The Cosmological View of Mamuni Mayan in His Mayonic Science By Dr. Jessie J. Mercay Now (while one has a human birth), one should inquire into Brahman. Mamuni Mayan (மாமுனி Māmuṉi meaning Brahmarishi Mayan, Sangakala Sirpachithan Mamuni Mayan, Mayamuni, Mayendran) is a culture hero. Ainthiram and Mamuni Mayan. Aindhiram and Mamuni Mayan. Ainthiram is an ancient book on the science of vasthu sathra and tamil grammer.
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Sthapati started construction of a “monument to Mayan” near Mamallapuram. Mamuni Mayan is credited with feats ranging from the composition of a primeval ” Pranava Veda” to the construction of UFOs.
In Tamil national mysticismMayans “Pranava Veda” is considered the original Tamil Veda, written some 10, years ago in Romakapura, from which the Hindu Vedas are imperfect derivations. If there had been a grammatical treatise called Aintiramit has been lost, but a text called Mayan’s Aintiram dealing with Vastu Shastra was published by Sthapati inwith the support of C.
MayaAsura is credited with the Surya Siddhanta. The originator of all these ancient sciences is one known as Mayasura of the same tribe that constructed the mayasabha of Mahabharata. But the period is that of Ramayana some 16, years ago. He is the father of Mandodari and father-in-law of Ravana. One of his niece was Sita, who had married Rama and [by] an error of judgement started the epic war.
He was master in many subjects. Some of these are: His contribution to Aesthetics Some Tamil mysticists think that all of human culture is derived from the “Mayonic tradition”, including that of mesoamerican Maya civilization. Sthapati visited Central America and “traveled throughout that region visiting ancient monuments and meeting with modern Mayan representatives.
Ganapati Sthapati asked Dr. Sangam literature — The Sangam litterature is the ancient Tamil literature of the period in the history of ancient southern India spanning from c. This collection contains poems in Tamil composed by poets, Sangam literature is primarily secular, dealing with everyday themes in a Tamilakam context.
The poems belonging to Sangam literature were composed by Tamil poets and these poems were later collected into various anthologies, edited, and with colophons added by anthologists and annotators around AD.
Sangam literature fell out of memory soon thereafter, until they were rediscovered in the 19th century by scholars such as Arumuga Navalar, C. Sangam literature deals with mauan and material such as love, war, governance, trade.
The Indologist Kamil Zvelebil quotes A. Ramanujan, In their antiquity and in their contemporaneity, there is not much else in any Indian literature equal to these quiet and these poems are not just the earliest evidence of the Tamil genius. Sangam poems falls into two categories, the field, and the outer field as described even in the first available Tamil grammar. The inner field topics refer to personal or human aspects, such as love and intimate relationships, the outer field topics discuss all other aspects of human experience such as heroism, courage, ethics, benevolence, philanthropy, social life, and customs.
The classification ties the emotions involved in poetry to a specific landscape. According to the compilers of the Sangam works such as Nakkeeran, the Tamil Sangams were academies, the legends claim that the Pandyan dynasty of the mythical cities of South Madurai, Kapatapuram, and Madurai, patronized the three Mamunk. The word Sangam is probably of Indo-Aryan origin, coming from sangha, noted historians like Kamil Zvelebil have stressed that mmayan use of Sangam literature to describe this corpus of literature is a misnomer and Classical literature should be used instead.
They painstakingly collected and catalogued numerous manuscripts in various stages of deterioration, Navalar and Pillai hailed from Jaffna. Navalar brought the first Sangam text into print, this was the Thirumurukaattuppadai of Pattupattu, Pillai brought out the first of the Eight Anthologies of the Sangam classics, the Kaliththokai, in Swaminathaiyar published his first print of Paththupattu in and they published more than works in all, including minor poems.
A Jain poet-prince from Kodungallur near Kochi, referred to by the pseudonym Ilango Adigal, is credited with this work and he is reputed to have been the brother of Vel Kelu Kuttuvan, the Chera dynasty king.
As a literary work, Silappatikaram is held in regard by the Tamil people. It contains three chapters and a total of lines of poetry, the epic revolves around Kannagi, who having lost her husband to a miscarriage of justice at the court of the Pandyan Dynasty, wreaks her revenge on his kingdom.
Silappatikaram has been dated to belong to the beginning of Common era. The story involves the three Tamil kingdoms of the ancient era, which were ruled by the Chola, Pandyan, at the end of the Sangam epoch, the Tamil country was in political confusion. The older order of the three Tamil dynasties was replaced by the invasion of the Kalabhras and these new kings and others encouraged the religions of Buddhism and Jainism. Ilango Adigal, the author of Mmuni, probably lived mayna this period and was one of the vast number of Jain and these authors, perhaps influenced by their monastic faiths, wrote books based on moralistic values to illustrate the futility of secular pleasures.
Silappatikaram used akaval meter, a style adopted from Sangam literature, Silappatikaram does not use the convention of regarding the land divisions becoming part of description of life among various communities of hero and heroine.
The epic mentions evenings, especially in the season, as the prime time that exacerbates the feelings of longing in those who are separated. These patterns are only in the later works of Sanskrit by Kalidasa. The story of Silappatikaram is set during the first few centuries of CE and it also mentions the Ilankai king Gajabahu and the Chera Senguttuvan.
It confirms that the kingdoms of Chedi, Uttarakosala. The epic also describes the Tamil society of the period, its cities. The authorship of Silappatikaram is credited to the pseudonym Ilango Adigal and he is reputed to be the brother of Chera king Senguttuvan, although there is no evidence in the Sangam poetries that the famous king had a brother.
There are also claims that Ilango Adigal was a contemporary of Sattanar, the prologues of each of these books tell us that each were read out to the author of the other. She was brought up with comfort and discipline and she was married to Kovalan, who was the young son of a similarly rich trader.
Manimekalai is a poem in 30 cantos and its story is a sequel to another of the Five Great Epics, Silappatikaram, and tells the story of the conversion from Jainism to Buddhism of the daughter of Kovalan and Madhavi. Although there is controversy about the exact date of this work. According to Hikosaka, Manimekalai was written between A.
The aim of the author, Seethalai Saathanar was to compare Buddhism favourably with the other prevailing religions in South India in order to propagate Buddhism and he criticizes Jainism, the chief opponent and competitor of Buddhism at the time. While exposing the weaknesses of the other contemporary Indian religions, he praises the Buddhas Teaching, as a continuation of Silappatikaram, this epic describes how Manimekalai, the beautiful daughter of Kovalan and Madhavi, follower of local deities later included in Hinduism, converts to Buddhism.
The Manimekhalai poem thus is an example of female spiritual empowerment within a culture wherein otherwise there were few options for women. Pandit Iyothee Thass revealed more about Manimekalai as Arachchelvi and documented original poems written by Seeththalai Saththanar, Swaminatha Iyer who allegedly left out some of the original poems. The epic gives much information on the history of Tamil Nadu, Buddhism and its place during that period, contemporary arts and culture, and the customs of the times.
The exposition of the Buddhist doctrine in the poem deals elegantly with the Four Noble Truths, Dependent Origination, mind and Buddhist practices like virtue and non-violence. She then becomes a Buddhist nun or Bhikshuni and practices to rid herself from the bondage of birth and death, Manimekalai – The daughter of Kovalan and Madhavi, who was born with bravery and virtues. Udhayakumaran – The Chola King, who was mad in love with Manimekalai and he was a foolish king, who wanted things done only in the way he wanted them to be.
He also had a thug life Sudhamadhi – Manimekalais most faithful, manimekala – The sea goddess who protects the heroine. Asura — Asuras are mythological lord beings in Indian texts who compete for power with the more benevolent devas. Asuras are described in Indian texts as powerful superhuman demigods or demons with good or bad qualities, the good Asuras are called Adityas and are led by Varuna, while the malevolent ones are called Danavas and are led by Vritra. In the earliest layer of Vedic texts Agni, Indra and other gods are also called Asuras, in the sense of them being lords of their domains, knowledge.
In later Vedic and post-Vedic texts, the benevolent gods are called Devas, Asuras are part of Indian mythology along with Devas, Yakshas and Rakshasas, and Asuras feature in one of many cosmological theories in Hinduism. Monier-Williams traces the roots of Asura to Asu, which means life of the spiritual world or departed spirits. In later verses of the Samhita layer of Vedic texts, Monier Williams states the Asuras are evil spirits, demons, Asuras connote the chaos-creating evil, in Hindu and Persian mythology about the battle between good and evil.
In this, the form, asuryaa, is included twice. The word, asurya, has been used 19 times as a noun, while the abstract form asuratva occurs 24 times,22 times in each of the 22 times of one hymn.
Asura is used as an adjective meaning powerful or mighty, in the Rigveda, two generous kings, as well as some priests, have been described as asuras.
Mamuni Mayan – Father of Science | Known is a drop, Unknown is an Ocean
One hymn requests a son who mayqn an asura, in nine hymns, Indra is described as asura. Five times, he is said to possess asurya, and once he is said to possess asuratva, Agni has total of 12 asura descriptions, Varuna has 10, Mitra has eight, and Rudra has six.
Bhargava gives a count of the usage for every Vedic deity. The Book 1 of Rig Veda describes Savitr as an Asura who is a kind leader, in later texts, such as mamhni Puranas and mamkni Itihasas with the embedded Bhagavad Gita, the Devas represent the good, and the Asuras the bad.
According to the Bhagavad Gita, all beings in the universe have both the qualities and the demonic qualities within each. Kuiper calls Asuras a special group of gods in one of major Vedic theories of creation of the universe and their role changes only during and after the earth, sky and living beings have been created. The sky world becomes that of Devas, the underworld becomes that of Asuras, deity Indra is the protagonist of the good and the Devas, while dragon Vrtra who is also one of asuras is the protagonist of the evil.
This is the first major dualism to emerge in the nature of everything in the Universe, Hale, in his review, states that Kuiper theory on Asura is plausible but weak because the Vedas never call Vrtra mqyan Asura as the texts describe many other powerful beings.
There have been attempts to mmauni its historical growth and compositional layers.
The oldest preserved parts of mammuni text are thought to be not much older than around BCE, the text probably reached its final form by the early Gupta period. Hermann Oldenberg supposed that the poem must once have carried an immense tragic force.
Vastu shastra — Vastu shastra is a traditional Hindu system of architecture which literally translates to science of architecture. These are texts found on the Indian subcontinent that describe principles of design, layout, measurements, ground preparation, space arrangement, Vastu Shastras incorporate traditional Hindu and in some cases Buddhist beliefs. Vastu Mahan are the part of Vastu Vidya, the latter being the broader knowledge about architecture. Vastu Vidya knowledge is a collection of ideas and concepts, with or without the support of layout diagrams, the Sanskrit word vastu means a dwelling or house with a corresponding plot of land.
The term shastra may loosely be translated as doctrine, teaching, Vastu-Sastras are ancient Sanskrit manuals of architecture.
There exist many Vastu-Sastras on the art of building houses, temples, towns, one such Vastu Sastra is by Thakkura Pheru, describing where and how temples should be built.
Silpa Myan describes the principles in every aspect of the temple. These styles were perfected in Hindu temples prevalent in states of India. Other ancient texts found expand these architectural principles, suggesting that different parts of India developed, invented and added their own interpretations, Silpa Prakasa provides brief introduction to 12 types of Hindu temples. Manasara shilpa and Mayamata, texts of Maywn Indian origin, estimated to mamuuni in circulation by 5th to 7th century AD, is a guidebook on South Indian Vastu design and construction.
These ancient Vastu Sastras, often discuss and describe the principles of Hindu temple design, the central area in all mandala is the Brahmasthana. Mandala circle-circumference or completion, is a concentric diagram having spiritual and ritual significance in both Hinduism and Buddhism, the Pitha is an mamuhi Prithvimandala in which, according myaan some texts, the central space is occupied by earth.
The normal position of mamuji Vastu Purusha is as depicted in the Paramasaayika Mandala, however, in the Manduka Mandala the Vastu Purusha is depicted with the myaan facing east and the feet facing west. Alagappa Chettiar College, Karaikudi, and graduated with a degree in mathematics.
After his graduation, he became a Sthapati at Palani Murugan Temple, Palani, Tamil Nadu and he resigned this post after the death of his father, who had served as principal of the School of Architecture and Sculpture at Mamallapuram from to He succeeded his father as the Principal of the Government College of Architecture and Sculpture, TN, after retirement from government service, he established the Vaastu Vedic Trust and the Vaastu Vedic Research Foundation, aimed at research, development, and globalization of Vaastu Shastra.
He is also the head of the professional guild named V. Mercay as Chancellor, design and Construction of University buildings including the Administrative block and library for Tamil Mauni in Tanjore.
Projects in India and other countries, bibliography Sthapati has authored a number of books on the science and technology of Vastu Shastra and has conducted numerous seminars.
Sthapati has earned a number of titles and awards, including Padma Bhushan insubramaniam, T. Sculpting a success story.