Wednesday, January 29, 2014

HUMAN IS A PROGRAMMED COMPUTER?

Symbols : 

Symbols are the formulator (sutradhar ) of the conscious and the sub-conscious mind. And man has had this innate knowledge from the very beginning, right with the creation of the world. According to linguists, development of language has taken place from symbols only. Symbols are an integral part of human life and mind, even today.


The human sub-conscious mind understands only the language of symbols. The expansion of the sub-conscious mind is in two domains - first the sub-conscious mind of a human being and second the inner space of a building. The human mind evolves from the Space where he lives - the space inside the building. The philosophy of MahaVastu™ believes - Bhawna (emotion and intention) is the daughter of Bhavana (building). Emotion and intention are the driving forces of your life.





CPU Analogy

The analogy of computers serves best to understand the process of both the conscious and sub-conscious mind. Conscious mind is the monitor and sub-conscious mind the CPU (Central Processing Unit). The CPU works according to the information registered on the monitor. It does not perform any analysis on its own. The language of CPU is altogether of a different type. Ninety-five percent of regular computer users do not know that language; though, it is used for programming of computers. A computer program is like a set of instructions, written in that particular language. Similarly, the conscious mind gathers information through the five senses (Eye, Ear, Nose, Tongue, Skin), visuals through the eyes in form of paintings and colours, sounds in the form of music or noise through the ears and touch from textures through skin. Different objects in the external world create the complex language for the sub-conscious mind. Information picked unknowingly by the sub-conscious mind creates the life you live. Understanding of this language and using it to manifest the life you desire is the basis of MahaVastu Programming.

Symbols 'Speak' to us

When placed in a building, a symbol represents something - it says something to our sub-conscious mind, which then begins to act accordingly. This activates the natural Earth energies to generate a specific effect towards the fulfillment of our desires - once these energies sense our desires, they program our sub-conscious mind accordingly and thus set us moving towards the achievement of our goals.


Thus by placing an appropriate symbol in the appropriate MahaVastu Zone related to our wish, we can program our Space for its fulfillment. For example, for a loving relationship with your spouse, put a symbol of Love Birds in the MahaVastu Zone of Relationship. Your Space will get to know what you want and you and your spouse will sub-consciously start behaving in a manner conducive for a cordial and loving relationship between the two of you. Thus, helping us read into the symbolic messages from the Universe; and take the desired steps to convey our wishes to the Universe through the use of symbols and objects - is what makes MahaVastu unique.

HISTORY OF INDIAN CLASSICAL DANCE AND "NATRAJ"



 Indian classical dance is an expression of life, involving the body as well as the emotions. Indian Dance is based on texts from Sanskrit, an ancient Indian language – also thought to be the mother of not only Indian languages but also modern European languages. Indian classical dance is one of the oldest dance traditions associated with any of the world’s major religions. It has evolved with the concepts of self and world.
According to Hindu mythology, the Taandav (the frenzied dance performed by Lord Shiva, in grief after his consort Sati’s tragic demise) symbolize the cosmic cycles of creation and destruction, birth and death. His dance is therefore the dance of the Universe, the throb of eternal life. An interesting parallel may be seen in modern physics, which depicts that the cycle of creation and destruction is not only reflected in the turn of seasons and in the birth and death of living creatures but also in the life cycle of inorganic matter.

Nataraja (literally the king of dancers) or Lord Shiva in a graceful dancing pose is worshiped all over India, by classical dancers, and also a collector’s item for connoisseurs of art.
Nataraja – the divine dancer
   
The origin of Indian dance can be traced back to Bharata Muni (a learned saint) who lived between the 1st and 2nd century and composed a magnum opus on dance, which is known to the world as Natya Shastra. In ancient times, dance was not merely a form of entertainment. On the contrary it was considered a medium of instruction of morality, good values, and scriptures and the expression of reality.
Natya Shastra serves as a common text for all the varieties of Indian classical dance forms. It contains elaborate details on various types of postures, mudras or hand movements depicting different meanings, besides the construction of a stage, the art of make-up and lastly the orchestra. All dance forms make ample use of the nine basic rasas or emotions – hasya (joy and happiness), krodha (anger), bibhatsa (disgust), bhaya (fear), vira (courage), karuna (compassion), adbhuta (wonder) and shanta (serenity).

Natya Shastra further divides classical dance into nritta- the rhythmic elements, nritya- the combination of rhythm and expression, and finally, natya – comprising the dramatic elements embedded in the dance recital. To appreciate natya or dance drama, an individual needs to possess sound knowledge, understanding and appreciation of Indian legends and mythology and folklore. Hindu deities like Vishnu, Krishna, Shiva and Lakshmi, Rama and Sita are commonly depicted in these dances. Each dance form also draws inspiration from stories depicting the life and traditional beliefs of the Indians.

Ancient Indian history reveals that several centuries before Christ, India's art forms of dance, music and theatre were fairly well-advanced. The performing arts, i.e. dance and music reached the acme of their glory, during the reign of the Chola dynasty in Southern India.
   
Dance forms were nurtured with a purpose in the sacred premises of temples. Temple dancing was imbued with the idea of taking art to the people, and conveying a message to the masses. The temple rituals necessitated the physical presence of mortal women (instead of the ornate, carved figures of heavenly damsels, apsaras) to propitiate the gods. The allegorical view of dance, used for the purpose of the pleasing the devas, was gradually transformed into a regular, service (with deep religious connotations) in the temples of the medieval times.
   
This was possibly the reason behind the origin of Devadasis (literally: servants of the deity), the earliest performers of the classical Indian dances. They were supposed to pursue the dance forms devotedly and excel in them. At the outset, Devadasis were respectable women and highly talented artists hailing from the highest strata of the society. They lived and danced only in the temple premises – their vocation enjoying great religious prestige. It was only much later that the devadasis condescended to perform in royal courts, in the presence of the elite and the nobility.
   
A devadasi not only performed on all festive occasions, but also had to be present for the daily rituals, connected with the deity. She was paid from temple funds; moreover the temple supplied the food grains for her and her family. To render a realistic touch a devadasi was ceremonially wedded to the deity. She was consecrated to her lord and thus out of bounds for mortals.
During those bygone times the temples vied with one another for pressing the best dancers and musicians into their services. Temple dancing was institutionalised and the dancing girls were liberally patronised by the kings, elites and mahajans (money-lenders). They were paid lifetime tributes by means of inscriptions engraved in the temples of those times. For instance, the famous temple of Belur ( in modern Karnataka) has several epithets glorifying the Hoysala queen Shantala who was an accomplished dancer and a musician herself. The walls of these temples are also adorned with images of this queen and her spouse, king Vishnuvardhan.

   
The ancient and medieval temples of Khajuraho, Bhubaneswar and Puri echoed with the famous lyrics of poet Jayadeva, (the 12th century poet who belonged to Kenduli village in Bengal, but eventually settled down in Puri, Orissa).The earliest historical illustrations of Nataraja preaching Natyagama (the fundamentals of dance) in its pure form originates in the Chalukyan temple carvings at Badami and Aihole (both in present Karnataka) in the middle of the 6th century A.D. The devadasi system in these temples flourished well and was a living tradition almost till recent times. Unfortunately, decay set in silently. Owing to several socio-political factors like economic constraints, predominance of tantric practices and licentiousness of the siddhas (saints), jangamas ( Devotees of Lord Shiva, holy men of the Lingayat sect, founded by Saint Basavanna) charanas (bards), patrons (mainly royalty and aristocracy) and priests, the devadasis were sexually exploited and degraded to the level of prostitutes. Shockingly enough, the term devadasi (which had a divine connotation) was replaced by the term Bhogastree (literally = women for enjoying); their knowledge of classical dance and music were treated merely as assets useful for attracting clients.
   
The British government in India, in order to ameliorate the condition of women, impart to them enlightenment and education and, above all, to protect them from social evils, abolished the Devadasi system during the early 1900s.





Vrikshayurveda or the science of plants



Vrikshayurveda or the science of plants is another achievement of the ancients, based on sound sense and practical knowledge. The Brihatsamhita of Varamahira devotes a chapter to the subject. One passage reads - 'Prantacchayavinirmukta na manojna jalasayh, yasmadato jalaprantesvaramanviniveseyet.' The gist is that parks and gardens are best situated along lakes and rivers. Another recommends mellow soil for plants, and suggests a means of acquiring this - 'Mrdui bhuh sarva-vrksanam hita tasyam tilan vapet, Puspitamstamsca mrdniyat karmaitat prathamam bhuvah.' Sesanum (tila) seeds should be planted and later, the flowering plant trampled into the soil. There is a verse dealing with the ideal season and stage of growth for cuttings - 'Ajatasakhan sisire Jatasakhan himagama, varsagame ca suskandha yathadiksthan praropayet' i.e. Mid-January to mid-March (the season of dews) is the season for making cuttings of plants that have not yet flowered or spread their branches. The plants with branches should be prepared for cuttings in the season of the mists, i.e, Winter (mid-November to mid-January), while those with well-grown branches should be transplanted during the rainy season. Also, the clones should be planted or mounted facing the same direction as they did on the parent tree. A medicament for the cloning material - "Ghrtosiralaksaudravidangaksiragomayaih amulaskandhaliptanam sankramananropanam.' The berries of sesanum, andropogon, and Embelia ribes (vidanga) together with cowdung are to be formed a paste of and applied. (This was a protection against fungal and other diseases). The chapter also suggests a way to ensure healthy germination and later fructification of the seed - the repeated application of oil followed by the drying of the seed in good sunlight. The oils recommended are of Alangium hexapetalum (Angola) or Cordia myxa (Slesmataka).
The hopes of tracing any independent text of Vrikshayurveda were given up by scholars, till Y L Nene (Chairman, Asian Agri-History Foundation) procured a manuscript of Vrikshayurveda of Surapala from the Bodleian Library, Oxford, UK. Sadhale undertook the translation of the text at Nene's request.
The manuscript is written in an old form of Nagari script. The script of the manuscript represents, most probably, the stage immediately preceding the modem form of Nagari. The script consists of sixty pages with margin on both sides. Each page contains six lines in general (occasionally five or seven). There are about thirty characters in each line written boldly with a thick pointed pen.

Brhatsamhita of Varahamihira of the sixth century also contains a chapter titled Vrikshayurveda. It also contains chapters on allied subjects such as divining groundwater, productivity and non-productivity of land as indicated by natural vegetation, etc. However, beyond establishing the antiquity of the sastra, it cannot give any definite clues to any full-fledged, independent texts onVrikshayurveda.

An anthological compilation of Sarngadharapaddhati (written by Sarngadhara), belonging to the thirteenth century, is yet another ancient text which in its chapter "Upavanavinoda" deals with an allied subject, viz., "arbori-horticulture". The chapter discusses such topics as planting, soil, nourishment of plants, plant diseases and remedies, groundwater resources, etc. Thus it shares withVrikshayurveda of Surapala almost all the topics. Many verses are identical and several others, although worded differently have an identical content. In spite of the striking resemblance between Upavanavinoda and Vrikshayurveda of Surapala, the former cannot be considered as a complete and independent text on Vrikshayurveda.

Surapal's Vrikshayurveda is a systematic composition starting with the glorification of trees and tree planting. It then proceeds to discuss various topics connected with the science of plant life such as procuring, preserving, and treating of seeds before planting; preparing pits for planting saplings; selection of soil; method of watering; nourishments and fertilizers; plant diseases and plant protection from internal and external diseases; layout of a garden; agricultural and horticultural wonders; groundwater resources; etc. The topics are neatly divided into different sections and are internally correlated. The author has expressed indebtedness to the earlier scholars but claims that in writing the present text he was guided by his own reason.

All these observations lead one to accept the text as an independent, full-fledged work on the subject of Vrikshayurveda. Sadhale informs that there are frequent references to this science in ancient Indian literature such as AtharvavedaBrhatsamhita of Varahamihira, Sarngadharapaddhati of Sarngadhara, etc. which bring out the botanical and agricultural aspects; works such as the Samhitas of Caraka and Susruta which bring out the medicinal aspect; and works such as GrhyasutrasManusmrtiArthasastra of Kautilya, SukranitiKrishisangraha of Parasara,Kamandakiya NitisaraBuddhist JatakasPuranas (Matsya, Varaha, Padma, Agni, etc.).

The colophon of the manuscript mentions Surapala as the writer of the text. He is described as a scholar in the court of Bhimapala. Surapala is stated to be "Vaidyavidyavarenya", a prominent physician.
Like several other Sanskrit texts the manuscript gives no clue to the date or place of the author. The subject deserves an in-depth study; however, any attempt at fixing a date of an author is bound to be at best a conjecture for want of definite proof.

Surapala's language, style, vocabulary, and expression also do not help much in providing any clue to his time or place. Interestingly, it is in Subandhu's Vasavadatta – a Sanskrit prose romance of the seventh century – that we come across the name Surapala. This might be a reference to some Surapala who through his writings or commentary could throw light on the plant. At least, there is a reasonable ground to accept such a proposition. An ancient work on plants mentioning Ganikarika may have existed on which Surapala might have written a vrtti and might have earned credit for identifying or throwing more light on the plant. Even though it is a reasonable conjecture, Sdahale thinks that the reference must have been to some other Surapala of the seventh century. Without going into the translators detailed arguments, Sadhale places Surpala in the 10th Century AD.

Sadhale sdays that the existence of the manuscript has solved some problems but it has also given rise to some new ones. The most important problems are:
How does one explain the overwhelming resemblance between Upavanavinoda and the present text of Vrikshayurveda?
The resemblance between Upavanavinoda and Vrikshayurveda may be explained by either proposing a theory that both have made use of texts of their predecessors or by revising our opinion regarding Surapala's date.

Surapala's merits as an author of a scientific work have been brought out incidentally in course of these discussions. Thus a systematic unfolding of the subject, a balanced treatment of various topics, neatly divided sections for the respective topics with clear demarcations of commencement and conclusion, a better and more logical expounding of various topics as compared with the other two texts, regard for predecessors combined with self-confidence and independent reasoning are some of the characteristics of his writing. However, in the description of the blossoming of some trees at the loving glance or a gentle kick of a charming young girl (as per conventions in literature), Surapala's poetic talent reveals itself fully and can match with the best of the classical poetry in Sanskrit (verses 147-151). Similarly, when he describes the plan and layout of a pleasure garden (verses 293-297), the poet in him automatically takes charge of his pen.
Below we quote some prescriptions from Vrikshayurveda; the stanza numbers refer to Sadhale's translation. Some of the prescriptions sound very unconventional and should be experimentally verified. Some agricultural institute should try these methods and if found successful, should be used in regular practice.

On Soil

35. Arid, marshy, and ordinary are the three types of land. It is further subdivided into six types by colour and savour.

36. Black, white, pale, dark, red, and yellow are the colours and sweet, sour, salty, pungent, bitter, and astringent are the tastes by which land is subdivided.

37. Land with poisonous element, abundance of stones, ant hills, holes, and gravel and having no accessibility to water is unfit for growing trees.

38. Bluish like saphire, soft like a parrot's feather, white like conch, jasmine, lotuses, or the moon, and yellow like heated gold or blooming champaka is the land recommended for planting.

39. Land, which is even, has accessibility to water, and is covered with green trees is good for growing all kinds of trees.

40. Arid and marshy land is not good. Ordinary land is good as all kinds of trees grow on it without fail.

41. Panasalakucatala, bamboo, jambeerajambutilakavatakadambaamratakharjurakadalitinisamrdviketakinarikela, etc. grow on a marshy land.

42. Sobhanjanasriphalasaptaparnasephalikaasokasamikarirakarkandhukesaranimba, and saka grow well on an arid land.

43. Bijapurakapunnagachampakaamraatimuktakapriyangudadima, etc. grow on an ordinary type of land.

On Propagation

45. Vanaspatidrumalata, and gulma are the four types of plants. They grow from seed, stalk, or bulb. Thus the planting is of three kinds.

46. Those which bear fruits without flowers are vanaspati (types); those which bear fruits with flowers are druma (types).

47. Those which spread with tendrils are lata (types) (creepers ). Those which are very short but have branches are gulma (types) (bushes).

4849. Jambuchampakapunnaganagakesaratamarindkapitthabadaribilvakumbhakaripriyangupanasaamramadhukakaramarda, etc. grow from seeds. Tambuli,sinduvaratagara, etc. grow from stalks.

50. Pataladadimiplaksakaraviravatamallikaudumbara kunda, etc. grow from seeds as well as from stalks.

51. Kumkumaardrarasonaalukanda, etc. grow from bulbs. Elapadmautpala, etc. grow from seeds as well as from bulbs.

52. Seed is extracted from dried fruits, which become ripe in the natural course and season. It is then sprinkled.

68. After the ash is naturally cooled and removed, kunapa water (liquid manure) should be sprinkled and the pits should be filled with good earth.

69. Sowing seeds for makandadadimakusmanda, and alambuka is good but planting is even better.

70. In fertile lands, which are used excessively, seeds of trapusa or of other vegetables are sown intermittently.

71. Here (in these fields), saffronmaruwaka, and damanaka are similarly grown in a small carry (?).

72. Large seeds should be sown singly but smaller ones should be sown in multiples. The seed of naranga should be sown in a slanting position with hand.

73. The seeds of phanijjhaka (maruwaka) should be mixed with earth and then water mixed with cow dung should be sprinkled gradually and gently.

74-75. Smeared with the pulp of a plantain ripened naturally and dried in the sun, a rope of the stalk of sastika (a rice variety that matures in 60 days) should be laid in the pits intermittently. Sprinkled with little water continuously in the hot days, it yields without fail sprouts blue like tamala.

76. The stalk should be eighteen angula, not too tender nor too hard. Half of it should be smeared with plenty of cow dung and then (it) should be planted with three-fourth part in the pit and should be sprinkled with water mixed with soft sandy mud.

77. The lower part of the stalks of satapatrika should be half-ripened and then in the month of Kartika (post-rainy season) should be planted in a carry and drenched with water for about two months.

78. When they are covered with leaves they should be uprooted and transplanted wherever desired in the month of Asadha (beginning of rains).

79-80. The branches of dadima and karavira should be bent and planted applying enough cow dung at the root. They should be watered regularly for two months. After the leaves start growing they should be cut in the middle.

81. Bulbs should be planted in pits measuring one forearm-length, breadth, and depth-and filled with mud mixed with thick sand.

82. Kadali should be planted after smearing the root profusely with cow dung. It should be planted in the pit along with the root and should be watered well.

83. Small trees should be transplanted by daytime at the proper directions when they are one forearm tall. The roots should be smeared with honey, lotus-fibre, ghee, and bidanga and then planted in proper pits along with the earth.

84. Big trees should be similarly transplanted with their roots covered during evening after reciting the following mantra the previous day.

87. Ksirikatutadadimibakula, etc. should be planted in the month of Sravana (midst of rainy season). Rajakosaamralakuca, etc. should be planted in the month of Bhadrapada (when rains are receding).

On Treatment

187. The diseases of the kafa type can be overcome with bitter, strong, and astringent decoctions made out of panchamula (roots of five plant species – sriphalasarvatobhadrapatala,ganikarika, and syonaka) with fragrant water.

188. For warding off all kafa type of diseases, the paste of white mustard should be deposited at the root and the trees should be watered with a mixture of sesame and ashes.

189. In case of trees affected by the kafa disease, earth around the roots of the trees should be removed and fresh, dry earth should be replaced for curing them.

190. A wise person should treat all types of trees affected by the pitta type of diseases with cool and sweet substances.

191. When watered by the decoction of milk, honey, yastimadhu, and madhuka, trees suffering from pitta type of diseases get cured.

192. Watered with the decoctions of fruits, triphala, ghee, and honey the trees are freed of all diseases of the pitta type.

193. To remove insects both from the roots and branches of the trees, wise men should water the trees with cold water for seven days.

194. The worms can be overcome by the paste of milk, kunapa water, and cow dung mixed with water and also by smearing the roots with the mixture of white mustard, vacakusta, andativisa.

195. The worms accumulated on trees can be treated quickly by smoking the tree with the mixture of white mustard, ramathavidangavacausana, and water mixed with beef, horn of a buffalo, flesh of a pigeon, and the powder of bhillata (bhallataka ?).

196. Anointing with vidanga mixed with ghee, watering for seven days with salt water, and (applying) ointment made out of beef, white mustard, and sesame destroy the worms, insects, etc.

197. Creepers eaten away by insects should be sprinkled with water mixed with oil cake. The insects on the leaves can be destroyed by sprinkling the powder of ashes and brick-dust.

198. A wound caused by insects heals if sprinkled with milk after being anointed with a mixture of vidanga, sesame, cow's urine, ghee, and mustard.

199. Trees suffering from (damage due to) frost or scorching heat should be externally covered. Sprinkling with kunapa water and milk is also advisable.

200-201. The broken trees should be smeared with the paste of the bark of plaksa and udumbara mixed with ghee, honey, wine, and milk and the broken parts should be firmly tied together with the rope of a rice stalk. Fresh soil should then be filled in the basin around the trees, sprinkled immediately with the milk of buffalo and flooded with water. Thus they recover.

203. If the branches fall off, the particular spot should be anointed with the mixture of honey and ghee and sprinkled over by milk and water so that the tree will have its branches reaching the sky.

204. If the branches are burnt they should be cut off and the particular spots should be sprinkled with water and grape, crystalline sugar, and barley (and then watered with the same ?).

239. The white flowers of a tree turn into a golden colour if the tree is watered with the mixture of turmeric powder, kimsuka, cotton seed, manjista, and lodhra.

240. The white flowers of a tree turn into a golden colour if it is smeared at the roots with the mixture of manjistadarada, milk, kanksi (kind of fragrant earth), and flesh of a pigeon.

241. Trees watered continuously with the liquid of triphala, barley, mango seed, and indigo; and also filled at the root with the powder of the same mixture produce fruits resembling collyrium (see anjana).

242. Trees treated with water and paste containing the mixture of barley, kimsukamanjista, turmeric, and sesame and also smeared with the same paste bear red fruits.

243. Trees watered and smeared at roots with the mixture of the bark of the salmali tree, turmeric, indigo, triphalakusta, and liquor bear fruits having the shades of a parrot.

244. Trees watered after being sprinkled at the root with the mixture of indigo, turmeric, lodhravara (triphala), sesame, asanakasisa and yasti – all powdered together – produce fruits of golden colour.

245. Bakula trees blossom forth producing lots of champaka flowers if continuously fed with fresh water after filling the bottom with plenty of mud mixed with kalaaya and the skin of a python or snake.

246. Plantain trees create wonder by producing pomegranate fruits if fed by water mixed with the urine of a hog and ankolha.

247. A castor tree produced from a seed cultured by the marrow of a boar, treated further by the process in the previous verse, produces karavella fruits.

248. Fragrance of the blossom can be changed by filling (the base near) the roots of the trees with the earth scented with the desired fragrance and then fed with water mixed with jaladamura,natavalaka, and patraka.

249. All types of flowering plants produce excellent fragrance if earth strongly scented by their own flowers is filled around the base (of the trees) and then fed with water mixed with musta,muranata leaves, and wine.

250. The same treatment used in the evening at their blossoming time along with fat, milk, blood, and kusta intensifies the natural fragrance of the blossoms of punnaganagabakula, etc.

251. A big and strong mud pot should be filled with the mixture of mud and plenty of beef; and the karavira plant should be grown there with effort by watering profusely with cow dung and good quality beef.

252. The above stated plant of karavira should then be shifted to a pit, previously prepared by filling with cow bones, well-burnt ashes and then wetted by water mixed with beef. Thereafter, the plant should be fed with plenty of water mixed with beef. So treated, it is transformed into a creeper to blossom profusely and perennially.

253. A tamarind plant is grown into an excellent creeper if fed with water, mixed with the powder of triphala.
ecology
Thanks for ancient ind tech,

DISTANCE OF EARTH IN HANUMAN CHALISA BY TULSIDAS Ji.


It is a poem written by Tulsidas in the Awadhi language, and is his best known Hindu text apart from the Ramcharitmanas. The word "chālisā" is derived from "chālis" in Hindi, which means 40, as the Hanuman Chalisa has 40 verses. Hanuman Chalisa (Hindi: हनुमान चालीसा "Forty chaupais on Hanuman") , composed by great devotee and sage Goswami Tulsidas, is a devotional prayer recited daily by Millions Hindus in morning prayers. Devotees also recite at the times when they have to ask protection and help from Lord Hanuman who is servant of Ram. Hanuman is the Param-Bhagavat, the topmost devotee in this cosmos. Hanuman Ji is himself Lord Shiva and thus also comes in Ishwara-Koti.

While describing greatness of lord Hanuman in Hanuman Chalisa, Goswami Tulsidas, the greatest devotee of lord Ram in Kaliyuga, mentioned the distance between SUN and EARTH very correctly in simple words. This shows not only spiritual greatness but also scientific knowledge and enlightement of Goswami Tulsidas.
Thank you for ancient indian technolgy.

The Samrat yantra


The Samrat yantra or the 'Supreme Instrument' is Jai Singh's most important creation. The instrument is basically an equinoctial sundial, which had been in use in one form or the other for hundreds of years in different parts of the world. In India, Brahmagupta (AD 598) describes Kartari yantra, an equinoctial sundial, which operates on the same principle as the Samrat. Jai Singh however, turned the simple equinoctial sundial into a tool of great precision for measuring time and the coordinates of a celestial object.

The Jantar Mantar was the largest of the five Astronomical Observatories built by Jai Singh. The Samrat Yantra is the world's largest sundial, standing 27 meters (73 feet) high.The Samrat Yantra, pictured far right and in illustrations, below, is the largest sundial in the world. It’s gnomon rises over 73 feet above its base, and the marble faced quadrants, 9 feet in width, create an arc that reaches 45 feet in height.The primary object of a Samrat is to indicate the apparent solar time or local time of a place. On a clear day, as the sun journeys from east to west, the shadow of the Samrat gnomon sweeps the quadrant scales below from one end to the other. At a given moment, the time is indicated by the shadow’s edge on a quadrant.

The Jaipur observatory is the largest and best preserved of these. It has been inscribed on the World Heritage List as "an expression of the astronomical skills and cosmological concepts of the court of a scholarly prince at the end of the Mughal period"


The above One shows the principle of a Samrat yantra.
The instrument consists of a meridian wall ABC, in the shape of a right triangle, with its hypotenuse or the gnomon CA pointing toward the north celestial pole and its base BC horizontal along a north-south line. The angle ACB between the hypotenuse and the base equals the latitude lambda of the place. Projecting upward from a point S near the base of the triangle, are two quadrants SQ1 and SQ2 of radius DS. These quadrants are in a plane parallel to the equatorial plane. The center of the two 'quadrant arcs' lies at point D on the hyptenuse. The length and radius of the quadrants are such that, if put together, they would form a semicircle in the plane of the equator.


The tangential scale over Samrat gnomon. The scale indicates angle of declination.

The quadrants are graduated into equal-length divisions of time measuring units, such as ghatikas and palas, according to the Hindu system, or hours, minutes and seconds, according to the Western system. The upper two ends Q1 and Q2 of the quadrants indicate either the 15-ghatika marks for the Hindu system, or the 6 A.M. and the 6 P.M. marks according the Western system. The bottom-most point of both quadrants, on the other hand, indicates the zero ghatika or 12 noon. The hypotenuse of the gnomon edge AC is graduated to read the angle of declination. The declination scale is a tangential scale in which the division lenghts gradually increase according to the tangent of the declination angle as illustrated in figure 2. The zero marking of this scale is at point D. Further, the gnomon scale AC is divided into two sections, such that the section DA reads angle of declination to the north of the celestial equator, and the section DC reads the declination to the south, as illustrated in the figure 2. 


Samrat Yantra perspectives. The primary objective of a Samrat is to indicate the apparent solar time or local time of a place. On a clear day, as the sun journeys from east to west, the shadow of the Samrat gnomon sweeps the quadrant scales below from one end to the other. At a given moment, the time is indicated by the shadow's edge on a quadrant scale.
The right ascension (RA) of an object is determined by simultaneously measuring the hour angle of the object and the hour angle of a reference star. From the measurements, the difference between the right ascension of the two is calculated. By adding or subtracting this difference to the right ascension of the reference star, the RA of the object is determined.


To measure the declination of the sun with a Samrat, the observer moves a rod over the gnomon surface AC up or down until the rod's shadow falls on a quadrant scale below. The location of the rod on the gnomon scale then gives the declination of the sun. Declination measurements of a star or a planet require the collaboration of two observers. One observer stays near the quadrants below and, sighting the star through a sighting device, guides the assistant, who moves a rod up or down along the gnomon scale. The assistant does this until the vantage point V on a quadrant edge below, the gnomon edge above where the rod is placed, and the star - all three - are in one line. The location of the rod on the gnomon scale then indicates the declination of the star. 

भारत का स्वर्णिम अतीत खो गया...

 खो गया वह स्वर्णिम अतीत.

Photo: ^ कहाँ खो गया वह स्वर्णिम अतीत.

भारत में ७ लाख ३२ हज़ार गुरुकुल एवं विज्ञान की २० से अधिक शाखाए थी

"भारत का स्वर्णिम अतीत" से आगे : अब बात आती है की भारत में विज्ञान पर इतना शोध किस प्रकार होता था, तो इसके मूल में है भारतीयों की जिज्ञासा एवं तार्किक क्षमता, जो अतिप्राचीन उत्कृष्ट शिक्षा तंत्र एवं अध्यात्मिक मूल्यों की देन है। "गुरुकुल" के बारे में बहुत से लोगों को यह भ्रम है की वहाँ केवल संस्कृत की शिक्षा दी जाती थी जो की गलत है। भारत में विज्ञान की २० से अधिक शाखाएं रही है जो की बहुत पुष्पित पल्लवित रही है जिसमें प्रमुख १. खगोल शास्त्र २. नक्षत्र शास्त्र ३. बर्फ़ बनाने का विज्ञान ४. धातु शास्त्र ५. रसायन शास्त्र ६. स्थापत्य शास्त्र ७. वनस्पति विज्ञान ८. नौका शास्त्र ९. यंत्र विज्ञान आदि इसके अतिरिक्त शौर्य (युद्ध) शिक्षा आदि कलाएँ भी प्रचुरता में रही है। संस्कृत भाषा मुख्यतः माध्यम के रूप में, उपनिषद एवं वेद छात्रों में उच्चचरित्र एवं संस्कार निर्माण हेतु पढ़ाए जाते थे।

थोमस मुनरो सन १८१३ के आसपास मद्रास प्रांत के राज्यपाल थे, उन्होंने अपने कार्य विवरण में लिखा है मद्रास प्रांत (अर्थात आज का पूर्ण आंद्रप्रदेश, पूर्ण तमिलनाडु, पूर्ण केरल एवं कर्णाटक का कुछ भाग ) में ४०० लोगो पर न्यूनतम एक गुरुकुल है। उत्तर भारत (अर्थात आज का पूर्ण पाकिस्तान, पूर्ण पंजाब, पूर्ण हरियाणा, पूर्ण जम्मू कश्मीर, पूर्ण हिमाचल प्रदेश, पूर्ण उत्तर प्रदेश, पूर्ण उत्तराखंड) के सर्वेक्षण के आधार पर जी.डब्लू.लिटनेर ने सन १८२२ में लिखा है, उत्तर भारत में २०० लोगो पर न्यूनतम एक गुरुकुल है। माना जाता है की मैक्स मूलर ने भारत की शिक्षा व्यवस्था पर सबसे अधिक शोध किया है, वे लिखते है "भारत के बंगाल प्रांत (अर्थात आज का पूर्ण बिहार, आधा उड़ीसा, पूर्ण पश्चिम बंगाल, आसाम एवं उसके ऊपर के सात प्रदेश) में ८० सहस्त्र (हज़ार) से अधिक गुरुकुल है जो की कई सहस्त्र वर्षों से निर्बाधित रूप से चल रहे है"।

उत्तर भारत एवं दक्षिण भारत के आकडों के कुल पर औसत निकलने से यह ज्ञात होता है की भारत में १८ वी शताब्दी तक ३०० व्यक्तियों पर न्यूनतम एक गुरुकुल था। एक और चौकानें वाला तथ्य यह है की १८ शताब्दी में भारत की जनसंख्या लगभग २० करोड़ थी, ३०० व्यक्तियों पर न्यूनतम एक गुरुकुल के अनुसार भारत में ७ लाख ३२ सहस्त्र गुरुकुल होने चाहिए। अब रोचक बात यह भी है की अंग्रेज प्रत्येक दस वर्ष में भारत में भारत का सर्वेक्षण करवाते थे उसे के अनुसार १८२२ के लगभग भारत में कुल गांवों की संख्या भी लगभग ७ लाख ३२ सहस्त्र थी, अर्थात प्रत्येक गाँव में एक गुरुकुल। १६ से १७ वर्ष भारत में प्रवास करने वाले शिक्षाशास्त्री लुडलो ने भी १८ वी शताब्दी में यहीं लिखा की "भारत में एक भी गाँव ऐसा नहीं जिसमें गुरुकुल नहीं एवं एक भी बालक ऐसा नहीं जो गुरुकुल जाता नहीं"।

राजा की सहायता के अपितु, समाज से पोषित इन्ही गुरुकुलों के कारण १८ शताब्दी तक भारत में साक्षरता ९७% थी, बालक के ५ वर्ष, ५ माह, ५ दिवस के होते ही उसका गुरुकुल में प्रवेश हो जाता था। प्रतिदिन सूर्योदय से सूर्यास्त तक विद्यार्जन का क्रम १४ वर्ष तक चलता था। जब बालक सभी वर्गों के बालको के साथ निशुल्कः २० से अधिक विषयों का अध्यन कर गुरुकुल से निकलता था। तब आत्मनिर्भर, देश एवं समाज सेवा हेतु सक्षम हो जाता था।

इसके उपरांत विशेषज्ञता (पांडित्य) प्राप्त करने हेतु भारत में विभिन्न विषयों वाले जैसे शल्य चिकित्सा, आयुर्वेद, धातु कर्म आदि के विश्वविद्यालय थे, नालंदा एवं तक्षशिला तो २००० वर्ष पूर्व के है परंतु मात्र १५०-१७० वर्ष पूर्व भी भारत में ५००-५२५ के लगभग विश्वविद्यालय थे। थोमस बेबिगटन मैकोले (टी.बी.मैकोले) जिन्हें पहले हमने विराम दिया था जब सन १८३४ आये तो कई वर्षों भारत में यात्राएँ एवं सर्वेक्षण करने के उपरांत समझ गए की अंग्रेजो पहले के आक्रांताओ अर्थात यवनों, मुगलों आदि भारत के राजाओं, संपदाओं एवं धर्म का नाश करने की जो भूल की है, उससे पुण्यभूमि भारत कदापि पददलित नहीं किया जा सकेगा, अपितु संस्कृति, शिक्षा एवं सभ्यता का नाश करे तो इन्हें पराधीन करने का हेतु सिद्ध हो सकता है। इसी कारण "इंडियन एज्यूकेशन एक्ट" बना कर समस्त गुरुकुल बंद करवाए गए। हमारे शासन एवं शिक्षा तंत्र को इसी लक्ष्य से निर्मित किया गया ताकि नकारात्मक विचार, हीनता की भावना, जो विदेशी है वह अच्छा, बिना तर्क किये रटने के बीज आदि बचपन से ही बाल मन में घर कर ले और अंग्रेजो को प्रतिव्यक्ति संस्कृति, शिक्षा एवं सभ्यता का नाश का परिश्रम न करना पड़े।

उस पर से अंग्रेजी कदाचित शिक्षा का माध्यम अंग्रेजी नहीं होती तो इस कुचक्र के पहले अंकुर माता पिता ही पल्लवित होने से रोक लेते परंतु ऐसा हो न सका। हमारे निर्यात कारखाने एवं उत्पाद की कमर तोड़ने हेतु भारत में स्वदेशी वस्तुओं पर अधिकतम कर देना पड़ता था एवं अंग्रेजी वस्तुओं को कर मुक्त कर दिया गया था। कृषकों पर तो ९०% कर लगा कर फसल भी लूट लेते थे एवं "लैंड एक्विजिशन एक्ट" के माध्यम से सहस्त्रो एकड़ भूमि भी उनसे छीन ली जाती थी, अंग्रेजो ने कृषकों के कार्यों में सहायक गौ माता एवं भैसों आदि को काटने हेतु पहली बार कलकत्ता में कसाईघर चालू कर दिया, लाज की बात है वह अभी भी चल रहा है। सत्ता हस्तांतरण के दिवस (१५-८-१९४७ ) के उपरांत तो इस कुचक्र की गोरे अंग्रेजो पर निर्भरता भी समाप्त हो गई, अब तो इसे निर्बाधित रूप से चलने देने के लिए बिना रीढ़ के काले अंग्रेज भी पर्याप्त थे, जिनमें साहस ही नहीं है भारत को उसके पूर्व स्थान पर पहुँचाने का |


"दुर्भाग्य है की भारत में हम अपने श्रेष्ठतम सृजनात्मक पुरुषों को भूल चुके है। इसका कारण विदेशियत का प्रभाव और अपने बारे में हीनता बोध की मानसिक ग्रंथि से देश के बुद्धिमान लोग ग्रस्त है" – डॉ.कलाम, "भारत २०२० : सहस्त्राब्दी"


आप सोच रहे होंगे उस समय अमेरिका यूरोप की क्या स्थिति थी, तो सामान्य बच्चों के लिए सार्वजानिक विद्यालयों की शुरुआत सबसे पहले इंग्लैण्ड में सन १८६८ में हुई थी, उसके बाद बाकी यूरोप अमेरिका में अर्थात जब भारत में प्रत्येक गाँव में एक गुरुकुल था, ९७ % साक्षरता थी तब इंग्लैंड के बच्चों को पढ़ने का अवसर मिला। तो क्या पहले वहाँ विद्यालय नहीं होते थे? होते थे परंतु महलों के भीतर, वहाँ ऐसी मान्यता थी की शिक्षा केवल राजकीय व्यक्तियों को ही देनी चाहिए बाकी सब को तो सेवा करनी है।
—
++++++
"जन-जागरण लाना है तो पोस्ट को Share करना है।"

Ojasvi Hindustan पेज के साथ जुड़े। जानीये हमसे जुड़ने का तरीका ।
लिंक :- http://goo.gl/G0ZZIu
++++++
भारत में ७ लाख ३२ हज़ार गुरुकुल एवं विज्ञान की २० से अधिक शाखाए थी

"भारत का स्वर्णिम अतीत" से आगे : अब बात आती है की भारत में विज्ञान पर इतना शोध किस प्रकार होता था, तो इसके मूल में है भारतीयों की जिज्ञासा एवं तार्किक क्षमता, जो अतिप्राचीन उत्कृष्ट शिक्षा तंत्र एवं अध्यात्मिक मूल्यों की देन है। "गुरुकुल" के बारे में बहुत से लोगों को यह भ्रम है की वहाँ केवल संस्कृत की शिक्षा दी जाती थी जो की गलत है। भारत में विज्ञान की २० से अधिक शाखाएं रही है जो की बहुत पुष्पित पल्लवित रही है जिसमें प्रमुख १. खगोल शास्त्र २. नक्षत्र शास्त्र ३. बर्फ़ बनाने का विज्ञान ४. धातु शास्त्र ५. रसायन शास्त्र ६. स्थापत्य शास्त्र ७. वनस्पति विज्ञान ८. नौका शास्त्र ९. यंत्र विज्ञान आदि इसके अतिरिक्त शौर्य (युद्ध) शिक्षा आदि कलाएँ भी प्रचुरता में रही है। संस्कृत भाषा मुख्यतः माध्यम के रूप में, उपनिषद एवं वेद छात्रों में उच्चचरित्र एवं संस्कार निर्माण हेतु पढ़ाए जाते थे।

थोमस मुनरो सन १८१३ के आसपास मद्रास प्रांत के राज्यपाल थे, उन्होंने अपने कार्य विवरण में लिखा है मद्रास प्रांत (अर्थात आज का पूर्ण आंद्रप्रदेश, पूर्ण तमिलनाडु, पूर्ण केरल एवं कर्णाटक का कुछ भाग ) में ४०० लोगो पर न्यूनतम एक गुरुकुल है। उत्तर भारत (अर्थात आज का पूर्ण पाकिस्तान, पूर्ण पंजाब, पूर्ण हरियाणा, पूर्ण जम्मू कश्मीर, पूर्ण हिमाचल प्रदेश, पूर्ण उत्तर प्रदेश, पूर्ण उत्तराखंड) के सर्वेक्षण के आधार पर जी.डब्लू.लिटनेर ने सन १८२२ में लिखा है, उत्तर भारत में २०० लोगो पर न्यूनतम एक गुरुकुल है। माना जाता है की मैक्स मूलर ने भारत की शिक्षा व्यवस्था पर सबसे अधिक शोध किया है, वे लिखते है "भारत के बंगाल प्रांत (अर्थात आज का पूर्ण बिहार, आधा उड़ीसा, पूर्ण पश्चिम बंगाल, आसाम एवं उसके ऊपर के सात प्रदेश) में ८० सहस्त्र (हज़ार) से अधिक गुरुकुल है जो की कई सहस्त्र वर्षों से निर्बाधित रूप से चल रहे है"।

उत्तर भारत एवं दक्षिण भारत के आकडों के कुल पर औसत निकलने से यह ज्ञात होता है की भारत में १८ वी शताब्दी तक ३०० व्यक्तियों पर न्यूनतम एक गुरुकुल था। एक और चौकानें वाला तथ्य यह है की १८ शताब्दी में भारत की जनसंख्या लगभग २० करोड़ थी, ३०० व्यक्तियों पर न्यूनतम एक गुरुकुल के अनुसार भारत में ७ लाख ३२ सहस्त्र गुरुकुल होने चाहिए। अब रोचक बात यह भी है की अंग्रेज प्रत्येक दस वर्ष में भारत में भारत का सर्वेक्षण करवाते थे उसे के अनुसार १८२२ के लगभग भारत में कुल गांवों की संख्या भी लगभग ७ लाख ३२ सहस्त्र थी, अर्थात प्रत्येक गाँव में एक गुरुकुल। १६ से १७ वर्ष भारत में प्रवास करने वाले शिक्षाशास्त्री लुडलो ने भी १८ वी शताब्दी में यहीं लिखा की "भारत में एक भी गाँव ऐसा नहीं जिसमें गुरुकुल नहीं एवं एक भी बालक ऐसा नहीं जो गुरुकुल जाता नहीं"।

राजा की सहायता के अपितु, समाज से पोषित इन्ही गुरुकुलों के कारण १८ शताब्दी तक भारत में साक्षरता ९७% थी, बालक के ५ वर्ष, ५ माह, ५ दिवस के होते ही उसका गुरुकुल में प्रवेश हो जाता था। प्रतिदिन सूर्योदय से सूर्यास्त तक विद्यार्जन का क्रम १४ वर्ष तक चलता था। जब बालक सभी वर्गों के बालको के साथ निशुल्कः २० से अधिक विषयों का अध्यन कर गुरुकुल से निकलता था। तब आत्मनिर्भर, देश एवं समाज सेवा हेतु सक्षम हो जाता था।

इसके उपरांत विशेषज्ञता (पांडित्य) प्राप्त करने हेतु भारत में विभिन्न विषयों वाले जैसे शल्य चिकित्सा, आयुर्वेद, धातु कर्म आदि के विश्वविद्यालय थे, नालंदा एवं तक्षशिला तो २००० वर्ष पूर्व के है परंतु मात्र १५०-१७० वर्ष पूर्व भी भारत में ५००-५२५ के लगभग विश्वविद्यालय थे। थोमस बेबिगटन मैकोले (टी.बी.मैकोले) जिन्हें पहले हमने विराम दिया था जब सन १८३४ आये तो कई वर्षों भारत में यात्राएँ एवं सर्वेक्षण करने के उपरांत समझ गए की अंग्रेजो पहले के आक्रांताओ अर्थात यवनों, मुगलों आदि भारत के राजाओं, संपदाओं एवं धर्म का नाश करने की जो भूल की है, उससे पुण्यभूमि भारत कदापि पददलित नहीं किया जा सकेगा, अपितु संस्कृति, शिक्षा एवं सभ्यता का नाश करे तो इन्हें पराधीन करने का हेतु सिद्ध हो सकता है। इसी कारण "इंडियन एज्यूकेशन एक्ट" बना कर समस्त गुरुकुल बंद करवाए गए। हमारे शासन एवं शिक्षा तंत्र को इसी लक्ष्य से निर्मित किया गया ताकि नकारात्मक विचार, हीनता की भावना, जो विदेशी है वह अच्छा, बिना तर्क किये रटने के बीज आदि बचपन से ही बाल मन में घर कर ले और अंग्रेजो को प्रतिव्यक्ति संस्कृति, शिक्षा एवं सभ्यता का नाश का परिश्रम न करना पड़े।

उस पर से अंग्रेजी कदाचित शिक्षा का माध्यम अंग्रेजी नहीं होती तो इस कुचक्र के पहले अंकुर माता पिता ही पल्लवित होने से रोक लेते परंतु ऐसा हो न सका। हमारे निर्यात कारखाने एवं उत्पाद की कमर तोड़ने हेतु भारत में स्वदेशी वस्तुओं पर अधिकतम कर देना पड़ता था एवं अंग्रेजी वस्तुओं को कर मुक्त कर दिया गया था। कृषकों पर तो ९०% कर लगा कर फसल भी लूट लेते थे एवं "लैंड एक्विजिशन एक्ट" के माध्यम से सहस्त्रो एकड़ भूमि भी उनसे छीन ली जाती थी, अंग्रेजो ने कृषकों के कार्यों में सहायक गौ माता एवं भैसों आदि को काटने हेतु पहली बार कलकत्ता में कसाईघर चालू कर दिया, लाज की बात है वह अभी भी चल रहा है। सत्ता हस्तांतरण के दिवस (१५-८-१९४७ ) के उपरांत तो इस कुचक्र की गोरे अंग्रेजो पर निर्भरता भी समाप्त हो गई, अब तो इसे निर्बाधित रूप से चलने देने के लिए बिना रीढ़ के काले अंग्रेज भी पर्याप्त थे, जिनमें साहस ही नहीं है भारत को उसके पूर्व स्थान पर पहुँचाने का |


"दुर्भाग्य है की भारत में हम अपने श्रेष्ठतम सृजनात्मक पुरुषों को भूल चुके है। इसका कारण विदेशियत का प्रभाव और अपने बारे में हीनता बोध की मानसिक ग्रंथि से देश के बुद्धिमान लोग ग्रस्त है" – डॉ.कलाम, "भारत २०२० : सहस्त्राब्दी"


आप सोच रहे होंगे उस समय अमेरिका यूरोप की क्या स्थिति थी, तो सामान्य बच्चों के लिए सार्वजानिक विद्यालयों की शुरुआत सबसे पहले इंग्लैण्ड में सन १८६८ में हुई थी, उसके बाद बाकी यूरोप अमेरिका में अर्थात जब भारत में प्रत्येक गाँव में एक गुरुकुल था, ९७ % साक्षरता थी तब इंग्लैंड के बच्चों को पढ़ने का अवसर मिला। तो क्या पहले वहाँ विद्यालय नहीं होते थे? होते थे परंतु महलों के भीतर, वहाँ ऐसी मान्यता थी की शिक्षा केवल राजकीय व्यक्तियों को ही देनी चाहिए बाकी सब को तो सेवा करनी है।


Tuesday, January 28, 2014

The Bhimbetka cave painting-CIVILIZATION MORE THAN >100,000 YRS AGO.

Photo: The Bhimbetka cave painting..


The Bhimbetka shelters exhibit the earliest traces of human life in India. A number of analyses suggest that some of these shelters are more than 100,000 years ago. Some of the Stone Age rock paintings found among the Bhimbetka rock shelters are approximately 30,000 years old 

 Bhimbetka owes its name to the character from the epic Mahabharata. It is believed that when the five brothers, called Pandavas, were banished from their kingdom, they came here and stayed in these caves, the massive rocks seating the gigantic frame of Bhima, the second Pandava. However, these claim still remains to be corroborated with concrete evidence.

The Rock Shelters of Bhimbetka is a World Heritage Site. Bhimbetka was first mentioned in Indian archeological records in 1888 as a Buddhist site, based on information gathered from local tribes. The caves were eventually discovered in 1957-58 by accident. An archaeologist from Ujjain, Dr. Vishnu Wakankar, strayed too far from the beaten path and found himself amidst this prehistoric treasure trove.
Since then more than 700 such shelters have been identified, of which 243 are in the Bhimbetka group and 178 in the Lakha Juar group. Archeological studies revealed a continuous sequence of Stone Age cultures (from the late Acheulian to the late Mesolithic ). It also has the world’s oldest stonewalls and floors. The earliest paintings on the cave walls are believed to be of the Mesolithic  period. A broad chronology of the finds has been done, but a detailed chronology is yet to be created.

 Executed mainly in red and white, with the occasional use of green and yellow with themes taken from the everyday events, the scenes usually depict hunting, childbirth, communal dancing, drinking, religious rites, burials, horse and elephant riders, animal fights, honey collection, decoration of bodies, disguises, masks and different type of animals etc. It depicts the detail of social life during the long period of time, when man used to frequent these rock shelters. Animals such as bison, tiger, rhinoceros, wild boar, elephants, monkeys, antelopes, lizards, peacocks etc. have been abundantly depicted. One rock, popularly referred to as “Zoo Rock”, depicts elephants, sambar, bison and deer.

 It is a marvel that the paintings have not faded even after thousands of years. The colors used by the cave dwellers were prepared by combining manganese, hematite, soft red stone and wooden charcoal. Perhaps, animal fat and extracts of leaves, vegetables, and roots were also used in the mixture. Brushes were made of pieces of fibrous plants. The natural pigments have endured through time because the drawings are generally made deep inside a niche or on inner walls. The oldest paintings are considered to be 30,000 years old, but some of the geometric figures date to as recently as the medieval period.

The rock art of Bhimbetka has been classified into various groups on the basis of the style and subject. The superimposition of paintings shows that different people used the same canvas at different times. The drawings and paintings can be classified under seven different periods.

http://www.sandhyamanne.com/blogs/bhimbetka-cave-paintings

http://www.thehindu.com/features/magazine/rocks-of-ages/article5075148.ece
https://www.facebook.com/ANCIENTINDIANTECHNOLOGY
 
 
The Bhimbetka cave painting..
 
BHIMBEDKA CAVE

The Bhimbetka shelters exhibit the earliest traces of human life in India. A number of analyses suggest that some of these shelters are more than 100,000 years ago. Some of the Stone Age rock paintings found ...among the Bhimbetka rock shelters are approximately 30,000 years old

Bhimbetka owes its name to the character from the epic Mahabharata. It is believed that when the five brothers, called Pandavas, were banished from their kingdom, they came here and stayed in these caves, the massive rocks seating the gigantic frame of Bhima, the second Pandava. However, these claim still remains to be corroborated with concrete evidence.

The Rock Shelters of Bhimbetka is a World Heritage Site. Bhimbetka was first mentioned in Indian archeological records in 1888 as a Buddhist site, based on information gathered from local tribes. The caves were eventually discovered in 1957-58 by accident. An archaeologist from Ujjain, Dr. Vishnu Wakankar, strayed too far from the beaten path and found himself amidst this prehistoric treasure trove.
Since then more than 700 such shelters have been identified, of which 243 are in the Bhimbetka group and 178 in the Lakha Juar group. Archeological studies revealed a continuous sequence of Stone Age cultures (from the late Acheulian to the late Mesolithic ). It also has the world’s oldest stonewalls and floors. The earliest paintings on the cave walls are believed to be of the Mesolithic period. A broad chronology of the finds has been done, but a detailed chronology is yet to be created.

Executed mainly in red and white, with the occasional use of green and yellow with themes taken from the everyday events, the scenes usually depict hunting, childbirth, communal dancing, drinking, religious rites, burials, horse and elephant riders, animal fights, honey collection, decoration of bodies, disguises, masks and different type of animals etc. It depicts the detail of social life during the long period of time, when man used to frequent these rock shelters. Animals such as bison, tiger, rhinoceros, wild boar, elephants, monkeys, antelopes, lizards, peacocks etc. have been abundantly depicted. One rock, popularly referred to as “Zoo Rock”, depicts elephants, sambar, bison and deer.

It is a marvel that the paintings have not faded even after thousands of years. The colors used by the cave dwellers were prepared by combining manganese, hematite, soft red stone and wooden charcoal. Perhaps, animal fat and extracts of leaves, vegetables, and roots were also used in the mixture. Brushes were made of pieces of fibrous plants. The natural pigments have endured through time because the drawings are generally made deep inside a niche or on inner walls. The oldest paintings are considered to be 30,000 years old, but some of the geometric figures date to as recently as the medieval period.

The rock art of Bhimbetka has been classified into various groups on the basis of the style and subject. The superimposition of paintings shows that different people used the same canvas at different times. The drawings and paintings can be classified under seven different periods.
bhimbetka
 

 

Aryabhata-GREAT INDIAN MATHMATICIAN,ASTROLOGER

Photo: Ancient Indian Technology


Aryabhata is also known as Aryabhata I to distinguish him from the later mathematician of the same name who lived about 400 years later. Al-Biruni has not helped in understanding Aryabhata's life, for he seemed to believe that there were two different mathematicians called Aryabhata living at the same time. He therefore created a confusion of two different Aryabhatas which was not clarified until 1926 when B Datta showed that al-Biruni's two Aryabhatas were one and the same person.

We know the year of Aryabhata's birth since he tells us that he was twenty-three years of age when he wrote Aryabhatiya which he finished in 499. We have given Kusumapura, thought to be close to Pataliputra (which was refounded as Patna in Bihar in 1541), as the place of Aryabhata's birth but this is far from certain, as is even the location of Kusumapura itself. As Parameswaran writes in [26]:-

... no final verdict can be given regarding the locations of Asmakajanapada and Kusumapura.

We do know that Aryabhata wrote Aryabhatiya in Kusumapura at the time when Pataliputra was the capital of the Gupta empire and a major centre of learning, but there have been numerous other places proposed by historians as his birthplace. Some conjecture that he was born in south India, perhaps Kerala, Tamil Nadu or Andhra Pradesh, while others conjecture that he was born in the north-east of India, perhaps in Bengal. In [8] it is claimed that Aryabhata was born in the Asmaka region of the Vakataka dynasty in South India although the author accepted that he lived most of his life in Kusumapura in the Gupta empire of the north. However, giving Asmaka as Aryabhata's birthplace rests on a comment made by Nilakantha Somayaji in the late 15th century. It is now thought by most historians that Nilakantha confused Aryabhata with Bhaskara I who was a later commentator on the Aryabhatiya.


Continuation :

http://www-history.mcs.st-and.ac.uk/Printonly/Aryabhata_I.html


https://www.facebook.com/ANCIENTINDIANTECHNOLOGY

Aryabhata is also known as Aryabhata I to distinguish him from the later mathematician of the same name who lived about 400 years later. Al-Biruni has not helped in understanding Aryabhata's life, for he seemed t...o believe that there were two different mathematicians called Aryabhata living at the same time. He therefore created a confusion of two different Aryabhatas which was not clarified until 1926 when B Datta showed that al-Biruni's two Aryabhatas were one and the same person.

We know the year of Aryabhata's birth since he tells us that he was twenty-three years of age when he wrote Aryabhatiya which he finished in 499. We have given Kusumapura, thought to be close to Pataliputra (which was refounded as Patna in Bihar in 1541), as the place of Aryabhata's birth but this is far from certain, as is even the location of Kusumapura itself. As Parameswaran writes in [26]:-

... no final verdict can be given regarding the locations of Asmakajanapada and Kusumapura.

We do know that Aryabhata wrote Aryabhatiya in Kusumapura at the time when Pataliputra was the capital of the Gupta empire and a major centre of learning, but there have been numerous other places proposed by historians as his birthplace. Some conjecture that he was born in south India, perhaps Kerala, Tamil Nadu or Andhra Pradesh, while others conjecture that he was born in the north-east of India, perhaps in Bengal. In [8] it is claimed that Aryabhata was born in the Asmaka region of the Vakataka dynasty in South India although the author accepted that he lived most of his life in Kusumapura in the Gupta empire of the north. However, giving Asmaka as Aryabhata's birthplace rests on a comment made by Nilakantha Somayaji in the late 15th century. It is now thought by most historians that Nilakantha confused Aryabhata with Bhaskara I who was a later commentator on the Aryabhatiya.
 Aryabhata

Madhava--GREAT INDIAN MATHMATICIAN

Madhava of Sangamagramma was born near Cochin on the coast in the Kerala state in southwestern India. It is only due to research into Keralese mathematics over the last twenty-five years that the remarkable cont...ributions of Madhava have come to light. In Rajagopal and Rangachari put his achievement into context when they write:-

[Madhava] took the decisive step onwards from the finite procedures of ancient mathematics to treat their limit-passage to infinity, which is the kernel of modern classical analysis.

All the mathematical writings of Madhava have been lost, although some of his texts on astronomy have survived. However his brilliant work in mathematics has been largely discovered by the reports of other Keralese mathematicians such as Nilakantha who lived about 100 years later.

Madhava discovered the series equivalent to the Maclaurin expansions of sin x, cos x, and arctan x around 1400, which is over two hundred years before they were rediscovered in Europe. Details appear in a number of works written by his followers such as Mahajyanayana prakara which means Method of computing the great sines. In fact this work had been claimed by some historians such as Sarma (see for example [2]) to be by Madhava himself but this seems highly unlikely and it is now accepted by most historians to be a 16th century work by a follower of Madhava. This is discussed in detail in [4].

Jyesthadeva wrote Yukti-Bhasa in Malayalam, the regional language of Kerala, around 1550. In [9] Gupta gives a translation of the text and this is also given in [2] and a number of other sources. Jyesthadeva describes Madhava's series as follows:-

The first term is the product of the given sine and radius of the desired arc divided by the cosine of the arc. The succeeding terms are obtained by a process of iteration when the first term is repeatedly multiplied by the square of the sine and divided by the square of the cosine. All the terms are then divided by the odd numbers 1, 3, 5, .... The arc is obtained by adding and subtracting respectively the terms of odd rank and those of even rank. It is laid down that the sine of the arc or that of its complement whichever is the smaller should be taken here as the given sine. Otherwise the terms obtained by this above iteration will not tend to the vanishing magnitude.

This is a remarkable passage describing Madhava's series, but remember that even this passage by Jyesthadeva was written more than 100 years before James Gregory rediscovered this series expansion. Perhaps we should write down in modern symbols exactly what the series is that Madhava has found. The first thing to note is that the Indian meaning for sine of θ would be written in our notation as r sin θ and the Indian cosine of would be r cos θ in our notation, where r is the radius. Thus the series is

r θ = r(r sin θ)/1(r cos θ) - r(r sin θ)3/3r(r cos θ)3 + r(r sin θ)5/5r(r cos θ)5- r(r sin θ)7/7r(r cos θ)7 + ...

putting tan = sin/cos and cancelling r gives

θ = tan θ - (tan3θ)/3 + (tan5θ)/5 - ...

which is equivalent to Gregory's series

tan-1θ = θ - θ3/3 + θ5/5 - ...

Now Madhava put q = π/4 into his series to obtain

π/4 = 1 - 1/3 + 1/5 - ...

and he also put θ = π/6 into his series to obtain

π = √12(1 - 1/(3×3) + 1/(5×32) - 1/(7×33) + ...

We know that Madhava obtained an approximation for π correct to 11 decimal places when he gave

π = 3.14159265359

which can be obtained from the last of Madhava's series above by taking 21 terms. In [5] Gupta gives a translation of the Sanskrit text giving Madhava's approximation of π correct to 11 places.

Perhaps even more impressive is the fact that Madhava gave a remainder term for his series which improved the approximation. He improved the approximation of the series for π/4 by adding a correction term Rn to obtain

π/4 = 1 - 1/3 + 1/5 - ... 1/(2n-1) ± Rn

Madhava gave three forms of Rn which improved the approximation, namely

Rn = 1/(4n) or
Rn = n/(4n2 + 1) or
Rn = (n2 + 1)/(4n3 + 5n).

There has been a lot of work done in trying to reconstruct how Madhava might have found his correction terms. The most convincing is that they come as the first three convergents of a continued fraction which can itself be derived from the standard Indian approximation to π namely 62832/20000.

Madhava also gave a table of almost accurate values of half-sine chords for twenty-four arcs drawn at equal intervals in a quarter of a given circle. It is thought that the way that he found these highly accurate tables was to use the equivalent of the series expansions

sin θ = θ - θ3/3! + θ5/5! - ...

cos θ = 1 - θ2/2! + θ4/4! - ...

Jyesthadeva in Yukti-Bhasa gave an explanation of how Madhava found his series expansions around 1400 which are equivalent to these modern versions rediscovered by Newton around 1676. Historians have claimed that the method used by Madhava amounts to term by term integration.

Rajagopal's claim that Madhava took the decisive step towards modern classical analysis seems very fair given his remarkable achievements. In the same vein Joseph writes in :-

We may consider Madhava to have been the founder of mathematical analysis. Some of his discoveries in this field show him to have possessed extraordinary intuition, making him almost the equal of the more recent intuitive genius Srinivasa Ramanujan, who spent his childhood and youth at Kumbakonam, not far from Madhava's birthplace.