Asw 0610

2
Ancient Scientific Wisdom 15 JUNE 2010

A registered public Chari tabl e Trust
Nature is God;
Its behavior, Science; and
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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
AinthiramAncient Thamizh Work 37
Vedsri News 47
Hard to Believe Facts 48
3

4
Dear Readers and VEDSRIs,
I hope you wont 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 Gods 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 VEDSRIs 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 VEDSRIs 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
Sthapatis 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.
Sabarathinams 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 SPEAKS
EDITOR SPEAKS

ON THIS ISSUE
ON THIS ISSUE

5

ANCIENT SCIENTIFIC
ANCIENT SCIENTIFIC

WISDOM
WISDOM

FOR COMPLETING ONE YEAR
FOR COMPLETING ONE YEAR

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

6

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 i ef 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
persons 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 ones 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 ones
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
ones knowledge of this forms
the very basis for ones 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
dhar ma- adhar maabhyaam
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)
and Bhar at ha Va r s ha
(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 THAMIZH
SANGAM 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 STHAPATI
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
Ojhas 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
16
th
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-
mettes work on RGVAEDHA
and AITHARAEYA BRAAH-
MANHA. Later on, in the 19
th

and 20
th
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),
Nizams 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
mans 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 Mya. 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
Arunachal aeswarar
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 Ss-
tra and Vstu Sstra, the an-
cient Hindu theories of
sculpture and architecture
respectively as narrated in
Mayamata and Mnasara
(ancient treatises on architec-
ture and iconography before
5
h
Century AD and 6
th
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 7
th
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=tretay
am maniparvatah/
Dvapare hataka-
girih Kalau Marakat
-acaalah//
bahu yojana paryantam Krte
vahnimaya sthite b a h i h
pr adaks hi nam c akr uh
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=ru
nacalah//
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 i rudra-samhi t a,
Ar u n a c h a l a ma h a t my 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 16
th
or 17
th
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 nor t h gopur a at
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 mb o l i s i n g Ni 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 Sivas 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
of s anc t um- Vi s hnu
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 3
rd

2
nd
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 7
th
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
Adimudi kana 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
PHO
TO
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 Mya. 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 Ss-
tra and Vstu Sstra.,
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
domest i c Indi an, 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.

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Chowkambha, P.O.Box
No. 8, Varanasi 1, In-
dia.
CONCLUDED

23
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 Newtons ?
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 Newtons
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 creat ed subst ance,
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-
tons 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 Newtons 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 Gods 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 :-
Upanishadhs 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 (4
th
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 dont 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
GHOST
GHOST

A REAL LIFE STORY A REAL LIFE STORY
BY CHINNU BY 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 dont 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 dont 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 Co i mb 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. Its 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?
COOOOOOOOOOOOOO
OOO 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
beings words in my native
language! Saami, Saami,
enna bayanthutteengalha?
Na a n t h a h n S a a mi ,
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 KINGs
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.
them, that is, 1,31,008.
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 chieftains 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 childrens 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-
EDITORS
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-
AINTHIRAM
AINTHIRAM

ANCIENT THAMIZH SCIENCE
ANCIENT THAMIZH SCIENCE
BOOK
BOOK

AN EXPOSITORY INTRODUCTION BY AN EXPOSITORY INTRODUCTION BY
Dr. S. P. SABHARATHINAM Dr. 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 spacehaving
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
Mayas 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.

39
Inner space and inner con-
sciousness:

The basic and vibrant
point of emergence or mani-
festation is ones 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.

40
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
41
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
42
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 ones
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.

43
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:

Mayans 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 BELI EVE
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:
Avvaiyaars Aatthichuudi and
Kontraivaendhan is presented as
mathematics mensuration tables
suitable to be taught in elemen-
tary schools!
Thi r ukkur al h i s Thami zh
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
Theor y of Fi ve Sens s es
(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-
GUAMATHSTHE 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 ; Dr eaml ands
(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.
Aregistered public Chari tabl eTrust
uO_Mug| _|Ol0
_Odu
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 appl i cat 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 its 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.
St ha a pa t h ya Va e dha
(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
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ATTENTION
READERS!
PLEASE RENEW
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VEDSRI MAY NOT BE
ABLE TO SEND THE
HARD COPY OF THE
MAGAZINE TO ANY-
BODY OTHER THAN
THE ANNUAL AND
LIFE SUBSCRIBERS,
PATRONS, TRUSTEES
OF VEDSRI, DONORS
OF A MINIMUM OF Rs.
ONE THOUSAND AND
A FEW WELL WISH-
ERS. ALL OTHERS IN-
CLUDING THE ADVI-
SORY PANEL MEM-
BERS ARE RE-
QUESTED TO READ
SOFT COPY OF THE
MAGAZINE
DOWNLOADING
FROM THE WEBSITE
OF VEDSRI THE NEW
ADDRESS OF WHICH
WILL BE PUBLISHED
IN THE AUGUST IS-
SUE.
VEDSRI REGRETS
THIS ECONOMY
DRIVE DUE TO PAU-
CITY OF FUNDS.
VEDSRI SOLICITS
YOUR LIBERAL DO-
NATION TO GET
OVER THIS SITUA-
TION AS SOON AS
POSSIBLE.
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-
ENT FROM THE TRA-
DITIONAL TRANSLA-
TIONS.
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
INDHIYAS 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!

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Ancient Scientific Wisdom 15 JUNE 2010

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