TIME = SPACE SERIES. PART 28 – CAPTURING THE DIVINE ENERGY – SQUARES & CIRCLES

It is told that the sanctorum of Lord Ranganatha’s temple at Sri Rangam is circle from outside and square from inside. Why?

·         Subtle energy is represented by 8x8 square grid and the perimeter of the square is 4r and the area of the square is r*r. When each grid length is 1 unit then r = 8, so perimeter is 32 and area of this square is 64.

·         Gross energy is represented by 9x9 square grids and with the same measurements perimeter is 36 and area of this square is 91.

It has been an architect’s dream to create and capture subtle energy in a gross structure. This is fundamental objective of spatial engineering. How do you go about to achieve this? It looks that they found that they would take the help of a circle either outside the square or inside the square to achieve this. Remember almost every yantra has a square and a circle component in it.

The measurements are so taken such that either the perimeter or the area of both the circle and the 8x8 square are matched. Most of the Hindu temples follow such rules to invoke the subtle energy in a gross structure like temple. This is one of the well kept secrets and this is the reason each and every temple is said to interact with your subtle body differently when you visit it.

This is why Lord Ranganatha’s sanctorum in Sri Rangam temple is a circle from outside and square from inside. This secret is called as Squaring a Circle. This is all about to creating divine energies and this is the science that is implemented in all the Hindu temples which are built as per the Sastra. You need just basic math knowledge and patience to understand this supreme secret and I shall give below 2 techniques to match the area or the perimeter of the circle with that of the 8x8 square.

Perimeter match:

·        Let’s look at the image of a circle of unit radius. The area of the large circle is π (πr²) and the circumference is 2π. Here r =1.

·        Draw 2 circles inside as shown with half the radius. The area of each circle is π/4 and the combined area of both the circles is π/2. The circumference of each circle is π and the combined circumference of both the circles put together is 2π.

Figure 39: Squaring a Circle (Courtesy: Dr. Robert Lawlor, Sacred Geometry)

·         Just note that when a larger circle divides itself as 2 smaller circles the area is halved but the circumference is the same. This gives the first philosophical metaphor that “One has become two which are bipolar yet non-dual”. This is one of the fundamental principles of Advaita and also in Chinese philosophy. This bipolar non-dual force is the basis of life and is represented as male / female and Yang / Yin.

·         Now draw 2 arcs NDM and NEM from A’ and A with the radius as A’P and AQ as shown in the dotted line. You would note that point D and E would divide the radius of the circle by divine proportion – 1/F and 1/F². Radius of the arc AE is F. The Yin Yang symbol is based on this principle which embeds the divine proportion in it.

·         Now let me draw a square ABCD around this circle (Fig 40) where the side of the square is the diameter of the circle which is unit 2. Here OP =1, AB=BC=CD=DA = 2. The perimeter of the square is 8 and the area of the square is 4.

·         Now draw a circle with O as the center and NO as the radius as shown in the figure. Here NO = √F. You can take this figure as such if you find it difficult to follow but for those who are interested, the derivation to calculate radius “NO” is as below:

Figure 40: Squaring a Circle 2 (Courtesy: Dr. Robert Lawlor, Sacred Geometry)

o   Consider a right angle triangle OPN. We know OP = 1 and PN which is the radius of the arc = F. Hence as per Pythagoras theorem PN² = OP² + ON² which is F² = 1+r². Let us say the radius is ON = r.

o   So r = √(F²-1). We know F is 1.61803399 so r = √F.

·         We have got a larger outer circle with a radius √F and hence the perimeter should be 2π√F. This is numerically equal to 7.9924576, which is equal to 8. Now we have created a structure where a square whose perimeter and a circle whose perimeter are the same. This technique is not limited to India but used in the same way for pyramid construction.

·         This is the perimeter match between 8x8 square grids and a circle around it.

Area match:

·         Vaastu has an easier way to get this done. Draw a circle inside a 9x9 energy grid whose diameter is equal to the side of the square. If each energy grid length is 1 unit, then side of the square is 9 units and the radius is 4.5 units.

·         The area of this circle is πr² where r=4.5 and hence the area of the circle is 63.64 which is almost equal to area of the 8x8 square with unit grid length as 1 unit.

·         This is the area match between a circle and 8x8 square. So as per Vaastu every building is divided into 9x9 grid and the energy level of each grid is used to design the living space.

Capturing the direction of Subtle energy flow:

The subtle divine energy flows is as per the diagram given below. It starts from the center and always flows clockwise. That is why Hindus always stick to clockwise flow of movements - be in their temples or anywhere else. This clockwise flow of movement is captured in the sacred symbol Swastik. Here 1 is the source / Moolam, 2 is Kaalam (Time), 3 Seelam (Rhythm), 4 Kolam (Form), 5 (Universe) Gnalam.

                                       

                                            

Figure 41: Clockwise flow of subtle energy                           Figure 42: Swastik symbolizing energy flow

Relationship between √2, √3, √5, F and π:

·         Now let me draw the connection between √2, √3, √5, F and π. Understanding this relationship is orgasmic and nothing less. If you think they are all some random numbers which cannot be fixed to their 10^th decimal and not related to each other, just see the following relationship.

π = F² x 6/5

Philosophically 6/5 is the relation of a hexagon to a pentagon and the other way to express this relationship is

F = (√π * √5) /(√2*√3).

·      This goes to prove that we did not just knew the numerals but divine fractions and proportions including their linkages. I am convinced, there is not even an iota of superstition in our temple and idol worship but they are supreme sciences codified and left for our benefits.

·         The temple of Sri Rangam dates back from Ramayana, which is Treta Yuga that is 800000+ years back as per Hindu Scriptures. This is our rich past and supreme science is embedded in our culture and codified in thousands of temples across nook and corner of the country. Why should we ignore this? We have a lot more to offer this world which is struggling to understand the nature of nature.

As a wise man said, “Indians are the most ignorant about their rich past and scientific traditions.”

Happy reading!

Figure 43: Similarity between Indian temples, Pyramids. The Tamil text states how the structure should be built. (Courtesy: Dr. Ganapathi Sthapati)

TIME = SPACE SERIES. PART 27 – ARCHITECTURE – THE ZENITH OF MATHEMATICS (VAASTU)

Just look back in history and see what stands the test of time. Even if a civilization is completely extinct what stand beyond their time is the architecture of the civilization which stands tall as a witness to the richness and maturity of the civilization.

Aintiram states that “Architecture (Space engineering) is the zenith of the mathematics” in “கட்டிட கலையே கணக்கியல் உச்சி...” This space science is called as Vaastu Sastra in India.

There are few important concepts in Vaastu science which I want to present as below:

·      The whole world is made up of God’s particle (Vastu, வஸ்து) and nothing else. It is this God’s particle which actually manifests itself as gross forms (Vaastu, வாஸ்து). You would note that Vastu (Subtle) has become Vaastu (gross) by addition of letter “a” and this difference is reflected in our languages too. When அ / अ become ஆ / आ the subtle becomes gross. Hence the most important statement for this science is “Vastur eva Vaastu”, this means the subtle becomes gross or energy becomes matter or the space becomes earth. This is purely manifestation / evolution and there is no creation. This has nothing to do with religion but supreme science.

·        Since it is all only one energy and it ever vibrates based on the harmonics and resonance, this vibration is called life and everything in this world, be it a living being or a non-living being as per our current definition – everything vibrates. The chair you sit and the vehicle you use are all living beings. Everything throbs with energy and there is nothing which is a non-living being in this universe. Without this vibration there would not be any difference between iron and cotton. The difference between particles is essentially the molecular constitution which is a function of its elements and its periodicity. This defines presence or absence of quality and sensory perceptions. This was put very nicely by Poet Subramanya Bharathi as எங்கு காணினும் சக்தியடா, Where ever you see its just energy.

·     The above concept is very profound and this is called as Science in our scriptures since it deals with Knowledge of the space (விண் ஞானம், Vin-gyan).

·       By the same concept when a subtle energy which is in the open space is converted to a gross form like a building then this body / building vibrates based on the design specifications and the material used for that building. It does not matter what is the measure and what is the material used, it vibrates. When a structure is created with a divine proportion then we breathe life into it. Thus the structure becomes a living organism. This is how some of the structure stands the test of time for thousands of years.

·        Vaastu is that science which aligns the vibration of the building with the vibration of the dweller in the building so that both the living organisms (the building and the dweller) are in harmony and resonance.

·         It sounds simple but for this science we need to know includes the vibration pattern of the dweller, mathematics of space engineering, the knowledge of materials and its nature so that we can match it up to create harmony. This is precisely what Vaastu as a science does. Again it has nothing to do with religion. If you Google you would find thousands of Vaastu experts outside India who perceive and pursue this as a supreme spatial science.

·      Let us look at the word “vas” which is the root. This means to shine; to grow bright, to bestow by shining upon, becoming light. Vaas is its derivative which means to perfume, an intoxicant, dwelling place, to assume the appearance of matter. This is the root for SriniVAAS, SreeVAASan, VAASam in Tamil means living. Most importantly the ability to feel this subtle thing (which cannot be touched) is called VAASanai (வாசனை, in Tamil it means smell).

·         This spatial science includes knowledge on the following:

o   Nature of soil and material, and the qualities of its energy.

o   Measures for spatial engineering that best resonates with the environment and the dweller.

§  Note that the dwelling unit cannot be compatible to all the human beings universally. This varies with individual to individual and hence the Vaastu compatibility for the house is always seen for the housewife than the man with the assumption that what is compatible to the lady of the house would suit all others.

o   Accurate calculation of time and the position of astronomical bodies. The time engineering merges here with the space engineering. Consider the following to understand this:

§  In some temples you would notice that the sunlight falls on the deity on a specific day / time of the day. This is not possible if the future position of astronomical bodies at a given time is calculated very accurately.

§  When we build a house / temple the inauguration ceremony should be conducted at a specific time. So it’s just not Space Engineering but time engineering also.

o   We see that the concept of space and time are not just a continuum but:

§  The measures of time and space merge and results in the same unit measure called Tala. It is Adi Tala in Poetry, Music and the same measure is used in building and sculpture dimensions.

§  Space is created because of the pulsation called Time and hence the unit time measure (for pulsation) and the unit space measure (result of pulsation) are one and the same. This means the pulsation causes proportional displacement or creation of Space.

§  It is the same concept used in meditation techniques. With Pranayama, Dharana and Dhyana you control the pulsation and align with it. In Samadhi you stop the pulsation and hence you are beyond time and space and you reach a luminescent state of resonant non-vibration.

Hence to reflect this truth, I named this book as “Time = Space”.

We have seen that each subtle unit is represented in  8x8 energy grid and the gross unit is represented in a 9x9 energy grid. Mayan states that “Each module or pada within the 8x8 / 9x9 structure resonates with a specific energy. Based on Space, Time, Light, and Sound coordinates the frequency of vibration has its unique position in the Space/ Time continuum. This energy level of frequency of vibration is called a luminous body or Devata. This devata has particular attributes based upon its position and qualities in the Space/Time continuum (placement among the 64 / 81 sub-cubes or padas)”.

Figure 37: 5 states of 8x8 Energy Grid (Courtesy: Dr. Ganapathi Sthapati)

Now what is evident here in this science is 8 and 5 merges and so does Space and time.

·         Manifestation occurs in additive values of eight and in 5 stages. You can note that the Bindu (Point) has become 4, then 12, then 20 and then 28. (4+8=12 +8=20+8=28 with a total additive factor of 64). Manifestation occurs in sequences of five steps known as the Pentadic Order.

·      The mathematical calculation which gives form to consciousness / space / subtle matter is called “Ayadi Gananam”. We know that Ganam as the additive process.

Dr. Jessica Marcey in her Fabric of Universe states that:

·         The subtle energy point in the center becomes a self effulgent energy generator pouring out waves of energy

·         becoming a self spinning stabilized structure of four padas / modules then

·         adding eight units of energy to manifest the 4X4 structure of 16 units or modules; then

·         adding another eight units of energy to manifest the 6X6 structure of 36 units or modules; then

·         Adds eight more units culminating in 64 units or modules strung concentrically around the Bindu point or central generator.

So a central point with 4 concentric square belts around, each has its own frequency, vibration and energy characteristics evolving into a 9x9 unit as a gross matter. While this knowledge is significant of itself, when these phenomena are viewed in light of material manifestation as built space in architecture, the significance becomes stunning and profound.

Figure 38: 9x9 energy grid with corresponding energy levels for each grid.

(Courtesy: Dr. Jessica Marcey, Fabric of the Universe)

So, to sum up this section, we have seen that how every inanimate thing in this universe is still a living being and how with the spatial science we can pump throbbing energy into a building. This is the supreme science where Time and Space merges. This is the 4^th sacred art we talked about which is a manifestation of the visual form of Om.

As you would have noticed I have avoided talking about rituals and rules here but focused on the concept and philosophy. When we talk about rituals there are very many variations and we get into an unnecessary argument that whether it is rational or superstitious. Also since most of the arts have become commercialized the person’s qualification is always in question.

The objective of this book is to highlight the scientific aspects of the universe in a small way and emphasis that our culture is built on this science. Be it language or arts or religion all are built on scientific facts. They all were nourished and nurtured in thousands of Temples across India which is the container and protector of this subtle science and energy.

Let’s see some more interesting aspects of this in the next section.

Happy reading!

Time = Space Series. Part 26 – Sabda Veda, Chandas & Poetry (Ma Nishaada…)

शुक्लाम्बरधरं विष्णुं
शशिवर्णं चतुर्भुजम् ।
प्रसन्नवदनं ध्यायेत्
सर्वविघ्नोपशान्तये ॥

Shuklaambaradharam Vissnnum Shashivarnnam Caturbhujam |
Prasannavadanam Dhyaayet Sarvavighnopashaantaye ||

Let’s start with this Sloka as a sample to see how 8 and its harmonics are integrated with Poetry. In this sloka there are 4 lines (a line is called Pada and Pada means feet in Sanskrit) and each line has 8 Sanskrit Aksharas (Only vowels and vowels with consonants imposed on them should be counted and pure consonants are not part of the count.) This is usually written in 2 lines as shown in English below.

This is the most popular way of creating a sloka or poem in most of the Indian languages. This “metre” resonates as 32 aksharas in 4 padas. You may want to correlate this with 1,3,2,2 where the last 2 stands for your feet. So feet (pada) measures 1/4^th of the overall length of the subtle body (8 units) and 4 padas create the full blown subtle body. So such a constructed poem is a throbbing and vibrating energy body or a living organism and hence carries the power of the words it contains.

If all the padas have equal metre say 8 units then it is called Sama Vrtta, and if all are different it is called Vi-Sama Vrtta (not equal). This 8 and 32 is the same as Adi Tala in carnatic music and ashta tala in sculpture. Can you make the connection now?

In Sanskrit this metre is called as “Chandas” and in Tamil it is called “Chandam”. Chandas is also one of the 4 important Vendagas and is called as the feet of the Vedas. Let me ask you as to which language the Vedas are available in its primordial form? The most popular and incorrect answer is Sanskrit. This is the level of awareness we have. Lets quickly look at these important points about Vedas and I shall correlate this with our topic of discussion.

·      Unlike other faiths Hindus don’t attribute the Vedas as word of god or given by some prophet. We consider Vedas as the breath of god (“Nishwasitam”) and not the word which means, Vedas are not created by god, but the breath. If there is no breath that person would not leave and hence it is associated with the very presence of god.

·         Vedas are also Apourusheya which means it is not created by man and Anaadi,that does not have a beginning.

·        But you can ignore them stating these are blind beliefs. Let’s look at how this correlated with the science. Vedas are created by Pranava and these should be considered as the harmonics of the primordial vibration and nothing more.

o   If it is pure vibration then the “which language it is written?” sounds stupid isn’t. If it’s pure vibration it has to be expressed in “Hz or wavelength” equivalent in ancient India. This is what Chandas or metre is all about. This measures pure vibration and anyone capable of tuning themselves to those frequencies have SEEN the Vedas and not created them. Hence all our rishis are Mantra Drishtas and not Karthas.

Difference between Vedas and Poetry:

Vedas contains both poetic verses (Padya) and prose (Gadya). All the poetic verses are called Chandas and it complies with the rule as stated above. The difference between normal poetry and Vedas are, Vedas contain tonal variations (high pitch and low pitch) apart from the time, space variations but in Poetry there are no tonal variations. What has tonal variations and are not part of Vedas are called Slokas. So to sum up:

·         Vedas are both in Padya and Gadya. What is in Padya is called chandas and it has tonal variations in addition to the time space variations.

·         What has tonal variations but not part of Vedas is called as slokas.

·         What does not have tonal variation but comply with the chandas rules are called Poetry.

Harmonics and types in Chandas:

We saw every line to have 8 matras / units / aksharas. There are variations and these are the harmonics available.

·        Gayatri – This is a very special chandas with the mantra where instead of 4 padas, there are only 3 padas and hence it is called Tripada Gayatri. Each pada has 8 Aksharas and hence 24 Aksharas in Gayatri Mantra. This is also the only chandas where a mantra is named after the chandas. Some people write it as 6 letters per line and 4 padas which makes it 24.

·         Ushnik Chandas – 7 letters per pada and 28 letters in all.

·        Anushtub Chandas – This is the fundamental and popular one with 8 matras per pada and 32 in all. Ramayana the first poetry was set in this metre.

·         Brihatee Chandas - 9 letters per pada and 36 letters in all

·         Pangti Chandas - 10 letters per pada and 40 letters in all

·         Trishtup Chandas - 11 letters per pada and 44 letters in all

·         Jagti Chandas - 12 letters per pada and 48 letters in all. This has a subtype called bhujangam which is split as 6-6 and that moves like a snake. (Ex. Subramanya Bhujangam)

·        Shikarini Chandas - 17 letters per pada and 68 letters in all. In Soundarya Lahiri it is split as 6 and 11 by Adi Shankara.

·         Udkriti Chandas – 26 letters per pada and 104 letters in all.

·         Dhandakam – above 26 per pada. Ex. Garuda Dandakam by Vedantha Diskshitar.

The reason I have given all the above is to emphasis that nothing in our religious scriptures, literatures are without a grammar, order, form or proportion. Everything confirms to a mathematical proportion.

Just like Vedas are the breath of god, Chandas is the breath of every mantra. The mantra is powerful only if it is recited to this metre. This is the reasons some of the poem even if it is not related to religion stands the test of time.

“Ma Nishada” …..Origin of Poetry:

Would you believe that the first poetry in this universe started with a curse?

Sage Valmiki saw a hunter who killed one of the birds of a pair which were in love. The sage got enraged and cursed the hunter, O, Hunter, may you not fare well anytime as you killed one of pair of the Krouncha birds which were happily engaged in love”.

mA niShAda pratiShThA.n tvamagamaH shAshvatI.n samAH |

yatkrauJNchamithunAdekamavadhIH kAmamohitam.h ||       (bAlakANDa 2.14)

The above sloka also meant “O Lord of Lakshmi, it will bring you eternal glory for having killed a male of a happy couple who lost his head completely in lust..” This male is Ravana who lost his head in lust despite being happily married with his wife Mandodari. The other interesting connection I have this sloka with this series is that the Mamuni Mayan is the father of queen Mandodari and father in law of demon king Ravana.

Once the sage realized that this curse also meant something very auspicious and referred to Rama avatar he wrote Ramayana which is the origin of poetry as known in the world and it is called Adi Kaavya. Valmiki Ramayana set in Anushtub Chandas which is an octet.

So if you look at both the poetry and classical music composition:

·         The rhythm in which it is set is a pulsation of time which confirms to a divine proportion.

·        The raga and the pitch variation is a pulsation of space / frequency which again confirms to a divine proportion. We did not discuss about ragas though.

·         The words used are divine and we have seen the divinity of the letters and words.

·         The meaning of the song / poem usually exhorts the qualities of the god and hence is divine.

·       The classical music and poetry invoke the subtle divine energy in the aural form just as much the sculpture (when it confirms to the divine proportion) invokes the subtle energy from in its visual form.

·    This is how we see that “one became many” and binding factors in this process of evolution being the numerals 5 and 8.

Alas! Today, we are the fanatic fans of musicians who lacks morality & humility, who is ignorant of any divine proportion, most of the music we hear is a cacophony and very mechanical, the words are indecipherable and lacks depth, the meaning of the song - if at all any are just suggestive of sexual emotions and nothing else and the dance movements we see are the gyrations of the hip with a great blend of fitness training exercises associated with it. This is not to negate some of the fine works we see even today but to stress that we had such high science and taste which we seems to be losing / lost for no good reason other than ignorance.

As a wise man said, “Indians are the most ignorant about their rich past and scientific traditions.”

Happy reading!