Sir, Why not you dictate into some record and get the wonderful insights of yours in books.They will be very useful. YM
On Thu, Jun 9, 2022 at 9:08 AM Rajaram Krishnamurthy <[email protected]> wrote: > Pranam > Leave aside destruction of nature. WHAT EXACTLY IS THE NATURE'S NATURE?. > CHIDAMBARAM NATARAJAR answered all about nature . Nature is pRakrithi the > Maya. It is also destroyed finally. If so, discreet destruction is > permitted. But in the Maya world, we follow only one principle of > destruction alone which is condemnable. In Maya we destroy, so we have to > reinstall. So keeping off is not the solution to protect. Allowing human > growth in all uncertainties is the best growth-solution. > > SRISHTI, STHITHI AND Samhara 3S > > The whole thing is there, you see. The world of space and time, matter and > energy, the world of creation and destruction, the world of > psychology…We (the West) don’t have anything remotely approaching such a > comprehensive symbol, which is both cosmic and psychological, and > spiritual. ―Aldous Huxley, 1961 > <https://www.rarebooksocietyofindia.org/postDetail.php?id=196174216674_10153443073251675> > > In it, Shiva is in the *Bhujangatrasita karana *pose—literally “frightened > by a snake > <https://www.academia.edu/12795485/_Shiva_Nataraja_Shifting_Meanings_of_an_Icon._Art_Bulletin_81.3_1999_390-419>“—with > his left leg held across his body at hip level, and every element contains > a deep meaning. Roughly, Shiva is here at once seen creating and destroying > existence; offering the escape hatch from this constant chaos; and, > finally, revealing the clue to that escape hatch, which is to subdue > ignorance. > > The following are the five most important elements, indicating the > *Panchakritya, *or five key acts of the Nataraja. > > *Srishti** or creation: *The Nataraja’s rear left arm carries the > hourglass-shaped drum, *damuru, *the vibrations of which create the > universe. Some conflate this > <https://medium.com/bliss-of-wisdom/exploring-shiva-bf3939790fff> with > the Big Bang of cosmic creation. > > *Sthithi* *or maintenance/protection: *The open palm of the forehand > indicates an assurance: There is nothing to fear about constant cosmic > overhaul; change is normal and I’m here to protect you. > > *Tirobhava** or concealment:* The hidden lower-left palm pointing > downwards says he’s the creator of *maya*, illusion or the veil of > ignorance. > > *Anugraha** or blessing or liberation: *The raised left foot, combined > with the closed hand, signifies the option available before the seeker: > *moksha* or liberation from ignorance and, by implication, from the cycle > of birth and death. > > A few more elements complement the idea of *Panchakritya*. These are: > > *Muyalaka or Apasmara: *This dwarf demon at the Nataraja’s feet > represents the evils of ignorance and ego, to be trampled upon if one must > rise to a higher plane of self-actualisation. > > *Circle of fire: *The frame around Nataraja is *maya, *illusion, as > experienced through the cyclical phenomenon of birth & death. > > Yet, for all the esoteric ideas attributed to him, the dancing lord likely > has more earthy origins. > > *Samhara** or destruction:* The raised, rear right-hand carries the fire > that atrophies matter to a formless state, only for regeneration. In that > sense, it is the fire of transformation, not destruction. It implies > constant change, echoing the precept of “There’s no being, only > becoming.” > <http://indian-philosophy.braincells.com/buddhism/hina_kshan.html> > > Chidambaram derives its name from a combination of *chit *or > consciousness (in Sanskrit) and *ambaram *or cosmos. “In that sense, this > spot of Nataraja in this temple may be considered the centre of cosmic > consciousness,” says Devi Bala Dikshitar, one of the many priests > officiating there. > > The shift to the copper alloy helped perfect the image. “It seems that > only with an appreciation of the greater tensile strength of metal, > compared to wood, were the limbs, locks, and sash flared out more… towards a > circular shape,” says Sharada Srinivasan, an archeologist who studies > ancient metals at the National Institute of Advanced Studies, a > multidisciplinary centre located at Bengaluru’s Indian Institute of Science > campus. > > Other astronomical connections, too, emerge. For instance, a major > festival is held in Chidambaram at the time of the winter solstice in > December. During that time, the Orion constellation is seen in its zenith > above the temple. > > In the early part of the 20th century, Sri Lanka-born art historian and > scholar Ananda Coomaraswamy made inroads into the western mind with his > philosophical, spiritual, and cosmic interpretations of the Nataraja. > British enthusiasts and historians had till then been dismissive about > Indian art unless it was influenced by Greek aesthetics, Allen writes. > Coomaraswamy’s seminal 1912 essay, *The Dance of Siva > <https://archive.org/details/danceofsivafourt00coomiala/page/56>, *later > published in his influential collection of essays > <https://babel.hathitrust.org/cgi/pt?id=nyp.33433082246665&view=1up&seq=11> on > Indian art and culture, might be deemed the launchpad of the Nataraja’s > global journey. > > Citing the many versions of Shiva’s dance, Coomaraswamy said the root idea > behind all of them was the “manifestation of primal rhythmic energy.” He > wrote: > > In the night of Brahma, Nature is inert, and cannot dance till Shiva wills > it. He rises from His rapture, and dancing sends through inert matter > pulsing waves of awakening sound, and lo! matter also dances appearing as a > glory round about Him. Dancing He sustains its manifold phenomena. In the > fullness of time, still dancing, he destroys all forms and names by fire > and gives now rest. This is poetry; but nonetheless science. > > Echoed in TS Eliot’s famous poetic lines ‘At the still point of the > turning world…there the dance is…’ > > French sculptor Auguste Rodin (1913) in his essay ‘La Danse de Siva’ > illustrated it with the same Nataraja bronze from the Government Museum, > Chennai, > > Huxley himself, as the introductory quote suggests, was enamoured of > Nataraja. “The great world of all-embracing material world with its flames, > within this Shiva dances… He is everywhere in the universe. This is his > dance, the manifestation of the world called his Leela, his play. His sense > of reign upon the just and the unjust and he is not beyond good and evil, > of course, it is all an immense manifestation of play,” he says in a 1961 > interview. > > Fritjof Capra, the Austrian-born American physicist*, *80 years old now, > was among them. > > In an email to Quartz, he said: > > In the Summer of 1969…one late afternoon, I was sitting by the ocean (in > California)…when I suddenly became aware of my whole environment as being > engaged in a gigantic cosmic dance. As a physicist, I knew that the sand, > rocks, water, and air around me were made of vibrating molecules and atoms, > and that these consisted of particles that interacted with one another by > creating and destroying other particles…but until that moment I had only > experienced it through diagrams and mathematical theories…I “saw” the atoms > of the elements and those of my body participating in this cosmic dance of > energy. I felt its rhythm and I “heard” its sound; and at that moment I > *knew* that this was the Dance of Shiva. > > A lot has changed in the field of particle physics since Capra’s “moment.” > However, he says, nothing has “invalidated the two grand themes of modern > physics—the fundamental unity… and the intrinsically dynamic nature of its > natural phenomena.” That dynamic nature of physical reality is embodied in > the myth of the dancing Shiva, he adds. > > Before Albert Einstein propounded his theory of relativity in the early > 20th century, it was assumed that matter could ultimately be broken down > into indivisible indestructible parts. But when individual subatomic > particles were smashed against each other in high-energy experiments, they > didn’t scatter into smaller bits. Instead, they merely re-arranged > themselves to form new particles using kinetic energy or the energy of > motion: subatomic dynamism. > > “At the subatomic level, all material particles interact with one another > by emitting and reabsorbing (i.e., creating and destroying) other > particles. Modern physics shows us that every subatomic particle not only > performs an energy dance, but also *is* an energy dance; a pulsating > process of creation and destruction. For the modern physicist, then, > Shiva’s dance is the dance of subatomic matter,” Capra said in his email. > > “I immediately saw parallels to some ideas in quantum physics,” Capra says. > > Astronomer Carl Sagan was another one fascinated by these synchronicities, > writing in his book *Cosmos, *which became a 13-part miniseries > <https://bigthink.com/philip-perry/7-things-you-need-to-know-about-carl-sagans-cosmos> > with > one episode shot in India, that he liked to imagine the Nataraja was “a > kind of premonition of modern astronomical ideas > <https://books.google.com.hk/books?id=HJs64QawLccC&pg=PA83&lpg=PA83&dq=carl+sagan+nataraj+cosmos&source=bl&ots=8uLS73nM9P&sig=ACfU3U2ZQab-Ur7FEwLXTrnmaYtEJbdfGw&hl=en&sa=X&ved=2ahUKEwj4zcb507rmAhWqzIsBHekqB6E4FBDoATACegQIBxAB#v=onepage&q=carl%20sagan%20nataraj%20cosmos&f=false> > .” > > This idea of the eternal universal dancer has so deeply caught on among > physicists and cosmologists that in 1993, an abstract sculpture called > Cosmic Dancer <https://cosmicdancer.com/a_multi-dimensional_artwork.php> > *,* was launched to the Russian Mir space station. Asked about how his > artwork, its designer Arthur Woods said: > > …the (Nataraja) appears very angular yet aesthetic with the four arms > outstretched and the raised front leg. Thus my sculpture, which is also > very angular could be viewed as a symbolic abstraction of this figure as it > dances in the cosmic weightlessness of space…its form is always in a > transient state of change…This and the fact that it is free of terrestrial > gravity, imparts a supranatural quality normally reserved for gods. Thus > this qualitative relationship to the god Shiva can be made. > > In 2004, the government of India gifted the European Organization for > Nuclear Research, or CERN, a 2-metre tall Nataraja statue which now stands > at the entrance of the facility in Switzerland where the world’s most > powerful particle accelerator, or the Hadron Collider, became operational > in 2008. It has prompted enough curiosity that the CERN website addresses > its presence > <https://home.cern/resources/faqs/cern-answers-queries-social-media>: > This deity was chosen by the Indian government because of a metaphor that > was drawn between the cosmic dance of the Nataraj and the modern study of > the “cosmic dance” of subatomic particles. Thus Nature is life and death; > nature is there only to nurture us; indiscreet misuse alone which is rare > has to be condemned; but we are afraid of the villains to raise our voice > and speak or write peripherally and call it as we are the best!!!. NB > Such value is unknown to CM and HR & CE TN We are worried about Kashmir > files after the horse bolted out; why do we not speak when the iron is hot > as Chidambaram files?. KR IRS 9622 > > On Thu, 9 Jun 2022 at 06:53, Markendeya Yeddanapudi < > [email protected]> wrote: > >> >> >> -- >> *Mar**Feeling the Feelings* >> >> >> >> We live in feelings and emotions, which take to the phenomena of >> thoughts. Not a single thought, feeling or emotion has a concrete material >> form. You cannot measure any of them in liters, miles or kilos. Reality is >> abstract. Living is the yearning to feel the feeling and emotion of >> everything. Understanding cannot be struck up in some math equation or >> mechanical design. Understanding ultimately needs the emotional connect. >> The method available on earth is breathing, smelling and sensing and >> connecting to the emotion base, so that feeling gets triggered. >> >> In free, lush and thick nature where the air flow is the symbiotic flow >> of rapture, there is a continuous flow of predication, synchronizing with >> the ever changing subjects, as the universe is changing continuously. Once >> the Sages went into the deep forests, to join the flow of predications from >> nature and synchronize their feelings as living. For them every life form >> is a form of emotions and very sacred and the subjects of the predication >> flow of the air. The life forms exhaled predications. >> >> The urge to relate emotionally is the essence of living. When the >> emotional symbiosis is achieved, with some other person or organism, then >> the relation becomes the flow of love. And every life form yearns for love. >> >> Thick, free and lush nature never insults and wounds the feelings. Your >> exhalations are automatically received by the airflow, and you get >> responses, often as thought or as idea flashes, the translation of feeling >> into thoughts and ideas. >> >> Nature is the only and gigantic Bank of emotions and ideas. Technology as >> a substitute is perversion. Economics is the destruction of the great bank >> of emotions-nature. >> >> Can anyone show one area on earth where technology has not destroyed >> nature? If your eyes can see everything, even atoms changing into energies, >> then you feel that you are just nature, part of the great bank of emotions. >> >> Economics without Ecology and bonded to Newtonian Mechanics has become >> the ultimate destruction of nature. We have to just assume away that the >> emotional Man,is not emotional but only mechanical, the economic man, the >> mimic of Mechanics. >> >> Let us strive for the inclusion of at least now the medicinal value of >> every leaf, flower and plant from LKG to PhD, so that the madness of >> destroying nature can be stemmed. And try to protect nature. >> >> YM >> > -- *Mar* -- You received this message because you are subscribed to the Google Groups "Thatha_Patty" group. To unsubscribe from this group and stop receiving emails from it, send an email to [email protected]. 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