Sunday, 12 July 2015

Vedika-Science.

Vedika Science.
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He presented some 'Art-work' on his face-book post.
I always keep myself restricted in criticizing anything, but sometimes, I can't stop myself any more.
This 'Note' is a summary of what I learned and myself discovered about the 'Vedika Science'.
I call it 'Vedika Science' because it stands to reasoning but I have no 'proof' of the same.
May be those who have read my link about Nicola Tesla and Swami Vivekananda could understand this.
The core premises for this is as under.
Vedika Grammar follows a strict scientific approach in discovering the Cosmic universal language in terms of human way of using the sound in spoken and written form.
The 'Maheshvara SutrANi' 'AmnAya' begins with the description of all phonetic characters and hints that these characters, syllables and phonemes are the 'bricks' that the Edifice of Sanskrit is made of.
These 'define' the 'Matrices' (true to the way as it is defined in Mathematics), of these fundamental bricks. In Sanskrit these literally form an algebraic 'Matrix' with 'rows and columns'. Precisely a 5x5 matrix. See skandapurANa for details.
The elements 'ku-chu-Tu-tu-pu' form a set of 33 cosmic entities that correspond to these 33 kinds of spiritual powers endowed with consciousness aspect and a sense of oneself as a functional authority.
Veda never attempts to describe the Supreme Principle, just because no description could be perfect, flawless.
At the same time these 5 entities are called 'devatA-principle govern the whole functioning of the existence. Like a 'Supreme Spirit', there is no 'creation-principle' in Veda. And neither a 'Creator'. Of Course Veda indirectly call all these 33 'devata' as a 'Creator' in their own way, but the creation and dissolution (not destruction) is the subject-matter of purANa.
Though we can see this number 33 has something common with 'Yehova' and 'Kabbalah', as I don't know much about Hebrew tradition and religion, I can't say anything about that. But I can see That "Yahvah" as described in Rigveda is no different than Indra of veda and purANa.
The 33 Functional entities are closely associated with these 33 lettrs in the 'Matrix' stated above.
And each syllable has a corresponding 'astral' region (loka) All such regions together form the whole multi-layer 'world'.
Every 'functionary' spirit has His / Her own region governed by Him / Her, and these all levels / layers are co-eval, co-existential, concurrent. Because of this, one can not approch 2 different levels at a time or place, but there is sure a 'bridge' to reach those regions.
Again 'panchIkaraNam' tells us how 5 mahAbhUta (Subtle principles) re-arrange themselves into 5 gross elements. And how 5 prANa (vital energy associated with consciosness-aspect) give rise to 'phenomenal-world'.
This 'phenomenal world' is not the only one perceptible by us through 5 senses of perception, but also has manifested in different regions of 'spiritual functionary entities'.
Understanding the structure of Sanskrit greatly helps us understand this whole thing.
We 'worship' many 'entities' such as Ganesha, Durga, Surya, NarayaNa, Rudra. and many more who are but their different manifestations only.
These principles could be well-understood in the light of Quantum-principle and The Abstract Algebra / Topology and Functional Analysis.
And Then one more last point that I would add is about color, sound, voice, touch and taste. These 5 'tanmAtrA' / subtle senses which define gross elements their respective 'governing principle' on one hand, also serve as a bridge between the occult / esoteric / mysterious.
And if we approach those 'powers' in an arbitrary way, some-times accidentally we would encroach upon their privacy and will have to suffer the consequences. However, if we know the 'science' and approach them with due respect, we can also gain their favor by propitiating them.
Here comes the 'purANa' in picture. Every word of a purANa is true indeed. Of course lately during last 1000 years there would have been some interpolations and distortions, but the 'entity' is always there to discover the whole truth.
And this is the risk when we do something whimsical in the name of 'experiment' in Art, painting, music and other such Art-forms.
One may but point-out about this and I see no other purpose here to talk of.
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