ancient sceince

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Ancient Scientific Wisdom 15 JUNE 2010

A registered public Charitable Trust

Nature is God; Its behavior, Science; and Its pattern, Mathematics.

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CONTENTS

TOPIC PAGE No.

Special Spellings 4

Editorial 5

Do All Religions have the same Goal 7

Sthapathya Vaedha by Dr.Ganapathi

Sthapati 10

Science and Technology in Vaedhas

By Dr.Avadhanulu 12

Thiruvannamalai Temple Museum

By Dr.Kannan I A S 14

Myths, Maths or Sciences? 24

Midnight Ghost by Chinnu 28

Ancient Mathematical Riddles 32

Ainthiram—Ancient Thamizh Work 37

Vedsri News 47

Hard to Believe Facts 48

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Dear Readers and VEDSRIs,

I hope you won’t mind if I pat on my own back for complet-ing a full year of publishing this ANCIENT SCIENTIFIC WISDOM magazine. I hope more so because there were hurdles— very unexpected in the path. By God’s Grace, by the strength, honesty and genuineness of the subjects dealt with and by your encour-agement the magazine contin-ues. I solicit your whole-hearted support further to run it successfully for ever.

From August 2010 onwards this magazine will get up-loaded in VEDSRI’s Website and will be available for downloading free of cost for some months.

In view of this and due to the ongoing economy drive, I re-quest all the advisory panel members, and other well wish-ers of the magazine to read the soft copies of the magazine from VEDSRI’s Website the new revamped one, the new name of which will be an-nounced soon.

Only the annual and life sub-scribers, advertisers, contribu-tors of reading materials, do-

nors of a minimum of Rs. 1000, Patrons, Trustees and paid staff, and few others at the discretion of VEDSRI will continue to get the printed hard copies.

Now regarding the articles in-side this issue, you may notice a wide variety when you browse first.

While the second year publica-tion starts with this issue with the holy blessings of Swami Dayananda Saraswati, you find an essay by him on “Do All Religions Have Same Goal?”.

Padmabhushan Dr. Ganapathi Sthapati’s Sthapathya Vaedha, Science and Technology in Vaedhas and Saasthras by Dr. RVSS Avadhanulu, and Myths, Maths or Sciences are continuation items from previ-ous issues.

A new serial on Ainthiram is started from this issue. Well, Ainthiram is an ancient Tham-izh work believed to be on all branches of sciences put to-gether. Ancient work alright! But my personal opinion is that it is not as ancient as San-gam Thamizh works. Its lan-guage gives this opinion to

me. But it seems to contain the Vaedhic and Sangam Thamizh science in it fully. At least Dr. Ganapathi Sthapati and Dr. Sabarathinam assert this point. As a matter of fact Dr. Stha-pati requested me personally to decode the work in unambi-guous scientific terms if possi-ble. I could not take up this job for lack of time. But I am happy now to include the translations in the light of Dr. Sabarathinam’s interpreta-tions.

I request you not to miss the real story of Midnight Ghost by Chinnu. If it does not scare you at all, please do not hesi-tate to write to me. If it does, please tell others also. It is in-tended to bring a change in the superstitious beliefs about ghosts!

Finally, almost all the ancient mathematical riddles except-ing one or two have been re-stated and their answers are given in this single issue. But the opportune moment has not come to explain about their significance and roll in rapid calculating methods. Perhaps we may have to revisit them again for the purpose. - Editor


EDITOR SPEAKSEDITOR SPEAKS

ON THIS ISSUE ON THIS ISSUE

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ANCIENT SCIENTIFIC ANCIENT SCIENTIFIC

WISDOMWISDOM FOR COMPLETING ONE YEARFOR COMPLETING ONE YEAR

AND ENTERING THE SECOND YEAR!AND ENTERING THE SECOND YEAR!

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This topic is a very important one because a number of people the world over, mainly Hind-hus, believe that all the relig-ions have the same goal. We

need to objectively understand this topic without any preju-dice. Let us look into all the implications.

One thing is certain -- all relig-ions have goals; this is not doubted by anybody. When one looks into theology of any given religion, one thing that

emerges is any relig-ion is not meant for God, but it is only meant for a human being – male, female does not come into the picture. If relig-ion is for a human being, then it should present the human being a goal which is desirable or which is more preferred because of a threat to some damnation after death. There-fore, what is the end

DHARMA

We can look into this goal in a two-fold way. One is DHARMA. It is held by good think-ers that all the relig-ions are committed to DHARMA. But then, is it the DHARMA of a given religion, its own DHARMA, or

DO ALL RELIGIONS

HAVE SAME GOAL? BY SWAMI DAYANANDA SARASWATI

7 Ancient Scientific Wisdom 15 JUNE 2010

is DHARMA universal? If each religion has got its own view of DHARMA, then even in terms of DHARMA we do not have a common goal.

Some of the popular religions that were not there before, in history, but have come into be-ing, have a bel ief of DHARMA. This belief is rooted in their own theologies. When we look at a value like AHIMSA, non-hurting, what does a Hindhu think of AHIMSA? Is it universal? Or is it subject to double standard? Is it all to kill somebody if that person does not accept another person’s religion? If he or she does not, then already this per-son is an enemy to God. That means God has already given the true religion; this has got to be accepted – lock, stock and barrel. And the one who does not believe this, is an enemy to God and, therefore, an enemy to the faithful. This gives the faithful a sanction, a spiritual sanction to killing; dangerous! The end becomes the end; it justifies the means. Danger be-gins here, where the end be-comes so sacred that the means can be flouted. One need not bother about the means at all because the end is sacred. One can use deception, one can use seduction, one can use coercion – all these one can employ be-cause it is a religious sanction; it is justified.

The theologies are giving sanc-tion for employing any means –

fair or foul. Upfront nobody comes and tells me, “This is my belief – I am starting this hospi-tal, I am starting this school, in order to convert you. I give you this help in order to bring you to my flock.” Nobody, just no-body tells me this openly. The end is so sacred that the means is not at all a matter for consid-eration.

In all the assemblies of the reli-gious leaders that I have at-tended, I do not find any leader belonging to these popular re-ligions accepting one universal common value. I proposed AHIMSA in one meeting. And they said, “We do not believe in it.” (hush).

Later, in yet another religious leaders’ assembly I advocated, “Let us have mutual respect among religions. Let us pro-mote mutual respect among re-ligions. I may not accept what you believe but I will defend your freedom to have your be-lief.” This is what I said. “I give you the freedom. You can have your own beliefs. One has got a right to believe, and so please believe. You respect me; what-ever is my belief. I also respect you and we can live in har-mony.” But they just will not accept that. They say that they cannot have mutual respect be-cause having mutual respect means they have to accept my religion. I asked, “What is wrong in that?” They say, “It is wrong because if I accept your religion then your religion be-

comes true.” “If it becomes true, what will happen?” “Then I cannot convert you; I need not convert you. But, your religion is wrong.”

Where is harmony, Sir? How one is going to have mutual re-spect? Only the educated Hind-hus believe ‘all religions lead to the same goal.’

For us DHARMA is universal – the very basis for one’s in-teraction.

For us DHARMA is universal. It is not mandated by anybody. It is not history. It was not given out by somebody, a spe-cial person telling us, “Do not do this, do this. This should be done, and this should not be done.” Any given person did not give these kinds of man-dates, in history, at a given time. Before the advent of that person also there were human beings; one cannot say that they did not have any matrix of val-ues, DHARMA.

Every human being is endowed with a faculty of choice. That means one must have the ma-trix of values to base one’s choices. You have to make your choice, and I have to make my choice. If there is no choice and both of us are programmed, then we will live according to our own programming, SWAB-HAAVA. There is no problem. Once I have free will – I can do an action, I need not do an ac-tion, and that I can do it differ-ently. So this free will is a tre-


mendous freedom; you can blast the whole world if the power is with you! It is a free-dom.

When the human being is en-dowed with such a freedom then it would be a lacuna in the creation if there were no provi-sions for self-discipline, and no mechanism to discipline one-self. A universal matrix of val-ues should be the basis, and one’s knowledge of this forms the very basis for one’s interac-tion.

AHIMSA is not a negotiable value.

Look at this very clearly. I have to make choices. A cow has the instinct to survive. I also have the same instinct to survive. Any living organism has the instinct to survive. Every in-sect, every plant, every tree has this instinct to survive; there is no exception to this rule. There-fore, everyone wants to live.

A human being also is a living organism and has the instinct to survive like even the animal has. If the cow apprehends some danger it can kick a per-son, it can gore a person to death. The cow will have no regret. A cow is ‘vimukthah – dharma-adharmaabh yaam vimukthah’; it is above ‘dharma and adharma’. So you want to survive and the cow also wants to survive. But, the cow does not know that you want to sur-vive. However, you know that you want to survive and the

cow also wants to survive; you know this very well. This two-fold knowledge is complete, backing your free will. Once you have the free will, then you can abuse it. What is freedom that cannot be abused? But that you do not abuse is the wisdom. If there is no possibility of abuse there is no freedom.

Somebody tells me, “You please walk freely.” Right in front of me is a bayonet, to my left is a bayonet, to my right is a bayonet, behind there are three fellows with bayonets; where is the freedom to walk? Thererore, freedom means it is subject to abuse; even God has to stand and watch! That is freedom. Once freedom is given, then there must also be certain basis for choice given, and that is what we say, DHARMA, knowledge. This insight, this fact – that I want to live and others also want to live – I am not ignorant about; I know.

I do not want to get hurt, others also do not want to get hurt; this is the basic DHARMA. Every other human being also knows this. Therefore, we have a universal value, AHIMSA. When we analyse every other value such as non-cheating, non-stealing, non-robbing, not tell-ing lies, not taking advantage of a weak situation, we find they are all centered on one value – AHIMSA. ‘Ahimsa paramo dharmah’, meaning non-hurting is the basic value. This is

Vaedha. It is not a negotiable value.

If AHIMSA is the basis for all other values forming a matrix of values, then it is not taught to me by somebody. A mos-quito is not taught, no monkey is taught in order to survive. It is given. For a human being also, untaught it is given. This is the Hindhu vision, the Vaedhic vision of DHARMA.

--- To be continued in the next issue.

FOR EVERY ACTION THERE IS AN EQUAL AND OPPOSITE RE-ACTION.

“VAEHI,

SAAMAANYAM”

—VAEDHIC SCIENCE

“IF YOU HURT, YOU MAY BE HURT BACK” —AHIMSA

“LIVE AND LET LIVE”


(CONTINUED FROM APRIL 2010 ISSUE)

Brahman is one. But it mani-fests itself into two forms – one is Sabdha Brahman and the other is Para Brahman. He who understands Sabdha Brahman will alone be able to understand Para Brahman. The first is Vaak, the aural and the second is Artha, the visual.

The light vibrates giving rise to sound space. Hence Artha Brahman (Param Porulh in Thamizh and Para Vasthu in Sanskrit) is the Moolam (root), the Primary Source material for all the visuals and aurals.

This is the keynote of Sthaapa-thya Vaedha, inherited and preserved by the Sthapathis and Shilpis (Sculptors) of Jam-boo Dweepa (Jamboo Island) an d Bh ara t h a V a rsh a (Extended Indhiya).

The word Vaasthu Saasthra is well known today all over the world. Though this science has come down to us, from the good old shilpis (sculptors) as a result of the experience of generations and their experi-ments for centuries, this had to remain silent for the last three centuries on account of foreign rule, and due to the impact of alien cultures. Yet it is a living

tradition in Indhiya, on ac-count of it high values. It is reemerging with new fangled oars. The advancement in modern science and technol-ogy has opened up new chan-nels of enquiry, search and adherence, and as a result, dif-ferent types of mysterious en-ergies, unseen forces etc. that surround us and within us have come into the world of research very seriously. Gross and subtle energies are under scrutiny. One such is energy inherent in Vaasthu principles that are preserved in the sacred scriptures like Vaasthu and Aagama. This channel of re-search is widening day by day.

SANGAM THAMIZHSANGAM THAMIZH

SCIENCE SCIENCE

STHAAPATHYA VAEDHA,STHAAPATHYA VAEDHA,STHAAPATHYA VAEDHA,STHAAPATHYA VAEDHA,

VAASTHU SAASTHRA,VAASTHU SAASTHRA,VAASTHU SAASTHRA,VAASTHU SAASTHRA,

OR MANAI ADI SAASTHIRAM? OR MANAI ADI SAASTHIRAM? OR MANAI ADI SAASTHIRAM? OR MANAI ADI SAASTHIRAM?

By Padmabhushan Dr. V. Ganapati Sthapati

(Founder Director, Vaastu Vedic Research Foundation, Chennai

and Sculptor of 133 ft. Thiruvallhuvar Statue at Kanyakumari)

10

One section of global society rightly feels that ignorance of the existence of spiritual spaces, disorderly organization of living spaces inside the building and lack of applica-tions along proper lines, have been the cause for majority of illnesses or sickness, stress and strain that the inhabitants of the present day houses are subjected to, all over the world.

Today we see a mushroom growth of Vaasthu consultants all over the country justifying the aforesaid comment. Some

are fairly satisfactory, and oth-ers are failures. A logical and scientific solution for all prob-lems of sick buildings is yet to come out of the lab of modern scientists. The major reason for imperfection and hesitation appears to be the language barrier and want of traditional interpretation of the science base of technological material that one meets with, in Vaasthu treatises.

Vaasthu being a technical sub-ject, non-technical scholars versed in Sanskrit are not able to offer solutions to all contra-

dictions and confusions now prevailing in the country. Un-der the circumstances, a hum-ble attempt is being made by a traditional practitioner known as Sthapathi in the series of articles extracted from his book titled STHAPATHYA VEDA, the ancient and au-thentic name for Vaasthu Sci-ence/Vaasthu Veda.

(To be continued in the next issue)


PROPOSED MEMORIAL BUILDING OF Dr. GANAPATHI STHAPAT I

AT MAHABALIPURAM


(CONTINUED FROM APRIL ISSUE)

SOME INDIAN CON-TRIBUTORS TO VAEDHIC SCIENCE

The great sages like Vasishta, Bharadvaaja, Angeerasa, Paraasara, Vaedhavyaasa, Jaimini, Paanhini, Varaahami-hira, Bhaaskaraachaarya, Aadhisankara, Raamaanuja,

Madhva, Vidhyaaranhya, Sankaraachaarya, to mention a few, were the contributors to Vaedhic Science. In recent times, the contributions of Madhusuudhan Ojha and Mo-tilaal Sarma are found to be significant. Madhusuudhan Ojha’s thesis is that the Vaedhas are full of science and that they cover all aspects of the working of the universe.

An interesting aspect is that several foreigners also made dedicated attempts for the past few centuries to explore the significance of the Vaedhas. In 16th century AD, Fillipo Sas-setti proposed that there is a definite relation between San-skrit and principal European languages which was subse-quently proved by Sir William Jones in 1786 by establishing a common origin for Gothic, Greek, Latin, Celtic, Persian, Sanskrit, etc.

However, the first notable contribution of a Westerner on Vaedhic literature was Cal-mette’s work on RGVAEDHA and AITHARAEYA BRAAH-MANHA. Later on, in the 19th and 20th centuries scholars like, Benfy, Max Muller, Roth, Whitney, Oldenberg, Weber, B urnell, Van Schroeder, Bloomfield, Griffith, Mcdonell, and many others contributed remarkably to Vaedhic learning. Yet all the scholars from the west could not remain free of prejudices and could not always main-tain objectivity in their writ-ings.

SCIENCE AND TECHNOLOGY IN

VAEDHAS AND SAASTHRAS

BY Dr.RVSS Avadhanulu M.Sc.(Nuclear Physics), M.A.(Sanskrit),

M.A.(Astro Science), Ph.D., Former Deputy Director (Computers),

Nizam’s Institute of Medical Sciences, Hyderabad

STATUE

OF

SRI

RAMAANU

JAACHAA

RYA


VAEDHIC LITERATURE

The Vaedhas are considered as the foundational scrip-tures of Hindhus. There is no exaggeration in saying that the Vaedhas are the sources of all knowledge. They are universal in their applica-tion.

The Vaedhic knowledge and wisdom are enshrined in 14 sacred texts: the 4 Vaedhas, the 6 Puraanhas and Dharma-saasthras. To these 14 are to be add 4 upaangas (appendices to the Vaedhaangas) – Aayur-vaedha, ArthaSaasthra, Dha-nurvaedha, and Gandhar-vavaedha.

GURUKUL SYSTEM

For preservation and propaga-tion of Vaedhic knowledge our great sages evolved Gurukul system, wherein the pupil gets the instruction from his teacher through oral recitation with precision up to the last syllable. Once received the student has to constantly chant the Vaedhas and adopt the same methodology to pass on to the next generation. This methodology proved very ef-fective for several centuries. While most of the teaching took place in villages and aashrams, there were universi-ties also accommodating more than 10,000 students each.

As regards the Vaedhic litera-ture, its preservation and propagation were carried out through recordings on the me-

dium of barks and palm leaves for several centuries. It was a historical fact the libraries at Nalanda and Taxasila Univer-sities had collections of mil-lions of palm leaf books.

Thus the Vaedhic literature became vast in spread, huge in size and deep in meaning.

MULTIPLE FACETS OF VAEDHAS

It is stated that Vaedhas are the spiritual experi-ences of the sages in an-cient times. The Vaedhic revelations, containing indelible rules relating to man’s safe voyage in life are paramount, infinite and have no end. Every seeker trying to under-stand their purport ap-proaches them with pro-found respect, reverence and regard. Some may view them as holistic spiritual knowledge, JNYAANA. Others may view the Vaedhas as compendium of procedures for rites, KARMA. Similarly, oth-ers may view them as path of devotion, UPAASANA. Si-multaneously, some may view them as encyclopedia of sci-ence and knowledge of practi-c a l a p p l i c a t i o n s , VIJNYAANA. Yet others may view them as the primal source for the specific applica-tions for societal well being found in the eternal DHAR-SANAS.

Such is the genius in the Vaedhas that despite its being singular source offers solace to seekers with varied visions and hence are multifaceted gems of purest rays. In the Vaedhic corpus, profound meanings are hidden. The truth is that the Vaedhas repre-

sent all these and much more. There are as many viewpoints as there are approaches to Vaedhas.

Vaedhas are the final frontier of the knowledge, ultimate end of the science, last horizon of the human wisdom. They are the revelations belonging to all walks and branches of human wisdom, till now known and still unknown.

(To be continued in the next issue)

ANCIENT NALANDA

UNIVERSITY WALL

13

Introduction

Modern day renowned physicists like Stephen Hawking are still groping for a grand unified theory of physics. This problem has been solved on the philoso-phical plane by the philoso-phy of Advaita of Adi Shankara. He propounded that all matter was the same and what appeared as differ-ent to the naked human eye was illusion or Māya. This meant that all living and non living things originated from the same building blocks. These are called DNA by modern biologists in respect of living matter and atoms in respect of non living matter. However, atoms are also the basic building block of DNA. Our ancient temples are dem-onstrations in stone of such concepts. Thus, it is a bridge between our ancient culture and knowledge that has been nearly lost and the world of science and technology and concepts of today.

The Tiruvannamalai Temple – a brief historical note

Arunachalaeswarar Temple in Tiruvannamalai is one of the most famous tem-ples of Tamil Nadu. It is fa-mous as one of the energy cen-tres like Lake Manasarovar. Its glory has been sung by the four great Saivite saints, who composed songs in Tamil in the VII Century AD and spread Saivism and Hinduism in the Tamil country. It is therefore called ‘Padal petra talam’ in Tamil. The Tiruvan-namalai temple gopuram is the second tallest gopuram in Tamil Nadu.

We can marry the ancient concepts of God, the Linga and the modern scien-tific concepts to narrate to the modern audience domes-tic Indian, Non-Resident In-dian and foreign, who are not familiar with these concepts how they are related. This has been done by showing that the ancient concept of

different types of auras are substantiated by modern Kir-lian photography. Shilpa Sās-tra and Vāstu Sāstra, the an-cient Hindu theories of sculpture and architecture respectively as narrated in Mayamata and Mānasara (ancient treatises on architec-ture and iconography before 5h Century AD and 6th Cenu-try AD respectively) with modern engineering concepts and architecture. The ancient lost wax process of casting bronzes results in the kind of tolerances that is associated with modern investment cast-ing used in rocket technol-ogy.

Opinion about the site

The site selected for the museum is the Thousand Pillared Mandapa, which is situated very near to the East-ern gate of the Tiruvannamalai temple. The mandapa is cur-rently being used only during festival time. It is suggested that the museum may be started first on one side of the mandapa and it may be ex-


Tiruvannamalai Temple Museum A bridge between an ancient temple and present day society

By

Dr.R.Kannan

A PANORAMIC VIEW OF THE TEMPLE

Dr.R.KANNAN I A S

14


tended to the other side in the future.

Collections for the Museum

In connection with the establishment of the museum – a few bronzes, sculptures, wooden artefacts, brass items and a lot of photo prints are available with the temple au-thorities. The collections have to be improved for enriching the museum collection.

Theme for the museum

Since it is a very fa-mous Hindhu Temple a wide range of the following topics has been selected as themes, so that the visitors can get a comprehensive knowledge about the religious aspects of Hinduism.

1. History of Thiruvann-haamalai

2. History of Thiruvann-haamalai temple

3. Imortanace of Thiru-vannhaamalai temple

4. Kirlian photography of a man to show the differ-ent auras emanating from good, bad and average hu-man beings – e.g. a good man has a rose tinted aura; a bad man has a grey or black aura.

5. Model of the temple

6. Sthala Puraanha of the temple

7. Visitors profile

8. Evolution of Hindhu tem-ples

9. Types of Hindhu temples

10. Types of Gopuras

11. Types of ‘Vimaanas’

12. Type of Pillars and ‘Yaalhis’

13. Types of wall structure (cross section)

14. Concept of Saivism

15. Concept of Siva

16. Cosmic dance of Siva

17. Lingodhbhava — the story and concept of it

18. Personification of Siva

19. Vishnhu-Siva concept

20. Festivals/functions at Thi-

ruvannhaamalai

21. Display of Bronzes

22. Display of stone sculptures

23. Display of ‘Vaahanas’

24. Important ‘aashrams’ at Thiruvannhaamalai

25. Sculpture garden

26. Why a lot of people visit Thiruvannhaamalai for pil-grimage?

27. Photos of Gods and God-desses

Display Techniques

The following type of display techniques will be used for the interpretation of the above mentioned topics.

1. Using actual objects like bronzes, sculptures, paint-ings, photos, and other wooden material with signage.

2. Display of bronzes and other brass items in wooden cases as given in the diagram

3. Preparation of models in plaster of Paris and fiber-glass

4. Informative computer printed vinyl prints which will have both text and pictures

5. Translides

6. Dioramas — explaining an object along with its envi-ronment in 3D display

Display themes in de-tail :

1.History of Tiruvannamalai:


THE THOUSAND PILLAR MANDAPA

EXAMINATION BY Dr.R.KANNAN


Tiruvannamalai has been known to be an important place from the 7th Century AD onwards, although no definite details are available about its earlier history. The area around it was known to the poets of Tamil Sangam litera-ture (100 BC –200AD). For instance the ruler of this area was known as Sevvarai-natan in Perumpannatruppadai.

Here Sevvarai i.e., Red mountain is said to refer to the hill range, anciently called as coral hill, but now called as Javadi Hills. The well-known river Cheyyaru in this district is stated to have been called owing to the fact that it traverses the region, which is marked, not only by the Red mountain but also by Red soil. This river is also mentioned by name Seyaru in Malaipa-dukidam, another Sangam work.

2. History of Tiruvanna-malai Temple:

The rulers of almost all the royal families of Tamil Nadu including the Hoysalas and the Vijayanagara kings pa-tronized the temple. It has been celebrated for its holi-ness through the centuries. During their rule, the kings themselves made a variety of donations to the temple. Be-sides, some private individu-als too contributed their mite for its upkeep and mainte-nance. Such transactions have invariably been re-corded as inscriptions on the various parts of the temple and also engraved. In the course of centuries, the tem-ple received additions, altera-

tions and modifications. Dur-ing these times, some in-scribed slabs were broken of which some fragments were reused in the new construc-tions but some others would have been lost probably. Be-tween 1806 AD and 1818 AD, Col. Colin Mackenzie was engaged in copying the inscriptions in the Temples of the Madras Presidency. He had arranged for copying the epigraphs of Tiruvannamalai Temple.

3.Importance of Tiruvanna-malai Temple:

A. One of the seven energy centres

B. Pancha Bhutha Sthalam:

According to the Saiva Text Vidyasarakotirudra-samhita, Adhyaya 30, this hill, ‘was of fire in the Krita yuga, was of gem in the Treta- yuga, was of gold in the Dvapara-yuga and of emerald in the Kali-yuga’ 1 It is further stated that this hill having been of fire extending to many yojanas in the Krita-yuga, the great saints prayed to the lord (who took this form) to become cool. Accordingly the hill became cold, in order to protect the World.2

krtv=agnimayas=sailas=tretayam maniparvatah/ Dvapare hataka-girih Kalau Marakat-acaalah//

bahu yojana paryantam Krte vahnimaya sthite b a h i h p ra da ksh inam ca k ruh

prasamy=eti maha-rsayah/

sanais=santo- runadrisa sri-man= abhyarthitas=suraih

l o k a - g u p t y -a r -tham=atyantam=upasanto=runacalah//

C. Agni

D. ‘Paadal Petra Sthalam’

Appar ‘Antattonkum Ann-haamalai’

Kaaraikaal Ammaiyaar in her ‘Arutpuhal Thiruvanthaathi’

Gnaanasambandhar in ‘Natta

Patai Pan’

4. Kirlian Photography of a man :

How there are auras of various colours- how the aura leaves a dead body can be shown

5. Temple Model (3D):

Display method - A beautiful three dimensional model of the temple may be exhibited in an attractive showcase. The model may be prepared either using plaster of Paris or pith.

6. Stalapurana of the Tem-ple:

In the subsequent cen-turies, Tiruvannamalai be-came celebrated for its sanc-tity. Naturally during this pe-



riod, texts in Sanskrit describ-ing its importance were com-posed entitled Arunachalama-hatmya. These were incorpo-rated into some well known Puranas. Such texts are found in the Sivamahapurana, Vid-yasarakot irudra-samhita, A r u n a c h a l a m a h a t m y a , Adhyayas 1-31, in the Maha-Sivapurana, Vidyesvara sam-hita, Adhyaya 9, Verse 21 for Arunachala and for stories Adhyayas 6-12; and Skan-dapuranam, Sambhava-kandam, Adhyaya 48 and Dak-sha-kandam, Adhyaya 37. The Vidyasarakotirudra-Samhita of the Sivamahapurana re-ferred to above seems to be-long to the 16th or 17th Century AD, for it refers to the Siva-ganga tank in the temple, and this we know was dug up in or about 1517 AD on the or-ders of the Vijayanagara Em-peror, Krishnadeva Raya.

7. Visitors profile:

A visitors profile may be given by temple authori-ties so that the visiting public will get an idea as to how many people are visiting the temple annu-ally.

8.Evolution of Hindu Tem-ples:

Early monuments in stone can often be recognized as copies of wooden originals; the Buddhist railings that can be seen in Amaravati lime-

stone sculptures being a par-ticularly clear example. Flexi-ble bamboo being extensively used in India for the support of roofs, curved roof lines have resulted, forming a striking contrast to the straight roof lines of Europe.

The earliest Indian buildings of which we have definite knowledge are those the structure of which was copied as faithfully as condi-tions permitted in the early Buddhist rock-cut caves. In pre-Buddhist times, however, it seems not improbable that the type of wooden temple still characteristic of the well wooded hills of Kerala and Malabar coast in the south-west and of Nepal in the North-east may have been prevalent all over the country, having subsequently been suspended in the intervening area by types better suited to construc-tion in stone. These Malabar and Nepal temples have wooden railings as walls, and projecting roofs one above an-other, thus bearing a striking resemblance to the temples of China and Japan, which have no doubt been derived from them.

Temples thus take different forms in differ-ent parts of India, and cannot be properly understood with-out reference to the broad out-lines of early mediaeval politi-cal geography.

The Tamil temples

were built of brick and mortar to be superseded by the laterite and granite clad structures that we see today. The Shore Tem-ple at Mahabalipuram is the earliest structural temple that has come to use in a visualis-able form. There has been a recent excavation of a more ancient Shore Temple of later-ite in 2005.

The earliest granite Tamilian Temples that have survived are caves cut into rock by the Pallava king Mahendravarman I (600-630AD) at Tiruchirapalli, Dalavanur (near Gingee) and elsewhere. In an inscription on one of them he notes that it had been made “without bricks, timber, metals or mor-tar” perishable material that were evidently those then in general use as building materi-als.

9.Type of Hindu Temples:

India is rightly called as a “land of wonders” since she has a large number of tem-ples, both rock-cut and struc-tural. The structural temple fall under three major cate-gories or styles of architec-ture, the rectangular or Na-gara mostly in the North, the circular or vesara mostly on the east coast (Andhra and Orissa), and the octagonal or Dravida in the Deccan and South India. An alternative grouping of temples into six styles is based on geographi-cal rather than architectural



considerations. The six styles relate to the three mentioned already and to three more called Sarvadesika , Kalinga and Varata. It was religion that served as the environ-ment and the background to the temples of India.

10.Types of Gopuras

CHIEF CHARECTERIS-TICS OF DIFFERENT PERIOD

Pallava Period: (Ending about 850 AD)

Cave, monolithic and small structural temples with vimana or shrines tower prominent but gopura or gateway tower small or absent. Corbel (bracket above pillar) rounded in Pallava territory, cut away at 45° in Chola and Pandya territory, often with wave or-nament on either side of a smooth central band. Window ornament simple, with finial like a spade head. Pavilion or-nament like a thatched hut, with simulated railing below, devoid of images. Niche sur-mounted by toranas or arch. The rock-cut and early struc-tural temples at Mahabalipu-

ram, the Kailasanatha and cer-tain other small temples at Kanchipuram, and the rock-cut temples at Tiruchirappalli and Kalugumalai, are the principal temples of this period.

Early Chola period (850-1100 AD)

Temples sometimes very large, vimana still dominating gopuras. Corbel cut away at 45°, usually with median right angle projection. Window or-nament with yali head above. Pavilion ornament without simulated railing giving room for image in niche. Torana

above niche tending to resemble window orna-ment. The finest exam-ples of this period are those of Thanjavur, Gan-gaikondacholapuram and Tribhuvanam. Smaller ones are found in Kan-chipuram and elsewhere. The Chidambaram tem-ple includes good speci-men of early Chola work.

Later Chola period (1100-1350 AD)

Vimana usually inconspicuous and gopuras immense. Corbel with right-angled or bell-like projection. Pavilion ornament often double-storied. Pillar for first time with lotus ornament below capital and nagabandha (cobra-hood ornament) above base. Niche commonly sur-mounted by pavilion orna-ment. The stone portions of the gopuras of the temples at Chidambaram and some of those at the Tiruvannamalai temple provide the best exam-

ples of the architecture of this period.

Vijayanagar period (1350-1600 AD)

Elaborate carvings of mono-lithic pillars and mandapas begin with this period. Corbel decoration develops through lotus flower towards plantain flower. Stucco figures com-monly absent from gopuras or used with marked restraint, mostly confined to dvara-palakas on either side of the central line of windows and to topmost storey where pavilion ornaments are omitted to make proper room for them, absent from niches of pavilion orna-ments. Many of the most mag-nificent temples belong to this period. The largest Kanchipu-ram temples, the temples of Vellore, Virinchipuram and the brick and plaster part of t he no r th gopura a t Chidambaram may be men-tioned as examples, the Chidambaram one being, how-ever, unusually rich in figures.

Modern Period (1600 AD onwards)

Spacious halls and corridors replace the older form of man-dapa. Corbel terminating in plantain flower. Upper part of gopura more or less profusely covered with stucco figures, projecting beyond tops of niches of pavilion ornaments and often more or less con-


A VIEW OF THE GOPURAM


cealing the latter. Madurai, Rameswaram and the Subrah-manya temple at Thanjavur are good examples of this period. Other examples are found eve-rywhere and most present-day restoration is in modern style.

11.Types of Vimanas: Details given in the previous topic

12. Types of Pillars/Yalis: Details given in the previous topic

13. Temple wall structure (cross section of wall) - De-tails given in the previous topic

14. Concept of Saivism

Sculpture manifests the vision of whole (poorna) by personi-fying it. Indian art does not portray the specific. Each im-age is an embodiment of a dominant mood depicted in a given pose. It is a still picture of dynamic movement at a given moment in time. The cosmic infinite is depicted in the body of the particular form. The form is personal but the idea is impersonal. Adi Sankara, the great philosopher considered an Avatar (human manifestation) of Lord Siva, has beautifully explained it as embodying the infinite in a finite form with features sym-bolising the triumph of good

over evil (Suguna Brahma s y m b o l i s i n g N i r g u n a Brahma). The androgyne form Ardhanariswara depicts that female and male are two sides of the same coin. This form for the first time in the history showed the oneness of the male and female. This is also due to Advaita philosophy that says that all matter and spirit are mere manifestations of one divine force. Our seers knew the secret of the atomic structure thousands of years ago. The three phases of crea-tion, sustenance and destruc-tion are embodied in the iconographic depiction of the Linga. The Linga consists at the bottom of the Brahma (creation) portion, above it in the middle is the Vishnu (sustenance) portion and the visible top or cylindrical por-tion is the Siva (destruction) form.

The earliest discovered depiction also shows not only a Linga, but also a personifica-tion as a hunter of souls (God of Destruction) cum religious mendicant saint or Rishi (Sadhu) emerging out of the Linga or pillar of Fire i.e., the emergence of matter and crea-tion out of the Big Bang. En-ergy becomes matter. The Di-gambara pose shows non-attachment to the material world, i.e., he is above the ma-terial world. This is called a phallic symbol of sex by a few Western authors of the British Imperial era like Miss Mayo,

who do not go deep but want to criticise the ancient culture of India. Of course, there are others who treat the ancient culture with deep respect. In this case, it is the symbol of creation. The symbol here sig-nifies fertility at the mundane level and Creation or the tri-umph of matter over anti-matter at the metaphysical level.

15. Concept of Siva

Details as in Sl.No.14

16. Cosmic Dance of Siva:

Lord Siva’s dance represents His five fold activities, Viz., Srishti (Overlooking creation, e v o l u t i o n ) , S t i t h i (Preservation, Support), Sam-hara (Destruction, Evolution), Tirobhava (Veiling, embodi-ment, illusion and also giving rest) and Anugraha (Release from cycle of births and deaths, Salvation, Grace).

In the language of Physics, at the macro level, the universe is in a state of dy-namic equilibrium. The stars and their planets are all mov-ing, though they appear con-stant to the naked eye. The sages who therefore portrayed God as dancing eternally real-ized this movement. At the micro level, in the smallest particle known to physics, in the atom, the electrons and neutrons are dancing around the nucleus. This dance of all

19

matter around a nucleus the sages somehow realized and depicted in the Nataraja form. This forms the dynamic pose at a moment in time for the benefit of the humanity.

17.Vishnu Siva concept: (Before Lingodhbhava-back o f s a n c tu m-V i s h n u…Advaita.

18. Lingodhbhava:

The details are given in topic no.19

19. Personification of Siva: Gudimallam Siva onwards (Skandhapurana), -wood, stucco, granite/metal

The three phases of creation, sustenance and destruction are embodied in the iconographic depiction of Linga. The Linga consists at the bottom of the Brahma (Creator) portion, above it in the middle of the Vishnu (sustenance) portion and the visible top or cylindri-cal portion is the Siva (destruction) form. The bottom portion has a lotus base (Brahma), on which is placed a rectangular or cylindrical platform Yoni pitha (Vishnu) into which the pillar on the top (Siva) is inserted all in the same stone assembly. The ear-liest example of a linga that we have discovered is at Gudi-mallam, three kilo meters away from Renigunta near Ti-

rupati in Andhra Pradesh. The linga form symbolizes the eternal pillar of fire. It is in-teresting to note that in mod-ern physics, the universe started as a pillar of fire ac-cording to one theory. God manifested Himself as pillar of fire to Moses according to the Old Testament. There seems to be some common memory of humanity recorded in this aniconic form. The Gudimal-lam Siva belongs to Circa 3rd –2nd Century BC. The three as-pects of creation,, preservation and destruction are depicted as conjoined images of Brahma, Vishnu and Mahes-vara.

20. Festivals/ Functions at Tiruvannamalai

A complete detail about the festivals at Tiruvannamalai can be given for the visitors’ interest

21. Bronzes

Collections at present avail-able and the materials to be collected may be placed in at-tractive showcases as shown in the diagram.

22. Stone Sculptures

Collections at present avail-able and the materials to be collected may be placed in at-tractive pedestals with attrac-tive lighting as shown in the diagram.

23. Vahanas

Available wooden exhibits may be exhibited in the marked places with attractive lighting.

24. Important Ashrams in Tiruvannamalai

As a consequence of its popularity over the centuries, many saints and men of letters went and stayed there to enjoy the spiritual bliss afforded by it. Some of the enlightened and evolved immigrants to the place and also some divinely inspired local residents com-posed poems and hymns extol-ling its grandeur and beauty, its importance as a centre of Saivism and its greatness in matters spiritual. Arunagirina-


AVAILABLE

BRONZE COLLECTIONS

YOGI RAM SURAT KUMAR AASRAM

20

thar, Kukai Namaccivayar, Guru-namaccivayar, Ammani Ammal, Seshadri-svamigal, Ramana Maharishi and Visiri Samiyar (Yogi Ram Surat Kumar) who lived, moved and had their samadhi at this place.

25. Sculpture Garden

The scattered pillars and sculptures (big objects ) could be arranged in order, outside the hall so that the visitors could enjoy the beauty in natu-ral condition. It will kindle the interest to the public to visit the museum to know more about the sanctity of the place

26. Why all people visit?

Since the 7th century AD this area was popular among the public. Many rulers and people visit at least once in their lifetime. The popular s a y i n g i n T a m i l ‘ Adimudikana annama-layanai ninaikka mukti’ gives

more popularity to the area. Those who think of Arunachala achieve Mukti.

Display technique – Computer printed vinyl prints

27. Photos of Gods and Goddesses:

There are a number of modern Photo prints of Gods and Goddesses available in the Temple. They can be arranged at intervals all along the wall as shown in the diagram so that people can enjoy the photo prints.

Lighting for the Museum

The following type of lighting technique may be used for the museum:

• Florescent tubes for the translides

• High power/low power LED lamps for focusing computer printed vinyl prints

• 75w metal halide lamps for general illumination and focusing

Conservation

The roof of the Thousand Pil-lar Mandapa was inspected since the museum has to come under it. We climbed on the roof. While the weathering course has been done well by

the donor , Ramana ashram during kumbhabishekam, there are stray problems. Stray tiles have to be replaced and water tightening done where leakage is noticed.


PLACE FOR SCULPTURE

GARDEN

SCATTERED SCULPTURES WHICH MAY BE EXHIBITED

GOD

PHOTO

IN

TEM-PLE

Dr.KANNAN FORMER COM-MISSIONER OF MUSEUM IN-

SPECTING THE ROOF

21

Conclusion

In this article, we have seen how modern physics is still grappling for a grand uni-fied theory of physics. The museum exhibits would show how this problem has been solved on the philosophical plane by the philosophy of Ad-vaita of Adi Shankara. He postulated that the basic build-ing of the universe was matter composed of the tiniest atoms. He also brought in the theory of anti-matter through the con-cept of Māya. Our ancient temples are expressions in physical form of such con-cepts. We have intertwined the ancient concepts of God, the

Linga and the modern scien-tific concepts. We have related the abstract concept of auras invisible to the naked eye and made it visible using Kirlian photography. How the an-cients were good at metallurgy and reached the high tolerances of even modern rocketry is shown using the an-cient lost wax process of casting bronzes and comparing it with mod-ern investment casting. Modern engineers mar-vel at the structures built using Shilpa Sās-tra and Vāstu Sāstra., the ancient Hindu theo-ries of sculpture and architecture respec-tively.

The themes in the pro-posed museum have

been arranged systematically using the latest technology and scenographic concepts. Hence, when the visitor visits the mu-seum he is likely to get enjoy-ment, entertainment and as well as education regarding the topics mentioned above.


THIRUVANNHAMALAI

AS IT IS SEEN TODAY

22

This will serve as bridge to the modern audience domestic Indian, Non-Resident Indian and foreign, who are not familiar with these concepts with their own familiar modern concepts. It will be a bridge between our ancient culture and knowledge that has been nearly lost and the modern world of science and technology.

Bibliography

Acharya, Prasanna Kumar (1979) An Encyclopaedia of Hindu Architecture, Manasara Series:Vol.VII Oriental Reprint 1979, Oriental Books Reprint Corporation, 54, Rani Jhansi Road, New Delhi-110 055.

Acharya, Prasanna Kumar (1979) Hindu Architec-ture in India and Abroad, Manasara Series: Vol.VI, Oriental Reprint 1979, Oriental Books Reprint Corporation, 54,Rani Jhansi Road, New Delhi-110 055.

Acharya, Prasanna Kumar (1979) MANASARA on Architecture and Sculp-ture, Sanskrit text with c r i t i ca l n o t es b y P r a s a n n a K u m a r Acharya, Manasara Se-ries. Vol.III, Second edi-tion 1979, Oriental Books Reprint Corporation, 54, Rani Jhansi Road, New

Delhi 110 055.

Acharya, Prasanna Kumar (1981) A Dictionary of Hindu Architecture, Treating of Sanskrit Ar-chitectural terms with illustrative quotations from Silpasastras, Gen-eral Literature and Ar-chaeological Records, Manasara Series I: Vol.I, Second edition, Oriental Books Reprint Corpora-tion, 54, Rani Jhansi Road, New Delhi 110 055.

Acharya, Prasanna Kumar (1981) INDIAN ARCHI-TECTURE, According to Manasara-Silpasastra, Manasara Series : Vol.II, Second edition 1981, Ori-ental Books Reprint Cor-poration, 54, Rani Jhansi Road, New Delhi 110 055.

Dagens, Bruno (1970) Maya-mata, Traite Sanskrit D’ Architecture, Premier Part ie, Ed. Bruno Dagens, Published by : Institut Francais d’ In-dologie, Pondicherry.

Gopinatha Rao (1993) Ele-ments of Hindu Iconogra-phy, Reprint of book published under the pa-tronage of the Mahara-jah of Travancore, The Law Printing House, Mount Road, Madras (1914), Republished by Motilal Banarsidass Pub-lishers Pvt. Lt.d, 41, UA, Bungalow Road, Jawa-har Nagar, Delhi –

110007

Kumar, Pushpendra (1998) Bhoja’s SAMARĀN-GANA-SŪTRADHĀRA, Vol.I (Sanskrit Slokas), edited by Prof. Pushpen-dra Kumar, (with an elaborate English Intro-duction) first edition 1998, Published by: New Bharatiya Book Corpo-ration, 5574-A, Ch. Kashi Ram Market, Durga C o m p l e x , N e w Chandrawal, Delhi-110 007.

Shukla, D.N. (1995) Vāstu-Śāstra Vol.I Hindu Sci-ence of Architecture, 1995 edit ion, Munshiram Manoharlal Publishers Pvt. Ltd, 5715, 54, Rani Jhansi Road, New Delhi 110 055; Chapter II - Vil-lages, Towns and Forts in General.

Shukla, Dr., L.K. (1972) The Chowkambha Sanskrit Studies, Vol. LXXXII, A study of Hindu Art and Architecture with espe-cial reference to Western Terminology, Published by: The Chowkambha Sanskrit Series Office, K-37/99, Gopal Mandir L a n e , P . O . Chowkambha, P.O.Box No. 8, Varanasi – 1, In-dia.

—— CONCLUDED ——


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Lingam: In Atharva Vaedha only you have given a few examples. Can you give some other specimens from some other Vaedhic Scriptures ?

Abboi: For want of time, I am giving only one example cho-sen from Sankhya Karika by Easwara Krishna though I can give many of them.

‘Thrigunam avivehi vishayam saamaanyam achethanam prashava dharmi’ (185) is a line appearing in Sankya Karika. The conventional meaning is as usual some preaching only.

Let us see what other meaning we can get from the dic-tionary itself as earlier.

Thrigunam = three properties a = not, indicates negative-ness

vi = by itself, individually, separately vehi = that which speeds (or moves)

vishayam = matter saama = equal, or equalling

anyatam = the other, or oppo-sites achethanam = unseen,

or unmanifested

pra = primarily shava = dead ( body) dharmi = that which takes course

Combining all these in proper order, we get the meaning as ‘the three properties are : (1) matter does not move by itself, (2) equal and opposite, and (3) the course primarily is like the moving dead body where the motion inside is unmanifested ( or cancel each other to be-come dead ).

Does this look like Newton’s ? But who is first- Newton or Easwara Krishna ? I am not saying that Newton has stolen the idea from the latter. Per-haps Newton might have worked independently and ob-tained the same results. I will reproduce some of Newton’s thoughts in connection with this:

Newton now goes on to elabo-rate his conception of space as infinite, eternal, immutable and motionless. This section of the treatise is confused, for he wanders away into further digressions on the distinction between infinite and indefi-nite, and independent of being,

however, for ‘when any being is postulated, space is postu-lated. And the same may be asserted of duration......’ How can this be reconciled with the fact that we can conceive of space independently enduring body, that is, time without a timekeeper? Newton has the answer: God is everywhere, and endures for ever. His be-ing, infinite in time and space, is that which forces us to pos-tulate the infinity of time and space. God did not create space and time when he cre-ated the world; indeed it would seem that Newton would argue that God no more created them than he created himself, since they are conse-quences of his being. As Newton wrote in one draft of the General Scholium, God could not be nowhere (or in no time), for what is nowhere is nothing.

If the existence of God neces-sitates that of space, does it necessitate that of extension also? Newton answers this question affirmatively. Exten-sion cannot be conceived with-out God, who eminently con-tains it within himself. Thus extension is eternal, infinite, uncreated and uniform,


MYTHS, MATHS OR SCIENCES?

WHAT ARE OUR ANCIENT SCRIPTURES?

A DISCUSSION BY REPUTED SCHOLARS

CONTINUED FROM THE APRIL ISSUE

24

whereas body is the opposite in every respect. A body, as defined by Newton, is no more than a volume of space (or ‘determinate quantity of exten-sion’) which is mobile, im-penetrable and able to excite sensation in the human mind. (By body he means, of course, an ultimate particle, one of the entities of which gross bodies with their multifarious physical properties are com-posed.) The creation of sub-stance involved the endow-ment of extension with these properties, which result di-rectly and continuously from the exercise of the divine will. There is no unintelligible real-ity commonly called substance residing in bodies, in which all the properties of the bodies are inherent: what we recognize as substance is the image cre-ated in our minds by the per-ception which (because of divine will impenetrable, moving extensions arouse. Substance is an illusion maintained by God alone; if God ceased to keep up the illusion, substance would be annihilated, al-though extension would not. Nothing is more conducive to atheism than forgetfulness of this truth, and adherence to ‘this no-tion of bodies having as it were a complete, absolute and independent reality is themselves.’ And since bodies- that is the physical universe-cannot exist inde-pendently of God, they cannot be understood in-dependently of the idea of God. ‘God is no less present in his creatures than they are present in the accidents, so that created substance,

whether you consider its de-gree of dependence or its de-gree of reality, is of an inter-mediate nature between God and accident. And hence the idea of it no less involves the concept of God than the ieda of accident involves the con-cept of created substance.’ Accidents - the properties of bodies - are, Newton hints, more real than any unintelli-gible independent substance or matter of which bodies are made, for they are at least intelligible things in them-selves; if we should follow this hint, we might say that there is for Newton in this treatise a double reality : on the one hand, that of extension which exists in God, and on the other that of properties like impenetrability and motion with which parts of extension are continuously endowed by God. Between these two there

is neither room nor reason for an independent reality of matter.

Moreover, it seems clear that if each and every particle of matter is to be considered as a determinate quantity of exten-sion, surrounded by empty space, to which God has given the qualities of impenetrability or hardness and motion, it must have other properties or accidents in addition to these two. It must also, for in-stance, have the power of af-fecting human minds (since these can perceive it) as New-ton is to insist later; and as he has already pointed out, it must be capable of acting upon other matter too. (Bodies can only act upon other bodies by causing them to move or rest, or at least to tend to do so.) In Definitions 5 to 10, towards the end of the treatise, Newton defines six ‘powers’ which he presumably attributes to bod-ies universally : these are

force, conatus, impetus, inertia, pressure and grav-ity. The other five powers are really all embraced under the first, force, con-sidered in Definition 5 as ‘the causal principle of motion and rest..... either an external one that gen-erates or destroys or oth-erwise changes impressed motion in a body, or ....an internal principle by which existing motion or rest is conserved in a body.’ The latter principle (inertia) must, according to New-ton’s arguments, be im-planted by God in incipi-ent matter, since extension

alone has neither inertia nor mobility. From inertia fol-lows density and hence mass. By this reasoning mass, like hardness, offers no evidence


SIR ISAAC NEWTON

25

for the independent reality of substance. Other forces are, as indicated in Definition 10 (where centrifugal force is said to be a kind of gravity) sub-sumed under the term gravity. Newton does not say how a body acquires gravity, repul-sive. This is the more unfor-tunate as the origin of physical forces is the central problem of Newton’s philosophy of nature. (Cf. Below, Introduc-tion to Section III). It seems probable, however, that at least when writing this trea-tise, Newton did not hold the belief that all natural forces are mechanical in the Carte-sian sense, that is, resolvable into the direct impact of parti-cle on particle. On the con-trary, he seems to hold that natural forces, whatever their origin in, or association with matter, must result from the divine will. For, if God, ex-tension and duration alone exist in reality, and if the sim-plest attributes of substance such as hardness and inertia can be conceived as existing only through the continuous exercise of God’s will which enforces these and other law of material existence, then equally the forces of the physical universe revealed in its phenomena must arise in the same way. No cause of material phenomena can be more real and independent than matter itself.(186).

Judging from this, can we say that Newton seems to have studied Sankhya Karika and also God-related arguments direct or translated from Vedic Scriptures ! However, these type of conclusions can only be guessed, cannot be proved

with concrete evidences. Now, is there anybody else who culled out science from our ancient literature ?

Lingam: Yes, I have read a few articles regarding this subject. I am quoting a few :-

Upanishadh’s peace chant re-produced below seems to be describing the “Mass Space-Duplex” so vividly. This is the most important of “Mantras” or “Chants” that is the beginning of all Upani-shadhs.

Pronunciation:

Om Poornamadah Poor-namidam Poornath

Poornamudachyathae Poornasya Poornamadhaya

P o o r n a m a e v a -sishyathae

Om Shanthihi Shanthihi Shanthihi

Translation:

“Om! That (the invisible Ab-soulte) is whole; whole is this (the visible phenomenal): from the invisible whole comes forth the visible whole. Though visible, whole has come out from that invisible whole, yet the whole remains unaltered. Om! Peace! Peace! Peace!”

The following statement of Democritus (4th Century BC) is of interest also in this re-gard: “By convention cold is cold, by convention colour is colour. But in reality, there are atoms and the void. That is, the objects of sense are sup-posed to be real, and it is cus-tomary to regard them as such, but in truth they are not. Only the atoms and the void are real”.

The following translation of a passage from ancient Chinese Philosophical work “ Tao Te Ching” attributed to Lao Tzu is quoted from “The Way of Life” by R.B. Blakney:

“The way is a void, used but never filled: An abyss it is, Like an ancestor, from which all things come”.

It appears, the more we try to know beyond the wisdom of ancient philosophical thoughts of Hindus, Greeks and Chinese, the more we realise that Nature is nothing but only void, and creation of complementarity from void as depicted in these philoso-phies.

The Vaedhic philosophy is, perhaps, in a sense an inter-world inter-disciplinary ap-proach leading to realisation of the universal truth, but the an-cient philosophical thoughts do not adopt the logic of Sci-ence. Nobody knows the au-thor of the Vaedhas, perhaps there is none. They were evolved as means of teaching and learning of supreme knowledge. Nobody knows what is the basis for the Vaedhic narrations of Su-preme knowledge found in Upanishadhs. The Vedic San-skrit lends itself to very wide interpretations of the world realities. This contrasts the need for specific world picture in our scientific sense.

Ancient Chinese philosophical thought of dualism of nature known as “Yin-Yang” mean-ing “darkness and light” is supposed to represent univer-sal truth.

“Yin-Yang” may in fact be


26

viewed as a parity-duplex phe-nomenon specially applied to soci-behavioral world in the Chinese philosophy.(187).

Phil: So, all these years our ancient literature, actually works on science, were being misunderstood as mythologies and fiction or what ?

Abboi: Some were really fic-tions, some were written to have science in the disguise of myths, some as pure mathe-matics and science and yet others, with scientific concepts explained by giving fictional examples. There-fore, one has to identify the work for its particular type first and then only try to under-stand it in that light. From these types of original literature, other languages copied over a long period with addi-tions and deletions. Thus the revised versions existing now may have lost the original purpose for which they were written.

Nottingham : Gentlemen, though exciting, time allotted for this topic is already over. We will conclude this session of discussions by noting the important points from them.

1. Vaedhas of India may con-tain many theorems in sci-ence.

2. Newton’ laws of motion are already found in Vaedhic scriptures.

3. The thought process of Newton as well as ancient Greeks and Chinese also

was similar to the argu-ments found in Vaedhas.

4. First powered aeroplane flight in 1895 before Wright brothers, was by Mr.Talpade who built it on the basis of Vaedhic sci-ence.

5. Ancient Panhini grammar sutras are useful for multi-lingual processing by mod-ern computers.

6. Many Atharva Vaedhic lines are having a second meaning strikingly differ-ent from the conventional meanings. The second

meanings are resembling very much the modern concepts in science.

7. Many new theorms, not found in modern science also, seem to be possible in Vaedhas.

8. Ancient Sanskrit literature might have become popu-lar because of their public-appealing mythical stories.

10. Still there are contradicting

opinions among eminent scholars about the exis-tence of real science in an-cient literature of the world.

Abboi: Again, restructuring the above points, we can say that scientists like Newton, Greeks and Chinese ones had their scientific thought proc-esses on the lines of or identi-cal to those of Vaedhas. Enun-ciation of some theorems also were in identical terms. Be-cause of the established fact that Vaedhas belong to an ear-lier period than these scien-tists, the latter might have based or copied these theo-rems from Vaedhas. In the light of specific scientific meanings of Vaedhic lines

given in this session, we can be bolder now to say that Vaedhas might have been originally written to explain science and mathematics only. And same might be the case with other myths also.

Notingame: This seems to be interesting and very reason-able rearrangement of points by Abboi. Now a break, gen-tlemen, thank you !


WRIGHT BROTHERS FIRST AIRPLANE

27

Do you believe in God? I know that your answer is ‘yes’. Have you seen God? I know that your answer is ‘no’. If you have not seen God at all, how do you believe in his existence? Most of you may probably answer that you be-lieve in the existence of God because you were educated by your holy scriptures, by your teachers in schools, by your parents and by everybody for ages together that God exists.

Do you believe in ghost? I know that your answer is ‘no’. Have you seen ghost? I know that some of your answers will be ‘no’, but there may be many who may answer ‘yes’ also. If you have not seen a ghost then why don’t you be-lieve in its existence, like your belief in the existence of God? Of course most of the scrip-tures have talked about God and Ghost both!

Also, many say that they have seen ghosts! Some said ghosts were white in color, so gase-ous in form without any flesh

and skin that they could twist and turn their whole body any way they liked and fly in the air, penetrate through any solid material including hu-man beings, and vanish in thin air and become invisible!

Some others said ghosts had their feet twisted backwards and did not touch the ground and hung in air making them float.

Some said ghosts were harm-less, but some others contra-dict this. Some did not have any belief in their existence at all.

Among the believers some gave scientific reasons to be-lieve in their existence.

Among the scientific reasons, a sensible theory from Sangam Thamizh work called Manhi-maekalai scored high!

When a person is alive a pin-prick, slight touch of a fire or

touch of an ice-cube also make him instantane-ously withdraw from offending object being afraid of pain or uncom-fortable feeling it could cause. But when the same person was dead neither pin, nor fire or ice did not cause any such feeling whatsoever! This clearly means that

when a person was alive there was something inside his body that made him to sense the ef-fect of the pin-prick, fire or ice. The very fact that he did not feel any such effect when he was dead proved that the thing which was inside his body when he was alive, had gone out of the body when be-came dead. Let that thing be given a name, say life or spirit.

Now, as per the theory of con-


THE MIDNIGHT THE MIDNIGHT GHOSTGHOST

A REAL LIFE STORYA REAL LIFE STORY

BY CHINNUBY CHINNU

GHOSTS

ARE GASEOUS IN FORM?

28

servation of mass or energy that proved they could not be freshly created or totally de-stroyed, the spirit departing from the body should stay somewhere in the physical world. Or, it should enter the body of somebody else, either a human, animal or plant or so.

From the time the spirit de-parted up to the time it entered some other body, it had to be wandering somewhere!

Precisely, this wandering spirit is called Ghost by the believers!

However, I am a disbeliever of both. I don’t believe in your God – in whatever form or concept you see God! For ex-ample my God does not have a name, does not have a form, or does not have a physical shape that can be sensed by any of our five senses. My God is a concept, a supernatural power that is the root cause for every creation in the whole universe including the universe that is beyond our calculable limits. Similarly, I don’t believe in ghost also in the same way.

But in spite of being a man of such a strong faith, there was a horrible night in which I was frozen with fear of a scary ghost in the midnight!

During the first year in my college at Coimbatore I was a NCC cadet also. Two days in a week, NCC training in the evenings after the classes is to be attended from 18.00 to

19.30 hours. After the training there was no train until 23.30 f r o m C o i m b a t o r e t o P.N.Palayam where I lived. That train used to leave at my railway station usually in the exact midnight. If I went through a broad mud road to my house, the distance was about one and a half kilome-ters from the station to my house. If I went along the rail-way track it was a short-cut of only a kilometer. Since I was brave boy not having a belief in ghost I used to take the shorter root to home in the midnight also.

I was rearing a pet dog called Jimmy. He was very huge in size, the biggest in the villages around. It was very intelligent and clever. It was so clever that whenever I wore kaaki uniform and go the railway station early in the morning to catch the 04.30 hours train to

attend the morning session of NCC training, it used to ac-company me up to the station to see me board the train. His cleverness shows more in his coming to the railway station to receive me in the midnight whenever I come by the mid-night train!

Just a day before the particular scary midnight around which this whole story rests, my Jimmy was poisoned to death by my jealousy neighbors. I wept for a full day and went to the railway station early next morning without my Jimmy

for the first time. And, after the NCC training in the eve-n i n g , I r e t u r n e d t o P.N.Palayam railway station in the midnight.

I got down from the train. For a moment I forgot my Jimmy was killed and I only buried


MY JIMMY WAS DEAD POISONED

BY MY JEALOUSY NEIBOURS

29

him the day before. I stood on the platform looking for him for quite some time. When I remembered that he could not come as he was dead already tears rolled down from my eyes. When I started walking down the platform without my Jimmy very soon a sort of fear gripped me. The very thought that I had to walk all the way down to my house all alone sent down shivers suddenly.

The fact that the railway line from the station to my house was very notorious, blew up my fear out of proportions.

Once a leopard gored a person to death and ate him in full only leaving a few pieces of flesh scattered on the ground. His scalp with some hair on it and drops of blood were found a few feet away from the flesh pieces on the side of the rail-way track. Another day a gunny bag with severed limbs of a man was found thrown on the track. And the railway bridge near my house was very convenient for suicides. You would have to just sit

conveniently on the platform-like place below the rail, hide yourself from the sight of the engineman, and when the train came very near, lift up your head, put it on the rail. Your head would be very neatly cut off from your body in split second. People from far off places also had come to this railway bridge for suicides! Rumors galore that many ghosts were roaming around the bridge and females were warned not to go under the bridge even during midday!

Very near this bridge of hor-

ror, there was a deep well which used to be dry without any water for about two months in an year. It’s being at the northeast corner of the vil-lage where usually no traffic was seen, this well also had prompted many women to sui-cide. Their spirits also were told as wandering near the well.

All these thoughts loomed large in my mind and my legs trembled with some unknown

fear. How to cross the bridge of horror and spooky well to reach my house?

“COOOOOOOOOOOOOOOOO” – a sudden long shrill sound sent shock waves of fear in my body for a minute. My hair on my head and even on my body stood straight up in the shock!

Then again “coooooooo, zig …… zig…… zig zig, zig zig” sound brought me back to my own senses! Yes, it was the train that gave the whistle and it was the train starting to move that gave this sound!

I gathered my courage and laughed at my own cowardli-ness, and my fear that was quite unnecessary and base-less. I resolved that I was a brave man not having any be-lief in ghosts. Only the bad thoughts about the rumors of wandering spirits tried to frighten me for a while. I should not give in for that kind of thoughts again. I should be brave now onwards. The train went past by my side. I took a deep breath and started walk-ing further.

The half moon in that dark night was playing hide and seek among the clouds. One or two minutes of utter dark-ness was getting chased by moonlight again and again. In one such moonlight all on a sudden some small white object jumped across me. Before I could recognize the object darkness set in and the


30


o b j e c t vanished in it. Nevertheless I was frightened a little bit. But quickly I gathered cour-age and became normal. I walked a little further. The moonlight came again liber-ated from the clouds. Again suddenly the white object jumped across me. I was about to shriek in fear when another such object jumped across me. Now I could see the object well and recog-nized it as a rabbit. Probably two rabbits were playing a game of love in front of me!

I held my breath and laughed within myself. Should I be frightened for nothing at all like this? What made me so? Was it the darkness, the sui-cide stories, the absence of Jimmy? Or, did I really started believing in ghosts? No! I should be brave, I told myself.

I walked a little further. The moon went behind the clouds. Utter darkness set in all over. It was then I saw a small dark object almost a foot or two tall on the ground by the side of the railway track.

It looked like a man sitting over there. But at such a dark midnight who could come there? I had not seen a soul anytime previously. I walked slowly towards the object. It looked like a human being only! A dark man in the dark night or what? Naturally his eyes, mouth ears and other

parts were not clearly visible enough to visualize the object as a human being. What it could be! Slowly chillness set in my whole body. However tried I could not gather my courage.

To make the situation worse, the object started slowly grow-ing in size. How it grows; why it grows? I started trembling with fear. My legs refused to move any further. I tried to drag them for walking but it simply they did not cooperate! The dark object was slowly growing taller and taller mak-ing me almost freeze in fear. From two feet it grew to three feet, then four feet, five, six feet gradually. Alright, there were one or two people six feet tall in my village, but not more than that. But the object gradually grew taller. Now seven feet, and then eight making me loose my nerves. I started shouting “...be be be be who, who is it? Bl bl bl bl bl who, what, what …”. I shrieked loudly in fear.

All on a sudden the object col-lapsed when something fell down with a thud sound. It became about five and a half feet tall only — the normal height of a villager.

Some words emerged from the object. It was a normal human being’s words in my native language! “ Saami, Saami, enna bayanthutteengalha? N a a n t h a h n S a a m i , Veeran” (Sir, Sir, Sir, were

you scared? I am Veeran only.)

Oh! My God! What a relief! It was the voice of Veeran a known laborer be-longing to my village only! He also knew well. “Where is your dog Saami?” he asked. Jimmy accom-panying me to and from railway station was a very popular scene known to eve-rybody in my village.

“Somebody poisoned it to death Veera” I answered and contin-ued; “How you were so tall? What you were doing in this midnight here?”

“Saami, please do not tell anybody. I stole the sugarcanes, bun-dled them up, and I sat here for shitting. Then I lifted the bun-dle straight up above my head for fun. You got frightened, no?” he told with a laugh.

I heaved a long sigh of relief! What a coward I was!

“I will take you to safely to your home Saami. What if your dog is not there?” His words gave further relief!

31

AN ANCIENT KING’s VISIT TO MANGROVE

An ancient king with his sol-diers visited his mangrove having 10 gates. At the first gate he stationed half the num-ber of soldiers who came with him for guarding it. With the rest of them he went to the second gate and again sta-tioned half the number of the presently accompanying sol-diers there to guard the gate. Similarly in each of the subse-quent gates also he stationed half the number currently ac-companying soldiers. After the same at the tenth gate, he en-tered the mangrove with the remaining soldiers.

Three workers in the grove — a servant, farmer, and a night watchman joined the king and the soldiers. All of them roamed inside the mangrove for sometime. Then on their return they saw many ripe mangoes fallen on the ground. The king thought it fit to col-lect them.

The king himself picked up one mango. The servant picked up two mangoes. The farmer took three mangoes and the watchman collected 4. Then similarly, the first soldier onwards picked up one mango more than the previous one.

Thus every soldier picked up one mango more than the pre-vious one.

When they came out of the tenth gate, the soldiers already stationed there asked the king, “Oh, ‘Mahaaraaja’! We beg you to give mangoes for us also”. The king put down the mango he has picked up and asked all others who picked up mangoes from within the man-grove also to put down all the mangoes along with his. When they have finished doing it, he said, “Sure! Take one mango each”. Thus he distributed one mango each to all the soldiers who initially accompanied him to the mangrove. On comple-tion, absolutely not a single mango was remaining from the collection.

Now the question is “How many soldiers accompanied the king initially, how many were stationed at each gate and how many soldiers en-tered the mangrove from the tenth gate?”

NOW THE ANSWER:

20,96,128 soldiers accompa-nied the king initially.

In gate no.1 he kept half of them , that is 10,48,064.

In gate no. 2 he kept half of them, that is 5,24,032.

In gate no. 3, he kept half of them, that is, 2,62,016.

In gate no. 4, he kept half of them, that is, 1,31,008.

In gate no. 5, he kept half of them, that is, 65,504.






Thus, the king went into the garden with the rest of the sol-diers numbering 2,047.

So, 2047 picked up the man-goes each one more than the other. Thus, (n x (n + 1)/2) makes this number 2047 x 2048/2 = 20,96,128.

This is equal to the number of soldiers accompanying the king initially.

Ancient Scientific Wisdom

SANGAM THAMIZH MATHEMATICAL RIDDLES

ANSWERS TO THE RIDDLES GIVEN IN THE PAST ISSUES


A KING WITH SOLDIERS IN 4 FORTRESSES

A king of a small country had 4 fortresses. Once the king took certain number of sol-diers to the first fortress. He stationed half the number of them for guarding the first fort and took the rest of them to the second fort. He stationed 2/3rd of the present strength there for guarding it and took the rest of them to the third fort. He stationed 3/4th of the present strength there for guarding it and took the rest of them to the 4th fort. He sta-tioned 4/5th of the present strength there for guarding it and entered the 4th fort with the rest of the soldiers.

After inspecting the infra-structure of the 4th fort, just before getting out of the fort, he asked the soldiers who came inside with him to line up in front of him.

He gave one rupee to the first in the line up, two rupees to the second soldier in the line up, three rupees to the third soldier in the line up and so on. That was just a rupee more

to the next soldier than that given to the previous soldier.

When he fin-ished giving money this way to the last soldier, the king tried to figure out how many rupees he had given to the soldiers who entered the 4th fort

with him.

To his surprise, he found that the money he distributed to these soldiers alone would have equaled to the total amount if he had distributed just a rupee each to each of the soldiers who came with him initially!

So, find out what was the number of soldiers the king brought with him initially be-fore coming to the first fort.

How many soldiers he sta-tioned in each fort for guard-ing?

How many soldiers entered the 4th fort?

NOW, THE ANSWER TO THIS RIDDLE:

Initially, the number of sol-diers accompanying the king is 28,680.

The number of soldiers sta-tioned in the first fort is 14,340.

The number of soldiers sta-

tioned in the second fort ( 2/3 of the above number is 9560.

So, the remaining soldiers are 14,340 - 9,560 = 4,780. And, 3/4 of this number is stationed in the third fort, that is, 3585.

The number of remaining sol-diers is 1,195. Four fifth of this number is, 956.

Now the number of remaining soldiers is, 239.

So if each of these soldiers get at the rate of one rupee more than the previous one, (n x n+1)/2, that is, 239 x 240/2 = 28,680.

Thus, this number is found to be equal to the number of sol-diers accompanying the king initially.

COMPENSATION FOR BROKEN EGGS

In a South Indian village there was a very mischievous boy. He was the only son of the vil-lage chieftain.

In the same village an old woman obtained certain num-ber of eggs from a poultry for selling. When she went into the village with the basketful of eggs she obtained for sell-ing, the village chieftain’s son came there asked for an egg.

She spread a bed-sheet cloth on a verandah of a nearby house and put down the basket on it.

The mischievous body sud-denly picked up an egg from

33

the basket.

When the woman asked for money he rudely shouted “I am the only son of this village chieftain. I need not give money for anything sold by

anybody here in this village. Get lost”.

She said that she had to settle accounts for the eggs sold to the poultry owner. She could not afford to sell even a single egg to anybody whomsoever. She tried to clinch the egg from the boy. The boy became very furious, took the whole basket and threw it away. All the eggs fell on the ground. All of them got broken into pieces and the yellow yoke and white albumin of all the eggs spilt and flowed on the street.

The woman was terribly upset, cried and ran to the village chieftain and complained. She begged him to give her full compensation.

The chieftain agreed to give the full cost of the total num-ber of eggs she brought for selling. He asked her how many eggs were there in the basket.

She said, “I do not know how many eggs were there. But the poultry owner said that if I sell seven eggs each to every one of the buyer, not even one egg will remain in the basket. If I sell six eggs each to every buyer only five eggs will re-main in the basket. If I sell five eggs each to every buyer there will remain exactly four eggs in the basket. If I sell four eggs each to every buyer there will remain three eggs only in the basket. If I sell three eggs each to every buyer there will remain two eggs in the basket. In the same way if I sell two eggs each to every buyer there will remain one egg only in the basket. And I do not know how to calculate. You are a honest educated chieftain ap-pointed by the king. I beg to be honest in calculating the number of eggs I brought from the poultry and give me the money.”

The honest chieftain calcu-lated the number of eggs the woman brought from the poul-try and paid her in full.

So, you also find out exactly how many eggs the woman brought from the poultry.

You also find out the method and explain step by step.

Further, try to guess the name of the equation involved, in modern, present day mathe-matics.

NOW THE ANSWER OF THE RIDDLE:

The woman brought 119 eggs from the poultry.

If this number is divided by 7 the remainder is 0. If 119 is divided by 6, the remainder is 5. The remainder is 4, if 119 is divided by 5. If it is divided by 4, the remainder will be 3; if divided by 3, the remainder will be 2; and if divided by 2, the remainder is 1.

The answers to the other ques-tions in the riddled will be handled in some future issue, for some valid reasons.

A POTATO VENDOR WITH FOUR WEIGHING

STONES

(Modified Suitably)

A potato vendor was able to meet any order from the cus-tomer who demands potatoes from one kilogram through 40 kilograms with a single opera-tion of weighing itself! He was allowed to adjust potatoes or weigh-stones in one or both the pans of the balance. He had only 4 weigh-stones amounting to a total weight of 40 kgs. No fraction of a kg. was demanded.

So, find out what are the indi-vidual weights of each stone.

Now the answer:

The individual weights of the four stones are 1, 3, 9, 27 each.


34


THE NUMBER OF

FLYING BIRDS

A bird was sitting on a branch of a tree.

Some other birds were flying in the sky.

The sitting bird asked the fly-ing birds “Hi, flying birds! I think you are 100 in number. Am I correct?”

One of the flying birds an-swered, “You are not correct. We are not 100 in number. Each one of us has a wife also! Half of them have one child each and in turn half the num-ber of them are grown up and have one child each. If you to-tal up all of us here and all our wives, their children and grand-children and yourself also, then only the number can be 100.”

So how many birds were fly-ing? Now you calculate and give the answer.

And also explain the method also step by step.

NOW THE ANSWER:

Number of flying birds = 36

Number of their wives = 36

Number of their children=18

Number children’s kids = 9

The bird asking question = 1

Total = 100.

A TREASURE POT

While tilling the land a farmer came across a pot under the ground. He took it out and found that it was a treasure pot consisting of some gold coins!

In the midst of his counting the coins, his co-farmer came run-ning to him and found out that it was a treasure. He also wanted to have his share. If he did not give half the number of coins, he threatened that he would in-form the king. Both of them agreed. When the total number of coins were divided equally, a single coin was left out alone.

When they both were thinking of cutting it into two halves, another farmer butted in the

scene. He also wanted his share. So all three of them de-cided to have equal shares. Again when they divided all the coins equally in three parts, at the end again one coin was left out. When they were devising the way of cutting the single coin into three equal parts, a fourth farmer came running and joined them. Since he also wanted equal share, all the coins were put together again and divided into four equal parts. Now also at the end one single coin remained.

Similarly, a fifth person, and a sixth person joined one by one in a similar manner and at the end of every division one single coin remained to be cut.

But when the seventh person joined similarly, and when the division was made equally, no coin remained at all!

So, find out initially how many coins were there in the treasure pot.

35

bled. He offered the same number of flowers to the sec-ond deity also as that offered to the first deity. The same thing happened in the third temple also and he offered the same number of flowers to this deity also. The same happened to the each deity. When he of-

fered flowers to the 7th temple in the same manner, all the flowers were finished.

So, now find out how many flowers the devotee plucked first and how many flowers he offered to each deity?

NOW THE ANSWERS:

The number of flowers first plucked by devotee = 127

First sprinkle doubled it = 254

First offer = 128

Remaining flowers = 126

Second sprinkling = 252

Second offering = 128

Second remainder = 124

Third sprinkling = 248

Third offering = 128

Third remainder = 120

Fourth sprinkling = 240

Fourth offering = 128

Fourth remainder = 112

Fifth sprinkling = 224

Fifth offering = 128

Fifth remainder = 96

Sixth sprinkling = 192

Sixth offering = 128

Sixth remainder = 64

Seventh sprinkling = 128

Seventh offering = 128

Seventh remainder = Nil


NOW THE ANSWER:

The treasure pot had 301 coins in it.

When the coins were to be shared between two only, each would have got 150 and one coin had to be cut into two.

If they have to shared between three, then each would get 100 and again one coin would be left out to be shared.

Similarly, four would get 75 each and one coin would re-main.

If five to share, each would get 60 and again one coin would remain.

If six to share, each would get 50 and again one coin to be cut.

If seven to share, then each would get 43 and no coin would remain there to be cut.

DOUBLING MIRACLE OF PUUJA FLOWERS

There were 7 temples in a vil-lage. A devotee plucked certain number of flowers from a gar-den and took them to the first temple. He was surprised to see that the number of flowered got doubled when he sprinkled wa-ter on them in the flower bas-ket. He offered certain number of flowers to the deity. He car-ried the basket with rest of the flowers. On reaching the sec-ond temple he sprinkled water again in the flower basket. Again he was surprised to see the number of flowers got dou-

EDITOR’S

COMMENT

All the mathematical riddles given above were published in some previous issues of ASW. The answer were added to them in this issue. This is just to summarize a part of the previous portion of mathematics. All the riddles were sev-eral centuries old probably taken from Thamizh Sangam pe-riod. The age is guessed like this be-cause the nature of the problems is very close to the binary mathe-matics that was the root for DGHAM-IZHI language itself.

36


If at all there could be an ever-relevant and fruitful science capable of revealing the inner structure and inher-ent nature of a substance with-out breaking or disturbing its well-knit outer structure, that is the science of Vaastu. In virtue of this unique capacity, the science of Vaastu turns into the science of creation and creative order related to both the macrocosmic and mi-

crocosmic plurality, and innu-merability. It is the science of space and spatial designs, of time and timal divisions. It is the science of mathematical order, which is in reality, the modified version of time and timal divisions. It is the sci-ence of harmony and harmoni-ous designs, of rhythm and rhythm bound construct. It is the science of number and nu-merical order, of letters and orthography, of proportions

and proportionate limbs/parts/constituents. It is the unique science which aims not only at creation, but also at medicu-lous preservation and mainte-nance. Overcoming the possi-bility of destruction, it leads us to the point of eternal exis-tence. The originator as well as the expounder and enricher of such an effective and ex-alted science was Mayan, who was both Rsi of matchless spiritual vitality and a vijnanin of unrivalled scientific and technical skill. As Rsi he had known all the essential princi-ples and subtleties of cosmic structure and worldly creations through deeply settled menta-tion and introvert penetrations. And as a vijnanin, he had set forth in detail all the scientific principles and technical proc-esses. As the supreme Master-architect he beautified and em-bellished the whole stretch of earth with his wonderful crea-tions and as the supreme mas-ter of Lingual science, he en-

AINTHIRAMAINTHIRAM ANCIENT THAMIZH SCIENCE ANCIENT THAMIZH SCIENCE

BOOKBOOK AN EXPOSITORY INTRODUCTION BYAN EXPOSITORY INTRODUCTION BY

Dr. S. P. SABHARATHINAMDr. S. P. SABHARATHINAM

37

riched both Tamil and Sanskrit with his original scriptural works, full of scintillating con-cepts and shimmering truths. To the credit of Ma-yan, there are about 60 works in Tamil, as available now. Apart from Mayamata, there are some more works such as Mayagama, Maya Vaastu, Sil-paratnakara, etc, all of them in Sanskrit, ascribed to Mayan. The present work AINTIRAM which is aphoris-tic in character, and whose complete text is now rendered into English and presented for the first time, is by virtue of its subject matter and scientific contents, the fundamental KEY-WORK, inevitable and essential for the study of May-onic order/science. It is the very basic scripture for the study of the entire range of Vaastu Saastras. Aintiram – how it has been designed: This work consists of 892 aphorisms (sutras) all of them being in archaic style, indicative of its unquestion-able antiquity. But these aphorisms are in continuity, not grouped according to the subject matter, nor variegated into distinct chapters. Per-haps, Mayan could have indi-cated them in different system-atic order and the present or-der might have been due to the process of transmission from

the master to the disciple. But this does not mean that the present work is unsys-tematic. Since each aphorism is a complete work in itself due to its wealth of content, due to its brevity full of sug-gestions and implications, the reader can commence the study of Aintiram from any aphorism. But this much is certain: whether he starts from the very first sutra or from any other sutra, one single, periph-eral reading is not enough to understand the exact purport and potentials of the sutra. Each sutra calls for repeated reading and rumination. And as far as the translation & paraphrase is concerned, it is only trying to indicate the con-tent of the sutra; it does not provide any explanatory or expository note by Maya him-self, launch to undertake the systematic study of this work. The subject matter dealt with in this work could be stated through the words of Maya: “This work called Aintiram, has for its ultimate motive the delineation of the essential features of forms, after having scrutinized the fundamental concepts of space and time and diligently analyzed the nature of the ultimate principle (muula) and light and impec-cably realized the characteris-tics of cosmic structure and cosmic space”

-----A:32 “This work is of the nature of expounding the characteristics of letter, word and the content(object); of systematically de-lineating the characteristics of structure and ornamentation” -----A:36 “This work known as Aintiram purports to explain systemati-cally the subtle principles of the creative basic sound ‘OM’; it aims to offer more details on the intricacies of that basic sound; it addresses itself to present in a complete and comprehensive way the fea-tures of space, time, rhythm, form and the universe” -----A:42 “This work Aintiram, deeply ponders over the feature of unmanifest and manifest sounds and analyses with deep insight the features of sound, space and the mutual relation-ship existing between them; it explains the characteristics of five aspects – space, time, rhythm, form and matter” -----A:43 “Scholars have known the co-ordinated and correspondent role of consonants and vowels, forms and their intrinsic ex-pressions, and they are capable of knowing the dynamic en-ergy of Primal Space, and the rhythmic movements of time


38

encased within the given form. Having understood that energy is inherent in the winds syn-chronizing with time units, that are in orderly movement, they have known the features of 64 squares latent even in the movement of time. Following in their footsteps, having ana-lysed the unified structure of body and having known how the five gross elements are re-lated to the body and known the dynamism and energy of Primal Space, I have explained in this work to some extent, the meth-ods of creating body and form” -----A:409 “Having scientifically sifted the nature of five gross elements and the interaction between them, having analysed both the right and left orders of exis-tence, having realized the na-ture of Primal space—having realized the nature of pentadic manifestation based on fivefold substance, fivefold aspect and fivefold stream, the architect truth behind any construction. In order to accompolish these I have expounded through a sci-entific way the proper method and system of applicable for creation and construction hav-ing realised them by my own inner vision and by my knowl-edge about the eight pronged directional gravitation” -----A:428

To put it precisely the central themes, repeatedly ex-plained from various perspec-tives in this work are: 1) Pri-mal Space Source, 2) Time, 3)Rhythm, 4) Form/Structure and 5) Matter. That is why this work has been named as ‘AINTIRAM’ meaning the five energetic creative factors. Maya expatiates upon these five factors through the science and technology of four sided frame consisting of 64 squares, swift movement of time occurring at the central dot, operative process of time at the bordering spaces of the frame of 64 squares, creative function of space-time contin-uum, creative identity and in-separable relationship between sound energy and light energy, space and time and conse-quently between these and the frame of 64 squares, the effec-tive participation of numbers and letters in each and every phase of creation and such other related principles. The most important sci-entific theme ensouled and ex-plained in this work is the con-cept of microbode, the basic space-cube which gives rise to the emergence and existence of Primal Space, time, rhythm, for and matter. In relation to the microbode, Maya expounds as absolutely scientific theology centered on the imagic forms of Nataraja, Samaskanda and Dak-sinamurthi. These forms are

explained by Maya absolutely based on the science of mani-festation and that of FORMS. This unique and original treat-ment, as enunciated by Maya leads and guides us to conclude that all other forms such as Gangadhara murti, Tripurasam-hara murti, Sarabha murti, etc. are also essentially based on the science of manifestation and of form, and they are not based on mythological fabrications. It is a matter of absorbing interest and inspiration to note that ei-ther in Aintiram or in any other works of Mayan, we do not find a single reference to mythologi-cal incidence or incarnation. Nataraja, Samaskanda and Dak-shinamurti, as we find in theAintiram are not religious Gods. They are the Lords of Supreme space-science who are introduced and explained in this work in terms of luminous en-ergies. This is one of the sub-stantial evidences to prove that Maya’s Aintiram and other works are anterior to the emer-gence of the Vedas (as avail-able now) Aranyakas and the Puranas. A brief analysis of the subject matter dealt with in this work is presented here to pro-vide a fitting background, suffi-cient guidelines and appropriate method of approach for a com-prehensive understanding of the important principles enshrined here.


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Inner space and inner con-sciousness: The basic and vibrant point of emergence or mani-festation is one’s own inner space, inseparably associated with vibrant consciousness. It feels; it is in constant pulsa-tion, it conceives, it wills to become manifold and to mani-fest. It is the radiant con-sciousness in which the heat and warmth of casual fire-source is always present. Maya frequently speaks of this fire of inner conscious space. This is the most basic and es-sential source of creation. By creating the same source in exact similitude in outer space, Maya sets forth the directions for the constructions of auto-vehicles, air-crafts, ships and so forth. The radiant and vi-brant consciousness is the in-exhaustible source of forms and structures. To the extent one realises the inner space of consciousness he could realise the energetic features of outer space and space fields. Maya states: “ The process of ana-lyzing the characteristics of space is, strictly speaking, see-ing with pointed attention the efficacy of inner space in which all the manifestations and involutions of space clus-ter themselves” -----A:54

“Only those who possess the meritorious power of inner vibrant consciousness, become powerful in executing the task in an orderly way. Such per-sons would hold under their control not only the earth but also other worlds existing in space” -----A:78 “Only the inner vibrant con-sciousness which gushes from the depth of heart absorbed in mediation on a particular form, assumes the form of in-ner light and then manifests itself externally in a concrete form. Only the same inner vibrant consciousness bestows an everlasting excellence on that particular concrete form” -----A:306 This inner conscious-ness is of the nature of efful-gent light which evolves into supreme intelligence and im-parts the potential states of distinct creative sources. (180) The seed-space that is inner consciousness contains within itself the entire range and plethora of cosmic struc-tures and substances. What-ever is present in the outer space is within the inner space. It is such simultaneous and identical existence that results in cosmic harmony and rhythm. The great sages, seers and yogins experience such identity and harmony. Equally

so are the sthapatis who are spontaneously awakened to this kind of awareness of cos-mic identity. Without this forceful identity, they cannot bring out charming and soul-inspiring creations. And it is the identity that kindles Maya to state: “The microcosmic structure is in total identity with macro-cosmic structure” -----A:150 “The supreme space which is throbbing every moment to express itself out, has its dis-tinct manifestation in the sculptors, mind” ----A:80 “Through the power of inner consciousness, the knower of Vastu should know about light aspects and sound aspects of OM, pertaining to both inner space and outer space” -----A:191 Maya goes to the ex-tent of saying that those who do not realise the creative dy-namism of inner space cannot know the dynamism of outer space(195) (831). The work-ing pattern of the squares of manduka mandala(64 squares) is the same as that of inner consciousness. This is the principle to be essentially kept in mind.


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The Pentadic scheme: Being a contemplative scientist of supreme order Maya conceives the entire cos-mic structure as manifested through fivefold development (ain-neri). There are five sources of manifestation (ain-kalai); five kinds of basic ma-terials for creation (aim-porul); five kinds of emer-gence (ain-tiram); five strata, each stratum consisting of five factors (ain-nila); five basic sound energies (aiyoli); five basic luminous energies (aiyoli); five fold musical notes (aintisai). There are five cover-ings for the soul; five instru-ments of action; five instru-ments of cognition; five subtle elements; five gross elements; five vital airs in the body; five supportive airs (upaprana); five kinds of time-units corre-sponding to the movement of cosmic sphere and the move-ment of inbreath and out-breath. The correspondence between spatial dimensions is of five kinds. Most of the sutras of Aintiram should be understood against the background of this pentadic scheme. Dynamism and role of eight in cosmic creation and struc-ture: The pentadic scheme

gradually leads to the effective operation of octo-process. Maya sees the structural dyna-mism of number eight in each and every plane of cosmic for-mation, in each and every ex-istent of this world and other worlds. Every buildings/every sculpture is effected through the systematic observation and application of the dynamism of 8 units. Maya is of the view that every growth gets fulfilled by eight constituents, developed in five stages. This view is established by the ta-ble of space-measure and time measure. 1 - 8 paramanus = 1 chariot dust 2 - 8 chariot dust = 1 immi (very minute grain) 3 - 8 immis = 1 sesame – seed 4 - 8 sesame seed = 1 paddy grain 5 - 8 paddy grains = 1 angula (It is in this way, angula becomes the funda-mental unit) Since each essential structure of cosmic order is manifested in terms of eight, Mayan declares: “Space is eight fold; earth is eightfold; energizing factors of soul are eight in number; lumi-nous elements of body are eight in number; souls are in eight groups; substances are in eight groups……”

(872) Based on his keen ob-servation on and systematic analysis of the cosmic sub-stances and structures, Maya propounds a unique concept, i.e., the concept of one single unitary substance with eight units of division, each unit di-vided into eight. This unitary substance is the very basic for any structure or construct. Ac-cording to Maya this sub-stance, being tridimensional, is with a self-spin resulting in variation or modification of its structural state. Because of this variation/modification the number of unit, i.e., 8, is in-creased by one without any increase in volume or mass of the substance. This variation effected by self-spin into the unitary substance is known as pranava. It is this variation due to spin that gives eternal-ity to the substance. Innumer-able designs are effected by this variation. Due to the dynamism of space and to that of 8-unit substance, the form conceived in the inner space is expressed out with relevant rhythmic proportions (328). That is why, in all the Agamic and yogic scriptures, the inner space of heart has been de-scribed as to be in the form of eight petalled lotus. One unitary substance associated with eight units is the exact formal expression of each divinity, according to the


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agamas. If the unitary sub-stance is equated with the pri-mal deity, eight units are equated with its corresponding eight forms. For example, in the case of Siva temple, Siva is represented by the unitary substance and his eight forms – namely Bhava, Sarva, Ugra, Rudra, Mahadeva, Bhima, Is-ana and Pasupati are repre-sented by eight units. As a collective whole, Siva is one, his eight forms being unified with Him (one with eight). As a distinctly mani-fest Divine, Siva is one sur-rounded of his eight forms. (one added with eight = 9) Distictly manifest Di-vine is, OM. That is why Maya pro-pounds the theory that OM, i.e., Pranava is the variant state of eight that is, 9. Since the same concept is applied to each divinity, es-pecially at the time of installa-tion (pratistha) it becomes ob-vious that, each substance and substantial source is associated with the dynamism of eight. The science and technology of manduka mandala (E8 x E8) That dynamism of 8 units leads to the manifestation of four-sided frame consisting

of 64 squares. In the science of Vastu, the frame of 64 squares is called manduka mandala (tavalai maneri – in Tamil). Because of its leaping character and because of its inseparable association with sound and light energies in one and the same plane, this frame of 64 squares is signifi-cantly called manduka (frog). With all certitude, it could be reasonably main-tained that Maya was the one and only scientific architect who expounded the scientific and technical principles of the manduka mandala and who established its fundamentality for all other mandalas from sakala to indrakanta. To sum up the princi-ples of the frame of 64 squares as expounded by Maya in this work:- The frame of 64 squares is the graphic and atomic structure of the whole cosmos. It is the basic design of inner space and outer space enclosed space and built space. It is the modified ver-sion of pranava OM. The exact centre of the frame of 64 squares is called primal dot (mulap – pulli). This Primal dot, is ac-

tually, square in shape. Even within this squaric dot, there is the presence of 64 squares. Within this squaric dot, there occurs the speedy gyra-tion of time. This gyration spreads over the entire field of manduka mandala. The points at which time is in vertical movement are called the points of stable time (technically known as marmas) At the bordering lines of the frame, the gyration of time is in slow phases. Whereas the central squaric dot denotes the smallest unit of time, the boundary line of the frame denotes the greatest unit of time. The squares lying around the central squaric dot are collectively called inner space (aka vin). (This inner space is technically known as brahma sthana) Like the central squaric dot, each square-space is asso-ciated with 64 squares, and aquaric dot at its centre. In this way, we get 64 squaric dots, each dot having 63 min-ute squares within its minutest frame. This process of prolif-eration goes on for ever. (The central squaric dot is also called bindu and bindu grha or garbha grha, in the Agamic treatises). It is the bindu or pri-mal squaric dot that gives rise


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to the emergence of FORM and structure. Each squaric dot and each square-space gets identi-fied spontaneously with appro-priate luminous force and sound force. By luminous force and sound force, Maya actually means the relevant pada devata. Luminous force denotes the actual form of pada devata and the souns force denotes the exact name of the pada devata. In actual practice as far as a deity is concerned, its dhyana sloka is the luminous force and its mantra is the sound force. Each squaric dot and each square space is associated with number and letter, with particular mathematical order and rhythm. These are the factors to be taken into consideration while building a construction. The whole area of the frame of 64 squares becomes the field for the creative opera-tion of both space and time. It is the field for the operation of eight directional pulls. The position assumed by the frame after the spin is known as the direction of eter-nality and completeness. (then-in Tamil). This direction is non-relative, whereas other eight directions are relative.

The frame of 64 squares is ele-vated to the frame of 81 squares due to the spontaneous spin. The frame of 64 squares is also known as the unmanifest OM; and the frame of 81 squares is also known as the manifest OM. Owing to the orderly process of amplification, the frame of 64 squares gets ele-vated upto the frame of 32 x 32 squares and owing to the systematic process of reduc-tion, it descends down to the frame of sakala pada. All the vastu mandals are governed and regulated by the presence of manduka mandala. The frame of 64 squares, apart from being in perfect square shape, may as-sume any geometrical form. The forms being assumed by the manduka pada are as innu-merable as the countless forms and structures with which the worlds are replete. There is ever existing co-ordination between the frame of 64 squares, space and time. All the existent and all the souls, either of this world or other worlds are ingrained with the frame of 64 squares (manduka mandala). It is of the nature of trans-cosmic penetration.

This frame serves as the fountain head of creative and performing sources and by virtue of this feature, it is the manifesting factor of sculp-ture, drawing, music, dance, orderly speech, languages, scriptures and so forth. Infact, it is called the primal letter (mutal eluthu). All the letters originate from this. The per-fect performance of any art or any work is due to the perfect squaric formation of this man-dala of 64 squares in one’s own inner space. The Aintiram could be succinctly described as the Veda, mainly dealing with the science and technology of manduka mandala. MICROBODE: In actual practice, the frame of 64 squares is applied by designing it horizontally. In truth, it is applied appropri-ately for the vertical elevations also. The frame is not only squaric, it is cubic as well. The minutest, condensed, cu-bic version of the frame of 64 squares is known as mi-crobode (citravai – in Tamil, daharakasa in Sanskrit). It is of great wonder to know that Maya was the first and the only Silpa Rsi who introduced this microbode with all its sci-entific and technical pro-foundly, to the world of image and forms, and to the world of humanity.


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As Mayan has ascertained, the entire of space-field is filled up with microbodes. Mi-crobode is the space foetus which gives rise to the forma-tion of the temple of man (manusyslaya) and to that of God (devalaya). Each mi-crobode is thickly packed with innumerable frames of 64 squares. The exact centre of the microbode is in constant vibrancy. The central thread passing through this centre is called luminous thread or thread of consciousness (oli nul or unar nul). This is what is technically called brahma sutra. The constant vibration of this luminous thread is con-ceived as the cosmic dance and the luminous thread is conceived as the cosmic dancer (Nataraja; Adavallan, or Adalan according to Maya). All the characteristic features and efficacies of the frame of 64 squares, as men-tioned earlier are equally ap-plicable to the microbode. Everything is microbode which is the container of eve-rything. We cannot conceive one which is not present or contained in the microbode. The very existence and expan-sion of the universe and of space and spatial orders is due to the constant vibrations of the luminous thread of the Mi-crobode. This vibration itself is the undivided wholeness of time and its frequencies result in innumerable time-measure and/or space-measure. The

central luminous thread is the ultimate wielder of time. This principle is actually put into practice. We, as the tradi-tional practitioners in the sa-cred activities of Siva Tem-ples, adore Nataraja (the lumi-nous thread of consciousness present in the microbode) as “Kalacakra Pravartakah”--- meaning, the one who wields the clusters of time units and time divisions of various planes.” As we learn from the Aintiram, the Microbode, manduka mandala, Nataraja, OM-sound and OM-light, Space and Time should be viewed collectively, as co-present and co-operative, as co-existent and co-eval. All these and the associated fac-tors are in one unit whole. Space: Mayan’s views on space are most elucidative and informative. According to him, space is the most basic, creative seed-source which is ever vibrant, which is inex-haustible and which is mani-festing itself into space-fields and spatial forms. As far as the science of space and crea-tion is concerned, we could reasonably maintain, based on the works of Mayan, that Tamil is the most scientific language. In fact, Mayan fre-quently uses the term Tamil to denote the language meant for blissful expressions, to denote

the creative sound-source. There are two words in Tamil to denote space-veli and vin. The etynological mean-ing of veli is to manifest, to emerge out, to be in purity and clarity. Vin means to be in vibrancy, to pulsate, to throb (frequent usage in Tamil). The Sanskrit equivalent ‘akasa’ is not so expressive of such meanings as veli or vin. The Tamil word ‘viyan’ means the vast expanse. Viyan is the equivalent of ‘akasa’. In view of creative function and crea-tive source Mayan uses ‘veli’ to denote the entire area of vastu mandala and vin to de-note the constituent square. The manduka mandala, conceivable with the greatest area possible, is the space; and the manduka mandala, con-ceivable with the minutest area possible is the microbode. Space is peravai and mi-crobode is citravai . Space is not only the source of creation and mani-festation but also the life-sustaining source. If seeds of a particular tree or plant are sown, we ob-serve that some of the seeds are not sprouting. What is the reason? The Sarvajnanottara Agama states: “Each seed is associated with the aspects of earth, water, fire, air and space. That seed, in which the space-element is not present,


44

does not sprout”. This proves that space is the source of sprouting or creation. The plant or tree in which capil-larity does not function well, does not grow well. This means, capillarity or space-tunnel is the source of growth and sustenance. Space is inseparably associated with the frame of 64 squares. The design of manduka mandala of the space contained in a particular seed decides and defines the struc-tural features of form sprouted from the seed. The word ‘mulam’ very frequently occurring in the text, is synonymous with the word ‘veli’ or space. Time: Mayan defines Time as the vibration of space. In Mayonic science, space-measure is equal to time-measure. Space and Time are co-existensive, co-eval and co-present. Like sound and light, they always move hand in hand. The modern physics propounds the view that Time is the fourth dimension of the universe. This view is unten-able to the science of Vastu. Because, the dimensions of any construction or any image are, indeed, the units of time. The Tamil word for time is Kalam. Again, this is also a scientific term. The ety-

mological meaning of the term ‘kalam’ is to put forth, to give rise. Since it is only the vibra-tion of space that puts forth or gives rise, the vibration of space, is reasonably called ‘kalam’. In Mayonic order, ‘imai’ is the smallest unit of Time and uli is the greatest unit of Time. The dust raised by the movement of chariot-wheels which symbolizes Sun and Moon, (by the movement of which we calculate time) denotes the smallest unit of Time. The flag, which is the highest point of the chariot denotes the greatest unit of the Time. This is the exact mean-ing, when Mayan speaks of the Time of chariot-dust and Time of chariot-flag. That is why Mayan calls it Timal Chariot. Each and every member of chariot denotes each and every manifestation of space and time. As Aintiram explains, not only the chariot, all the images, forms and construc-tions as well denote the entire span of Time beginning from imai and ending with uli. The central squaric dot of the man-dala, upon which the image or building denotes the smallest unit of time. The crown of the image or the finality of the buildings denotes the greatest unit of Time. So each struc-ture or building is the modifies version of undivided Time; each is a time-beam. The cen-

tral thread (brahma sutra) of the structure or building is a primal-beam. So the world is full of time-beams and primal-beams. Is it not the soul-inspiring unitive vision, at-tained by the yogins after a long period of continued medi-tation? But the Mayonic order enables us to attain this unitive vision, through the simplest means possible! This is the Mayonic Wonder. He extols the greatness of Time-God: “It is the Time that cre-ates; it is the Time that main-tains; it destroys; it conceals; it sets right the discordant and improportionate aspects and effects purity; it makes the fruits fructify; it stabilizes; it assimilates; it provides and effective and great path; it brings into effect a supreme and sacred form” -----A:815 As Aintiram puts it, it is the Time that functions in every living being as inbreath and outbreath. Time and wind are equated. Kal is the root-wood for kalam(time) and katru. Other details: Apart from the con-cepts explained above, Mayan very often speaks of number and numerical order, letters,



orthography, sound and light aspects of letters, sound and light energies of audible and inaudible words, grammatical subtleties, the mellifluous and pleasing efficacy of Tamil lan-guage in expressing the scien-tific and technical subtleties, the emergent pattern of Tamil language in five phases where the word Tamil is used in ver-bal form, science of phonemes, musicology, and musical sub-tleties, orthographic sculpture, musical sculpture, orthographic drawings, musical drawing, dance and its varieties, Cosmic Dance and the significant prin-ciples behind it, house designs, space-craft, ship-building and many such matters. Mayan makes mention of Kumari con-tinent, Mahendra mountain, Pahruli river etc. Aintiram speaks of six energy-centres (adhara cakaras) of human body and technique of breath. There are many refer-ences to his earlier works such as Peru nata-cennul, Vinkala-cennul, Oviya-cennul. Om-marai, Aim-marai and so forth. The Aintiram is the ‘magnum opus’ of Mayan. The subject-matter and the compact texture of the work impel me declare that this is the hymnal outpouring on the manduka mandala, microbode, space and time. In the domain of scrip-tures, I do not find any other equivalent to this wonderful

work. Pre-requisite for the study of Aintiram; fruits of the study: Such a great work of unique significance and origi-nality should be reverentially studied and systematically un-derstood. Maya himself states how the reader should train himself in a befitting way to study this important work: “This work Aintiram is to be studied by a person who has already gone through varied works on multifarious themes and understood them without doubt and distortion and grasped the concrete exegenisis of those works and who has attained mastership over varied art-fields” -----A:30 This means, the devoted study of Aintiram could be pos-sible only for a person who has already attained basic knowl-edge of language, grammar, Scriptures dealings with the art of music, dance, sculpture, drawing, Scriptures dealing with the science and technology of building, if vehicles, and the Scriptures dealing with the sci-ence of imagic and graphic de-signs. It may be asked: if a person is already conversant with all these, then where is the need for the study of Aintiram? Yes, there does prevail the es-

sential need for this study. Aintiram is the basic Key-Work which is capable of unraveling and demystifying the basic sci-entific and technological princi-ples of these varied arts and sciences. It is the perfect work, which perfects our faculties in such a way as to perceive the imperceptibles, to know the un-knowables, to hear the unheard and inaudible and to see the unseen. The ultimate fruit of the slowly-phased and devoted study of Aintiram is to be re-warded with su-

THE WORD AIN-THIRAM MEANS FIVE VIRTUES.

IT IS EASILY NOTICE-ABLE THAT IN AN-CIENT LITERATURE THE NUMBER 5 PLAYS A MAJOR ROLE!

5 PAANDAVAS.

5 RIVERS (PUNJAB)

5 KAAVYAS

5 PANCHEEKARANAM

5 PANCHASHEELA

46


NEWS

P.V.N.MURTHY

VISITED THE

ARSHA VIDHYA

GURUKUL

AASHRAM

AT ANAKATTI

NEAR

COIMBATORE.

HE MET SWAMI

DAYANANDA

SARASWATI

AND GAVE FEW

BACK ISSUES OF A S W.

SWAMIJI BLESSED HIM FOR ONE YEAR

COMPLETION

OF MAGAZINE

ANCIENT

SCIENTIFIC

WISDOM.

ENTRANCE AND RECEP-TION ARE ON THE SCENE.


HARD TO BELIEVE FACTS!

• Thamizh is the most ancient ver-bally communicable language among all the world languages!

• It is a deliberately designed code language on a mathematical basis connecting numbers and phonet-ics!

• It is computer-bit-friendly and so easily lends itself to computeri-zation!

• All other world languages in vogue (including English, San-skrit, Chinese, Greek and Latin, Heabru, Arabic) have adopted the basic principles behind evolution of Thamizh to form their own languages!

• If decoded, all the Sangam Tham-izh literature present themselves in 3 mutually exclusive forms and thought-flows namely, Literary, Scientific and Mathematical!

• The literary presentation only is now apparent and the other two had gone into oblivion thousands of years ago!

• The other two decoded presenta-tions were being used as absolute, unadulterated and unambiguous textbooks on all conceivable sub-jects in science and mathematics to teach students at all levels in Thamizh Sangam period!

• These versions already contain in them almost all the landmark theorems in the so-called modern sciences- and mathematics that

were supposed to have been in-vented by western scientists like Pythagoras, Galileo, Archimedes, Aristotle, John Dalton, Isaac Newton, Charles Darwin, Ein-stein, Neils Bohr, etc.

At one point of time, the language in which the 4 Vaedhas and their allied Scriptures like Upanishads Brahmasuthra, Sankhya Kaarika, etc. were one and the same called “DHAMIZHI” from which Thamizh and Sanskrit were cre-ated!

• So it follows that Vaedhic Scrip-tures were NOT AT ALL COM-POSED IN SANSKRIT and they are also capable of presenting themselves in 3 mutually exclu-sive forms like those of Thamizh and they also consists of almost all the above said theorems in sciences and mathematics!

• For example:

• Avvaiyaar’s Aatthichuudi and Kontraivaendhan is presented as mathematics mensuration tables suitable to be taught in elemen-tary schools!

• Thirukkura lh is Thamizh Vaedham consisting of Astron-omy, Laws of Nature (that is Fun-damental Sciences) and what not!

• Ahanaanuuru & Puranaanuuru have- Laws of Nature explaining Microcosm and Macrocosm!

• Aimperum Kaappiangalh become Theory o f F ive Sensses (Aimpulankalh)!

• On the same lines’ 4 Vaedhas become Fundamental Laws of Nature!

• Brahmasuthra becomes Formulae for Creation Principles!

• Sankya Kaarika becomes Number Theory!

• Isho-upanishadh is Theory of

Light!

• Katho-upanishadh is Theory of Sound!

• Keno-upanishadh is KineticsThe-ory!

NO TRANSLATION, NO INTER-PRETATION, NO GUESS WORK, NO BLAH BLAH! NO HOTCH POTCH! IT IS PRECISION DE-CODING WITH INDISPUTABLE MATHEMATICAL, LINGUISTIC, ETYMOLOGICAL, LOGICAL, SCIENTIFIC, ARCHAELOGICAL AND OTHER PROOFS!

ALL MADE POSSIBLE BY LIN-GUAMATHS—THE MATHE-MATICS OF LANGUAGES!

LINGUAMATHS

The Mathematics of Languages

is a trend setting re-discovery of Vedsri by Dr. P.V.N.Murthy Ph.D. from very rare ancient documents that give complete theory on how the most ancient DHAMIZHI language was designed scientifically, mathemati-cally and logically, including the alge-braic, geometrical, and linguistic models forming its basis. This basis is completely binary logic and binary mathematics. Therefore, it becomes computer bit friendly, readily yielding to computerization!

P.V.N.Murthy was formerly Com-puter Systems Manager in Air-India Mumbai. He has authored Thamizh poetry books Thiruvaenkataayanham (in more than 2500 poems and songs), Vaazhum Vazhi; Dreamlands (English poems) and a few others. Raamaayanha Rahasya in English and Thamizh are his first books in Vaedhic Science that are widely read in India and abroad.

A registered public Charitable Trust

மைறெமாழி அறிவய�

ஆ�வக�


He discovered LINGUAMATHS as a result of more then 20 years of re-search. By word of mouth the news spread and on demand he has deliv-ered several lectures on the subject in India and abroad including USA, in colleges, universities, religious and public forums, national and interna-tional seminars, etc.

All these culminated into starting a registered public charitable trust called “VEDSRI” the Vedic Science Research Institute at Hosur, Tamil-nadu. This Trust has the support of highly reputed scholars in its advisory panel. They include 2 Padmab-hushans, 4 former VCs of Universi-ties, several former and present heads of departments of various faculties including Sanskrit, Thamizh, Philoso-phy, Engineering, Computer Sciences, Agriculture etc., many popular au-thors of literature and technical books, Doctor of Medicine, Pontiffs of Matts and so on. With the support of these Vedsri has started publishing a monthly English magazine called AN-CIENT SCIENTIFIC WISDOM from June 2009.

A MAGAZINE

A TREATISE

A WINDOW

The only magazine of its kind in the modern world, Ancient Scientific Wisdom is truly a window to unimaginable knowledge and possibilities. It aims, and indeed commits itself to achieve the following:

• Systematically reveal an-cient scientific wisdom in unambiguous terms

• Sugges t app l i ca t i ons thereof, towards their use in modern technology

• Unravel theorems and mathematical formulae found in ancient literature

• Inculcate a love for mathe-matics by culling out an-cient algorithms useful in rapid calculations

• Convince educational insti-tutions to introduce afresh ancient scientific wisdom at various levels in the courses they offer to students

• Allay and relieve supersti-tions, blind faith and unsci-entific rituals from the minds of people

Ambitious, altruistic or purely knowledge driven?

Explore this unique publication and you will discover it’s all the three!

VEDSRI has also mooted the idea of starting a world-first unique VAEDHIC SCIENCE UNIVERSITY at Manvi in Karnataka with the blessings and support of Kalmat Mataathipathi.

The fields of study visualized are:

• Vaedhic Agriculture

• Aayur Vaedha, Herbal Medicines, Holistic Health and Healing.

• S t h aap a t h ya V ae d h a (Architecture)

• General Sciences and Mathematics

• Vaedhic Science Research and Linguistics including Automatic Machine Trans-lations of one language to the other

• Fine Arts and Culture

• Vaimaanik Saasthra (All branches of Engi-neering including automobile, na-val, and aeronautical

• Department of Happy Liv-ing

UNIVERSITY PLAN

THIS IS A GIANT LEAP TOWARDS RESTOR-ING INDIA TO ITS RIGHTFUL PLACE AT THE PINNACLE OF ALL KNOWLEDGE!

YOUR VALUED SUPPORT AND ACTIVE PARTICIPA-TION IS SOLICITED.Please contact VEDSRI for further information.


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THIS MAGAZINE DE-SERVES ALL ITS IN-NER PAGES ALSO TO BE PRINTED IN MUL-TICOLORS.

FROM AUGUST ON-WARDS YOU MAY READ THE MATHE-MATICALLY DE-CODED VERSIONS OF ALL THE VAEDHIC LINES THAT ARE AMAZINGLY DIFFER-

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YOU MAY WATCH THE POWER OF LINGUA-MATHS DOING THE TRICK!

YOU MAY SEE THAT THE SLOGAN ON THE COVER PAGES ARE NOT EMPTY WORDS!

A S W IS THE ONLY MAGAZINE OF ITS KIND PROPOGATING INDHIYA’S OWN SCI-ENCE!

IN ADDITION RE-PUTED SCHOLARS’ ESSAYS ON ANCIENT MATHEMATICS, CUL-TURE, HEALTH, SPIRI-TUALISM, HAPPY LIV-ING, SUPERSTITIONS, RITUALS, AND STO-RIES ARE TO BE THERE!

ancient sceince

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