Mysticism (blog)
This document was uploaded by user and they confirmed that they have the permission to share it. If you are author or own the copyright of this book, please report to us by using this DMCA report form. Report DMCA
Overview
Download & View Mysticism (blog) as PDF for free.
More details
- Words: 3,066
- Pages: 104
MYSTICISM IN OUR “ANCIENT MUSIC”
The
content
of
“MYSTICISM” in “ANCIENT MUSIC”, Is somewhat
‘mind-boggling’ !
In
the
succeeding slides,
FOUR
concepts of “MYSTICISM” are being illustrated
These have been analyzed from the Hindu theology point of view
Non-Hindu viewers May ‘skip’ these Slides, if they So desire please
FOR APPRECIATING THE CONCEPT OF MYSTICISM, WE NEED TO UNDERSTAND WHAT I MEAN BY
“CONSONANCE
TRAPEZIUM”
LET US START FROM THE BASIC PRINCIPLE OF
“SACRED NUMBERs” (i.e. Numbers from ‘1’ to ’12’)
I
discovered that Only “22” FRACTIONs Can be formulated Mathematically from Numbers ‘1’ to ’12’
ONLY
These are the 22 ‘Simple Fractions’
‘mathematically between
feasible’
‘1’ and ‘12’
These 22 mathematical Fractions Transferred on to the
22 Pitch (Sruti) Octave, would
acquire the following tonal values !
(please see next slide)
NOTES
FRACTIONs TONAL VALUEs
NOTES
(in 22-pitch scale)
FRACTIONs TONAL VALUEs (CONTINUED)
(in 22-pitch scale)
SADJA
1/1
0.00
MADHYAMA – 2
11/8
10.11
RISHABHA – 1
12/11
2.76
MADHYAMA - 3
7/5
10.68
RISHABHA – 2
11/10
3.03
MADHYAMA - 4
10/7
11.32
RISHABHA – 3
10/9
3.34
PANCHAMA
3/2
12.87
RISHABHA – 4
9/8
3.74
DHAIVATA – 1
11/7
14.35
RISHABHA – 5
8/7
4.24
DHAIVATA - 2
8/5
14.92
RISHABHA - 6
7/6
4.89
DHAIVATA - 3
5/3
16.21
GANDHARA –1
6/5
5.79
NISHADA -1
12/7
17.11
GANDHARA –2
11/9
6.37
NISHADA - 2
7/4
17.76
GANDHARA – 3
5/4
7.08
NISHADA – 3
9/5
18.66
GANDHARA --4
9/7
7.98
NISHADA – 4
11/6
19.24
MADHYAMA - 1
4/3
9.13
SADJA “
2/1
22.00
NOW
LET US
PERFORM
A SMALL EXERCISE !
ARRANGE THE ALL POSSIBLE COMBINATIONS OF FRACTIONS BETWEEN NUMBERS ‘1’ AND ‘12’
PROGRESSIVELY
OBSERVE
NOW, FORMATION
OF
A
TRIANGULAR MATRIX
SACRED NUMBERS
12 11 10 9 8 7 6 A
5 4 3 2
1/ 2 1.5/ 2
1
0.5/1 0.5/ 1
0
0/ 0
2/ 2
PROCESS OF MAKING “TRIANGULAR MATRIX” BY INCREMENTING THE DENOMINATORS
SACRED NUMBERS
12 11 10 9 8 7 6 5 4
3/5 2/4
3 2
4/5 3/4
2/3 1/2 1.5/2
1
0.5/1
0
0/ 0
1/ 1
4/4 3/3
2/ 2
5/5
THE PROCESS CONTINUES IN THE ASCENDING ORDER …
SACRED NUMBERS
12 11 10 9 8
4/8
7 6
4/7 3/6
5 4
4/6
2/4
0.5/1
0
0/ 0
5/6
3/4
1/2 1.5/2 1/ 1
8/8 7/7
6/6 5/5
4/4 3/3
2/ 2
7/8 6/7
4/5
2/3
1
6/8 5/7
3/5
3 2
5/8
THE PROCESS CONTINUES IN THE ASCENDING ORDER …
SACRED NUMBERS
12
6/12
11 10
6/11 5/10
9 8
4
2/4
3/4
1/2 1.5/2 0.5/1
0
0/ 0
1/ 1
3/3 2/ 2
12/12 11/11
10/10 9/9
8/8 7/7
6/6 5/5
4/4
9/10
7/8
5/6
11/12 10/11
8/9
6/7
4/5
2/3
8/10
6/8
4/6
10/12 9/11
7/9
5/7
3/5
1
7/10
5/8
3/6
9/12 8/11
6/9
4/7
3 2
6/10
4/8
5
8/12 7/11
5/9
7 6
7/12
THE PROCESS CONTINUES IN THE ASCENDING ORDER …
LET US OBSERVE HOW THEIR
TONE – IDENTITIES APPEAR IN THIS MATRIX
SACRED NUMBERS
12
6/12
11 10
6/11 5/10
9 8
4
2/4
0
3/4
1/2
2/2 1/1
0/0
3/3
12/12 11/11
10/10 9/9
8/8 7/7
6/6 5/5
4/4
9/10
7/8
5/6
11/12 10/11
8/9
6/7
4/5
2/3
8/10
6/8
4/6
10/12 9/11
7/9
5/7
3/5
1
7/10
5/8
3/6
9/12 8/11
6/9
4/7
3 2
6/10
4/8
5
8/12 7/11
5/9
7 6
7/12
LEGEND SADJAMA
SACRED NUMBERS
12
6/12
11 10
6/11 5/10
9 8
4
2/4
0
3/4
1/2
9/10
7/8
5/6
12/12 11/11
10/10 9/9
8/8 7/7
6/6 5/5
11/12 10/11
8/9
6/7
4/5
2/3
8/10
6/8
4/6
10/12 9/11
7/9
5/7
3/5
1
7/10
5/8
3/6
9/12 8/11
6/9
4/7
3 2
6/10
4/8
5
8/12 7/11
5/9
7 6
7/12
LEGEND SADJAMA
4/4 3/3
2/2 1/1
0/0
SADJAMA”
SACRED NUMBERS
12
6/12
11 10
6/11 5/10
9 8
4
2/4
0
3/4
1/2
12/12 11/11
10/10 9/9
8/8 7/7
6/6 5/5
4/4
9/10
7/8
5/6
11/12 10/11
8/9
6/7
4/5
2/3
8/10
6/8
4/6
10/12 9/11
7/9
5/7
3/5
1
7/10
5/8
3/6
9/12 8/11
6/9
4/7
3 2
6/10
4/8
5
8/12 7/11
5/9
7 6
7/12
LEGEND SADJAMA RISHABHA
3/3 2/2
1/1 0/0
SADJAMA”
SACRED NUMBERS
12
6/12
11 10
6/11 5/10
9 8
4
6/10
4/8
7/10
5/8
3/6
2/4
8/10
6/8
4/6
3/4
12/12 11/11
10/10 9/9
8/8 7/7
6/6 5/5
4/4
9/10
7/8
5/6
11/12 10/11
8/9
6/7
4/5
10/12 9/11
7/9
5/7
3/5
9/12 8/11
6/9
4/7
5
8/12 7/11
5/9
7 6
7/12
LEGEND SADJAMA RISHABHA GANDHARA
3 2
2/3 1/2
1 0
3/3 2/2
1/1 0/0
SADJAMA”
SACRED NUMBERS
12
6/12
11 10
6/11 5/10
9 8
4
6/10
4/8
7/10
5/8
3/6
2/4
8/10
6/8
4/6
3/4
12/12 11/11
10/10 9/9
8/8 7/7
6/6 5/5
4/4
9/10
7/8
5/6
11/12 10/11
8/9
6/7
4/5
10/12 9/11
7/9
5/7
3/5
9/12 8/11
6/9
4/7
5
8/12 7/11
5/9
7 6
7/12
LEGEND SADJAMA RISHABHA GANDHARA
3 2
2/3 1/2
1 0
3/3
MADHYAMA
2/2 1/1
0/0
SADJAMA”
SACRED NUMBERS
12
6/12
11 10
6/11 5/10
9 8
4
6/10
4/8
7/10
5/8
3/6
2/4
8/10
6/8
4/6
3/4
12/12 11/11
10/10 9/9
8/8 7/7
6/6 5/5
4/4
9/10
7/8
5/6
11/12 10/11
8/9
6/7
4/5
10/12 9/11
7/9
5/7
3/5
9/12 8/11
6/9
4/7
5
8/12 7/11
5/9
7 6
7/12
LEGEND SADJAMA RISHABHA GANDHARA
3 2
2/3 1/2
1 0
3/3 2/2
MADHYAMA PANCHAMA
1/1 0/0
SADJAMA”
SACRED NUMBERS
12
6/12
11 10
6/11 5/10
9 8
4
6/10
4/8
7/10
5/8
3/6
2/4
8/10
6/8
4/6
3/4
12/12 11/11
10/10 9/9
8/8 7/7
6/6 5/5
4/4
9/10
7/8
5/6
11/12 10/11
8/9
6/7
4/5
10/12 9/11
7/9
5/7
3/5
9/12 8/11
6/9
4/7
5
8/12 7/11
5/9
7 6
7/12
LEGEND SADJAMA RISHABHA GANDHARA
3 2
2/3 1/2
3/3 2/2
MADHYAMA PANCHAMA DHAIVATA
1 0
1/1 0/0
SADJAMA”
SACRED NUMBERS
12
6/12
11 10
6/11 5/10
9 8
4
6/10
4/8
7/10
5/8
3/6
2/4
8/10
6/8
4/6
3/4
12/12 11/11
10/10 9/9
8/8 7/7
6/6 5/5
4/4
9/10
7/8
5/6
11/12 10/11
8/9
6/7
4/5
10/12 9/11
7/9
5/7
3/5
9/12 8/11
6/9
4/7
5
8/12 7/11
5/9
7 6
7/12
LEGEND SADJAMA RISHABHA GANDHARA
3 2
2/3 1/2
3/3 2/2
MADHYAMA PANCHAMA DHAIVATA
1 0
1/1 0/0
NISHADA SADJAMA”
LET US FOCUS ONLY BETWEEN
‘7’ and ‘12’ ……. Because
they happen to include all the fractions contained between ‘1’ and ‘6’ !
SACRED NUMBERS
12
6/12
11 10
6/11 5/10
9 8
4
6/10
4/8
7/10
5/8
3/6
2/4
8/10
6/8
4/6
3/4
12/12 11/11
10/10 9/9
8/8 7/7
6/6 5/5
4/4
9/10
7/8
5/6
11/12 10/11
8/9
6/7
4/5
10/12 9/11
7/9
5/7
3/5
9/12 8/11
6/9
4/7
5
8/12 7/11
5/9
7 6
7/12
LEGEND SADJAMA RISHABHA GANDHARA
3 2
2/3 1/2
3/3 2/2
MADHYAMA PANCHAMA DHAIVATA
1 0
1/1 0/0
NISHADA SADJAMA”
SACRED NUMBERS
12
6/12
11 10
6/11 5/10
9 8
4
6/10
4/8
7/10
5/8
3/6
2/4
8/10
6/8
4/6
3/4
12/12 11/11
10/10 9/9
8/8 7/7
6/6 5/5
4/4
9/10
7/8
5/6
11/12 10/11
8/9
6/7
4/5
10/12 9/11
7/9
5/7
3/5
9/12 8/11
6/9
4/7
5
8/12 7/11
5/9
7
6
7/12
I HAVE NAMED THIS AS :
“CONSONANCE TRAPEZIUM” LEGEND SADJAMA RISHABHA GANDHARA
3 2
2/3 1/2 1.5/2
3/3 2/ 2
MADHYAMA PANCHAMA DHAIVATA
1
0.5/1
0
0/ 0
1/ 1
NISHADA SADJAMA”
SACRED NUMBERS
12
6/12
11 10
6/11 5/10
9 8
4
6/10
4/8
7/10
5/8
3/6
2/4
8/10
6/8
4/6
3/4
12/12 11/11
10/10 9/9
8/8 7/7
6/6 5/5
4/4
9/10
7/8
5/6
11/12 10/11
8/9
6/7
4/5
10/12 9/11
7/9
5/7
3/5
9/12 8/11
6/9
4/7
5
8/12 7/11
5/9
7
6
7/12
IT CONTAINS THE ENTIRE FAMILY OF 22 N-FRACTIONS
LEGEND SADJAMA RISHABHA GANDHARA
3 2
2/3 1/2 1.5/2
3/3 2/ 2
MADHYAMA PANCHAMA DHAIVATA
1
0.5/1
0
0/ 0
1/ 1
NISHADA SADJAMA”
“CONSONANCE” TRAPEZIUM OF 22 N-FRACTIONs SACRED NUMBERS
12
6/12
11 10
6/11 5/10
9 8 7
7/12
8/12 7/11
6/10 5/9
4/8
8/11 7/10
6/9 5/8
4/7
9/12 9/11 8/10 7/9
6/8 5/7
10/12 10/11 9/10 8/9
7/8 6/7
11/12
8/8 7/7
11/11 10/10
9/9
12/12
HERE, ‘NOTEs’ ARE SUBSTITUTED FOR THE ‘FRACTIONs’ SACRED NUMBERS
12
S’ N4
11 10
S’
7
P D1
D3 N3
9 8
N1
S’
M2 M4
P D2
N2
M1 G2 G3 G4
M1 M3
G1 R2 R3 R4
R5 R6
R1
S S
S S
S S LEGEND S
SADJA
P
PANCHAMA
R
RISHABHA
D
DHAIVATA
G
GANDHARA
N
NISHADA
M
MADHYAMA
S’
SADJA (OCTAVE)
Now we are reasonably oriented towards understanding
“Concept-1” of ‘MYSTICISM’
THIS CONSONANCE IS
“MYSTIC
‘TRAPEZIUM’
A
CITADEL”
!!
S
S
N1
N4
S
S
D1
N3
D2
N2
M2
P
M3
R1
R2
G2
R3
G3
G4
M1
G1
M1
M4
D3
S
S
P
R4
S
S
S
S
THERE ARE R5 S “THREE” IMPREGNABLE R6 S WALLS (i.e. RINGS)
S
S
N1
N4
S
S
D1
N3
D2
N2
M2
P
R3
R4
G4
R5
R6
R1
R2
G2
G3
M1
M3
G1
M1
M4
D3
S
S
P
S
S
S
S
S
S
OUTER
S
S
N1
N4
S
S
D1
N3
D2
N2
M2
P
R3
R4
G4
R5
R6
R1
R2
G2
G3
M1
M3
G1
M1
M4
D3
S
S
P
S
S
S
S
S
S
MIDDLE
S
S
N1
N4
S
S
D1
N3
D2
N2
M2
P
R3
R4
G4
R5
R6
R1
R2
G2
G3
M1
M3
G1
M1
M4
D3
S
S
P
S
S
S
S
S
S
INNER
S
S
N1
N4
S
S
D1
N3
D2
N2
M2
P
M3
R1
R2
G2
R3
G3
G4
M1
G1
M1
M4
D3
S
S
P
R4
S
S
S
S
I have described the region between the OUTER R5 S and MIDDLE walls as “Sadja- GRA.A.A.MA” R6
S
The Terminology ‘GRAAMA’ in Sanskrit Means “VILLAGE”. (Shri. MATANGA MUNI Had used this terminology in this context at Anu 30, Section-V of Brhaddesi Part-1)
S
S
N1
N4
S
S
P
D1
N3
M2
M4
D3
P
G1
M1
R3
G3
R4
I
D2
S
S
N2
M1
M3
R2
G2
G4
R1
S
S
S
S
have described the R5regionS between the MIDDLE and INNER walls as “Madhyama- GRA.A.A.MA” R6
S
S
S
N1
N4
S
S
D1
N3
D2
N2
M2
P
M3
R1
R2
G2
R3
G3
R4
G4
M1
G1
M1
M4
D3
S
S
P
S
S
S
S
I have described the region INTERIOR to the INNER wall as R5 S “Gandhara- GRA.A.A.MA”
R6
S
THERE ARE TWO INNER TRIANGLES. THERE IS A BIGGER OUTER TRIANGLE ALSO (The Outer Triangle will be indicated later while discussing ‘concept-3’ of mysticism)
S
S
N1
N4
S
S
D1
N3
D2
N2
M2
P
R3
R4
G4
R5
R6
R1
R2
G2
G3
M1
M3
G1
M1
M4
D3
S
S
P
S
S
S
S
S
S
‘G - 3’ (i.e. GANDHARA3) ( i.e. Fraction ‘4/5’ ), FORMS THE “CENTRE OF MYSTERY”
S
S
N1
N4
S
P
D1
G1
M1
M2
R2
G2
R3
M4
D3
R1
S
S
S
G3
S
N3
S
S
P
D2
N2
M1
M3
R4
G4
R5
R6
S
S
S
GANDHARA – 3 (i.e. Fraction 4/5)
GANDHARA-3 IS ALSO REPRESENTED BY THE SRUTI ‘7.08’. AS
PER
AN
ANCIENT SAYING :
7’
“GOD LOVES NUMBER ‘ ANYTHING UNDER THE
MORE THAN HEAVENS”
THESE ARE THE “NAVA - GRAHAs” (or “the NINE YONIs”) ORBITING THE “CENTRAL DEITY G-3”
S
S
N1
N4
S
S
D1
N3
D2
N2
M2
P
R3
R4
G4
R5
R6
R1
R2
G2
G3
M1
M3
G1
M1
M4
D3
S
S
P
S
S
S
S
S
S
THESE
“27-STAR
ARE THE
CONSTELLATIONs”
(i.e. THE UNIVERSE) ORBITING THE
“CENTRAL
DEITY”
(That’s why probably the ‘Ancients’ believed that Number ‘22’ denoted something even greater than The Universe i.e.
“INFINITY”
!!)
S
N1
S
N4
S
S
D1
N3
D2
N2
M2
P
G4
R3
R4
R5
R6
R1
R2
G2
G3
M1
M3
G1
M1
M4
D3
S
S
P
S
S
S
S
S
S
AS
PER
‘YANTRIC’
SASTRAs,
FOUR ‘SHIVA’ TRIANGLES AND FIVE INVERTED ‘SHAKTI’ TRIANGLES FORM THE CENTRAL BINDU OF “SRI CHAKRA” (i.e. G-3 = FRACTION 4/5)) !
S
S
N1
N4
P
D1
M2
M4
S
G1
M1
R1
R2
G2
R3
G3
S
S
S
D3 S
N3
S
S
P
D2
N2
M1
M3
R4
G4
R5
R6
S
S
S
‘G-3’ (Fraction: 4/5)
THE FORMATION OF –
THREE RINGS AND
THREE TRIANGLES (including the outer most Greater Triangle !) REMINDS ME OF
(DEVI MATA’s OWN SEAT OF POWER !!!)
HOW THE “22 SRUTIs” ARE SEATED IN THE FORM OF
WITHIN THE SACRED NUMBER BASE ( REAR COVER PAGE OF MY BOOK )
Again !
MELODY
TRAPEZIUM
CONSISTS OF THE FAMILY 22 N-FRACTIONS
OF
SACRED NUMBER BASE
12
6/12
11 10
6/11 5/10
9 8 7
7/12
8/12 7/11
6/10 5/9
4/8
8/11 7/10
6/9 5/8
4/7
9/12 9/11 8/10 7/9
6/8 5/7
10/12 10/11 9/10 8/9
7/8 6/7
11/12 11/11 10/10 9/9
8/8 7/7
12/12
LEGEND SADJAMA RISHABHA GANDHARA MADHYAMA PANCHAMA DHAIVATA NISHADA SADJAMA”
FLIP
THE
TRAPEZIUM
and
ROTATE ….
ANTI – CLOCKWISE,
90
WE,
…
DEGREES : -GET
NEW
THIS VIEW.
THIS
NEW
IS
THE
VIEW
FLIPPED
&
CONSONANCE
OF
S
THE
ROTATED
S
TRAPEZIUM S S S
S
R3 G2
G4 M1
M3
M4
P D1
D3
D2 N3 S’
M1 M2
P
N2
G1
G3
R5
S’
R2
R4
R6
R1
S’
N1 N4
S’
S’
S’
GANDHARA-GRAMA ARE
BEING
INDICATED
IN
SWARAs
PINK, S
S S S S
G2
G4
M3
M4
P D1
D3
D2 N3 S’
M1 M2
P
N2
G1
G3
M1
S’
R2
R4
R6
S’
now) R1
R3
R5
S
N1 N4
S’
S’
S’
GANDHARA-GRAMA ARE
BEING
INDICATED
IN
SWARAs
PINK, S
S S S S
G2
G4
M3
M4
P D1
D3
D2 N3 S’
M1 M2
P
N2
G1
G3
M1
S’
R2
R4
R6
S’
now) R1
R3
R5
S
N1 N4
S’
S’
S’
S
MYSTERIOUS THESE
ARE
!! SEATED
“PRANAVA” (MARKED
IN
IN
SHAPE
LIGHT BLUE
S
envelope) !! S S
S S
R3
R5
G2
G4
M3
M4
P D1
D3
D2 N3 S’
M1 M2
P
N2
G1
G3
M1
S’
R2
R4
R6
R1
S’
N1 N4
S’
S’
S’
‘5’
MADHYAMA-GRAMA (IN
SWARAs
DARK
BLUE COLOUR) PROTECT THE “PRANAVA” (SHOWN IN LIGHT YELLOW envelope)S!! S S S
M2 M4
P D1
P D3
D2 N3 S’
M1
G3
M1
S’
G1 G2
G4
N2
R1
R3
R5
M3
S
R2
R4
R6
S
S’
N1 N4
S’
S’
S’
‘7’
SADJAMA-GRAMA
SWARAs
( RED
COLOUR) GUARD THE “CITADEL” S ( THE OUTER SDEFENCE ) !! S S S
R3
R5
M2
D3 N3
S’
P D1
P
N2
M1
M4
D2
S’
G2
G4
M3
G1
G3
M1
S’
R1
R2
R4
R6
S
N1 N4
S’
S’
S’
HINDU BELIEF “Om” IS “NADA Brahman” as
per
Indian
S
R3
R5
M2
D3 N3
S’
P D1
P
N2
M1
M4
D2
S’
G2
G4
M3
G1
G3
M1
S’
R1
R2
R4
R6
S
Holy S Scriptures !
S S
S
N1 N4
S’
S’
S’
MUSICOLOGICAL INTERPRETATION OF
A VERSE FROM
“SRI LALITHA SAHASRA NAMAM’
SRI LALITHA
SAHASRA
NAMAM, Verse-22
MY ‘INTERPRETATION’
(FROM THE MUSICOLOGICAL PERSPECTIVE)
►
= the Greater Melody Triangles evolved from numbers ‘1’ to ‘18’, looks like an inverted mountain. ►(Please
Next Slide)
MY ‘INTERPRETATION’
(FROM THE MUSICOLOGICAL PERSPECTIVE)
NUMBERS 13 to 18
NUMBERS 7 to 12
NUMBERS 1 to 6
MY ‘INTERPRETATION’
(FROM THE MUSICOLOGICAL PERSPECTIVE)
the central zone, i.e. the “MELODY TRAPEZIUM” evolved from numbers ‘7’ to ‘12’. (Please see Next Slide)
MY ‘INTERPRETATION’
(FROM THE MUSICOLOGICAL PERSPECTIVE)
NUMBERS 13 to 18
NUMBERS 7 to 12
NUMBERS 1 to 6
MY ‘INTERPRETATION’
(FROM THE MUSICOLOGICAL PERSPECTIVE)
►
:
could be viewed as ‘sama nagara’, i.e. The domain of music!
►
:
also described as ‘nada’ (i.e. musical tones ) chintamani in Holy Scriptures.
MY ‘INTERPRETATION’
(FROM THE MUSICOLOGICAL PERSPECTIVE)
:
counting out Sadjama & Panchama which are anchor swaras, the remaining FIVE swaras only add to the colour & hue to music. These are the ‘Pancha Bhrahmans’.
CHURNING THE OCEAN OF MILK i.e.
( “KSHIRA SAGARA MANTHAN” ) (COVER PAGE of my BOOK)
This episode is being described vividly in
“VISHNU PURANA” --- A popular Hindu Theological Belief System
This episode narrates As to how the Angels and Demons Cooperated once under the Lordship of Bhagavan VISHNU
The Ocean of Milk was to be churned with ‘Mandara’ mountain, By seeking the help of ‘Vasuki’ the Serpent King In order to obtain “AMRUTH” (i.e. The Elixir of Life) For achieving immortality
To me it appears that Its ‘musicological content’ Far outweighs its ‘Theological content’ !
CHURNING THE KSHIRA SAGARA
’14’ GIFTS CAME OUT DURING THE CHURNING PROCESS
CHURNING THE KSHIRA SAGARA
TO
NAME
A
FEW :
CHURNING THE KSHIRA SAGARA
AIRAWAT
APSARA
MOON
LAKSHMI
AMRUTH KAMADENU
CHURNING THE KSHIRA SAGARA AIRAWAT
LAKSHMI APSARA
MOON
AMRUTH KAMADENU
CHURNING THE KSHIRA SAGARA
THIS MOUNTAIN “MANDRA” SYMBOLISES THE MURCHANAS BEING CHURNED OUT OF THE ‘MANDRA -STHAYI’
CHURNING THE KSHIRA SAGARA
THIS
SNAKE KING “VASUKI” SYMBOLISES “VOICE” ( DENOTES THAT MURCHANAS ARE MOVED TO ‘VOICE - REGISTER’)
CHURNING THE KSHIRA SAGARA
‘KURMA’ AVTAR SYMBOLISES ‘GRAMA’
CHURNING THE KSHIRA SAGARA
THESE
‘SURAs’ SYMBOLISE ‘SADJAGRAMA’ (i.e. SHUDDHA SWARAs)
CHURNING THE KSHIRA SAGARA
THESE
‘A-SURAs’ SYMBOLISE ‘MADHYAMAGRAMA’ (i.e. “VIKRTA”= “UGRA” = “TEEVRA” SWARAs !!)
CHURNING THE KSHIRA SAGARA
THE ’14’ ITEMS EMERGING FROM OCEAN SYMBOLISE ’14 MURCHANAs’
CHURNING THE KSHIRA SAGARA
‘Halahala Vish’ (consumed by Lord SHIVA) SYMBOLISES the ‘COMPLEX’ fractions
CHURNING THE KSHIRA SAGARA
Parvati Devi Touching the throat of Lord SHIVA, is a “Message” to bring Murchanaa In the ‘kanthiya’ (vocal) sthayi
CHURNING THE KSHIRA SAGARA
‘Maha Laxmi’ SYMBOLISES ‘Devi Mata’ residing within the 22 SRUTIs
CHURNING THE KSHIRA SAGARA
‘Amruth’ SYMBOLISES…. ‘22’ SRUTIs--The end-product of the joint efforts of ‘Shuddha’ & ‘Vikrata’ Elements (i.e.
“SANKIRNA”
Element)
CHURNING THE KSHIRA SAGARA
As per Vishnu Purana, Two Drops of ‘Amruth’ were granted To the Asuras !! This is because ‘Madhyama-grama’ Murchanas Contributed towards ‘2’ swaras for the “ Family of 22- Fractions ”
The
content
of
“MYSTICISM” in “ANCIENT MUSIC”, Is somewhat
‘mind-boggling’ !
In
the
succeeding slides,
FOUR
concepts of “MYSTICISM” are being illustrated
These have been analyzed from the Hindu theology point of view
Non-Hindu viewers May ‘skip’ these Slides, if they So desire please
FOR APPRECIATING THE CONCEPT OF MYSTICISM, WE NEED TO UNDERSTAND WHAT I MEAN BY
“CONSONANCE
TRAPEZIUM”
LET US START FROM THE BASIC PRINCIPLE OF
“SACRED NUMBERs” (i.e. Numbers from ‘1’ to ’12’)
I
discovered that Only “22” FRACTIONs Can be formulated Mathematically from Numbers ‘1’ to ’12’
ONLY
These are the 22 ‘Simple Fractions’
‘mathematically between
feasible’
‘1’ and ‘12’
These 22 mathematical Fractions Transferred on to the
22 Pitch (Sruti) Octave, would
acquire the following tonal values !
(please see next slide)
NOTES
FRACTIONs TONAL VALUEs
NOTES
(in 22-pitch scale)
FRACTIONs TONAL VALUEs (CONTINUED)
(in 22-pitch scale)
SADJA
1/1
0.00
MADHYAMA – 2
11/8
10.11
RISHABHA – 1
12/11
2.76
MADHYAMA - 3
7/5
10.68
RISHABHA – 2
11/10
3.03
MADHYAMA - 4
10/7
11.32
RISHABHA – 3
10/9
3.34
PANCHAMA
3/2
12.87
RISHABHA – 4
9/8
3.74
DHAIVATA – 1
11/7
14.35
RISHABHA – 5
8/7
4.24
DHAIVATA - 2
8/5
14.92
RISHABHA - 6
7/6
4.89
DHAIVATA - 3
5/3
16.21
GANDHARA –1
6/5
5.79
NISHADA -1
12/7
17.11
GANDHARA –2
11/9
6.37
NISHADA - 2
7/4
17.76
GANDHARA – 3
5/4
7.08
NISHADA – 3
9/5
18.66
GANDHARA --4
9/7
7.98
NISHADA – 4
11/6
19.24
MADHYAMA - 1
4/3
9.13
SADJA “
2/1
22.00
NOW
LET US
PERFORM
A SMALL EXERCISE !
ARRANGE THE ALL POSSIBLE COMBINATIONS OF FRACTIONS BETWEEN NUMBERS ‘1’ AND ‘12’
PROGRESSIVELY
OBSERVE
NOW, FORMATION
OF
A
TRIANGULAR MATRIX
SACRED NUMBERS
12 11 10 9 8 7 6 A
5 4 3 2
1/ 2 1.5/ 2
1
0.5/1 0.5/ 1
0
0/ 0
2/ 2
PROCESS OF MAKING “TRIANGULAR MATRIX” BY INCREMENTING THE DENOMINATORS
SACRED NUMBERS
12 11 10 9 8 7 6 5 4
3/5 2/4
3 2
4/5 3/4
2/3 1/2 1.5/2
1
0.5/1
0
0/ 0
1/ 1
4/4 3/3
2/ 2
5/5
THE PROCESS CONTINUES IN THE ASCENDING ORDER …
SACRED NUMBERS
12 11 10 9 8
4/8
7 6
4/7 3/6
5 4
4/6
2/4
0.5/1
0
0/ 0
5/6
3/4
1/2 1.5/2 1/ 1
8/8 7/7
6/6 5/5
4/4 3/3
2/ 2
7/8 6/7
4/5
2/3
1
6/8 5/7
3/5
3 2
5/8
THE PROCESS CONTINUES IN THE ASCENDING ORDER …
SACRED NUMBERS
12
6/12
11 10
6/11 5/10
9 8
4
2/4
3/4
1/2 1.5/2 0.5/1
0
0/ 0
1/ 1
3/3 2/ 2
12/12 11/11
10/10 9/9
8/8 7/7
6/6 5/5
4/4
9/10
7/8
5/6
11/12 10/11
8/9
6/7
4/5
2/3
8/10
6/8
4/6
10/12 9/11
7/9
5/7
3/5
1
7/10
5/8
3/6
9/12 8/11
6/9
4/7
3 2
6/10
4/8
5
8/12 7/11
5/9
7 6
7/12
THE PROCESS CONTINUES IN THE ASCENDING ORDER …
LET US OBSERVE HOW THEIR
TONE – IDENTITIES APPEAR IN THIS MATRIX
SACRED NUMBERS
12
6/12
11 10
6/11 5/10
9 8
4
2/4
0
3/4
1/2
2/2 1/1
0/0
3/3
12/12 11/11
10/10 9/9
8/8 7/7
6/6 5/5
4/4
9/10
7/8
5/6
11/12 10/11
8/9
6/7
4/5
2/3
8/10
6/8
4/6
10/12 9/11
7/9
5/7
3/5
1
7/10
5/8
3/6
9/12 8/11
6/9
4/7
3 2
6/10
4/8
5
8/12 7/11
5/9
7 6
7/12
LEGEND SADJAMA
SACRED NUMBERS
12
6/12
11 10
6/11 5/10
9 8
4
2/4
0
3/4
1/2
9/10
7/8
5/6
12/12 11/11
10/10 9/9
8/8 7/7
6/6 5/5
11/12 10/11
8/9
6/7
4/5
2/3
8/10
6/8
4/6
10/12 9/11
7/9
5/7
3/5
1
7/10
5/8
3/6
9/12 8/11
6/9
4/7
3 2
6/10
4/8
5
8/12 7/11
5/9
7 6
7/12
LEGEND SADJAMA
4/4 3/3
2/2 1/1
0/0
SADJAMA”
SACRED NUMBERS
12
6/12
11 10
6/11 5/10
9 8
4
2/4
0
3/4
1/2
12/12 11/11
10/10 9/9
8/8 7/7
6/6 5/5
4/4
9/10
7/8
5/6
11/12 10/11
8/9
6/7
4/5
2/3
8/10
6/8
4/6
10/12 9/11
7/9
5/7
3/5
1
7/10
5/8
3/6
9/12 8/11
6/9
4/7
3 2
6/10
4/8
5
8/12 7/11
5/9
7 6
7/12
LEGEND SADJAMA RISHABHA
3/3 2/2
1/1 0/0
SADJAMA”
SACRED NUMBERS
12
6/12
11 10
6/11 5/10
9 8
4
6/10
4/8
7/10
5/8
3/6
2/4
8/10
6/8
4/6
3/4
12/12 11/11
10/10 9/9
8/8 7/7
6/6 5/5
4/4
9/10
7/8
5/6
11/12 10/11
8/9
6/7
4/5
10/12 9/11
7/9
5/7
3/5
9/12 8/11
6/9
4/7
5
8/12 7/11
5/9
7 6
7/12
LEGEND SADJAMA RISHABHA GANDHARA
3 2
2/3 1/2
1 0
3/3 2/2
1/1 0/0
SADJAMA”
SACRED NUMBERS
12
6/12
11 10
6/11 5/10
9 8
4
6/10
4/8
7/10
5/8
3/6
2/4
8/10
6/8
4/6
3/4
12/12 11/11
10/10 9/9
8/8 7/7
6/6 5/5
4/4
9/10
7/8
5/6
11/12 10/11
8/9
6/7
4/5
10/12 9/11
7/9
5/7
3/5
9/12 8/11
6/9
4/7
5
8/12 7/11
5/9
7 6
7/12
LEGEND SADJAMA RISHABHA GANDHARA
3 2
2/3 1/2
1 0
3/3
MADHYAMA
2/2 1/1
0/0
SADJAMA”
SACRED NUMBERS
12
6/12
11 10
6/11 5/10
9 8
4
6/10
4/8
7/10
5/8
3/6
2/4
8/10
6/8
4/6
3/4
12/12 11/11
10/10 9/9
8/8 7/7
6/6 5/5
4/4
9/10
7/8
5/6
11/12 10/11
8/9
6/7
4/5
10/12 9/11
7/9
5/7
3/5
9/12 8/11
6/9
4/7
5
8/12 7/11
5/9
7 6
7/12
LEGEND SADJAMA RISHABHA GANDHARA
3 2
2/3 1/2
1 0
3/3 2/2
MADHYAMA PANCHAMA
1/1 0/0
SADJAMA”
SACRED NUMBERS
12
6/12
11 10
6/11 5/10
9 8
4
6/10
4/8
7/10
5/8
3/6
2/4
8/10
6/8
4/6
3/4
12/12 11/11
10/10 9/9
8/8 7/7
6/6 5/5
4/4
9/10
7/8
5/6
11/12 10/11
8/9
6/7
4/5
10/12 9/11
7/9
5/7
3/5
9/12 8/11
6/9
4/7
5
8/12 7/11
5/9
7 6
7/12
LEGEND SADJAMA RISHABHA GANDHARA
3 2
2/3 1/2
3/3 2/2
MADHYAMA PANCHAMA DHAIVATA
1 0
1/1 0/0
SADJAMA”
SACRED NUMBERS
12
6/12
11 10
6/11 5/10
9 8
4
6/10
4/8
7/10
5/8
3/6
2/4
8/10
6/8
4/6
3/4
12/12 11/11
10/10 9/9
8/8 7/7
6/6 5/5
4/4
9/10
7/8
5/6
11/12 10/11
8/9
6/7
4/5
10/12 9/11
7/9
5/7
3/5
9/12 8/11
6/9
4/7
5
8/12 7/11
5/9
7 6
7/12
LEGEND SADJAMA RISHABHA GANDHARA
3 2
2/3 1/2
3/3 2/2
MADHYAMA PANCHAMA DHAIVATA
1 0
1/1 0/0
NISHADA SADJAMA”
LET US FOCUS ONLY BETWEEN
‘7’ and ‘12’ ……. Because
they happen to include all the fractions contained between ‘1’ and ‘6’ !
SACRED NUMBERS
12
6/12
11 10
6/11 5/10
9 8
4
6/10
4/8
7/10
5/8
3/6
2/4
8/10
6/8
4/6
3/4
12/12 11/11
10/10 9/9
8/8 7/7
6/6 5/5
4/4
9/10
7/8
5/6
11/12 10/11
8/9
6/7
4/5
10/12 9/11
7/9
5/7
3/5
9/12 8/11
6/9
4/7
5
8/12 7/11
5/9
7 6
7/12
LEGEND SADJAMA RISHABHA GANDHARA
3 2
2/3 1/2
3/3 2/2
MADHYAMA PANCHAMA DHAIVATA
1 0
1/1 0/0
NISHADA SADJAMA”
SACRED NUMBERS
12
6/12
11 10
6/11 5/10
9 8
4
6/10
4/8
7/10
5/8
3/6
2/4
8/10
6/8
4/6
3/4
12/12 11/11
10/10 9/9
8/8 7/7
6/6 5/5
4/4
9/10
7/8
5/6
11/12 10/11
8/9
6/7
4/5
10/12 9/11
7/9
5/7
3/5
9/12 8/11
6/9
4/7
5
8/12 7/11
5/9
7
6
7/12
I HAVE NAMED THIS AS :
“CONSONANCE TRAPEZIUM” LEGEND SADJAMA RISHABHA GANDHARA
3 2
2/3 1/2 1.5/2
3/3 2/ 2
MADHYAMA PANCHAMA DHAIVATA
1
0.5/1
0
0/ 0
1/ 1
NISHADA SADJAMA”
SACRED NUMBERS
12
6/12
11 10
6/11 5/10
9 8
4
6/10
4/8
7/10
5/8
3/6
2/4
8/10
6/8
4/6
3/4
12/12 11/11
10/10 9/9
8/8 7/7
6/6 5/5
4/4
9/10
7/8
5/6
11/12 10/11
8/9
6/7
4/5
10/12 9/11
7/9
5/7
3/5
9/12 8/11
6/9
4/7
5
8/12 7/11
5/9
7
6
7/12
IT CONTAINS THE ENTIRE FAMILY OF 22 N-FRACTIONS
LEGEND SADJAMA RISHABHA GANDHARA
3 2
2/3 1/2 1.5/2
3/3 2/ 2
MADHYAMA PANCHAMA DHAIVATA
1
0.5/1
0
0/ 0
1/ 1
NISHADA SADJAMA”
“CONSONANCE” TRAPEZIUM OF 22 N-FRACTIONs SACRED NUMBERS
12
6/12
11 10
6/11 5/10
9 8 7
7/12
8/12 7/11
6/10 5/9
4/8
8/11 7/10
6/9 5/8
4/7
9/12 9/11 8/10 7/9
6/8 5/7
10/12 10/11 9/10 8/9
7/8 6/7
11/12
8/8 7/7
11/11 10/10
9/9
12/12
HERE, ‘NOTEs’ ARE SUBSTITUTED FOR THE ‘FRACTIONs’ SACRED NUMBERS
12
S’ N4
11 10
S’
7
P D1
D3 N3
9 8
N1
S’
M2 M4
P D2
N2
M1 G2 G3 G4
M1 M3
G1 R2 R3 R4
R5 R6
R1
S S
S S
S S LEGEND S
SADJA
P
PANCHAMA
R
RISHABHA
D
DHAIVATA
G
GANDHARA
N
NISHADA
M
MADHYAMA
S’
SADJA (OCTAVE)
Now we are reasonably oriented towards understanding
“Concept-1” of ‘MYSTICISM’
THIS CONSONANCE IS
“MYSTIC
‘TRAPEZIUM’
A
CITADEL”
!!
S
S
N1
N4
S
S
D1
N3
D2
N2
M2
P
M3
R1
R2
G2
R3
G3
G4
M1
G1
M1
M4
D3
S
S
P
R4
S
S
S
S
THERE ARE R5 S “THREE” IMPREGNABLE R6 S WALLS (i.e. RINGS)
S
S
N1
N4
S
S
D1
N3
D2
N2
M2
P
R3
R4
G4
R5
R6
R1
R2
G2
G3
M1
M3
G1
M1
M4
D3
S
S
P
S
S
S
S
S
S
OUTER
S
S
N1
N4
S
S
D1
N3
D2
N2
M2
P
R3
R4
G4
R5
R6
R1
R2
G2
G3
M1
M3
G1
M1
M4
D3
S
S
P
S
S
S
S
S
S
MIDDLE
S
S
N1
N4
S
S
D1
N3
D2
N2
M2
P
R3
R4
G4
R5
R6
R1
R2
G2
G3
M1
M3
G1
M1
M4
D3
S
S
P
S
S
S
S
S
S
INNER
S
S
N1
N4
S
S
D1
N3
D2
N2
M2
P
M3
R1
R2
G2
R3
G3
G4
M1
G1
M1
M4
D3
S
S
P
R4
S
S
S
S
I have described the region between the OUTER R5 S and MIDDLE walls as “Sadja- GRA.A.A.MA” R6
S
The Terminology ‘GRAAMA’ in Sanskrit Means “VILLAGE”. (Shri. MATANGA MUNI Had used this terminology in this context at Anu 30, Section-V of Brhaddesi Part-1)
S
S
N1
N4
S
S
P
D1
N3
M2
M4
D3
P
G1
M1
R3
G3
R4
I
D2
S
S
N2
M1
M3
R2
G2
G4
R1
S
S
S
S
have described the R5regionS between the MIDDLE and INNER walls as “Madhyama- GRA.A.A.MA” R6
S
S
S
N1
N4
S
S
D1
N3
D2
N2
M2
P
M3
R1
R2
G2
R3
G3
R4
G4
M1
G1
M1
M4
D3
S
S
P
S
S
S
S
I have described the region INTERIOR to the INNER wall as R5 S “Gandhara- GRA.A.A.MA”
R6
S
THERE ARE TWO INNER TRIANGLES. THERE IS A BIGGER OUTER TRIANGLE ALSO (The Outer Triangle will be indicated later while discussing ‘concept-3’ of mysticism)
S
S
N1
N4
S
S
D1
N3
D2
N2
M2
P
R3
R4
G4
R5
R6
R1
R2
G2
G3
M1
M3
G1
M1
M4
D3
S
S
P
S
S
S
S
S
S
‘G - 3’ (i.e. GANDHARA3) ( i.e. Fraction ‘4/5’ ), FORMS THE “CENTRE OF MYSTERY”
S
S
N1
N4
S
P
D1
G1
M1
M2
R2
G2
R3
M4
D3
R1
S
S
S
G3
S
N3
S
S
P
D2
N2
M1
M3
R4
G4
R5
R6
S
S
S
GANDHARA – 3 (i.e. Fraction 4/5)
GANDHARA-3 IS ALSO REPRESENTED BY THE SRUTI ‘7.08’. AS
PER
AN
ANCIENT SAYING :
7’
“GOD LOVES NUMBER ‘ ANYTHING UNDER THE
MORE THAN HEAVENS”
THESE ARE THE “NAVA - GRAHAs” (or “the NINE YONIs”) ORBITING THE “CENTRAL DEITY G-3”
S
S
N1
N4
S
S
D1
N3
D2
N2
M2
P
R3
R4
G4
R5
R6
R1
R2
G2
G3
M1
M3
G1
M1
M4
D3
S
S
P
S
S
S
S
S
S
THESE
“27-STAR
ARE THE
CONSTELLATIONs”
(i.e. THE UNIVERSE) ORBITING THE
“CENTRAL
DEITY”
(That’s why probably the ‘Ancients’ believed that Number ‘22’ denoted something even greater than The Universe i.e.
“INFINITY”
!!)
S
N1
S
N4
S
S
D1
N3
D2
N2
M2
P
G4
R3
R4
R5
R6
R1
R2
G2
G3
M1
M3
G1
M1
M4
D3
S
S
P
S
S
S
S
S
S
AS
PER
‘YANTRIC’
SASTRAs,
FOUR ‘SHIVA’ TRIANGLES AND FIVE INVERTED ‘SHAKTI’ TRIANGLES FORM THE CENTRAL BINDU OF “SRI CHAKRA” (i.e. G-3 = FRACTION 4/5)) !
S
S
N1
N4
P
D1
M2
M4
S
G1
M1
R1
R2
G2
R3
G3
S
S
S
D3 S
N3
S
S
P
D2
N2
M1
M3
R4
G4
R5
R6
S
S
S
‘G-3’ (Fraction: 4/5)
THE FORMATION OF –
THREE RINGS AND
THREE TRIANGLES (including the outer most Greater Triangle !) REMINDS ME OF
(DEVI MATA’s OWN SEAT OF POWER !!!)
HOW THE “22 SRUTIs” ARE SEATED IN THE FORM OF
WITHIN THE SACRED NUMBER BASE ( REAR COVER PAGE OF MY BOOK )
Again !
MELODY
TRAPEZIUM
CONSISTS OF THE FAMILY 22 N-FRACTIONS
OF
SACRED NUMBER BASE
12
6/12
11 10
6/11 5/10
9 8 7
7/12
8/12 7/11
6/10 5/9
4/8
8/11 7/10
6/9 5/8
4/7
9/12 9/11 8/10 7/9
6/8 5/7
10/12 10/11 9/10 8/9
7/8 6/7
11/12 11/11 10/10 9/9
8/8 7/7
12/12
LEGEND SADJAMA RISHABHA GANDHARA MADHYAMA PANCHAMA DHAIVATA NISHADA SADJAMA”
FLIP
THE
TRAPEZIUM
and
ROTATE ….
ANTI – CLOCKWISE,
90
WE,
…
DEGREES : -GET
NEW
THIS VIEW.
THIS
NEW
IS
THE
VIEW
FLIPPED
&
CONSONANCE
OF
S
THE
ROTATED
S
TRAPEZIUM S S S
S
R3 G2
G4 M1
M3
M4
P D1
D3
D2 N3 S’
M1 M2
P
N2
G1
G3
R5
S’
R2
R4
R6
R1
S’
N1 N4
S’
S’
S’
GANDHARA-GRAMA ARE
BEING
INDICATED
IN
SWARAs
PINK, S
S S S S
G2
G4
M3
M4
P D1
D3
D2 N3 S’
M1 M2
P
N2
G1
G3
M1
S’
R2
R4
R6
S’
now) R1
R3
R5
S
N1 N4
S’
S’
S’
GANDHARA-GRAMA ARE
BEING
INDICATED
IN
SWARAs
PINK, S
S S S S
G2
G4
M3
M4
P D1
D3
D2 N3 S’
M1 M2
P
N2
G1
G3
M1
S’
R2
R4
R6
S’
now) R1
R3
R5
S
N1 N4
S’
S’
S’
S
MYSTERIOUS THESE
ARE
!! SEATED
“PRANAVA” (MARKED
IN
IN
SHAPE
LIGHT BLUE
S
envelope) !! S S
S S
R3
R5
G2
G4
M3
M4
P D1
D3
D2 N3 S’
M1 M2
P
N2
G1
G3
M1
S’
R2
R4
R6
R1
S’
N1 N4
S’
S’
S’
‘5’
MADHYAMA-GRAMA (IN
SWARAs
DARK
BLUE COLOUR) PROTECT THE “PRANAVA” (SHOWN IN LIGHT YELLOW envelope)S!! S S S
M2 M4
P D1
P D3
D2 N3 S’
M1
G3
M1
S’
G1 G2
G4
N2
R1
R3
R5
M3
S
R2
R4
R6
S
S’
N1 N4
S’
S’
S’
‘7’
SADJAMA-GRAMA
SWARAs
( RED
COLOUR) GUARD THE “CITADEL” S ( THE OUTER SDEFENCE ) !! S S S
R3
R5
M2
D3 N3
S’
P D1
P
N2
M1
M4
D2
S’
G2
G4
M3
G1
G3
M1
S’
R1
R2
R4
R6
S
N1 N4
S’
S’
S’
HINDU BELIEF “Om” IS “NADA Brahman” as
per
Indian
S
R3
R5
M2
D3 N3
S’
P D1
P
N2
M1
M4
D2
S’
G2
G4
M3
G1
G3
M1
S’
R1
R2
R4
R6
S
Holy S Scriptures !
S S
S
N1 N4
S’
S’
S’
MUSICOLOGICAL INTERPRETATION OF
A VERSE FROM
“SRI LALITHA SAHASRA NAMAM’
SRI LALITHA
SAHASRA
NAMAM, Verse-22
MY ‘INTERPRETATION’
(FROM THE MUSICOLOGICAL PERSPECTIVE)
►
= the Greater Melody Triangles evolved from numbers ‘1’ to ‘18’, looks like an inverted mountain. ►(Please
Next Slide)
MY ‘INTERPRETATION’
(FROM THE MUSICOLOGICAL PERSPECTIVE)
NUMBERS 13 to 18
NUMBERS 7 to 12
NUMBERS 1 to 6
MY ‘INTERPRETATION’
(FROM THE MUSICOLOGICAL PERSPECTIVE)
the central zone, i.e. the “MELODY TRAPEZIUM” evolved from numbers ‘7’ to ‘12’. (Please see Next Slide)
MY ‘INTERPRETATION’
(FROM THE MUSICOLOGICAL PERSPECTIVE)
NUMBERS 13 to 18
NUMBERS 7 to 12
NUMBERS 1 to 6
MY ‘INTERPRETATION’
(FROM THE MUSICOLOGICAL PERSPECTIVE)
►
:
could be viewed as ‘sama nagara’, i.e. The domain of music!
►
:
also described as ‘nada’ (i.e. musical tones ) chintamani in Holy Scriptures.
MY ‘INTERPRETATION’
(FROM THE MUSICOLOGICAL PERSPECTIVE)
:
counting out Sadjama & Panchama which are anchor swaras, the remaining FIVE swaras only add to the colour & hue to music. These are the ‘Pancha Bhrahmans’.
CHURNING THE OCEAN OF MILK i.e.
( “KSHIRA SAGARA MANTHAN” ) (COVER PAGE of my BOOK)
This episode is being described vividly in
“VISHNU PURANA” --- A popular Hindu Theological Belief System
This episode narrates As to how the Angels and Demons Cooperated once under the Lordship of Bhagavan VISHNU
The Ocean of Milk was to be churned with ‘Mandara’ mountain, By seeking the help of ‘Vasuki’ the Serpent King In order to obtain “AMRUTH” (i.e. The Elixir of Life) For achieving immortality
To me it appears that Its ‘musicological content’ Far outweighs its ‘Theological content’ !
CHURNING THE KSHIRA SAGARA
’14’ GIFTS CAME OUT DURING THE CHURNING PROCESS
CHURNING THE KSHIRA SAGARA
TO
NAME
A
FEW :
CHURNING THE KSHIRA SAGARA
AIRAWAT
APSARA
MOON
LAKSHMI
AMRUTH KAMADENU
CHURNING THE KSHIRA SAGARA AIRAWAT
LAKSHMI APSARA
MOON
AMRUTH KAMADENU
CHURNING THE KSHIRA SAGARA
THIS MOUNTAIN “MANDRA” SYMBOLISES THE MURCHANAS BEING CHURNED OUT OF THE ‘MANDRA -STHAYI’
CHURNING THE KSHIRA SAGARA
THIS
SNAKE KING “VASUKI” SYMBOLISES “VOICE” ( DENOTES THAT MURCHANAS ARE MOVED TO ‘VOICE - REGISTER’)
CHURNING THE KSHIRA SAGARA
‘KURMA’ AVTAR SYMBOLISES ‘GRAMA’
CHURNING THE KSHIRA SAGARA
THESE
‘SURAs’ SYMBOLISE ‘SADJAGRAMA’ (i.e. SHUDDHA SWARAs)
CHURNING THE KSHIRA SAGARA
THESE
‘A-SURAs’ SYMBOLISE ‘MADHYAMAGRAMA’ (i.e. “VIKRTA”= “UGRA” = “TEEVRA” SWARAs !!)
CHURNING THE KSHIRA SAGARA
THE ’14’ ITEMS EMERGING FROM OCEAN SYMBOLISE ’14 MURCHANAs’
CHURNING THE KSHIRA SAGARA
‘Halahala Vish’ (consumed by Lord SHIVA) SYMBOLISES the ‘COMPLEX’ fractions
CHURNING THE KSHIRA SAGARA
Parvati Devi Touching the throat of Lord SHIVA, is a “Message” to bring Murchanaa In the ‘kanthiya’ (vocal) sthayi
CHURNING THE KSHIRA SAGARA
‘Maha Laxmi’ SYMBOLISES ‘Devi Mata’ residing within the 22 SRUTIs
CHURNING THE KSHIRA SAGARA
‘Amruth’ SYMBOLISES…. ‘22’ SRUTIs--The end-product of the joint efforts of ‘Shuddha’ & ‘Vikrata’ Elements (i.e.
“SANKIRNA”
Element)
CHURNING THE KSHIRA SAGARA
As per Vishnu Purana, Two Drops of ‘Amruth’ were granted To the Asuras !! This is because ‘Madhyama-grama’ Murchanas Contributed towards ‘2’ swaras for the “ Family of 22- Fractions ”
Related Documents
Mysticism (blog)
July 2020 4
Mysticism
November 2019 30
Mysticism
November 2019 35
Blog Blog
June 2020 44
What Is Mysticism
November 2019 18