Vastu Design

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Table of Contents Lesson 1 - Introduction

Lesson 2A - Notes, About the Shilpins, Theory of Vastu Science

Lesson 2B - Mayan, the Vastu vijnani and originator of Vaastu tradition Lesson 2C - Theory - The Elements

Lesson 3 - Philosophical Foundations Lesson 4 - Mayan - The Vaastu Tradition

Lesson 5 - Ancient Origins of Vaastu Science, continued Lesson 6 - Mahabalipuram Filming Text

Lesson 7 - The Science of Manifestation Lesson 8 - Vaastu Purusha Mandala Lesson 9 - Spatial Measures

Lesson 10 - Orientation of Buildings and Cities Lesson 11 - The Eight Directions

Lesson 12 - Selection of a Building Site

Lesson 13 - Trees and Plants Around the Building Lesson 14A - Vastu Design Process - Part I

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Introduction

In 1998 and 1999 I traveled to Madras, India, to study the principles of Vastu Science as applied to Vedic Architecture. Through my work and research, I had become aware of this tradition of sacred Architecture which employed basic principles of the laws of nature to promote the health and happiness of the people who lived these special buildings. In previous years, I had been commissioned to design two buildings that conformed to what my clients called Sthapatya Vedic Architecture. They requested that I work directly under the guidance of a designer in Europe. I was directed by this designer to create a floor plan and elevation following certain basic principles of room placement and then send it to him for review. The process of design and review went on for several weeks until we had arrived at a building that conformed to the room placements and included very precise, if odd, numbered dimensions for the plan and

elevations. I was instructed to insist that the dimensions be held with integrity as the building was erected, down to the 1/8th of an inch. I was very interested in understanding the principles of design and the philosophy behind the design and I requested more information from the Sthapatya Vedic expert. To my great disappointment, he communicated to me that he wasn¹t at liberty to convey the information that I wanted.

I began a search for information about Sthapatya Vedic Architecture. I found that there were several volumes of ancient Indian literature, as well as modern, dedicated to the subject. When I surveyed the books I found them quite confusing. I realized that I needed to find a teacher. I attended a weekend

seminar on the subject given by a designer from India, but again, the actual nuts and bolts information was not made available. Finally, I found an architect in India who was supposed to be an expert of the tradition of knowledge. I had attended a performance of Indian sacred dance one evening and in the introduction to the performance the dancer told us that she had danced at a conference on Sthapatya Vedic Architecture in Southern India. After the performance, I asked the dancer if she could recommend me to an expert

architect in the tradition. She eagerly gave me the name of Dr. V. Ganapati Sthapati of Madras, India. I called the Sthapati (meaning: expert sculptor and building designer) the next day and he told me that he was building a temple in the Midwest and would be visiting the site within a week. I made arrangements to meet with him when he came to the USA.

Ganapati Sthapati

Ganapati Sthapati was born in 1927 into a family whose ancestors built the great temple at Tanjore in the 10th century. He learned his craft from his father and uncle. Starting out as a sculptor¹s apprentice,

growing to become a master sculptor and a temple designer. He spent 27 years as head of the Government College of Architecture and Sculpture in Mahabalipuram, Tamil Nadu. He is responsible for India¹s

significant resurgence in the ancient art of stone carving. After his retirement in 1988, he continued

building temples and founded the Vastu Vedic Research Foundation to explore the ancient origins of temple craftsmen.

As I was ushered into meet Sthapati I noticed that the Indian workers that were building the temple treated the man with utmost respect. Our interview lasted about one hour. I showed him my house designs and he chuckled as he critiqued them. He said that architecture was frozen music and that a building could be an expression of pleasant and powerful harmonies. He made sketches on my drawings, mentioning something called a "Vastu Purusha Mandala". He spoke of the possibility of a building being a coherence generator, tuning the

occupants to the laws of the universe and increasing health, wealth and spiritual well being.

He said that a building was a living organism, like the human nervous system, and could be designed in "harmonic

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resonance" with the basic underlying energy structure of the universe. But more than his words, his presence, his

confidence, his enthusiasm and love of his art, told me that he was a man who lived his Truth. At the end of our meeting I asked him if I could come to India and study with him, he seemed a bit surprised actually, but he welcomed me to come.

Historic Context

Ganapati Sthapati holds that the historical figure, Mayan, an architect and town planner of ancient India was the source of "Vastu Science". He was the author of Mayamata Vastu Shastra (a treatise on building and architecture) and also Surya Siddhanta (a treatise on Astronomy). These works are still alive and being used by scholars and practitioners all over India.

Sthapati told me that Mayan was adored as "Viswakarma" by Veda Vyasa in his Mahabharata (one of India¹s most renowned scriptures), implying thereby that Mayan was aware of the dynamics of SPACE and was able to apply the space-mechanics to his own creations and transform them into little universes on the Earth. Whatever he was able to create in visual terms, be it a sculpture, building or a town or city layout, they behaved like living organisms and pulsated with life. He was a great scientist of India who identified and quantified the vibrancy of the space enveloping the Earth and the heavenly bodies and also dwelling in each of the objects of nature.

Vastu Purusha Mandala

The plan of the layout of a temple or a residential building is technically called Vastu Purusha Mandala with a grid of 8 x 8 = 64 spaces or 9 x 9 = 81 spaces of equal dimensions. In modern architectural terminology this can be addressed as an energy grid. These layouts are squares, two dimensionally, and cubes,

tridimensionally. Those two layouts are the geometrical formulae for the shilpi (sculptor or architect) to replicate the subtle substance of the universe into visual material form. This is the formula handled by God Viswarkarma, the creator of the universe, to turn his own thoughts into material forms. This formula is couched in a simplistic saying: ŒVastu reva Vaastu¹ meaning Œit is subtle that turns into gross. Here Vastu is subtle energy and Vaastu is embodied energy. This was discovered and put into the Vaastu texts by Mayan.

In Sthapati's words: "What is amazing to be remembered in this context is that they (forms produced by the application of Vaastu Science) are the forms (geometrical patterns) of the Spirit, reproduced in its own time-scale. They are the replicas of the subtle forms experienced at heart. They are living organisms that resonate with the Supreme Reality."

There are many factors at work in the creation of a building aligned with principles of Vastu Science. There are ancient texts with thousands of pages that dictate in detail the design necessities of buildings in general as well as specifics. For example in one text, the Mayamata, some of the chapter headings are as follows:

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Dwelling sites, Examination of the Site, Taking possession of the Site, System of measurements,

Orientation, Offerings, Towns, Number of Stories and the Dimensions, The Foundation Deposit, The Base, Dimensions of Pillars and Choice of Materials, Entablature, Joinery.

My experience was that to digest, assimilate and apply the information in these texts was a discouraging chore. I began studies with Ganapati Sthapati hoping that he would act as and interpreter and filter of the knowledge for me and this he did. I came away from my studies with a balanced and applicable body of knowledge.

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General Principles

The design regime for the Vastu architect follows specific parameters: 1. Orientation and siting considerations

2. Building Layout with regard to a grid called "Vastu Purusha Mandala" 3. Dimensioning with regard to the client¹s birth time

4. Exterior door locations 5. Brahmastan

6. Room Placement 7. Height

Vaastu Purusha

The selection of a building site is a very important factor in Vastu Architecture. The Earth is considered a living organism in Vastu Science. Sthapati says, "The Vastu Shastras address this energy contained in the Earth as Vaastu Purusha¹. Purusha means subtle energy that permeates the Earth and Vaastu¹ is the

material body that evolved out of the energy... In abstraction, Purusha is but a subtle substance: Vastu¹ (or essence of the subtle universe) which means universal consciousness¹ or awareness¹. Earth is...a live

material object suspended in (a sea) of space and existing as apart ... of the Universal Being. "

Site Slope

The general slope the site is very important. Sloping down to the East, North East or North is considered to be beneficial with the opposite having negative effects for the occupants of the structure. From my

research, this seems to have something to do with the flow of water over and under the site. Also, the position of water on the site or in relationship to the site is considered: Northeast being the best location for a body of water. Fencing a plot with acceptable proportions is also important. It is because when vast land is limited by boundary lines it takes a form. That is, formless takes a form.

Energy Grid

Of utmost importance is the orientation of the structure with respect to the cardinal points of the compass. According to Vastu Science, a network of energy lines covers the globe of the Earth: an energy grid. These lines are very similar to what we know as the longitude and latitude lines. The lines are conduits by which the energy concentrated at the center of the vital Earth flows out and spreads over the Earth. They are also lines of absorption of solar, lunar and stellar energies. The Earth pulsates with life and rays its energy through this grid system. Vastu Science relates that all planets are suspended or soaked in the ocean of space, which is the source of energy that sustains all embodied energies including man and other animate beings that live on the Earth.

The concept of the energy grid has been the ruling element of Vastu science in the domain of traditional designs pertaining to Indian architecture. The building plan is laid out with respect to an energy grid called the "Vastu Purusha Mandala". One typical grid is 9 x 9, but there are many other traditional grid forms consisting of odd and even numbers. This grid can be made of squares or rectangles. When the grid plan of the structure is oriented to the cardinal points of the compass it is said to lie exactly over the earthly

energy grid. (Establishing of the building grid in exact relationship to the cardinal points of the compass applies to temples. For secular structures it is best to rotate the structure about one degree to the north of true East.) Once the designer establishes the grid, he can lay out the walls and pillars of the building on this pattern. Sthapati says, "This establishes a kind of geometric congruency or harmony with the earthly grid. If the structure¹s grid is in harmony with the Earth¹s grid, then the built space and the Earth respond harmoniously energetically. If there is any distortion, deviation or deflection in the grid lines of the proposed building grid and that of the Earth¹s grid, then the built space is said to be in disharmony with the Earth¹s

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energy grid system." Vastu science holds that we are wedded to the Earth and constantly exposed to the energy fuming out of it. To be in harmony with this energy is the goal. Again Sthapati: "Just as we, human beings, harbor in our heart an atom of Divine energy by which we are able to vibrate with life...the Earth also vibrates from within sending forth energy waves." The Vastu designer brings about harmony between the vibrations by implementing particular a mathematical order called Ayadi.

Ayadi

The knowledge of Ayadi is used by the designer to determine the effects of the physical structure on the individual. The homeowner is born under the influence of a particular birth star. The building is considered to be a living being and also has a birth star. Ayadi calculations attempt to harmonize the energies created by the influence of the birth star of the person and that of the building. When these energies are

harmonized the dweller experiences material prosperity and spiritual well being. Ayadi is also said to be able to effect the fate of the individual.

The Brahmastan

Another significant element in a Vastu residence is the Brahamastan or central courtyard. In a grid of 9 x 9 it is the center nine units. It is the energy heart of the house. It is the lung of the house. This part of the house should always be left open and free of obstructing elements (pillars or walls) and mechanical services. It is best if this portion, at least, is directly in contact with the Earth. It is traditional, where

climate permits, to leave the Brahmastan open to the sky so that the energetic space surrounding the Earth is attracted into the house.

This provides the inmates of the house with beneficial spiritual energy. When there is a roof over the Brahmastan then there should be a natural light source, a skylight or cupola with windows, at the roof. Also, if possible, a small vertical passage can be provided at the apex of the center. Room location in the building is an important factor in Vaastu architecture The location of a particular room defined by function is determined by respecting the particular element that rules that area of the building.

Practical Design Matrix

All these principles (and more) taken together give the architect a design matrix for creating buildings that live and vibrate harmoniously with universal energies. I have found them easy and pleasing to use. I am convinced that this information is worth study and application by anyone interested in understanding the significance and full potential of sheltering the human nervous system.

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Vaastu Tradition

Here is a traditional procedure for an Auspicious Vaastu Ceremony

In general, there are formal ceremonies that are conducted at the "auspicious time," the times of ground breaking, foundation stone laying and moving in, but they are in Tamil or Sanskrit, so they are not available to us except if we engage a Vaastu Pundit. My teacher, Ganapati Sthapati, has always encouraged me to conduct my own ceremony, telling me to use my own inner knowledge of what to do. We come from the heart with a good intention for the structure, which is to be an alive being, and also with respect for the Mother Earth upon which the home sits, rooted in Earth energies.

The main purpose is to achieve a deep sense of identity with the Earth energy, the Mother Earth, with the Being of the house and with the blessing energies of the Masters of the knowledge of Vaastu Science. This is for the purpose of arousing these cosmic forces and directing them in a positive way for the project. A simple ceremony should be conducted at the auspicious time.

This is the time of the awakening of Vastu Purusha. Work beginning at this time will be completed without any impediment and the constructed building will yield prosperity, wealth and longevity.

At this time, a foundation deposit can be placed for the house. This deposit consists of precious gems and metals. It should be placed so that it will not be disturbed during construction. Contact me for information on how to obtain this.

You can bring flowers, incense and fruit.

If possible, you can stake the perimeter of the building. At least locate the area of the North east corner of the main rectangle or square of the building. There place a clean cloth or mat so you can sit and meditate and say the prayer for the house. At the proper time have incense burning and have the fruit and flowers to lay on the northeast area as offerings to Vastu Purusha.

You can use you own words also, and these:

Protector of the dwelling, recognize us: Be an excellent abode, the non-inflictor of disease.

Whatever we ask of thee, be please to grant. Be the bestower of happiness on our bipeds and quadrupeds. Protector of the dwelling, be the preserver and augmenter of our wealth.

Possessed of cattle and horses, Indra, may we, through Thy friendship, be exempt from decay: like a father to his sons, be favorable to us. Protector of the dwelling, may we be possessed of a comfortable, delightful, opulent abode bestowed by Thee.

Protect our wealth, whether in possession or expectation and ever cherish us with blessings.

Protector of the dwelling, remover of disease, assuming all kinds of forms, be to us a Friend: the Grantor of Happiness!

Place the foundation deposit at this time and/or place the fruit and flowers on the northeast ground. Sit in silence a few minutes and then you are finished.

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Lesson 2A Notes, About the Shilpins, Theory of

Vastu Science

Just a note by way of "experience is the best teacher: "These principles are new to most designers. They create a new way of looking at how a building should be laid out. As you generate designs for yourself or for others keep in mind that the employment of the principles in their simplicity is usually the best solution. I visited Sthapati's house yesterday. It is the simplest of plans and the ambience is wonderful.

Clients will push for lifestyle preferences or views, etc., always try to guide them back to the simple solution in its completeness, or, warn them that they are not creating a pure energetic structure.

In one of Ganapati Sthapati's books, Temples of Space-Science, he offers a dedication and so I use it here also: (The quoted passages are from that publication. You can order it if you like.)

"To those shilpins (vedic artists) who shared their spiritual and aesthetical experiences with the society, through their technological expertise and hard labor, with the sole aim of bringing spiritual well being, physical welfare, material prosperity, peace and bliss to their doors and thereby preserving and maintaining the unique science and technology of Vastu, over the centuries, against odds and set backs, is this (seminar) dedicated."

In the winter of 1998 I made my first visit to two of India's greatest temples, Chidambaram and Srirangam. Sthapati sent me there because he considers them "seed" temples. In other words, they are originals, models of Vastu architecture. They house, as it were, they DNA of Vastu Science. He said, "These temples have been, all through the ages, right from their emergence, functioning as veritable living beings and have ... been keeping alive both the spiritual and physical well being of humanity. "

My visit to each temple was a confirmation once again of a professional belief that buildings can be life giving, inspiring, energetically alive. As I sat in the inner courtyard at Chidambaram late one sultry night and early into the morning during a Shiva celebration I realized that I was experiencing a peace and energetic ease (and even coolness) that was like a swim in a peaceful temperate pool. I had no urge to go anywhere or do anything. I sat in peace, on the stone, surrounded by Indian families. I was awash in the blessing of the sacred Vastu space created there. I was reminded of Sthapati's first words to me about Vastu architecture: the buildings are visible musical forms based on the grammar of rhythm and scale and mathematical order of the universe. We all have had the experience of how music can inspire and sooth the soul. These buildings are frozen, visible music in harmony with universal law.

Before we get into the nuts and bolts of how to design the buildings we are going to talk theory for a while. The temples are the rocket science of Vastu architecture. In Tamil Nadu alone, where I am studying, there are over 35,000 temples identified and registered and probably twice this in total. The temples are the axles around which traditional life in India revolves. One finds them as nuclei for the regions, cities, towns and villages. Also, smaller temples are sprinkled throughout the land and are treated every bit as sacred as the larger ones.

Chidambaram and Srirangam encapsulate the basic principles of Vastu science. Chidambaram is a dedicated to Lord Shiva as Nataraja and Srirangam to Lord Vishnu as Rangaraja. These are the two main images of the Supreme Divinity or Universal Law, however you wish to view it. Nataraja is seen in the image of the dancing Shiva and Rangaraja as the peaceful sleeping Vishnu.

The main goal of the ancient vedic artists (shilpins) was to give concrete expression to the laws of the universe: to express the truth of cosmic order and form, to celebrate our connection with all life. The shilpins were architects, culptors, musicians, poets and dancers. To communicate spiritual bliss and truth

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was their life work. They preserved and passed on the knowledge of Vastu Science through practice and oral transmission. (Actually, when I go to the sculpture yard and watch the sculptors work, it looks like almost nothing is transmitted orally, only by example.) The ancient shilpins realized the Supreme Truth of Existence as the substance "Vastu". They viewed God as embodying the science of Vastu itself. Existence is Vastu is the universe is God is all that we know and are. Nothing is outside of Supreme Truth of Existence. The temples are the pure expression of laws of the universe: the temple is a Divine incarnation, solid and real. They are microcosms of the universe. "There is scientific reality behind them," as Sthapati puts it in his book, Temples of Space Science.

Sthapati talks of two types of science: Gross and Subtle. " Having seen the external features and analyzed external functions of Nature, scientists have shifted its subtle and internal structures and mechanisms. They have subjected them to the relevant and fitting mathematical laws. To bring out new creations according to the derived mathematical laws and utilize them for the well-developed material life is the motive of the first type of scientific system. I think 'Science is the more apt term to denote this type, the reason being that it is the system that has grown completely based o rational thinking. This type of scientific system is of the nature of changing rapidly and proliferating extensively...The second type of scientific system is eternal and immutable. It is directly related to the Self, which is beyond the reach of rational thinking. This is a system centered on the Spirit. We may call it the science of Spirit or Energy or the science of Space.

"To go directly into the very heart of Nature, to know its features and functional processes, to frame them into mathematical laws so as to constitute an infallible grammar, to infuse the very Nature into those objects so as to be in total harmony with it--all these are the significant aspects of this second type of scientific system."

This system of Space Science came into being thousands of years ago. It was cognized and realized by the great architect seer Mayan. (More on that later) Instead of calling it spiritual science the shilpins call it the Science of Vastu and the Science of Vaastu. (More on that later also) The vaastu tradition holds that there are five gross elements-- earth, water, fire, air, and space. All of these elements are present in the vast space of the universe as well as in all living being and worldly objects.

"Space is the fundamental source and energy for all things, for their origination and for their existence. This important scientific concept, the tradition of Vaastu has been holding with it from the Vedic period and, in fact, from the period even prior to Vedic times. It maintains that SPACE itself turns into spatial forms and it has it's own mathematical order or dynamics for changing into aural and visual forms. In Indian civilization, all temples, sculptures, architectural constructions ... are the creations by shilpins of the tradition of Vaastu Science. Being born of this tradition, these creations render not only physical pleasure but also spiritual bliss and well being. This spiritual science ... moulds us and directs us to experience the inexplicable spiritual bliss by effecting a communion between its own artistic creations and spiritual consciousness.

Modern science, based on rational analysis, is not able to accept the Indian view that space is the primal and foremost element, or that is even exists as an element. "For modern science it is not possible to analyze and realize the innate nature of space and to speak about its essential characteristics. Nor is it possible for it to apply the principles of space and to derive the benefits thereby. So, according to this empirical tradition of science, there are only four elements. ... It also refuses to accept the view that for all things space is the origin, basic source and place of existence and of movement. It is not possible for modern science to subject Space to scientific experiment.

According to Vaastu Science, space is vibrant and conscious and turns into spatial forms. By employing this principle, Vaastu Science brought into existence cities and towns, palaces and houses, temples and sculptures, vehicles and bedsteads. All these have been created by Vaastu Science to appear not as spiritless forms but to exist as living and vibrating organisms. Each object created by it is a breathing substance. The houses and buildings are endowed with specific features that enable us to be in harmony with the outer world and also with the indwelling spirit.

"The basic idea of these two kinds of science, material or intellectual and spiritual or space science could be summarized as follows: The modern science, being material in pursuit, searches for energy in matter and utilizing this energy it creates new object. These objects are meant for material welfare only. Vastu vijnana,

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being essentially spiritual, searches for matter in energy and utilizing this matter it creates energetic, animate and vibrant substances which are ultimately useful for spiritual welfare.... Vastu Vijnana creates our houses so as to be the actual living organisms and musical forms and enables the indwellers of these houses to experience their musical charm and spiritual bliss.

"Spiritual calmness and spiritual bliss - these are always the ends that are much sought after by the human race. These are the two spiritual fruits that are offered by the buildings created by the science of Vaastu ...through the external structural embellishments, and the internal configuration of living spaces. For the purpose of effecting these, there is a unique mathematical formula or order in the tradition of Vaastu. This is known as Vaastu rahasya (secret of the Vaastu tradition). (We'll get to it)

"Space is energy filled or energy stuffed. If this energetic space gets limited or enclosed by four walls then the building becomes a living organism, having rhythmic vibrancy. Like the inner space enclosed with-in our bodies, the house also feels and vibrates. This rhythmic vibration is made to resonate with our inner vibrations and by this resonance the indweller of the house is able to be in harmony and communion with the universal space (Paramatma) and to experience spiritual bliss.

"The built house should be on par with a temple which is the home as well as the form of God. This concept is what you perceive in the Chidambaram temple. What you experience there is the exact operation of this concept. It is actually a house. Unlike an ordinary temple, it is exactly a small house standing on a raised and rectangular plot. The enclosing walls are made of wood. The covering roof is also made of wood. It is a house whose roof is covered with gold tiles. In order to preserve this 'house' in its entire scientific conceptual frame, Diksitas, 3000 in number were employed by a Tamil king.

"What is that which is found inside the house (Chidambaram)? A space; simply a space housing nothing concrete within itself. We call this space "Akasha". (Nowadays there is a statue of the deity in the inner sanctum, but Sthapati tells me that the Brahmin priests without the Shilpi's involvement put it there. Originally, there was nothing but a sacred space that itself was worshiped.) Akasha is of the nature of consciousness itself. Close your eyes and what do you experience: Space-unbounded: consciousness. "By its own innate nature it feels, it vibrates. It manifests its consciousness through its vibrant waves, through the waves of ever-going throbs. The vibrant waves emerge according to a mathematical order or formula. The measurements of the architectural constructions (as well as the poetry, sculpture music and dance) are defined and determined by the mathematical order. A person who stands before that 'house' or 'enclosed space' called 'AMBALAM' get infused and kindled with vibrant waves and subjected to their pronouncing impact. If the vibrations of his inner space and those of the 'ambalam' are in resonance, then he becomes one with the 'ambalam' or space, one with the vibrant consciousness...just like the musical harmony that manifests when two vina instruments are tuned to one and the same pitch. This kind of harmonious response is called 'bhakti'. This is the definition of Bhakti in terms of science. Where there is no harmonious response, there cannot be bhakti. Bhakti, which is also known as love, bestows on us spiritual health, calmness and bliss.

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Lesson 2B, Mayan, The Founder of Vaastu

Mayan,The Vastu vijnani and originator of Vaastu tradition states in his Mayamata that it is space (akasha) itself that is known as linga and which dwells in all things. He holds that the subtle existence or subtle energy which animates the entire range of things is "Vastu" and all those living beings and cosmic substances in which vastu gets itself installed are denoted by the term "Vaastu". According to him, Vaastu Purusha is the personified energy contained in the Vastu; that is, Vaastu Purusha is the energy itself contained in Vastu....Vaastu Purusha is the same energy which exists pervading all objects of the universe in general and pervading and permeating the whole earth in particular. Vastu is the subtle energy and Vaastu is the gross energy. Vastu is the unmanifest energy and Vaastu is the manifest energy. Since there is no diference between a thing in its unmanifest state and the same thing in its manifest state, Mayan declares that ‘Vastureva Vaastu’ -- Vastu itself becomes Vaastu."

"Space itself turns into spacial forms. Like gold turning into gold ornaments. Nothing is or exists apart from or as different from Vaastu. All those objects in which Vastu gets itself established are obviously animated objects, are breathing substances. There is nothing in this universe to be negated as inanimate or inert. "Instead of saying that Chidambaram temple is a house wtih empty space inside, we ... state that it is a the house replete with light. The empty space of Chidambaram temple indicates that the form worshipped inside the retangular hall is OM-light only. Om-sound is the basis for all the audible words and sound forms. Om-light is the basis for all the material objects seen through the eyes.

"Chidambaram temple has been built not only for the symbolic expression of space concept,... It also exists to demonstrate and maintain the view that all the spiritual benefits such as well being, calmness, bliss, etc., are derived through the waves of light consciousness or of OM-light that emate form this temple...Thereby,this unique temple enables the people to experience these benefits directly.

The building itself, primarily being a material energy(like the body is), is know as Vaastu and the enclosed space, primarily being the subtle energy(consciousness) is know as Vastu. Chidambaram temple is acutally an effulgent house in which light of consciousness is in its repletion.(just as the body houses the light of consciouness) What takes place there is the worship of light; what shines forth there with all visibility is the Dance of Light (Lord Nataraja--the dancing Shiva). The form of Nataraja is not an imagined one and it is the first manifestation of the primal light.

"Chidambaram temple is the primal root of traditional housing architecture. At Chidambaram the house has been built and demonstrated to be a perfect living organism.

"...space is of the nature of undiminishing effulgence and this space is brimming with minute atoms of light. ...Space is luminous-space. The single "Substance", know as Vastu Brahman, which is consciousness itself. getting kindled and excited of its own accord, extends everywhere...and is know as Light-space. The name of the energetic atom is paramanu, according to Vaastu traditon. We cannot see this paramanu but we could feel it...The Vastu Shastra states that the paramanu, which is not ordinarily visable to the physical eyes, is visible to the perfect yogins. Paramanu is an existential substance. Paramanu is Vastu. The literal meaning of the term Vastu is ‘the existing substance" or "etrnal substance’.

For something to exist is must have three dimensions. Sthapati says that space is filled with "space-atoms". These atoms are also three dimensional. The tri-dimensional atom is cubic in form. It’s sides have equal dimensions.

"Within this cubical atom there is a luminous thread, like a filament in a bulb and it is always dancing there...To this light thread...the tradtition of Vastu science has given a significant name - Brahma Sutra! (the thread of light or consciousness) Vastu science has rendered another ...name also to the luminous

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thread wihich is dancing rhythmically within the cubical atom. The name is ‘Luminous Nataraja’...the dance of Light... This luminous thread is the basic source of cosmic effulgence. The cubical effulgence of the atom is called ‘lumonous atom’...know as ‘microbode’ (cubical cell). It is described as OM-light. The Mundakopanisad provides a wonderful description about this:

‘There the sun does not shine, nor the moon, nor the stars; nor do the flashes of lightning shine there. If so how can this fire shine even? Everything shines forth only after this and because of this; by this light all things shine forth diversely.’

"The ‘OM’ in its aural and luminous streams rises above and above...and turns itself into the universe. These risings, or surges and transformations, we the Vaastu vedins ... call Omkara natana.

"Consciousness turns into light and the conscious luminous atom splits of its own accord, melts like a wax, assumes a form compatible and relevant to its feeling or consciousness, rises above and transforms itself on and on. Whenever we speak impelled by consciousness ... the luminous atom splits itself, melts, takes aform gets integrated again and becomes one, splits again and so on. This process of word and deed -sound and acton - is called the Creation. the minutest subtle atom, paramanu, feels or experiences an urge, splits up and manifests as a continuous form through our mouth or our hands.

"The cubical form is the intrinsic form assumed by paramanu when it is in its own innate state of tranquillity. This state is called ‘sattvika’. Sattvika means state of calmness. To bring a form into existence ...action or effort is essential. Our inner space has to shift itself from the state of calmness to the state of action. In this process of transformation the cubical prism first assumes the octogonal form and finally the spherical form....These two forms that have undergone transformation owing to the changes in quality are called rajasa and tamasa respectively. Tamasic state is the final state or the gross state of energy-space...Tamasic world means gross world, ...full of gross, concrete and perfect forms.

"The beautiful and rhythmic image of Luminous Nataraja , found at Chidambaram temple, is indeed the VASTU which is eternally dancing. The image of Nataraja shines forth as the basic mathematical order for the emergence of all other forms....we realized the God as luminosity and energy, we have discovered the exact form of that luminosity and energy through the science of Vaastu and we are holding it as adorable and experiencable. God is a Conscious Being; we are also conscious beings. If conscious waves of God and men mingle with each other and become one, the resultant effect is the unalloyed and ineffable bliss. This is the experience of Chidambaram.

"The cubical prism is the basic structural design adopted by the ancient Vaastu vedins for the construction of a house. The house built on this design is known as ‘dandaka sala’ ...or single phased house. ...The vital energy of air inside and outside the house is regulated and made to be in free and unobstructed operation by a mathematical calculation. Only this mathematical order has been rendered as the units of measurement in Vaastu technology.... This mathematical order is a systematic calculaton of the manifestation or evolution of space-energy into spatial form. .. This order or numerical measure is the basis of structuring resonance with universal energies...In the heart cave of the body there is inner space and inside the inner-space there is the vibrant thread of consciousness. It is this thread of consciousness that functions as the string of sarira-vina (bodily insturment) (The structure vibrates with cosmic energy and the bodily insturment resonates with this vibration) To create and offer the house of supreme bliss, and to enable us to experience that supreme bliss here in this mundane house itself -- these are the prime motives of the Vaastu science.

Mayan, the energetic Seer and Sage was the creator and the first formulator of this great order. Mayan was not only a seer and sage but also an unrivalled shilpin by birth. As such he was able to raise himself up through intuitions and experiences and to give a naterial or structural form to the space-energy. He made the Invisible as Visable and the uncalculable as calculable. Named after Mayan, this order became popularly known as Mayamata. His work enshrining the essential principles and concepts of Vaastu science also came to be know as Mayamata.

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Lesson 2C - The Five Elements (space, water,

fire, air, earth)

"Space is the first and source element in the series of the five gross elements (space, water, fire, air, earth) Earth is the last and ultimate element. The traditional space-science, according to Vaastu, begins with space and ends with earth. ...Space itself turns into earth. There is energy in space and energy in earth as well. The two energies are one and the same; one and the same consciousness.

"Earth, which is seeded with subtle but most powerful energy, becomes know as Vaastu and the energy itself seeded inside the earth becomes know as 'Purusha' and according to the Vaastu tradition, it is the earth energy that is called Vaastu Purusha.

"Man has to live in harmony with the pulsation of earth-energy or Vaastu Purusha. Earth is of the same nature as space. Both earth and space should be brought together and kept in union and for the purpose of effecting this union, the tradition of Vaastu has an operative mathematical formula. ...Earth by virtue of being the very basic support of all things, is the primal and dominant Vastu.

"Vaastu Purusha may appear externally as calm, quiet and undisturbed, But, in reality, he is a great force, ever vibrant, ever energetic. It is only this Vaastu Purusha, the vibrant and energetic, the Earth, that we call Vishnu. Lord Vishnu is none other than Vaastu Purusha. At Srirangam Temple the image of Vishnu is the reclining, sleeping, Vishnu in the form of Lord Ragaraja. ...Even today, a ritualistic process prevailing in Srirangam Temple is to invoke and offer Vaastu Purusha a seat in the heart of Lord Rangaraja.

Lord Nataraja's image, being of space energy, is to be made of metal only. In the tradition of Vaastu the image of Vishnu should be made of seasoned earth (stone) only in order to symbolize that He is earth-energy. "Since earth is gross energy, it is in perfect visibility. Vishnu is praised as 'the visible God', the evidently manifest energy. Another rule is that the image of Vishnu should be stable and immobile. To indicate this stability, Vishnu is shown in a reclined posture.

"Lord Vishnu is specifically called 'antaryami' (meaning the indwelling controller), since He is not only the energy in the earth but also the Vaastu existing in all the worldly objects and in us. The image of Nataraja is the quintessential form of space-principle and the image of Vishnu is the quintessential form of the earth-principle. So also, the temple enshrining Nataraja and the temple enshrining Rangaraja are the ancient temples representing space and earth respectively.

"The science of Vaastu never considers the images and structures created by it as mere symbols. It renders them as the veritable ensouled beings... Having intuitionally experienced the conscious-primal-being, which is invisible but not inactive, having measured it though calculations of the vibrations of consciousness, these images are sculptured by employing mathematical measure." The same measure creates the conscious experience of Divine Reality in the minds of those who see the images and buildings, just as the mathematics of musical form creates a feeling of inspiration to the listener. The images in these temples "shine forth as solidified conscious forms, as the inspirited living forms... It is the aim of the tradition of Vaastu to make the invisible and transcendent being appear before our eyes as visible and immanent." Exerpts from Temples of Space Science by Dr. V. Ganapati Sthapati

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Lesson 3 - Philosophical Foundations

I'm giving you the philosophical foundations first. This is what Sthapati did with me. I was chomping at the bit for "practical" information and he keep feeding me deep philosophical concepts. I have come to realize that the philosophy is the heart of the knowledge: to have a strong feeling for this aspect of Vaastu Science is to give oneself a strong basis for feeling fulfillment in the application of the knowledge. The following is a transcription of part of a talk Sthapati and I had during our Kanyakumari trip. I thought that it would be a further inspiration to you.

"Now you are coming into the verities of human beings. You are part of God; so, to understand God can I understand you? You are an entity of good and bad. You love me, you hate another man. So the hatred is less that love even though only from a single source. And if you are part of Brahman, that Brahman is called Saguna Brahman, Brahman with attributes. So that attribute Brahman has 'good and bad' qualities, that is how you are able to see Him. So everything ultimately comes to your numerical measure. You are a part of that numerical expression of God. That measure is actually responsible for the human form, so that quality also persists in you.

"So there are two Brahmans: one attributeless, which is the source, and the attributeless Brahman takes form, becomes Brahman with attributes. We call it Nirguna (spelling) Brahman and Saguna Brahman. Vastu and Vaastu.

"So this Vaastu Brahman will have its good and bad qualities. So you have to understand what kind of bad qualities and good qualities it has. So through calculation we will be able to arrive at that. So we ward off all bad things and take only good things. Whatever we examine in this mundane world is only the quality of Brahman or the dynamics of Brahman or the actions of Brahman. We calculate and we pick what is called the 'good" effects, the 'good' benefits and we introduce it in our structure. This is very, very important. Even if you go wrong in any of these (room) placements you are protected. Supposing there is a problem: you cannot place your bedroom in the southwest. In that case, the ayadi perimeter will protect you. We call it 'wavelength'. That wavelength we make into a rectangle or a square, so, within that, whatever lies in terms of space will be conducive for beneficial effects.

In response to my question about materials: "It is space that counts most, not material. The if you are able to get these earth bricks, you get a kind of physical benefit also. The best material is brick, not fired. Unburned brick. To make the unburned brick strong we use some ingredients, also stabilizers. That was used in the past. The aim is to live in harmony with nature. Nature is quality of nature. So you are lying on the ground and you are healthy. You must have your walls of the same material. If the brick are fired they are less beneficial. The walls will have to be thicker to stabilize.

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Lesson 4 -- Mayan -- The Vaastu Tradition

From the words of Ganapati Sthapati: Copyright Michael Borden Sept 1999

Mayan was the father of Vastu Architecture. He was and architect a town planner of ancient India. He authored the Mayamata Vastu Shastra (architecture) ,Surya Siddhanta (a treatise on Astronomy) and the Aintiram (the grammar of astro mechanics). He was also a great poet. He was adored as 'Viswakarma' by Veda Vyasa in the Mahabharata, implying that Mayan was aware of the dynamics of space and was able to apply the space mechanics to his own creations. Whatever he was able to create in visual terms, be it sculpture, building or city layout, they behaved like living organisms and pulsated with life. He was a great scientist of India who identified and quantified the vibrancy of the space enveloping the Earth and the heavenly bodies and also dwelling in each of the objects of nature.

It is Mayan who has identified Brahman as the creative energy and addresses that supreme principle as Kala Brahman (Time). This identification of Time as Brahman has earned him a significant title: the Kalajanai. It was Mayan who equated Time and Space and evolved a system of spiritual arts namely, poetry, music, dance, sculpture and architecture--all governed by the principle of energy vibrating into space and spatial form.

Sthapati says that Mayan lived at first in the Southern Hemisphere when there was a continent that included the landmass of present day India. He migrated north at the time of the deluge when that part of the continent sank beneath the ocean. He continued to teach and build and his disciples went out over the whole globe with his knowledge. There is direct evidence, found by Sthapati in his research travels, which shows that the Mayan civilization used these principles to structure their cities and temples.

Sthapati says that Mayan is the father of Indian culture. He is the founder and inspiration for an unbroken tradition of craftsmen (shilpas) that exist in India and are the builders of temples even to this day. These Shilpas hold the scientific and technical knowledge from Mayan to create divine living forms. In the olden days, shilpa teams consisting of al the various trades used to move from place to place, on being commissioned by monarchs.

Science and religion go hand in hand in the Vaastu shilpa tradition. The scientific tradition of Vaastu perceives Shakti (energy) as all pervasive and as the causal substance for all the manifestations of visual and aural (sound) phenomena in the universe. They have named their Shakti as Para-Vastu (subtle substance). This Vastu turns itself into Vaastu. This phenomenon can be equated to gold turned into gold ornaments, the shilpis acting as agents for transformation. Vastu is recognized by the Vaastu tradition as one dwelling in the inner space of individual beings as well as in the outer space that turns into forms. It is space that turns into forms, because of its self-propelled vibration, the vibrational force as the working agency. To do this is its very nature. This agency is designated as (Absolute) Time, emerging out of energetic space. This is analogous to the vibration of the stringed instrument into sound forms and this, in turn, when set to rhythmic vibration turns into musical forms. "

Absolute Time creates life," says Skanda, an ancient Puranic text.

There is also another quality of space responsible for the sound-space. It is called "Luminous space". This pervades the entire universe. This is the cosmic space wherein lie unified what are called Time and Energy as absolutes. This is filled with luminous substance (vastu) in the name of Paramanus, the minute particles of space. The luminous space is supersensitive, capable of becoming conscious of itself and vibrating into objects of which it is conscious. This action is its intrinsic nature and responsible for the forms that occur in the inner space of individuals (thought-feeling) as well as in the outer space of the universe.

The Vaastu tradition designates the inner being as Shilpi and the inner manifest subtle form as Shilpa and, as such, the whole inner and outer universes are filled with Shilpas. One Shilpa, Vidya Rahasyopanishad says that the universe is filled with shilpas (images). One Vastu-sutropanisad of the Atharva Vedic origin

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says that Pratimas(images) germinate from the Shilpa, meaning gross visual forms are projected outside from inner being. "The sculptor becomes the sculpture and the poet becomes the poem" is a significant statement of the Vaastu Vedins. The projected visual form has the touch of a lyric, depending upon the individual's inner culture. The sculptor is therefore a poetic carver, so far as the shilpis of the Mayonic tradition of sculpture and architecture is concerned.

The Vaastu Shilpa tradition is denoted by various names, such as, Vaastu-vidya, Shilpa-vidya, Sthapatya-Veda, Artha-Veda and Vaastu-Veda. It is really a Veda by itself as viewed by the contents and treatments of the subject matter. Though the available texts on Vaastu are all basically technological in treatment, they are rooted in the science of Time and Space. They look upon gross matter as the manifest form of the unmanifest subtle energy, controlled by absolute time. From the Skanda purana: "Time creates all beings, Time sweeps away all that were created. Everything rests in the hands of Time; but that Time rests with Him."

Vastu is Energy. Vastu is the Unmanifest. Vastu is the substance of all substances. Vastu is the Purusha, the "Vastu Purusha" or "Vastu Brahman". Vastu is subtle and Vaastu is gross.

Vaastu is Energy manifest. Vaastu is embodiment of energy. Indwelling energy is "Purusha" or "Brahmin", hence, embodied energy is "Vaastu Purusha" or "Vaastu Brahman". Vaastus are all living organic forms, including human forms.

Space is "akasa", the primal element of the universe. There are two such spaces, the inner space and the outer space. This space exists in all objects. Nothing in the universe is inanimate. That which happens within the individual space also happens in the universal space. They experience, vibrate and take form. We talked about space being filled with the minutest particles called Paramanu (subtle particle of energy). Every Paramanu is a minute space possessing energy. Paramanu is cubical in form. It is absolute or an abstraction of all visual and aural (sound) phenomena of the universe or the ultimate "existence".

We said space is luminous, as the particles are always emitting light. This is called foetus or sperm, the basic material for the emergence of subtle forms in the micro. as well as macro-spaces. This is the live material that has metamorphosed itself into the manifest world. All objects of the universe are space turned into spatial forms.

Space, whether individual or of the universal, possesses a unique quality of experiencing. It is hypersensitive. It is capable of giving form to its experience. For the experience to take form, the space goes into self-spin. It vibrates. This effortive force of the space is called "Kala" or "Time". "Kala" literally means "that which emerges from within". This happens to be the intrinsic quality of space. Space is sensitive enough to order and control this vibration into rhythms and to evolve itself into the desired form: rhythmically structured and aesthetically rendered.

In art, "Kala" becomes "Tala" (measured beat). In the physical world, the Kala-measure is produced by the dancer by the beat of her foot on the ground. The same is produced by the musician by his hands. Tala is rhythm, a well-defined space. The dancer produces bodily forms by dancing "in tune" with this time-scale or the frequency of vibrations. Rhythmic time-measure produces musical forms. Poetical compositions are also governed by time-measure called matra-kalam or akshara-kalam. This is called "speech rhythm". This concept of rhythm-bound spaces is extended to art and architecture. Hence architecture is called frozen music since time is stilled in such visual forms. Time is stilled, yet, the object is vibrant. It is an object where time is stilled in Brahman. Hence all forms created by the shilpi, following the measure of the divine being, have become worship worthy because they are the forms (geometrical patterns) of the Spirit, reproduced in its own time-scale. They are pratimas (replicas) of the subtle forms experienced in the heart. They are living organisms.

The measurements used by the shilpi represent the vibrational measure of universal space. It is measure that is responsible for form: poetical forms, dance forms, musical forms, imagic forms and building forms. These, as found in the Shilpi tradition are all spiritual and hence divine. Even God is bound by measure. He is a measured Being. He exists only in measured form.

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These rhythms in abstraction are discovered to be numerical measures or mere numbers. They are the spatial measures for the shilpi to shape his experiences into the forms desired. They are spatial forms produced by the time-scale. Time changes itself into form. Time and Space are equated in the Vaastu Science. Mayan, the celebrated authority on the Vaastu shilpa tradition, is the discoverer.

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Lesson 5 - Ancient Origins of Vastu Science

I thought that the reference to Kumari continent might have raised a few eyebrows so I searched Sthapati's library for something that would help me elaborate the point. I found a publication of a paper presented at the Second International Seminar on Mayonic Science and Technology. DR. S. Padmanabhan presented the paper and the title is: Mayan in the Kumari Continent. This lesson will be composed of material taken directly from that publication.

By the way: If you ever go to Los Angeles, there is a very amazing computer simulation of the history of continental drift over the last 6 billion years. (I think it was "billion", maybe it was "million") It goes through the dance of continents in three minutes.

The one central theme around which the history of the Tamils evolved is the concept of Sanghams, where poetical compositions, literary and grammatical works and treatises on art and architecture, were presented for assessment of their merit by the eminent scholars in the respective fields. Thus the Tamil language and literature and art and architecture had the unique advantage of a systematic growth for many centuries through Sanghams under the patronage of Pandya kings. There is enough literary evidence to show that the first and second great Tamil Sanghams were held at South Madurai and Kapadapuram respectively in the lost continent of Kumari and the third great Sangham was held at the present Madurai. According to tradition, the scholars selected the top of the hills for the venue of the Sangham to save themselves from the frequent sea erosions.

...beneath the Indian Ocean there lie the remnants of a vibrant and hoary civilization of the Tamils going back 25,000 years, which were submerged by periodic cataclysmic landslips during the remote past. Peninsular India extended beyond Kanyakumari ( the southern tip of present day India) forming a sprawling continent touching Africa in the West, Australia in the East, Antarctica in the South and occupying a large portion of the Indian and Pacific Oceans. From Cilappatikaaram, one of the twin epics in Tamil literature, we learn that the river Pahruli and city Kumarikoda along with a huge range of mountains disappeared in a great deluge. The land south of Sri Lanka according to Mahavamsa covered a distance of 4900 miles southwards.

The forefathers of the Tamils lived and thrived on the vast land south of Kanyakumari swallowed by the sea. Their two Sanghams were held there. In the first Sangham, Agathiyam written by Agathiyan was the authoritative grammar of language and literature while Aindiram, written by Mayan, was considered as an authoritative grammar on art and architecture. Though Agathiyam was famous during the first Sangham period, it is regrettable to note that only a few fragments are available now. But it is a matter of pleasure and pride to know that Aindiram is available now. The text of Aindiram was found in the Saraswathi Mahal Library, Thanjavar and also from the oral renderings of one scholar, Veerabadran . (Note from Michael: Sthapati told me the story of how this old pundit just showed up at his office one day and told him he had the whole Aindiram memorized!)

Aindiram is a multidimensional treatise on Energy and Matter, Space and Time Order and Beauty. Absolute time creates life said Mayan in his Aintiram. He added that "Mathematics has its roots in the Time unit and Architecture is the zenithal achievement of mathematics." Aindiram is an embodiment of the subtle and penetrating theories of five aspects (Ain-Tiram) namely, Moolam (prime existence), Kaalam (Time), Seelam (Rhythm), Kolan (Form) and Gnalam (Earth). Mayan views the entire cosmic phenomenon in terms of these five aspects. We find that the number "5" is closely associated with the ancient Tamils in the continent of Kumari. They divided the land into five, namely Mullai(pastoral), Kurinji (mountainous), Marutham (agricultural), Neithal (maritime) and Paalai (desert).

In Aindiram of Mayan we see his interpretations and enunciation of the truth related to sound energy and light energy in multifarious ways and his lineaments to the art of poetry, music, painting, drawing, sculpture

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and architecture. He provides grammar for all these arts. The text speaks of the traditional cosmology particularly the system of creation with a deep insight into the behavior of individual self and universal self: the inner space and outer space.

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Lesson 6 -- Mahabalipuram Filming Text

We went to Mahabalipuram a few days ago for filming Sthapati for a documentary. It was very interesting because the film makers came with their idea of what they wanted to come away with and Sthapati had his own agenda. He told me that the filmmakers didn't understand their own culture, in fact, that most Indians didn't. He said that what they were used to regarding as religious was just superstition and that the true cultural roots of India are based in the science of Spirit. Spirit is not religion. Spirit is truth. Spirit is universal law and its foundation in the Ultimate Source. They wanted to present a personality, a "great man" and this is what he gave them:

I am very happy that we are all today in the midst of old rocks and old rock monuments. The place is Mahabalipuram ruled over by a great king of the past by the name of Mamalla. (spelling may not be

correct) Behind me you are looking at two monuments. They are very famous monuments, historically and also, culturally. What do they represent? Why have they been formed here? What is the meaning of the structure? These are certain basic points that we have to know, though after a lapse of three to five thousand years.

This structure (the old rock temple) is called by a technical name: Vimanam. In the local language it is called Garbhagriha. What is the meaning of these words? They are very, very significant. In a sense, they are scientific also.

Vimanam: This particular structure is fabricated by the use of many, many measures, multi measures. This is actually the definition of the word Vimanam. The sculptor or the architect who designed and also did this work has applied many measures to create this kind of form. Vimanam is the technical name.

We shilpis create monuments of this type. We say it is a little universe. Actually, the universe is a big thing. It's a big space, enveloping not only the physical objects of the world, not only myself and yourself and everybody living on the face on the globe, but also a small particle of form which is part of the Vaastu space. Our Vastu Shastras, or Vastu Science, says the space is not empty. It says that space is filled with cubical atoms of energy. These are invisible but have a structure according to Vastu Shastra. This structure, looking cubical, is actually the core part of the Vimanam structure that you are looking at. That cube

contains a lot of energy inside. The energy inside vibrates, sends forth waves of energy and these waves of energy, or vibrations, have to be quantified in our Vastu Shastras. And, as Vastu Shastra says, a particle of space which is cubically formed resides in yourself also. Because of that, you also experience and vibrate just like the vibration that takes place in the space. We design the structure so that the vibrations

emanating from the center of the garbhagriha cell and the vibrations coming out of your own inner self go together, respond to each other. This is called harmony. In other words, it is called Bhakti, devotion, love. This structure, though looking like a stone made structure has this kind of scientific concept. That is why the temple worship, the temple culture, has been going on for centuries together and no new tradition came up to replace it. It is eternal.

I was referring to two spaces: one is called the outer space and the other is called the inner space. The space which is dwelling in the human frame is called the inner space and the space surrounding the human structure is called outer space. The vimanam has a space inside the structure. It is called enclosed space. This has the quality of going into vibration and your human structure with the space dwelling in it has the capacity to go into vibration. If these two vibrations go together we say the "harmonize". They create a kind of harmony.

How to understand this spiritual harmony? How these vibrations respond to each other is an important question. Bring two veenas. Put one at one corner of the room and the other at another corner. If these veenas are pitched at what is called Panchama (sp) (a particular tuning) when one is plucked the other will

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also vibrate, respond to that kind of vibration. In English it is called sympathetic vibration. In our own Vaastu culture we call it "spiritual harmony". Vibrations come out of the main sanctum, vibrations come out of the man who stands before that sanctum, and they go in harmony with each other, in fact they love each other. In other words, because of this harmony the spirit grows in strength. It is otherwise called spiritual strength. This is achieved by worshiping either the structure or the image put inside the main sanctum. When you go to temple, stand before that and you will be tuned.

In the structure of the vimanam you are looking at you will find a big dome and smaller domes

surrounding. Various forms also, just below: multi-forms go into the whole structure called the vimanam. I f you seriously look at that you will find that none of the forms that you are able to see here are copies from nature. This is very, very important, so far as Indian art form or culture is concerned. Take for instance the dome and all the members going like this (the hand sweeps in a curving down and then up motion). That particular pattern is representative of the lotus.

In Indian art forms there is one unique point which you can't see outside the tradition. If you look at the vimanam you will find many forms going into the fabric of the structure. If you take only the lines that give that kind of form you will find a kind of lotus blossoming. This lotus motif is the keynote of Indian

architecture. The artist has got is from that experience of having looked at the lotus on the pond. He doesn't repeat the same thing. He enjoys the lotus, its form, its folds, these feeling tones are expressed in "feeling form" and that feeling cultivates the experience. The lotus occupies a prominent place in the design of temple architecture. Almost everywhere you will find this form. It is not repeated from nature, but comes from the enjoyment of nature and expression outside in terms of lines and forms. In everything you will find only feeling forms.

This is spiritual art. The artist has taken only the essence. That essence is called Vastu. An essential substance of the universe is called Vastu. When it is expressed through material form it is called Vaastu. That feeling of the essential form, what do we mean?

You go and see a film at the theater. You come home. Your wife asks, "What did you see there? How was it?" You say, " It was very beautiful." Only one sentence you are able to adopt. Because the total

experiences you summarize and put into one word: beauty. And then express. So all that you have seen on the screen and ultimately you are coming to one sentence, one word, one experience. This is occurring in our Indian

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Lesson 7 - The Science of Manifestation

From the publication "Vaastu Purusha" a periodical published by the Vaastu Vedic Research Foundation. The whole of cosmic structure is effected and maintained by innumerable streams of manifestation. These streams are subsumed under two categories:

1. Cosmic flux of sound called sabhda prapanca and

2. Cosmic flux of light modified into worldly objects called artha prapanca.

Both realms of sound and light are well balanced by the rhythmic creative order of the Divine. The beauty of the Divine order could be seen in the symmetrical, balanced and simultaneous existence of both the subjective world (sabda prapanca) and the objective world (artha prapanca). Both quality wise and quantity wise, this balance, symmetry and simultaneity are maintained. For example, if there emerge 100 forms on the subjective side, simultaneously and correspondingly there emerge 100 forms on the objective side. Only on this account, the science of grammar of language maintains that all the words are denotative of their corresponding referents/objects. There is no empty word bereft of referent-significance and there is no object with out being characterized by relevant sound-significance. Sabda prapanca and Artha prapanca are always interdependent.

Mayan Rishi, having impeccably known the subtle principles of the science of manifestation, sets forth this cosmic balance maintained between sound-forms and light-forms. In Aintiram, the Key-work of Mayan, one of the Sutras reads: "Oli-Oli vadivaay ongum elutte." Peripherally this means: "Letter is ever rising and functioning in the form of both light and sound." But apart from this peripheral meaning, we could observe the multiple dimensions of meaning as radiating from the sutra. The main source of such radiation of multiple meanings is the term 'eluttu'.

'Eluttu' is derived from the word 'elu' meaning 'the creative urge', 'excited to manifest', 'operative stir'. As such, the different meanings of the term 'eluttu' as conceived by Mayan are letter/phoneme, pranava --the primal letter, --the inexhaustible cosmic stuff, --the imperishable existence (akshara), square mandala, sculptured object and so forth.

It is generally understood that letter or phoneme (defined in the dictionary as: Any of the minimal units of speech sound in a language that can distinguish one word from another.) is concerned with sound only. Sound and light are inseparable and as such each letter is charged with sound energy and light energy. For example, 'a' is associated not only with its articulated sound but also with its own luminous form characterized by color, emerging factor and relevant function. The Vatulagama states (2:35):

"'a' is of the nature of all divinities; it is red; it is capable of bringing all the existents into its fold."

This means that 'a' is inseparably associated with multi-divine factors, red color and the power of unfolding or enfolding. The luminous form 'a' itself is constituted by four energies, as the Paushkaragama puts it (8:13):

"On the top of 'a' is Paudri; on its face is Vama; on its sides exists Ambika. Jyeshta Sakti is in the middle, like a staff."

This is how the actual subtle form of 'a' appears. Similarly, all other letters from 'a', 'i', etc, have their own subtle forms constituted by many other saktis. Since all the letters are charged with and energized by different potencies, they function as the creative and regulating powers of the universe. They are not inert letters. Actually there is no such letter as marred with inertness.

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expressed by its ever-going 'spanda' or 'throb'. This consciousness is called 'the Supreme Verbum (paraa vaak).

The one to one correspondence between sound and light is maintained at all levels. If there rises one shoot of sound from the Supreme Verbum, simultaneously there arises a shoot of light. Sound forms and light forms are the simultaneous manifestation from the primal source of creation. The energy of the Supreme Verbum flows into various letters from 'a' to 'ksa', which as conscious forms of energy brings about the manifestation

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Lesson 8 -- Vaastu Purusha Mandala

The concept of the Vaastu Purusha Mandala (VPM) is basic for the Vaastu designer. The VPM is the underlying pattern from which all manifestation generates. The Vaastu designer uses this pattern as the starting point for any built form. The following material contains a story that is mythological as far as I can tell. Sthapati has never emphasized this story or used it as a basis for understanding the functioning of the VPM, at least with me. In the context of my study sessions the VPM has always been an actual model of the basic pattern for creation. This pattern contains inherent energies that create the rise and fall of expressed form. It is a scientific fact, as he would put it, or if you wish, a scientific theory.

Some of the following should be familiar to you from lesson 1.

I would like to make a special reference to the popular view of the Vaastu Purusha Mandala as met with in the ancient shastras such as Brihat Samhita (5th century B.C.), Vaastu Vidya, Agamas and also Puranas. Puranas, in Vaastu context, are considered as the historic epics of ancient India. The Puranas are of course, replete with moral themes couched in story forms, in mythological terms, in the course of narration of which, certain historical events and the cultural life of the people of those times are also recorded. Such things need deeper study and proper interpretation, particularly of technical material that we come across in the body of the Puranic literature

The Vaastu Purusha Mandala as expressed in the texts mentioned above signifies the emergence of primordial Space and Spatial forms from out of the Primordial Energy, held as the Ultimate and the Absolute. Though it is not openly stated as such, this is the significance. It may be stated that the explosion of Energy with enormous heat and the consequent emergence of "akasa" or "Akasha bhuta" is the Indian Big Bang theory.

According to Brihat Samhita, which is held to be earlier that the Vaastu Shastras, there is a story of a Bhuta, a demonic force, producing heavy uproar, spreading the entire void with what is normally called celestial space or Akasha. It is further said that the celestial luminaries, called the 'devas', frightened by the monstrous form and dinning noise of the Bhuta, exerted their might on it and pushed it down. The demon fell on the ground with an uproar and with his face down on the earth. The devas occupied parts of the body of the demon. Not being able to bear the weight of the devaganans, the demon concealed himself in the belly of Lord Shiva and prayed to Him with his head on the North East corner. Releasing him, Lord Shiva gave him a boon that he would be the guardian deity of the built forms and he would be worshiped by all human beings when they commence building activities and on the occasion of entering the house ceremoniously. This kind of story is found today in almost every text we have inthe name of Vaastu Shastra.

It is said that this demon is called Vastu Bhuta, sometimes as Vastu Nara, and is living within the framework of a square with his limbs folded but spreading the entire space. (see photo that will come separately as an attachment in another email transmission)) In this mythological story what is implied is that it is the abstraction of the space and its qualities in a miniature form but also it means that this miniature space is the first manifest form of the unmanifest energy. That the Vaastu Purusha is all-pervasive is signified in the spreads and folds of various limbs within the square plot. The devaganas occupying the various parts of the body add another dimension to the concept of the Vaastu Purusha as the miniature universe. The celestial beings such as Surya, Agni, Varuna, Vayu, Kubera and similar other Divine Beings are brought into the complex of the Vaastu Purusha layout. In this particular miniature universe one would find them to be the forces of nature having assumed material form. We also have the subtle qualities expressed by various celestial bodies (planets and sun) represented on various parts of the Vaastu Bhuta. All manifest forms of the unmanifest flooding the universe have got certain specific qualities of good and