Bharat: Advancement of earth’s earliest civilization

Glorious Vedic Architecture and Temple

Architecture in India was an extremely rich form of expression and highly developed science, with a deep heritage of spirituality in it. #FreeHinduTemple

The centre of all architectural development was the temple and temple or Mandir was the earthly home of God, and like the launching pad for the devotee’s consciousness to soar toward the Divine and the spiritual world.
The murti or deity of the Divine would be placed in the temple sanctum, around which all temple activity would revolve.

Such buildings were often elaborately decorated with stone, wood, plaster, etc. and carved or cut to depict the stories from the Puranas or other sacred texts
Temples were always the centre of religious, social and educational activities, practically more so in
ancient times than today.

During a span of more than two thousand years, various dynasties were known for constructing glorious temples,
some of which include the Mauryan, Ashoka, Gupta, Satavahana, Chedi, Chandella, Chalukya, Solanki, Pallava, Shola, Hoysala, Vijayanagar, and others.

Many of these temples remain beautiful architectural wonders today.
The Mandirs were composed of various parts, which included the Garbhagriha or sanctum; the Sukanasi or nose of the structure; the Antarala or adjoining passages; the Mandapa or main hall; the Dhwaja sthambha or flag post; and the Bali peeth, or the pedestal for the offerings.
The temples played a most prominent centre of village and community life.

Along with the place of worship, they were also places of preserving and teaching basic education along with the culture by which the community thrived.
They also utilized and employed many 85 artists, musicians, dancers, cooks, architects, priests, carpenters, weavers, florists, etc., for maintaining the temple and participating in festivities on the holy days.
Farmers and landowners would also donate food and produce to the temple, which would be used for offering to the deities and then distributed to the devotees and pilgrims.

Temple construction was more specific because of the higher purpose involved.
The science of construction goes all the way back to the time of the Atharva Veda, which contains several hymns on
the topic in its Shala-nirmana-sukta.

Other hymns that discuss the ways of testing soil for construction,
what should be avoided, or what materials to use are also found in the Matsya Purana (Adhyayah 253, verse 11), Vastu Shastra (verse 5), Bhrigu-samhita (Adhyayah 4), and Kashyapashilpah (Adhyayah 4).
Additional Sanskrit literature that contained references to architecture included Agni Purana, the Brihat Samhita and Arthashastra, and the Vastu Sashtra texts like the Maya-Mata, Manasara, and Samarangana-sutradhara.
These all included such points as the selection of stone, soil testing, making of bricks, mortar, the carving of the deities, and even the use of chisels and carving tools.
The references in both the Ramayana and Mahabharata mention the two great architects, namely Visvakarma of the gods and Maya Danava.
The existence of Maya in the Khandara forest and his building the Sabha of the Pandavas and his knowledge of the city near Kailasha is because of his expertise in this subject.
The Ramayana also explains different kinds of architects used in house construction, according to the Silpa Shastra.

These include the Sthapati, Vardhaki, Takshaka, and Sutradhara. The different houses were called Prasada, Saudha, Vimana, Harmmya, Sabha, and so on.
The Mahabharata describes six kinds of forts, as also found in the Silpa Shastra.

From the information of Vastu as also found in Kautilya’s Arthashastra, which is known to have been in existence no later than the 1st century CE or even by the 4th century BCE,
we can understand that all of such knowledge would have been developed before then.

Other information from ancient times included the use of timber, bricks and stones, the foundation and picking the proper sites, the shape of the land, soil condition,
and then the construction of the building.

If Indian culture is to find its natural place in world processes, temples need to be freed of government control.
This will facilitate the development of temple universities devoted not only to the artistic and religious traditions of India but also to contemporary problems of science, technology, and society.

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#தினம்_ஒரு_திருவாசகம்
தொல்லை இரும்பிறவிச் சூழும் தளை நீக்கி
அல்லல் அறுத்து ஆனந்தம் ஆக்கியதே – எல்லை
மருவா நெறியளிக்கும் வாதவூர் எங்கோன்
திருவாசகம் என்னும் தேன்

பொருள்:
1.எப்போது ஆரம்பித்தது என அறியப்படமுடியாத தொலை காலமாக (தொல்லை)

2. இருந்து வரும் (இரும்)


3.பிறவிப் பயணத்திலே ஆழ்த்துகின்ற (பிறவி சூழும்)

4.அறியாமையாகிய இடரை (தளை)

5.அகற்றி (நீக்கி),

6.அதன் விளைவால் சுகதுக்கமெனும் துயரங்கள் விலக (அல்லல் அறுத்து),

7.முழுநிறைவாய்த் தன்னுளே இறைவனை உணர்த்துவதே (ஆனந்த மாக்கியதே),

8.பிறந்து இறக்கும் காலவெளிகளில் (எல்லை)

9.பிணைக்காமல் (மருவா)

10.காக்கும் மெய்யறிவினைத் தருகின்ற (நெறியளிக்கும்),

11.என் தலைவனான மாணிக்க வாசகரின் (வாதவூரெங்கோன்)

12.திருவாசகம் எனும் தேன் (திருவா சகமென்னுந் தேன்)

முதல்வரி: பிறவி என்பது முன்வினை விதையால் முளைப்பதோர் பெருமரம். அந்த ‘முன்வினை’ எங்கு ஆரம்பித்தது எனச் சொல்ல இயலாது. ஆனால் ‘அறியாமை’ ஒன்றே ஆசைக்கும்,, அச்சத்துக்கும் காரணம் என்பதால், அவையே வினைகளை விளைவிப்பன என்பதால், தொடர்ந்து வரும் பிறவிகளுக்கு, ‘அறியாமையே’ காரணம்

அறியாமைக்கு ஆரம்பம் கிடையாது. நமக்கு ஒரு பொருளைப் பற்றிய அறிவு எப்போதிருந்து இல்லை? அதைச் சொல்ல முடியாது. அதனாலேதான் முதலடியில், ஆரம்பமில்லாத அஞ்ஞானத்தை பிறவிகளுக்குக் காரணமாகச் சொல்லியது. ஆனால் அறியாமை, அறிவின் எழுச்சியால், அப்போதே முடிந்து விடும்.
॥ॐ॥
अस्य श्री गायत्री ध्यान श्लोक:
(gAyatri dhyAna shlOka)
• This shloka to meditate personified form of वेदमाता गायत्री was given by Bhagwaan Brahma to Sage yAgnavalkya (याज्ञवल्क्य).

• 14th shloka of गायत्री कवचम् which is taken from वशिष्ठ संहिता, goes as follows..


• मुक्ता-विद्रुम-हेम-नील धवलच्छायैर्मुखस्त्रीक्षणै:।
muktA vidruma hEma nIla dhavalachhAyaiH mukhaistrlkShaNaiH.

• युक्तामिन्दुकला-निबद्धमुकुटां तत्वार्थवर्णात्मिकाम्॥
yuktAmindukalA nibaddha makutAm tatvArtha varNAtmikam.

• गायत्रीं वरदाभयाङ्कुश कशां शुभ्रं कपालं गदाम्।
gAyatrIm vardAbhayANkusha kashAm shubhram kapAlam gadAm.

• शंखं चक्रमथारविन्दयुगलं हस्तैर्वहन्ती भजै॥
shankham chakramathArvinda yugalam hastairvahantIm bhajE.

This shloka describes the form of वेदमाता गायत्री.

• It says, "She has five faces which shine with the colours of a Pearl 'मुक्ता', Coral 'विद्रुम', Gold 'हेम्', Sapphire 'नील्', & a Diamond 'धवलम्'.

• These five faces are symbolic of the five primordial elements called पञ्चमहाभूत:' which makes up the entire existence.

• These are the elements of SPACE, FIRE, WIND, EARTH & WATER.

• All these five faces shine with three eyes 'त्रिक्षणै:'.

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THREAD: 12 Things Everyone Should Know About IQ

1. IQ is one of the most heritable psychological traits – that is, individual differences in IQ are strongly associated with individual differences in genes (at least in fairly typical modern environments). https://t.co/3XxzW9bxLE


2. The heritability of IQ *increases* from childhood to adulthood. Meanwhile, the effect of the shared environment largely fades away. In other words, when it comes to IQ, nature becomes more important as we get older, nurture less.
https://t.co/UqtS1lpw3n


3. IQ scores have been increasing for the last century or so, a phenomenon known as the Flynn effect. https://t.co/sCZvCst3hw (N ≈ 4 million)

(Note that the Flynn effect shows that IQ isn't 100% genetic; it doesn't show that it's 100% environmental.)


4. IQ predicts many important real world outcomes.

For example, though far from perfect, IQ is the single-best predictor of job performance we have – much better than Emotional Intelligence, the Big Five, Grit, etc. https://t.co/rKUgKDAAVx https://t.co/DWbVI8QSU3


5. Higher IQ is associated with a lower risk of death from most causes, including cardiovascular disease, respiratory disease, most forms of cancer, homicide, suicide, and accident. https://t.co/PJjGNyeQRA (N = 728,160)
॥ॐ॥
अस्य श्री गायत्री ध्यान श्लोक:
(gAyatri dhyAna shlOka)
• This shloka to meditate personified form of वेदमाता गायत्री was given by Bhagwaan Brahma to Sage yAgnavalkya (याज्ञवल्क्य).

• 14th shloka of गायत्री कवचम् which is taken from वशिष्ठ संहिता, goes as follows..


• मुक्ता-विद्रुम-हेम-नील धवलच्छायैर्मुखस्त्रीक्षणै:।
muktA vidruma hEma nIla dhavalachhAyaiH mukhaistrlkShaNaiH.

• युक्तामिन्दुकला-निबद्धमुकुटां तत्वार्थवर्णात्मिकाम्॥
yuktAmindukalA nibaddha makutAm tatvArtha varNAtmikam.

• गायत्रीं वरदाभयाङ्कुश कशां शुभ्रं कपालं गदाम्।
gAyatrIm vardAbhayANkusha kashAm shubhram kapAlam gadAm.

• शंखं चक्रमथारविन्दयुगलं हस्तैर्वहन्ती भजै॥
shankham chakramathArvinda yugalam hastairvahantIm bhajE.

This shloka describes the form of वेदमाता गायत्री.

• It says, "She has five faces which shine with the colours of a Pearl 'मुक्ता', Coral 'विद्रुम', Gold 'हेम्', Sapphire 'नील्', & a Diamond 'धवलम्'.

• These five faces are symbolic of the five primordial elements called पञ्चमहाभूत:' which makes up the entire existence.

• These are the elements of SPACE, FIRE, WIND, EARTH & WATER.

• All these five faces shine with three eyes 'त्रिक्षणै:'.