science and Technology called Vaastu Science and Technology. This is the original and true meaning of the word bhakti: resonance with the Divine.
“When a devotee or even a non believer stands before the inner sanctum of the temple and thinks of the divine energy enclosed inside, his inner space will start vibrating and at a particular time period, the waves emanating from his inner space and that coming from the garbagruham will merge and resonate with each other. At this stage we say that the devotee has become one with God or else he is enjoying bhakti. This is called spiritual harmony.” Dr.V. Ganapati Sthapati, The Significance of Vimanan and Gopuram. When I speak of “Divine,” I am not speaking in terms of religion – rather, I am using this as a scientific term that denotes the field of all possibilities from which the material world springs forth in manifest form – the quantum field or Brahmam. Fundamental to the understanding of the truth behind what seem to be religious icons and buildings is the is the knowledge that words such as Brahmam, Moolasthan, Siva, Sakti, Bindu point, and other so called religious terms are actually words coined by Mayan himself as names of scientific principles. They are not individual gods and goddesses to be worshiped in personified forms but rather purely scientific principles with spiritual rather than religious implications. The forms we are speaking of are produced in a systematic and scientific way. Mamuni Mayan perceived the formulas for manifestation of energy into matter and applied them around the world. We can see this demonstrated by exploring Mayonic forms throughout the continents.
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Mayonic/ Vaastu Forms Around the World Bosnia
Tupelo Mississippi, USA
Aztec in Mexico City
Tamil Nadu, India
Building architecture of Sthapatya Veda, Vaastu Shastras, Mayamata and the source book Pranava Veda are among the foundational text that form the substance of what is popularly known as Vaastu architecture. These texts are widely thought of as East Indian. You will be surprised to learn from reading this text that they do not only belong to India – they belong to the world at large. Evidence reveals that knowledge from these texts has been widely circulated throughout the world for thousands of years. What is offered here is a very small amount of the existing evidence.
Tikal Mexico
Great White Pyramid in China 42
This pyramid measures 96’ 3 3/8’ by 37’ 1/8” taking the outside measurement. The measurement (and the measurements of most other similar structures) is closely related to a traditional Mayonic Science Ayadi number. In this case it is 3361 Angulas (385’1/3/8”) the nakshatra of which is Thiruvaadirai – a nakshatra related to Shiva. Zangkunchong Step Pyramid, China
The layout of this Chinese pyramid is exactly like other Mayonic pyramids. The five belts extending outward replicates the five energy belts found in typical Mayonic structures around the world. They demonstrate the five stages of manifestation from unmanifest to manifest as energy transforms itself to matter.
Depending on the intent of the builder in terms of locating the energy grid, this structure also may relate directly to two other traditional Ayadi numbers that are slightly smaller. In addition, the width of the pyramid is in the traditional Mayonic ratio of 2.5 to the height. The measurements may have changed over time slightly due to effects of aging but the fact that the numbers are in fractions like most Mayonic numbers is uncanny revealing an undeniable resemblance.
The diagram to the right is a typical model from a temple in south India. The five belts closest to the center are energy belts while the remaining are the platform and steps that the temple sits upon. 43
In this age, there is a great deal of sensitivity to the concept of taking the culture of another and using it as ones own. Among Native Americans, for example, this has become a sensitive point. “White” people have, in a sense, hijacked Native American culture piecemeal and participate in it without invitation. One might think that by studying Vaastu/ Mayonic Science, white people are again hijacking another culture – East Indian culture. The fact is, this aspect of Indian culture is not only Indian culture. It came to India from a sage who hailed from another continent – Kumari continent. He brought this knowledge to India about 10,000 years ago. He also took it (through his students) to other parts of Asia, Indonesia, Russia, Europe, the Mid-East, South America, Central America, Mexico, and the United States. Evidence of the influence of Mayonic Science can be found throughout the world in architecture, art, dance, music, sculpture, herbology, mathematics, astronomy, and a number of other sciences, arts and even spirituality. All people of the world have a right to explore and use this knowledge as its first teacher, Mamuni Mayan who will be discussed later in this text, gifted it to the world. Fortunately, the secrets of this spiritual science were maintained through the ages by the great family lines of Sthapatis in India. Unfortunately only a very few of these descendents of Mayan’s original students are alive today but nonetheless, they are here to carry on the tradition. It is through the grace of Mayan that one great individual who hails from one of the most ancient families of Sthapatis has had the foresight to speak out this knowledge. Dr. V. Ganapati Sthapati, the only living Shilpi Guru, is this man. Each of you reading this text has a right to this knowledge regardless of your heritage. The only requirement is that you study it and apply it only under the authority of Shilpi Guru or his representatives. Below you see a statue of Mayan of India with specific and meaningful hand postures and a Meso - American statue with same hand postures, similar hair, necklace and disks in hair.
What is the basis of all of these vibrant structures forms found thoughout the world? Is there an underlying principle or set of principles that guide their creation? A moment’s digression is of value here as I delve into a brief discussion of the process called Vastureva Vaastu – Pure Energy transforming itself into matter – the essence of Vaastu Dharma.
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From an email sent to Dr. Mercay by Dr. V. Ganapati Sthapati in response to her discovey of an ancient inscription of OM on a rock in Arizona and of an ancient inscription of a Siva chant in New Mexico. The Maayan OM is used today in Mexico and even in the border twon of Nogales, AZ.
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Two Fold OM
Such of those as are aware of and carry a deep knowledge of Indian culture, know the significance of the word Pranavam. It is a common word known to Sanskrit and Tamil languages. Till yesterday, every one knowing something about Pranavam has been under the impression that it is a monosyllabic sound, out of which the cosmos has come into existence. It is exactly the same lop sided concept that we have been harbouring in our mind from the early times. This sort of notion or idea has been enforced by one poet by name Amarasimhan, who was the court poet of king Bhoja of 10th century A.D. He was a Lexicographer. He deals with the synonyms of words common to Sanskrit and Tamil. He says - Omkara Pranou Samou----” which means Omkaram and Pranavam are of one and the same sense. This is incorrect – Pranavam is not Omkaram. This improper notion has remained till this day. But this supreme concept of Pranavam has got a dynamic significance in its birth and currency. So was it interpreted by Vaastu Vignani, Mayan of Kumari continent some 10 thousand years ago. That he is the originator (Mayan) of the Indian Science has been recently discovered in the 20th century, as a word (Pranavam), denoting not
only sound but also light (OM sound and OM light), as primary elements of creation. It has a technical import amounting to mathematical term (8 transforms to 9). Therefore there has come to be known as Two Fold OM existing in the Indian culture during the Mayonic days. No other scripture of any world order has recognized as two elements of creative character impregnated in the celestial space.
FOUR FOLD SPACE: No doubt the primal space is Akasa surcharged with unlimited energy. The Brahman itself is said to be scientific substance (vignamam Brahmam). The outer space and earthly space are found to resonate with each other in mathematical terms. But there are four spaces existing individually namely, the Heavenly space, Earthly space, our Inner space (Atman) and Built space (where we live). These four spaces have deep significance when analyzed from the point of view of the science of spaces. The heavenly space is filled with atoms of light called Paramanus and as such there are (atoms) Paramanus of sound as well. They are living dot cells called Oli Pully in Tamil terminology. These Paramanus, said to be emitting light, are taken as raw material for all visual objects to come into being in mathematical order called Rhythm. Similarly, the sound atoms come together to produce sound forms or uttered words. This kind of two distinct OMs have been found in Mayonic scripture called Aintiram. The following quotation, taken from Aintiram, defines the difference between the sound waves and light waves, Sound OM and Light OM being their respective sources. Light atoms have the tendency to go into straight lines whereas sound waves go into wavy patterns with ups and downs. From an email from Dr. V. Ganapati Sthapati.
The primal material source of Light concealed with Sound (i.e. Sound concealed in Light) vibrates thereby visualising the hidden Sound for the first time referred as “muthalmarai yoliyasaiyey”. This phenomenon of musical note born out of the vibration of light is found in the Five fold Vedas which is well done and truthful. This dispersed light in space gets transformed into air, from air comes fire, from fire comes water and from water comes earth. In brief Sound is evolved from Light due to the vibration (TIME) of Light in Cosmic space eventually creating the five natural elements. Pranava Veda v. 3 (Santana Krishnan and Krithika Karuppia)
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The Birth of a Temple The birth of the living organism called temple begins with a traditional process that determines the exact and best site and orientation of the temple structure. A temple, like all Vaastu architectural forms, is aligned with the true north and east on the energetic grid lines on the earth formed as the earth rotates on its axes. Earth being a Vaastu structure, maintains a cubicle grid just as does the circular raja guna in the Vastureva Vaastu process. Most often, the temple is then deflected 1.5 degrees from true East to increase the material wellbeing of the temple visitors. The exact direction of deflection depends on the location of the front door of the temple. It has been recognized for millenia that, while spiritual wellbeing is of primary importance, material wellbeing is also necessary for humans as they journey toward resonance with the Divine. In a correctly built temple, the traditional architect, called Sthapati, follows the Shastric rules (ancient scientific principles developed by Mamuni Mayan over 10,000 years ago) in selecting a building site or birthplace for the proposed temple. The land, soil, water bodies, underground water flow, quality and compactness of soil and other features play an important role in determining the quality of Primal Energy or Vaastu being emitted from the earth at any given potential building site. These factors influence the quality of Cosmic Space that vibrates within the final living structure we call temple. After following all of the initial evaluations of land and site selection, beginning with the proportions of the inner sanctum to the motifs carved into the pillars, and moving outward even to the temple wall, the traditional temple takes its first form on the master Sthapati’s drawing board. The architect initially determines the fundamental unit of measurement using a formula called Ayadi. Building Measure: the Yardstick Used to Give Form to Consciousness The Ayadi calculation discussed below is the calculation used to determine the size of the main wall or Motherwall of the temple. The Sthapati used a stick thirty-three inches long divided into twenty-two segments, 1 3/8 inches each or twenty-six angulas. This was the standard of measure for temples and homes. One of the names given to this stick is hasta. It is interesting to note that hasta refers to the hand. Elephants with facile trunks are called hastin or “having hand.” This reference to the hand is another indication of the importance of the body inch described here. The length of the thumbs first joint being approximately 1 3/8 inches. Another measure used is from the top of the thumb to the base of the thumb (a measure for deities) that is approximately three angulas or 3 times 1 3/8 inches. Another measure equivalent to three angulas is a hand width from the base of the thumb to the base of the outside palm. These are all measures based on the hand – hence the hasta. Thus, the standard of measure for the temple is that of the human body. Not everyone has an exact body inch of 1 3/8 inches. This is determined by Mayan to be the body inch of the ideal person who vibrates with the Divine. Rather than using the human body inch to build a temple or house, Mayan used the Divine measure. In that way, the imperfect human would come into resonance with the Divine. Both of these measures are pure measures that arise during the orderly transformation called Vastureva Vaastu. Ayadi Calculations: Measures of Light & Sound That Bring Spiritual Peace and Comfort Spiritual calmness, spiritual bliss and material wellbeing are the most sought after goals of human kind. These are the qualities offered by buildings created by the use of principles of Vaastu Science and Technology. Manifesting these
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qualities requires knowledge of unique mathematical formulas articulated in the tradition of Vaastu Science and Technology. These formulae consider the perimeter of the temple or house, the ratio between the length and the width of the perimeter, the height of the ceilings and walls, the height and pitch of the roof, the size of windows and doors, the size of open space in the center of the temple or house, and more. The fundamental measure from which many of the above measures are derived is called Ayadi Calculation or Ayadi Gananam. This calculation forms the core of Vaastu Technology and was known as Vaastu rahasya – secret of Vaastu. “The harmonious resonation of the wave length of the building with that of the inmates is the main aim of Ayadi Gananam.” (Dr. V. Ganapati Sthapati; Ayadi Calculations, 2003) Ayadi calculation is a measure of the exact size of the container that encloses Space. Space is filled with vibrating energy particles. When Space is enclosed, the size and shape of the boundaries that enclose that Space determines the frequency in which the Space vibrates. (Fabric of The Universe, Dr. Jessie Mercay, 2006). If four walls such as in a building enclose energetic Space, the building becomes alive with that special energy and becomes a living organism with rhythmic vibrancy determined by the Ayadi measurement. Just as we humans feel and vibrate with Cosmic Essence, the temple or house also feels and vibrates. A specific Ayadi calculation is chosen that has a known rhythmic vibration that promotes spiritual bliss and material wellbeing. The calculations chosen will resonate those qualities of our own inner vibrations and by this resonance the dweller of the house is able to be in harmony and communion with the Universal Space (Mayamatam) and to experience spiritual bliss. “The use of arbitrary length and width measurements are to be avoided. Or else, it would cause disorder in the energy flow within the built space.” (Dr. V. Ganapati Sthapati; Ayadi Calculations, Mathematics of Vibrational Matching, 11/2003) Dr. Sthapati says that an examination of the parts of the word Ayadi will reveal the deep significance of these numbers without which Vastu Science and Vaastu Science and Technology would be an empty and baseless field of study. There are several important linguistic ingredients associated with the word Ayadi. The word Ayadi is normally split into ‘aya’ and ’adi.’ These words mean ‘income’ and ‘etcetera.’ ‘Aya’ also means length. ‘Aya’ is also related to the word ayamam, which means ‘length’ or ‘stretch.’ The word ‘adi’ however has another meaning that brings a deeper insight into the meaning and function of ayadi calculation. ‘Adi’ means ‘source’ or ‘moolam’ (as in the name Adi shakti- or moola shakti- source of power or power source). In this context, the word ‘ay’ means ‘to search for’ or ‘to probe.’ Thus, ‘Ayadi’ not only means ‘income etc.,’ but also ‘to search for the source’ - the source of power. This word, Ayadi Calculation, then implies that 1. there is a source of power in built space, and 2. that source of power can be searched for and found. How is this source of power found? It is found by a) understanding that the source of power in the universe is Vastu and b) that that source of power, Vastu, operates in the manifest world as Vaastu – vibrant waveforms that have mathematical correspondence which indicates the waves quality and character. Fortunately the mathematical aspect of this science was articulated as specific formulas that quantify the qualities manifested by Vastu and Vaastu in any given built space. If a built space is being designed with a specific perimeter,
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and that perimeter can be analyzed using Ayadi Calculations to discover the qualities that that perimeter will manifest. If the qualities are found to be discordant to human life, that perimeter (mathematical statement) can be ‘purified’ so that it only manifests qualities that support human life and spiritual bliss. Another word related to ayadi calculation that is important to understand is ‘Motherwall.’ The Motherwall of built space is the main wall of the structure that is mathematically determined from ayadi calculation. The Motherwall is the primary wall or container that serves to create the phenomena called Vastureva Vaastu- Unmanifest Pure Energy becoming manifest. In a home, for example, the Motherwall is often the main four walls of the house. We call it “Motherwall” because it forms the structure that gives birth to the qualities of Vastu becoming Vaastu. The Motherwall or perimeter is fundamentally the measure of Consciousness or qualities of Consciousness both positive and negative. The measures that manifest negative qualities are discarded while the measures that manifest positive qualities are used as the basic measure for any building to attain spiritual bliss, happiness and prosperity. The auspicious measures have been used and tested over centuries by the Shilpi. A list of these measures, called the Ready Reckoner, has been created. This Ready Reckoner was for centuries called Vaastu Rahasya or Vaastu secret. It has only recently been made available to the general public by Dr. V. Ganapati Sthapati in his publication Ayadi Calculations: Mathematics of Vibrational Matching and Benefit of the Cosmic Science of Vibration and Resonance. The Ayadi calculation is the exact mathematical calculation that scientifically equates to your personal resonance/vibration and the resonance of the specific house or object. With the ayadi calculation, a number of factors are considered in determining exactly what size the Motherwall must be in order to resonate a desirable effect within you when you enter and reside in a specific house. This is a vital piece of information that supports the fullness of the Vastu effect. “The Ayadi calculation sets the stage for creating a home/structure that is a highly complex juxtaposition of modular measures that are adopted both in the horizontal and the vertical plane. The final effect is not unlike the rhythmic soaring of a raga as it is being built up or a dance varnam that ascends to its crescendo trough rhythmic, measured tala cycles and use of swara in their respective e positions.” Dr. V. Ganapati Sthapati There are various types of Ayadi calculations that involve different aspects depending upon the form. The Ayadi that is calculated using six major aspects is called Shadayadi (Shad means six); Dasayadi concerns 10 aspects (Dasa means ten); and Shodasayadi or 16 aspects (shodasa means sixteen) For our purposes in domestic building architecture, Shadayadi – six-aspect ayadi - is sufficient. Shodasayadi is meant for temples and idols as well as towns and villages with secular intention. Because Ayadi numbers are vibrational frequencies or time units, the same Ayadi number can be converted to different British Units and retain the same frequency. For example, the Ayadi number 55 can be taken as 55 Yavas, 55 Angulas/Virals, 55 Thalas or 55 Muzams. While each of these differ in British Units (an Ayadi number 55 taken as Viral equal 6’.3 5/8”; the same number 55 taken as Muzham equals 151’.3”).
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1 Yavas =1/8 of 1 Angula which is 11/64 of an inch 1 Angula = 1 3/8 inch 6 Angula = 1 Thalam which is 8 1/4 inches 4 Thalam = 1 Muzham which is 33 inches (2’9”) 24 Angula = 1 Muzham (1 3/8” X 24 = 33”) Hence, when 55 Angula is multiplied by 1 3/8 inches we obtain 6’3 5/8” (in Viral) When 55 is used as Muzham the British Units equal 55 x 33”, which is 151’ 3”. In summary, there is a vibrational relationship between 55 Yavas; 55 Angulas; 55 Thalas; and, 55 Muzhams. This frequency remains the same even though the British Units differ. Some terms you will come across in the literature that are equivalent are: 1 Angula = 1 Manangula = 1 Viral = 1 3/8” 1 Hastam = 1 Kishku Hastam = 1 Muzham = 33” Vaastu units (space/time units) begin on the meta-physical or Unmanifest plane as Paramanu. The units grow within the Unmanifest and grow additively to manifest measures:
8 anus 1 car dust (a minute particle of dust floating on a ray of sun) 8 car dust 1 immi 8 immi 1 ellu (sesame seed) 8 Elu 1 Nel (unhusked rice grain) 8 Nel 1 Viral or Angula (finger measure- first joint to tip of finger) 6 viral 1 Talam 12 Viral 1 Vitasti 24 Viral 1 Thachu Muzham (Kishku or Hasta) Another way to look at these units of measure is to view them as energy pulses or wave forms/lengths of Light and Sound. They are direct manifestations of Vastureva Vaastu. When multiples of these waveforms are used in building architecture, the qualities manifested by any multiple can be ascertained through Ayadi calculation. This is the great miracle of Vaastu Science and Technology. That is, the quality of frequency or vibration of any given structure can be ascertained by Ayadi calculation. Hence, any given perimeter can be checked for its life supporting effects. If it is found to be non-life supporting it can be “purified” using the ancient system of Ayadi – that is by finding a perimeter that manifests the qualities of the Moolam- Source Energy that will support the life of the inmates. The search for a life supportive Ayadi is probing the Source of Universal Power that will manifest the waveforms that support human life.
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An in-depth discussion of how to analyze any given measure and how to “purify” it is given in Ayadi Calculations: Mathematics of Vibrational Matching and Building Architecture of Sthapatya Veda, both by Dr. V. Ganapati Sthapati. In addition, the details of the search for and application of these secret numbers is offered in courses taught by The American University of Mayonic Science and Technology, USA (www.aumscience.com) and the Vaastu Vedic Research Foundation, Chennai (www.vastuved.com). Ayadi calculations may be done using 6 formulae (Shad Ayadi 1- 6 below), 10 formulae (Dasa Ayadi, 1-10 below) or 16 formulae (Shodasa Ayadi, 1-16 below). For Temple architecture we use Shodasa Ayadi calculating all sixteen factors.
1.) Aaya 2.) Vyaya 3.) Yoni 4.) Vaara 5.) Amsa 6.) Nakshatra 7.) Vamsa 8.) Thiti 9.) Rasi 10.) Ayul 11.) Bhoota 12.) Guna 13.) Sutiram 14.) Nethiram 15.) Ganam 16.) Yogam
- Income - Expenditure - Direction indicating the flow of energy - Week - Quality / Feature - Star - 4 working class (Brahmin, vaishya, etc.) - Formation of Moon - 12 moon signs (Aries to Pisces) - Energetic Age of enclosed space - Panchabhutas (quality of 5 natural elements) - Quality of the primal fire - 5 stages of a living organism (childhood to death) - Visions (one eye, two eyes, blind) - 3 qualities (Deva, maanusha, rakshasa) - Character of the time
In Vaastu temple architecture, one important aspect of Ayadi formula uses the nakshatra (birth star) of the founder, the nakshatra of the village in which the temple is being erected matching the first syllable of the name of the village with the seed sounds associated with each nakshatra (nama nakshatra) and the nakshatra of the main deity of the temple. This measurement determines the dimension of the inside of the sanctum and the distance between the pillars, the height of the temple, the size of the doors, and the size of carvings and deities, and even the distance and size of the wall surrounding the temple. The whole space of the temple is defined in multiples and fractions of this basic unit. Temple structures and other structures built without Ayadi calculation are at best just non-vibrant buildings and at worst, buildings that are detrimental to human experience.
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Archetypical Forms of Vastu as Archetypical Temple Forms In our understanding of Vastureva Vaastu, we know from Mamuni Mayan and Dr. V. Ganapati Sthapati that as Vastu transforms itself from unmanifest to manifest – from 8 to 9, it changes from the morpho cubical 8x8 structure into amorphic forms that are represented by the octagon and circle. In the first cubical form it is known as the scientific principle – satva guna; in the octagonal form it is known as the scientific principle – rajas guna; in the circular form it is known as the scientific principle – tamas guna. This concept is discussed more thoroughly in this monograph under the topic of the meaning of the Shiva lingam. From Absolute Space, through Time, OM Light, OM Sound, and the five elements, the 8x8 transforms itself into polygon, circle and then into the material 9X9.
Scientific Name ~ Religious Name Tamas Guna
Rudra
Rajas Guna
Vishnu
Sattwa Guna
Brahma
The most important point to understand at the moment is that Vastu does not just suddenly appear in the world as Vaastu forms. It goes through stages of manifestation through vibrant rhythmic expansion. Just as a cook takes raw materials and adds them together to form a cake, Vastu or Brahmam moves within itself and with the raw materials of Absolute Space (itself), Absolute Time, OM Light, OM Sound, the Pancha Bhutas (Five Elements – Space, Air, Fire Water, Earth), adds these ingredients together in an orderly, mathematical, and successive manner. Just as a form arises out of the ingredients from the cook’s kitchen – a cake, a cookie, a loaf of bread - innumerable forms arise from Vastu. In the transformation from raw ingredients, the cake changes form: first it is liquid, then it is thickened as ingredients are added; then it is mixed together in a spinning motion with a spoon or electric beater.
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When the batter is ready it is poured from the bowl into a pan and takes a new shape; that shape then transforms itself as the cake rises during cooking in the fire of the oven; finally after baking it reaches its final form and the cook may savor it. In this same way, Vastu adds ingredients, mixes them in a spinning fashion, cooks them in Primal Fire, alters their form by the process itself and then emerges as Vaastu so that it may savor itself. Mayan said, “As above so below.” What happens in the unmanifest world happens in the manifest world. We, in human form, bake a cake in a specific manner to produce that which we desire to savor. Brahmam likewise takes its own raw ingredients and forms the entire material world. The final product, the cake, is still the same material – flour, sugar, eggs, milk, water, salt, fire – transformed but the same. In that same way, all of the innumerable forms of the material world contain the same primal ingredients – Space, Time, Light, Sound, Five Elements -- manifesting in innumerable forms. It is these stages of manifestation that are documented in the structures and forms produced by traditional Vaastu architects, sculptors, dancers, and poets, and musicians. In that documentation, the artist/ scientist becomes an agent for Vastu to manifest in the material world. He or she goes deeply into his or her own Inner Being and brings forth a form that mirrors the direct methodology employed by Vastu in Vastureva Vaastu. It is through the cognitions of Mamuni Mayan and the translation and understanding of Dr. V. Ganapati Sthapati and his lineage – the aboriginal creative race of India - that we can understand and experience this process for ourselves. It is through Vaastu dance, sculpture, literature, music and architecture that others, not privy to the process, may savor and enjoy the outcomes of this process. By imbibing in the Vaastu forms, the experiencer becomes the experience. Forms of the Spirit In this morphogenesis, innumerable forms take shape. These forms can be seen in the numerous mandala type pictures or yantras executed by artists of India and Asia and other parts of the world for thousands of years. Specific and powerful shapes that occur in this metamorphosis create the morphology or structure of various temple forms. The forms below are classical forms adopted faithfully by temple architects again and again for millennium and are still used today. They are ultimately “forms of the spirit” according to Dr. Sthapati. The most widely used and energetically stable form is the square or rectangular 8x8 mandala. Other forms are used with only with great caution. The round form, for example, is a form that is rarely used and only by the most expert Sthapati. It is known to be the form of “Kali” and can bring havoc to the area where it is placed. An individual should never assume that they should build such a form as they may bring disharmony to themselves and others.
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Traditional Vaastu Temple forms “The design and layout of the temple, idols and selection of site of Indian temples is based on Vastu. Temples are always constructed on a square or rectangular plot of land. This helps to confer spiritual peace to the temple goers. This rule is also applicable to houses and other buildings. The central core, Brahmasthan (belonging to Brahma, the Creator) is left open. The subtle God is always in the middle of the Brahmasthan. When God is manifested in idol form, it must be placed a little away from the center in a direction moving away from the main entrance. Ferocious deities such as Kali are located at the periphery of the temple, as they are considered too gross. The only God that occupies the center of the temple is Shiva Linga, not even Lord Shiva. Mathematically speaking, the temple and the idol in the temple are of the same mould. A temple is built in the shape of a human God by slightly modifying the structure using certain vibrational measures. Hence it is said that the temple is not merely the home of God but the form of God as well.” Dr. V, Ganapati Sthapati From Yoga Life, Spring 1998 Mayonic Science and Technology is just that – a science and a technology that sprang from the science. As a science, it is appropriate to say that these temple forms are waveforms that spring from the quantum field in an orderly fashion. In that same way, built space called house is composed of waveforms that spring forth from the quantum field. Both types of forms resonate and vibrate with the source of life in a dynamic flow that brings spiritual bliss and happiness to those who are present in those forms. This has been a discussion of the basic shapes constructed in Temple architecture. It is now appropriate to discuss aspects of Temple form as it rises up from the earth toward the heavens in dynamic majesty. These are the traditional forms of various temples. There is variety in the shapes. The cuboidal shape is the main traditional shape but shapes are used for specific temple forms. The alternative forms should only be used by highly experienced sthapatis, as their effects can be powerful.
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Traditional Temple Floorplans / Shapes
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The Temple As A Human Form The Vastu Shastras describe the temple as a human form, structurally conceived in human proportions based on an 8x8 cubical grid. The human form on a subtle level is also conceived of as having eight segments. Without the ankles, knees, neck and top of head, this is the subtle proportion of the human. Human proportions in the material world are conceived of as nine segments (top of head, neck, knees, feet included) this will be discussed later. The temple form can be eight or nine segments. Generally speaking eight segments or modules are chosen because eight is the proportion or grid of Unmanifest Vastu or Brahmam. The entire process of Absolute Space developing itself into an 8x8 cubicle structure is fascinating and profound. It is elucidated in a detailed way in Fabric of the Universe (Dr. Jessie Mercay, Dakshina Publishing, Chennai). Dr. V. Ganapati Sthapati explains:
"The vibration of the Space-Consciousness which is called Time is the creative element, since it is this vibratory force that causes the Energetic Space to turn into spatial forms. Therefore, Time is said to be the Primordial Element for the creation of the entire universe and all its material forms. When these vibrations occur rhythmically, the resultant product will be an orderly spatial form. This rhythm of the time unit is traditionally called talam or layam. "Since every unit of Time vibration produces a corresponding unit of space measure, Vastu science derives that Time is equal to Space. This rhythm of Time and Space vibrations is quantified as eight and multiples of eight, the fundamental and universal unit of measure in the Vastu Silpa tradition." This theory carries over to the fundamental adi talam (eight beats) of classical Indian music and dance. Sthapati continues, "Applying this in the creation of a human form, it is found that a human form is also composed of rhythmic spatial units. According to the Vastu Shastras, at the subtle level the human form is a structure of eight spatial units devoid of the minor parts like the hair, neck, kneecap and feet, each of which measures one-quarter of the basic measure of the body and, when added on to the body's eight units, increases the height of the total form to nine units. Traditionally these nine units are applied in making sculptures of Gods. "Since the Subtle Space within our body is part of Universal Space, it is logical to say that the talam of our Inner Space should be the same as that of the universe. But in reality, it is very rare to find this consonance between an individual's and the universal rhythm. When this consonance occurs, the person is in harmony with the Universal Being and enjoys spiritual strength, peace and bliss. Therefore, when designing a building according to Vastu, the architect aims at creating a space that will elevate the vibration of the individual to resonate with the vibration of the built space, which in turn is in tune with Universal Space. Vastu architecture transmutes the individual rhythm of the indweller to the rhythm of the Universal Being." Structures or forms arising through the orderly unfolding of Vastu becoming Vaastu are truly temples or sacred structures. Mamuni Mayan noted that when this orderly process occurs, there is a resemblance between structures. Thus a Mayonic home or temple, built using the same principles followed by Vastu itself in the natural and orderly process called Vastureva Vaastu, and the human body are significantly similar as follows:
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Hairlock ~ Shika
Head ~ Shikara
Nose ~ Naasi
Neck ~ Khanda
Roof ~ Prastara
Wall / Hands ~ Pada
Thigh & Leg ~ Janu Base ~ Adhistana Foot- Basement/ As shown above and below, the human formUpapeeta like the form of a Vaastu house is made of 9 parts. These nine parts or sections form the basic structure as it emerges from 8x8 and becomes 9x9. This is the archetypical form of the human in its perfect proportion. This orderly measure can be easily confirmed by taking the measure of any persons thumb from the center of the first joint to the tip of the thumb and using that as a “body inch” or body angula and then setting it against the sections (as broken down below) of the individual body and these proportions will be found. This standard of measure and proportion is known throughout the world. For example, in Chinese Medicine, this ancient measure is used to find acupuncture points on any given individual and is known as “body inch.” The same principle applies to locating marma points (same as acupuncture points) or energy points in Ayruvedic Medicine (one of the traditional medicines of India). In fact this measure is so precise that traditional point location methods describe each point location by the number of body inches from various body land marks such as “x” number of fingers from the collarbone or from the elbow etc. This same proportion is known among artists throughout the world.
“There are a certain number of parts, with which the limbs of the temple structure are composed, just like the human form being composed of limbs such as foot, leg, thigh, torso, hand, neck, head and the hair lock. This is the orderly fashion in which Vastu becomes Vaastu in human form; for that matter all Dr. V. Ganapati Sthapati forms are born of the transformation of 8x8 to 9x9.”
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The face equals one unit.
The chest and torso to the top of the pubic bone equals three units (shoulders/ collarbone to breast one unit; breast to navel one unit; navel to pubis one unit).
The pubis to the kneecap is two units (pubis to center of the thigh one unit; center of thigh to knee cap one unit).
The bottom of the kneecap to the ankles is two units (knee to center of calf one unit; center of calf to ankle one unit).
The feet, knees, neck, and forehead to the top of the head are equal to one unit. (1/4 unit each)
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This is the same orderly measure used to create Vaastu homes and other Vaastu structures. Temple architects also use this orderly progression to design temples that are also living forms. In temple architecture the 9x9 progression may be used as the basic grid but most often, the pre-manifest 8x8 form is used as a temple is functioning as the unmanifest form called Vastu and the people who go there are functioning as the manifest form called Vaastu. The temple, as a living form of God, Brahmam, the quantum field is as alive as the human who enjoys its beauty. The temple also appreciates the human who partakes of the temple and appreciates it. A temple within which humans gather is the full expression of Vastureva Vaastu: the 8x8 temple and the 9x9 human coexisting in one Space. The human temple inside the built space called temple is a potent, vibrant fulfillment of Brahmam’s desire to savor its own self out of the love it has for its own beauty. Traditional Regional Temple Forms Throughout India
Building materials Very early temples were carved out of stone in hillsides or into stone hillocks. Many of the most ancient temples were built of burnt brick and mortar. Up to about 700 CE temples were mostly of the cut rock type. Sandstone was used in many temple constructions, but the extremely hard and beautiful granite of Tamil Nadu and South India proved to be the best and most lasting material. The Pallava Kings were great builders of temples in stone. The Cholas (850-1279 CE) have left a number of monuments to their credit. The Brihadesvara Temple in Thanjavur is a beautiful example built by the ancestor of Dr. V. Ganapati Sthapati, built in so-called Chola style. The Chola style added many ornate mandapams or halls to temples and constructed large towers. The Pandya Style (until 1350 CE) saw the emergence of huge towers, high wall enclosures and enormous towered gateways. The Vijayanagar Style (1350 - 1560 CE) is famous for the intricacy and 59
beauty especially for the decorated monolithic pillars. The Nayak style (1600 - 1750 CE) is noted for the addition of large prakarams (circumambulatory paths) and pillared halls. These names for temple architectural styles are only more recently given. They imply credit to the ruling dynasty. The fact is, it is the Sthapati and Shilpi who deserve the credit. These styles are derived from basic structural and design formulas that were developed by the architect. The development of these various styles in architecture 1000 years ago is the same as in modern times. The creative impulse of the architect burst forth and manifested what we now call dynasty styles. Today we have distinctive styles of architecture such as the works of I.M. Pei and Frank Lloyd Wright. In that same way there were architects who had a significant influence on the stylistic development of temples through the ages. The failure to give the ancient architects credit for building styles in India occurred in the late 1800’s and early 1900’s when foreign scholars attempted to understand temple architecture without speaking to traditional architects. In an attempt to find more efficient methods of stone cutting, Dr. V. Ganapati Sthapati did an extensive search for new methods. In the end his findings were simple: the ancient hand hewn hammer and chisel was the most effective and efficient means for cutting the intricate and artful temple stones. In addition, he attempted to speed up the quarrying process by experimenting with dynamite; he found that it was fruitless because the blasted stone lost its vibrancy and tone. In the end, the ancient methods used for millennium were proven to be the very best methods for working with stone.
Main elements of the temple Like all forms of architecture, temple architecture is composed of specific elements. Here we will focus on elements of temples in Tamil Nadu – traditional vaastu temples. As one approaches the temple complex the first prominent feature is the enormous gateway called Gopuram. Gopuram The gopuram is a distinctive temple tower and is an integral part of all Dravdian-style temples. The gopuram is the entrance way into the temple complex of south Indian temples. The gopuram is adorned with icons depicting a particular story surrounding the temple's deity. In south Indian temples, and particularly Tamil temples, there are large towering gopurams. Very often there are several of them for each temple (Srirangam has seven successive enclosures, each of which has imposing gopurams). These gopurams, however, are often dwarfed in the presence of the Vimanam that rises over the garbagruham (sanctum sanctorum or most sacred center of temple complex). After passing through the gopuram the main structure of the temple becomes evident – the Vimanam.
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Vimanam: This tower rises above the temple in a pyramidal form. Specifically it rises over the innermost sacred part of the temple, the sanctum sanctorum where the presiding deity is enshrined. It is the most prominent and visible part of a Hindu temple.
It has been said that this structure is called Vimanam is named from the word vimana which refers to flying machines and ancient Indian space ships. It is said that the Vimanam of a temple causes ones soul to rise to the heavens.
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The pyramidal steps of the vimanam are somewhat obscured by iconography that covers each step. The top of is often crowned with a dome and then a smaller element called a kalash.
Vimanam of Brihadeswara Temple, Tanjour 1020 years old Sanctum Sanctorum/ Garbagruham: The Latin phrase sanctum sanctorum means "Holy of Holies." It was originally applied in a religious context as the most sacred place within a sacred building (such as a temple), but in common usage can also be applied to mean any reserved, private, or much-valued place. The term can also be used to specify the innermost shrine of a Jewish temple, or more specifically, the innermost shrine of the Temple of Solomon. In traditional temple architecture, it refers to the area inside a temple complex beneath the Vimanam where the main deity is installed. This area is a separate building by itself, inside the complex. This is traditionally called garbagruham or small mini hall inside the temple structure and a tower (Vimanam) over the garbagruham. Garbha refers to embryo or fetus. This is the fetus from which the energetic form arises. It is the place where Brahmam is born as a living being. In addition, there is usually space to do pradatchinam (walking), and a hall (mandapam) or porch (ardamandapam) for devotees to sit or walk outside the garbagruham. In traditional Indian temples no one but the priests are allowed in the sanctum/garbagruham. In fact, westerns are often not permitted to see the garbagruham or the main diety.
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Mayonic Science Perspective on Temple Architecture and Elements of a Temple
Evolution of Temple form from simple cube (above) Above all else, empty vibrating Space is the main feature or element of the Vaastu temple. The entire purpose of a Vaastu temple is to enclose Space in such a way that it causes that enclosure to vibrate with specific pre-selected energy or frequency. Without that element the temple is devoid of the ability to activate spiritual bliss in the devotee. Over time and through misunderstanding, idols of various gods and goddesses have mistakenly been placed in the temples for worship. Whatever the reason, those idols are insignificant in terms of the actual strength and vibrancy of the temple structure itself. Idols do have specific and important meaning in Mayonic Science but it is not the same meaning given by modern devotees. The source point of vibrancy or Bindu point of the temple is in the center of the sanctum sanctorum. It is the point in the temple complex where the Cosmic Fire emerges. It is literally the energy generator from which the strength and qualities of the vibratory frequency of the temple manifest. Dr. V Ganapati Sthapati has presented the most beautiful exposition on temple architecture in his article called Temple Architecture: The Living Tradition. This particular article was written as a commentary associated with his designing and building the Siva Vishnu temple in Lanham, MD near Washington, D.C. The eloquent exposition of this knowledge as expressed in this article cannot be surpassed, so I offer it here as the primary Mayonic Science Perspective on Temple Architecture:
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Temple Architecture: The Living Tradition Dr. V. Ganapati Sthapati
Our people have revered and nurtured from time immemorial five forms of graphic art: music, dancing, sculpture, and architecture as basic art forms. These arts not only give us immense pleasure and aesthetic fulfillment, they also serve as the means of uplifting our spiritual well being. Western researchers have now begun to appreciate with wonderment the subtlety with which our architectural tradition has endowed our land, cities, homes and hearths, temples and ponds with a spiritual content. Sculpture has combined with architecture to inspire music. This inter-connected sense of underlying unity is a matter for reverence and awe. People in other lands have developed their own basic forms of art similar to the five forms that are characteristic of India. The inner sense of satisfaction, aesthetic pleasure and spiritual well-being that our traditional art forms generate stand tall as the Himalayas and compares with the aesthetic satisfaction provided by the art forms in other lands. This is no mere parochial hyperbole but a statement of truth. What is the basis of this claim? It is a question worthy of deep research. It is hoped that research scholars will probe deep into these questions and provide us enlightenment. I strongly believe that the basic cause for the wide appeal of music, dance, sculpture, and architecture is their grammar: this is because art forms have their own grammar in much the same way that a language is served by a grammar and in both cases that grammar is characteristic of our land. Poetry or the coinage of a text is one form of expression of one's inner impulses and inspired thoughts. In this case, feeling is conveyed in the form of sound, which we appreciate and enjoy through the faculty of hearing. Similarly an image in dimensional perspective is presented through lines, points, and shapes; these elements are the basic blocks of an art form, which is appreciated and enjoyed through the faculty of vision. Indeed both these forms of appreciation and enjoyment reside in the heart and mind of the observer and nowhere else. We employ a unit of measure for linking words to express an idea or concept. This is a unit of time, and we may call it a system of measurement of time. It would not be out of place to say that we present word pictures through a framework of units of time. In daily life we use measured speech to express our thoughts, and we employ similar units in drawing pictures. Without a system of measurement speech or writing will become meaningless. It is the system of measurement and an orderly use of the units of measurement that constitutes that grammar of a language. In like manner, we recognize that music and graphic arts are also based on units of time measurement. This time measurement is known in artistic language as the basic rhythm (Thalam or Taalam) cycle. In our musical parlance, this rhythm is called "Thalam" because the rhythmic beat is kept up through demonstrative clapping.
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Thus while units of time form the foundation for integrating musical sounds, it is not as easily appreciated that these time units are converted into units of space and position in sculpture of idols or icons, construction of buildings, and layouts of cities and towns in time-honored traditions of our land. Our sculpture reflects time by conversion of time units into linear and space measures in "Vaastu" art which has flourished for over 3000 years. This Vaastu art enables an invisible measure (absolute Time) to be brought within the perception of human eyes. This concept is not generally accepted or understood. Setting aside the popular perceptions of modern scientific approach, the present day Shilpis (artist craftsmen in temple architecture) pursue this "Vaastu" approach. Considerable interest has been aroused among current researchers in the study of this approach. Not only is this use of a time measure (thalam) unique, but also there is a further subtlety to be brought to the notice of learned people everywhere--what is time? If units of time can be translated into units of expression of a thought or concept, what is "position" or "space"? Are they both the same? These questions are in a modem context. They were raised and answered in our land long eons back and used in the evolution and practices of daily experience. But they lie hidden. Truly they represent an intellectual achievement of high order. To which period of history could we ascribe such evolutionary answers? Can researchers provide a clue? Has anyone noticed such discussions in our Shastras or literature or in scientific books of other lands? Let us take a look at the volumes of grammar that we have. Whether they relate to sculpture, or architecture, or music, the literature deals with the technology of art form rather describe its science. Although we tend to regard Shastras as laying the foundations of the science of an art form, modern scientists have yet to accept this view, which underlies physical sciences. The artist created form is governed by a spiritual grammar. However the technologies of this art form are expressed with such depth and sweep, and so many visual and aural art forms have blossomed forth that it is necessary to look for an underlying scientific basis. Where is this to be found? That remains the prime question confronting researchers today. Great scientists like Einstein and Archimedes might have sensed this link. Modem scientists should have the experience of the artist's sense of spirituality. It is best to answer this question first by recalling visual experience of the artistic excellence and expression that they have achieved, recognizing the faith that they inspire, and then stating what we believe to the basic science or casual spirit underlying this achievement. People in the Washington area have before them some excellent examples of authentic temple architecture that have been created using locally available material but reflecting the same inspired motivation and skills that we see reflected in the gopurams and the granite halls of temples which stand as mighty monuments all over South India from Andhra down to Kerala. The link between the technologies of these art forms the casual science that brings forth the true nature of these artistic achievements is inspiration. Man's inner self pulsates with energy and his feelings for outer space gets translated into art forms. The inner self is in communion with Space in this experience. The manifestation of this form defines the outline of Space. But feeling determines the outline and is fueled by the pulsations of the inner
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self. These pulsations get transformed into the harmonious gyrations of the strings of the veena creating music; spatial art is a similar product. Vocal speech or written text gets transformed into granite images and icons. Energized by the pulsations of the divinity in man, the image or concept takes on a spatial form. The pulsations are in this case units of time measure. There is harmony within our inner self and the environment around us. Environment provides the constituents of matter in the external world and the consciousness of the objects in the external world is reflected in our understanding of nature. Shapes in external space are objects of dimension. The common element of these different forms is in the system of measurement of time. No concept can be explained or understood without the system of measurement. The truly inspired artist focuses his aesthetic sense with discipline and taste and calls it rhythm, in music and dance, in poetry and indeed in sculpture. Even architecture adopts this system of time measurement. In music as well as in sculpture the artist is conscious of the basic form, which his creation will take, and he operates within a set rules of grammar (e.g. talapramana for the musician), but the artist creates the product through a combination of skills and virtuosity of style and inspiration. The inspiration, which symbolizes the harmony between his dedication and the environment, enables the musician display his sense of lyricism and makes the sculptor clearly visualize the subtle form in his inner self and exhibit it in the gross form that he creates. All great objects of temple architecture are true reflections of the spirit of man in quest of understanding divinity in its many manifestations. The Vaastu tradition therefore provides the discipline, which enriches the philosophical knowledge, and secular skills learned from a teacher and makes the student of temple architecture receptive to the inspiration which acts through his personality and dedication (bhakti). This tradition results in the creation of mighty monuments to man's quest for an understanding of nature in all its diversity and the unifying divinity in it… Outlines of Temple Architecture The temples in India have played a versatile role in the life of its people and have been the dominant and inseparable part of their cultural and spiritual activities from the early times. People, from the crown to the common, from the saint to the scholar have frequented temples and held them as sacred objects of worship and sources of solace and bliss. In fact, the cream of Indian culture is enshrined in the temples. The cultural life of the Indian race is built around the temple. This culture is spreading fast today, all over the world. This system of temple culture has not been replaced by any other system up to this day. It is so strong, effective and efficacious that no alternative became possible. It is based on truth, not on mere faith. Modern scientific analysis of a temple goes to establish that temple-space is surcharged with enormous positive energy and the visitors, frequenting the premises attain physical welfare and mental wellbeing. How could a mere structure built of stone or of brick and mortar contain that kind of energy? What makes the temple structure and the premises so powerful? What do the temple components like Garbhagruha, Mukhamandapa, Vimaana, Gopura, Praakaara, Minor shrines, Pillars
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and various other parts of the temple structure mean? Do they have any scientific basis or are they mere imaginative, artistic edifices to house sacred forms and symbols of religious concepts? Also it is a scientific truth that a temple is not a home of God but it is the form of God. In other words, the temple structure itself is worthy of worship and in that context; the God form installed inside is redundant or superfluous. There is truth in it, hence I am emboldened to say so. Temple building is not a congregational structure but a form of God structurally delineated. This aspect of the temple as a form of God is implied in the Upanishadaic statement of ‘Prasadam purusham matva poojayet mantra vittamaha'. The literal meaning is that the priest well-versed in mantras shall look upon the temple building (prasada) as Purusha (embodied energy called Vaastu Purusha) and worship him with due respect. The meaning further noticeable in this context is that a temple building is a composite of the Sukshma (subtle) and Sthula (gross) aspects of the Supreme Being. The Sukshma is the subtle Space enclosed in the sanctum and Sthula is the material form built around it. Also the temple structure is realized as the body and the inner space enclosed as the spirit. And the circumambulatory space around the temple sanctum called praakaraas is the rhythm bound spatial expansion of the inner space. In other words, the temple layout is the extended form of the 'rhythm' of the inner space (the Daharakasa). Therefore in the Vaastu tradition, the temple complex is designed according to what is called musical layam, where layam means rhythm (or swara vinyasa). Hence architecture is defined as frozen music as well. In the traditional Vaastu Shastras, the concept of temple structure as the extended material form of the jeeva is vividly described in a technological language to aid designing of temple forms meaningfully. The temple form is designed into Viswaroopa (visible material universe). Is not the human body, an extended form of the inner being, and the subtle into gross? The Vaastu sloka goes on thus:
Upapeetam charanakara, adhistanam janu mandalam, Pada vargam karakaram prastaram bahu moolakam, Tatkantam gala mithyuktam shikharam mukha mevache, Ushneeshantam shikha chaiva mahanasicha nasika, Netranam kshudra nasyau cha viswarupa mithi smirutam. There are a certain number of parts, with which the limbs of the temple structure are composed, just like the human form being composed of limbs such as foot, leg, thigh, torso, hand, neck, head and the hair lock. The components of the temple form, as expressed in physical terms, may be noticed in the previous diagram. The human scale (taala unit/kaala maatra) is simultaneously shown side by side. The subtle is in 8 units and the gross is in 9 units. The structure is the concept of Mayonic Science wherein human laya (order) is brought into application. There is a profound scientific concept underlying the creation of Vaastu structures whether it is a temple building or a house building. At present let us focus our attention on the temple structure. To understand the composition of the structural parts of a temple, one should know the scientific
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concept in its layout and its significance. It is the scientific layout that determines worthiness of the form. The layout adopted for temple form is synonymous with the layout of the Cosmos! This is the basic concept, which confers pan-Indianness of the temple design and lends national character to the temple-culture. The plan of the layout of a temple is technically called Mandala or Vaastu Pada with a grid of 8 X 8 = 64 spaces or 9 X 9 = 81 spaces of equal dimensions. In modern architectural terminology this can be addressed as energy-grid. These layouts are squares, two dimensionally, and cubes, tridimensionally. Those two layouts are the geometrical formulae for the shilpi to replicate the subtle substance of the universe into visual material form. This is the formula handed down by Jagatguru Viswakarma, the creator of the universe, to turn his own thoughts into material forms. This formula is couched in a simplistic saying Vastureva Vaastu meaning ‘it is the subtle that turns into gross’. Here Vastu is subtle energy and Vaastu is embodied energy. This was discovered and put into the Vaastu texts by Jagadguru Mayan (also called Vishwakarma), the author of Mayamata, Vaastu Shastra and of Surya Siddhanta, the most ancient treatise on astronomy. The application of this principle confers sanctity on the man-made structure of a temple and makes it worship worthy. This is the scientific truth of the highest order underlying temple design and temple culture. To understand this concept more clearly, one has to go to the very root of the genesis and evolution of the universe. The root exists in the vast luminous Space (akasa) that surrounds the earth and for that matter every object of the universe. The Space under reference is not a Space of nothingness but a Space filled with energy or spiritual Light. As a matter of fact, the Space is mathematically confirmed to be packed with countless cubes of energy of paramanu size. One such cubical space dwells in the cave of our heart and in the hearts of all animate objects of the universe. This cube with a square base is called Vaastu Purusha Mandala where 'mandala' is square and 'purusha' is energy.
'Vaastu purushah chaturasra samsthaha' - "the all pervasive energy is couched in a square" - so says Vaastu Vidya, a treatise on architecture. Vaastu Purusha Mandala represents, infact, the micro universe and quality wise and shape wise the micro and the macro are one and the same. That the Space is the primary source of all animate beings is justified further in the Upanishadaic saying, ‘akasat vayuhu vayoragnihi agnerapaha adbhi prithvi prithivee bhyam oshadhayaha'. The meaning is that the air, fire, water and earth have come forth in successive developments from the Space. The vegetation further came out of the Earth, which acted as another space (source) called earthly space. The shorter version of this phenomenon is that the Earth came out of the Space or the Space is the source of the Earth. In fact, it is from one single paramanu that the Earth has come into being and hence the energy contained in an 'anu-sized subtle energy' and the energy contained in the Earth itself have come to be called by a common term Vaastu Purusha and hence the container and the content have together come to be called Vaastu Purusha Mandala. The layout of the spherical Earth is identified to be Vaastu Purusha Mandala of 9 X 9 = 81 spaces whereas at subtle level, it was of 8 X 8 = 64 spaces of energy grid. Hence the mandala of 8 X8
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and that of 9 X 9 are said to be 'subtle' and 'gross' respectively. Area wise, the square and circle are equal, in spite of its growth from anu to anda (in terms of proportions). This theory is applied in all animate beings from insect to elephant. The square Vaastu Purusha Mandala is the wave pattern of Primordial Energy and in fact it is the primal manifest form of the Non-manifest, which grows into material form ultimately. All visual and audible forms come under this theory. The resultant mathematical formula is that o = ¡, meaning that the subtle is qualitatively and quantitatively equal to gross. Mayan also says, ‘Prasadadini vastuni vastuvad vastu samsrayat tanyeva vastu reveti kathitam vai vastu vid budhaihi." The meaning in simple words is that buildings, be it a temple or a house, are all embodied energies, signifying the co-existence of energy and matter (Vastu and Vaastu). Is this not the unified theory of energy and matter? So Vaastu Purusha Mandala, the plan of the primordial cube of energy is utilized as the plan of the temple, as per the directive of Vaastu Shastra. How sacred and scientific is the principle governing temple form? Is this not secular and universal? The three dimensional cube is the basic structure of the sanctum into which is placed the idol for worship. Around the cube a variety of bands and motifs are added on to give a pleasing alluring look and to conform it to human form in structural terms. This cube is traditionally denoted by the epithets Chitravain, Chitrambalam and Chidambaram, which means 'mini hall'. This I have named as 'Micro-abode' and 'Microbode'. So every temple structure, as per Vaastu tradition, is a Microbode, within which the free Space is enclosed. What does this Microbode, the mini hall contain? It is a spark of Cosmic Fire that lies centered. This is called Brahma bindu. This is again OM Light, the vibration of which causes the OM Sound. The vibration of this OM Light is called Time or Kaalam. The vibration of the Primal OM Light is the dance of Lord Shiva and that of sound is Uma. Hence 'Omkara' Natana. Uma is 'word' (vaak) and Shiva is 'meaning' (artha). So Mayan says that Kaalam is the creative element of all the objects of the universe and adds that the universe itself is the product of Time. "Time is the creative source of all objects. It is Time that changes into form. It is Time that blossoms into the universe and Kaalam thus does wonders" Mayan. Therefore Kaalam itself is designated as Kaala Brahmam. Kaalam, in simple words is the speed or vibration of energy or light. The summum-bonum of these discussions is that vibration causes all phenomena. This concept is extended to poetry, music and dance where Kaalam is redesignated as Taalam, maatra or Kaalam, the ruling element of all forms of poetry, music and also dance. What would be unique and astonishing is that the same Taala measure is extended to create visual material forms (time-spaces) of which one is the building whether it is a temple or house. Sculptural representations are also born of this scientific theory of rhythm (Taala) and therefore they are divine and worship worthy. The concept of Vaastu, in this context, is that it is the minute cell of energy (Microbode) which changes itself into material body (Vaastu) by virtue of the vibrations emanating from the energy. In
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other words, all living organisms have sprung into material existence out of the seed and speed of divine energy. Hence the sanctum is held to be a living organism capable of 'vibrating from within and spreading into a space of energetic particles'. These vibrations have been quantified just as we have quantified the sound vibrations emanating from a stringed instrument of music. These measures of sound vibrations have been assessed to be equal to material vibrations and thus got extended to create material spaces called buildings. Another important concept of Vaastu is that this small cell of energy is called 'foetus of space’ or ‘garbha’ by which the structure has come to be called Garbhagriha and Karuvarai. Also called Bindu Griha in Agamas. 'Karu' is the energetic space-atom and the structure enclosing it is 'Arai'. Our Garbhagriha structure is so designed in terms of frequency of vibrations called 'rhythm' that the energy-waves emanating there from, are productive of positive effects on human psyche, in as much as musical vibrations are controlled by numerical adjustments to produce sweet sonic effect in human mind. Because of such structural vitality one feels edified when one steps into the temple ambience or stands in front of the sanctum. This will happen irrespective of the structure enshrining an idol or not. Such is the spiritual significance of the very structure of Garbhagriha. The temple architecture is a scientific phenomenon. Let me complete by saying that the music is enjoyable because of the science underlying musical composition and rendering the song. These are musical forms heard and enjoyed at heart. Similarly, the same science underlying the musical forms are visually seen and experienced at heart in a temple premises. The effect is one and the same.”
The principles of temple architecture discussed above are responsible for creating an ambiance in the structure that brings peace and harmony to the experiencer. These principles can be employed in residential building architecture. When they are employed in such a way with certain modifications put forth in the literature of Mayonic Science and Technology called the Vaastu Shatras, then the inmate is living in a temple form and benefits from that experience by gaining the benefits of Bhakti or resonance with specific qualities of the Divine. Summary of Temple Complex vāstu shāstram pravakshyāmi lokānām hita kāmyayā Vaastu shastra is expounded for the welfare and well being of human race and to fulfill the human aspirations and ambitions ātmānam rathinam vidhi sharīram rathameva ca The energy which is otherwise known as atman or the soul is depicted as housed inside a chariot deho devālayah prokto jevo devah sanātanah Human body is equated to the temple structure and atman depicted as the divine being exiting inside the temple structure Prāsādam purusham matvā pujayet mantra vittamah Temple building (prasadam) is the form of god (purusham) and hence worthy of worship
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Vijnānam shilpa koushlyam The excellance and the beauty associated with sculpture lies in its being scientific Jagat sarvam shilpameva bhavati Entire expanse of the universe and its beings are all but sculptural forms
All forms of the universe is equated to sculptural forms involving a priceless science and mathematical concept Vijnānam brahma Supreme Brahman himself as a scientific form •A temple structure is a living organism (not sectarian or religious) but spiritual and scientific •Designed for the enjoyment of spiritual well being of the society •A temple is not a home of God but a form of God
Panchbootas (Five Elements) AKASHA (SPACE) is the primary element carrying great significance in Mayonic Science and Technology. It is the foremost of the panchbootas and is the root source of all subtle (anda - macro) and gross (pinda - micro) forms of the universe. The 5 elements are classified as the gross elements of the Universe yetasya ātmāna sambhutah ākāshah Indicates that the five elements (pancha bootas) have emanated from akasha or the space ākāshāt vāyuh vāyoragnihi adbhayah pruthvi Out of akasha came forth air, from air the fire, from fire water and from water came forth the earth The five elements are in perfect balance in the sanctum and are uninterrupted in their constant manifestation from space in an empty sanctum. Aural and Visual Forms •Entire space around us is filled with minute particles of energy which goes into vibration to develop into various forms of the universe •This creative vibration of the energy particle is called TIME or KALAM •Each energy particle serves as the embodiment of light and sound energies and, on arousal the single energy particle will vibrate to give forth both aural and visual forms. •Thus Time, Light and Sound are classified as the 3 subtle elements of creation. The 8 Elements •The vibration or pulsation of space causes the Space to turn into spatial forms at subtle level and as material forms at gross level of existence.
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•All put together there are 8 elements that represent 8 gunas (qualities) of the Supreme principle Design of temples Just as all living beings of the Universe enclose a part of the Supreme Energy inside called the inner space, the inner sanctum of a temple is also impregnated with the supreme energy or the vastu and hence is very much a living form Mayan Temple as a living entity (Quotes from Agamas and Mayan through Dr. V. Ganapati Sthapati) Prasādādini vāstūni vastutvāt vastu samsrayāt Prasadam (blissful building) is the embodyment of vastu, it is vastu by itself and is worthy of worship.
That which allows for the blissful co-existence of devas and humans and that which brings tranquility and bliss to the mind is called Prāsādam (blissful building.) All living beings are considered as material forms embodying spiritual energy inside These energy forms are termed as Vaastu Purusha. Temples are considered to be living forms with embodied energy. Vimanam •Vimanam is defined in the slokas as denoting the inner sanctum of a temple structure from the Upaanam (bottom most part) to the Stupi (finial), •Vimanam means numerous measurements •Normally thought to be forming the roof of the temple •But is actually the Garbhagruham (karuvarai) and the pyramidal roof •karu means foetus and arai means chamber •Garbhagruham (moolastanam) is the inner core of a temple complex housing the deity •The space is filled with particles of energy called paramanu or bindu •Luminous in nature possessing the character of going into vibrations. •These particles are cubical in structure and the source of all beings of the universe. •These luminous light partcles are called Chitambalam and chidambaram also meaning a mini-hall or cell •Center of the cube is the bindu or the energy point running vertical through this bindu is a string of light called thread of light or brahma sutra •The hasta (measruing stick) is derived from the vibrational count of brahma sutra. •Garbagraham is enclosed by three walls and open in the front
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Temple parts as related to human form
Mayagama mentioning the parts of the temple as human form.
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Temple floor plan indicating expanding energy belts sprouting in all directions from the bindu point. Eight padas are evident in NS dorection and Eight are evident in EW directions. On the flat plane, eithty- one padas are evident – each surcharged with Cosmic energy both vertically and horizontally. This supercharged energy gives rise to five elements and specific qualities based upon Ayadi. It is this energy that permeates the building, building complex, pillars, idols, and art forms in and surrounding the temple and temple complex bringing spiritual bliss to the visitor. Worship of this building with attention simultaneously on the building and your own Atman (true prayer) will increase the cumunion with the Divine (the building) and the divine will respond by stimulating your Atman with a thrill of Bliss. A perfect Bhakti (resonance with the divine) will bring you to a higher level of human functioning, which over time will become permanant. This is moksha, liberation, or Enlightenment. This is the moment when Brahmam, God, has the opportunity to experience the higher attributes of Itself through you the worshipper who contains the perfect replica of the Divine – Atman. Alayam (Temple complex) •The entire temple complex is known as alayam comprising of minor shrines, prakarams, etc. •When designing a temple, the garbhagruham is taken as the basic unit and the sanctum for minor shrines, prakaram and gopuram are proportionately designed and constructed •Thus the entire area inside the temple enclosure turns out to be a rhythmic spatial form, since each component is designed and built on the basis of rhythmic unit of measure of the garbhagruham •This rhythm is called alayam, which brings the spiritual ambience inside a temple •So much so that a temple structure came to be called alaya, where laya means rhythm •The mathematics and architectural principles underlying the technology makes sure that the waves produced by the enclosed space of the inner sanctum and that produced by the entire expanse that comes through the gateway are both of the same attribute •The alayam or the temple complex is related to a human form and the garbhgruham to the atman
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Alayam is depicted as the lying posture of the almighty in the human form
Gopuram •Roof of the gateway of a temple is known as a Gopuram •Gopuram is coined from the word Koppu, meaning roof of a structure •The base formation of the gateway on which the gopura stands is termed Kudaivarai (rock) •Vaastu texts name the Gopura Vaayil Gopura where Vaayil means the mouth of the building entrance. A temple and temple complex not built using the principles set forth in Vaastu Shastras and Agamas (twin scriptures) is devoid of spiritual bliss and in fact, may bring ill to the community. The worship of idols (non- vaastu idols) in such a building is the worship of false idols. No real spiritual advancement will come of such worship. Our ancient fathers – Mayan and his Rishi Disciples – brought us the knowledge of Vaastu and gave us the method of true prayer for the benefit of human kind. True prayer is the Bhakti or resonance with the Divine attained by being present in a Vaastu building. They were in direct relationship with the Padadevatas (gods of the padas) and brought out the poetry of the gods. Through their work and teachings we can experience the dawn of enlightenment. Real knowledge of this light of brahmam, found in our own Atman and in the Atman of a true Vaastu temple has been hidden until recent years but is now made available through AUM S&T for all of humanity.
They indeed were comrades of the gods, Possessed of Truth, the poets of old: The fathers found the hidden light And with true prayer brought forth the dawn. (VII, 76, 4, Rig Veda)
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Music of the Soul Through time, the origin of traditional Indian music has been lost. Mayan wrote a Shastra on the application of principles of divine manifestation – Vastureva vaastu – as applied to music over 12,000 years ago. His students applied these principles and taught them to their students – hence, the birth of traditional Indian music. Music and poetry were inextricably related. Songs were Mayonic poetry combined with Mayonic music in an intimate way creating a profound experience for the performers and the listeners. Poetry and music were often devotional – in fact, if it was Mayonic music it was by its very nature devotional in that it brought the poet, musician, and listener in complete resonance with the Divine. Unfortunately even ancient texts, which still exist today, that contain the keys to Mayonic music have been mis – translated (as have the Vedas) to the point that their real meaning is completely obscured. Here is a case on point from one of the most ancient and respected Tamil books Thirukkural: ÑZÛ ªûNúYi¥ úYiPô Ü«Wôo LZpVo^lÅ~d Lô¬ûL ¿ojÕ Vs. No. 777 chuzalum ichai vENdi vENdA uyirAr kazal yAppu kArikai nhIrththu. As Translation by Rev.Drew & John Lazarus –Manivasakar Pathippagam, Chennai September 1997: The fastening of ankle-ring by those who desire a world-wide renown and not (the safety of) their lives is like adorning (themselves). Respected professor, scholar, physicist, and musicologist Dr. S.A.Veerapandian offers the above verse and commentary and then proceeds to provide the actual meaning of the verse. Dr. Veerapandian says, Just try to match the interpretation of the meaning in all the commentaries including the above with each word in the text for Thirukkural No.777. The defects in the commentary will become obvious. Meaning of the words: kazaluthal- nhazuvuthal, pithunguthal [Tamil]; loosening [English} yAppu – yazp paththariR kurukkE valivuRach cheyyung kaddu, kaddu vadam [Tamil]; a fastening belt across the stem of Tamil harp [English] kArikai - azaku [in Tamil]; aesthetic beauty [in English] nhIr – thaNNIr, kazi [kazi means vINaiyin nharampu], thanmai - [nhIrmai related to music is explained in chilappathikAram Chapter 3: 41-42 commentary] [ Tamil]; water, string of a string instrument, characteristic, [in English] ‘nhIrththu’ means loosing one’s characteristic. uyir – pirANan, Ochai [Tamil]; life, sound [ English] Ar[ththal] – oliththal [Tamil]; sounding [English] chuzalum ichai - Music consists of circular movements of a musical note involving twelve positions [semitones] in a
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circle according to vattap pAlai method explained in chilappathikAram Chapter 17- (13) [For more details read ‘Musical Significance of nha-ma-chi-vA-ya’ chapter 9 in ‘Ancient Music Treasures –Exploration for New Music’] Full Meaning: kazal yAppu means defective change in the tension of strings in yAz [Tamil harp] resulting in the defective tuning of the strings. A music using these strings will loose the unique characteristic beauty [kArikai nhIrththu] of the music. The life of music – uyir- is in the right tuning of the strings [akanhAnURu 301:16-17, aingkuRunhURu 377:1-2, puRanhAnURu 152:14-15]. Ar in uyirAr means the sounding of the music. uyirAr means the sounding of a well – tuned music. (From Thirukkural No. 777: New Commentary by Dr. Vee) As you can see, Dr Veerapandian accurately translates the Tamil expression from the Thirukkural creating logical meaning to otherwise mistranslated prose. This translation brings out useful knowledge regarding ancient music while the previous translation by Drew and Lazarus is not only inaccurate but is bereft of the important information regarding ancient musicology. This is one example of mistranslation of ancient texts. Virtually all of the Vedas and other ancient texts that are translated by westerners are filled with misstatements. This robs the reader of pure knowledge and robs India of its true heritage, that is, the true profundity of India’s ancient scriptures. As you can see, due to mistranslation and misunderstanding of ancient texts there is not a great deal in modern writing that supports an understanding of authentic Mayonic music. However, through tradition, many principles were handed down through the centuries in the Guru Kulum tradition by master artists. Furthermore modern scholars versed in technical Tamil, music, and Mayonic music are able to revive the secrets behind this ancient musical tradition. Dr. S.A. Veerapandian is one such scholar. In addition to mistranslation of the ancient texts, the art and science of matching consonants and vowels with specific musicle notes has been lost to time. In a paper written by Dr. Veerapandian, our Mayonic music scholar, titled The Musical dimension of Shiva – A New Discovery, musical inscriptions of ancient Indian music were found in Tamil Nadu, South India. The state Archeological department dated these inscriptions to the 12th century. They were found at an ancient Shiva temple engraved in the temple, which was built by a Chola King Kuloththungkan III. The meaning of these inscriptions remained a mystery until Dr. Veerapandian applied principles of Mayonic Science to their understanding and translation. Mayan associated musical notes with specific words/ vowels. The sound (name) and letter (form) are matched in a specific way and must be performed in that way to attain the desired spiritual effect. In short, Dr. Veerapandian discovered that some of these inscriptions were the words nha ma chi vaya (a mantra used to worship Lord Shiva). After completing his Mayonic analysis (which includes use of principles from various ancient texts) he discovered that these words were directly related to a popular Rragam that is found all over Asia and particularly in China. In South India it is called Mohana Ragam. This Ragam contains the notes C, D, E, G, A. Dr. Veerapandian discovered that when the words nha ma chi vaya should be variously matched with the sounds C,D, E, G, A and applied using principles of Mayonic Science. He referred to various texts to understaand this mechanism and found Mayonic music principles in Anayanhayanar puranam where these five syllables were played by the sage
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Anayar on his flute.
(I urge you to read this amazingly beautiful poem poem which can be found at :
http://www.shaivam.org/english/sen_th12_anayar.htm)
Dr. Veerapandian concludes his complex article with this note: For all lovers of music Anayanhayanar puranam provides an illuminating experience. Anayanhayanar puranam, devoted to the worship of the God Shiva played the five syllables in the form of musical note of the scale in Mohanaagam in his flute. The musical deity Shiva, after hearing it, descended from the sky and appeared in front of him. Through the musical experience playing these five notes evolved from the five branching relation, he experienced the embrace of Shiva, thus attaining Godhood. The kampainhallUr nha-ma-chi-vA-ya inscription is the archaeological testimony to this divine musical experience. There can be no second opinion to the observation that the pure music (‘thuya vichai’) of nha-ma-chi-vA-ya will lead to unique divine experience to human beings irrespective of any kind of human division. This is Vaastu music and poetry. The complexity of Mayonic or Vaastu music can be compared to the complexity of Mayonic or Vaastu architecture. Just as there are numerous methods, materials and rules in music, there are methods, materials, and special building codes or rules that apply to architecture. Anything less than the proper application of these rules from the ground up will create a non – Vaastu compliant form. This lengthy discussion on the details of Tamil and Carnatic music, the instruments, tala, mapping and relationship to architecture is designed to form an understanding of the complexity and relevance of Mayonic Science to all of the arts. This includes the art of creation of the manifest world. These principles can be found everywhere. The patterns discovered by Mayan can be seen everywhere from the vast outer space to the depths of the ocean; from the infinite Cosmic Space (consciousness) to the finest microform within each living thing. They are born of Brahmam’s love for it’s own beauty. That love, when these Cosmic Principles are applied, can be experienced by humanity who, in fact, are also expressions of that love.
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Mayonic Music and Vaastu PART 1 Dr.S.A.Veerapandian (Dr.Vee) Music and Architecture reflecting the characteristics of a town/villag e Architecture is frozen music and music is a dynamic sounding architecture. According to ancient Tamil text ‘NAALATIYAR’, the kind of music in a town/village will reveal their characteristics. Similarly the kind of structures in a town/village will reveal their characteristics including their growth or decay. All human beings in a well – developed town/village will have healthy physical structures while those in poor town/village have weak physical structures. The kind of music associated with the human beings as well as the kind of architecture in a town/village will reveal their and the place’s characteristics and probable predictions to the future. Hence VAASTU is not confined to a person or building. Instead it is related to other human beings and other buildings in a town/village. Hence town/village planning, based on VAASTU, will ensure the well being of the individual persons and buildings in town/village. This needs to be extended to state and nations, to cover the entire world. Awareness of the above shall start at the individual level first. The individual first understand the basic principles and start tuning his/her life in resonance with VASTU. On attaining the resonance at the individual level, he/she will become a source of positive energy inducing others in his/her sphere of influence to become additional sources of positive energy. A parallel process will induce changes in their body and mind and in the structures (building, etc) in their life. This will increase the sphere of VASTU- VAASTU influence stage by stage covering the entire world. ‘Fabric of The Universe’ by Dr.Jessie is a valuable resource to understand this. The basic principles of VASTU-VAASTU shall be differentiated from the practices. The practices are subject to changes to changing circumstances. For example, flats type buildings are new development – different from ancient buildings and VAASTU technology for flats type buildings need to be developed in accordance with the basic principles. The changes in the technology related VAASTU practices, starting from the ancient primary sources to secondary sources including modern practices need objective research. Such a research will help to segregate wrong practices in violation of the basic principles. This process will help to discard the stigma of superstition attached to some of the practices. American University of Mayonic Science is the right body to undertake the task to guide everyone including the architects to follow the right practice in tune with both the basic principles and modern circumstances.
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PART 2 The resonance of the Atman at the micro level and the ParamAtman at the macro levelThe basic principles – the Secret of VASTU & VAASTU Every material body has its own natural frequency of vibration in Physics. A body at rest will start vibrating if that body’s natural frequency is equal to another nearby body vibrating at the same frequency. This is known as resonance effect in Acoustics. In ideal resonance, the amplitude of vibration will become infinite exhibiting infinite energy. The nearby vibrating body, causing the resonance, had only limited energy and hence it could not account for the infinite energy in ideal resonance. In the light of the law of conservation of energy, the source of the infinite energy could be the space, the cosmos. The present mathematical logic will stop at the doors of zero and infinite. Proceeding further will lead to illogical conclusions like proving 1 = 2 as shown below: 1 multiplied by 0 = 0 2 multiplied by 0 = 0 . Since the right hand sides are equal, the left hand sides are also equal. This will lead to 1 = 2, an absurd mathematical conclusion. Hence understanding the science of temples, demand setting aside the doubts and prejudices and follow open-minded exploration to subjective experiences related to the science of temples and the VAASTU concept of space dynamics. Like the Pauli’s exclusion principle in Quantum Mechanics (‘No two electron are alike’), no two human beings are alike in this world. Hence the objective verification, a condition demanded by science, becomes illogical with respect to the results of VAASTU concept of space dynamics. The above resonance effect is not confined to the vibrations in acoustics. Instead it is applicable to all kinds of vibrations like optic, electric, and magnetic. Human body consists of biological atoms and molecules in constant vibration. These vibrations are optic, electric, magnetic and acoustic. All human bodies exhibit electro-dynamic field, which could be tested with the help of a moving coil ballistic galvanometer (available in college level physics laboratory) with no battery connection. Buildings also consist of atoms and molecules in constant vibration (optic, electric, magnetic and acoustic) influencing the space confined by the buildings. Hence the interactions between the human beings and the buildings involved the vibrations associated with the individual human being as well as the buildings in which the individual is present. Inside a temple the physical and mental condition of the worshipper as well as the design and constructions of the temple as per the heritage based traditional rules will have greater influence on the nature of the interactions. Experiencing the interactions involving optic, electric, magnetic and acoustic vibrations is unique and subjective and hence outside the purview of science as explained above. In the event of matching of frequencies in one or more of these multidimensional vibrations, the experience may turn out to be the resonance. The ‘harmony between the inner space of the worshipper and the inner space of the temple structure’ will lead to the resonance of the Atman at the micro level and the ParamAtman at the macro level.
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VASTU is unmanifest energy in cosmos and VAASTU is manifest energy in all forms of living beings and structures. Resonance is the key phenomenon to experience the infinite. The above resonance can also be experienced in Architecture, Sculpture, Music, Dance and Poetry. The resonance experience of infinite dimension cannot be expressed in words due to the limitations in language communication. But it could manifest in human accomplishments in all fields including science and technology. Intuition and insights contribute to the research and development of great human accomplishments. Intuition and insights may be the results of the resonance experience of infinite dimension. All great heritage sites and human accomplishments in Architecture, Sculpture, Music, Dance and Poetry, are testimony to the resonance experience of infinite dimension. It is interesting to note that the traditional technology involved in the constructions of the temples is related to the five fold divine energy manifestation in Architecture, Sculpture, Music, Dance and Poetry of ainthiRam referred in ancient Sanskrit texts like Mahabharatham, Ramayanam, Surya Sidhdhantham and Tamil texts like Chilappathikaram, Manimekalai, etc. Researches on ainthiRam was undertaken by Dr.V.Ganapati Sthapati, former Principal of Govt College of architecture & sculpture, Mahabalipuram, Chennai, resulting in the publication of a valuable book ‘ Sthapatya Veda’. A source of white light will exhibit different colours when viewed through a prism at different angles. Like the white light, the same sutras (the ancient formulas) in ainthiRam reveal the keys of the technology related to the five areas depending on the interests and skills of the researcher. One such result is noted below. With the blessings and guidance of Dr.V.Ganapati Sthapati, Dr.Vee discovered the objective logic in our ancient texts to develop computer based application software for the architecture to music and vice versa mapping and presented the paper on ‘Mayonic Music Technique from ainthiRam - Architecture to Music Mapping’ during the World Classical Tamil Conference Kovai 2010. Hence understanding the basic principles of VASTU-VAASTU and tuning one’s life to be in resonance with VASTU shall be the first gateway to enter the kingdom of VASTU to experience the infinite. Part 3 The secrets of entering the first gateway to the kingdom of VASTU Understanding the basic principles and an objective review of the individual level in the light of the understanding will prove to be the first step. One can very well experience the influence of positive energy when interacting with a person who radiates self – confidence, love, honesty, sincerity and compassion. Similarly one can very well experience the influence of negative energy when interacting with a person who radiates anger, jealousy, hatred, vengeance, etc. It will be interesting to note that a negative happening (like the loss of a friend, relative, etc, property, money, etc) will induce negative feelings in negatively tuned persons while positive energy person comes out of it like a fire tampered steel radiating more positive energy.
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The positive energy VAASTU person is aware that life is infinite and between birth and death our life is transient like a travel. Hence to develop subjective hatred towards any person or thing will prove to be selfpunishing in the long run. The life style of a positive energy VAASTU person will keep him in close contact with nature and all material manifestations including his body, residence, work place, etc will be more VAASTU inclined either by design or drift (Tao or fate like) in alignment with the laws of existence as expounded by late Guru Ganapati Sthapati. On attaining the resonance at the individual level, he/she will become a source of positive energy inducing others in his/her sphere of influence to become additional sources of positive energy. Enrolling in the programs and courses conducted by the American University of Mayonic Science & Technology will lead to the understanding of the basic principles and an objective review of the individual level in the light of the understanding to become a source of positive energy. Dr.S.A.Veerapandian (Dr.Vee) Professor, School of Computing, SASTRA University, Thanjavur, 613402, India Author, ‘Ancient Music Treasures- Exploration for New Music’ 2006 Author, ‘thamiz icaiyiyal – puthiya kaNtupitippukaL’ (Tamil Musicology – New Discoveries) 2009 Former Reader in Physics, Presidency College, Chennai, India Former member of board of studies of music, University of Madras Former Principal, Sudharsan College of Arts & Science, Perumanadu, Pudukkottai 622104, Tamilnadu, India
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Vaastu in the Visual Arts: More than meets the eye Saunaka, the celebrated grahastha approached Sage Angiras and asked humbly: “O Illustrious sage! What is that by the knowing of which all this becomes known? Sage Angiras replied: "Two kinds of knowledge needs to be known according to the knowers of Brahman. They are the higher knowledge (para) and the lower knowledge (apara)" Sage Angiras explained further that the lower knowledge is the Rig Veda, the Yajur Veda, the Saama Veda and Atharva Veda, Siksha (phonetics), kalpa (rituals), vyakaraam (grammer), Niruktha (etymology), chandas (metre) and Jyothisham (astronomy); and the higher knowledge is that by which the imperishable Brahman is attained.
Ancient principles of luminous visual art forms Twelve thousand years ago the artist/ scientist Brahmarishi Mayan perceived how energy transforms itself into matter. He noted that everything in the material world comes from one source, one energy Field. He observed that all matter is a waveform in the body of that field. He noted, as modern physics has established, that waveforms have a mathematical basis. That is, material form can be expressed mathematically. Mayan noted, just as modern scientists have noted, that various waveforms (which can be quantified mathematically) display various qualities. For example, the waveform of the color violet exhibits specific qualities; the waveform of the color yellow exhibits different qualities from the red waveform. When a modern scientist wants to analyze a substance it does something called spectral analysis. Spectral analysis in essence is a measure of the color (light in the spectrum) and waveform of a substance. Once they analyze the waveform they can determine specific qualities of that substance. This is done through mathematics. Mayan analyzed the mathematics of the Field as matter arises within that Field. From this, he developed mathematical formulas based on his analysis. These formulas can be used to determine the qualities of a given form or to create forms with specific qualities. With this knowledge, Mayan developed an entire system for creating art forms that have predetermined qualities, thus predetermined effects on the viewer, listener, or participant. He applied this knowledge to the fine arts including dance, music, poetry, architecture, sculpture, drawing and painting. Mayan used the word grammer to describe this mathematical order of the Divine. He said that just as language employs its own grammer and gramtical rules, all of the arts have their own grammer. The Divine Art, manifestation of all the worlds, has its own grammer and Mayonic artists employ that grammer. As a side note, grammer is the set of structural rules that govern the composition of clauses, phrases, and words in any given natural language. This term refers to the study of such rules, and the field includes various ideas that apply to the science of language. Mayan intentionally used the term grammer because his science is concerned with the principeles and rules governing the arts – including architecture. He says that the divine employs its own grammer and rules that structure all of the worlds. We then take this same grammer and apply it to the arts thus becoming true god-like creators.
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An artist – poet, sculptor, architect, musician, painter, or dancer who learned these principles could apply them by creating forms that uplift the mind, body, and spirit of the person viewing or participating in the art form. The artist their self gained this same benefit while applying these principles. Mayan was explicit in his assertion that this body of knowledge was for the welfare of humanity. He designated the five arts (music, drawing and painting, poetry and literature, architecture, and sculpture) as the media for effecting change in human consciousness and thus human wellbeing. While we think of architecture and sculpture as our main area of interest, all of the arts, when accomplished using Mayonic or Vaastu principles, have a profound affect on humanity – the viewer and listener as well as the artist. Mayan propagated the idea that all of his students should be trained in several of the arts. Furthermore, he trained his students in the sciences as well. This was a profound notion because it is only in recent history that psychologists and educators have deduced that cross training is a valuable asset to activating more of our brain capacity (left brain, right brain, frontal and basal) through stimulation by activities and learning that engage various parts of the brain. In addition, Mayan was aware that connecting the brain/mind with the heart was of great importance to human development and human happiness. Ultimately thinking from the mind of the heart rather than from the head was seen as operating from ones Atman. Finally, the ultimate goal that Mayan taught was to be the recipient of bhakti or resonance with the Divine through raising the vibration or frequency of our own Atman. He viewed this as the salve to all that ails the world. These arts provide direct knowledge of Brahmam. Hence, Vaastu Five Arts are the highest knowledge. They are that by which the imperishable Brahman is attained. He accomplished this by applying the divine order (mathematical order) to the arts. While he viewed architecture as the highest art (because of the lasting and profound affect it has on people) the other arts were also important and nourished aspects of the individual that perhaps architecture of itself did not. In fact, he combined the other arts with the experience of architecture by using sculpture, drawing and painting, and poetry as part of architectural embellishments. Music was included through performance at temple sites and in homes as well as through finely tuned stone pillars and steps that when struck emit a musical note. Early Vaastu art was used to adorn sacred buildings such as temples and shrines, sacred caves, and Vaastu homes including palaces, forts, and homes of wealthy merchants and others who could afford to sponsor an artist. Mayan’s treatise on drafting and painting is called Ovia Chenool. His treatise on sculpture and Iconometry is called Sirpama Chenool. Other texts on visual arts have been developed through the ages including texts such as the Citrasutra of the Vishnudharmottara Purana, sections of the Samarangasutradhara of King Bhoja Deva, Shilpa Vidya Rahsyopanishad, Vaastu Sutropanishad, Manasollasa, Silparatna/ Silpa Shastras to name a few. These texts define technical aspects that lead to the aesthetic experience but by and large they do not contain the ever-necessary information on the manifestation process. This was, without a doubt, part of the training Mayan gave and most likely early artist received but it has been lost through the ages. Vaastu visual art, which includes drawing, painting and sculpture, is focused on the viewer’s role in the aesthetic experience of the art. Vaastu art is five – fold.
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1. 2. 3. 4. 5.
The medium (art piece) Rasa Rasika Bhakti Bhakta
The viewer’s response on the subtlest gross level is known as rasa, and the viewer is called rasika. On the subtle or Cosmic level the viewer is known as bhakta and the experience is known as bhakti – heightened spiritual awareness. The medium for bhakti is the art but the aesthetic experience is the viewer’s response. So, in Vaastu art we must have all of these elements present or it does not meet the standard. The primary text, Shilpa Shastras laid out a series of rules, principles, and techniques for the construction of the human form. The model for the female torso was, for example, executed in an hourglass shape similar to the damaru drum held by Lord Shiva. While there may be a direct association with the concept of Lord Shiva, one cannot forget that the hourglass is a timepiece – it represents time. In Mayonic Science, Mayan says that absolute Time is a feminine energy responsible for the emergence of the material world born in the womb of consciousness. While there may be mythological meanings for the various conventions in this traditional art, the real basis is found in the principles of Mayonic Science. There are secret codes buried within the beautiful forms created by artists. The artist is able to replicate or produce the secret codes in their art because, in very ancient days, artists were deeply steeped in Mayan’s teachings. The teachings have long been forgotten but the conventions remained. This has led modern artists to engage in the once forbidden act of experimentation. This leads to art that, while it may be attractive and emotive, fails to produce bhakti in the viewer. The crux of this form of traditional art is twofold. First the technology must be understood. Formal, technical and expressive properties based upon the tradition must be understood. Second, the artist must have the ability to enter into a yogic awareness as he or she executes the design. In this body of knowledge, it is Atman who does the drawing or painting. We humans simply provide Atman with the tools and technical expertise to unfold its joy in the art form. In terms of the unfolding of the form, the concept for drawing and painting is similar to the concepts used in architecture. The art form begins with an 8x8 or 9x9 grid nd Yakshi Sudarshana 2 century B.C. Madhavi by Dr. VGS based on ayadi. The bindu point (pulli) is located as are the Brahma and Soma Sutras. Everything ultimately emerges from the Bindu point. The artist places their pencil, chalk or brush on the paper – that first touch of the instrument is the point that mimics the moolesthan/
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point (pulli) from which all of the material world manifests. Then the line begins to form. This line is related to the microabode (bindu) extending itself outward from the bindu point – from the cosmic fire. Waveforms are emitted and take shape. Everything is born of OM Light. The visual arts are an important expression of Light. Light in the sense of technical values of light in a painting or drawing and OM Light in the sense of the works as expression of Consciousness. Most art in modern times is a product of the human mind or human emotions. Mayan taught the execution of art forms that were born of Atman and contained not only material expressions of light but also subtle expressions of light as Consciousness itself. There is a Tamil word suzhi. This word refers to the wave evolving out of the point called pulli; whirling, curving, evolving, emerging, manifesting. It is the unfurling of OM Light. We see this annotated in Vaastu art as creepers and vine like plants. This is often demonstrated in temple sculpture and other forms of visual arts. This is demonstrated in music by the swara and building up and unfolding of the musical piece. In visual arts, the artist does a form of meditation called dharna and dhyan – concentration and contemplation while maintaining a yogic awareness (samadhi). The form then arises from the cave of the heart as an emanation of OM light and creates an aesthetic and spiritual ambiance in the painting, which is transferred to the viewer. This is a sensitive and profound process of whirling, curving and manifesting Consciousness itself in art. Paintings produced in the traditional way were called Mangala Vastus or objects of auspiciousness. That is, paintings, executed using the ancient traditional methods, brought happiness and peace to the viewer and beauty and spiritual ambiance to the home. Ancient painting technology was thorough and had a degree of complexity that ensured that the outcome of art provided the desired result. This was accomplished through what can be broken down into six limbs. Six Limbs of Indian Painting Sadanga or Six Limbs of Indian Painting were evolved as a series of canons laying down the main principles of the art. Vatsyayana, who lived during the third century A.D., enumerates these in his Kamasutra having extracted them from works that are still more ancient. These ‘Six Limbs’ have been translated as follows: 1. Rupabheda: The knowledge of appearances. 2. Pramanam: Correct perception, measure and structure. 3. Bhava: Action of feelings on forms. 4. Lavanya Yojanam: Infusion of grace, artistic representation. 5. Sadrisyam: Similitude. 6. Varnikabhanga: Artistic manner of using the brush and colors. (Tagore.) The subsequent developments of painting by the Buddhists indicates that these ‘ Six Limbs ‘ were put into practice by Indian artists, and are the basic principles on which their art was founded. Specific procedures are outlined in the Shastras for preparing walls and other surfaces with various kinds of plasters to create a smooth surface for painting. This painting in Ajunta cave 17 was done in stages. The outline was drawn in red ochre contours were done in brown, deep red and black. Pigments for the paints were from local volcanic rocks except for lamp black. Animal glues and vegetable gum were used hence, the paintings were subject to blistering, flaking and insect infestation
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The following commentary will provide some insight into these six limbs and into the overall technology of Vaastu painting and drawings as well as sculpture. Vaastu Aesthetics and Equanimity: The psycho-emotional and spiritual effects of Elemental forms in Vaastu Design Technology The scientific principles revealed in Vastu Science give rise to Vaastu Science and Technology or the science of the birth of forms in the material world. Scientist artists who employ these scientific principles in dance, music, poetry, sculpture, and architecture can literally create perfect, living, vibrating forms of the Divine by use of these principles. The elements of Vastu and Vaastu reveal various shapes and forms from their genesis in Cosmic Space. One of the requirements of a Vaastu form is that it be aesthetically pleasing. Aesthetics usually refers to beauty: a) Beauty in parts of nature; b) Beauty in art; c) Cosmic beauty or Meta – aesthetics. Mayan knew the importance of aesthetics and mandated that it be one of the necessities of well - accomplished Vaastu form. Asthetics in Vaastu Shastras go beyond mere artistic beauty. There is a deep significance to aesthetics employed by the artist scientists in this field. Vaastu Art applies principles that display artistic beauty of form, beauty in nature, and Cosmic beauty. That is, the beauty of the subtle ambiance caused by the application of Mayonic principles. The beauty of Form and the beauty of nature are fleeting enjoyments. Cosmic beauty or the inner vibration that occurs from being present with a Vaastu form becomes never ending bliss over time. Full enjoyment offered by Vaastu forms or structures comes in part by the emotional nuances displayed through the lines and shapes of the forms of the structure. These emotional nuances evoke an emotional journey in the participant that culminates in a wholehearted savoring of ones own inner experience. That experience is an experience of relishing the fluctuations of ones own inner self (Oli Nataraja) that develops an equanimity and uniformity of experience. Interestingly enough, this savoring and relishing of all kinds of psychological and emotional experience through Vaastu forms entrains the individual psyche to a state of balance. Because the individual psyche is strengthened on an abstract level, the concrete experience of equanimity of experience is maintained through the ups and downs of life. While experiencing all of the rasas (emotions) through a Vaastu form the viewer is simply a witness to those emotions. A statue or other form that evokes an emotional state is viewed by the observer. During the participation, two aspects are present: 1. The viewer is not actually participating in the depiction of the emotion – they are a witness; 2. The participant is in the presence of Vaastu energy, which provides a sense of peacefulness regardless of the emotion displayed by the form. Over time, when those emotions arise in other people the viewer of Vaastu forms is able to remain a witness. The same principle holds for the rise and fall of ones own emotions – through entrainment the individual is able to maintain equanimity even in the face of their own rise and fall of inner emotions. During the experience of emotions evoked by the Vaastu form, present but not immediately obvious, is the human viewers resonance with the Oli Nataraja (vibrating frequency) of the Vaastu form. This Bhakti or resonance with the Divine automatically establishes a state of equanimity within the viewer. It is this underlying equanimity that supports the equanimity of the viewer in the presence of the various surging emotions experienced from viewing the form.
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The Divine being exists in the human and in the Vaastu form. When the Divine Being of the human can vibrate with the Divine Being of the form then the experience of the human is enriched and the Divine becomes the essence of experience. Elements of Vaastu Aesthetics The aesthetic elements of Vaastu architecture and sculpture are born of twelve elements. These are: Space, Time, Om Light, OM Sound, the Three Gunas and the Five Elements or Pancha Bhootas. These elements are important because of their role in the manifestation process called Vastureva Vaastu. In addition, they are important in terms of the shapes and forms that they take during this process. These forms and shapes are used in Mayonic Science and Technology architecture and sculpture for developing beauty and visual pleasure called ambiance. Kasholka Surye There is an essence called Kasholka Surye (Dr. S. P. Sabharathanan). Mayan referred to this essence as The Sun God. This Sun God is Mayan’s source of information. Mayan says that this Sun God is located in Cosmic Space. Cosmic Space does not mean outer space where the sun, moon and stars exist. (Cosmic Space refers to Brahmam or Unified Field). This “Sun God” has often been misinterpreted as the God of the sun in the sky or in outer space. It is a gross misunderstanding and has led to much misinterpretation of the subtle principles of Vastu and Vaastu. This misinterpretation has led people to think that it is the energy of the sun, moon and other bodies in outer space that have their effect in Vaastu forms and specifically in Vaastu buildings. Nothing could be further from the truth. The energy of the sun and planets is material energy- subtle but material. In Vaastu Science we are only applying principles of the subtlest unmanifest energy – Vastu. Mayan says this Kasholka Surye is a Luminous Spark that comes out of Brahmam that is the Ultimate Source of light. Here Ka means Space and ulka means a streak of light. This Luminous spark forms streaks of light like lightning – an on going spark described by Mayan as “unbearable effulgence.” From that source everything gets its energy. This luminosity takes shape and gives that shape energy. In Tamil, it is called Karu Jnayiru (phonetically pronounced na – yi – ru) that means in a literary sense the sun God. In the Cologne Lexicon, various meanings for the Tamil word “karu” are offered. These meanings give a hint at the technical rather than literary substance of the term used by Mayan. 1. efficient cause 2. foetus or embryo 3. spike like 4. atom or electron.
Ka in technical Tamil means Space. In literary Tamil it implies light, splendor. It is also used in interrogatives or a word or particle that is used to form a question “who,” “what,” or “where?” The word Jnayiru is defined as the sun in literary Tamil. According to Dr. S. P. Sabharathanan, scholar of Technical Tamil, jnayiru really implies “floating or roaming; luminous God without any support; self sustaining somewhere in Space; the support for everything; needs no support for its own existence but at the same time is the support for everything. While the sun in the sky requires support for its existence (the material chemical chain reaction that supports its existence) the Sun God Mayan speaks of needs no other support for its existence – it is the core of existence itself - Brahmam. Further exploration of the parts, the word jnay means mother and iru means great, spacious, vast.
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If we allow all of these implications to melt together in our mind and feeling level what we end up with is a general yet profound notion of what Mayan was really meaning when he said he gained this knowledge from the ‘Sun God.’ And, we find a description of sorts of that Space from which all matter arises. The sum of this is something like this: Kasholka Surye or Karu Jnayiru is a splendorous Luminous Spark or Cosmic fire, streak of light, that is the Ultimate Source of light. This Luminous spark forms streaks of light like lightning – an on going spark that has “unbearable effulgence.” This luminosity is the great, unending, self - sustaining, self effulgent, spacious, autocatalytic mother of everything and contains/ is the fetus from which life springs. From that Source everything in the entire manifest world takes shape and gets its energy. This great, spacious and vast Essence is the final answer to all questions of whom, what, and where. It is the answer to the human questions of “Who am I?” “What is my Source?” “Where did I come from and where am I going?” This essence is beyond sensory perception and material testing. It cannot be comprehended by thought or thinking or fully expressed through words. It exists as the energy of primal light and primal sound and permeates all beings, all universes, and all of the manifest worlds subtle and gross. It is called Vastu Brahmam in its Primal and unmoving state. It is called Shiva in its pulsing, dancing state. This, Kasholka Surya or Karu jnayiru is what we take as our source in Vastu Science and Vaastu Science and Technology – the source or ‘Sun God’ from which Mayan obtained his knowledge through direct experience. It is this Light of Consciousness that permeates Vaastu visual art forms in drawing, painting and sculpture. An interesting point is that there are many temples throughout the world dedicated to the “Sun God.” The fact is, for century’s indigenous people and archeologists have thought that these temples were dedicated to the sun in the sky, which was being hailed as a God. While the material energy of the sun is mandatory for life, it is, in fact, material energy. The energy of the Sun God that Mayan speaks of is the Spiritual energy of Karu jnayiru – Vastu – the Cosmic Flame. That which the temples are being dedicated to is not the sun in the sky but Mayan’s Sun God – Vastu Purusha. Two factors point directly to the efficacy of this assertion: 1. The temples are built using principles of Mayonic Science and Technology. 2. Ancient temples built using the principles of Mayonic Science and technology were not built to worship any god – they were built as energy devices to promote specific qualities of consciousness. Thus, there is little question as to the true meaning of these temples and their significance as Mayonic structures. Their purpose was not to worship some deity but to generate Essence or qualities of consciousness for the well being of humanity. This essence is Kasholka Surye or Karu Jnayiru. The effect of this on humanity is the deep and profound scientific and spiritual event called resonance or Bhakti. Space Space may seem to be an illusive term but in fact, it is everywhere and in all Time. It is the Primal Substance from which the entire manifest world arises. All forms have their genesis in Space. According to Mayan, Space, while vast and unending, has a shape. That shape in its macroscopic state may be called Macroabode – the largest form or infinite particle that contains consciousness. The shape of this Macroabode is cubical. It is a three dimensional cube
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with a vibrating thread of light or Moolasthan running through its center. This form contains all of the universes that ever were and will ever be. Its magnitude is almost unimaginable. The vibrating thread running through the cube emits light waves and sound waves. The sound waves of the luminous streak are responsible for the emergence of languages and musical flow. Maharishi Marichi says in his Vaikhanasa Agama that during pranayama (special breathing practices) the heart expands or blossoms into a lotus. From the center of the lotus, Cosmic Fire rises up. At the crest of this pillar of fire a particle of energy (Bindu) shoots forth into a square of golden color. This square is called none other than Purusha or Atman and is also called Microabode – the smallest particle or form that contains consciousness. Universal Space or Cosmic Space is filled with similar energy particles cubicle in form. Just as there is a sequence that evolves during the process of Pranayama, a sequence is involved in the formation of further forms within the Cosmic Space. This evolution of forms is mathematically based and called the Mayonic Order. Space, the first and Primal Element, itself pulsates and begins to take shape in that pulsation. The first attribute formed by that pulsation is the second element called Time. Mayan says that Kaalam or Time is the creative element of all the objects of the universe and adds that the universe itself is the product of Time. “It is time that changes into form. It is time that blossoms into the universe and Kaalam thus does wonders.” This Time or Kaalam can be viewed as the name of a process in which Brahmam moves within itself, pulses and changes for or makes itself into various forms or expressions. Through Time, a square wave is formed. Thus, the pulsing Space or Brahmam is filled with vibrating square waves that give birth to OM Light and OM Sound. As Time or pulse continues, Om Light and OM Sound give rise to four more elements – Primal Air, Fire, Water, and Earth. These Elements are in their unmanifest state and form an 8x8 energy cube as shown below with Space in its center. Due to the process and sequence of formation, the Five Elements differentiate their qualities in the four quadrants of the Space Time Unit. This is clearly articulated in the review of the manifestation process elsewhere in this paper. The Cosmic Cube is in a self-spin from the first pulse of Time in Space. At the first point of manifestation this cube is called Satva. Satva here means most peaceful and stable state. As the self-spin continues, the corners of the cube begin to fold in onto itself. This phenomenon gives rise to various polygonal shapes. The primary shape called Rajas is an eight - sided polygon. Here, Rajas means activity. The activity of the continued spin causes the corners of the polygon to fold in or curve back onto itself eventually forming a primal shape called circle or sphere. The resulting circle or sphere that takes shape here is called Tamas. Following this, the circle then metamorphoses into a 9x9 cubical form. From the rapid movement of the in between state of these Three Gunas (Satwa, Rajas, Tamas) the steady state known as Vaastu Purusha Mandala in its 9x9 form manifests. And, the Five Elements become manifest with Space as the source element. During this process we see various forms such as dot, line, square, multiple polygonal forms, and forms of circle.
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The Unseen In All Forms Continuing with this discussion, as mentioned earlier, the form of OM is constituted of six luminous autocatalytic, self - effulgent sparks of light. This form is in constant vibration or nilaiyasi (eternal throb). It is unending and ever growing thus it is called oliyasai (flourishing throb). This fundamental form is in eternal self-spin and modifies itself into Space and spatial forms, Time and time units. The entirety of cosmic structure – worlds and all contents of worlds, animate and inanimate – is illumined by this self effulgent and self- luminous OM. OM is the primal luminous streak of light that is depicted as the thread of consciousness at the vertical central plane of the Cosmic Cube. Its vibration is called omkara naana or dance of OM or luminous dancer – oli natam. Mayan, in his Pranava Veda states that the vibration of the luminous streak is that which gives rise to various forms – in fact all forms and all sounds. It’s own primal form is cubical. This cubical form is the unseen form in all forms. Also implied as unseen Form of all forms are three other forms that are subtle and unseen. These forms rise out of the ever - expanding cosmic throb. Regardless of its outer shape, every substance or material, animate or inanimate, subtle or gross is inbuilt with a subtle three-segmented design. This is discussed in more detail elsewhere in this paper under a different topic but its role as an ingrained subtle form of all forms is important here. This is a subtle three-segmented form of Pranava.
Brahma Sutra Rudra
Tamas
Vishnu
Rajas
Brahma
Satwa
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The bottom shape is cubical and is called the Brahma segment; the middle shape is octagonal and is called the Vishnu segment; the upper portion is circular and is known as Rudra. All Mayonic/ Vaastu buildings and temples are perceived in terms of these three segments – nagara, dravida, and vesara signifying the Brahma bhaga, Vishnu bhaga and Rudra bhaga. The function of Pranava Veda with the technology of Mayonic Science is to entrain our mind to perceive all constructed forms in terms of the constituent parts of OM. Mayan named this three-fold form mun nilai. In addition to the One form- cube, and the three forms - mun nilai, there exist five primal forms that make up further modifications of OM. These are triangle, square, octagon, circle, and hexagon representing earth, water, fire, air, and space respectively. In temples and buildings, these forms are inherent in all supporting forms including pillars, and decorative forms.
Three Gunas The fundamental shapes of the Three Gunas are mentioned elsewhere in the discussion of the manifestation process. Here I will discuss them in their role as aesthetic forms. In this role, they demonstrate the subtle Vastu as well as the material Vaastu. The ancient Sthapatis and Shilpis brilliantly encoded all of their forms with both levels of understanding. Form of Brahmam As Absolute Space
Transitional forms of Brahmam
8x8
Brahmam as the material world
9x9
Unmanifest Absolute Space- Consciousness-Brahmam transforms itself into manifest Consciousness- Brahmam in forms such as trees, rocks, people etc.
These fundamental shapes are Found throughout Vaastu forms and very clearly and specifically in the Shiva Lingam.
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In his book Hindu Dharma, Bansi Pandit said that the word linga is derived from the two Sanskrit words laya (dissolution) and agaman (recreation). Thus, linga symbolizes the state that exists between consciousness and creation (the three gunas), the state where there exists boundless possibilities waiting to be created. Temple forms are rooted in the 8x8 grid as the foundational grid used in temple architecture. This grid is also found in carvings, sculptures and throughout the Temple grounds. Wherever this form is found it is to be considered as a mirror or emulation of the Eternal Microabode. These three qualities of consciousness, Satwa, Rajas, and Tamas are just that – qualities. Their forms exhibit specific qualities that effect human experience. It is not mere coincidence that individuals are deeply affected by Mayonic forms, it is by intention. The following is a discussion of the qualities exhibited in various Mayonic forms. Satvika Images: The cube is the foundation of all satvic images but nuances articulated within the image manifest satvic qualities. The images in which satva is found in what is called the yogic stance. The face of the form has a tranquil expression with a hand posture or mudra that dispels fear and offers a benediction to the viewer. This means that the shape and qualities of the form literally dispels fear when viewing that image. It brings a sense of peacefulness thus fear is dispelled. The beautiful image of Dakshinamurthi who is generally thought of as Shiva is, according to Shilpi Vaastu Vyasa Dr. V. Ganapati Sthapati, is really Mayan himself. This form is always seen in a comfortable, peaceful repose with the left leg crossed over the right leg signifying comfort and relaxation. His expression is welcoming and pleasant. The hand raised in a peaceful and calming benediction. The viewer cannot help but feel a sense of comfort and happiness when viewing this statue if he or she enters its presence with no expectations. Dakshinamurthy is found throughout the temples of India as a tribute to this great Lord.
He (Mayan) is Vaisampayana: propagating Brahma Tatvam (preaching the real nature of the Supreme and His will). He is surrounded by very old Rishis yearning for the knowledge of the ultimate. Yet he does not speak but exposes by means of hasta (hand) mudra (Pose). The Rishis look satisfied of having realized the wisdom about the Supreme. He (Mayan) realized Him, which is expressed out by the luster of (beam) of joy on his face. To Him (Mayan) I bow for blessings.
Hand mudra of Mayan sculpture (Dr. Sthapati’s stone yard)
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Interestingly enough, when an individual desires to feel more peaceful, they can sit in this posture in leisure and comfortable way and after a few moments will actually feel more peace and serenity. The meaning of this hand posture is demonstrated by this ancient mantra referring to Mayan: Mouvna Vyaakhya Prakatitha Para Brahma Tatvam Yuvanam Varshistantey Vasat rishi ganai avrutam brahma nishtaihi Acharyaedram KaraKalita Chinmudra Ananda measam Swatma ramam mudita vadanam Dakhina moorthy meedey Meaning: He is propagating Brahma Tatvam (preaching the real nature of the Supreme and His will). He is surrounded by very old Rishis yearning for the knowledge of the ultimate. Yet he does not speak but exposes by means of hasta (hand) mudra (Pose). The Rishis look satisfied of having realized the wisdom about the Supreme. He (Mayan) realized Him, which is expressed out by the luster of (beam) of joy on his face. To Him (Mayan) I bow for blessings. Revealed in this Sukta, is the concept that hand postures, bodily postures, and facial expressions indicate the nature of the person, propagation of knowledge, feelings, and emotions, mental states and general significance of the moment. These indicators are both indicators and activators. They indicate the state of the one expressing them and activate experience in the viewer. This will be discussed in more detail. Rajasa images: The rajasa image is found either standing or mounted on a vehicle. It is richly adorned with various ornaments including necklaces, amulets and other ornamentation. Its’ hands hold postures similar to those of the satvika forms that remove fear and grant prayers. The form of Subrahmamya or Murugan displays these elements. Here he is seen mounted on a peacock and in a standing posture adorned with ornaments.
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The rajasic image has the qualities of rajas, which are to call into motion or movement. The movement or motion is born of calmness (having evolved from the cube) yet it has taken action (standing instead of sitting). If an individual feels depression they would benefit by taking this posture. Specifically, if they get up and move or walk, the depression will be dispelled. Rajas dispels experience caused by stagnation of body, mind, and emotions. Ones prayers to be freed of the painful emotions will be answered by rajas. The Tamasa image: This image is armed with various implements of war – bows, arrows, spears, maces –and is seen as the destroyer of evil forces. It has a fearsome expression on its face and its posture reflects great pleasure in acts of destruction. Sometimes the facial expression is one of pleasure in the act. Tamas guna is thought of as a negative form but, in fact, it is a very positive expression. The destruction of evil is the epitome of positivity. Mahishasuramardhini or Durga images are examples of the display the Tamasa qualities. She is most often depicted in a standing posture, with one leg over the Buffalo demon Mahishasura, while her vahana - the lion- is seen devouring the demon.
She is one of the forms of Kali and is worshipped widely across the country as the potent female energy. She holds hand postures or mudras that express attributes of protection, benediction; they also inspire terror to those beings who are “evil” or affection to those beings who are “good.” She often appears eight handed or more, each hand carrying a weapon. Here is a glimpse of what her weapons are: cakra (disc), pas'a (noose), ankus'a, bow, arrow, musala (club), s'akti (spear), axe, khetaka, vajra, staff or sceptre (yaks.am), bhusundi_ (missile), mudgara. Her hands may also carry a flag, a lotus, a plough, a mirror, a kamandalu (water-pot), honey-cup, rosary (aksamala)
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Interestingly enough, holding the implements causes the hand to take a specific posture or mudra. Holding ones hand in these postures and affecting any motion (ringing bell, etc.) has an effect on human physiology and emotion. In addition, flailing ones arms similarly to how Durga flails her arms has a positive effect of moving one out of an uncomfortable emotional state. Visual Codes for OM Light and OM Sound The material forms of Vishnu and Shiva (seen elsewhere in this paper) are generally depicted with objects that make a sound (conch for example) and objects that give off light (flaming chakra, disk). These objects are codes for OM Light and OM Sound. They unconsciously evoke those elements in the interior being of the viewer. The Pancha Bhootas The material Pancha Bhootas are born of the transformation of the Three Gunas during Vastureva Vaastu. They derive their shapes from the various co-mingling of Space, Time, OM light and OM Sound. They have particular shapes that are the shapes of their subtle manifest form. These shapes can be seen in architecture, sculpture, and dance (through the poses of the dancer). Qualities of the Five Elements 1. Space: Sound (related sense), contains concentrated space, Time, OM light, OM Sound, Primal Fire, Micro cube (Energy) 2. Air: Touch, tactile sense, movement, fast, pushing to action, transient, excitation - not calm 3. Fire: Sight/form (sense), creativity, creative form, heat 4. Water: Taste (related sense), growth, adds to fertility, spirituality, peace, life energy 5. Earth: Smell (related sense), odor, support, longevity, whole house is supported by this element, bearing capacity (Matter)
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When Space turns into Earth, all of the qualities of space turn into the Earth - all of the vibrational qualities of Space are in Earth. Then Earth contains Space, Time, Light, Sound and all the elements. If you understand the science behind their manifestation and order and examine the qualities of the Five Elements, it is easy to understand why certain activities are assigned to specific areas in any given built space. Knowing the science removes superstition and replaces it with faultless knowledge and common sense. Design Elements Unlike other systems of Vastu/ Vaastu Mayonic Science has a practical technology based upon the knowledge of the transformation of energy into matter. We understand and are able apply this knowledge because we have the ancient texts from which this knowledge is derived. Every facet of construction of Vaastu forms is outlined in detail by the Shastras. In addition to the forms discussed above there are technical elements that are important in evoking an inner response in the viewer. The following are points from Vaastu Sutropanishad and other Shastras governing Vaastu forms. Line: 1. Straight lines represent and evokes Light. You will notice that the entire 8x8 and 9x9 grid is composed of straight lines. These straight lines emulate vibrating OM Light. They may seem static but in fact, because they are born of the Divine Order through Ayadi calculation, they are living, vibrating lines. When a Vaastu Architect or Vaastu Consultant puts their pencil to the paper and begins drawing to scale a Vaastu house plan, they are actually activating OM Light. This is the reason we begin drawing our plan in the northeast corner and move clockwise through the drawing. As one becomes more and more attuned to Vaastu energy, one can actually experience the manifestation process internally while drawing a plan. This becomes more evident when one draws using a pencil rather than a computer graphic program. Even with the computer, however, the plan will vibrate. 2. Two diagonal lines represent and evoke Air Element or Wind and interject the qualities of movement, pushing to action, transience, and excitation. This can be seen in the Dancing Shiva or Nataraja. His arms and legs are composed of diagonal angular lines. He is moving swiftly – spinning in a clockwise direction as he rapidly transforms himself into the manifest world.
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3. Vertical lines represent and emulate Fire. Vastu Sutropanishad says that upright forms emerge from these lines. This representation of fire activates the qualities of fire element, which are creativity, creative form, and heat.
An important note here is that it is not only the Fire Element that is implied here – rather it is also the Cosmic Fire. This is clearly identified in the Themple, sculptural form or home structure with the verticle line drawn through the center that we call the Brahmastham – Moolasthan which is the Primal Fire that preceeds all of creation. So, once again, we have the presence of the dual nature of Vastu and Vaastu. Which, in fact, is not dual because Vastu = Vaastu.
4. Horizontal lines also imply the Water Element. Vastu Sutropanishad says that these lines evoke the feeling of longing in the viewer or experiencer. This can be seen in the traditional Vaastu dance when the dancer reaches out with his or her arm extended horizontally imploring The Lord to come to him or her.
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More Shapes Circle represents light Dot or point represents Space, bindu Hexagon creates attraction Entrainment Mayan was able to perceive that Vaastu forms had inherent within them, due to their frequency or vibration with the Divine Order, the ability to cause the individual to also vibrate with the Divine Order (This effect is called Bhakti). Thus, Spiritual Bliss and wellbeing are an automatic effect of these forms. In addition to this Bhakti, the entire process of experiencing Vaastu forms that are replete with imbedded, implicit and explicit elemental forms elicits both a subtle and obvious response. Mayan applied the principle that the purpose of art and cultural artifacts was to elicit and enhance every individual’s response to and appreciation of the form they were experiencing. This enhancement of feeling or emotion included the experience of the nine rasas or feelings and the entrainment of equanimity in the midst of those feelings. The Nine rasas (feelings) !. sringara –love: The first rasa or feeling evoked by Vaastu forms is love. The horizontal line is important to evoke this emotion along with other aspects such as facial expressions and gestures. The shared look between two lovers, the posture of the lovers and the presence of other elements within the depiction. 2. hasya – amusement: laughter is the second rasa. Facial features including the mouth and eyes invoke this. 3. karuna – compassion: Sorrow and compassion is the third rasa evoked by body posture and facial expression. 4. raudra – anger: Anger is the fourth rasa and is evoked by oblique lines (sloping and joining at an angle – see Durga statue for oblique arm poses). 5. vira – valor: The heroic sentiment - depicted by body posture and facial expressions. It is expressed through enthusiasm and exhilaration. 6. bhayanaka – fear: When the heroic sentiment becomes aggressive it becomes terrifying and evokes fear. 7. bibhasta – disgust: This sentiment is expressed and evoked by diagonal lines. 8. adbhuta – wonder: This rasa is expressed and evoked by facial features that include wide opened eyes gazing in wonder. 9. shanta – tranquilit or equipoise: Depicted by body pose, comfortable posture with one leg crossed and hand gesture of benediction. Art forms express some form of feeling. They in turn elicit that feeling in the experiencer. When an individual experiences emotions through an art form, he or she becomes a witness to the emotions. In other words, they experience them on either a gross or subtle level yet are able to maintain an objectivity or detachment from them because the origin of the emotion is in the statue or music. While the actual emotion may be internally experienced, there is not an attachment to that emotion because it does not affect their overall life in a good or bad way. Thus, the experiencer is able to allow those emotions to move through them without taking hold of them. So, the individual is able to experience an emotion and just let it go. This experience entrains the mind and personality to be in a state of equanimity during life’s ups and downs. It is actually a technique for cultivating equanimity.
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Savoring of Brahmam There is another phenomena that occurs when a person experiences painful emotions from viewing or listening to Vaastu art or listening to Vaastu music – or from life. Regardless of the emotion elicited by the Vaastu art form, the person can ultimately experience pure joy. This is because the Vaastu aspect of the art induces satvaguna within the individual. This causes the emotion to become purified and absorbed by the atman in a sort of reverse Vastureva Vaastu process. This transcendental process brings about bliss and happiness. Essentially what happens is that the Vaastu form elicits an emotion. In addition, the Mayonic Order of the form causes the inner microabode of the experiencer to vibrate in Bhakti or resonance with the Divine order or Brahmam. Another way of saying this is that ones individual Atman comes in harmony with Universal Atman (Paramatman in some schools of philosophy), An important point to note is that ultimately the purpose of all emotion, and all of life for that matter is to provide a framework for Brahmam to experience and savor itself. Dr. Jessie Mercay describes this more fully in the article “Cosmological View of Mamuni Mayan”. The essence of the concept put forth in that text is that Brahmam is in love with its’ own beauty (the infinite potential that it has). In its’ desire to savor that beauty it manifests itself within itself (causes pulses/frequency) generating all of the forms, tangible and intangible, that we experience as the material world. Then through those forms experiences Its’ own Self. Humans generate feelings or emotions that are part of Brahmam’s’ beauty. This generation is a sort of form generation by humans that enables Brahmam to experience a multitude of frequencies of itself called emotions. The mechanism is, that all things are attracted to Brahmam – good or bad. Atman – sometimes differentiated as jivatman (individual microabode) - now vibrating with Brahmam (in the presence of a Vaastu building or art form), recognizes all things as an expression of its own beauty. Therefore, when one experiences something good or bad through the art form, Atman draws that thing to itself and consumes it. As the experience is taken in and experienced by Atman or Brahmam (in Bhakti there is no difference between individual Atman and Brahmam) Atman or Brahmam savors that emotion (savors its own beauty) and as a result of that savoring releases joy and happiness which is experienced by the individual. This process causes a state of happiness and equanimity – Satvaguna. Thus, our so-called good or bad emotions are nothing more than expressions of Brahmam. Our task is to become directly resonant with Brahmam (which is easy through Vaastu forms – particularly architecture) and then in that state of resonance we become able to experience the process described above. When the individual is attuned to this ability of Vaastu form to transfer all emotions into happiness, joy, and fulfillment then his or her own capacity to do that also in day to day endeavors increases. In this situation equanimity and wisdom are greatly strengthened and the individual psyche is entrained. Thus the subtle and gross design elements of Vaastu forms cause 1. The vibration of the experiencer to come into sympathy with the Vaastu form (Bhakti); 2. The experiencer to experience a) the finest particles of the One formCosmic Cube, and; b) the three forms as three gunas- mun nilai; c) the five primal forms that make up further modifications of OM – as the Five Elements; d) the nine emotions that are ultimately born of Vastu and reabsorbed by Vastu. All of which brings an internalized happiness, sense of wellbeing, and spiritual bliss to the experiencer.
“Just as the life force resides in the body, suvai or flavor resides within art forms. The Divine Being is the life energy, and He is also the vibrant base of art, its flavor. He is known as Suvaignan by some devotees, and others invoke Him
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as Raso Vai Sah or Iraivane Rasm, which means that God is Himself the quintessence of experiences.” (Dr. V. Ganapati Sthapati, Indian Sculpture and Iconography, p.14) The search for the Absolute, the Supreme Reality, The One, and The Source has been a long and ancient individual search throughout time. The concept of awakening or Enlightenment takes on a different meaning when we think about the specific effects of Mayonic Science and Technology, Vastu Science and Vaastu Science and Technology. This Science contains a rapid and clear means of activating a full awakening to ones own Self. It is a boon to human kind that has the potential to change the world one house at a time. Design Elements In Building Architecture This section has focused on design elements in sculpture and dance. As you think about building architecture you can be sure that the design elements relating to dance and sculpture apply to building architecture. If you review the above elements, you can easily see why we do not use certain design elements in a home in which we are manifesting bliss and harmony. Some of the shapes and forms simply do not create a balance in the home. We must be conscious of the effects of various lines and shapes when we design a Vaastu home. Our goal as Vaastu specialists is to create an energetically stable and orderly environment that will bring peace and well being to the inhabitant. The addition of beautiful Vaastu sculptures that are Ayadied for the home will be a pleasant addition to the home. If a home is not a Vaastu home then appropriate statues and other harmonious art forms will add a pleasant ambiance and will emit some qualities of Vaastu Purusha. Interior designers would benefit from understanding the principles of Vaastu Shastras and elements of Vaastu Design. Comment on Pranayama Maharishi Marichi, an accomplished Sthapati and enlightened sage, described the concept of pranayama and its relationship to Atman above. If you recall, he says in his Vaikhanasa Agama that during pranayama (special breathing practices) the heart expands or blossoms into a lotus. From the center of the lotus, Cosmic Fire rises up. At the crest of this pillar of fire a particle of energy (Bindu) shoots forth into a square of golden color. This square is called none other than Purusha or Atman and is also called Microabode – the smallest particle or form that contains consciousness. Universal Space or Cosmic Space is filled with similar energy particles cubicle in form. What most people do not know (because they do not understand Technical Tamil or Technical Sanskrit – known generally only to Sthapatis) is that the word “aayama” is a technical word meaning length which otherwise means linear time. Praana means life (and is a time unit). Thus, pranayama means the length of life energy. This life energy in humans is measured by the number of breaths we take. If during times of emotional unrest, an individual engages in a specific form of pranayama, the process of the emotion being consumed by Brahmam can occur. There is a special sequence of pranayama that we might call Mayonic. In his Suriya Sidhanta, Mayan discusses time units. Just as he discusses time units in terms of building architecture (car dust, sesame seed, angula, muzam, etc.) he discusses time units in terms of discrete time – nano seconds, seconds, minutes etc. We know that Time is a pulse or fluctuation in the body of consciousness that is also called frequency resulting in waveform. Mayan says that the word “prana” means a discrete and specific time unit or frequency. A prana in fact is exactly four seconds. Those four seconds combine to ultimately make a day, then a week, then a month (a sequence of time units that makes up about 27 days is called a nakshatra). Each of these time units has a frequency or wavelength. Just as the color blue has its own frequency or wavelength, a nakshatra or a prana each have its own wavelengths.
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I discovered that if an individual breathes in for four seconds and then outward for four seconds a certain frequency occurs in harmony with Atman – it is an 8-unit frequency. The fact is, a prana (four seconds) is a cosmic time unit. Interestingly enough, when an individual does this there is a natural pause between the inward and outward breath which creates a 9 unit frequency embedded within the 8 unit frequency. (There is no need to alternate nostrils as is frequently done in traditional pranayama. It is a physiological fact that the body naturally alternates the closure and opening of nostrils on its own.) Doing this four second in and four second out pranayama puts one in resonance or frequency with the Cosmic Order. After a few moments of this sequence, any emotion one is experiencing will begin to be attracted to the flowering Atman and will be consumed and savored by Brahmam resulting in an out flowing of bliss and joy. This pranayama has been scientifically proven to increase a physiological attribute called heart coherence. Heart coherence is directly related to deep feelings of well -being and bliss. I have conducted research using this method of pranayama using heart coherence as the measure of harmony within the individual. I discovered that doing this “Vaastu breathing” increases heart coherence measurably. In other words, this form of pranayama does exactly what maharishi Marichi says it will – it brings harmony to the individual. Furthermore, I discovered that being in a Vaastu building doubles ones heart coherance. In other words, after a short time in a vaastu building one’s heart choherence doubles meaning that the individual experiences significantly greater heart coherence in a Vaastu building. Regarding my finding that Mayan called a Prana a time unit of 4 seconds Dr. Sthapati had this to say: “Your email dated July 28,2008 received with amazement and wonder... what you say and what you quoted from Surya Siddhanta are very correct. For having identified the absolute Time (prana = 4 seconds) I extend my congratulations. I appreciate your sensitive brain.” (Dr. V. Gnapati Sthapati, in a personal email to Dr. Jessie Mercay, 7.29.08) We conclude that when an emotional upsurge occurs or a stress event occurs that both a Vaastu building and Vaastu breathing will restore harmony. The value of Vaastu aesthetics and emotional wellbeing cannot be underestimated. When one visits a temple, there is far more going on than meets the eye. In fact, what is being met is the Soul.
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Epilogue The Swelling of Brahmam: Vaastu through the arts The musician is poised for a moment over her sitar. Her attention is drawn to her source – her center point in the cave of her heart – Atman. She waits. In a moment, a swelling of consciousness begins as a vibration of the Brahma Sutra in her Atman. She translates that vibration into action as she strums the strings of her instrument. The music swells just as her Atman swells. The supreme bliss felt by the musician, as she becomes the bodily instrument of Brahmam is transferred through her music to the listener. She becomes the song of God. The listener becomes the song of God. Throughout her recital she strikes special micro notes that tap directly into the pulse of God that brings bliss to the listener. These srutis are received by the listener, transferred to the Atman of the listener, and the Atman of the listener begins to vibrate with Supreme bliss. The poet pauses for a moment with his pen... The sculptor pauses for a moment with his chisel... The painter pauses for a moment with her brush... When the artist knows the secrets of Vaastu science and arts then that artist becomes the bodily instrument for the swelling of consciousness and transfers that pulse or frequency into their art. The viewer or listener then shares in that unspeakable bliss. This was the art and music that lived world wide in ancient days. One can experience bits and pieces of this through selections of Classical Indian music – particularly Carnatic music. Mozart seems to have struck a few blissful chords. Traditional Indian dance holds the secrets of a mathematical order. But music and dance today are pretty much bereft of access to these micro sounds called srutis. Dr. Veerapandian of SHASTRA University in Tanjavour, India has decoded Mayan’s Aintiram in terms of what we call Mayonic music or Vaastu music with the hope of transforming music around the world for the well being of humanity. The sculptors of Dr. V. Ganapati Sthapati’s stone yard strike these micro notes with their chisels in the form of the mathematical order of the stone they sculpt. Vaastu architects, consultants, and builders who are trained through the American University of Mayonic Science and Technology also strike the micro notes with the application of the precise measure called Ayadi to building architecture. Earlier in this text I mentioned a definition of Vastu and Vaastu based upon a study of the roots of the words. Here is what I wrote earlier.
Vas: to shine; to grow bright, to bestow by shining upon, to cause to shine; to enter into, to dwell, becoming light, dawning, the seat or place of, an abiding substance or essence, the pith or substance of something, to cohabit with. Vaas: to make fragrant or to perfume, an intoxicant, to be or make firm, dwelling place, to assume the appearance of, matter. (Cologne Lexicon) Tu: One who changes his shape at will. Vastu is that energy of force that lives eternally. It is never ending and omnipresent. In examining these definitions, we can see that Vastu is the seat of an abiding, shining luminous substance or essence (the essence of life). It has a quality of growing brightness and is the pith or substance that enters into and cohabits with that in which it dwells and that which dwells within it. It is the source of the material world yet it cohabits with the material world as Vaastu. It does not separate itself from the material world. In fact, the material world (Vaastu)
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exists within the body of Vastu. It changes its shape at will and becomes the innumerable forms of the material world and exists as Vaastus (all material forms). Vaastu is that which assumes the appearance of matter. It makes firm or gives concrete shape to the place where it dwells. It makes fragrant that in which it dwells. That fragrance is the intoxicating spiritual bliss experienced by people who live in or visit a Vaastu structure, listen to Vaastu music or poetry, or view Vaastu sculpture and dance. Here we are speaking of authentically created and executed forms of these arts based on the ancient Shastras. Authentic Vaastu or Mayonic arts that use the principles Mayan established brings forth this essence we call Vastu. This essence is luminous. It causes that which it enters to shine – glow. As it becomes Vaastu, that form which it enters – music, poetry, architecture etc., becomes fragrant with the light of Vastu – the light of consciousness. The listener, viewer, or inmate then becomes permeated with specific qualities of consciousness exhibited in the art. This results in an intoxicating experience of spiritual bliss. This Mayonic Science/ Vaastu Science and Technology must live. Conscious people must take it as a personal responsibility to help it grow in their area of interest. It is the savior of the world, the balm for the suffering on the weary road of life. It brings enlightenment and spiritual bliss to those who partake of arts and architecture that demonstrate its principles. From the pen of Santi – Deva a 14th century monk: This Thought of Enlightenment... it is an elixir made to destroy death in the world, an unfailing treasure to relieve the world's poverty, a supreme balm to allay the world's sickness, a tree under which may rest all creatures wearied with wandering over life's paths, a bridge open to all wayfarers for passing over hard ways, a moon of thought arising to cool the fever of the world's sin, a great sun driving away the gloom of the world's ignorance, a fresh butter created by the churning of the milk of the Good Law. For the caravan of beings who wander through life's paths hungering to taste of happiness, this banquette of bliss is prepared, that will satisfy all creatures coming to it. Those of us who have supported, studied and applied this art and science bring this banquet of bliss to the world. Come join us. Build a Vaastu house, garden cottage or temple cottage, learn the application of Mayonic/Vaastu principles to the visual arts, or study Vaastu music. Support AUM S&T. Somehow participate in this great endeavor for the wellbeing of humanity.
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Appendix for Part 1 Appendix 1 Basic Guidelines To Be Followed When Visiting a Temple Most priests take elaborate measures to maintain mental and physical purity of the temple. While most devotees cannot maintain such regimens, there are some basic rules that must be followed when visiting all Hindu temples: • • • • • • •
Anybody entering the temple must be barefooted. People usually leave their footwear in stalls dedicated to the purpose; the stalls can found near the temple. Wear appropriate clothing; shorts, revealing tank tops, or other such clothing is considered inappropriate for visiting temples. Photography of the temple idols is strictly prohibited. Some areas of the temple are accessible only to Hindus, and the garbhagriha, where the idol of worship is kept, is accessible to the priest only. One should avoid talking loudly, as in other places of worship. Devotees usually sit down for a minute or two near the entrance of the temple after they finish praying. Visitors are asked to not wear leather.
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Appendix 2
Quote From Srimad Bhagavatam Stating that PRANAVA VEDA is the only one primary veda
eka eva purā vedaḥ praṇavaḥ sarva-‐vāńmayaḥ devo nārāyaṇo nānya eko 'gnir varṇa eva cha In the ancient days only one Veda existed – the Pranava Veda; only one God; one Agni; and one caste. Śrīmad Bhāgavatam 9.14.48 (Original Sanskrit Texts on the Origin and History of the People of India, Volume 1, John Muir, 1868) Commentaries on this indicate that the one caste was called Hamsa. It is thought that Hamsa is derived from the words aham – “I am”, and sa – “He”: I am He (the Atman).
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Appendix 3
Quote From Srimad Bhagavatam describing the existence of Five Vedas Including Sthapatya Veda Veda
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Quintessence of Vastu Art and Architecture: Forms of Spirit and Atoms of Consciousness Manifest Form Called Temple Part 2
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Pancha Bhoota Stalams Abodes of Shiva The Pancha Bhoota shrines, dedicated to Shiva, constitute a set of five Saivite temples in South India held in reverence for centuries as important pilgrimage sites. The Pranava Veda holds life as a synthesis of the five basic elements (the Pancha Bhootas) space, air, and fire, water, and earth. Shiva is worshipped as the embodiment of each of the five elements in the vast temples at Chidambaram, Sri Kalahasti, and Tiruvannamalai, Tiruvanaikkaval, and Kanchipuram. Each of these temples is rich in legend, history, sculptural wealth and festival traditions. Each demonstrates in a unique way one of the five elements.
Sri Kalahasti near Tirupati in Andhra Pradesh enshrining Kalahasteeswarar is referred to as the Vayustalam ( Air).
Tiruvanaikkaval near Tiru chirappalli in Tamil Nadu enshrining Jambukeswarar is referred to as the Aapastalam (Water).
The Chidambaram temple complex enshrining Nataraja is referred to as the Aakasastalam (Space).
The vast temple complex at Tiruvannamalai enshrines Arunachaleswarar and is referred to as the Agni statlam. (Fire).
The Ekamreswarar temple at Kanchipuram near Chennai is referred to as the Prithvi- stalam (Earth).
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There is an interesting point to interject regarding Pancha Bhootas. We know that Pancha means five. In Mayonic Science, this is a significant number because Brahmam or Vastu manifests in five stages. There are five land types, five colors, etc. Bootha is derived from 2 letters boo and tha. What makes this interesting in that in technical language here Boo refers to change or moving forward due to the influence of the mind – or cosmic mind. Tha refers to akash (Space) and air. In technical terms relating to Mayonic Science, it is cosmic mind that moves Space forward in a procession manifesting Air, Fire, Water, Earth - the five elements of Pancha (five) Boothas (elements that proceeded out from space). Hence the spelling “bootha.” These Five Elements also ”proceed out” from the forms that they occupy. Each form has its own individual mix of these Elements. This concept is demonstrated in part by the fact that humans have their own individual characteristics that are born of the Five Elements. Some people are fiery, some people are grounded and earthy etc. The Vaastu form is a perfect form in that if it is executed properly, the Five Elements will be in equilibrium and will transfer that equilibrium to the inmate or experiencer. The mix of the qualities that proceed out from a form can be modulated and designed through the application of principles of Mayonic Science and Technology. Dr. V. Ganapati Sthapati relates in his Significance of Vimanam & Gopuram, that the entire expanse of the universe and its beings are all but sculptural forms. He sites ancients texts in saying that the manifestation of the unmanifest into the Universe and various living forms is in accordance with the divine order, the same order that Shilpis employ in their creations on Earth. Other ancient texts describe Supreme Brahmam as a scientific form. In Vaastu Science, the Supreme Being exists in the form of pure subtle energy we call Vastu. Yet another text says that everything in the universe is Brahmam, the manifest forms of the Ultimate Energy. This Divine Energy is also referred to as Akasha or Space. The concept of Space as Akasha is highly significant in Vaastu Science and Technology. Thaithareeya Upanishad says that the five elements or Pancha Bhootas have emanated from Akasha or Space. It says that “ out of Akasha (Space) came forth Air (Vayu); from Air the fire (Agni); from fire – Water (Aapaha) and from water, came forth the Earth (Prithvi).” Mayan himself says, long before the writing of Thaithareeya Upanishad, “ the Akasha (luminous subtle Space) or the Absolute Space, the foremost of the panchabhootas is the root source for all subtle (and macro) and gross (pinda micro) forms of the universe. Mayan also says in his Vaastu Shastras that the entire expanse of the Space surrounding us is filled with minute particles of energy. That energy goes into vibration (Time) and develops the various forms of the Universe. Mayan goes on to say, “each of the energy particles serves as the embodiment of light and sound energies, and on arousal the single energy particle will vibrate to give forth both aural and visual forms.” Thus Time, Light and Sound are classified as the three subtle elements of creation, which along with the gross elements of Space, Air, Fire Water and Earth cause the creation of the Universe and its variety of forms. Thus, there are eight elements or qualities of the Supreme Principle. (Dr. V. Ganapati Sthapati, Significance of Vimanam & Gopuram) Thus, as we explore the Pancha Bhoota Sthalams we must keep in our awareness that while we explore seemingly separate “elements,” we are really exploring and experiencing The All in one form. In understanding that we are really experiencing The All or Supreme Brahmam in one form (temple) that that form we call Temple is, in fact, a living being. According to Dr. Sthapati, Mayan says, “just as all living beings of the Universe enclose a part of the Supreme Energy inside called the inner space, the inner sanctum of a Temple is also impregnated with the Supreme Energy or the Vastu and hence is very much a living form.” Sthapati goes on to say, “ No where in
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the world, other than in Maya’s treatises will one come across such scientific statements lucidly explained with technological attire.” (Significance of Vimanam & Gopuram) Continuing with this understanding, the Shastras say that all beings from ant to elephant are material forms that embody this spiritual energy within them. The Temple building being an embodied form also contains this vibrant spiritual energy. All of these forms are called Vaastu Purusha. We are all forms called Vaastu Purusha. The Temple has a special function as Vaastu Purusha. That function is related to the term “Prasadam.” When visiting a Temple, the priest does a puja and the devotee is then given food or items that are called prasadam. The original meaning of Prasadam, as explained by Shilpi Rishi Kaasyapa, is “that which allows for the blissful coexistence of Devas and Humans and that which brings in tranquility and bliss to the mind is called Prasadam or Blissful Building.” Thus, it is the building – Temple, which brings Spiritual Bliss and tranquility to the mind of the individual rather than the puja and its remains. (The origin of the puja from the perspective of the Agamas was to worship the Temple itself as Vaastu Brahmam rather than to worship a stone idol.) These Temples contain a perfect balance of the Five Elements as well as a vibrant reflection of OM Light, OM Sound, and Time all arising from Cosmic Space. If we keep all of this in mind as we explore the ancient temples of India, then the people, priests, and pujas will not distract us. We will, rather, go into ourselves and experience the inner vibrancy that results from such dynamic and profound edifices. We will discuss four of the Pancha Bhoota Sthalams – Ekamreswarar (Earth) temple at Kanchipuram, Chidambaram (Space), Tiruvannamalai (Fire), Jambukeswarar (Water) near Trichi.
Personal Notes and Observations
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Kanchipuram Kanchipuram (also known as Kanchi or Canjeevaram) is located on the Palar River. Kanchi is famous for its temples and silk saris. It is one of the oldest cities in Southern India, and was a city of learning for both Tamil and Sanskrit languages. The city was believed to have been visited by Hsuan Tsang (a famous Chinese Buddhist monk). Tondaiman Man Tiraiyan, who was a representative of the Chola family at Kanchipuram, ruled Kanchipuram during the 2nd Century A.D. The city was the northern frontier of the Chola kingdom known as the Province of Tondaimandalam. From the 3rd to the 9th century A.D. Kanchipuram was the capital of the Pallavas, who ruled over the territory extending from the river Krishna in the north to the river Kaveri in the south. It was during the reign of Pallava dynasty from the 4th to the 9th centuries that Kanchipuram attained its celebrity. The Pallavas fortified the city with ramparts, moats, and wide well laid out roads and temples. Many of the known temples were built during their reign. The Cholas later ruled this town from 10th century to 13th century. The Kings of Vijayanagara dynasty ruled it from 14th century to 17th century, whose famous architectural techniques can be found in the 192 feet temple tower of Ekamabaranadhar temple and the 100-pillar mandapam in Varadaraja Perumal temple. The Pallava king of Kanchipuram, Mahendra Varman I, was a great scholar and musician, a man of great intelligence and also a great playwright. Yuan Chwang, the great Chinese traveler, visited the city in the 7th century and said that this city was 6 miles in circumference and that its people were famous for bravery and piety as well as for their love of justice and veneration for learning. Bodhidharma, a South Indian Buddhist monk (A.D. 520) went to China from Kanchipuram to spread Bhuddhism. He stayed at the Shaolin monastery and preached Buddhist ideologies. At that time he trained the local people in the art of Varmakkalai (an ancient martial arts technique from Tamil Nadu). The art underwent many changes and came to be known as Shaolin boxing or Kung Fu. In Japan it came to be known as Karate and Judo. It is interesting to note that the Chinese school agrees with the southern school of this art, in that, it has the same 108 marma points. Kanchipuram is also the seat of the Kanchi Matha, a religious institution that became influential and famous under the leadership of Shri Chandrashekarendra Saraswati. This matha says that Adi Sankara settled in Kanchipuram after establishing four mathas (of Vedic tradition) in the four corners of India and that this gave rise to the Kanchi Matha. However this claim is disputed by the four original mathas who claim the Kanchi Matha is only a branch matha. The followers of Kanchi Matha however claim that this Matha was temporarily shifted to Kumbakonam. Because of which it was known as Kumbakonam Matha for sometime, and that later the Matha shifted back to Kanchipuram.
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The Kailasanath temple This temple is the oldest temple of Kanchipuram, located in Tamil Nadu, India. It is Hindu temple dedicated to Lord Siva and known for its historical presence. The low-stung sandstone compound is a chock-a-block with fascniating carvings, including many half-animal deities that were in vogue during the period of early Dravidian Architecture. History It was built by the Pallavas in the early 8th century CE. It is famous for its splendid vimana. It also contains numerous panels showing lord Siva as Nataraja in various postures. This temple was built by Pallava King Narasimhavarman II (Rajasimhan), and so is also called Rajasimha Pallaveswaram.[2] The Chola King Rajaraja Chola I visited this temple and named this temple as Kachipettu Periya Thirukatrali (Stone Temple of Kachipettu (ancient name of Kanchipuram). It is believed by many archeologists that this Kailasanathar temple must be the inspiration for Rajaraja Chola I to build the Tanjore Brihadeeswarar temple. Currently the temple is well maintained by Archaeological Survey of India.
At this temple, one can observe a beautiful statue that is thought to be that of Shiva the teacher – Dakshinamoorthy. However, in Vishwakarma tradition of South Inida this is really a statue depicting jagadguru Brahama Mayan. Ss in most aspects of temple architecture, various myths and much lore developed around the idols and icons in temples. In ancient times when these temples were being built, the Sthapatis and shilpis spoke only with the king about these structures. The common people and even the priests were unaware of the real significance of these art and architectural forms. Thus the focus for the people was based on myth rather than fact/ science. Hence entire religions were built upon these myths and folklore. It is difficult to accept that this is the case because these mysths and lore are instilled in ones mind from early childhood. Westerners who have adopted these belief systems are particularly affected by learning the true meaning behind these forms as revealed through this text.
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It is particularly difficult to accept that while there may be personages who called themselves shiva, Shiva is not a personality. Shiva is a scientific term that demonstrates part of the manifestation process. Hence, temples dedicated to Shiva are temples dedicated to that particular aspect of the manifestation process – i.e. when Consciousness (Brahmam) goes into pulsation. As mentioned elsewhere, the Shiva lingam represents the intermediary stage between unmanifest and manifest. The true worship of these forms is the worship of God as it manifests itself as the world. Furthermore, worship of these forms is worship of the energy they produce if they are produced using proper traditional methods.
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Sri Ekambaranathar Temple Sri Ekambaranathar Temple, also known as Ekambareswarar Temple, is one of the Pancha Bootha Stalams containing the Prithvi Lingam (Earth). Location on map The temple is located in the Shiva Kanchi section of Kanchipurum. Date built/ builder The ancient structure originally built by the Pallava Kings was pulled down. It was eventually rebuilt during the Cholas, who made several contributions. The Vijayanagar Kings, especially Krishnadevaraya, contributed to the extensive construction of the temple in 1509.
Sri Ekambaranathar Temple view of the main Gopuram Primary deities The presiding deity here is Ekambareswarar or Shiva, worshipped as the Prithivi (Earth) Lingam. A Somaskanda panel featuring Shiva, Parvati and Skanda adorns the rear of the main shrine, which has been held in worship for centuries together. Somaskanda is a form of representation of Shiva with his consort Uma, and Skanda (also known as Kartikeya or Murugan) as a child. This family group depiction of Shiva originated during the 6th-8th centuries during the period of the Pallavas in South India. The representation shows Shiva with four arms and Uma (Parvati), and between them the infant Skanda is shown as dancing with ecstasy. There is no separate shrine for Ambal or the Goddess in the temple as she is worshipped along with Shiva, as in every other Shiva temple in the precincts of the town of Kanchipuram. There is another shrine of Shiva and Kamakshi under what was a 3500-year-old mango tree, which is the Stala Vruksham (the temple tree). This tree has died in the last few years. In its place a new mango tree has been planted.
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Temple Architecture The temple covers an area of over 40 acres. The Raja Gopuram or the entrance tower to the temple, which rises to a height of 172 feet, was built by the Vijayanagar Monarch Krishnadevaraya, is one of the tallest in South India.
Sri Ekambaranathar Temple approach into the temple compound One notable feature of the temple is the Aayiram Kaal Mandapam (hallway with a thousand pillars). In addition, the temple's inner walls are decorated with an array of 1,008 Siva lingams. In the prakaram round the mango tree is a lingam. It is a composite of 108 small lingams and another one of 1008 small lingams. There are two tanks in the temple, Kampa Nadi and Sivaganga. There is a Vishnu shrine in the Siva temple and the name of the Vishnu is Nilatingal Tundattan. The temple has silver and gold-plated vimanas of considerable value. Local history of temple, legends, myths It is believed that Parvati, the consort of Shiva worshipped him in the form of a Prithivi Lingam, or a Lingam improvised out of sand, under a mango tree. Legend has it that the neighboring Vegavati river overflowed and threatened to engulf the Shiva Lingam and that Parvati or Kamakshi, embraced the Lingam, and Shiva, touched by the gesture materialized in person and married her. In this context he is referred to as 'Tazhuvakkuzhainthaar' in Tamil.
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Another legend says that when Lord Siva was deeply immersed in the task of creating, protecting and destroying the Universe, Parvati, his consort, in a jocular mood, covered his eyes. This resulted in the halting of the process of creation and destruction as well as obstruction to the natural law of things. This being a serious matter, Shiva became angry and cursed Parvati to go to the Earth and expiate her misdeed. Accordingly Parvati came to the banks of the river Kampa under a single mango tree at Kanchi and made a Lingam out of sand and worshipped it.
Temple tank
AUM S&T students in the 1,008 Pillared hallway To test her sincerity Siva placed various obstacles and hindrances in the way of Parvati's penance. But with the help of Vishnu she overcame all the difficulties. At end, Shiva hurled a deluge by taking out the Ganges from his matted hair, to wash away the Lingam. Parvati clasped it with all her veneration to her breasts and this pleased Siva who took her again as his consort. It is said that the temple was built at the spot where the lord forgave Parvati. Another version of the story is that Siva and Parvati fell out in a game of dice. Siva cursed her to become ugly. With the help of Vishnu, Parvati appeased Shiva by performing penance under a Mango tree at Kanchipuram on the banks of the Kampa River, and regained her beauty with dazzling eyes, from which the name of Kamakshi has been derived
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for the tutelary goddess of the temple. As Parvati regained Shiva under the mango tree the name of Ekamranatha (Eka -one, amra - mango, and natha-Lord) was given to Lord Shiva. The temple later became known as Ekambareswara. All with great veneration worshiped the ancient mango tree, in the courtyard. It had four branches representing the four Vedas. Each branch bore fruit with a different taste and the leaves were also different in appearance. It was a popular belief that if a childless woman took the fruit of the tree she would be blessed with children. Mayonic Science Perspective You will discover later in this text that Siva is a scientific term for the motion (Time) that occurs in the self-arousal of the quantum field. Put in Mayan’s terms, the movement or pulse within the body of Brahmam is called Time and that time as it continues its movement is called the dance of Siva. Thus, the dance of Siva is the pulsation of Consciousness that forms the manifest world. You will also earn that Consciousness or Brahmam pulses or moves within itself in order to experience its own qualities through manifestation. This manifest world then allows Consciousness or Brahmam to savor itself and thus experience bliss. The statue of Siva, Parvati and Skanda or Murugan is significant for several reasons. The sentence above referring to a carved scene “The representation shows Shiva with four arms and Uma (Parvati), and between them the infant Skanda is shown as dancing with ecstasy.” This concept of Murugan or Skanda (the child or offspring of Siva and Parvati) dancing with ecstasy depicts the savoring of Brahmam. That is the dance (pulsation, frequency, or time) is born of Brahmam in motion and once in motion Brahmam can savor itself. This savoring results in ecstasy or bliss. We may experience this experience as is described in Vastu Aesthetics.
www.hindubooks.org www.divyadesamonline.com www.wikepedia.com www.indiantemples.com www.kanchi.tn.nic.in Personal Notes and Observations
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Airavatesvara Temple Kumbakonan Airateswara Temple is a temple of Dravidian architecture located in the town of Darasuram, near Kumbakonam in the South Indian state of Tamil Nadu. This temple, built by Rajaraja Chola II in the 12th century CE, along with the Brihadeeswara Temple at Thanjavur, the Gangaikondacholisvaram Temple at Gangaikonda Cholapuram are a UNESCO World Heritage Site referred to as the Great Living Chola Temples.
Legend The Airateswara temple is dedicated to Lord Shiva. Shiva is here known as Airavateshwara, because he was worshipped at this temple by Airavata, the white elephant of the king of the gods, Indra. Legend has it that Airavata, while suffering from a change of colour due to a curse from Sage Durvasa, had its colours restored by bathing in the sacred waters of this temple. This legend is commemorated by an image of Airavata with Indra seated in an inner shrine. The temple and the presiding deity derive its name from this incident. It is said that the King of Death, Yama also worshipped Shiva here. Tradition has it Yama, who was suffering under a Rishi's curse from a burning sensation all over the body, was cured by the presiding deity Airavateswarar. Yama took bath in the sacred tank and got rid of the burning sensation. Since then the tank has been known as Yamateertham.
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Architecture The sanctum is in the form of a chariot drawn by Horses. To the right: Horse-drawn chariot carved onto the mandapam of Airavateswarar temple, Darasuram (left). The chariot and its wheel (right)are so finely sculpted that they include even the faintest details This temple is a storehouse of art and architecture and has some exquisite stone carvings. Although this temple is much smaller than the Brihadeeswara Temple or the Gangaikondacholisvaram Temple, it is more exquisite in detail. This is because this temple is said to have been built with nitya-vinoda, "perpetual entertainment", in mind. The vimana (tower) is 24 m (80 ft) high. The south side of the front mandapam is in the form of a huge chariot with large stone wheels drawn by horses. To the east of the inner court lies a group of well-carved buildings, one of which is the Balipita ('seat for sacrifice'). The pedestal of the Balipita adjoins a small shrine which contains an image of Ganesha. The pedestal has a set of 3 finely-carved set of steps on the south side. Striking the steps produce different musical sounds. In the south-west corner of the court is a mandapam having 4 shrines. One of these has an image of Yama. Adjoining this shrine are large stone slabs sculptured with images of the sapthamathas (seven celestial nymphs). Deities Periya Nayaki Amman temple The main deity's consort Periya Nayaki Amman temple is a detached temple situated to the north of the Airavateshwarar temple. This might have been a part of the main temple when the outer courts were complete. At present, it stands alone as a detached temple with the shrine of the Goddess standing in a single large court. Inscriptions in the Temple There are various inscriptions in the temple. One of these records the renovation of the shrines by Kulottunga Chola III. The north wall of the verandah consists of 108 sections of inscriptions, each containing the name and description and image of the Saivacharya (Saivite saints) listing the principal events in their life. Another inscription close to the gopura, records that an image was brought by Rajadhiraja Chola I from Kalyanapura after his capture of the place. UNESCO World Heritage Site Airavateshwarar temple This temple was added to the list of Great Living Chola Temples in the year 2004. The Great Living Chola Temples includes the Brihadeeswara Temple at Thanjavur, the Gangaikondacholisvaram Temple at Gangaikonda Cholapuram and the Airavatesvara Temple at Darasuram. All of these temples were built by the Cholas between the 10th and 12th centuries CE and have a lot of similarities. (Wikipedia)
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Temple layout
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History and Lore of Murugan No tour of South Indian temples can be complete without mentioning one of the most revered deities. The following throughout India of Lord Murugan is fairly large. The deity is worshipped at a number of temple sites and has been taken as the personal deity by many people. He is seen as to be small in stature. Youthful and much like a young boy. Sri Gnana Pandita, Murugan the Gnana Pandita or Expositor of Gnosis with His symbols the Vel Ayudha or Spear of Wisdom and vehicle/totem the Peacock or Phoenix. Behind Him rises the morning Sun symbolising bodhi (the awakened mind).
The composite deity Skanda-Murukan is two gods combined in one or, rather, two deities yet one indivisible God. As such, he is a perplexing god of paradox and apparent contradictions. In Skanda or Murukan we see a metaphor for India's magnificent diversity within national unity, a marriage of Dravidian and Aryan linguistic and cultural traditions. Indeed, this god is a fitting symbol of India's multi-ethnic, multi-linguistic heritage. This same Skanda Kumara or Karttikeya has long been known to Sanskrit scholars as the Vedic personage mentioned in the Chandogya Upanisad by the name Sanat Kumara. The Taittiriya Aranyaka mentions both Sanmukha and Mahasena. There cannot be any doubt that at the time of the composition of the Baudhayana Dharma Sastra, many of Skanda's popular names were well known. He is known as Kataragama to the Buddhists. The worship of Skanda was practiced well before 400 B.C. It is interesting to note that in Indian literature the spelling of various words differs but it is the same word. For example you will see Murugan written as “Murugan “ or “Murukan.” You may see Mayan written as “Mayan” or “Maayan.” Some times there are subtle differences in the meaning of a particular spelling and sometimes not. For example, we see vastu spelled as vaastu. We know in this case that the slight difference in spelling has deep meaning – vastu means unmanifest Primal Energy and vaastu means Primal Energy in its manifest form. In addition, the one deity may be known by many different names as in the case of Murugan who is called Murukan, Skanda Murukan, Karttikeya, Skanda Kumara, and Kataragama by the Buddhists. 125
At the same time that Karttikeya's popularity was on the rise in North India, far to the South Murukan or Ceyon the Red God had already long been established as the Tamil Katavul, the patron and symbol of Tamil language and culture. For Tamils, however, Murukan (Murugan) was regarded not as a celestial divinity but as the personification of courage, the antidote to distress in the form of Ananku and the victor over Cur or Terror personified. His triumph over terror and fear is immortalized in his Surasamharam, symbolizing the ultimate victory of courage over fear and love over hatred. For Murukan does not destroy his foes but transforms them and raises them to become forces working on behalf of all humanity. This age-old lesson continues to be celebrated to this day wherever Tamils worship Murukan. By the time the epics Mahabharata and Ramayana were compiled, Skanda or Murukan had become a favorite god of Indians both North and South. This is proved by the repeated references to his exploits in various places in the Epics. Indeed, except for Visnu and Siva, more verses have been devoted to Skanda Kumara in the Mahabharata than to any other god. It appears from the Mahabharata XII.153.76 that Karttikeya was regarded as one of the four principal gods, namely Rudra, Kumara, Brahma and Visnu. Saravana Bhavar The Ramayana has two chapters on Karttikeya's birth in the Balakanda (chapters 36-37). The stories of Salya, Anusasana (86th chapter in Mahabharata) and Balakanda consistently make Karttikeya the son of all five deities: Siva, Agni, Ganga, Uma and the Krttikas. It appears that the authors of these accounts were not sure about the parentage of Skanda and, therefore, thought it prudent to give the honor of parenthood to all five deities. In the later period the question of Skanda's parentage became almost an enigma, as shown by a sloka from the Adiparvan of the Mahabharata (cited in Asim Kumar Chatterjee, The Cult of Skanda-Karttikeya in Ancient India, p. 13-14): Agneyah Krttikaputro Raudro Gangeya ityapi sruyate bhagavan devah sarvahuhyamayo Guhah
"Some call him the offspring of Agni, some of the Krttikas, some of Rudra and some of Ganga. The illustrious Guha who combines in his composition the portions of other deities is of a lineage unknown." In both the epics and the Puranas, Karttikeya is repeatedly compared with the Sun god. In the Vanaparvan (chapt 224) we are told that the child Karttikeya 'shines like the sun rising in the midst of red clouds'. This association of god Skanda with the sun, the dawn, and red clouds has obvious affinities to the ancient Dravidian god Ceyon, the Red God who is none other than Murukan. Indeed, the imagery of Skanda and Murukan continue to play a role in the popular imagination of Tamil people right down to the present day. The following article will reveal the real significance of Murugan.
Source: http://ratnagiri.org/ http://www.murugan.org/temples/ratnagir.htm
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Mayonic Science Perspective: Shiva Lingam & Murugan “The throb or rhythmic vibration of inner consciousness is realized to be the rhythmic dance of light, to be the luminous dance (of Shiva).” Dr. V. Ganapati in Temples of Space- Science. The story of objects and idols of worship and their Mayonic meaning is a fascinating and enlightening. Studying this text and text written by Dr. V. Ganapati Sthapati and other recommended writers will bring a deep meaning to these forms that is understood by few. According to Pranava Veda each and every material substance, regardless of its outer shape, is ingrained with a threesegmented subtle design. These segments each have an individual design and are linked together to create a whole structure. The three segments are geometrically different as follows: The top circular shape (cylindrical) is known as Rudra Bhaga. It is the form of Taamasa Guna and indicates self-spin and movement – gross and massive qualities. The middle octagonal shape is known as Vishnu Bhaga. It is the form of Raajasa Guna and is known as the middling form and the transformational form between Tamasa and Saatvika. It has dynamic and active qualities. The bottom square (cubical) shape is known as Brahma Bhaga. It is known as Satvika Guna and is the form of calm and peaceful existence. It is interesting to note at this moment that the waveforms that make up the octagonal and circular forms are transitional waveforms. They fail to have the stability of the square form. If these forms (octagonal and circular) are used in home building they will cause a mental and psychological agitation and fermenting that will then cause physical agitation. Thus, these two forms are rejected for homes while the peace-producing square is preferred. In addition, these forms should be avoided for meditation halls and other structures where peace and harmony are desired. Certain public buildings may be designed using these forms. These shapes are ingrained within all cosmic and worldly structures and all cosmic and worldly structures are ingrained in these cosmic structures. These three “gunas” or qualities signify qualities of the. This three-segmented subtle design is the subtle form of Pranava (2 OMS). Mayan calls this three fold cosmic subtle design “mun nilai.” As stated in Fabric of the Universe, by Dr. Jessie Mercay, the Pranava Veda describes the process whereby the primal energy form or microabode pulses and then puts itself in a self-spin. When in this movement of self-spin, it looses its shape and becomes an octahedron or eight - sided form and then transforms itself into a sphere. From this, the Primal Being articulates itself as either aural or visual forms.
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According to Mayan in his Pranava Veda, inherent within these three forms are yet other fundamental forms, triangle, square, octagon, circle, and hexagon that have the qualities of the five elements: earth, water, fire, air, and space respectively.
These are the fundamental structures that arise from the three gunas above and yet are contained within them. In addition, these are the building blocks of the material world. The three-gunas/ qualities with their inherent five elements that represent Omkara (two fold OM- Om Light and OM sound) are demonstrated below:
Brahma Sutra Rudra
Tamas
Vishnu
Rajas
Brahma
Satva
This traditional form is known as the Shiva Lingam. The misunderstanding that has prevailed for centuries is the actual meaning of this structure. It is worshiped as Lord Shiva and believed that Lord Shiva is the Supreme Being or God. There are massive commentaries about the meaning of Shiva, who “he” is; who his wife is; who his sons are etc. There are stories about events in “his” life and his attributes. Strictly speaking, in Hinduism, there is only one God - identified as the Brahmam (not to be confused with Brahmin or Brahma). In the sacred texts called the Bhagavad-Gita, Brahmam is the infinite or absolute perfection in every sense. Brahmam is the Absolute reality. Brahmam does not exist rather it is existence itself. It is not all-knowing rather it is knowledge itself. In some places it is said Brahmam is any thing and every thing that will exist at any time. Brahmam is where every thing originated from and every thing will end up. According to the Gita only a very few will be able to attach (or devote) themselves to this "formless" or "unlimited purity form" of Brahmam. Mortals are encouraged to devote (or attach) themselves to Brahmam through a form that is appropriate for them (For example, during the discourse of the Gita to Arjuna, Krishna shows up in his full form. Arjuna is afraid and cannot relate the magnificence of that form. Krishna then appears as just another human being, whom Arjuna can relate to). These multiple human forms of God are considered to be "less abstract" or more "personal forms" that human being can use to visualize "Brahmam".
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According to Mayan the Primary Energy and its subsequent movement into the manifestation of material phenomena are described in a unique manner. Mayan says that the tangible universe contains within it the Primary Substance, which is beyond sensory perception. It cannot be comprehended by thought or through the mind and it cannot be expressed fully through words or speech. It exists as the fundamental energy of light and sound – OM light and OM sound. It permeates all things and all beings. Mayan calls this Primal Substance Vastu or Vastu Brahmam. It is the source of all manifestation, growth, movement, and containment. It manifests itself into manifold forms; it grows, moves, and contains itself through form. The ancient Shilpi –rishis, being fully aware of this substance through the revelations of Mayan and through their own experience, have classified this revelation into three states: 1. Aruvam or Amorphic or the abstract state of formlessness where the different parts of the body and physical attributes are undefined hence amorphic. The Lingam which does not possess human bodily features is only and abstract and amorphic form and an example of this. This amorphic state is said to be all pervasive and luminous and is known as Light or Absolute Light. Because of its luminous nature the lingam is called the Jyotir Lingam.
Amorphic Lingam
2. Aruvuruvam or Morpho- amorphic state displays the parts of the human body and other features as partly defined and partly suspended in an amorphous state. This stage of representation displays the qualitative state of existence where specific qualities are demonstrated. Partial physical features of the human body are displayed though the attributes are implied. The Mukha Lingam is an example of this kind of image. The Mukha Lingam displays the shaft or lingam and the yoni (male and female genitilia) with four sculpted head and shoulder busts on the shaft. This lingam with the four faces represents the morpho-amorphic qualities of god (see p.41, Indian Sculpture and Iconography, Dr. V. Ganapati Sthapati, 2002). 3. Uuruvam or Morphic is the sculpted form where the body with all of its features is well defined and easily perceived. The manifold forms available in the temples of India are examples of this. One such example is the form of Murugan found in Rathinagiri Bala Murugan Temple. Two more examples are the form of Shiva with human attributes (fully formed torso, hands, arms etc) found in Jambukeshwara Shiva temple and Vishnu found in Sri Rangam Temple.
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Amorphic
Morpho- amorphic
Morphic
The three stages of forms are really a metaphor for the three stages of Pure Being or three stages of Absolute Brahmam. The amorphous state, morpho-amorphic state and the morphic state as described above. The idea is that in the Unmanifest state of consciousness, Brahmam is amorphous or shapeless, unstructured and fluid. It is never still, asleep, or vacuous. Rather, there exists an unremitting vibrancy and pulsation of life energy – yet in an amorphous state. This is called Akasha – a state of Blissful Being, and autocatalytic luminous intelligence. The lingam is the
representation of this state of Brahmam or Purusha as it is sometimes called. 130
While there is an externally descriptive relationship between these three states in Shilpic art forms and western art forms (abstract art, expressionistic and impressionistic art, and realism) the nature of the form differs in subtle unseen ways. Western art forms are derived from observing the world and recording it in an abstract, impressionistic, expressionistic or realistic way. Internal feeling may be involved but the art generally only feeds the mind and emotions. The Shilpi does not copy and interpret the outside world in his or her art. Rather, the shilpi (traditional sculpture) uses his or her inner vision of the divine, his or her intuitive understanding of the great truths, and his or her experiences of reality solely to reflect the various forms of manifestation of the Divine. The Shilpi responds to his or her experience by manifesting objects that are expressions of the Formless, using specific rules of measure and form, that signifies universal rhythm and balance. Traditional Shilpic forms are deeply spiritual in nature and, because they are produced using the Mayonic Order, become living forms that vibrate with specific qualities of Vastu. They can be said to be vibrating with Vastureva Vaastu phenomenon. A work produced in this way regardless of its amorphic, meso morphic or morphic state is a vibrating living structure that is the form through which Brahmam manifests itself. It is thus correct to say that Shilpic art feeds the mind, the emotions and the soul. (Dr. VGS) The Mayonic Order, rhythm and proportion used by the Shilpi to bring into being this structure are in harmony with the universal rhythms; hence the physical form of the Lingam is a direct representation of the amorphous state called Brahmam. In fact, it is Brahmam that transforms itself through the human agent into the Lingam. It is Brahmam who transforms himself into a house or temple or office building through the human agent when the Mayonic Order is employed. The forms throughout India that are produced in this way are worthy of worship, not because they “represent” God or an attribute of God but because they are living forms that are forms God in a very direct way. What I mean by that is that the literal vibrating presence of Unbounded Space exists within the form. And, it is the Mayonic Order or system of proportionate measure that is responsible for the vibrant presence of Divinity within the image. If a statue or work of art is created not using the scientific rules of the Mayonic Order and is not vibrant with the Primal Energy its worship is inappropriate according to the Shilpi Shastra. (Indian Sculpture and Iconography, p.4, Dr. V. Ganapati Sthapati, 2002).
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Understanding the point that it is Brahmam who is transforming Himself into a precise manifest frequency through the human agent when the Mayonic Order is employed is paramount to understanding the role of the Vaastu consultant. That is, the role of the Vaastu consultant is to be a direct agent for Brahmam in fulfilling Bramams’ urge to manifest in a most vibrant way. Why is Brahmam actively transforming Himself? “The Moolam (Brahmam, Vastu) is in love with its own inherent beauty and this beauty it searches for on the outside and this perfection it constantly creates, so that it may forever savor and enjoy this ultimate beauty.” (An overview of Mayonic Aintiram, Dr. V.Ganapati Sthapati, 1992, p8) “…the Originating Source found itself to be so beautiful and perfect, and in love with that beauty and perfection that it manifested itself in different material forms in order to experience and savor that beauty eternally.” (The Cosmological View of Mayonic Science,By Jessie J. Mercay, PhD, PhDmst). It is the duty of the Stahpati, Shilpi, and Vaastu consultant to faithfully employ the Mayonic order to encourage the manifestation of Brahmam in the manner desired. Coming back to Murugan, Shiva in the form of the Shiva Lingam is the abstract form and Shiva taking on human form is a more personal form. In Hindu lore, Shiva and his consort Parvati are the parents of Karthikeya and Ganesha, the elephant head also called Ganapati. In our journey through this discussion, we find that Karthikeya is also known as Murugan in South India and many worship Murugan in the form without an elephant head like Ganesha. (Shiva also had a son, Ayyappan with Mahavishnu (Mohini). So, Skanda or Murugan represents a less abstract or personal form of "Brahmam.” The devotees see Skanda or Murugan (same divine personage) as the absolute Brahmam itself. Shiva and the Shiva Lingam and the other forms and deities take on a completely different meaning in the source Veda – the Pranava Veda. The concepts of Shiva and Shiva Lingam have their roots in the Pranava Veda. However the true meaning has been obscures by misunderstanding of ancient texts and misrepresentation by religious leaders.
Mayan says in his first verse of the Pranava Veda the following: Ōm Ōm Ōmiyal Ōmurum Olikalai Olinilai Urusudarey Ōm Ōm Velinilai Veliyurum Olikalai Viyanurum Virisudarey Ōm Ōm Murukoli Arusudar Ainilai Aimarai Muthalmarayey Ōm Ōm Kalaiyoli Nilaiyurum Aivakai neriyurum Kuripporuley
1 Ōm Ōm (Ōm Light and Ōm Sound); Ōmiyal (Energy generated from Ōm); Ōmurum (form generated from Energy)
2 Olikalai (Light aroused in a disorderly manner); Olinilai (state of Light); Urusudarey (flame) 3 Velinilai (state of Light in Space); Veliyurum (form of Light in Space) 4 Viyanurum (magnificent); Virisudarey (luminous Light) 5 Murukoli arusudar (beautiful Light form with six faces) 6 Ainilai (five stages); Aimarai mudalmarayey (of the five Vedas, this is the first) 7 Kalaiyoli (creative Light); nilaiyurum (transformation to orderly state) 8 Aivakai (five types); Neriyurum Kuripporuley (order found in all material forms)
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Ōm Light and Ōm Sound are the Primal Source of all manifest forms. Ōm Light is aroused by its own effort in a state of disorder and appears as a flame. The state of Ōm Light and Ōm Sound in Space is a magnificent luminous six faced Light form that is called “murukoli”. The transformation of Ōm Light and Ōm Sound through the five stages is concealed in the five fold knowledge, of which, this is the first. This process of transformation of disorderly Ōm Light and Ōm Sound into orderliness (creative is found in all five fold material forms). (Translated by Sthapati Santhanan Krishna and Architect Krithika Karuppiah) This verse sets the stage for the complete manifestation process mentioned earlier in this text. One significant word found in the fifth line is Murukoli. And, given the five - fold process it is likely no accident that Mayan placed this word in the fifth line. The translators make commentary as follows: Ōm Light and Ōm Sound appears in Cosmic Space (Pure Consciousness) as a six faced magnificent luminous Light called murukoli. The five stages of transformation of the primal source into murukoli are concealed in the five - fold knowledge (Aimarai – ainthu means five and marai means “the meaning of a word hidden within it.” In this text, Mayan means that this knowledge – the science of manifestation - is hidden in the Five-Fold-Vedas of which the Pranava Veda is the first. The word Muruku was recently discovered on a Neolithic polished stone hand-held axe found at Sembian-Kandiyur village near Mayiladuthurai in Tamilnadu. (The Hindu, May 1, 2006). This word Muruku was found hundreds of times in the Indus valley script at Harappa. In recent years, the muruku symbol turned up among the pottery graffiti found at Mangudi, near Tirunelveli in Tamilnadu, and at Muciri, Kerala. It is evident from this that both the Harappan and Neolithic Tamilians shared a same script and language. This also indicates the antiquity of the word Muruku.
This word Murukoli has in fact been transformed into the word Murugan. The legands and meanings of Murugan discussed above actually reveal the subtle and profound meaning of this Murugan/Murukoli. In the section above on murugan I mention that in both the epics and the Puranas, Karttikeya (Murugan) is repeatedly compared with the Sun god. In the Vanaparvan (chapt 224) we are told that the child Karttikeya (Murugan) 'shines like the sun rising in the midst of red clouds'. This association of god Skanda with the sun, the dawn, and red clouds has obvious affinities to the ancient Dravidian god Ceyon, the Red God who is none other than Murukan. This concept of Sun God clearly relates to the Surya (Sun God) pertaining to the Macroabode or Brahmam who shines brighter than a thousand suns (described earlier in Part 1). “rising in the midst of red clouds” is an illusion to the color of the cosmic flame as it rises during the manifestation process. The mechanism is that the Primal Form – Eka pada- rises up as a cosmic flame. At the tip of the flame is a cuboidal form known as microabode (macroabode in its largest sense). The tip of this cuboidal form is at first blue but takes on the golden glow of the sun as OM light emerges. As seen in the Pranava Veda, this luminous form is called Murukoli from which the name Murugan is derived. Hence we have a legand that has hidden meaning that can only be understood through knowing Mayan’s science. (This very same cosmic Flame or Moolasthan is depicted as the Shiva Lingam.)
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Arunachaleswarar temple – Fire Element Thiruvanammali
Arunachaleswarar Temple, also known by the name of Arulmigu Annamalaiyar Thirukoil, is one of the largest temples in India. It is one of the 5 Panchabootha Stalams in South India signifying the element of Agni (Fire). The legend has it that Lord Siva manifested himself in the form of a massive column of fire, whose crown and feet, both Brahma and Vishnu tried in vain to trace. The temple is also one of the Padal Petra Sthalam since the four famous Saivite saints and poets Appar, Sundarar, Manichkavasakar and Thirugnana Sambandar wrote several poems about this temple. Location on map The temple is in the pilgrimage town of Thiruvannaamalai in the district of Thiruvannaamalai. Thiruvannaamalai literally means “a flaming hillock of beauty”. The temple is located at the foot of the Annamalai Hill (also called Arunaachala Hill, meaning holy hill that is red in color). The devotees circumambulate (Girivalam) it barefoot, since it is considered a manifestation of Annamalair (Lord Siva) himself. Sri Ramana Maharishi retreat is also located at the foot of this hill. Date built/ builder The original construction of the temple is believed to have taken place during the reign of Pandyan kings. The first Pandyan kings built the first two prakarams, which are the oldest. Chola kings and later Pandyan kings built the other prakarams. In the Thirteenth century the Hoysala kings from Karnataka built small sannadhis and prakarams in the temple. Many of the inscriptions in the temple are attributed to the Chola kings. Other inscriptions make reference to Kopperunjinga, Pallava, Hoysalas, King Veera Vallava and Deva Nagara Kings. Krishna Deva Raya of the Vijayanagara kings contributed to the greater part of the current structure. Most of the construction seen of the temple took place during the last thousand years. The recent contributions come from the Nagarathars, who are also known as NattuKottai Chettiars. Primary deities The main deity of the temple is Lord Shiva worshipped in the form of the element Fire (Agni). He is worshipped as Annamalayaar or Arunachaleswarar and his consort is Parvati in the form of Unnamulaiyaal or Apitakuchambaal. The manifestation of Shiva in the column of fire in front of Brahma and Vishnu is carved in stone, as the Lingodbhavamurthy manifestation of Shiva, and is enshrined in the rear niche of the sanctum that enshrines the Shivalingam.
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In most temples the idol faces east, but Lingodbhavar faces west. Often, a deity in a temple is found atop a hill. But, in Arunachaleshwara, the hill itself is the deity. Traditionally Arunam means the Sun and denotes red, the color of fire, Asalam means giri, malai or mountain. It is believed that in Kirtha yuga, the hill was fire (Agni), emerald (Mannikam) during Threta yuga, gold (Pon) during Dwapara yuga and rock in Kali yuga. There are eight lingams located at the eight cardinal points, providing an octagonal structure to the town. These lingams are, Indra Lingam (king of celestial beings; east), Agni Lingam (god of fire; southeast), Yama Lingam (god of death; south), Niruthi Lingam (king of giants; southwest), Varuna Lingam (god of rain; west), Vayu Lingam (god of air; northwest), Kubera Lingam (god of wealth; north) and Esanya Lingam (god of death (?); northeast). The stalavraksham (temple tree) is the Makizha maram (Mimusops elengi). Temple Architecture
The temple covers an area of 25 acres and consists of 6 Prakarams and 9 gopurams. It contains two reservoirs, Brhama Theertam and Siva Ganga Theertam. Out of the 9 gopurams, the 4 outer gopurams are the largest. The inner gopurams are smaller and are called the Kitti Gopurams. The four largest Gopurams, Raja gopuram, Thirumanjana gopuram, Pei gopuram and Ammaniammal gopurams are located between the 5th and 6th Parakarams. Out of the 5 small gopurams, two gopurams are in the east and one each in the other three directions. The first of the two eastern gopurams is called Kili Gopuram and was built by Veera Rajendra Cholan around 1063 A.D. Raja Gopurams is the tallest of all the gopurams and is located on the east side. It is 217ft tall and is the second largest tower in India. It stands at the foot of the Annamalai Hill. As the name indicates, Krishna Deva Raya of Vijanagara built this gopuram.
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Two the left of the Raja gopuram is the Kambathu Elayanar Sannathi which leads the devotees into the inner chambers. This Sannathi was built during the time of the Vijanagara kings. On the northern part of the 5th Prakaram stands the Thousand Pillared Mandapam. The Pathala Lingam is housed in the underground chamber of this mandapam. The Vimanam to this shrine is found at the ground level. The Sivagangai Vinayagar Sannathi is stands next to the Sivagangai Theertham (the temple reservoir). Other items of interest found in this prakaram are Kambathur Elayanar Sannathi, Arunagirinathar Mandapam and Kalyana Sundareswarar Sannathi. Vallala Maharaja Gopuram is the entrance between the 5th and 4th Prakarams. This gopuram was built by the Hoysala King Ballala (Vallala) Maharaja. It is said that Lord Arunachaleswarar Himself performed the funeral rites of this ardent devotee of Lord Siva.
The 4th Parakaram contains the Brhama Tirtham. The 3rd Parakaram was built during 12th CE, is entered through Kali Gopuram and contains several linga shrines. East side of the prakaram has the flag-staff (Dwajasthambha) and north houses the shrine to Unnamulai Amman. The 2nd Prakaram is roofed and contains a many shrines associated with Lord Siva. The 1st Prakaram contains the shrine of Annamalaiyar and is reached by an entrance in the east.
Local history of temple, legends, myths There is a deep mysticism surrounding the temple. It has been long associated with yogis, siddhas and many wellknown spiritual personalities. Ramana Maharishi spent a great deal of time here meditating inside the temple just before his enlightenment.
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The Lingodhavamurthy is an iconic representation of Shiva as explained in the Kurma Purana, Vayu Purana and Shiva Purana. It is said that as Lord Vishnu was engaged in his yoganidra (the superconscious slumber) in the middle of Kshirsagar (milky ocean), Lord Brahma appeared before him and introduced himself as the Creator of the Universe. To this Lord Vishnu replied that he was the architect of the universe. As an argument ensued between Vishnu and Brahma, a huge lingam of fire appeared before them. Curious to find the origin of this great fire, Brahma assumed the form of a swan and flew upwards, while Vishnu assumed the form of a boar and burrowed down into the earth. Neither could find the origin of the fire and eventually they surrendered themselves to the column of fire. Shiva then appeared from this fiery lingam with thousand arms and legs, with the sun, moon and fire as his three eyes, bearing the pinaka bow, wearing a hide of an elephant and holding a trishul (trident) and addressed the Vishnu and Brahma in a thunderous voice stating that they were both born out of him and they the three of them were separated as three aspects of divinity. This Lingam depicting the swan and boar can be seen in a number of temples. The non-anthropomorphic form Shivalingam is a representation of this infinite cosmic column of fire. The manifestation of Lord Shiva in this column of fire is carved in stone as the Lingodbhavamurthy and is enshrined in the rear niche of the inner sanctum. Lingodbhavar faces west as most temples face east. Another interesting aspect to this story is that while Brahma, in the form of a swan was flying outwards searching for the origin of the fire, he saw a Ketaki flower drifting down. Tired of his futile search, Brahma requested the flower to agree with him that he had seen the top of the column where the flower resided. Brahma then confronted Vishnu with his accomplice and asserted that he had seen the origin of the fire. Enraged by hearing this, Lord Siva, appeared from the fire and cursed him not to be worshipped in any temples. He cursed the flower not to be used as offering in any rituals.
www.omarunachala.com www.indiantemples.com www.arunachaleswarar.com www.indiantemples.com www.wikipedia.org www.gloriousindia.com www.tiruvannamalai.tripod.com www.tamilnet.com
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Mayonic Science Perspective Mayan said that he obtained his knowledge from The Sun God Kashulka Surye. Kashulka Surye is defined by Mayan as a Luminous Spark that is the Ultimate Source of light. Here Ka means Space and ulka means a streak of light. This Luminous spark forms streaks of light like lightning – an on going spark described by Mayan as “unbearable effulgence.” It is from that Source, that everything gets its energy. This luminosity takes shape and gives that shape energy. Many scholars misunderstood Mayan’s pronouncement of the source of his knowledge. Because they were unfamiliar with technical language, they assumed that he was referring to an aspect of the sun in the sky. In addition, when Mayan spoke of the influence of “Cosmic Space,” scholars, not versed in technical language, thought that Mayan was speaking of outer space where the sun, moon and planets reside. This misunderstanding of the term Kashulka Surya and Cosmic Space led scholars to think that Vaastu Science was related to the sun in the sky and the planets in outer space. This can be seen in many versions of Vaastu being perpetuated today around the world. These individuals place the word “sky” in the center of the Brahmasthan rather than “Space” because the don’t understand authentic Vaastu Science. They also assign various planets to the directions on the Vaastu Purusha Mandala. This added an unfortunate level of superstition to a deep and profound science. Arunachaleshwara Temple is named after Arunachaleshwara that is the mountain behind the temple. This mountain is said to contain a vibrant fiery Shiva Lingam at its center. Here, we have a word that is formed of two parts: Aruna which means “reddish,” and achala which means mountain. Aruna is a Code name that refers to a reddish pillar or reddish beam of luminosity. It means Siva (associated with red) the Primal God appearing as a red beam of light. This red beam of light is the container of the luminous spark – Kashulka Surye. The red beam demonstrated here is in a waveform simply to demonstrate motion. It is not completely accurate as the true form is more like a straight, vibrating pillar.
Mayan specifically uses/ coined the word “Siva” (pronounced as Civa) to indicate a special state of the Supreme. Likewise, when Siva is moving within itself to begin the manifestation process Mayan calls that state “Brahmam.” When that same state matures and is in full motion in dance - he calls it Nataraj. This temple not only represents the Pancha Bhoota Fire, it also denotes, from its name, the Primal Fire from which all life emerges and ultimately returns. In addition, the mountain is sacred and also signifies this reddish shaft of light called Siva at its deepest level.
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Arunachaleshwara
The legend described above in which Vishnu and Brahma were claiming to be the architect and creator of the Universe is of great significance. In this legend, the dispute between the two Gods is resolved by the appearance of a fiery pillar that had no beginning and no end. This story demonstrates the unbounded nature of Siva as the Supreme Force. It also demonstrates a significant and profound concept inherent in the statement “Anoraniyan, mahato mahyian,” found in Silpa Vidya Rahsyopanishad. This Upanishad states that one who does not understand the exact import of the Vedic statement “ anoraniyan mahato mahiyan,” cannot understand the basic principles of Vaastu Science. There is an inseparable link between this Vedic statement and Vaastu Science and Technology.
Anu means individual soul or object. Aniyaat means ‘ to become the minutest center of each soul and each object’. Mahat means the great. Mahiyaat means ‘ to become greater than the great so as to encompass every great soul and every great object within its fold or boundary’. Anoraniyan Mahatomahiyan means, “ simultaneously being the minutest point within the minute form and the greatest vastness encompassing all the greater ones”. It refers to both the Microabode (the smallest) and the Macroabode, the largest. The significant meaning of this Vedic Statement could be explained from two perspectives: (1) the spiritual, and (2) the Vaastu. From the Spiritual Perspective: The Supreme Reality identified with Vastu Brahman presents itself within the center of the heart (aniyan) of every being (anu). It is located at the center of Inner Space. As the Supreme Lord, He is greater than the great entities and smaller than the small entities. As ‘ anoraniyan’, He extends beyond the infinity of the micro-level. And, as ‘mahato mahiyan’ he extends beyond the infinity of the macro-level. There is nothing beyond His vastness. There is nothing beyond His minuteness. He is simultaneously beyond the vastness of the greatest and beyond the minuteness of the smallest.
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In Siva Temples, the Gopura and vimana indicate that the Lord is ‘mahato mahiyan’. That is why they are called “sthula linga” (the gross form). The innermost shrine and the deity installed there indicate that the Lord is ‘anoraniyan’. That is why they are called “sukshma linga” (subtle form). From the Vaastu Perspective: In Mayan’s terminology ‘ perum kalai’ means the most powerful and the all-pervasive phenomenon known as Vaastu Purusha Mandala. Mayan often declares that the Vaastu Purusha Mandala is everywhere in the universe and it is present at the center of every soul and every existent. It is inside every seed. As ‘mahato mahiyan’ the Vaastu Mandala energizes the entire stretch of the universe by its pervasiveness. As ‘anoraniyan’ it presents itself within every microabode. The whole city or town, well planned according to Vaastu, represents the greatness of the Vaastu Mandala, whereas the individual building or house represents the smallness of that Vaastu Mandala. Again, with regard to a house, the house plan represents the Vaastu Mandala as ‘mahato mahiyan’ and each room represents that Vaastu Mandala as ‘anoraniyan’. In the same order, each room is Vaastu Mandala in its greatness. The central grid of that room is Vaastu Mandala in its minute form. The central grid is ‘mahat’ and the center of that grid is ‘anu’. We should not think that Vaastu Mandala is governing the house-plan alone. Like the ‘brahmasthana’ of the main building, there is brahmasthana in every room. Mayan says that ghee and oils are to be kept in the northwest grids. He does not mean the northwest grids of the house as such. What he means is that ghee and oils are to be kept in the northwest grids of the kitchen. So, we have to apply the same pattern of Vaastu Mandala to the kitchen also. Even in bedroom, we should not place the bedstead at the center of the bedroom, the Brahmasthan. Since the Vaastu Mandala operates simultaneously at ‘mahat’ level and ‘anu’ level, being the greatest and the smallest, Mayan says that the Vaastu Mandala (perum kalai) is everywhere and in every thing. By virtue of this essential nature, the Vaastu Mandala is “ anoraniyan mahato mahiyan”. (Dr. S.P. Sabharathnam, personal communication) All forms created through Mayonic Science and Technology are born of Vaastu Purusha Mandala have at their basis this fundamental cuboidal form. And, this fundamental form exists on the macro level (the design level) and on the micro level (subtle level). It is this fundamental form composed of Time Units, which brings us untold blessings. It is always interesting to look at temple complexes from an aerial view. Interestingly enough we find a number of temples to be “off the grid.” By that we mean that the temples are not in alignment with the cardinal directions which is the direction of flow of Vaastu energy coming from the earth. This point alone points out that while the temples were built correctly in terms of structure, not all sthapatis were aware of the nature of Vaastu Purusha and the earth energy. If they were, they made an error in the computation and correction needed to determine true east and true north when using a gnomen. On some occasions, the temple may have been purposely misaligned to emphasize a specific energy. If we view this temple (see google earth clip below), we find that it is definitely off the grid – not in accordance with the sahstric building codes. There is one hint that this may have been intentional for this temple: If you will notice in the clip below, you will see that it is deflected toward the southeast – agni prachee. This deflection is a forbidden deflection as it emphasizes the fire element and brings anger and misfortune to the inhabitants. (the white grid lines are true north). As you know from the information above this is a Fire temple that is built to emphasize the element of
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Fire. Inside you will feel that very clearly. The heat is very penetrating and quite different from a gross material heat. It is almost as if it stimulates the fire within and the heat comes from there. So, it may be possible that this deflection was done intentionally. (Grid lines are true north).
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Jambukeshwara Siva Temple, Trichi
This photo displays the Vimanam of Lord Siva Sanctorum and the sacred 'Venn Naaval' tree (which is thousands of years old) at Jambukeswaram temple. The Jambukeshwara Siva Temple is also called Appustalam (water abode; Tamil: neer), Tiruanaikkaa and Tiruvan-aikaval. As an elephant once worshipped the Lord, this place came to be known as Tiruvanaikka meaning "grove of the holy elephant". The present name Tiruvanaikkaval or Tiruvanaikkovil is only a corruption of this ancient name. It is one of the five major Siva temples (Panchabhoota Stalams), representing five major elements – Space, Air, Fire, Water, Earth. The others are located at Chidambaram (Akasa sthalam – Space; Tamil: aagayam), Kalahasti (Vayu sthalam – air; Tamil: Kaattru), Tiruvannamalai (Thejo sthalam – fire; Tamil: neruppu),) and Kanchipuram (Prithvi sthalam – earth; Tamil: nilam). Location on map The Jambukeshwara temple is a well-visited Sivastalam (abode of Siva) located in the vicinity of Tiruchirappalli (Trichi) and Srirangam. It is adjacent to the Ranganathaswamy temple at Srirangam. The location is also called Tiruvanaikaaval. Trichi has a long history going back to several centuries before the birth of Christ. It was once the citadel of the mighty Cholas, the acclaimed dynasty of South India that has left its cultural identity in various fields such as culture, art, heritage, etc. The city later fell to the Pallavas. However, the Pallavas could not retain control of this strategic city and lost it to the Pandyas several times. The struggle for power between the Pallavas and Pandyas continued until the 10th century, when it again came under the rule of the Cholas. In the 12th century, the Vijayanagar kings of Hampi subverted the Cholas. In 1565, Trichi came under the rule of the Nayaks of Madurai, to be followed by the Marathas, the Nawabs of Carnatic, the French, and finally the British. However, it was under the Nayaks of Madurai that Trichi prospered in its own right and grew to be the city that it is today. The Nayaks constructed the Rock Fort, and firmly established Trichi as a trading city. Date built/ builder The temple was built by the Chola king Kochenga (Ko Chenkannan) Chola in the 1st century BC (it has also been claimed that it was built 1000 years ago). Kochenga Chola is praised by Tamil literature for having built more than seventy temples and he is historically placed in the Sangam period (the very early years of the Christian Era around 1800 years ago). This temple is said to have been in existence during the Sangam period, and it has undergone considerable modification over the last two thousand years. 143
The Chola King Pandya built this temple. Hoysala and the Madurai Nayak kings have patronized the temple. Jambukeswarar or Siva has been sung by the Saivite Saints (7th through 9th century). Inscriptions from the tenth century AD testify to later Chola patronage. The Hoysalas who had a base near Samayavaram (near Tiruchi) built four temples in Northern Tiruvanaikkaval (Vallaleeswaram, Padmaleswaram, Narasimheswaram and Somaleswaram). The Pandyas and the Hoysalas contributed to the Eastern tower of the temple.
Jambukeshwara Siva Temple, view of Gopurams
Jambukeshwara Siva Temple, view of mandapam inside the main entrance
Primary deities The main deity, Jambukeswara representing the element Water sits under a Jambu tree over a small stream that engulfs the deity during the rainy season. Hence this place is known as Jambukeswaram and the Lord as Jambukeswara, Jambunathan, Jambunayakar and Jambu Lingam. The primordial element water is represented by an undying natural spring in the sanctum. The goddess Akilandeswari is one of most famed forms of Parvati along with Meenakshi and Kamakshi. In the Tamil mythology, the massive outer wall - Vibudi Prakara, stretching over a mile, is said to have been built by Lord Siva who worked side by side with the laborers. In the temple, the Goddess, Akhilandeswari faces east in the temple, while the Lord faces west. It is believed that Akhilandeswari was originally an Ugra Devata of great fury, and Adi Sankaracharya is said to have converted the fiery energy of the deity into a manifestation of peace. He is said to have adorned her with earrings bearing the symbol of the chakram. There is also a shrine to Adi Sankara in this temple. Muthuswamy Deekshitar one of the foremost composers in the Karnatic music idiom has sung in praise of Akhilandeswari. The shrines to Vinayaka and Subramanya in the temple face Akhilandeswari. Temple Architecture The temple is situated amidst a mango grove in a vast area of 18 acres. The temple measures 2500 feet by 1500 feet. There are 7 gopurams and 5 concentric walls, enclosing 5 prakarams, surround the temple. The outermost of these contains streets and houses. The next or the fourth prakaram is surrounded by a wall 35 feet high and 6 feet thick and measures 2436 feet by 1493 feet. In this prakaram is situated a mandapam supported on nearly 800 pillars, and a tank fed by a perpetual spring, which is surrounded by over a hundred pillars. The Akhilandeswari shrine is located in this prakaram. The legend connected with the construction of this wall is that when the Chola kings were building the temple and the surroundings, a voice was heard saying: "Don't build the fourth compound wall." In accordance with the divine message, the construction of this wall was not taken up. One day, the Lord in the form of a Sanyasin (mendicant) came 144
to this place and took up the construction of the wall. The laborers were given pinches of sacred ash for the work done by them, which turned into gold afterwards. The Lord also performed many miracles and at last disappeared. This wall is therefore known as Vibhuti (ash) Wall and the prakaram is known as Vibhuti Prakaram. One who goes round this prakaram in the clockwise direction is blessed with children and gets all desires fulfilled. The third and the second prakarams date back to the thirteenth century. In this enclosure there is a beautiful portico of cruciform shape leading up to the door of the sanctuary. In this prakaram grows a collection of coconut palms. The legend says that Lord Ranganatha of Srirangam used to visit this shrine once a year to worship Lord Siva. The Eastern tower with seven levels has fine sculptural specimen of musical scenes, while the Western tower has nine levels. The first prakaram has been renovated in the last century. The sculptures & carvings are of the Chola period. In a pillar in the Mahamandapa of Akhilandeswari shrine, there is a magnificent figure of Ekapadeswarar (Lord Siva), with Brahma and Vishnu on either side with their vahanas (a being or object used as a vehicle). The sculptures that adorn the walls in its outer courts are typical of the seventeenth-century Nayak architecture. Local history of temple, legends, myths Long time ago, the area was a forest of Jambu trees (black-hearty trees) and one sage by the name Sambu was performing penance under one of these trees. One day, a beautiful Jambu fruit (a pear shaped white fruit) dropped before him and attracted his attention. The fruit appeared to be a rare specimen of exceeding sweetness. The Sage wanted to offer the fruit to Lord Siva. He immediately set out to Kailasa with the fruit and offered it to Siva. The Sage also took a portion of the fruit and immediately a Jambu tree began to grow in his stomach and, in course of time, the Sage was transformed into a big Jambu tree. The Sage became very happy and prayed to Lord Siva that He should take his abode under the tree. There upon Lord Siva advised the Sage to go to the forest where he was conducting penance originally and continue his worship. The Sage did accordingly and at last, after many years of penance, got the darshan (appearance) of Siva and his desire fulfilled. The Sthalavriksham (temple tree) of the temple is the Jambu tree. According to another legend, once Devi Parvati had a doubt and approached Siva for clarification about their relationship. He directed her to conduct penance at Tiruvanaikkaval, Accordingly, the Devi came to this place and made a Lingam out of water particles and commenced worship. Therefore, the Lingam is known as Appu Lingam and even today water can be seen oozing out of the Lingam when the Kaveri or Coleroon is in flood. Lord Siva at last gave darsan to Parvati and cleared her doubts. He told her: "Just as a dancer dances before his disciple to train him in that art, so also, we first experienced life of family to teach people how they should live as husband and wife; and then, we lead the life of ascetics to teach the people how they should worship the Almighty to get salvation at the end”. As Devi Parvati took Upadesa (lessons) from Siva in this place, she and Siva are enshrined here facing each other, the shrine of the Lord facing the West and that of the Devi facing the East. Such places are also known as Upadesa Sthalas. Mayonic Science Note: Why are the Panchabhuta temples Siva temples? One reason is because it is Siva (the primal creative fire within the micro abode) that turns himself into the five elements in both the unmanifest and manifest forms. Each element celebrates an aspect of Siva in the manifest form. While most of the stories about the gods and goddesses related to the temples are pure mythology – that is only stories - we can find bits of truth in them. For example, in this temple it is said that Lord Siva built it ad labored with
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the workers. From our understanding of Mayonic Science and Technology we understand that the entire material world is produced through “Lord Siva.” It is through the “Dance of Siva” – vibration or pulse of Consciousness or Brahmam that manifestation occurs. In addition, it is through this very impulse within the inner Being of the Shilpi that the design and execution of any Mayonic form occurs. Imagine a visitor to the temple, awe struck by its beauty and complexity asking a Shilpi or Sthapati “Who built this temple?” There is only one answer that they would give – “Lord Siva built this temple. And, he worked hand in hand with the Shilpis. Without Him we could not have built such a splendid form.” Source: www.tamilelibrary.org www.nlcindia.co.in www.wikpedia.com www.templenet.com www.indian-heritage.org www-hindubooks-org.doc (R.K. Das)
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Sri Rangam Temple, Trichi The Sri Rangam Temple is also famously called the Sri Ranganathaswamy Temple.
Location on map Sri Rangam Temple is situated in the Trichy district, close to the Sri Rangam Railway Station. The town is called Srirangam or Thiruvarangam. It is a small island town adjoining Tiruchirapalli. The Kaveri River, on one side, and the Kaveri tributary Kollidam, on the other, bound the town. It is home to a significant population of Vaishnavites (followers of Vishnu) Date built/ builder The date when the temple was built is not known (based on the myths and legends, probably goes back to the time of reign of Rama). A Chola prince by the name of Dharma Varma, who was then ruling the territory, is said to have built a shrine for the Ranga Vimana (the legend explained below) and the surrounding Prakara known as "Dharma Varma Veedhi" and arranged for proper daily worship. In course of time, it was submerged in a deluge of the Kaveri River and the structures disappeared and became a habitat for wild animals. A Chola prince, who was later named as Kilikanda Chola (the one who saw the parrot) excavated and unearthed the temple with the prakarams, made alterations and additions to it. The temple went through a tumultuous time between 1311 and 1371 A.D. During this period it was attacked by Muslim forces, the temple sacked and plundered, and also used as a garrison for sometime. After the defeat of the Muslim Sultanate, Gopanna Udayar of Vijayanagra restored and re-consecrated the temple on 13th May 1371. Primary deities: The primary Deity here is Lord Ranganatha (Lord Vishnu) reclining on Ananta Sesa (the couch of multi-headed serpent). The vimana over the Deity is covered in gold and is known as the Paravasudeva Ranga-Vimana. There are also sub shrines for Vishvaksena, Rama, Krishna, Nachiyar, Chakratalvar, Garuda, Hanuman, and Andal etc. and for all the alvars and the acharyas up to Vedanta Desya within the precincts. 147
Lord Ranganatha (Lord Vishnu) reclining Temple Architecture The Peria Koil (Big Temple) lies on an islet, formed by the twin rivers Kaveri and Kollidam. The river has always been a very important adjunct of a Hindu temple or religious institutions and therefore held as sacred as the temple. In the Vaishnava parlance, the term "Koil" signifies the Srirangam temple. The temple is enormous in size, with the complex sprawled over 156 acres. It has 7 Prakarams with 7 Tiruveedhis (circambulating corridor). These enclosures are formed by thick and huge rampart walls which run round the sanctum. The total length of these seven walls is 32,592 feet or over six miles. The 7 walls refer to the 7 worlds. The latest addition is the 236 feet high stupendous thirteen-tired Rajagopuram built at the southern rampart by the late 44th Jeeyar of the Sri Ahobila Mutt and consecrated in 1987 with great fanfare and religious piety. There are total of 21 gopurams in this temple. The weight of the Gopuram is 24,880 tons and the entrance is 11 3/4widths and height is 24 3/4. The grandeur of the towers decrease as one moves away from them towards the sanctum signifying that the devotee has to move away from the lofty earthly attachments in his/her spiritual quest. When coming out of the 7th Veedhi, one comes to all the 4 entrances of the Gopura Vaasal (gate). There are a total of 21 gopurams in this temple. The grandeur of the gopurams decrease as one moves away from them towards the sanctum signifying that the devotee has to move away from the lofty earthly attachments in his/her spiritual quest. To the left we see Sri Rangam Temple, roof top view of the Gopurams and the Vimanam The 7th thiruveedhi in the 7th prakaram is called "Chitthirai Thiruveedhi" where the big
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houses and bungalows are found. The 6th Veedhi, which is found in the 6th prakaram, is called "Thiru vikraman thiruveedhi". The 5th Veedhi in the 5th Prakaram is “Agalangan Thiru veedhi”. The 4th veedhi in the 4th Prakaram is "Aalinaadan Thiruveedhi". The 3rd Veedhi in the 3rd prakaram is "Kulasekaran Thiruveedhi". The 2nd veedhi in the 2nd prakaram is "Raja Mahendran". And in the 1st prakaram, Emperumaan Sri Ranganathan in Kidantha Kolam (lying position) gives seva and this is called "Dharma Varman Thiru chuttru” (circle).
The Gopuram of Sri Rangam is popularly called as "Raja Gopuram" and it is the biggest gopuram in the Asian Sub - Continent. It took almost 7 years to complete the Gopuram. When coming out of the 7th Veedhi, one comes to all the 4 entrances of the Gopura Vaasal (gate). The height of the Gopuram is 236 feet high with 13 Nilays. 12 Kalasams are kept on the top of the Gopuram. Below we see the gopuram and a close up of the diety Vishnu.
Local history of temple, legends, myths It is a traditional belief that Adi Sankara (the first Shankara in his lineage, who was the first philosopher to consolidate the doctrine of Advaita Vedanta), pictured to the right, installed at Srirangam, a Yantra (a symbolic representation of aspects of divinity) called Janakarshana (denoting God who attracts mankind) Yantra to attract pilgrims to this sacred temple, just as at Tirupati he installed the Dhanakarshana (denoting God who at tracts wealth) Yantra. Sankara infused immense power to this Yantra, which has proved true to its name. Tirupati is the richest temple in the South, may be in whole of India, and Srirangam is the most visited temple in the South. These points are made more interesting by the fact that only vishwakarmans were permitted to do such installations in his day. Historically it is stated that Sankara was a Vishwakarman and the Vishwakarma clan holds that to be true.
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A Chola by name Dharma Varma, who was then ruling the territory, had seen the Ranga Vimana at the Yagasala when Dasaratha performed the Putrakameshti Yaga. He was so fascinated that he wanted to have it installed in his region. When he undertook tapas on the banks of Chandrapushkarani, the sages told him that Sri Ranga Vimana was expected to arrive any time and requested him to give up the penance. Soon the "Sriranga Vimana" carried by Vibheeshana arrived. Dharma Varma was overjoyed as the Lord had willed to make it his abode. He built a shrine for the Vimana, the surrounding Prakara known as "Dharma Varma Veedhi" and arranged for proper daily worship. Dharma Varma worshipped the Ranga Vimanam for a long time and attained salvation. Years passed and once an unprecedented flood came in River Kaveri, which brought an enormous quantity of silt and sand and flooded the entire country. It is said that the flood was so devastating that even the peak of the gopuram of the temple was submerged under sand and looked like a sand dune. The entire city surrounding it was utterly devastated. The Chola king shifted the capital from Tri (Uraiyur) to Tanjore. The Ranga Vimanam temple was left uncared for, submerged under sand, which gradually gave rise to other, vegetation’s, which at last became a west. Then it so happened that once Chola prince went out for a pleasure hunt. He rested for some time under a tree in this forest. A parrot living on the tree suggested to king that down below be lying submerged the sacred Ranga Vimanam. (The prince thereafter came to be known as Kilikanda Chola, he who saw the parrot). The Chola king had heard about the Ranga Vimanam and found its location in the forest from the parrot. The information was also corroborated by a dream seen by the prince. He immediately started excavation work and unearthed the temple with the prakarams. He also made additions and alterations to the temple particularly the addition of a mandapam in the name of the parrot, still known as Kili Mandapa. The river Kaveri is the very same river Viraja that eternally flows in Vaikunta (the abode of Lord Vishnu), Srirangam Temple is verily Vaikuntam itself, the Abode of Lord Vishnu where he sits in all splendor and majesty in the company of Nityasuris (eternal companions of Vishnu, who are freed from the bondage of earthly life). The Vimana is in the form of the Pranava (the signifier of the Two Fold OM in the Pranava Veda). Source:
www.wikpedia.com www.templenet.com www.indian-heritage.org www-hindubooks-org.doc (R.K. Das) www.divyadesamonline.com (Prof. V.S. Seshadri) www.gosai.com www.astrouniverse.com
Mayonic Science significance One point that comes to mind is that the legend above describes the Chola as worshipping the Vimanan. This is a straightforward indication that the ancients were aware that it was the temple itself (vimanan and sanctum) that were worthy of worship and can bring Moksha or enlightenment. Worshiping the vimanan meant being in the presence of it – in close proximity - thus being the recipient of the vibration or Bhakti of the Vaastu form.
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This picture depicts images carved on the Gopurum. There are a variety of body postures and facial expressions that portray the elements of Vaastu visual aesthetics mentioned in part one of this text. Srirangam Demonstrating the Fullness of the Mayonic Code through Rangaraja In Fabric of the Universe the concept that the scientific Mayonic Code was; demonstrated again and again in temple and iconic structures. One fundamental principal in the manifestation process is that that the waveforms in Absolute Space that are formed through the pulsation known as Time are square waves. It is also postulated that those square waves are transformed to sine waves as part of the Vastureva vaastu process. The transformation from square waves to sine waves and back again is the story of the dynamics of Vastureva vaastu - the 8X8 Vastu Purusha Mandala transforming itself into the manifest 9X9 Vaastu Purusha Mandala and back again. As this takes place, I suggest that the transformation of 8 to 9 results in the production of standing waves. I believe that this scientific principle is encoded in the forms created by Vishwakarmans (Shilpis, sthapatis etc.) using principles of Mayonic Science and Technology. For example, I suggest that the famous Vishnu Statue, Rangaraja is one such encoded form. The coiled serpent with many heads (Adisesha) represents/ demonstrates standing square waves and standing sine waves in their steady state forming a foundation for manifest Vaastu to sustain itself in material form represented by the God Vishnu (Ranganatha). While there may be other meanings associated with this particular statue form, I am suggesting that this might be an encoded scientific meaning. In review, a standing wave pattern is a vibrational pattern created within a medium (space, stone, clay, architectural structures etc.) when the vibrational frequency of the source causes reflected waves from one end of the medium to interfere with incident waves from the source in such a manner that specific points along the medium appear to be standing still. Because points, which appear to be standing still, characterize the observed wave pattern the pattern is often called a "standing wave pattern." Such patterns are only created within the medium at specific frequencies of vibration; these frequencies are known as harmonic frequencies, or merely harmonics. In Mayonic Science and Technology the medium is Absolute Space and all of the elements described earlier in this monograph and materials used to create forms. The vibrational frequency here is indicated through the mathematical formula used to create the mother wall of a Vaastu structure/form.
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Sine waves interacting with each other causing standing waves.
In the Shilpic tradition of Mayonic Science and Technology, this (and other scientific principles) was preserved through visual language and visual mathematics in the reclining Vishnu statue and in the forms of other gods and goddesses.
Sine waves Square waves Standing wave End view of coiled serpent as standing waves
These hidden codes are contained in all traditional forms developed by Mayan. In fact, temples are replete with hidden codes that reveal, when the language becomes known, great and profound knowledge regarding the operation of Consciousness (energy) as it transforms itself into the material world (matter). These great monuments are living textbooks on quantum physics, astro - physics, mathematics, string theory, chaos theory and yet to be revealed spirit centric scientific principles. In Indian Sculpture and Iconography (Dr. V. Ganapati Sthapati) this is further demonstrated on pages 49-56 where discussion on Nata Manam – measurement of the body in flexion is conducted. The measure of flexion when turned sideways is none but the form of a sine wave. See figure below
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Sine waveform
In light of these ideas, Vishnu and other Gods and Goddesses can be viewed as a God/s but more appropriately should be viewed as scientific phenomenon. I contend that this is a scientific principle demonstrated and preserved by the Shilpic arts and science- none other that Vaastu Science and Technology. In the Shilpic tradition, the ‘medium” is stone, metal, clay, wood, etc., and the mathematical formula used to create the form serves as the boundary that the waves strike and cause vibration. (Fabric of the Universe, Dr. Jessie J. Mercay) Personal Notes and Observations
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Mayonic Science Perspective on Ganesh/Ganapati Another example of the coding of scientific principles in Mayonic Science and Technology is illustrated by the following information derived from the writings of P.V.N. Murthy (Author and Editor: http://www.vedsri.org/linguamths.asp) “Take the 2 words Ganapathi and Shanmuham appearing in books on different topics. Logically, a person reading them from a Hindu religious book will immediately think of Lord Vinayaka with a potbelly, elephant head sitting with a big mouse at his foot and of Lord Subramanya with a threeheaded dagger in his hand, sitting on a peacock. It will also come to mind they both have a brotherly relationship. Suppose the same names appear in a pure biography book and a person not knowing any Hindu religious names reads them. No Gods will come to his mind at all. He will only think of some places or persons having these names. Suppose either a religious, or a stranger to Hindu religion, not having any knowledge of science and mathematics reads these words in an actual science or mathematics book and suppose he does not know the subject of the book also. He is sure to get thoroughly confused. The words would appear non-cohesive, irrelevant and do not make a meaningful sentence. He might even mistake them for mysterious ‘mantras’. He may fumble upon them in his curiosity to make out something useful. This might substantiate the third possibility. Suppose a scientist or mathematician knowing the exact code of the language in which the book was written reads the same 2 words. He takes the exact meanings: ‘Gana’ = cubic; ‘pathi’ = space (or owner of gana); ‘Shan’ = 6; ‘muham’ = face. ‘Ganapathi Shanmuham’ = 6 faces of the cubic space. Incidentally, this is a mathematical concept in physics that a perfect cube of a given length has 6 faces. This substantiates the first possibility.” So we see that the knowledge of the six-sided Vastu cube (microabode) is encoded and preserved in the statues of Ganapati and his brother. While this information refers to linguist encoding I would like to point out that language formation and meaning is within the scope Mayonic Science and Technology. The Shilpi tradition uses visual language to encode scientific principles and aural language to encode the same scientific principles by naming the forms they create. This is an extremely exciting era in the unveiling of the secret scientific codes preserved by Mayonic Science and Technology through the Shilpis, sthapatis and other members of the scientist/artist Viswarkarmas of Mother India.
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O
In this photo of a Ganapati picture, or the elephant God Ganesha, Ganapati is seen as having a trunk curved to the right. This represents the scientific principle of OM Light and OM Sound just as does the Tamil OM o and the Vimana and sanctum sanctorum of Srirangam. Personal Notes and Observations
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Karaikudi - Chettinad Land: Merchants of India They are called Chettiars, but the Nattukottai Chettiars prefer to call themselves as the Nagarathar, the families in a rural part of the deep south of India. In their glory, a hundred-year period, they held lifestyle rituals in the grandest manner possible with the participation of all clan members or pangalis. Today many chettiars continue to seek their fortunes in faraway lands but home is where the heart is. And the heart is still in Chettinad for most of them, as they hold on to the vestiges of a slowly vanishing traditionalism. They were the wealthy merchants of Tamil Nadu who were forced out of their homeland due to alien control over their markets. They dealt in textiles, banking, spices and numerous export/import businesses. The Chettiars followed a hard and fast rule to be philanthropist. The built tempples, schools, colloges, The central theme of Chettinad culture is worship. The Chettiars were sponsors for the Five Arts and especially temple architecture. Every Chettinad village has at least one temple, while some have four or even five. Each temple has its annual festival, called tiruvila, which is attended by the entire village in an act of collective worship. The Chettinad calender is filled with various other festivals through out the year. Pongal, the Tamil harvest festival in the month of January is celebrated for 5 days with much gusto. Rice is boiled and partaken in public with communal participation. The next day is the mattu Pongal, a thanksgiving festival unique to Tamilnadu. While the first half of the day is spent in adorning and offering pongal (a food) to the cattle, the second half is for those who dare to participate in jallikattu- a bull run through the main streets to be challenged by the youth who try and remove the garland around bull's horns- an adrenalin rush not for the faint-hearted. A special feature of South India is the decorative art of Kolam (street painting) paracticed everyday at dawn on the cleansed threshold of the house. During auspicious days and especially on lifecycle rituals like birth and marriage related celebrations, this art form on the floor takes on a special meaning and is very elaborately done. Marriage is the grandest celebration in a Chettiar family. The bride's trousseau is legendary and famous for the sheer number of items in all forms of gold, silver and steel. Moving into a new house and attaining sixty years of age are also celebrated as major events with much pomp. Participation in these lifecycle rituals are almost mandatory for all family members and even the not so near and dear ones- leading most outsiders to wonder if all Chettiars are related to each other one way or the other. Architecture The Nattukottai Chettiar traders followed the expansion of the British Empire into Southeast Asia for their business. They brought back Burmese teak and European tiles for their mansions, as well as the inspiration from colonial and palace architecture. They also incorporated the wealth of wood sculpting and craftsmanship from local craftsmen in their homes. Most of the Chettinad mansions are treasure troves of architectural details that mirror the passion for art and craft of this mercantile community that had the reputation of establishing and running their business ventures from various corners of South East Asia . The most important aspect of Chettinad architecture is an indigenous amalgam of traditional Indian architecture and various European styles evolved over years. The source of inspiration is derived out of the ‘Nagarathars’ connection with trade, travel, temples, tradition and taste.
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The basic floor plan of a Chettinad house is a Vaastu layout. It consists of an outside verandah (thinnai) for guests, with a room for conducting business on one or both ends; an interior courtyard to be used in ceremonies (Brahmasthan), with a raised seating area at one or both ends; a series of small double rooms opening off the main courtyard, for storage, prayer and sleeping (the outer energy belt of the Vaastu Purusha Mandala) and a small courtyard behind for cooking and for the women to socialize. Some Chettiers were strict in their holding fast to Vaastu Shastras and others were more slack depending upon the integrity of the Sthapati. I almost all cases, the Chetinand house is on the earth grid and forms a Vaastu Purusha Mandala.
The Chettinad houses were usually tile-roofed with a small two-storeyed tower at both ends of the front elevation. They later expanded vertically into two-storeyed structures, and horizontally through the addition of numerous halls and courtyards that could accommodate guests at marriages and other ceremonies.
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Chettinad architechture stands out for its use of large spaces in halls and courtyards, ornate embellishments like Belgian glasswork, intricate woodwork, spectacular ceramic tiles, stone, iron and wooden pillars like nothing else that can be seen in this part of the world. Chetanan temples Temple worship was and is extremely important to Chetanad families. Many families built their own temples on their land. Others sponsored community temples. They strictly adhered to Vaastu and Agamic principles. Clan Temples Chettinad is a region where a strong culture has been preserved by the Chettiar community. The community is organized around 9 clan temples. Each member of the Chettiar community belongs to a clan and each clan has its own temple run by its own committee. The Chettiar clan temple of llayathangudi is an ancient temple built on 707 AD and is located at the heartland of Chettinad. The temple is renowned for the exquisite and unique architectural brilliance. The temple is decorated with the unique style of Chettiar community. There are many more private temples built by individual families. Other Regional forms of worship Ayannar Shrines The Tamil word Aiyānar is derived from the root word Aiyā which is a title often used by Tamils, Malayalees and Telugus to designate respectable people. We referred to our Sthapati as Aiya for example. There are number of conflicting etymologies for the word Aiyā, generally it is thought to be derived from Proto-Dravidian term denoting an elder brother. It is used in that meaning in Tamil, Telugu and Malayalam.[1] Yet others derive the word Aiyā as a Prakrit version of the Sanskrit word Arya which means 'noble'.[2] According to Fred Clothey, Aiyanar is a Tamil adaptation of Aiyan, the chief deity of Ay chieftains who ruled parts of Kerala adjoining Tamil Nadu when both areas were collectively known as Tamilaham. Ayannar is the Tamil God “of everything ": rain maker, god of children, cattle, villages, earth, nature and villagers. He is present in rural areas. His abodes are not necessarily temples but outdoor shrines that are filled with terra-cotta offerings made by a special group of craftsmen. The season of offerings is between April and September and the ritual lasts usually 3 days. Ayyanar or Sathanar worship is a very ancient ancestral clan-based worship system linked to nature and fertility worship. The festivals of Ayyanars are celebrated in Sacred Groves during spring season by all the related clan. Ayyanar shrines are usually located at the peripheries or boundaries of rural villages and the deity is seen riding a horse with a sword. Weapons such as a trident or a lance are also associated with the shrine. Most officiating priests are non-Brahmins and derive from local lineages that had initiated the cult centers generations ago. This is a non Vedic ancient form of worship. Mariamman Temples Mariamman or Mari, the Goddess of smallpox, is the deity of life, especially of women and children. She grants children and cures them. Though everyday is dedicated to her, the main festivals take place during the months of March and April. There is great ferver during these festivities, with thousands of devotees gathering in her honor.
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Chithannavasal or Sittanavasal Cave Some of the best cave paintings of medieval India are located in Sittanavasal Cave in Tamil Nadu. This rock-cut Jain monastery contains artwork comparable to famous murals in Ajanta Caves and Bagh Caves. Paintings were made in frescoe technique. Sittanavasal rock-cut cave is located on prominent rock which rises up to 70 m high over the surrounding plain. This site is very rich with exciting archaeological monuments. The name "Sittanavasal" has several explanations. One states that this is a distorted version of "chir-ran-nal-vaa-yil" meaning in Tamil language "the abode of great saints". Another states that this was a suburb of Annalvayil (chiruannal-vaayil - "smaller Annalvayil"
The rock-cut Jain temple of Sittannavasal (7th CAD-9th CAD) in Tamil Nadu has an arthamandapa ,porch, whose ceiling is covered with mural paintings to 'emphasise the beauty of nature.Floral creepers,,lotuses,birds,swans,a rare human face and arabasques-painted in delicate lyrical lines by the artists,- constitute the harmonious whole that is nature'(See,Meera Seth-Indian Painting-the great mural tradition' ,Mapin,2006). Eladipattam The painted rock-cut temple is newcomer in the the ancient Jain centre of Sittanavasal. To the south, on the top of the hill there is another, natural shelter known as Eladipattam (also Ezhadippattam). It served as a Jain shelter since 1st century BC. Eladipattam got its name from seven holes cut in the rock - they serve as steps to ascend the shelter. Inside this cave there are seventeen polished stone berths aligned into rows, each with a raised part - most likely these were beds for Jains with "stone pillows". The largest of these ascetic beds contains inscription in Brahmi script, Tamil language from 1st century BC. Some more inscriptions in Tami language are from much later time - 8th century AD. These inscriptions name mendicants - monks, for example - Tolakunrattu Kadavulan, Tirunillan, Tiruppuranan,
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Tittaicbaranan, Sri Purrnacandlan, and Nityakaran Pattakali. Most likely these people spent their lives in isolation in this hill. Eladipattam served as a site of very severe penance - kayotsarga (meditation in standing posture until salvation) and sallekhana (fasting until death). Unfortunately most ancient inscriptions are covered with recent writings of vandals. This stone shelter continued to be the "Holy Sramana Abode" until 7th - 8th century AD. Arivar-Koil The famous paintings are located in later rock-cut temple named Arivar-Koil (temple of the Arhats) in north-western side of rock. This temple has been cut in rock in 7th - 9th c. AD. Facade of temple is simple, with four rock-cut columns and one pilaster to the right. This construction is new, from 20th century, built using the details from other monuments of architecture. Temple consists of forepart - and hall - ardha mandapam (Ardhamandapam) and a smaller cell - sanctum sanctorum (garbha griham) - at the rear wall. It seems that in Pandya times there was added also another forepart - mukha mandapam, which later collapsed. The forepart contains inscription on the right side - Tamil inscription with 17 lines. It tells about Jain Ilan-Gautaman who repaired or renovated the ardha-mandapam during the reign of king Srimaran-Srivallabhan (815 - 862 AD). After several steps one passes by two columns and enters the ardha mandapam. It is 7 m wide and 2.3 m deep. Ceiling is approximately 2.6 m high. Left wall of this hall contains image of Parsvanatha (23rd Thirtankara), right wall image of acharya - Jain teacher. At the rear wall, after several steps one reaches another chamber - garbha griham. Hall contains the main treasure of this monument - ancient paintings on ceilings and top part of columns. Paintings are also on the ceiling of garbha griham. Originally whole interior of the temple including the sculptures, was plastered and painted. Unfortunately the paintings on the walls have been lost. Temple and paintings in it were noticed in early 20th century by S.Radhakrishna Iyer, local historian and he described this wonderful discovery in a book devoted to interesting sites of his region. Wider scientific community though learned about frescoes later, after 1920. Frescoes Most paintings are made in Pandyan period - 9th century AD. Central and most important drawing is a pond with lotuses, flowers in the pond are collected by monks, ducks, swans, fishes and animals in the pond. This scene shows Samava-sarana - important scene in Jain religion. Samava-sarvana is special, beautiful audience hall where Tirthankaras (great liberated souls in Jain religion) delivered sermons after they reached realisation (kevala-gnana). Bulls, elephants, apsaras and gods gathered in this audience hall to witness this grand scene. Other paintings are floral patterns. Tops of columns contain drawings of drawings of dancing women (apsaras) with lotuses. One of pillars contains also a drawing of couple. These drawings have been carried out with outstanding talent. Southern pillar contains drawings of king and queen with umbrella over them. Most likely the colors initially were vivid, now they are more grey. The technique of the drawing shows well developed style in art. India has long tradition of painting on rock with many Neolithic and later paintings in natural caves.
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Walls of Sittanavasal Cave are not very even and thus the plaster has different thickness - from 1 to 8 mm. First layer of plaster contains coarse sand, second is more fine - this is similar to the technique of European frescoes. Pigment was mixed with the lime and possibly some gum (in the black pigment) as well. Color was put on dry plaster. It adhered to the plaster extremely well - persisting more than 1000 years. Medieval artists had deep knowledge (which is lost now) about the natural pigments - colors did not bleach when mixed with lime and very well withstood the test of time. Artists in Sittanavasal have used black, green, yellow, orange, blue and white pigments. Damp air in the cave facilitated growth of slime consisting of algae and lichen - throughout the centuries it covered the paintings. This slime had to be removed mechanically - with strong brushing in 1942 (Shri S.Paramasivan, K.R.Srinivasan) - happily paintings withstood this well. Unfortunately the extremely valuable cave paintings have been vandalised. Some of the damage was done by... contemporary artists secretly copying the paintings by laying tracing paper over the ancient paintings and redrawing them. As a result nowadays the paintings are barely visible and even somewhat insignificant. Garbhagriham Garbhagriham is small square chamber, 3 m wide and deep, with 2.3 m high ceiling. Rear wall contains sculpted images of three figures - possibly two Thirtankaras and acharya. On the ceiling there is carved a wheel - Dharma chakra - wheel of law. Ceiling also contains frescoes - intricate carpet design and also a scene of Samava-sarvana with lotus pond. The small shrine has exceptional, unique echo effect: if one is humming "ohmmm" inaudibly, the room starts echoing in audible frequences. This effect is not happening if one is humming audibly. Surroundings Sittanavasal is one of important ancient Jain centre in this region of India and there are many more interesting monuments of Jains and also Hindu. Some are listed below: • To the south from Arivar-Koil there are Tamil inscriptions from 7th - 13th century AD. Written sources mention 7 inscriptions, nowadays 2 could be fouond. • Walls of cliff at the temple are adorned with few sculpted Jain Thirtankaras. • In the front of Arivar-Koil in the rock floor there are several holes - some 15 cm wide and 20 cm deep. Possibly these were used to grind the pigments. • Between Eladipattam and Arivar-Koil, on the eastern slope of rock there is exciting monument - Navachchunai (Jambunatha's Cave), small rock-cut temple submerged in a small lake. Some skills in climbing are required to reach it. Near the tarn there grows old jambu tree. This is late Shiva temple with a lingam in centre. Occasionally, for the worship of temple, the water is removed from the lake. • At the western base of hill there is shrine of village deities including fine terracotta horses. There are many more ancient monuments around the hill from more ancient past - megalithic burial urns, stone circles, cairns, dolmens, cists from the iron age, called mudu-makkal-thaazhi. These monuments are located mainly to the south-west from the hill. (This article taken primarily from WIKI)
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Buddhist Architecture: Supporting Vaastu Dharma Buddhist architecture and art can be found all over India. While we may or may not visit a site on this pilgrimage, it is important to mention this form because taking a look at this form of Vaastu architecture and art provides insight into the general principles and development of Vaastu Temple architecture and art. While Buddhism is distinct and clear in its precepts, in its essence in some ways it is difficult to separate Buddhism from any of the other religions or belief systems popular in India and Asia. Each major belief system drew freely upon its counterparts, freely, even if they would not admit it. If one goes to the essence of virtually every Asian and Indian religion, the underlying threads can be traced to Mayonic Science. Buddha was born in Lumbini, which is geographically located 25 km east of the municipality of Kapilavastu, India (now Nepal), where the Buddha lived until the age of 29. His mothers name was Mayadevi. Mayan in fact was known to have settled in the foothills of the Himalyas perhaps in that region which belonged to India at the time.
Kapila refers to golden and vastu, substance or essence. It is interesting to note that the name of the area where Buddha was born in a sense predicted his experience upon awakening to higher consciousness. Upon his first awakening, Buddha said: “I have found a nectar-like dharma which is profound, peaceful, free from complexity, luminous and uncompounded. To whomever I teach it, it will not be understood. Therefore, I will remain in the forest without teaching.” Buddha had reached an inner state in which he experienced the nectar like substance known as OM light which is luminous, profound, free from complexity, etc. However, Buddha felt that he would not be understood if he tried to speak of it hence he went back to the forest. He emerged again with the thought that even if people don’t understand his experience he could speak of and teach something they would understand – that thing was suffering. Buddha taught as a foundation, The Four Noble Truths. A simple rendition of the Four Noble Truths as taught by Buddha in Dharmacakra Pravartana Sūtra is as follows: 1. Life is suffering 2. Suffering arises from attachment to desires 3. Suffering ceases when attachment to desire ceases 4. Freedom from suffering is possible by practicing the eightfold path. The Eightfold Path 1. Right View Right view is the beginning and the end of the path, it simply means to see and to understand things as they really are and to realise the Four Noble Truth. This is the cognitive aspect of wisdom. 2. Right Intention While right view refers to the cognitive aspect of wisdom, right intention refers to the volitional aspect, i.e. the kind of mental energy that controls our actions. Right intention can be described best as commitment to ethical and mental self-improvement. Buddha distinguishes three types of right intentions: 1. the intention of renunciation, which means resistance to the pull of desire, 2. the intention of good will, meaning resistance to feelings of anger and aversion, and
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3. the intention of harmlessness, meaning not to think or act cruelly, violently, or aggressively, and to develop compassion. 3. Right Speech Right speech is the first principle of ethical conduct in the eightfold path. Ethical conduct is viewed as a guideline to moral discipline, which supports the other principles of the path. This aspect is not self-sufficient, however, essential, because mental purification can only be achieved through the cultivation of ethical conduct. Right speech means: 1. abstain from false speech, especially not to tell deliberate lies and not to speak deceitfully, 2. abstain from slanderous speech and not to use words maliciously against others, 3. abstain from harsh words 4. abstain from idle chatter that lacks purpose or depth. 4. Right Action The second ethical principle, right action, involves the body as natural means of expression, as it refers to deeds that involve bodily actions. 1. abstain from harming sentient beings, especially to abstain from taking life 2. abstain from taking what is not given, which includes stealing, robbery, fraud. 3. abstain from sexual misconduct. 5. Right Livelihood Right livelihood means that one should earn one's living in a righteous way and that wealth should be gained legally and peacefully. The Buddha mentions four specific activities that harm other beings and that one should avoid for this reason: 1. dealing in weapons, 2. dealing in living beings (including raising animals for slaughter as well as slave trade and prostitution), 3. working in meat production and butchery, and 4. selling intoxicants and poisons, such as alcohol and drugs. 6. Right Effort Right effort can be seen as a prerequisite for the other principles of the path. Without effort, which is in itself an act of will, nothing can be achieved, whereas misguided effort distracts the mind from its task, and confusion will be the consequence. 7. Right Mindfulness Right mindfulness is the controlled and perfected faculty of cognition. It is the mental ability to see things as they are, with clear consciousness. 8. Right Concentration The eighth principle of the path, right concentration, refers to the development of a mental force that occurs in natural consciousness, although at a relatively low level of intensity, namely concentration. Concentration in this context is described as one-pointedness of mind, meaning a state where all mental faculties are unified and directed onto one particular object. Right concentration for the purpose of the eightfold path means wholesome concentration, i.e. concentration on wholesome thoughts and actions. The Buddhist method of choice to develop right concentration is through the practice of meditation. While knowing that the essence of life – this luminous nectar – is available to all, Buddha’s focus was to help people understand the world they live in – a world filled with suffering – and how to eliminate that suffering. Hence, thousands and thousands of sutras were devoted to the concept of rising above suffering and getting off the wheel of karma. This is a bit of a simplification of his teaching but it provides a general idea of his teachings. As you can see, most of these principles are common to all religions of the world – at least the spirit of them. You might be interested to know that all of the precepts above take many lifetimes to fulfill for the normal human being. However, living in a Vaastu house and spending time in a Vaastu temple causes a rise in the frequency of the individual
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such that the individual gains complete resonance with the Divine. This change in frequency causes an automatic compliance with the highest principles of the Divine that are espoused in Buddhism and all of the religions of the world. One naturally lives a higher functioning life due to the Vaastu effect. Later in his teaching Buddha introduced what is called the Lotus Sutra or "the most wonderful and unsurpassed great Dharma":
In the past at Varanasi, you turned the wheel of the Dharma of the Four Noble Truths, making distinctions and preaching that all things are born and become extinct, being made up of the five components (skandhas). Now you turn the wheel of the most wonderful, the unsurpassed great Dharma. This Dharma is very profound and abstruse; there are few who can believe it. Since times past often we have heard the World-Honored One's preaching, but we have never heard this kind of profound, wonderful and superior Dharma. Since the World-Honored One preaches this Dharma, we all welcome it with joy. This teaching approached the knowledge of his first experience of Luminous Nectar, which Mayan calls The Luminous Path of Vaastu Dharma. Because of Buddha, the concepts of compassion and love for humanity as well as non – violence took hold in the hearts and minds of his followers bringing the whole of society to a higher level of functioning which still exists among Buddhist followers. It is profoundly interesting that Buddha experience the luminous nectar and was aware of the form of Atman in the cave of the heart. He apparently was also aware of the workings of the manifestation process and the concept of going beyond the five elements which was described by later Buddhist monks in The Heart Sutra and the Diamond Sutra. In a wood carving of the Heart Sutra, Buddha is depicted with a swastika over his chest indicating the significance of that particular form and the location of the event (manifestation) which that form signifies. In early India, there were many various teachers who debated and challenged each other to gain more notoriety in an effort to win over the populace. They used the ancient texts such as the Brahma Sutra to support their positions but unfortunately they actually misused these ancient scriptures by attributing sayings to them that don’t exist in the actual scripture. Adi Shankar, while he was a great saint, and considered to be a Vishwakarman, wrote an extensive commentary on a text called Brahma Sutra in which he made numerous faulty attributions to support his theology. Furthermore, while he borrowed a number of Buddhist tenants, and even began a monastic order based upon the
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teachings of Buddha, he was an arch critic of Buddhism and contributed to its downfall along with Muslim invaders and other various teachers including Shavites who also borrowed from Buddhist thought. The teachings of Buddha were well accepted in India (there remains one – million Buddhists in India today) by the general populace to the dismay of the Brahman culture. Buddhism eliminated the caste system that kept the majority of the population under the thumb of the Brahmins. It is no stretch to understand that so called lower caste people would want to leave a system that made them second – class citizens. Aside from the ambiance of Buddha himself, this fact brought a great number of people to the religion. Ultimately from a birds eye view, what was assimilated were in fact teachings that Mayan put forth thousands of years before. His teachings form the essence of all of the major religions in India. Once one becomes fully conversant in Mayan’s teachings from the Pranava Veda and the Aintiram, one can see the vast influence it had on world religion and world culture. Buddhist architecture Buddhist architecture emerged slowly in the period following the Buddha’s life, building on Vaastu Shastras but incorporating specific Buddhist symbols. Vaastu temples at this time followed a simple plan – a square inner space, the sacrificial arena, often with a surrounding ambulatory route separated by lines of columns, with a conical or rectangular sloping roof, behind a porch or entrance area, generally framed by freestanding columns or a colonnade. The dimensions and proportions were dictated by sacred mathematical formulae called Ayadi. This simple plan was adopted by early Buddhists, sometimes adapted with additional cells for monks at the periphery (especially in the early cave temples). In essence the basic plan survives to this day in Buddhist temples, Hindu temples and Jain temples throughout the world. The profile became elaborated and the characteristic pyramidal shape seen today in many Hindu temples was used in early Buddhist sites and continued in similar fashion in some cultures (such as the Khmer). In others, such as Japan and Thailand, local influences and differing religious practices led to different architecture that was still Vaastu in origin. Early temples were often timber, and little trace remains, although stone was increasingly used. Mayan was a carpenter and loved the Devadaru tree (ceder from which the medicinal cedarwood oil is derived). Cave temples such as those at Ajanta and Chithannavasal or Sittanavasal Cave have survived better and preserve the plan form, porch and interior arrangements from this early period. As the functions of the monastery-temple expanded, the plan form developed and became more elaborate, providing sleeping, eating and study accommodation. From the onset, it must be understood that Buddhist architecture is Vaastu Architecture with a specific design focus. In the general field of Vaastu Architecture there are various styles such as Dravidian, Jain and Orissan, etc. Included in these stylistic variations is Buddhist architecture. Each of these various styles strictly follow the Vaastu Shastras regardless of their individual stylistic differences. Vaastu Shastras underscore the entire religous art and architecture of India and Asia. One of the main texts for Buddhist architecture is called Vastuvidvasastra Ascribed to Manjusri. It is in the strictest sense a Vaastu Shastra and follows all other Vaastu Shastras such as Mayamata and Manasara. Early temples were often timber, and little trace remains, although stone was increasingly used. Mayan was a carpenter and loved the Devadaru tree (ceder from which the medicinal cedarwood oil is derived). Cave temples such
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as those at Ajanta and Chithannavasal or Sittanavasal Cave have survived better and preserve the plan form, porch and interior arrangements from this early period. As the functions of the monastery-temple expanded, the plan form developed and became more elaborate, providing sleeping, eating and study accommodation. Three types of structures are associated with the architecture of early Buddhism: monasteries (viharas), stupas, and temples (Chaitya grihas). Viharas initially were only temporary shelters used by wandering monks during the rainy season, but later were developed to accommodate the growing and increasingly formalised Buddhist monasticism. Some grew into universities or places of profound learning. An existing example is at Nalanda (Bihar). Nalanda was the largest and most renowned University of ancient days – built with Vaastu precision. While it is in ruin, the principles of Vaastu architecture are readily seen. Viharas initially were only temporary shelters used by wandering monks during the rainy season, but later were developed to accommodate the growing and increasingly formalised Buddhist monasticism. Some grew into universities or places of profound learning. An existing example is at Nalanda (Bihar). Nalanda was the largest and most renowned University of ancient days – built with Vaastu precision. While it is in ruin, the principles of Vaastu architecture are readily seen. A dzong is a distinctive type of Buddhist fortress architecture found in the present and former Buddhist kingdoms of the Himalayas: Bhutan and Tibet. The architecture is massive in style with towering exterior walls surrounding a complex of courtyards, temples, administrative offices, and monks' accommodation. Dzongs serve as the religious, military, administrative, and social centers of their district. They are often the site of an annual tsechu or religious festival. The rooms inside the dzong are typically allocated half to administrative function (such as the office of the penlop or governor), and half to religious function, primarily the temple and housing for monks.
At religious sites the stupa developed as a form of Buddhist architecture. The stupa is perhaps the most widely known Buddhist architectural form. Stupas were originally more sculpture than building. The often began simply as mounds of mud or clay. They were essentially markers of some holy site or commemorating a holy man who lived there. The function of a stupa became focused on the veneration and safe-guarding of the relics of the Buddha. Later forms are more elaborate.
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The earliest surviving example of a stupa is in Sanchi (Madhya Pradesh). In accordance with changes in religious practice, stupas were gradually incorporated into chaitya-grihas (temple halls). These reached their high point in the 1st century BC, exemplified by the cave complexes of Ajanta and Ellora (Maharashtra). The Mahabodhi Temple at Bodh Gaya in Bihar is another well known example. Stupas have become world wide forms thought to bring peace to the land where it sits and is venerated. The stupa is said to be built in the form of the body of Buddha – similar to the principles of Vaastu shastra where the temple is built in the form of a human. As in all Vaastu art, the grid of Vaastu Purusha Mandala plays a central role in Buddhist art.
Over time, the stupa evolved into a more complex building called a pagoda with multiple layers. These layers indicate the expanding consciousness as it rises to manifestation. The sections of the pagoda represent the five elements as well.
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The Pagoda, a multilayered tower, seen in china and Japan as well as other Asian countries is an evolution of the Indian stupa and often developed into a Buddhist temple. Buddhist Art The one and only purpose of Buddhist art is to depict Buddha and holy people, gods and goddesses, and holy forms said to elevate the individual. In that depiction we see classical forms from Vaastu – grid, pyramid, bodily proportion, and Satwic, Rajasic, or Tamastic postures.
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Brihadeeswara Temple The Brihadeeswara (also spelled Brihadeshvara) Temple is also famously known by the name of Raja Rajesuram. Location on map The temple is located in the city of Thanjavur. The site on which it was constructed is said to be the place where the great sage Naimisaranya lived in meditation and prayer. The city lies on the south bank of the Kaveri River, 200 miles south of Chennai. Thanjavur was named after Tanjan-an asura whose last dying request to Vishnu (who assassinated him) was to have the city named after him. The city became famous during the reign of Raja Raja Chola I (of the Chola dynasty) and his grandson. Raja Raja Chola I and his son Rajendra Chola I were great conquerors and their territory extended from Ganges to Ceylon (Sri Lanka) and parts of Malaya Archipelago.
Brihadeeswara Temple,
An interesting point is that asuras are depicted as demons in ancient lore. They were not, in fact, demons. Asura means person of great power. They were feared, thus demonized. Mayan the Asura was a Siddha – awakened.
Brihadeeswara Temple, the two Gopuram at the main entrance viewed from inside the temple complex
Date built/ builder Raja Raja Chola I sanctioned the temple in the 10th Century AD. The construction was completed the twenty-fifth year of Raja Raja Chola (1009–1010 CE), on the 257th day of the year. The fact is, Dr. V. Ganapati Sthapati’s ancestor built this temple. Primary deities The primary deity of the temple is Lord Siva in the Siva Lingam form. Within the temple are several mini shrines, mandapams (temple porch), mahamandapams (large temple porch), Prakarams (circumambulatory passages) dedicated to Vinayaka, Subramanya, Parvathi, Nandi, Dwarapalakas, Jain Saints and emancipated demons. The Goddess in the temple is known as Brihannayaki or Ulagamuzhududayal. 169
The black Sivalinga (also called the Brihadeeswara), the primary deity of the shrine is a 9-foot high structure with a 23.5 ft in circumference and is probably the largest linga structure in existence. The linga was brought from the Shores of Narmadha River. This Linga is also called as Raja Rajeswara Mudaiyan, Raj Rajeswaramudayar, Adavallan Dakshinameruvitankan and Peruvudayar because of its bright appearance. It is installed on an Avadayar or Avudaiyar (flat dais) measuring 54 feet in circumference and 6 feet in height. An elevated platform with stairs leading to the top has been specially built for the Gurukkal (priests) to stand and perform archana (small puja), harati (Puja with an oil lamp), abhishekam (bathe), etc. The Vimanam (main tower) of the temple is 70m high (216 ft, with 14 storey’s) and is the tallest Vimanam in the world. It was so designed that it never casts a shadow at noon during any part of the year. By reason of the scene depicted on the eastern face of the great vimana, just above the terrace of the mandapa, this vimana has come to be known as Dakshina Meru. Brihadeeswara Temple, view of the Vimanam on top of the main sanctum Temple Architecture The central temple known as the Periya Kovil (Big Temple) stands within a fort whose walls are later additions built in 16th century. The name Periya Kovil came from its original name periya aavudayar kovil (aavudayar being one of the local names for Lord Siva). The total area of the temple measures 237.9m in length and 119.1m in breadth. The temple faces along the eastern direction and it has three main entrances named Keralandagam, RajaRajan and Anukkan. When passing through these three vayils (the doorway sill stepped over), the inside of the vayils', measures 500m in length and 250m in breadth. In these Vayils', Murugan Temple, Anjaneyar Temple, Varahi Temple, Vinayagar Temple, Natarajar Temple and Karuvurar Temple can be seen. Inside the Karuvurar Temple (the teacher of Raja Raja Chola), a massive Linga is installed in a place called Avudaiyar (explained in detail later). With small pillars, pretty balcony windows and beautiful images carved thereon, the Vimanam is 96 ft square at the bottom. On the top of the tetrangled Vimanam is the Shikaram, an octagonal, very large carved cupola, weighing at 81.25 tonnes. It was built in accordance with the Shilpa Sastra. The task of carrying the huge central stone of the Vimanam to a height of 70 m is a feat accomplished by building an inclined plane of sand from a distance of 6 (?) miles from the northern side of the Thanjavur. The place where this scaffold began is called the Sarap pallam (Scaffold Pit) in the village of Vayalur. Originally thought of being carved from a single stone, it was found to be in two pieces during a cleaning effort. The copper pot atop the vimana weighs at 107kg with it’s gold plate weighing nearly 13 kg.
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Though the Dravidian style of temple architecture predominates, there is a harmonious blend of the Nagara, Vesara & Dravidian styles. In the south, generally, Gopurams (towers at the entrances) to the four sides of the Prakarams (circumambulatory passage) are of great height; the central Vimanam over the sanctum sanctorum is usually overshadowed by the height of the Gopuram. But at Tanjore, the main temple rises above the Gopuram as is seen in the temples of Orissa. In the east and south sides of the Parakarams are the Yagnasala, (the Kitchen), Store Room and Dining Hall and on the west and north sides stand Parivaralayattu Pillaiar, the nine planetary deities in the shape of Lingas, 108 Lingas, and the figures of the guardians of the 8 directions. On the walls are depicted the 64 divine Lilas (the Plays) of Siva. The archway at the first entrance, called the Kerlanthakan gateway raises to a height of 90 feet. Next comes the grand gate called Raja Raja Vaasal embellished with exquisitely carved figures. Beyond this lies the sculptural wealth studded in the courtyard and is surrounded by a high compound wall with a deep moat to its eastern and western sides. The temple is occupies a large portion of a fort built for strategic purpose in the past. The shrine for Parvathi, called Periyanayaki was originally located in a garden in the north of the temple. During the Nayak regime, it was transferred to a grand shrine built in the first prakara. The shrine for the six-faced Murugan carved out of single rock lies at the northern end of the west quadrangle. The enormous monolithic Nandi (the Great Bull) is installed in a Mandapam (high pavilion) right in front of the garbha griha (innermost chamber). It measures 19 1/2 feet in length; 8 1/4 feet in breadth, 12 feet in height, weighs 25 tons and is made of one stone. This Nandi is considered to be the second biggest in whole of India. Tradition says that this Nandi was imperceptibly growing in size every day. For preventing its further growth a nail was driven on its back. The figure, of Sun and the Moon are carved out on either side of the inner side of doorway to the Mahamandapam and those of Lakshmi and Saraswati on the outer side. There are 252 Lingas in this temple. Mount Kailas, the sacred abode of Great Siva and Parvati on the mighty Himalayas is called Uttara Meru. The specialty of this temple is that it has been sculptured completely with stones without having a source for them in its surroundings. Local history of temple, legends, myths The legend has it that the king, Raja Raja Chola I was suffering from black leprosy. His spiritual preceptor said that the disease was the result of infliction of injuries to animals during his past birth as a hunter and the remedy was to build a great temple to Lord Siva after bringing the Sivalingam from the river Narmada. The King did not waste time and within six months visited Narmada River with 64 merchants and bought the Sivalingam. It is said that when the Sivalingam was taken out of the water, it went on increasing in size; that is why the Lingam is known as Brihadeswara. Within twelve years the temple was completed and the king handed over the copper pot atop the vimana and did the Kumbhabhishekam (the installation ceremony). He then took his bath in the tank and was cured of his black leprosy and he shone in luster like the moon. When the construction of the temple was completed the Adi Saivas (followers of Siva) installed the Sivalinga in its place. When they applied the sacred adhesive paste generally used for the purpose of cementing Avadayar and the Banam, the paste melted away and did not bind the two firmly together. The King was much grieved at the mishap. Then an oracle from the skies was heard to say: "If Karur Tevar comes here, the intended work will be accomplished".
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The King encouraged by this, enquired how to meet the great man. Saint Bhoganath, who was present there in disguise, promised to bring Karur Tevar down to the place and sent to Tevar an invitation in a letter tied to a crow's leg. In obedience to the Saint's commands Karur Tevar arrived at the temple. By the power of his penance he satisfactorily installed the Sivalinga in the Avadayar using his spit Tamboolam (beetle leaf, beetle nut and caustic) as the adhesive paste. This is fully explained in Karur Puranam. In the Prakaram, which borders the wall separating the sanctum sanctorum, there are Chola fresco paintings, which have been discovered recently. The entire wall is full of paintings of different periods of the Cholas and Pandavas, narrating their mythological and social customs of different periods. Tanjore from the earliest times was also known all over the world for its delicate textiles. Cotton printing was once the biggest industry in Tanjore and the product was much sought after in England and other European countries. A peculiar textile called Taktti cloth is even now the famous produce of Tanjore. On silk or cotton cloth designs are imprinted with gold powder. In the outer corridor of the temple, adjoining the sanctum, there are several shrines dedicated to several Gods and the most interesting one is of Jwarahareswarar, the God controlling fever. The body of the deity is besmeared liberally with sandal paste. It is believed that if a man suffering from chronic fever offers an ablution of sandal paste to this deity the fever subsides. Many devotees have experienced this fact. Bhavishyotharapurana is the principal source that embodies a great deal of literature connected with the origin, growth, patronage and administration of this temple. Brihadeeswara Mahatya, in a series of interesting legends, throws adequate light on this great temple. Rajeswaranataka - a play in Tamil also helps to reconstruct the greatness of the builder and his patronage to the temple. Traditional perspective on Lingam Sivalinga is the most prevalent symbol of Siva in many temples. There are many interpretations as to the significance of Linga or Lingam. Generally it is interpreted as a phallic symbol, symbolizing the regenerative aspect of the material universe. The Mayonic Science goes beyond this common interpretation, an interpretation based in this dimension alone. In Hindu philosophy, Brahman is conceptualized as the supreme power having three aspects: Brahma, the creator Vishnu the Preserver and Siva the Destroyer. The Linga represents this aspect of the Brahman, which, not as a destroyer but as the Creative power of divinity, divine symbol of sublime light (Jyoti). Swami Sivananda Saraswati said, “The linga means a mark”. It is a symbol that points to an inference. When there is smoke, we infer that there is a fire and when there is heavy flood in a river, we infer that there had been heavy rain. This universe is the linga of the creator, the omnipotence, inferring the creation. When we look at the linga, our mind is elevated and we immediately infer the magnificence of the creator, this universe and its creation. He further states that the linga represents the formless, attributeless Nirguna Brahman or the formless Supreme Being Lord Siva, who is the indivisible, all-pervading, eternal, auspicious, ever-pure, immortal essence of this vast universe, the undying soul seated in the chambers of our heart, and the Indweller, innermost Self or Atman and who is identical with the Supreme Brahman.
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In his book Hindu Dharma, Bansi Pandit said that the word linga is derived from the two Sanskrit words laya (dissolution) and agaman (recreation). Thus, linga symbolizes the state that exists between consciousness and creation, the state where there exists boundless possibilities waiting to be created. Source:
www.wikpedia.com www.templenet.com www.indian-heritage.org www-hindubooks-org.doc (R.K. Das)
Mayonic Science Perspective This structure is extremely significant in demonstrating the principles of Mayonic Science and Technology and Vaastu architecture. A thorough understanding can be gained by reading and studying The Scientific Edifice of Brihadeeswara Temple, Tanjore, Tamil Nadu, a monograph written by Dr. V. Ganapati Sthapati. The layout and pyramidal structure are a clear and evident demonstration of the principles of Mayonic science and Technology in building architecture. Even the principles of home building are demonstrated in this form. The base of the Temple demonstrates the cubical structure of the Microabode. The Vimanam rising above the base is a direct replica of the pyramidal form rising upward as the energy of the Moolam rises as a dancing thread of light expanding upward and downward from the top and bottom of the cube. Here we only see the top pyramid – structure with fire in the center. The levels of embellishment rising upward have individual and collective significance. Individually they represent different aspects of manifestation (Dandi signifies disciples for example). Each individual part is a conscious or unconscious reminder of the immeasurable potential contained within Brahmam. These individual sculptures and objects stir within us the elements of the Mayonic Code and Divine Order. The structure as a whole demonstrates to us square waves becoming sine waves as Brahman pulses forth and Nataraja dances and rises into manifestation. Simply being in the presence of this structure, gazing at its parts and absorbing it as a whole ignites the Cosmic Fire within us. While all temples are meant to be both scientific (demonstrating the science of Vastureva Vaastu) and artistic (demonstrating visual aesthetics and affecting the viewer on a very deep emotional level) this magnificent form stirs the Inner Being of one who will participate consciously in its exploration like none other because of the sheer beauty of this form. . Earlier in this paper (end of part 1) I discussed the concept that Brahmam is so in love with its own beauty that it manifests itself in the material world in all of its potentiality. I said that our good or bad emotions are nothing more than expressions of Brahmam. I concluded that our task is to become directly resonant with Brahmam and in that state of resonance we become able to experience the process of emotions being consumed by our own Atman – Inner Being (Brahmam in us).
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When the individual is attuned to the capacity of a Vaastu form to transform all emotions into happiness, joy, and fulfillment then his or her own ability to do that also in day to day endeavors increases. As this occurs, the individual psyche is entrained to equanimity and one maintains a fluxuating state of happiness. The subtle and gross design elements of Vaastu forms cause 1. The vibration of the experiencer to come into sympathy with the Vaastu form (Bhakti); 2. The experiencer to experience a) the finest particles of the One formCosmic Cube, and; b) the three forms as three Gunas- mun nilai; c) the five primal forms that make up further modifications of OM – as the Five Elements; d) the nine emotions (rasas) that are ultimately born of Vastu and reabsorbed by Vastu. All of which brings an internalized happiness, sense of wellbeing, and spiritual bliss to the experiencer. The Divine Being is the life energy in Brihadeeswara, As Dr. Sthapati says, “He is also the vibrant base of art, its flavor.” Sthapati says “He is known as Suvaignan by some devotees, and others invoke Him as Raso Vai Sah or Iraivane Rasm, which means that God is Himself the quintessence of experiences.” This beautiful form is a form of the Divine Being. You may experience this Divine Being within yourself as you witness your own emotional experience at this site.
… these structures are temples of space science signifying the primal structural form of the inner space – our Atman (energetic spiritual light). … this spiritual structure occurs in the inner space of the individual, while going into a thought form, in his inner self and replicated into physical form later, either aural or visual. This pyramidal shape within our body is the seed form out of which all material forms of the universe and the forms we create come into being at the micro(atman) and macro (paramatman) levels. I have such a deeper understanding of how I was manifested and how important it is to build these vaastu structures which are living organisms or forms of God. In the Brihadeeswara temple, the inner space is maintained as a hollow space from the floor to the finial and the side- walls are corbelled forming a tapering hollow space through the center. The temple structure strikes a harmony between the inner space of the worshipper and the inner space of the temple. I think it is awesome that these cosmic structures were left for us to realize God in structural form and to enjoy peace and bliss here on earth and to not forget who we really are! In the Brihadeeswara, the human form is magnified horizontally and vertically to represent divine form with human proportions in space time units in macro form. These temples are forms of Gods and we are too!!!! I am deeply grateful to Dr. Sthapati for this knowledge and hope that, one day soon, this scientific secret science of Vaastu will be understood, applied and appreciated by the whole world so that we may all enjoy “heaven on earth!” (Eleanor Waller, Advanced student of The American University of Mayonic Science and Technology) Below is an email that was sent to me by Dr. V. Ganapati Sthapati, our deceased Shilpi Guru, following an email which I sent to him that had among orther things a question about one of the well known 18 Siddhars, Karuvoor Siddhar who I learned was in Tanjour at the time that Sthapati’s gran relative built the Tanjour (Brehadeeswara) temple. I found it interesting that this name came up as the Guru of Chola king and hence, I thought he must have been also well aquainted with Sthapati’s relative and other members of the lineage. Some people mistakenly claim that it was this guru who built the temple but it is plainly stated that it was Sthapati’s relative who built it. (I have eliminated other names in the email that are not pertinent to this). I have placed in parenthesis my insertions for clarification) 174
Subject: Karuvoorar and Siddhas From: GANAPATI Vaithyanathan Date: Tue, October 05, 2010 2:19 am My Dear Mdm. Dr. Jessie Mercay Vanakkam! Your reference to Karuvoor Siddhar, takes me to the history of Chola art of metal casting in lost wax French method, which originated in Tamil country (and exported to France). I agree with your discovery. Siddhas were scientist cum alchemists, having specialized in making metal icons and in Ayurveda. He was born in Karuvoor, near Trichy, which was the original capital of imperial Cholas. Karuvoor Tevar was the Kula Guru (Guru of the Chola dynasty and family Guru of the Cholas). The Tanjore temple (Brehadeeswara) was built by Raja Raja Chola 1020 years age. It took 20 years to complete. The parts, namely Sanctum and the front tabernacle were alone completed with pyramidal vimanam which I used to call as FROZEN MUSIC -‐ other parts are still incomplete, in spite of later dynastic rules. The Sadaya Nakshatra was Raja Raja’s birth star, and his birthday, was celebrated every year on Sadaya Nakshatra as Sadaya Thirunaal (festival). Equally important monument is that of his own son Rajendra Chola. The 1000th year of completion was celebrated by Tamilnadu Govt with pomp and show, on 25, 26 Sep 2010. The story of making icon in pure gold was, as you say, happened during Hiranya Varman. It created a technical problem though known to the shilpi of the day, because in adoration of the concept of the Dance of Shiva, the Hiranya Varman wanted to produce the image of Shiva Tandava particularly in pure gold. The order of the king was to be obeyed by shilpis. The shilpis of Chola period were experts but met with failure, in this context. Pure gold coin or any form would be a failure because pure gold would be soft like wax. Number of times they tried. They expected severe punishment at the hands of the king, and stood with folded arms before Kula Guru, Karuvoorar intervened and saved them saying, without adding copper, there would be no solidity and strength it would be bending and ultimately, it would be collapsing. The making pure gold image was intended for Chidambaram temple. It was to be dropped in the case of icon of Natarajan, whose chastity form and originality were to be maintained. It was a grand success finally. Hence it was ordered and a group of priests of Viswakarma clan, was appointed to protect the temple, representing the celestial space theory (akasa tatwam), DIKSHITAS of 3000 strong, took charge as guardians. These DIKSHITAS were appointed by the Chola king, Hiranya Varman (Hiranyam = gold, Hiranya Garbha, another word to mean born of golden womb). During Raja Raja, the land measure (implying space time unites) etc, was settled and the tradition of cubit measure. (Kishku hasta) came into adoption and currency. Even today, Ganapati Sthapati is handling this cubit of 24 maanagula equal to 33” or 2’-‐9” inch British measure. Even Vessels belonging to the temple were also of this digital measure. The temple inscription reveals all these precisely. This Hasta measure is utilized in the monumental structure of Maayan pyramid (of Mexico) and other connected creations in Mexico. They followed Dravidian style of Architecture which I discovered during field study, sponsored by Hawaii Swamy. They were called Lumerians, called as such early, later they were called Kumari continent and Jumbo Dwepam... There was a long granite stone (1952), with a mark of linear measure of 11’ which is 4 hastas (4 x 2’-‐9” = 11’). Hence (at Brihadeeswara) the ruler is remembered and the chief architect too, and his race hailing from Siddha Purushas called Viswakarmas. This is the revelation of the secret of “Vastu reva Vaastu”, a popular formula, during the period of Albert Einstein... (E=mc2). Similarly, all sacred structures of Pancha bhuta sthalas in Tamilnadu were all done by Viswakarma shilpis themselves, with knowledge inherited form Siddha Purushas. The word Purusha and Vaastu Purusha are words of Siddhas, very deeply significant, coming in the line of Mayasura or 175
Sirpachittan Mamuni Mayan, who authored Surya Siddhanta, Aintiram and Pranava Vedam and other technological literature that came from him. Thirumoolar (another of the 18 siddhas) (wrote) Thirumandiram (which) is a religious scripture and Thriukkural (authored by Thiruvalluvar) is another scripture eminently suited for earthly life. Both of them are universally known and applicable at any context or century. Earlier to these scriptures the Aintiram and Pranava Vedam, known to be the oldest in human history, as revealed by Alexander Kondratove of Russia and another of Santa Fe in New Mexico, prophesied by Ratnagiri Murugan Adigal (prophesied it will be revealed by a western woman in Santa Fe – Mdm. Dr. Jessie – which it was), who saw Murugan in luminous form just like Maharishi Ramana who saw the same in Linga form, Reddiyapatti swamigal saw in Luminous form (Bright light) in Vinayaka form. The last one is my personal divine Guru. All these facts are not fictions but history. I have mentioned all these in my popular book “Who created God”. Madam, you are born of Siddha Purusha clan... My sincere congratulation for your relation with Mayan and Maayan DNA not superficially but spiritually. For PALANI Murugan idol, it was Bhogar or Pulipaani (of Palani), (Bhogar was a vishwakarman and one of the 18 siddhars. Only Wishwakarmans could construct temples and icons in those days)... I started my career as Sthapati in Palani Devasthanam, next best to TIRUPATHI of Telugu country, regarding attraction and blessing of Bhaktas, Tamilnadu is a wonderful land of spirit centric culture, which moulded the conduct and character of human race. According to Chandragnana Agama, the Bharat of yore, was called Draavida Desa, from Himalayas to Cape Comerin, and the language was called Draavida Bhasha or Adi Bhasha which became Tamil, after Mayan’s Aintiram, echoed in Tolkappiam with preface by Panam Paaranaar a Sangam poet as Aintiram niraintha Tolkappiam meaning that Tolkappiam is replete with the of Aintiram grammatical rules. Originally Sanskrit and Tamil had 51 aksharas and after refinement Tamil (12 + 18 + 1) 31, Sanskrit (Praakrit) retaining all sounds amounting to the same 51 aksharas. Hence Sanskrit and Tamil are rightly respected to be classical languages, worthy of being called SEMMOLI (Refined Language). Before that they were course language. Tamil is the oldest language of the world – worthy of being called Semmoli. Based on this, the Dravidian Architecture is defined “Kattidakalaiye Kannakiyal Utchi, Kaalakkoore kanakkiyalahi” Architecture is the Supreme achievement of mathematics, anchored in the space time units (of Time). The traditional Sculpture and Architecture are the manifest forms of the unmanifest Divine power, through Viswakarma shilpis. May you Dr. Maya live long to preserve and promote this divine culture, throughout the world, just the dictum 1) Yaathum Oore’ Yavarum Kelir. 2) Pirapokkum Ella uyirkkum. Every country is my own and everyone is my kith and kin. “All born are equal at birth level” Let these concepts rule the world, and enable people to live in harmony with gross and subtle elements, judicially blended for peaceful existence of all life on earth. There is one Vedic Statement “Rishayaha mantra drashtaaraha nathu karthaaraha” meaning Rishis did not compose mantras but only seen as they are! Hence it is said to be Apourashya – not man made (Ref 1st Verse of Aintiram) With affectionate regards, Yours as ever, Dr.V.Ganapati Sthapati. Recipient of Padma Bhushan award from Govt of India
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Revealing the hitherto unknown dimensions of the technology involved in the construction of the Brihadeeswara Temple, Tanjore Dr.S.A.Veerapandian (Dr.Vee ) Objects and practices of our heritage like neem and yoga perceived as superstitions by atheists was proved to be valuable assets enriching human life, thanks to the interest of the people in the Western world to understand our heritage using modern technology. Like mathematical genius Ramanajam, the genius of Dr.V.Ganapati Sthapati was first recognized by the experts in the western countries and many of them from US, Russia, Germany, Canada, and many other countries had become his disciples cum students. Dr.V.Ganapati Sthapati was kind enough to share his expertise in the science of temples through his book ‘The Scientific Edifice of Brihadeeswara Temple, Tanjore, Tamilnadu ‘ , a monograph by Dr.V.Ganapati Sthapati . For all open minded scholars in science and technology, this book will help to understand the science of temples and the Indian concept of space dynamics. The ‘harmony between the inner space of the worshipper and the inner space of the temple structure’ will prove to be the key to understand this science. Every material body has its own natural frequency of vibration in Physics. A body at rest will start vibrating if that body’s natural frequency is equal to another nearby body vibrating at the same frequency. This is known as resonance effect in Acoustics. In ideal resonance, the amplitude of vibration will become infinite. The present mathematical logic will stop at the doors of zero and infinite. Proceeding further will lead to illogical conditions like proving 1 = 2 as shown below. 1 multiplied by 0 = 0 2 multiplied by 0 = 0 . Since the right hand sides are equal, the left hand sides are also equal. This will lead to 1 = 2, an absurd mathematical conclusion. Hence understanding the science of temples, demand setting aside the doubts and prejudices and follow open minded exploration to subjective experiences related to the science of temples and the Indian concept of space dynamics. Like Pauli’s exclusion principle (‘No two electron are alike’), no two human beings are alike in this world. Hence objective verification, a condition demanded by science, becomes illogical with respect to the results of Indian concept of space dynamics. Human body consists of bio-atoms and molecules in constant vibration. These vibrations are electric, magnetic and acoustic. Buildings also consist of atoms and molecules in constant vibration (electric, magnetic and acoustic) influencing the space confined by the buildings. The ‘harmony between the inner space of the worshipper and the inner space of the temple structure’ will lead to the resonance of the Atman at micro level and the ParamAtman at macro level, as revealed in this book. Science has yet to unravel the mysteries of the energy in the cosmos. The Mayan technology deciphered by the team led by Dr.V.Ganapati Sthapati had termed the unmanifest energy of the cosmos as vastu and material manifest energy as vaastu. The unique aspect of this technology lies in the five fold energy manifestation in Architecture, Sculpture, Music, Dance and Poetry. Under the blessings and guidance of Dr.V.Ganapati Sthapati , I discovered the objective logic in our ancient texts to develop computer based application software for the architecture to music and vice versa mapping and presented the paper on ‘Mayonic Music Technique from ainthiRam - Architecture to Music Mapping’ during the World Classical Tamil Conference Kovai 2010. In other words the Mayan technology, under the guidance of Dr.V.Ganapati Sthapati, will soon prove to be a treasure to develop new technologies of great business and employment scope, apart from enriching the spiritual dimension of human life. No wonder Dr.V.Ganapati Sthapati had successfully revealed the hitherto unknown dimensions of the technology involved in the construction of the Brihadeeswara Temple, Tanjore, Tamilnadu in this book.
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Thiruvelliyankudi Kolavilli Raman Temple The Koleville Raman temple also known as Thiruvelliyankudi temple is dedicated to Lord Vishnu. Mayan is said to have meditated there. Location on map The temple is situated in Thanjavur District, Tamil Nadu, near Senganoor bus stop. It is located 20 km north east of Kumbhakonam. The temple can also be reached through Chozhavaram, Muttakudi and Mayavaram.
Kolavilli Raman Temple, main entrance. Mamuni Mayan the Architect Primary Deities The deity of this temple is Lord Kola Valvilliraman. His idol is seen in a reclining position, facing east. Worshipping in this temple is considered to be equal to worshipping in the 108 major temples in Tamil Nadu. Garudan, the divine vehicle of Lord Vishnu, is seen holding Shanka (conch shell) and Chakra (a discus shaped weapon) that are normally seen in Lord Vishnu’s hands. Many sages and saints of ancient times are said to have performed a special worshipping ritual called as ‘Vyasa Puja’ here. Temple Architecture This temple faces east and has 2 prakarams. The stala vriksham (temple tree) here is the banana tree. Putkalavartham is the name of the cloud, which bears all blissful things to humanity, and as the lord of this place blesses the humanity unreservedly, the Pushkalavartha cloud is the Vimaanam of the temple. Like a Plantain tree, which bears saplings before it dies, the humanity should also cherish the progeny forever and to symbolize this, the sthala vriksham of the temple is Plaintain tree.
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Local history of temple, legends, myths As Lord Shukra (Venus) also known as Velli was in penance at this place the sthalam is called as Velliankudi. Among all the planets Lord Shukra has an important place. He is the next brightest star to Sun and Moon. He was the guru (mentor) of the Asura's (demons). He was the one who taught the life Regaining Mantra; The Sanjeevini Manthram to Kachan, the son of Brahaspathi, the guru of Deva's. As all the worldly bliss is found here, Bhoomi Piratti (mother earth) came to get the Dharsan of the Lord here. The temple is maintained under the Vygnasa Agamam (doctrines for the worship) because Viganasa Maharishi was born from the soul of Sriman Narayanan. The format of Slokams (verses), which he asserted, are known as Vyganasa Aagamam, The Four Lakh (400,000) Grantha's (script) which was formed by his four students Maharishi, Athiri, Bhrigu and Kashiyapar is also known as Vyganasam. Kolavilli Raman Temple, Garuda holding Lord Vishnu’s Shanka and Chakra
This temple is constructed at the very place where Kola Valvilliraman is believed to have blessed Shukra, Indra, Brahma, Sage Markandeya and Sage Parasara. The Sanskrit name Bhargavapuram and the Tamil name Velliankudi arise from the legend that Sukra worshipped Vishnu here.
Legend has it that the divine architect Mayan meditated to Vishnu and obtained a vision of Vishnu armed with his discus and conch. He then requested for a vision of Vishnu in the form of Rama. Legend has it that Vishnu handed his discus and his conch to Garudan and took the form of Rama armed with a bow. Hence the Tamil name Kolavilli Raman and the unusual depiction of Garuda with the Shanka and Chakra. The townspeople of the small village where this temple lives hold that Mayan himself built the original temple over 4000 years ago. The sanctum sanctorum holds a statue that is reported to be a statue of Mayan. Mayonic Significance Aside from the significance that most temples have in terms of demonstrating Mayonic principles, this temple is significant because in its lore, Mayan is mentioned. This places him as a real architect of ancient times. Mayan was said to have taught throughout the region and up into Northern India. He structured this knowledge in a way that it would be protected and maintained. His academy was organized and well structured and presented a vast amount of knowledge in a systematic way.
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Disciples Of Mamuni Mayan (As enumerated in the ancient Tamil Work VAISAMPAYANA) Mayan had three sets of disciples; in each set, there were four disciples totaling twelve major disciples. Each set was entrusted with a general body of knowledge and each individual of that set specialized in a particular bodies of knowledge. Set 1: Nathan, Ayan, Mulan, Nulan: The Study of Tamil Language was entrusted with the first set. Individual disciples specialized as follows: Nathan: Mathematics, Sculpture, Drawing, Painting, Herbal Science and the Science of Soil Ayan: Mathematics, Making of vehicles and vessels, Town-planning Mulan: Music, Triple Science, Spacecraft, Herbal Science Nulan: Mathematics, Oceanic Science, Ship Building, Herbal Science Set 2: Githan, Bodhan, Vedan, and Silan: Department of Sculpture was entrusted with the second set. Githan: Mathematics, Dance and Music Bodhan: Drawing and Painting, Herbal Science Vedan: Site selection, House construction, Herbal Science Silan: Mathematics, Drawing, Tools and Instruments, Painting, Music, Oceanic Science, Ship Building, City Construction, Researches Set 3: Tuyan, Maayan, Neyan, Velan: Dept of Fine Arts was entrusted with the third set. Tuyan: Mathematics, Painting, And Herbal Science Maayan: Scriptural Studies, Making of Vessels, Vehicles and Tools, City Construction Neyan: Mathematics, Drawing and Painting, City Construction—for. Velan: Space Science, Earth Science, Tools and Instruments, Triple Science and Researches Note: Triple Science means: Scriptural, Spiritual and Material Mathematics means: science of proportion based on calculations applicable to all The topics listed indicate the vast knowledge taught by Mamuni Mayan and injected into world culture. These topics were part of the knowledge base of ancient India and only recently have been studied in modern times. The genius of Mayan preceded modern science by thousands of years.
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Gangaikkondacholeswara Temple Gangaikkondacholeswara temple is also called the second Brihadeswara temple in reference to the Brihadeswara Temple in Thanjavur. This temple was constructed as an attempt to exceed the architectural splendor of the
Thanjavur Brihadeswara Temple.
Location on map The temple is located in the small village of Gangaikondacholapuram in the Thanjavur district. The village is very close to the municipality of Kumbakonam, the city known for its temples.
Date built/ builder The temple was built by King Rajendra Chola I, son and successor of Rajaraja Chola I. Rajaraja Chola was the great king who built the Brihadeswara Temple in Thanjavur. The temple was built during the golden age of the Chola dynasty, to commemorate the king’s victorious march to Ganges in the North. Gangaikondacholapuram was the capital of the Cholas, the most powerful empire in Asia, for nearly 250 years. The capital and the palace have now disappeared. There is an area 1.5kms away from the temple, which contains the ruins marked by debris of bricks, which was formerly the palace of the king. This area is now called Ulkottai and the mound of ruins is called Maligaimedu (the palace mound). Primary deities The main deity of the temple is Lord Siva in the in the form of a four-meter high lingam 13 ft). It is dais to be the largest Lingam enshrined in any temple in South India. The stala vraksham (temple tree) is the Vanni tree. It is situated in the northern praharam of the temple, behind the shrine of Chandigeswarar. Temple Architecture The temple occupies an area of 6 acres. The plan of the temple is similar to the Thanjavur Brihadeswara Temple. Although it is much smaller in magnitude than the Thanjavur temple, it is said to be much more exquisite in design and sculpture. Also, structurally the Srivimanams of the two temples differ. While the Gangaikkondacholeswara Srivimanam is a feminine structure, the Brihadeswara Srivimanam is masculine. This is confirmed by the fact that the Gangaikkondacholeswara Vimanam has contoured, curved corners while the corners of Thanjavur Vimanam are straight sided and pyramidal in shape. Also, Gangaikkondacholeswara Vimanam is octagonal (8 sided) and the Brihadeswara Vimanam is quadragonal (4 sided). The Vimanam is 160 ft tall, much shorter than the Brihadeswara Vimanam.
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The main entrance to the temple was in the east through one Gopuram. There was only one enclosure wall and hence one Prakaram around the Vimanam. The Gopuram and the enclosure wall are now in ruins and most of the stones from the fallen Gopuram were used to build the Lower Anaicut across the Kollidam. The dam was built during the time of There was an entrance built in the north of the temple, which is currently used as the main entrance because of the vicinity of the access road in that direction. The prakara has been laid out in the traditional Vastu grid system of Vastupadavinyasa. A large Nandi is on a pedestal in the courtyard facing the inner sanctum. This statue was restored from fallen stone and stucco. There is no indication to confirm whether the original Nandi was monolithic. A bali-pitha (platform for offering food) is on the east and Alankara Mandapa to the north of the Nandi statue. There are separate shrines for Goddess Mahisasuramardhini, Amman (Brhannayaki), Chandigeswarar and Ganesh inside the temple walls and are found around the Prakaram. There is a Simhakeni (lion figure) statue that guards the steps to a circular well. The base of the Srivimana is 100 ft by 100 ft. The 3 lower tiers have many beautiful sculptures including the Laxmi (goddess of wealth), Gnana Saraswathi (goddess of knowledge), Ardhanareeswarar (representing the unity of Siva and Parvati), and Siva along with Parvathi blessing Chandigeswarar. The Northern Chalukyan style of architecture influences the style of this temple. The main sanctum consists of the sanctum tower called the Srivimanam or Sri Koil. There is an inner wall in the main sanctum that encases the main deity. There is an intervening passage called Sandhara that runs around the sanctum between the main and inner walls. It is believed that the inner wall provided a private worshipping area for the royal family. The inner sanctum contains the 4-meter (13 feet) high Lingam. The rectangular mandapa in front of the inner sanctum is called the Mahamandapam with an intervening vestibule called mukhamandapa.
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Local history of temple, legends, myths Rajendra Chola succeeded his father in 1014 A.D., inheriting a vast reserve of wealth. During the reign of Rajaraja Chola, during his later years, Rajendra Chola reigned jointly with his father. He was in the forefront of the many campaigns that the Chola king took to extend his empire. During his reign, Rajendra Chola extended his empire up to the banks of River Ganges in the north, most of south India and across the oceans to Burma (current Mynamar), Java, Sumatra (current Indonesia), Malaya (current Malaysia) and many of the southern islands in the Indian Ocean including Sri Lanka. He had a vast fleet of ships that he used to conquer across the seas. When he extended his empire up to the River Ganges, he brought water from the river in golden vessels and sanctified the Ponneri reservoir (also called Cholaganga). As a result he was called Gangaikondan (which means The One who brought the Ganges); the city was named Gangaikondacholapuram and the temple Gangaikkondacholeswara Temple. Rajendra Chola wanted to build a temple comparable in grandeur to the Brihadeswara Temple in Thanjavur. The construction of the temple took 9 years from 1020 to 1029 A.D. The Cholas, who are known for their reliable record keeping, inscribed texts in copper plates and on the walls of the temple. The walls provide stories about Rajendra Chola’s victories, the land grants made during his period, his ascent to the throne etc. Most of the Chola kings who succeeded Rajendra Chola were coroneted in the temple since it was a favorite place for the kings to be coronated. The temple unfortunately witnessed many wars and was used as a garrison and fortified military quarters by the Pandyas and later by the British. The temple was also sacked on numerous occasions. Numerous crevices on the temple walls bear witness to the disappearance of many of the statues. The city seems to have had two fortifications. The outer wall probably was wider and its remains can be seen as a mound running all around the palace ruins. The outer fortification built of burnt bricks, was about six to eight feet wide. It consisted of two walls, the intervening space (the core) being filled with sand. The bricks are fairly large in size and are made of well-burnt clay. Systematic brick robbing by the local inhabitants has reduced this structure to its current state. The outer fortification was known as Rajendra Chola Madil and is mentioned in inscriptions. Based on the inscriptions, the inner fortification was around the royal palace was most probably called the Utpadi vittu madil. Probably in the reign of Kulothunga Chola I, the fortifications were renewed and the city underwent some alteration and additions. An epigraph refers to the fort wall of Kulothunga Chola (Kulottunga Cholan Thirumadil). The strengthening of the fortification and additions to the city in the reign of Kulothunga I were probably necessitated by the uprising which led to the murder of Chola king Adirajendra, Kulothunga's predecessor. www.indiaprofile.com www.kumbakonam.info www.wikipedia.org www.tamilnation.com Mayonic Science Perspective This Temple, being the twin to Brihadeswara, will provide a similar internal experience as Brihadeswara. Similar principles exist in this form yet there may be a different internal experience sparked, as this is a “female” temple.
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Chidambaram Natarajar Temple – Space Element
Chidambaram Natarajar Temple, the innermost sanctum of the temple with Chit Sabha (the hall of consciousness), Kanaka Sabha (the Golden Hall).
The Chidambaram Natarajar temple is known by many names, Ponnambalam and Tillai. It is also called Puliyur, Vyaghrapuram, Perumbarapuliyur, Chitrambalam (Microabode), Pundareekapuram and Hridayakamalam. Another name is simply Koil, the House of God. It is one of the foremost Saivite shrines. The word "Koyil" or temple in the Tamil Saivite tradition refers to none other than the Chidambaram Nataraja temple.
“Tri-dimensionally every particle of space is a subtle cube of Energy, called Chitrambalam or Micro-Abode within which there is a ‘shaft of light’ or ‘shaft of consciousness’ vibrating or performing a ‘rhythmic dancer’. This is the dance of the Cosmic Dancer, Lord Siva. The whole universe is filled with subtle cubes of energy call Karu or Bindu or Fetus.” Dr. V. Ganapati Sthapati Location on map The temple is located in the city of Chidambaram, which was the northern frontier of the ancient Chola kingdom. The temple is located in the centre of the town and it covers an area of 40 acres. The city is also called Tillai, since the place was originally a forest of Tillai (Mangrove) shrubs. Chidambaram literally means the sky permeated by an atmosphere of intelligence and wisdom. It was once a small shrine on the banks of a tank. It is located in the Coleroon River Valley the Madras – Thanjour road. Date built/ builder The origins of this vast temple are buried in antiquity. Literature talks of a tradition of Siva (Nataraja) worship in existence even as early as the Sangam period (please refer to the foot note for more explanation). Even though there are many Siva Temples in India, Temples in Tamil Nadu have special significance. These Siva Temples, glorified in Tevaram hymns (Hymns of the Tamil Saints to Siva), are referred to as Paadal Petra Siva Sthalangal (most significant Siva Temples) and Chidambaram is always referred to as the first of the Tevara Paadal Petra Stalangal. The Siva
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Temples have been in existence for more than 1000 years because of the reference to these temples in Tevaram Hymns. The later Chola Kings namely Aditya I and Parantaka I adorned the roof of the shrine with gold, and the other Chola Kings treated Nataraja as their guardian deity and made several endowments to the temple as the temple inscriptions testify. The Pandya Kings who followed them, and the later Vijayanagar rulers made several endowments to the temple. There is a stone image of Krishnadevaraya in the North Gopura, which he is said to have erected. Muthuswamy Deekshitar, one of the foremost composers in the Karnatic Music tradition sings the glory of this temple in his kriti Ananda Natana Prakasam. The Alwar Poems of the Naalayira Divya Prabandam sing the glory of Vishnu, whose image is also housed in this temple, and his shrine is referred to as Tiruchitrakootam. Adi Sankara is said to have presented a Spatika Lingam, which is still under worship in this temple. Primary deities The primary deity of the temple is Nataraja or Siva in his Ananda Tandavam pose (the Cosmic Dance of bliss) in the Kanaka Sabha (the cosmic golden hall) and Chit Sabha (the hall of consciousness). The temple is known for its Akasha Lingam (Space), an embodiment of Siva as the formless Space besides Nataraja in Chit Sabha, worshipped in the formless form of the Chidambara Rahasyam. The shrine of Vishnu, referred to as Tiruchitrakootam is also housed in this temple. It is one of the few temples where Siva and Vishnu are enshrined under one roof. Temple Architecture Chidambaram is one of the Panchabhoota Stalams signifying the 5 elements of Vayu Stalam (air) in Kalahasti, Appu Stalam (water) in Tiruvanaikka, Thejo Stalam (fire) in Tiruvannamalai, Prithvi Stalam (earth) in Kanchipuram and Akasa Stalam (space) in Chidambaram. The four gopurams (towers) in the four cardinal directions are perhaps the most magnificent structures in the temple piercing the walls of the outermost prakaram. Each is a gigantic masterpiece in itself - about 250 feet in height, with seven tiers. The Western tower is the oldest. In the towers, on either side of the gateways there are representations of the 108 poses of the classical Bharata Natyam Tradition as enunciated in the Classic Natya Sastra (Dance). The towers are embellished with images from Hindu mythology. From the second tier onward, on each of the Gopuram, are seen images of various manifestations of Siva such as Bhikshatana, Kankala (both being ascetic forms), Kalyanasundarar, Somaskandar etc. (bestowers of prosperity). There are no representations of Nataraja on the temple towers, as this image is reserved for the innermost shrine alone. The roof of the temple is gold-plated. Hence it is called Ponnambalam, (Pon=gold, Ambalam = temple). The temple is an example of the assimilation of several architectural styles. The innermost sanctum of the temple, houses the grand images of Siva (Nataraja) and Parvati (Sivakami) in the Chit Sabha (the hall of consciousness), adjoining which is the Kanaka Sabha (the Golden Hall), both these structures resting on a raised platform. The innermost prakaram (circumambulating passage) surrounds this holiest of shrines, and to the South West of Nataraja, is the shrine of Govindaraja Perumaal facing east. The Chit Sabha, the holiest shrine in the temple, is a wooden structure supported with wooden pillars, with a hut shaped roof. It is in this hall, that the images of Nataraja and Sivakami are housed, in front of a set of two curtains, the inner (invisible) one being red in color, the outer one being black in color. To the right of Nataraja, is the revered Chidambara rahasyam – the Akasa Lingam, an invisible lingam or a representation of emptiness garlanded with golden
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vilva leaves. The curtain in front of the Chidambara Rahasyam, representing Siva (and Parvati) in the formless form (Aroopam) is lifted ceremoniously during worship services, with offerings of lamps. Also in the Chit Sabha are images of Ratnasabhapati (Nataraja of Ruby), the Spatika Lingam (Crystal Lingam) of Chandramauleeswara, Swarnakarshana Bhairavar and Mukhalingam. The Golden Hall, or Kanaka Sabha is immediately in front of the Chit Sabha, both being on an elevated platform as mentioned before, with silver paneled doors in front. The Chit Sabha itself is a meter or so higher than the Kanaka Sabha and is reached by a flight of 5 silver plated steps, marking the five aksharas (or syllables) of the Panchakshara Mantram – Om Na Ma Si Va Ya (the five syllabled Namasivaya). Across from the Nataraja shrine in the second prakaram is the Nritta Sabha or the hall of dance, housing an image of Siva in the Urdhva Tandava posture, winning over Kaali in a dance duel, and an image of Sarabheswara, another form of Siva. The Nritta Sabha with its fine pillars is in the form of a chariot drawn by horses. The Deva Sabha or the house of Gods is also in the second prakaram, housing festival images of the Pancha Murtis (Somaskandar, Parvati, Vinayaka, Subramanya and Chandikeswara) and other deities. Mulanathar, or the representation of Siva as a Lingam is housed in the second prakaram. The outermost prakaram is home to the grand Sivakami Amman temple, the Sivaganga tank and the 1000-pillared hall or the Raja Sabha, where Nataraja is brought during two annual festivals. The vast Sivakami Amman shrine is a temple in its own right. Ceilings on the mukhamandapam of this temple have paintings from the Nayak period. There are friezes of dancers, drummers and musicians all along the enclosing walls of this temple. The thousand-pillared hall has witnessed several grand events in history. This hall is also designed in the form of a chariot. Its entrance features two elephants, and on the basement there is a frieze of dancing figures. The 100-pillared hall, also in the outermost prakaram is of artistic value, as is the shrine of Subramanya, which dates back to the Pandya period. The Subramanya shrine is also in the form of a chariot, and is referred to as the Pandya Nayakam. Local history of temple, legends, myths The story goes that once in Darukavanam (a forest in Hindu Mythology), Siva wished to teach a lesson to the rishis who were proud of their learning. Siva took the form of a mendicant with a begging bowl in hand, accompanied by Vishnu disguised as Mohini. The rishipatnis (wives of the rishis) were attracted by the sight of the beautiful pair. The rishis grew angry and tried to destroy the pair. They raised a sacrificial fire and raised a tiger from the fire, which sprang at Siva. Siva pealed off the skin of the tiger and wrapped it round his waist. Then again the Rishis sent a poisonous serpent and Siva tied it round his neck. Then the rishis sent against Siva an Apasmara Purusha (personification of ignorance) named Muyalaka, whom, Lord Siva crushed by pressing him to the ground with His foot. (The real meaning of Muyalaka is discussed elsewhere here as the act of bringing Time into order). At this, the rishis confessed defeat and Siva started to dance before all the gods and rishis. Lord Adisesha (serpent used as bed by Vishnu) heard the description of Siva's dance at Darukavanam, from Vishnu and requested Vishnu to allow him to witness the dance himself. Vishnu agreed to this. Adisesha performed penance and prayed to Siva to allow him to see the dance. Being pleased with his penance, Siva appeared and promised him the dance at Tillai (current Chidambaram). Accordingly, Adisesha was born as Patanjali, and went to the forest of Tillai.
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In this forest, Vyaghrapada joined him. Vyaghrapada was the son of Madhyandina Rishi living on the banks of the Ganga. He came to the South under the directions of his father and started praying to the Swayambhulinga under a banyan tree near a tank in the Tillai forest. He used to collect flowers for puja and, to help him to do so, he prayed for the boon of tiger's feet and claws, so that he could easily climb up the trees and pluck plenty of flowers. He also prayed for the eyes of a bee, so that he could collect the flowers before any bee could taste the honey in them. His prayer for these two blessings was granted and since he had the feet of a tiger, he was called Vyaghrapada. Each constructed his own hermitage, Patanjali at Ananteeswaram and Vyaghrapada at Tirupapuleeswaram in Chidambaram. They started worshipping Siva in the form of the Swayambhulingam in Tillai forest. Days passed and when the time came for Siva for giving them Dharsan, the guardian goddess of the place, Kalika Devi, would not allow it. Shortly afterwards, Siva and Devi agreed that they should participate in a dance contest and that the winner should have undisputed possession of Tillai. So the dance started. At one stage of the dance, the Lord's earrings fell down, but the Lord took them up from the floor in such a way that nobody could notice the loss and the recovery. This dance is called the Urdhva Tandavam in which Siva defeated Kalika Devi. Then Siva performed the Ananda Tandavam, i.e., the Dance of Bliss, in the presence of Sivakamasundari and all the gods and rishis, and the two devotees, Patanjali and Vyaghrapada, who were allowed to witness it. The rishis requested Siva to continue this cosmic dance at Ponnambalam forever for the benefit of all devotees. This famous dance is figured in the bronze idol at Chidambaram as Nataraja. Traditional perspective on Nataraja The conception of the idol of Nataraja, which has been claimed in the civilized world as the greatest work of Oriental art, is not merely a stroke of the imagination of an artist, but is a monument of the inner vision of the artist devotee, who could conceive the image of Lord Siva as He revealed Himself to him. If material creation is considered to be the perpetual movement of manifest energy in circles (as in atoms), then there should be a mover who keeps it in motion. If the Mover is imminent, then He must be in motion too. With this conception in mind the artist must have prayed for ages for getting the Divine revelation to put it into a concrete shape. The figure of Nataraja both the mover and the moved are depicted in life-like shape. This is the climax of revelation and that is Nataraja at Chidambaram. Science is personified in Art. The form of Nataraja, the great dancer, has been a symbol of interpretation of the great truth of the Lord's five-fold activities, Creation, Preservation, Destruction, Veiling and Blessing. This particular cosmic dance has been known as Nadanta Dance, Urdhwatandava Dance, Bhujangatrasa Dance and Anandatandava Dance. The drum in the right hand is thought to symbolize the fact that God holds the cause of the entire world, i.e., Sound (Sabda Nishtam Jagat), in his hand, to be folded or unfolded at His will. The very first sound OM has its origin from this drum. The primordial sounds of the alphabet (Maheshwarani Sabdani) is said to came out of Siva's drum as He beat it with his right hand, and formed the basis of the Science of Grammar (Vyakarana) originated by Patanjali. The deer on one
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side symbolizes the mind. As the deer leaps all round and runs fast, so also the mind of human runs fast jumping from one thing to another. The skin of the tiger, which Nataraja wears, is thought to be the skin of Egoism or Ahankara, which He has killed. The Ganga he wears on the head is the Chit Sakti or Wisdom, which is cool and refreshing. The Moon represents the Ethereal light and blissfulness of the Atman. One foot is planted over the giant Muyalaka, i.e., Maha Maya (the endless illusion or ignorance) which has been crushed, while the right foot raised up means renunciation or the fourth state of mind (Tureeya), which is beyond and above the 3 states of waking, dream and dreamless sleep, and leaves the mind, Maya (used here with the Sanskrit meaning of illusion – not to be confused with the Tamil name for Mamuni Mayan) and the world behind. The second right hand represents the idea of peace and bliss. Later you will learn that this is a completely inaccurate understanding. On one of the left hands is held Agni, fire, symbolizing the Jyoti of the Atman. The place of the dance, the theatre, is Tillai Vanam, the body of the individual self. The platform in that theatre is the cremation ground, the place where all passions, names and forms that constitute the visible world, are burnt away. The dancing pose teaches in a nutshell that Maya or illusion should be crushed down. The deer-like flitting mind should be controlled and Egoism (Ahankara) must be destroyed so that man can be a master of his inner self and enjoy the calmness, bliss and light of Truth. Siva stands in a halo or a circle of flame. The circle issues from the mouth of a pair of dolphins (Makara). It is thought that the halo symbolizes Pranava, the mystic word (Om), the generalized symbol of all possible sounds, therefore the fittest symbol of the Logos (the Word of God incarnate). This popular lore is only partially true as it leaves out the Two Fold OM meaning OM Light and OM Sound. This is one of the many misinterpretations caused by translators who did not understand the technical language of the Pranava Veda. In all the temples of the South, where Nataraja's idol is worshipped, the left leg is found to be lifted in dancing posture, but there is an exception to this at Madurai where the right leg is lifted. The site where Siva danced at Madurai is called Velliambalam, the Hall of Silver, in contrast to Ponnambalam-the Hall of Gold-in Chidambaram. Note: Sangam refers to the Tamil Academies that enabled authors and poets to gather periodically present and publish their works. According to the Sangam legends there were three Sangams spanning thousands of years. The first Sangam, whose seat was southern Madurai, later submerged into the sea, lasted a total of 4440 years and 4449 poets, which included some gods of the Hindu pantheon, took part in it. The second Sangam was convened in Kapatapuram, which finds mention in Valmiki Ramayana. This Sangam lasted for 3700 years and had 3700 poets participating. This city also submerged in the ocean. The third Sangam is believed to be located in the current city of Madurai and lasted for 1850 years under 49 kings. Mayan presented his Aintiram, a summary exposition on the Pranava Veda, during the first Sangam. Source:
www.wikpedia.comwww.indian-heritage.org www.indiantemples.com www.templenet.com www.Tamil Nadu-tourism.com www.hindubooks.org (R.K. Das)
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Mayonic Science Perspective - Chidambaram Dr. V Ganapati Sthapati "Instead of saying that Chidambaram temple is a house with empty space inside, we ... state that it is a the house replete with light. The empty space of Chidambaram temple indicates that the form worshipped inside the rectangular hall is OM-light only. OM-sound is the basis for all the audible words and sound forms. OM-light is the basis for all the material objects seen through the eyes. "Chidambaram temple has been built not only for the symbolic expression of space concept,... It also exists to demonstrate and maintain the view that all the spiritual benefits such as well being, calmness, bliss, etc., are derived through the waves of light consciousness or of OM-light that emanate from this temple...Thereby, this unique temple enables the people to experience these benefits directly. The building itself, primarily being a material energy (like the body is), is know as Vaastu and the enclosed space, primarily being the subtle energy (consciousness) is know as Vastu. Chidambaram temple is actually an effulgent house in which light of consciousness is in its repletion. (Just as the body houses the light of consciousness) What takes place there is the worship of light; what shines forth there with all visibility is the Dance of Light (Lord Nataraja--the dancing Siva). The form of Nataraja is not an imagined one and it is the first manifestation of the primal light. "Chidambaram temple is the primal root of traditional housing architecture. At Chidambaram the house has been built and demonstrated to be a perfect living organism. "...space is of the nature of un diminishing effulgence and this space is brimming with minute atoms of light. ...Space is luminous-space. The single "Substance", know as Vastu Brahmam, which is consciousness itself. getting kindled and excited of its own accord, extends everywhere...and is know as Light-space. The name of the energetic atom is paramanu, according to Vaastu tradition. We cannot see this paramanu but we could feel it...The Vastu Shastra states that the paramanu, which is not ordinarily visible to the physical eyes, is visible to the perfect yogins. Paramanu is an existential substance. Paramanu is Vastu. The literal meaning of the term Vastu is ‘the existing substance" or "eternal substance’. For something to exist is must have three dimensions. Sthapati says that space is filled with "space-atoms". These atoms are also three-dimensional. The tri-dimensional atom is cubic in form. Its sides have equal dimensions. "Within this cubical atom there is a luminous thread, like a filament in a bulb and it is always dancing there...To this light thread...the tradition of Vastu science has given a significant name - Brahma Sutra! (the thread of light or consciousness) Vastu science has rendered another ...name also to the luminous thread which is dancing rhythmically within the cubical atom. The name is ‘Luminous Nataraja’...the dance of Light... This luminous thread is the basic source of cosmic effulgence. The cubical effulgence of the atom is called ‘luminous atom’...know as ‘microabode’ (cubical cell). It is described as OM-light. The Mundakopanisad provides a wonderful description about this: ‘There the sun does not shine, nor the moon, nor the stars; nor do the flashes of lightning shine there. If so how can this fire shine even? Everything shines forth only after this and because of this; by this light all things shine forth diversely.’
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"The ‘OM’ in its aural and luminous streams rises above and above...and turns itself into the universe. These risings, or surges and transformations, we the Vaastu vedins ... call Omkara natana. "Consciousness turns into light and the conscious luminous atom splits of its own accord, melts like a wax, assumes a form compatible and relevant to its feeling or consciousness, rises above and transforms itself on and on. Whenever we speak impelled by consciousness ... the luminous atom splits itself, melts, takes a form gets integrated again and becomes one, splits again and so on. This process of word and deed - sound and action - is called the Creation. The minutest subtle atom, paramanu, feels or experiences an urge, splits up and manifests as a continuous form through our mouth or our hands. "The cubical form is the intrinsic form assumed by paramanu when it is in its own innate state of tranquility. This state is called ‘sattvika’. Sattvika means state of calmness. To bring a form into existence ...action or effort is essential. Our inner space has to shift itself from the state of calmness to the state of action. In this process of transformation the cubical prism first assumes the octagonal form and finally the spherical form.... These two forms that have undergone transformation owing to the changes in quality are called rajasa and tamasa respectively. Tamasic state is the final state or the gross state of energy-space...Tamasic world means gross world, ...full of gross, concrete and perfect forms. "The beautiful and rhythmic image of Luminous Nataraja, found at Chidambaram temple, is indeed the VASTU which is eternally dancing. The image of Nataraja shines forth as the basic mathematical order for the emergence of all other forms....we realized the God as luminosity and energy, we have discovered the exact form of that luminosity and energy through the science of Vaastu and we are holding it as adorable and experiencable. God is a Conscious Being; we are also conscious beings. If conscious waves of God and men mingle with each other and become one, the resultant effect is the unalloyed and ineffable bliss. This is the experience of Chidambaram. "The cubical prism is the basic structural design adopted by the ancient Vaastu vedins for the construction of a house. The house built on this design is known as ‘dandaka sala’ ...or single phased house. ...The vital energy of air inside and outside the house is regulated and made to be in free and unobstructed operation by a mathematical calculation. Only this mathematical order has been rendered as the units of measurement in Vaastu technology.... This mathematical order is a systematic calculation of the manifestation or evolution of space-energy into spatial form. This order or numerical measure is the basis of structuring resonance with universal energies...In the heart cave of the body there is inner space and inside the inner-space there is the vibrant thread of consciousness. It is this thread of consciousness that functions as the string of sarira-vina (bodily instrument) (The structure vibrates with cosmic energy and the bodily instrument resonates with this vibration) To create and offer the house of supreme bliss, and to enable us to experience that supreme bliss here in this mundane house itself -- these are the prime motives of the Vaastu science.”
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It was Mayan conceived the Nataraja form. It was his internal experience that took form through Nataraja. It is one of the most famous Indian icons in the world yet few know of its origin and true significance. Nataraja The Dancer and Vishnu the Dance Dance, is patterned and rhythmic bodily movements, usually performed to music, that serve as a form of communication or expression. A dancer is the performer of patterned rhythmic bodily movements who seeks to communicate or express through dance.
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Nataraja or Luminous thread is the Cosmic dancer who dances or vibrates by its own volition as it arouses itself to manifest within itself. This vibration or frequency gives rise to the entire material world as individuated frequencies or waveforms. These manifested waveforms called Vishnu become the Dance. Mayan identified the two-fold nature of Om as Om Light and Om Sound; these are the raw materials of all visual and aural forms - the language of Space. Om Light is the source of OM Sound. Light vibrates and that vibration results in Sound. The atoms are cubical at the primal level and circular at the material level. According to Mayan, the universal space is filled with these luminous cubical atoms. Mayan perceived this principle and demonstrated it through the form we know as Nataraja or Shiva. Nataraja dances within the Macroabode of Cosmic Space and within the microabode of individual cubical atoms. This is exemplified in the temple at Chidambaram. This dance is the dynamic and orderly quality of space expressed as Shiva Tandava. When this subtle energy is reflected as material energy, it is called Vishnu. Both of these terms are scientific principles rather than personified beings. “I was a hidden treasure and I loved to be known, so I created the world that I might be known.” Ibn al”Arabi When Siva dances it is Vishnu; when Vishnu dances it is Siva: the dancer becomes the dance and the dance becomes the dancer. This concept is at the root of the awakening that one may experience through visiting a Vaastu Temple or living in a Vaastu home. It may also arise by viewing Vaastu sculpture, dance, or listening to Vaastu poetry or music. This experience is heightened through awareness. When one enters a Vaastu Temple one may become aware of the throbbing of consciousness in the surrounding atmosphere. With a glance into ones own microabode or Atman one may become aware of this throbbing dance within. The sequence is simple. Due to the proper application of Mayonic principles, the Dancer is awakened and the building becomes the dance. When you enter the vibrant pace of the Temple, it is the dancer and you become the dance. As your awareness is directed to the inner Being, you see that the inner Atman becomes the dancer and your life; your body becomes the dance. Then when you leave the temple with this Bhakti or resonance, you become the dancer and others receive the benefit and become the dance. This amazing process is due to the proper application of Vaastu Shastra. In the design of the Nataraja, Mayan placed a number of visual codes. 1. The raised foot is cocked in a clockwise direction indicating manifestation. 2. The raised foot also represents that energy that is responsible for the dance – Shakti or Time/pulse. Without this Shakti or energy there would be no Dance. 3. The flame in Sivas left hand demonstrates OM light; the drum in the right hand demonstrates OM Sound. 4. The body is often depicted as half male and half female (female breast). This indicates the dual nature of consciousness- both male and female or, gender free. 5. Perfect symmetry demonstrated by the Brahma Sutra. 6. Lying under the foot of Dancing Siva is the dwarf called Muyalagan. This has great significance but is misinterpreted by almost all scholars. The word, according to literary Sanskrit scholars means “lunatic. “ It is interpreted as Siva destroying the “lunacy” of this world. This interpretation is purely mythological and
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could not be farther from the truth. The real meaning according to the Rishi, Mayan, who first cognized and created this form is as follows: Siva is the Celestial Being, who occupies what can be called the "Fabric of the Universe" (Dr. Jessie Mercay in the text, Fabric of the Universe). In Tamil this is called Vinveli (Luminous Space). When this scientific phenomenon was visualized as a technological event, Mayan demonstrated it as a form of Dancing Siva, with a so-called demonic Purusha under Siva’s foot. Underneath this Purusha, at subtle level, is called Energy or Kaala Purusha. This is Time Unit, when interpreted at the mundane level. The technological meaning of the word Muyalagan is of great import. Muyal means "make an effort" – "try", Aham means "heart vibrating into Time waves". Unless the Time waves are controlled or disciplined nothing will be intelligible – there will be pure disorder. (From personal correspondence with Dr. V. Ganapati Sthapati).
“Muyalagan simply means, "vibrating heart" which is brought under control. The rhythm bound resulting form is esthetically alluring. Every esthetical form emanates from the heart. It is heart that enjoys sweet sound or beautiful visible form. “ (From a personal communication with Dr. V. Ganapati Sthapati). Thus the so-called Dwarf under Sivas foot indicates that from the “heart” of consciousness comes vibration that is at first disorderly than transformed into orderliness. It is the orderly transformation of Time, OM light and OM Sound. This is the primary message in the first verse of the Pranava Veda quoted earlier in this text.
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Comparative Analysis of Srirangam and Chidambaram according to Mayonic Principles Mayonic Science and Technology provides a complete knowledge of Absolute Space and its manifestation process. Mayonic Science asserts that the earth is a Vaastu structure that plays a vital role manifesting desirable qualities of the Divine for the benefit of human kind. The vimina of the temple called Srirangam, the premier Vishnu temple of south India, has as its form the letter OM. This is the visible form of OM light and OM sound.
Pranava Vimanam A closer look at the OM form reveals the head and trunk of Ganapati or Ganesh; the elephant god who we learn is keeper of the knowledge of the six-sided cube. This secret encoding immediately alerts us to the fact that the builders of this great structure must have known the knowledge contained in Mayonic Science and Technology. This temple is replete with sacred science. Sri Rangam contains the Hall of 1000 pillars. While the familiar function of a pillar is to hold up a roof or ceiling, what could the function be of 1000 pillars in one hall? Mamuni Mayan, with his Siddha vision, was able to perceive the threads of light that approached the earth. These treads of light were perhaps the manna from heaven that the Israelites experienced. Or, the mana rained down upon the islanders in the south pacific. The name given to these threads of light by Mamuni Mayan are maana sutras meaning supporting threads. This concept can be seen in the pavilion (mandapa) structures in a temple where the pillars signify sutras or energy lines joining the heaven (roof) with the earth (floor). Space is filled with innumerable energy particles and each particle sends down threads of light. These threads or strings of light rain down like a constant drizzle with tremendous force. The earth, being a form of space, shoots similar rays of light in an upward direction. In a temple, they are represented as supporting pillars, which signify the scientific principle of energy lines or sutras. Just as these pillars support the roof above, these shafts or threads of cosmic light support the roof of the Universe. Scientifically, these threads may be called gravitational forces – one 197
shooting downward the other upward pulling and attracting each other canceling the dynamic massive force of one another creating a steady state. Chinchen Itza in the American Maaya land also demonstrates this principle in the Temple of the Thousand Columns. This sacred science was world knowledge at one time in the ancient past. Sri Rangam Chinchen Itza
Pillars in Mayonic structures are made with the Ayadi calculation in mind. The size, both length and width, are calculated based upon the Mayonic measure of the motherwall. In addition, pillars are placed in appropriate positions at the junction point of grid lines. Standard proportions are used for constructing the various parts of the pillars.
Personal Notes and Observations
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Comparing Nataraja and Rangaraja • • • • • • • • • • • • • • • •
Nataraja is always dancing; Rangaraja is in a calm and serene pose Outer space or absolute space is the abode of Nataraja; inner space of the living beings and of objects of the world is the abode of Rangaraja The stage for Nataraja is the subtle space or subtle body; the stage for Rangaraja is the gross space or gross body Nataraja manifests himself as the universe; Rangaraja manifests himself as the objects and beings of the universe. Nataraja is subtle light or subtle substance; Rangaraja is material sound or gross substance. Nataraja is subtle energy; Rangaraja is gross energy. Nataraja is energy with matter; Rangaraja is matter with energy. Nataraja is pervading all places (pervasion in space); Rangaraja is pervading all objects (pervasion in matter). Nataraja is macrocosm; Rangaraja is microcosm Nataraja is Vastu; Rangaraja is Vaastu. Nataraja is Vastu Purusha; Rangaraja is Vaastu Purusha Nataraja is always imaged of metal; Rangaraja is always imaged of earth or stone Nataraja dances within space atom (microabode); Rangaraja vibrantly exists within earth atom. Nataraja is the presiding deity of Manduka pada Vastu Purusha Mandala (8x8); Rangaraja is the presiding deity of Paramasayika pada Vaastu Purusha Mandala (9x9). Nataraja is circumscribed within square; Rangaraja is reclining within circle In Einstein’s equation E= mc2, Nataraja is the subtle energy expressed as E; Rangaraja is the material energy expressed as mc2. One is equal to the other. From Temples of Space Science ~ Dr. V. Ganapati Sthapati
Siva is Vishnu and when Vishnu is dancing he is Siva.
The ancient Indian culture preserved their knowledge of cosmic principles in art and architecture. This way they mirrored the inner, unmanifest, eternal laws in outer phenomena they created by using Mayans knowledge of Vastu reva vaastu, which is also explained by Einstein in his theory of E=mc2. This knowledge was and is still obvious in manifestations such as Nataraja, Shiva, depicting space or energy and Rangaraja, Vishnu depicting earth or matter as well as in temples such as Chidambaram and Sriranga which are considered the most important temples in Saivism and Vaishnavism. These manifestations are furthermore objects of worship of sound and light. In the manifestations of Shiva and Vishnu it becomes clear that the earth substance mirrors the space substance. The creative activity starts from space as shown by fire in left hand of Shiva, it become luminous and circles from left to right in clockwise direction and becomes sound in the right hand drum. Rangaraja or Vishnu is shown as a mirror image where he holds the conch in his left hand representing sound and the blazing wheel (chakra) in his right hand. This way it is shown that the whole universe is a mirror image of the primal substance. Rangaraja is echoing the sound and mirroring the light of Shiva or the space substance. . All forms of art, architecture, sculpture, dance, poetry, and music are based on time or Taalamaana (time measure). The most supreme effect of the science of sound is the manifestation of musical forms. Likewise the most supreme effect of the science of light is the manifestation of sculptural and architectural forms. (Bjorn Kristjansson (Carpenter), Advanced student of The American University of Mayonic Science and Technology)
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Nataraja Chidambaram
Rangaraja Srirangam Vishnu ~ gross form, Earth Being Vaastu or matter
Shiva ~subtle form Celestial Being, Vastu or energy
Chidambaram Temple
Srirangam Temple
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In Srirangam temple, visual encoding of scientific principles is manifold. The vimina of Srirangam as stated in this text is in the form of the Tamil letter that represents OM. This represents OM Light and OM sound. According to Mayan every letter is a visible form of OM Light and OM Sound. Light and sound surges upward to manifestation forming the vowels. Mayan says, “ Letter emerges as the composite structure of sound form and light form.” The vimanan of Srirangam illustrates this scientific principle as it surges forth from the sanctum sanctorum. Another scientific principle displayed in Srirangam is evident in the reclining Vishnu. Rangaraja (Vishnu) is in a reclining posture with his face looking directly at the gold plated dwajasthambha (pillar of Garuda or flagstaff). There at that place where Vishnu is gazing is a statue of Nataraja. According to Dr. V. Ganapati Sthapati, the significance of that is that Vishnu is indicating his (earthly existence) is reliant on and looking forward to Space (Nataraja) for his sustenance. It is Space that is the foundation of all material existence. Another scientific principle that is implicit in the image of Nataraja and Rangaraja (Vishnu). In the Nataraja image, a drum is held in the upper right hand and fire or flame held in the upper left hand. Siva is the Supreme Space and thus two essential qualities, sound and light, are demonstrated by the drum and fire. The scientific Mayonic truth here is that manifestation starts from Space, becomes luminous (fire) and circles clockwise from left to right and becomes sound. When Nataraja/ Siva is shown dancing, Nataraja’s left leg is raised and curved toward the right which is an indication of the dance movement being clockwise from left to right –in Space, from OM light (flame) to OM sound (drum). As a mirror image of this form of Nataraja we se and image of Rangaraja in which the conch (sound) is held in his left hand and the blazing wheel (light/ chakra) is in his right hand. The image of Rangaraja depicts the scientific principle that the whole manifest universe is the mirror image of Primal Substance. This manifest universe is an echo of OM light and OM Sound as visual and aural forms. The earth is a mirror image of space. Mayan said: "As in Micro, so in Macro. The whole exists within the minutest particle and the minutest particle contains the whole. The atom contains the universe and the universe contains the atom. and neither exists without the other. Creator exists within creation, even as creation exists within creator." Brahmarishi Mayan, circa 10,500 BC I a discussion in Kauai in 2005, Dr. Sthapati said that the dance of Siva occurs in the microabode as the vibrating thread of light or cosmic creative fire. Thus, Nataraja, which was conceived and designed by Mamuni Mayan, is Mayan’s visual depiction of that scientific phenomenon. In that same discussion he said that left is what we would call female energy and right is male energy. The raised leg of Nataraja, Siva in dance form, is that energy called Shakti, which is considered “female” energy. Siva is also depicted as both male and female with one side of the statue form having a female breast.
Personal Notes and Observations
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More Codes: Madurai Meenakshi Amman Temple According to Hindu legend, the Lord Shiva came down to earth in the form of Sundareswarar to marry the goddess Meenakshi, who is a form of Parvati, Shiva's divine consort. Parvathi had earlier descended to earth in the form of a small kid in response to the great penance of Malayadwaja Pandya, the ruler of Madurai. After growing up she starts ruling the city and the Lord appears on earth and proposes to marry her. According to Hindu mythology, the marriage was supposed to be the biggest event on earth, with the whole earth gathering near Madurai. Lord Vishnu the divine brother of Meenakshi was traveling to preside over the marriage from his holy abode at Vaikuntam. Due to a divine play,
The divine marriage where brother Vishnu hands his sister Parvati to Shiva (from left, Vishnu, Meenakashi, Shiva)
He was tricked by god Indra and delayed on the way. Meanwhile the wedding was presided over by a local god Koodal Azhaghar. This angers Lord Vishnu and he swears never to enter the city and settles in the outskirts at the beautiful hill of Alagar Koil. Other gods later persuaded him and he proceeded to bless the divine couple Siva and Parvati. Mayonic Science Perspective In Mayonic Science we know that Siva is the divine thread of primal fire vibrating in the micro abode. We know Siva is unmanifest Vastu. We also know Vishnu to be the name given to manifest Vaastu – the material world. Dr. V. Ganapati Sthapati says that there is a portion of Vishnu in Siva and a portion of Siva in Vishnu. The metaphor of Meenakshi being given to Siva in marriage signifies the connection between Vastu and Vaastu. The meaning of the word Vishnu is fish. Fish live in the ocean and spring forth from the ocean. The material world exists in the ocean of pure consciousness, Unbounded Absolute Space. The material world is nothing but vibrating Space born of Time or pulse within Absolute Space. So, Vishnu and Siva are “related.” This is signified in this tri deity sculpture. Furthermore, Meenakshi was born with fish – like eyes and the smell of a fish. This means that her relationship with Vishnu (fish) is very close. Thus a union between Siva (Vastu) and Meenakshi signifies a kind of union between Vishnu and Siva. The purpose of fish eyes is to help the fish see the way through the ocean. This union of Meenakshi (who has fish like eyes) helps Vishnu (Vaastu) sees the way to Siva (Vaastu) thus deepening the significance of these forms. In addition, fish springs forth from the ocean. Vishnu (Vaastu) springs forth from the ocean of Vastu (Siva). This tri form often depicts Vishnu and Siva with their hands joined in Meenakshi’s hands. Sthapati Santanan Krishna of Vastu Vedic Research Foundation indicates that this shows that Vastu and Vaastu are “in the hands of Time” with Meenakshi representing Time.
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Interestingly enough, close to the Meenakshi temple is the Mariamman Teppakulam tank with the idol of Vinayaka (Ganesh or Ganapati) at the centre of the platform. We know that from the name, Ganapati is the keeper of the knowledge of the six-sided cube. The presence of Ganapati near the scene of the demonstration of Time and Vastureva Vaastu (the relationship between Siva and Vishnu) is a reminder of the role of the six-sided cube in all of this unfolding drama. It is by virtue of the knowledge of the dynamism of the six-sided cube that we can come to understand life at all.
Personal Notes and Observations
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Thiruvalluvar Statue, Kanyakumari
Carved and Erected by Dr. V. Ganapati Sthapati, his staff Sthapatis and Shilpis The statue of Ayyan Thiruvalluvar is erected in a minor rock in mid sea off the shore, in Kanyakumari , the southern tip of Tamil Nadu. The statue sponsored by the Government of Tamil Nadu, India, is made of granite stone and is the tallest stone structure in the world. The statue worth about 10 crores, was unveiled on 1st January 2000,by the Honourable Chief Minister of Tamil Nadu Dr. Kaligner M Karunanidhi. The entire project started by quarrying of stones, carving of statue parts and carrying them to the rock in the mid sea by pontoons and hoisting the finished pieces to a height of 133 feet and bonding them into the form conceived. The details of the sculpture is given below: Statue height:
95'.0"
Pedestal height:
38'.0"
Total height:
133'.0"
Face Length:
10'.0"
Palm Length:
10'.0"
Length of palm leaf manuscript held in the left hand:
10'.0"
No. of stones going in the statue pedestal:
3681
Total weight of the statue & the pedestal
7000 tons
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Thiruvalluvar, constructed without mortar, withstands the giant pulse of the tsunami.
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Collosal statue of Saint Thiruvalluvar: Section
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Vertical cross section of Thiruvalluvar statue, Kanyakumari &The Brihadeshwarar vimanam, Tanjore, showing the double walled structure & the corbelling technique.
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Marking statue for cutting and refinement at stone yard
Statue face detail
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Mamallapuram Mamallapuram is the home of the Government school of Architecture and Sculpture and the stone yard of Dr. V. Ganapati Sthapati, who was the former school president. Mamallapuram (also known as Mahabalipuram) is a town in the Kancheepuram district, 58 km south of Chennai. It is a 7th century port city of the South Indian dynasty of the Pallavas. It is believed to have been named after the Pallava king Narasimha Varman I (630-668 A.D.), who was also known as Mamalla or Mahamalla. He developed this city into a flourishing seaport. The early phase of medieval temple architecture in the South Indian style of Tamil Nadu (7th - 18th century) coincided with the political supremacy of the Pallava dynasty (650-893 A.D.). The temples of Mamallapuram, built largely during the reigns of Narasimha Varman I and his successor Rajasimha Varman II, showcase the movement from rockcut architecture to structural building. The mandapas or pavilions and the rathas or shrines shaped as temple chariots are hewn from the granite rock face. The various historic monuments, built largely between the 7th and 9th century, are mostly rock-cut and monolithic, and constitute the early stages of Dravidian architecture wherein Buddhist elements of design are prominently visible. Most of the sculptures are not very intricate in details but rather tend to be rough sculptures. The fact that many of the temples and sculptures of Mamallapuram are unfinished, points to the sudden withdrawal of patronage from rockcut temples when King Rajasimha Varman came to power. Another point of view is that this area served as a school for young sculptors. The different sculptures, some half finished, may have been examples of different styles of architecture, probably demonstrated by instructors and practiced on by young students. This can be seen in the Pancha Rathas where each Ratha is sculpted in a different style. The entire history of this place lies shrouded in mystery and as this place was abandoned, uncared-for and unprotected, and exposed to the ravages of rain and the corrosive action of the sea winds, the precious monuments of architectural and sculptural interest lost much of their elegance and beauty and got mutilated and deformed to such an extent that it is not possible today to know who are the Pallava kings and queens whose statues have been sculptured in places like the Varaha temple and what are the stories depicted in the different carvings, especially in the famous sculpture of Arjuna's penance. The entire place was covered and the ground level rose by centuries of drift sand, which buried many monuments; the entire Ratha (chariot) group was covered by several feet of sand. Even today the lower part of the famous relief Arjunas penance is about 12 feet below the ground level. It appears that this part of the coast was visited by a mighty tidal wave, which destroyed Mamallapuram and its surroundings. The large quantities of stones lying near the temples and others which are found partially buried in the sea, indicate that other buildings must have existed here, which were destroyed and overwhelmed by the ocean. During the last century this place received the attention of the Government and steps were taken to remove the drift sand, which had raised the level of the locality, and the discovered monuments were preserved. It is likely that there are more monuments of religious and secular interest lying buried underneath the high sand dunes of the neighborhood.
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There are, or rather were, two low hills in Mahabalipuram, about 400m from the sea. In the larger one, on both sides, there are eleven excavated temples, called Mandapas, two "open air bas reliefs"; one of which is unfinished, and a third enclosed one. Out of a big rock standing free nearby there is a "cut out" temple, called a "Ratha". Out of the other hill, much smaller and standing about 200m to the south, are fashioned five more rathas, and three big sculptures of a Nandi, a Loin and an Elephant. On the top of the bigger hill there is a structural temple, and at a little distance, the magnificent beginnings of a Vijayanagar Gopura and also remnants of what is believed to be a palace. Mamallapuram art can be divided into four categories: open air bas–relief art, structured temples, man-made caves and rathas (chariots carved from single boulders, to resemble temples or chariots used in temple processions). The most prominent structures of the city include: 1. Arjunas Penance 2. Varaha Cave Temple 3. Shore Temple 4. Pancha Rathas 5. Mandapas
Personal Notes and Observations
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Arjunas Penance Architecture Arjunas Penance is a bas-relief sculpture on a massive scale extolling stories from Hindu mythology of Mahabharatha. It dates back to 7th Century CE. This magnificent relief, carved in the mid-seventh century, measures approximately 30m (100ft) long by 15m (45ft) high. The subject is both Arjunas Penance and the Descent of the Ganges, or possibly both. There is no full consensus as to what story the relief depicts. In the culture of India, logical alternatives are often conceptualized as "both-and" rather than "either-or."
Arjunas penance The composition of the relief includes the main elements of the story on the left (explained below) and scenes of the natural and celestial worlds on the right. A natural cleft filled with a slab sculpted with male and female nagas (serpents), their hands held together in adoration, separate the two halves of the relief. Above the cleft was a collecting pool and at one time, water was poured down this cleft in order to simulate a natural waterfall (presumably the Ganges' descent, which provides for the alternative theory). On the left side of the cleft there is a four-armed deity, probably Siva, his right hand holding a weapon, the left hand in a gesture for granting a blessing is attended by dwarf ganas (guards and followers of Lord Siva). Just right to this deity of Siva, a little below, Arjuna (or Bhagiratha, depending on the story) stands on one leg, his arms upraised, in a yoga posture seeking Siva’s blessing. Beneath this figure is a small simple shrine of Lord Vishnu in front of which sit sages, a buck and his doe, a lion and disciples engaged in austerities. A few animals are seen resting in their caves to the left. But the remaining lower left portion of this boulder is left un-carved. The Upper left portion of this boulder represents a mountain probably Siva's abode in the Himalayas, where gods and animals are seen blended together. 213
To the right of the cleft, life-sized elephants protect their young below a scene of numerous other animals and flying celestial creatures. One of the notable and perhaps ironic figures in the bas-relief is the figure of a cat standing on one leg (apparently as an austerity). This may be related to the Panchatantra (children’s stories) story of the cat who poses as an ascetic in order to lure a hare and a bird to come near and when near, he devours them. The sculptured figures on the rock are remarkable for their vitality and naturalism and the skill with which they are sculpted. There are over 100 figures of gods and flying celestial creatures, birds and animals including giant elephants, human beings and saints in this beautifully sculpted scenario. Most of the figures of animals and celestial beings are carved either facing or approaching this cleft and generally with hands folded in adoration. Local history, legends and mythology Arjunas Penance is a story from the great epic of Mahabharata of how Arjuna, one of the Pandava brothers, performed severe austerities in order to obtain Siva's weapon as an aid in fighting the Mahabharatha war. The boon, which Arjuna received, was called Pasupata, Siva's most powerful weapon. The idea, which pervades Hindu philosophy, is that one could obtain, by self-mortification, enough power even to overcome the gods. In order to protect themselves, the gods would grant the petition of any ascetic who threatened their supremacy in this way - a kind of spiritual blackmail, or "give to get." The meaning of the word "penance," is specific to Hinduism. Unlike the Catholic rite of penance, it is performed to gain power, not to expiate sin.
The story of Ganges is similar, in which the sage Bhagiratha performs austerities in order that the Ganges might descend down to earth and wash over the ashes of his relatives, releasing them from their sins. Siva had to consent to break her fall in his hair, because otherwise her force would be too great for the earth to contain and during her fall, is divided into many streams by his tresses. The symbolism of the relief supports either story. Furthermore, both stories were interpreted in a manner flattering to the Pallavas, the heroic Arjuna as a symbol of the rulers, and the Ganges as a symbol of their purifying power.
Personal Notes and Observations
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The Shore Temple Architecture With its entrance on the western side, away from the sea, the two charming towers make the familiar structure of the Shore temple. Perched on a rocky outcrop, it presides over the shoreline, serving, as Percy Brown puts it, 'a landmark by day and a beacon by night'.
Shore temple
Designed to catch the first rays of the rising sun and to illuminate the waters after dark, the temple ended up with an unusual layout. Unusual, too, is the fact that the temple has shrines to both Siva and Vishnu. The main sanctum and one of the two lesser ones on the west are dedicated to Siva. This temple is the most complex in that it has two shrines placed one behind the other, one facing east and the other west. As the main shrine faces the sea on the east, the gateway, the frontcourt and the assembly hall both lie behind the sanctum. A rectangular shrine sandwiched in between the two shrines has its entrance from the side separating the two shrines. This shrine is dedicated to Vishnu, who is represented as lying on his serpent couch and known as Talasayana Perumal. The other two shrines are dedicated to Siva. There is a large open court at the western end. The enclosing wall has a series of Nandi bulls on it. Interconnected reservoirs around the temple allowed the sea to transform the temple into a Water Shrine. But, in recent times a stonewall has been added to protect the shrine from the rising seas and further erosion. The temple was reconstructed stone by stone from the sea after being washed away in a cyclone. Recent excavations have revealed new structures in the vicinity.
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Shore temple
A little to the south of the sancta and within the compound is a majestic lion which carries a miniature Mahishasuramardini carved inside a square cavity cut in the neck of the animal. Two attendant deities of the Goddess are shown as mounted on either side of the animal. A little to the north of this, in the platform, is an exquisitely carved deer shown with majestic ease. Unfortunately its head is mutilated. In between the deer and the lion could be found a dwarf with only its legs preserved. Local history, legends and mythology Narasimhavarman II, who was also familiarly known as Rajasimha, built the Shore Temple, with its triple shrines. Rajasimha was a great patron of art, literature and other fine arts and is known through innumerable titles he assumed for himself, the inscriptions at the Kailasanathar Temple in Kanchipuram evidence these. Amongst his titles, mention may be made of Rajasimha, Narasimha, Kshtriyasimha, Vinanarada and Purushasimha, including Mahamalla, Saturmalla, Amitramalla, etc. He was a great devotee of Siva and a prolific temple-builder. Both lithic records and copper plate granthas of the Pallavas extol him as one who lavished wealth on temples and scholars. This temple has been so often visited and illustrated that the very name of the temple would recall the two towers standing on the shore. However, there is one factor, which has escaped attention. The temple originally consisted of three, vimanas the third vimana, which was over the Vishnu shrine has crumbled. That these shrines were under regular worship for long is borne out by literature and epigraphs. Thirumangai Alvar, who lived in the eighth century A.D. has sung of the temple and refers to Lord Vishnu as Kadalmallai Talasayana. Rajaraja, the great Chola emperor, has left two inscriptions in the temple, recording gifts of lands, etc. Interestingly he mentions the names of the three shrines at Kshatriyasimha Pallavesvaragriham, Rajasimha
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Pallavesvaragriham and Pallikondaruliya Devar shrine. It is evident that these names mentioned in the inscription are after Rajasimha's titles. A recently discovered label inscription found on the lintel of the Vishnu shrine, in the Pallava grantha script of the Rajasimha age, gives the name of the temple as Narapathisimha Pallava Vishnu griham. It also extols the prowess of Rajasimha. This find confirms that Rajasimha also built the Vishnu temple. The other reference is to the Talasayana shrine. An inscription of Virarajendra Chola, also found in the temple, refers to this Lord as Kadalmallai Emperuman. From the above it is evident that all the three shrines in the temple were under regular worship for a considerable time. It is well known, that according to the prevalent custom, a temple is placed under worship only when it is crowned with a vimana, and duly consecrated with a stupi (Kzcmbhabisheka). It is, therefore, certain that the Talasayana shrine of the temple had a vimana, which has crumbled. The above conclusion is amply justified by the presence of a course of rectangular and square pavilion ornaments (bhadrasalas and vimana types), which formed the first storey of the vimana. The rectangular pavilion ornaments of the other storey still lying scattered inside the compound further prove this. Judging from the extant remains, the vimana was of a rectangular type with a series of stupis arranged in a line on it ridges, and attained a height between those of the big and the small towers. Though rectangular vimana over the sanctum went out of existence in later times, it was present during Pallava days. The monolithic temples of Ganesha and Bhima rathas, both in Mamallapuram, are splendid examples of the rectangular vimanas.
Personal Notes and Observations
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Pancha Rathas Architecture Pancha Rathas is a five monolithic pyramidal structures fashioned as chariots and named after the five Pandava brothers the heroes of the epic Mahabharata (Yudhishtra, Bhima, Arjuna, Nakula and Sahadeva) and their shared wife Draupadi. An interesting aspect of the rathas is that, despite their sizes they are not assembled. Each of them is carved from one single large piece of stone. All but one of the rathas from the first phase of Pallava architecture are modeled on the Buddhist viharas or monasteries and chaitya halls with several cells arranged around a courtyard. Referring to Narasimhavarman's victory in AD 642 over the Chalukyan king Pulakesin II, the Pallavan king may have brought the sculptors and artisans back to Kanchi and Mamallapuram from Ajanta and Ellora as 'spoils of war', because of their possible roots to the similar rock-cut caves of Ajanta and Ellora.
Pancha Rathas
Each temple is a monolith, carved whole from an outcropping of rock. (The number of separate formations is a matter of debate; the four north-south temples may have been carved from a single mass.) The temples are unfinished, and so were never consecrated or used for worship. Local history, legends and mythology It is said that it was Mahendra Varman (600-630 A.D.), predecessor of Narasimha Varman, who introduced in the South the cave style of temple architecture in Mamallapuram.
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Bhima Ratha (near left partial), Arjuan ratha (next right), Draupadi ratha (centre) and Nandi (right)
There were, in total, seven rathas, also known as seven pagodas of which only five exist. Although these are not really chariots or cars and nor have they anything to do with the heroes of the Mahabharata, the connotation has stuck over the years. It would be appropriate to call them vimanas. They are simply temples intended for the worship of Siva, Durga and some other unknown deities. The largest is the Dharmaraja ratha and it sets the tone for the others. It measures 29 by 27 by 35 feet and is shaped as a pyramid. The first floor of the Ratha contains the familiar Somaskandha group (Siva with Parvati and Subrahmanya). One special feature about the treatment of the figure of Parvati is that she is looking at Siva instead of at the spectator as in other similar groups. The external face of the Ratha holds in its rectangular niches images of divinities, some of which are unfinished and some unidentifiable. Modeled on a Buddhist vihara (monastery), it sports a square hall topped by a vaulting roof. The Bhima, Arjuna and Nakula-Sahdeva rathas are lesser copies of the Dharmaraja ratha. The Draupadi ratha is the smallest and the quaintest. It is a simple structure, fashioned as a thatched hut borne on the backs of elephants and lions. It was probably the facsimile of a portable village shrine. The ultimate origin of these forms remains an architectural mystery and most probably trace back to wood construction. Each structure apparently reproduces faithfully a form built of wood, with even the grain of timber and rafters being simulated in stone. Opinions differ about whether their direct antecedents were secular or sacred, wooden or stone, buildings. It is likely, due to the advanced design of the Mamallapuram shrines, that temple building had previously undergone a substantial process of development, and that the shrines mark a rapid transition from the earlier wooden temples to later structural monuments in stone.
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Mandapas (Cave Temples) Architecture The main hill at Mamallapuram is dotted with pillared halls carved into the rock face. These Mandapas or cave temples, with their graceful columns and intricate figure sculptures bear witness to the artistry of the Pallavan rock cutters. The ten pavilions at Mamallapuram, of which two are unfinished, were designed as shrines, with a sanctum and an outer hall. The shallow entrances are adorned with exquisite sculptures of gods, goddesses and mythological figures. Tirumurti Cave (28 feet by 14 feet) contains a row of three shrines wherein bas-reliefs of the Trinity (Brahma, Vishnu, and Siva) have been carved out. In each of the panels two dwarf attendants are flying in the air in the upper part of the sculpture, while in the lower part two devotees with matted locks are seated. All the three deities have their left hands on their hips and the right hands are in the Abhaya mudra (A hand pose of reassurance and safety). All of them have their characteristic weapons in their hands. The Sankha (Conch) and Chakra (circular disc) that Vishnu has in his hands have been sculptured in such a way that they do not appear to face the visitor as found in all other places in the South: only their sides can be observed. They are, therefore, called the Prayoga (weapons in. the act of being used) Sankha and Chakra. In the projecting rock above the cells Gavaksha (leaf shaped windows) have been cut. Varaha Cave (33 feet by 14 feet by 12 feet) is beyond the circular rock called Krishna's Butterball it is dedicated to the two avatars (reincarnations) of Vishnu as Varaha (the boar) and Vamana or Trivikrama (the dwarf). It is a small rock-cut mandapam, the pillars of which are perhaps the earliest to display a motif that became the signature of southern architecture; the lion pilaster, where a heraldic lions support ornamental pillars. The cave temple is dated to the late 7th century, soon after Arjuna's Penance. The columns of the temple entrance have lion bas-reliefs, and the roof is made of shrine models, which are very similar to those seen on the Pancha Rathas. Large sculpture panels show Vishnu as Varaha (Boar), lifting up the Earth Goddess, Bhu Devi, affectionately nuzzling her breast as he rescues her from the Naga king (adoring, below Varaha's feet) who had abducted her under the ocean. Varaha's size in relation to the other participants, and his realistically modeled features, illustrate the naturalistic tendency of Pallava art. This work evokes the tender relationship between Bhu Devi and her rescuer, in a mood of quiet devotion. In another scene, a devotee of Durga offers up his head to the bloodthirsty goddess (compare the very similar scene from Draupadi Ratha). Further magnificent relief representing Surya, Durga, Gajalakshmi (Goddess of Wealth accompanied by elephants) and two groups, which represent the kings, Simha, Vishnu and Mahendra Varman with their queens may also be seen here. Particularly noteworthy here are four panels of the famous Pallava doorkeepers. There is a mood of contemplative reverie, a lyrical softness and subtle grace about them that is totally at variance with the primordial machismo their role as guards of the gods imposes on them.
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Krishna Mandapa
Durga Cave (33 feet by 13 feet by 17 feet) is a huge rocky eminence that has been hewn into a large cave to house three shrines. The central one is intended for a Linga and has on its wall a bas-relief of the Somaskandha (Siva) group. On either side are the busts of Vishnu and Brahma and below is Siva's vehicle Nandi, the bull. This cave contains the well known Mahishasurmardini and Vishnu. In the Mahishasurmardini panel, the goddess Durga slaying Mahisha, the buffalo-headed demon is depicted. Durga is represented with the Sankha and Chakra. The legend connected with this sculpture is that once the Gods were beaten and driven out of Heaven by the demon king Mahisha. A light representing the inherent energy came out from each God, which all combined together to form a luminous body, which eventually assumed the shape of the damsel Durga. Durga got from all the Gods their respective weapons with which she fought Mahisha and his demons and at last killed them. The Seshasayana panel shows Lord Vishnu lying under the protective hood of Adishesha (of the seven-headed serpent). It has been chiseled in the unconventional manner and is known to be a rare monument the like of which cannot be seen elsewhere. The peculiar feature about Vishnu represented here is that He has only two hands and his emblems; the Shanka and Chakra are absent from his hands. Pancha Pandava cave (29 feet by 12 feet.) is really a mandapa constructed probably in the post Vijayanagara period. It has been praised as a charming pastoral scene of caves, cowherds and cowherdesses. The story of Krishna protecting the cows from the rain by lifting Govardhana Giri has been depicted here The Ganesh mandapa is an active shrine even to this day, with the idol of the elephant-god being revered by the faithful, fourteen centuries after it was first consecrated.
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Of the other mandapas, the Panch Pandava mandapa, that is unfinished, has a more elaborate facade. Its pillars are adorned with rearing lions springing from the capital, and the shrine is the only one surrounded by a passage, which allows circumambulation. Other An ancient port city and parts of a temple built in the 7th century may have been uncovered by the tsunami that resulted from the 2004 Indian Ocean earthquake. As the waves gradually receded, the force of the water removed sand deposits that had covered various rocky structures and revealed carvings of animals, which included an elaborately carved head of an elephant and a horse in flight. A small square-shaped niche with a carved statue of a deity could be seen above the head of the elephant. In another structure, there was a sculpture of a reclining lion. The use of these animal sculptures as decorations is consistent with other decorated walls and temples from the Pallava period in the seventh and eighth centuries. Source: www.wikipedia.com www.tamilnation.org www.pilgrimage-india.com www.divyadesamonline.com www.art-and-archaeology.com/india/ www.indiasinvitation.com www.indiasite.com www.hindubooks.org
Mayonic Science Perspective This site is replete with Mayonic Code. Some of the most obvious encoded forms are the presence of the many cuboidal forms with pyramidal vimanas. These replicate the Microabode proposed by Mayan as the smallest particle in unmanifest field of pure energy that contains consciousness. This site is known to replicate the same form in the form of Temple Car or Time Car. The Temple Car, more accurately known as the Time Car, is a form that replicates the Microabode. In many communities throughout India there is an annual event where the so-called Temple Car is taken out into the streets and paraded with the townspeople around the town. Unknown to most people, this event is a demonstration of the pulse of Absolute Time as it rises in Brahmam and moves onward to form OM Light and OM Sound. In modern language, it depicts the pulse or wave - form that begins the movement of Space toward manifestation in the Quantum Field. The pyramidal top or roof indicates the expansion of the energy waves or belts as the central primal fire moves in a waveform (dancing thread of light or Primal Fire). The existence of Siva and Vishnu, at the Shore Temple, existing side by side as two structures formed as part of one whole temple structure, is a deeply profound. As mentioned above, this temple has two shrines placed one behind the other, one facing east and the other west. The main shrine (Siva) faces the sea on the east, a second shrine faces the west (another shrine to Siva) and sandwiched between the two is a rectangular shrine dedicated to Vishnu. The first
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rays of the sun rising over the ocean illuminate the shrine facing east toward the sea and then in turn it illuminates the ocean as the sun sets to the west. This complicated set of structures demonstrates the primal cuboidal form of the Microabode, the primal fire in the vimina, the ever present OM Light (rising sun and presence of illuminating light as it illuminates the sea at night), the all permeating Siva (two forms of Siva) with the material world (Vishnu) contained within the existence of the eternal Siva (demonstrated by Vishnu being sandwiched between the two Siva shrines). The All - Pervading Essence of the spiritual nature is demonstrated by the evidence of interconnected reservoirs around the temple that allowed the sea to transform the temple into a Water Shrine. While all of the five elements contain their own flavor of spiritual nature, the Water element is predominantly spiritual and is noted as the place in a Vaastu structure where spiritual energy coalesces. In this case, the entire shrine was permeated with a demonstration of spiritual ambiance with the rise and fall of water throughout the site. This rise and fall depended on the tide of the ocean is also demonstrative of the pulse (Time) within Absolute Space that occurs when Siva in its form as Brahmam begins to move within itself then becoming itself again as Nataraj the second form of Siva. While the spiritual ambiance of this shrine depended on the rise and fall of the waves of the ocean, spiritual life in the material world depends on the rise and fall of the ocean of consciousness. The Durga cave with its depiction of Durga with many arms and wielding weapons is an example of the encoded forms used in Vaastu visual aesthetics to affect the viewer in a deep psychological way. The brilliance of Mamuni Mayan was carried out through the Shilpi tradition. We can only hope that it continues through this age of technology where function overtakes the beauty of form. These ancient Temples are indeed Prasada for they feed the senses but also feed the Soul. Throughout India, the living relics of the ancient past hold the secrets of the growth and dynamism of Absolute from its first pulse through its manifestation of the Pancha Bhootas to its concrete expression in this material world. We as witness and experiencer have a profound opportunity to awaken through the experience of this Prasada.
Personal Notes and Observations
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Part 3 The Cosmological View of Mamuni Mayan in His Mayonic Science Dr. Jessie J. Mercay
Mamuni Mayan Mamuni Mayan Mamuni Mayan, the great architect and scientist had been long thought of as a mythological figure. His exploits are recorded in numerous places in the corpus of Indian literature called the Vedas or Vedic literature. Veda Vyasa, the first compiler of the Vedas, mentions his name as the author of the Pranava Veda and that the Pranava Veda is the first Veda. Mayan is mentioned in the Upanishads, Mahabharata and numerous other texts as a builder, architect, scientist, and almost super-human man. Certain members of the Shilpi clan have held his name in reverence for centuries. As a young man, a poet named Karumari Thasar was interested in learning astrology. He went to the Saraswati library in Tanjour to research the subject. In his search through ancient palm leaf texts he came upon some works that seemed interesting to him. His interest grew to the point that he soon memorized the one million verses of these works. Many years later, he learned that the works were lost, stolen or damaged. They had completely disappeared. He knew that these works were important so he attempted to relay the works to others. At some point, he met Dr. V. Ganapati while Dr. Sthapati was the head of the Government School of Architecture (Tamil Nadu). The poet discussed the work with Dr. Sthapati and chanted the verses. Dr. Sthapati relayed to the Government that these were important missing works of Mamuni Mayan. In toto there were twelve Major works and 64 other works including the Pranava Veda and the Aintiram. During 1985- 1986 the poet Karumari Thasar chanted the Pranava Veda and the Aintiram in the presence of Dr. V. Ganapati Sthapati and a committee who recorded the chanting. In 1986 the Government released one major work called The Aintiram. Upon reading the Aintiram, a group of Tamil poets rose up against the publication of the works. The reason was simple: they didn’t understand the technical language so they didn’t like it. Thus, the Government stopped the recording process. In 2001, Dr. Sthapati asked for the recorded texts to be placed in his care for research. For Dr. Sthapati these texts were the missing link to centuries of Vaastu tradition. These texts were found to be the ancient source of Vastu Science and Technology – The Pranava Veda written by Mamuni Mayan 10,000 years ago. Dr. Sthapati spent hour after hour pouring over these documents. Transfixed by the profundity of these illuminating
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verses he lost himself in Time and often studied deep into the night. With only a few hours rest he still continued to perform his daily activities as a thriving architect. It was only because of Dr. Sthapati’s former education (mathematics, science, Sanskrit, Tamil, Vaastu Shastra), his close association with his scholarly father who was a renowned Sthapati, and over fifty years of practical work in the field of traditional architecture and sculpture that he was able to delve deeply into the meaning of the ancient texts. His deeply spiritual nature led him to see that these texts were about more than architecture – they were about the Source and Essence of life itself. Mayan's science or Mayonic Science is a complete cosmology- a scientific study of the origin and structure of the universe, manifest and unmanifest. The ancient Mayonic secrets that lead humankind to complete harmony with himself, with others, with his environment, and with the universe, are revealed in this cosmogony. These ancient records reveal that Mayan was born about 13,500 years ago, in the now lost continent described in many Tamil texts as Kumari continent. Kumari continent was a landmass off the Indian sub-continent, which stretched across the seas to the Americas. By the time Mamuni Mayan was an adult all that was left was a large island mass called Jamboo Dweepa and a number of smaller land masses – perhaps Madagascar, Sri Lanka and other bodies of land are all that remain after the deluge that covered Jamboo Dweepa. The Center Of Originator From Mayan’s original work, Dr. V. Ganapati Sthapati translated a body of knowledge that reveals Mamuni Mayan’s deep insights into what we might call the creative process. More aptly put, it is the manifestation process, for according to Mayan nothing is created - it is manifested from the One Source. Even what we call “creativity” in art, science, literature and so forth is a manifestation from the One Source. Modern science bears this out to be true: energy can neither be created nor destroyed – only transformed into different states. And, after all, according to Quantum Physics, everything in the cosmos is nothing more than energy. Thus, what Mayan was exploring and elucidating was the transformation of energy from one state to another. That transformation of energy from potential energy (the Quantum field) to kinetic energy (the material world) is the story of the manifestation of life from and within the One Source. It is the story of the love that the Originating Source, sometimes called Moolam, Brahman, the Quantum field, had for its own inherent beauty and its search for that beauty in the manifest world. According to Dr. Sthapati, “This perfection It constantly creates (manifests) so that it may forever savor and enjoy this Ultimate Beauty.” (An overview of Mayonic Aintiram, Dr. V. Ganapati Sthapati, 1992, p8). That is, the Originating Source found itself to be so beautiful and perfect, and in love with that beauty and perfection that it manifested itself in different material forms in order to experience and savor that beauty eternally. The following text is taken and paraphrased from various brilliant and insightful articles, monographs and texts written by Dr. V. Ganapati Sthapati one of which is a chapter called The Center of Origination which is part of his Overview of Mayonic Aintiram mentioned above. Much of the language that follows is that of Dr. V. Ganapati Sthapati who faithfully translated the concepts of Mamuni Mayan. I have added my own discussion to the text remaining loyal to the meaning and understanding put forth by Mayan.
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Dr. Sthapati says that Mayan revealed that the laboratory of the process of creation is within the inner being of every individual. To comprehend the unfolding drama of the origin of universal beginnings, we must journey deep into the heart of the human center where the source or spirit consciousness vibrates and acts from. Mayan says that this is the source of all origination that is, the source from which everything in the universe and beyond originates. Mayan describes it as the space of the action.” Mayan says that this inner being is an extraordinary place. Its quality and its action are without pretense and it is always spontaneous. The unforced, autocatalytic natural action emanating from the center of consciousness makes it possible for the resulting manifestations to be untainted and pure. Hence, the ability of the inner being can be called spontaneously orderly, and inherently intelligent. In fact, intelligence of the inner being is the only real fact, while the cleverness of the brain is only a pale distortion. This center of the being is the place where the impact of all outer phenomena makes their impression. This is the space where the response to the outer world of reality is born. This is the genetic center of change and of metamorphosis. It is the untainted source of creation / manifestation. The outer impinges into the still inner consciousness and sets the inner being into motion. The spirit vibrates, spins around its own center and begins to activate itself. Even in its stillness it is not frozen but filled with the promise of its throbbing and hence that of the spirit can be called the vibrant core of consciousness. Within its aliveness and its ceaseless potential for action, is contained a vigilant self-awareness, a watchful sensitivity. All the responses to itself and to reality are stored in this vibrant center. This spirit or the receptacle of awareness becomes the substratum from which the energy of the self is harnessed so that the Being could leap into action. Mayan calls this spiritual center as Moolam (meaning source), Maiyyam (meaning center) and Pulli (meaning point) – the central source point of consciousness. In its awareness of the essence of reality, the Moolam is constantly coming into touch with its own fundamental nature. The Moolam absorbs and integrates the awareness of the essence of all substances within itself and this intelligent self-awareness, becomes the source of light. Hence, the Moolam is capable of illumining itself constantly. The first state in the appearance of the external creation of the individual being is the emergence of the luminous intelligence. This ambience of light is made up of countless particles of light, which appear in the space of the Moolam (Source). In its desire to create a substantive representation of itself on the outside, the Moolam impels itself into a spin. Upon rotating the particles are thrown out all around the center. It is from this action of discharging particles of light from the luminous core that the Moolam anticipates the end product of a manifested outer phenomenon. The very act of anticipation of a final outcome and the effort put into bringing this about are the reasons for the ultimate object to be transformed into a reality from being figment of an inner dream. What is the substance of the outer phenomenon? Its nature and its substance are gathered from Moolam and are products of its own being says Mayan. In other words, the Moolam recreates itself on the outside, but why? The joy it attains in its own existence is so intense that it constantly replicates itself so that the joy may never come to an end. The action of replication that makes use of volition and the energy of light is the process of Time. The very act of holding an idea of the ultimate product and striving towards its attainment requires 'Time' says Mayan, and the
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concept of a continuity and the birth of a now and a later, take place at this point. Hence, the Moolam, which originally inhabited a timeless, limitless space, has now brought time and limits into the picture. It follows that it also has to limit itself in a manner that would contribute to the efficiency and order of the ultimate product. The Moolam creates an order in its energy discharge, and the control, it exercises on its luminous particles, is called 'Seelam' or intrinsic order. This is called Tala Purusha or Mayonic Order. Without discipline, the energy would be needlessly wasted and the final product would prove to be disorderly or chaotic. From the movement of the Moolam or Pinda Moolam (the source of animate objects / source of the micro universe), in orderly rhythm, the beauty of art and the sweetness of language are born. In a similar manner to the nature and action of the individual Moolam the universe too acts from its own center which may be called the Macro cosmic center or Anda Moolam. This larger consciousness too feels and vibrates, impels its inner being into action so that it too may perpetuate its unending 'joy of awareness'. It is from this action of the Anda Moolam that the five elements (space, air, fire, water, earth) are born as also the whole of universal reality. Starting with this all-encompassing base, Mayan moves on to build further on his theory, by according a grammar to all creativity. This grammar or order is natural to the growth and movement of life itself and hence inseparable from the consonant co-existence of the macro and micro beings. Thus, he stretches this order from the very nature of existence to the emergence of all the arts, the emergence of language, the beginning of technology and so on. (The formation of life from the smallest of the small to the largest of the large follows the cosmic grammar or order perceived and articulated by Mayan). Dr. Sthapati goes on to say that in a nutshell the theory can be stated thus: The inner being of both universal and individual consciousness has the inherent ability to become aware of itself and its experiencing of the world of reality. This awareness is intelligent and hence luminous. The luminosity of the inner being can be harnessed and directed to create a tangible evidence of its own inner savoring. The order brought into play to control this luminous self-energy is capable of being fundamental to all outer action, which is Time-based and hence can be set out in a light symbolic manner. From this all creation can be set into motion. Dr. Sthapati continues by saying that now that the inner being has created an audible and visible representation on the outside what does it really perceive and hear? The paradox lies in the utter simplicity of the answer. The Moolam (Brahmam) is in love with its own inherent beauty and this beauty it searches for on the outside and this perfection it constantly creates, so that it may forever savor and enjoy this ultimate beauty. Let us now examine the individual particle of light that is flung out from the Moolam when it begins its clockwise spin around itself. Mayan says that each of these particles is a cube of unit dimension when still, but is subsequently rounded off through the action of the momentum and effort or the movement having a resulting impact on the natural form and shape of the original substance. Time (pulse, vibration) is the reason for the decadence of the inherent form of substances, that is, time destroys and puts limits to the manifested form. But the un-manifested supreme substance is incapable of being reduced and is called the eternal substance. The destructible outer manifested form is the neverending spin of life and death, the movement of casual nature. Dr. Sthapati goes on to say, that the original cube of the Moolam contains the pulsating throbbing energy of potential light within it. This energy is always vibrant and never frozen. To this primary particle, he gives the name of sitravai or
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the minute cell. The vibrant energy is fluttering to an inherent rhythm not unlike the steady regular beat of the heart. This ceaseless vibrancy Mayan compares to an eternal dance - the dance of all reality - the divine dance of Nataraja. He calls the image of the eternal cosmic substance as the aesthetic vision of the primeval vibrant particle of consciousness. The primary inner consciousness activates itself and creates the visible and audible phenomena on the outside. In answer to this question, 'What is the nature of the original space from which the multiple reality of the universe is created'? In his cosmogony, Mayan concludes that the Moolam (source) which is the seat of this creative unfolding is substance too, and so a participant in the numerical progression emanating from its center. Space, in fact, is a substance; consciousness is then known as the primary substance or Vastu, Porul. And, it is that primary substance, Vastu that contains within itself infinite potential. In love with its own beauty and wanting to experience that beauty outwardly, it transforms itself into the infinitely complex material Vaastu we know as atoms, molecules, cells tissue, humans, plants, minerals, animals – the sum of the manifest world. From Beneath the Sea When visitors to the southern tip of India, called Kanyakumari, view the rock outcropping that holds a magnificent 133-foot, 7000-ton vaastu statue of the great poet Thiruvalluvar, they stand in awe of the structure. What they don’t see is the empty space within. They see the beauty, material order and the stone but they don’t see the space, time, energy, and Mayonic Order that is contained within the massive structure designed and constructed by Dr. V. Ganapati Sthapati using traditional vaastu principles as put forth by Mamuni Mayan in his Pranava Veda and Aintiram. They also don’t know that the vastness and greatness of this structure is minute compared to the massive land mass, now beneath the sea, that stretched from India to the Americas, to Antarctica – a portion of which over 13,500 years ago birthed one of the greatest humans in history. It is by virtue of this man, Mamuni Mayan, that the principles of Vastu Science and Vaastu Science and Technology were developed and preserved through the Pranava Veda and the Aintiram. These two publications record the process and order employed by the Supreme Intelligence that lives manifest and unmanifest. It is only through the untiring efforts of Dr. V. Ganapati Sthapati that these principles are being brought to the light of day to bring light to the world. It is from the depths of the sea of consciousness that he has perceived the subtle truths contained in these publications from ancient times - the knowledge of The Center of Origination Mayan’s scientific yet spiritual cosmological view. www.aumscience.com
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Epilogue: The Unseen Force The power and beauty of Mayonic Science and Technology and Vaastu Science and Technology is displayed more by what is not seen then what is seen. The beautiful temple structure below is a temple under construction in Hawaii – being built by Dr. V. Ganapati Sthapati. The “Temple Cottage” below it is the almost finished structure built by the students of The American University of Mayonic Science and Technology in Las Vegas, New Mexico during the practicum in July and August and October 2006. My experience and the experience of others who have been in both places is that the Vaastu effect is equally powerful and clear at both sites. It is not the outside that creates the effect; rather it is the bound Space within. While ambiance is very important in Mayonic Science and Technology, it is the scientifically, mathematically defined and constructed bound Space that generates the Vaastu effect. The boundary may be lavish or simple – as long as the principles of Mayonic Science and Technology are faithfully executed, the effect of spiritual bliss and peace may be experienced. All gratitude to Mamuni Mayan.
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Dedication This document is dedicated to our dearly departed Shilpi Guru, Dr. V. Ganapati Sthapati, his wife Amma, and his loyal staff including Architect Krithika and Sthapati Santhanam. The untiring devotion of the entire staff of Vaastu Vedic Research Foundation and International Institute of Mayonic Science and Technology, Chennai to perpetuating this work is appreciated beyond words. We all owe immense gratitude to Dr. Sthapati for his primary role in presenting the knowledge of Mayonic Science and Technology to us. Without him, there would be no University and no one in the Western world with even a hint of this knowledge. He has brought light to the world. The light is the light of a thousand suns. The Vishwakarma tradition of Architects and Shilpis have kept this art and science alive for thousands of years. All gratitude goes to them for their skill and devotion. Finally this document is dedicated to the pioneering students of The American University of Mayonic Science and Technology who have participated in the first four years of AUM S&T Resident Scholars Programs in the US and India. Their love and interest in this Science brings inspiration to move forward in the establishment of this sacred University. www.aumscience.com Part two of this text is filled with information on specific temples along with some of the Mayonic perspective regarding the temples or legends associated with specific temples. While I wrote the Mayonic perspectives, Mr. Vinay Janthanna did the collecting and writing of the data on the traditional folklore and mythology of each temple. I would also like to thank Mr. Murthy for his contribution in understanding the scientific significance of the art forms and relics of India. P.V.N. Murthy (Author and Editor: http://www.vedsri.org/linguamths.asp) I would like to thank Dr. S.P.Sabaharthanam for his invaluable contributions through translation and interpretation of various texts. I would like to thank Dr. Veerapandian for his untiring efforts in revealing profound secrets of Mayonic music. The references for this text are contained within the text itself. Most of the references are available through Vaastu Vedic Research Foundation, Chennai. www.vastuved.com A final note: The knowledge in this text is really only the tip of the iceberg in terms of the real knowledge that was put forth by Mayan. The Pranava Veda from which the fundamental principles arise is 50,000 verses and is not translated into English although we are spearheading a project to do that. There is a lifetime of study in front of us. Truly this can only really be fully comprehended by accessing our own inner Nataraja. Jai Maya All glory to the great scientist/artist Mamuni Mayan, who developed Mayonic principles, Applied them in practice, and documented them for posterity.
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Dedication to Dr. V. Ganapati Sthapati Dr. Jessie Mercay, American University of Mayonic Science and Technology At 6 PM, sunset in Chennai, a great light left us. Dr. V. Ganapati Sthapati, our Shilpi Guru dropped his mortal koil. It was sunrise here in Arizona. It seems very poignant that the sun was setting in Chennai and rising here in the US. It is almost poetic. Sthaptis’ greatest wish was to spread this knowledge to the western world. We have done this and continue to do it. Let us take time to thank him and pray for his transition. Sthapati is one of the greatest men in our written history. He is responsible for the awakening of the truth of this knowledge. He cut through the muddy beliefs and superstitions and spoke out about the profound spiritual science that Mayan revealed through his connection with his inner being. Sthapati brought us a direct path to God. This path is uncluttered and uncomplicated – gain direct resonance with the Divine and we become enlightened. Do that through the Vaastu arts. There are no crazy superstitions or odd beliefs we must have. There are no complicated methods, chants, affirmations, postures, or any other things that we must do. We can directly experience this through our own Vaastu houses or temple cottages. Sthapati built amazing temples, arches, houses, statues, memorials, etc. that live on as his legacy. But, we are his real legacy. The forms he created contain the science but we can speak the science and live the science. One day Shapati took me to some cupboards in his office. He pointed to them and said this is my wealth – I give it all to you. He opened the doors and showed me the Pranava Veda (50,000 verses) and a number of other texts. You and I have inherited his wealth. It is our duty to pass it on to the world. The sadness is overwhelming, but the knowledge that we have all that we need to go on and that that is what he wants softens the blow. From www.vastuved.com Born into the clan of the Universal Creator - the Viswakarma As the blessed prodigy of an illustrious Sthapati And Inheriting the rich tradition of the shilpis of yore Who had more to contribute to the tradition than his great ancestors And in whom the tradition of Vaastu found a vivacious custodian An architect, builder and a sculptor vested with the zest of a scientist Who liberated the science from the shackles of religion and region And took it to soaring heights, even crossing the seas Whose talks and works enthralled even the western minds Who had nothing to say but only wonder at these truths, very supreme, Blessed by the Gods and adored by the man on earth For he has proved the world the might of his tradition originated by no less than a Brahmarishi, by name Mayan which has brought forth the God in the unseen spaces into visible forms in this earthly space confined within measures divine in which forms even the God delights to reside. Thankful are we the humankind to this Vaastu Vyasa who is to the tradition of Vaastu Shastra as Veda Vyasa is to the Vedas.
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AUM Aesthetic Scanning Help Guide Sensory (descriptive) Properties: The art elements of line, shape, texture, and color. large and small size, deep and shallow space, dark and light, etc. 1. What colors do you see? 2. Are there any lines? 3. Can you see a round shape? 4. Is there a dark color? 5. What is the biggest shape? 6. How deep is the perspective? Formal (analysis) Properties: The way the art work is organized. Unity, repetition, balance, contrast, dominance, rhythm, variety, etc. 1.. Are there repeated shapes? 2. Are there opposite things? 3. Is one thing more important? 4. Can something be changed? 5. Is the color needed over here? 6. Are there light/dark things? Expressive (interpretation) Properties: The mood, feeling or philosophical concepts of the work. 1. Is this a sad/happy work? 2. Why did the artist make it? 3. What is the artist telling us? 4. Would you like to have this? 5. Does it make you feel good/bad? 6. Would your guardian (s) like it? Technical (judgment) Properties: How the work was created. The medium used (watercolor, oil paint, acrylic, bronze, wood, etc.). The tools used (brush, pencil, crayon, ink, pen, printing press, camera, etc.). The method used to make the work (drawing, photography, painting, sculpting, printing, etc.). 1. How did the artist make this? 2. How did the artist make this part look so rough? 3. What kind of tool did the artist use? 4. Do you think the artist used crayon to make this? 5. What is the difference between a pencil drawing and this work? 6. Do you think the artist drew a picture before making the painting? The four steps of describing, analyzing, interpreting and judging are often used to critique a work of art. Here is another system, aesthetic scanning, a process of discussing the qualities of an artwork. You will use it to write an analysis on the aesthetics of a Vaastu form. There are five categories: 1. Sensory qualities refer to the art elements including -- line, shape, texture, color 2. Formal qualities refer to conventions related to the specific medium, such as exaggeration or distortion in the cartooning medium 3. Expressive qualities refer to meaning, use of symbol, feelings they evoke, etc. 4. Technical qualities refer to the method and use of materials 5. Judgmental qualities refer to the viewer's sense of the value of the work
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AESTHETIC SCANNING Looking at Art Name ____________________________________ Session/date ____________ Title of Artwork ________________________________________________________________ Artist __________________________________________________________ I. SENSORY PROPERTIES (Elements of Design) Describe, in complete sentences, how each element appears in the artwork. 1. Shape 2. Line 3. Color 4. Texture 5. Space 6. Value II. FORMAL PROPERTIES (Art Principles) Describe, using complete sentences, how each principle is demonstrated through the way the artist used the elements. 1. UNITY (Combines elements) 2. Balance 3. Emphasis 4. Harmony 5. Variety 6. Gradation 7. Movement/Rhythm 8. Proportion III. TECHNICAL PROPERTIES: Using complete sentences, state the media and technique the artist used to create the art. _______________________________________________________________________________________ _____________________________________________________________________________ IV. EXPRESSIVE PROPERTIES: Using complete sentences, describe the following: How does the art make you feel? Does it express a mood and if so, what in the art makes you think so? What do you think the artist was trying to express? V. Make a sketch of the object you chose to assess. In your sketch try to indicate some of the properties you observed. Don’t worry about your artistic skills - just do your best. Wait until you have done a thorough analysis then do your drawing. Be aware of your inner relationship with the inner or subtle aspect of the object.
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Tour Schedule January 08 Day 1: Arrive in Chennai, rest and relax. Following lunch at the Raj Park we will make a visit to the wife of our late Shilpi Guru, Mrs.. V. Ganapati Sthapati. It will be a short 1 hr visit. At 7:00 PM there will be a mandatory lecture / meeting that will provide profound information regarding the topic of this tour/pilgrimage. One of our speakers will be an authentic Sthapati – temple architect and builder whose family comes from an ancient lineage of Vishwakarmas. He is the grand nephew of Dr. V. Ganapati Sthapati. Monday, Jan 9 -‐ Day 2: 7:30 AM Morning drive to Kanchipuram. Excursion to Sri Ekambareswara Temple, and Sri Kailasanathar Temple. Afternoon drive to Thiruvannamali, overnight Hotel Sparsa Tuesday, Jan 10 -‐ Day 3: Morning visit Arunachaleswarar Temple. Afternoon visit to the Ramana Maharishi Ashram. Overnight in Thiruvannamali. Hotel Sparsa Wednesday, Jan 11 -‐ Day 4: Early morning (3 AM) pilgrimage around sacred mountain -‐ Arunachaleswarar for those who wish. Hike to Ramana’s cave. Drive to Trichy after early lunch. Overnight in Breeze Residency Thursday, Jan 12 -‐ Day 5: Visit famed Sri Raangam and Jambukteswara temples. Afternoon drive to Karaikudi – Chetinand land. Over night The Bangala Friday, Jan 13 -‐ Day 6: Visit Sittaanvasal Caves which have carved temples and ancient wall paintings. Jain, Hindu, and Buddist temples. Overnight in The Bangala. Saturday, Jan 14 -‐Day 7: Local activities. Lecture by dr. Veerapandian. Mayonic Music. Overnight The Bangala Sunday, Jan 15 -‐ Day 8: Morning drive to Tanjour to visit beautiful Breehadeswara Temple. Then on to Kumbakonan. Overnight Paradise resort. Monday, Jan 16 -‐ Day 9: Morning drive to Thiruvelliyankudi village – our adopted village where we take school supplies to the children and offer a financial donation for the school. Afternoon drive to Rajendra Chola temple, Gangaikondacholapuram. Investigate and study this site, which is the magnificent female twin temple of Tanjour temple. Drive back to Kumbakonam to spend night. NOTE: Please bring paper, pens, pencils, and crayons for the school children in this village. We have been supplying them with items for school for the year. In addition we leave a financial donation to improve their school. We brought electricity, fans, lights to the school thus far. Tuesday, Jan 17 -‐ Day 10: Visit local Shilpi metal casting and carving shops and temples in Kumbakonam. Here we spend 4-‐6 hours in the afternoon resting and soaking in the energy of a beautiful small temple. Overnight Kumbakonan Wednesday, Jan 18 -‐ Day 11: Early morning drive to Chidambarum, visit temple then drive to Pondicherri for overnight at Anandha Inn. Thursday, Jan 19 -‐ Day 12: Morning drive to Mahabalipuram. Visit Sthapati’s stone yard for afternoon tour. Raddison Temple Bay Friday, Jan 20 -‐ Day 13: Morning visit Dakshinachitra, afternoon in Chennai at office of SK and Krithika then back to Mahabalipuram. Raddison Temple Bay Saturday, Jan 21 -‐ Day 14: Morning tour of ancient Mahabalipuram Shore Temples, Five Rathas, Arjunas Penance Bas Relief and Rock Cut Temples. Raddison Temple Bay Sunday, Jan 22 -‐ Day 15: Stone carving class at Sthapati’s stone yard – full day. Check out of hotel prior to class.
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