Ganapati Sthapati

Sthapati

Edited and illustrated by Jayashree V

Introduction 03 A Shilpi’s Duty 04 V. Ganapati Sthapati 07 Mayan 11 Iraivan Temple 12 Indian Nanotechnology 13 Art in Space 15 Space and Symbols 19 The Savouring of Art 21 Yonis- The Eight Directions 25 Other Work 26 Bibliography 27

Introduction As I set out on this journey to explore the vast expanse of our culture, I am a little apprehensive about the magnitude and depth of the subject and can only hope that I have done at least an iota of justice to it. What made me venture into this universe of Indian arts was an inkling of interest in Carnatic music that’s various complexities I realized only after reading about other forms of art. What I learnt is that there is an underlying universal web of connections laid out in our everyday passage of life, with one action giving birth to another and another and so on. Within this connection lies the thrill of discovering its existence which is what all art hopes to achieve. Expression and taking delight in the process of such expression is meditative and enlightening and while the artist, engaging oneself in such processes, ponders about the concept of Truth, Order and Reality and wishes to have it revealed to them. They savour their work and have their work savoured, which is an art by itself. This is a way of life and not a subject that we mindlessly graze over in the name of leisure. Indepth understanding of our activities and the play of creation and giving oneself completely to the Process in a near-obsessive state is where one is closest to oneself. We do not engage in art to rid us of ourselves, but to understand ourselves better, from a higher plane of comprehension, from a plane where the never-ending web of connections become visible- the plane of Truth.

Ganapati Sthapati 03

A SHILPI’S DUTY Statues are human forms.

We are not creating human forms.

We are creating divine forms.

We are creating gods and goddesses.

The ones who help facilitate the transformation of the incomprehensible to the comprehensible are the shilpiscraftsmen and ancient Vedic artistswhose main goal was to express concretely, the laws of the universe. Thus, they were all accomplished architects, poets, sculptors, musicians, dancers and scientists, bent on communicating to the common man, the underlying connections in the universe, its truth and natural order, through their practice of Vaastu science and by preserving and passing on such knowledge. In the words of Michael Borden, a student of Vaastu tradition“The ancient shilpis 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 and is all that we know and are. Nothing is outside of the Supreme Truth of Existence. The temples are the pure expression of these universal laws; the temple is a divine incarnation- solid and real. They are microcosms of the universe.” Such is the task laid out for these shilpis whose tradition is usually passed down through oral transmission and by example.

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. 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 04 Ganapati Sthapati

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. Vaastu Science, 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. Vaastu Science 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.

The ancient shilpis 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 and is all that we know and are.

Nothing is outside of the Supreme Truth of Existence.

Mayan: He was an architect and town planner of ancient India. He wrote many books on his subject, in which he states that space dwells in all things, and that the subtle energy which permeates everything is “Vastu” whereas those living and cosmic beings within which vastu gets itself manifested is “Vaastu”. He adds that Vastu is the subtle and un-manifest energy while Vaastu is the gross and manifest energy, thus declaring “Vastu itself becomes Vaastu”. By this, he means that space gives birth

to all forms through vibration like how gold gives birth to gold ornaments through a goldsmith. Mayan was the one who identified such space around the Earth, heavenly bodies and all object of nature, and gave quantity to its vibration. He equated time and space, matter and energy, 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.

Ganapati Sthapati 05

V. Ganapati Sthapati I am not 82 years old.

I am 15,000 years old for my tradition is so big and rich.

We have been involved in sculpting and architecture for the last 15,000 years.

08 Ganapati Sthapati

“I use nano technology in architecture and sculpture. It is the same nano technology that keeps my Thiruvalluvar in Kanyakumari intact. This is what makes our tradition great. Space is everywhere. Space becomes a living organism if it is confined by a fourwalled structure.”

Born in the year 1927, at Pillayarpatti, a village near Karaikudi, Tamilnadu, Dr. V. Ganapati Sthapati came from an illustrious family of temple architects and sculptors. His family lineage stretched back over one hundred decades including the sthapatis who created the great Brihadeeswara Temple of Tanjore, the treasure house of Indian art and architecture. Son of Sri Vaidyanatha Sthapati, a renowned sculptor and Sanskrit scholar, he had made remarkable contributions to the field of art and architecture.

As the Doyen of Indian Vaastu Shastra (recently given the title of “Shilpi Guru” by the President of India) he had been doing research in the field of Vaastu Science and Technology for the past 50 years. A graduate in Mathematics and Sanskrit, Sthapati was propagating this supreme science in India and abroad. He was solely responsible for the resurrection of the works of the Great Brahmarishi Mayan, who was the progenitor of this Indian science and technology and the founder of this rich civilization and culture. Sthapati was the Principal of the Government College of Architecture and Sculpture (the only institute of this kind in the world) at Mamallapuram, near Chennai, for 27 years and worked hard to restore and elevate the status of the sacred art and architecture by affiliating courses to the University of Madras and offering degree courses. This brought academic status to the age-old tradition of learning and also initiated many young people into this traditional technology.

After retirement from government service, he established Vaastu Vedic Trust and Vaastu Vedic Research Foundation which aimed at research, development and globalization of Vaastu Shastra. He was also the head of the professional guild named V. Ganapati Sthapati & Associates.

This group of talented designers, engineers and craftsmen work together to create Vaastu inspired temples and other buildings in India and abroad. The palatial buildings of library and administrative block for Tamil University of Tanjore and the Muthiah Mandram in Madurai speak of his capacity for designing and executing works of stupendous nature. Of particular interest was his monumental Vaastu sculpture/building of Thiruvalluvar at the southern tip of India at Kanya Kumari measuring 133 feet in elevation: a stone statue of liberty for India. This colossal marvel had taken him

to the pinnacle of his life’s achievement as a traditional architect and builder and commendations and awards reached him from around the world for this achievement: a poetic image that will be with us for thousands of years.

He established the International Institute of Mayonic Science and Technology, which conducts workshops and discourses all over the world.

Sthapati held the post of the Professor and the Head of the Department of Sthapatya Veda in the World University of Traditional Indian Science, Technology and Culture in Chennai. Some of the notable books he authored include: Iconometry, Temples of Space Science, The Building Architecture of Sthapatya Veda, and Commentary on Mayan’s Aintiram. Sthapati had earned a number of titles and awards including an Honorary Fellowship by the Indian Institute of Architects, the National award for Master Craftsmanship by the President of India, the title of “Shilpi Guru of India” also by the President and a Doctorate Degree conferred by the Maharishi Mahesh Yogi Vedic University and also a Padma Bhushan in 2009.

He had worked and researched in USA, U.K., Australia, France, Fiji, Germany, Holland, Singapore, Malaysia, Mexico, Guatemala and Peru.

This pulsating and vibrant researcher, sculptor, architect, philosopher and scientist had given forth many startling research discoveries on the intricacies of the traditional art and architecture of India and was quite optimistic that one day Vaastu science will be a major influence in the world. He had identified the theories of the origin of the Universe and its life forms through his research on the works of Mayan scaling height far beyond the mundane world of modern science and technology.

Talking about his Valluvar Kottam project, he said, “Making a stone chariot was a daunting task, especially its stone wheels. The chariot has three parts - an inverted pyramid shape at the bottom with wheels, pillars in the middle and a pyramid form on top.

“It is space that counts most, not material. If you are able to get these earth bricks, you get a kind of physical benefit also. The best material is brick, not firedunburned 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 Ganapati Sthapati 09

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.”

When Ganapati Sthapati made the Thiruvalluvar (statue), people said that it would not withstand the waves. But the world has seen how it withstood even the tsunami of 2004. To this he said, “The technique behind it is not only secret but something sacred as well. You know the 133-foot tall Thiruvalluvar is mounted on a rock. It is made of 7,500 pieces of granites and all the pieces are interlocked.

People said it would not withstand the winds and waves but it withstood even the tsunami. I use nano technology in architecture and sculpture. It is the same nano technology that keeps my Thiruvalluvar in Kanyakumari intact. This is what makes our tradition great. Space is everywhere. Space becomes a living organism if it is confined by a four-walled structure. Space is filled with countless sub-atoms. The sub-atom is not an empty space, but a built space cubical in form. It is invisible. However, it is recognised by a yogic sculptor as a power point containing creative elements numbering 8x8=64 mini spaces in every paramanu. This is Indian Nano Technology.”

The designing methodology which is adopted for any process of manifestation has its own rigour and logic. There is a strong relationship between the client, designer, builder, site and the larger environment. The traditional design process included the new design, corrections to existing design and additions or restorations made. The abstract theories of Vaastu can be applied in the building practice in a variety of ways. There are no finite limitations to the application. What is required today is an understanding of the concepts so that infinite ways of employing them in changing contexts may be experimented by designers and promoters. The critical criteria for the design of individual buildings or clusters, landscape, interiors and objects can be distilled as: •Understanding of the function, aesthetics and spiritual well-being of the space, or response to build space.

•Comprehending the connection between the designer, occupant, uncontained space and the building, or form and centre.

•Natural environment and symbols.

•Significance and orientation

10 Ganapati Sthapati

•The importance of cosmology in the life of people.

•The importance of shape, colour and size of the built form.

“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 this purpose, there is a unique mathematical formula or order in the tradition of Vaastu. This is known as Vaastu rahasya, the secret of the Vaastu tradition,” said Sthapati. He died on September 5, 2011 in Chennai at the age of 84.

History of Mayan: 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. 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. 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 (AinTiram) 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 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.

Ganapati Sthapati 11

Iraivan Temple The San Marga Iraivan Temple is a white granite stone Hindu temple, architectured

by Ganapati Sthapati, sculpted in India and currently under construction on the Hawaiian island of Kauai. The temple is dedicated to Shiva. “Iraivan” means “He who is worshipped,” and is one of the oldest words for God in the Tamil language. The Iraivan Temple is located next to the Wailua River and 5 miles (8 km) from Mount Waialeale. It is the first all-stone temple to be built in the United States. It is maintained by the Saiva Siddhanta Church, also known as Kauai Aadheenam and Kauai’s Hindu Monastery. Sri Trichy Mahaswamigal (d. 2005) of Kailash Ashram, Bangalore, describes the temple’s importance: “The Iraivan Temple is going to be to America what the temples of Chidambaram, Madurai, Rameshwaram, and other great Siva temples are to India.”

History Iraivan Temple was inspired by a vision of Sivaya Subramuniyaswami in which he saw Lord Shiva walking on the land where the temple is now located. It is intended as a place of pilgrimage for Hindus worldwide. Subramuniyaswami set three parameters for its design and construction: •that it follow traditional design according to the Saiva Agamas •that it be designed to last 1,000 years •that it be entirely carved by hand, without the use of any machinery.

The temple design was completed by V. Ganapati Sthapati in the late 1980s.

Carving of the 3,000-plus blocks of granite commenced in 1990 at a worksite in Bangalore, India. Beginning in 2001, the stone were shipped to Kauai and assembly begun by a team of shilpi temple carvers under the direction of a master architect or sthapati. The 3.2 million pound temple is expected to be completed in a few years.

Architecture The temple possesses a number of rare architectural features. The first is that it is being carved entirely by hand. Craftsmen follow and preserve traditional methods, shaping the stone with small hammers and utilizing over 70 types of chisels. The second feature is the 4-foot-thick (1.2 m) foundation is made of a crack-free, 7,000psi formula using “fly ash,” a by-product of coal burning. Fly ash consists of 12 Ganapati Sthapati

inorganic, incombustible matter present in the coal that has been fused during combustion into a glassy structure. The foundation was designed by Dr. Kumar Mehta, a materials scientist at the University of California, Berkeley, and was the first project to demonstrate his theories on the use of fly ash in concrete.

The third set of features is exhibitions of the stone carver’s craft. The foremost of these are two sets of “musical pillars” whose tall rods are designed to resonate precise musical tones when struck with a mallet. Others include six stone lions carved into the pillars each of which contains a stone ball freely rotatable in its mouth but not removable a large stone bell, and 10-foot-long (3.0 m) stone chains with loose links.

The temple is facing south and built according to Vaastu Science. Vaastu architecture aims at creating a space that will elevate the vibration of the individual to resonate with the vibration of the built space, which in turn is in tune with universal space. The whole space of the temple is defined in multiples and fractions of one unit, 11 feet (3.4 m) and 71/4 inches. Pillars through the temple are spaced and structured to serve as energy points for the building. Iraivan Temple will be completely free of electricity for mystical reasons, as decreed by Satguru Sivaya Subramuniyaswami.

The main murti, or worshipful icon, is a rare spathika Sivalinga, a pointed, six-faced 700-pound clear quartz crystal brought to Kauai following a vision. In the early 1980s, Subramuniyaswami had been seeing the crystal in his dreams. The stone, estimated to be 50 million years old, was not cut out of rock by the miner.

Instead, it was found in a perfect state encased in mud, probably harvested from its original outcropping by an earthquake.

In 1987, it was brought to Kauai. The quartz crystal (sphatika) of the Sivalinga is considered especially sacred because it represents the element akasha.

Current status The construction of the main pavilion is complete, and a few other ancillary structures are being worked on. The temple is expected to be inaugurated with a maha kumbha abhishekam in a few years. The current head of the project is Satguru Bodhinatha Veylanswami, leader of the monastery and successor to the founder.

Nanotechnology: It deals with materials and machines on an incredibly tiny scale, from 1 to 100 nanometres. A nanometre is one billionth (10-9) of a metre, which is tiny; only the length of ten hydrogen atoms, or about one hundred thousandth of the width of a hair. One of the areas in this field deals with developing new materials with dimensions on the nanoscale.

But it usually involves radically new and evolutionary processes to produce the nano form of the materials and then create the application products. These processes often need several days and lots of mechanical effort and electrical power to generate few kilograms of nano metal. Often, the substances are either unstable or have relatively limited stability properties, and are sensitive to heat, moisture and pressure.

Even as the research community is making advances in harnessing this potential around nano technology, (which was thought to be ‘science fiction’ till a few years back) a much lesser known fact is that our country has a rich legacy in nano technology. Not in recent history, but this legacy dates back several thousand years. From Tipu’s sword in recent century that is made from a very unique nano form metal alloy that is even now not fully understood, to the famous pillar in Delhi that is composed of nano metal alloys and all the way back to the Vedas that talk about substances with properties that are very much like the nano technology we know of today. It is this potential in the Vedas that inspired Dr. ABS Sastry, the translator of Ancient Aeronautics by Rishi Bharadwaja, a comprehensive ancient engineering book on Aeronautics, to look into several hidden scientific aspects in the scriptures, with material sciences being one area that is very richly covered in the Vedas.

Initially, when Dr. Sastry and his team started cracking the codes in the Vedas around producing

these metals and alloys six years back, the nano forms produced were unstable. But after further probing and analysis of the vedic codifications, the team improved the process. Now, Dr. Sastry’s team has the know-how and wherewithal to produce nine nano metals including copper, zinc, tin and iron, and three nano alloys.

His team successfully completed a project on ‘Some Corrosion resistant copper alloys based on Vedic texts’ sanctioned by Principal Scientific Advisor to the Government of India and the process on ‘Synthesis of nano copper by herbal route’ was patented, and the project findings were published by the same PSA office. In 2012, they commercialised the production of nano copper. Every batch is produced in 15 minutes, from ore using just herbs and kitchen vessels in their small workshop. It’s entirely a herbal process.

Power is not used at all. Compare this to the massive week-long metallurgical processes based on modern sciences, and one can comprehend how advanced the Vedas are. Little wonder then that Dr. Sastry’s team now has ten provisional patents around processes to produce nano metals and alloys. And in 2011, it won the National Innovation Award from Department of Science and Technology and CII, recognising that the nano copper produced by them is 99.999% pure at a much cheaper rate. This has been proven in few applications including healthcare where this copper-based solution totally eliminated E-coli bacteria, which has become a malignant problem in the world. This nano copper can withstand a temperature of 800°C, whereas the same produced by others cannot even withstand a temperature of 550-600°C. It’s time we revisit the advanced technology and scientific concepts given in our ancient texts and stop addressing them as mere ‘religious’ texts.

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Art in Space Space is everywhere.

Architecture, sculpture, painting, music and dance enclose, embody and evoke the experience of inner and outer space.

Wise men over the ages have noted patterns in nature from the largest macrocosmic entities in the cosmos to the tiniest microscopic particles, invisible to the naked eye. You could call them laws of nature. These geometrical blueprints structure all of creation. Each pattern is an archetypical foundation for objects in nature and each has unique vibrational resonances.

Yet each part is intricately and wondrously tied to the whole of creation - to shape a reality of unity permeating all of diversity. Buildings are a living organism, like the human nervous system, and can be designed in “harmonic resonance” with the basic underlying energy structure of the universe.

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 its own mathematical order or dynamics for changing into aural and visual forms. In Indian civilization, all temples, sculptures, architectural constructions are the creations by shilpis of the tradition of Vaastu Science. Being born of this tradition, these creations render not only physical pleasure but also spiritual bliss and wellbeing. This spiritual science molds us and directs us to experience the inexplicable spiritual bliss by affecting a communion between its own artistic creations and spiritual consciousness. Space is 16 Ganapati Sthapati

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 and to experience spiritual bliss.

Time Measure The unit of measure that India used before the advent of the British system implied a unique concept of time and space. This time-measure has come to be designated in the scientific field by a peculiar term called “Kala maanam” and in the technological domain as “Tala maanam”, each of which means “time-measure”. The “Time” that is known to the Vaastu Science is independent or absolute, not solar time, which is physical or relative.

There is a Tamil expression for signifying death: “Kalamanan”. This literally means that one has merged with “Time” or “dissolved in time”. This is very much expressive of the scientific concept of time as held in the Indian tradition of Vaastu. “Time” signifies growth of the physical body and the end of that body. Time creates, sustains and erases life.

This concept is not only applicable to objects in the universe, but also the universe itself. The universe

itself is a product of time. Time not only creates life but also give form to life. What is it that provides form to life? Is it not measure that gives form to life and makes it visible? Yes, time gives life and form. It is time that changes itself into measure. The physical measures as given in the table of time-units (next) and those of space measures (converted into linear measures) are indeed vibrational measures, or digital measures, which the Vaastu designers apply in their layout of spaces. They are universal measures and of universal applicability since they are derived from the vibration of the universal space. The conversion of time units into spatial measures signifies that Time is equal to Space. In India the Tala measure is most familiarly applied to the field of music and dance, but that same Tala system has been in force for centuries in the domain of sculpture, architecture and poetry.

This Tala measure is also denoted by another term, rhythm, which is used in the fields of music and dance all over the world. This Tala rhythm is used in the design of residential buildings, temple structures and sculptural forms. In the past, it was also used in designing furniture, vehicles and household utensils.

Form and Energy The vibration of energy is the causal element of space and spatial forms. This vibration is designated as Time or Kala in the Vaastu tradition. The inner space and the outer space feel and vibrate their feelings into numbers, which result into spatial forms

automatically. The process of form generation by the vibrant spirit takes place in between our experience and expression so swiftly that we have lost sight of the effective role of Time in the making of visual or aural forms. This particular aspect of the dynamism of the Spirit or Time was identified and quantified

by Mayan, the Indian scientist. It is he who has defined Time as the unit of vibration of Energy and also Time as absolute. This vibration and the process of form generation are the work of the universal spirit. The whole process of manifestation rests in the hands of Time, which is the innate quality of the Spirit -- the Viswa Brahman. Time is personified as Viswakarman (kinetic energy) and the Spirit as Viswa Brahman (potential energy). How the dynamics and the formulae of Viswakarman, the creator of the universe, have been realized and applied to create things of beauty and utility is the achievement of Vaastu Science. Through this science the human being is able to achieve unity with universal spirit while on Earth. All objects of nature are rhythmbound-forms or time-bound-forms. The generation of forms out of the vibration of energy-space is identified and quantified by Mayan as “Eight� and multiples of eight. In the table of time units and space units you will find the evolution of the measure starting from zero and evolving forms in multiples of eight. This number eight is held very sacred in Vaastu Science. The nature of the number eight is to turn into form.

Ganapati Sthapati 17

The Elementary Number Eight is the basic formula of rhythms influencing the growth of all animate forms. It is the rhythm of the universe: the primal universal vibration and, as such, it is Divine. Eight is the fundamental measure adopted by dancers, musicians, poets, architects and sculptors for all the growth of artistic forms that they generate from within. This eight, as the primal Tala unit, is called “adi-tala”. This, also, is the subtle tala experienced by human beings at the inner level of the heart. Vaastu measures are derived from this is Divine rhythm. All other talas are derivatives, thus giving rise to countless forms.

The human body itself has undergone this rhythmic growth. The full-fledged human body consists of eight units of measure: 1.3.2.2. This corresponds to the length of the face- 1 talam, torso- 3 talams, thigh- 2 talams and lower leg- 2 talams. From these tables we can see that the number “eight” is a very significant quality of universal measure. When “eight is taken as “Time” it is called rhythm and when it is taken as “Space”, it is also called rhythm. Now the question is how is this Talam or rhythm applied to the architecture of a building? In architecture Time-measure is taken as Space-measure. We have already introduced the fact that a building is a living organism by virtue of enclosing the energetic space and also the vibrations that it is capable of generating from within. When the building becomes the living space for an individual or family, the order attributed 18 Ganapati Sthapati

to the universal space should be established within the built space. Since this order or rhythm is a numerical measure -an architectural octave - the architect, with the knowledge of the science and application of this octave, designs the building with respect to it. In this way the occupants are facilitated in living in harmony with universal rhythm.

Angula Samkhya Table Table of Time units:

Table of Space units:

8 Ganam = 1 Lavam

8 Anu = 1 Kadhirthugal

8 Lavam = 1 Kaashtam

8 Kadhirthugal = 1 Immi

8 Laashtam = 1 Nimisham

8 Immi = 1 Ellu

8 Nimisham = 1 Tudi

8 Ellu = 1 Nel

8 Tudi = 1 Kuru

8 Nel = 1 Angula

2 Tudi = 1 Druham

6 Angulas = 1 Taalam

2 Druham = 1 Laghu

12 Angulas = 1 Vitasti

2 Laghu = 1 Kuru

24 Angulas = 1 Hasta

3 Laghu = 1 Puvadam

8 Hastam = 1 Dandam

4 Laghu = 1 Kaaka Padam

8 Dandam = 1 Rajju

Table of Vaastu Units 1 Angula

1-3/8 inches

24 Angulas = 1 Hasta

33 inches

space and symbols: The lotus is a very significant symbol for explaining form and aesthetics in the Indian tradition. Take the example of a pond filled with water, after the rains, with perfect lotus blooms among the floating green leaves. The pond is surrounded by undulating dunes, and it is there like a jewel, shimmering and perfect. This same form becomes totally different when the water has dried and the lotus lies above the squelching mud; then there is the other time late in the night when in the starlight the lotuses are tightly closed, and the surface of the pond is rippling in the darkness. In all this the pond, the flowers, the water and the environment are creating different patterns, in a variety of relationships with the space around. It is not possible to call one “better” than the other; the entire process of unfolding from one form into another is perfectly balanced within and without.

Trees, plants, water, earth and sky are there for us to connect with- older, wiser and more in touch with the eternal “being”. By connecting, by reaching out we are liberated, cleaned and healed. Take the case of the warli painting, which depicts a folk tale in a visual manner. It is a community’s offering of a view of life which enriches and expands the consciousness of the members of the tribe. It is also a simple historical of human community as well as the irreversible connections of people and

their environment. In traditional buildings, for depicting natural forms, literary and mythological characters and philosophical meanings, symbols were utilized in both secular and religious applications. This method of creating connections between occupants of a built space and their heritage through symbolism and mythology is a very significant art of the tradition. With the example of Goddess Kali, the esoteric connections of a community with the unmanifest energies of the environment can be better established. The female and male forces have been represented with implements and vehicles to help the individual comprehend the known and the live with the incomprehensible. Goddess Kali is the mother-figure who destroys the monsters of darkness and violence, and protects human kind with her benevolence. The skull necklace represents the goddess’ power over the pride of man and the loosened hair, free spirit which cannot be bound.

In the contemporary social system, it is important to review the need for the symbolic connection between people their natural environment and the vast repository of human collective wisdom. Symbols are thus abstract representations which enhance the beauty and the meanings of built forms and need to be explored by designers.

Ganapati Sthapati 19

The Savouring of Art Just as life force resides in the body, flavour resides within art forms, as the Divine Being.

Sringara

Karuna

Oftentimes, a designer wants the solution to the problem he/she is facing to be perfect and to solve all issues. What actually happens is that it opens doors to fresh problems and the designer must realize that his solution can only fit the context of the brief given to him. Oftentimes, the explanation of such work of a designer, escapes the layman. To him, what we do seems as something that he can never hope to understand and whose understanding requires a special substance in him which he does not possess.

Anything that the designer says or does is thus tagged so by the layman because there is no effort from the designer to break things down for him. Maybe this is only a layer of superficiality the designer dons and that by masking himself with jargon, he can avoid showing others that he himself does not know the elementary? Does he use this half-baked knowledge to exploit those who are unaware of what he does, into making them think that anything that he produces is of utmost importance? Is he misusing knowledge? Why then, does his profession seem so elitist, when it is only a mere way of life that can be taken up by anyone? How can it be right to expect from such work, an outcome which far exceeds the effort and time actually put into it?

Our problem is that we always want our lives to be an undulating plain of only comfort and satisfaction and any sign of misfortune, pain or suffering is feared and attempts for their removal are made such that pain, in any form, does not manifest itself 22 Ganapati Sthapati

Vira

in our lives again. Such are the expectations of our solutions- unrealistic and a perfect showcase of the greed that resides in us. We tend to give overimportance to a solution, revel in its glory, without paying any heed to the process that gave birth to it. Effort and time lie forgotten, appreciation of the process involved is discarded and all art is lost. We disturb the natural course of things- natural orderno longer respect time and yet expect every day events to traverse smoothly.

As a designer, what must primarily be done, is to look inwards, understand one’s roots and where they come from- their dreams, wishes and opinions- in order to use that information to assess anything and everything that is happening to them.

This self-awareness and rigorous discipline must be cultivated so that one is in tranquility with the events surrounding him on a worldly and universal level, and when that happens, one is at peace with Order. He realizes the order within him and the order outside him. It is that inner spirit which gets reflected on anything he touches which is why it is of supreme priority that the designer maintains his inner order so as to embed the products he makestheoretical or tangible- with the same creative effort. This is the spirit that resides in an artist’s work- his research, knowledge, effort, time spent, discipline and creativity, all within him visibly manifesting themselves in his output, what we call “work”. Once this manifestation has taken place,

Bhayanaka

it appropriately goes on to affect those who come in contact with it. This requires us to have utmost responsibility, for what we create is bestowed with such powers. Order is true to itself and order never lies, which is exactly why hasty attention paid during the process of work reflects itself within the haste with which the user handles that piece of work, while complete involvement in one’s process results in the creation of art which demands the respect that it deserves.

Joy and Rasa Behind this task of spontaneous creativity lies a whole universe of sadhana or rigour, shraddha or attentiveness, tala or timing, rasa or enjoyment and anubhava or experience. The process of creation demands from its creator a depth of commitment and discipline. Even as the artist/designer fashions the work of art, the rasa anubhava within the artist is being evoked and when the artist offers their work to the outside world, the inner essence of the artist is mingled with the manifested object. It is this blending and mingling of personal energy, discipline and beauty that gives the user a sense of delight and fulfillment. The traditional pot or any other hand-crafted object has all these elements built into its very structure. The design, the ability to be handled with ease, the aesthetic joy it evokes, and the simplicity of its maintenance are all qualities that form the core of the Indian tradition.

Hasya

The tranquil state or the satva nilai is that which makes the user realize the joyful nature of the spirit in its timeless, endless beauty. The feeling experienced by the spirit in moment of stillness and joy is known as rasa or savouring of the quintessence.

Salty, sour, pungent, sweet, astringent, bitter- each of these is a separate flavor in our food. When all these tastes blend, the tongue experiences a novel singular taste which is savoured and enjoyed. In the same way, the mind is constantly appreciating various distinct flavours and feelings which when gathered together as one vibrant joyous experience is called rasa. To elicit and enhance every individual’s response to and appreciation of art is one of the primary tasks of any artistic endeavor. The emotions brought to life are nine in number called navarasa or onbansuvai which are sringara (love), karuna (compassion), vira (valour), raudra (anger), hasya (amusement), bhayanaka (fear), bibhatsa (disgust), adbhuta (wonder) and shanta (tranquility).

The poet, painter or dancer has to set out each of the responses to any of the emotions he wants to depict. Only if the completed piece contains the different nuances of feelings , can the observer or the enjoyer be taken through his own personal levels of appreciation to culminate in a whole-hearted, complete savouring of the art. An artist who is capable of evoking such a total, blissful response in an observer is a great artist or kalaignan. The product of his creation is called kalai (art), since the Ganapati Sthapati 23

Raudra

artistic creation is the fruit of the total experience.

In the same way, the person who is capable of responding totally to the impact of such artistic creation is known as suvaignan or rasikan. Not everyone appreciates an artistic event or a work of art in the same fashion. This depends on the content and maturity of a person’s experience. Just as the essentially colourless ray of sunlight is transformed into different colours according to the prism it passes through, a word of art is changed depending on the rasika’s skills of appreciation. The happiness obtained by an individual from worldly life is not considered as suvai or savouring. This word is specifically used to describe the absorbing interest an individual derives from literature, dance, theatre, music, sculpture, etc.

When a person is faced with grief or pain in his life, he experiences sadness or sorrow. On the other hand, painful emotions evoked through artistic creations produce only joy and fulfillment in the observer.

Thus, emotions like fear, sorrow and anger that arise from art produce only happiness and fascination in the observer. Even if the feelings emerge out of separate emotional fields, the experience within the individual absorbing all these is one of joy and fulfillment. Whatever be the emotions evoked by art the rasikan experiences ony satisfaction. When the individual is tuned to this ability of the arts to transform all emotions into a uniform enjoyment, their capacity to meet the ups and downs in their own life with wisdom is greatly strengthened. This is a basic principle of the artistic world. Thus, it is clearly stated that such a strengthening of the human being’s psyche is a prime responsibility of the artist.

There is another profound assertion made by the artistic tradition with regard to the experience of the observer. Just as the tree contains within it the potential of fire or inflammability, the soul of the 24 Ganapati Sthapati

Bibhatsa

individual holds the experience and feelings of prior births. These memories are held unconsciously, and the arts are capable of evoking or awakening these powerful memories.

Sculpture is very closely linked to the traditions of literature and dance. Of the two, dance plays an important role in sculpture. In the case of dance, the various parts of the body, the arms, legs head, neck, wrist and so on, are brought into play to express deep and inner feelings and emotions. Hence, suvai or taste and sensibility is the life force of dance, and without it dance loses its potency and becomes an empty mechanical activity. As the sculptural tradition is closely allied to the field of dance, discernment or savouring forms an inherent and indivisible part of sculpture also.

Adbhuta

Yonis, the eight directions: In the technology of Indian architecture we find the use of the term “Yoni”. Every material object or built space has its own directions with respect to the Sun, namely East, SouthEast, South, South-West, West, North-West, North and North-East. These directional points are denoted by certain symbols signifying specific qualities. In this science of Vaastu it is held that from Microcosm to Macrocosm the qualities or properties inherent are the same, just as a particle of gold possesses the same properties as that of a big block of gold. The smallest part of space-energy possesses the same quality as the biggest particle of space-energy called the universe or universal space. These qualities are said to reflect in buildings. If built according to Vaastu principles, they become microcosms with the positive qualities of these subtle energies. These directional lines are linear passages or conduits for the energy to flow from the energy center of the structure. These energy lines radiate from the center of the Brahmasthan- the central area of a plot - in straight lines. It is evident that these directions are determined with respect to the Sun, which is a fixed point of energy in the vast space. The lines are present everywhere in the universe. In a true sense, there is no direction at all. The directions come into existence the minute the space becomes embodied and faces the Sun. The directional lines start from the center of the building and sprout in the eight directions.

These energies sustain all material forms. These directional lines are the lifelines of a built space. In

Shanta

the technological field, the Vaastu Vedins calculate the dimensions, particularly the peripheral measure, of the building. This calculation is not arbitrary, but is done with respect to the wavelength of the individual or individuals occupying the space.

They have a mathematical formula to calculate the wavelength, which is made up of “points” or “particles” or “units”. Added to that they also calculate various other qualities of the built space and one of these is the Yoni quality. The architect makes a choice of a measure suited to the occupants. The age of the building is also calculated (how long it will live). Remember that the building is a living organism and it vibrates and behaves like a human being. It is designed to possess qualities inherent in the human organism.

The word “yoni” literally means the genital organ of a female being through which descends a material form called the infant. The infant comes from a particle of space that undergoes metamorphosis into an embodied form by virtue of the constructive energy emanating from the soil of the mother. There are two ways for energy to flow, one of entry and one of exit in a straight line, in between there is a process of form generation.

This concept is incorporated in the design of a building signified by the entrance door opening and an opening at the back being in a straight line. This allows the energies lying inside and outside to move in and out without obstruction. It is the backbone of the structure.

It is called “vamsa dandam” literally meaning “backbone or “bamboo pole”. It is also know as “Brahma dandam” meaning “thread of Spirit”.

Ganapati Sthapati 25

Other Work Sthapati served as an architect for several buildings and sculptures, including the following: Sculpture of Tamil poet and saint Thiruvalluvar— Thiruvalluvar Statue at the southern tip of India at Kanyakumari, TN (measuring 133 feet in elevation).

•Design and Construction of University buildings including the Administrative block and library for Tamil University in Tanjore.

•Design and Construction of Valluvar Kottam in Chennai, TN, India.

•The Rajagopuram of Sri Ramar Temple and Sri Ganesh Shiva Durga Temple at The Hindu Temple of Greater Chicago complex Lemont, Illinois, United States.

•Sri Murugan Temple, Nadi-Fiji islands.

•The San Marga Iraivan Temple, Kauai, Hawaii.

•Granite sculpture of the Madhavi—heroine of the Tamil epic Silappathikaram, erected in an Art Gallery in Poompuhar, Chennai, TN, India.

•Projects in India and other countries.

Sthapati has authored a number of books on the science and technology of Vastu Shastra and has conducted numerous seminars.

•Building architecture of Stha-patya Veda. Dakshinaa Pub. House. 2005.

•The scientific edifice of Brihadeeswara temple, Tanjore Tamilnadu. Chennai, India: Dakshinaa Pub. House.

•Significance of vimanam & gopuram. Chennai, India: Dakshinaa Pub. House.

Books he has authored include Iconometry, Temples of Space Science: The Building Architecture of Sthapatya Veda and Commentary on Mayan’s Aintiram.

26 Ganapati Sthapati

Bibliography Penguin Guide to Vaastu: The Classical Indian Science of Architecture and Design, Sashikala Ananth Vaastu: A Path to Harmonious Living, Sashikala Ananth Prakrti: The Integral Vision Vol 3., Kapila Vatsyayan Indian Sculpture and Iconography, V. Ganapati Sthapati http://theinnerworld.in/ https://en.wikipedia.org/wiki/Iraivan_Temple http://www.sify.com/news http://www.vastu-design.com https://www.kannadigaworld.com http://know-your-heritage.blogspot.in/ https://en.wikipedia.org/wiki/Shilpa_Shastras http://www.hindupedia.com http://vastu-vidya-australia.com

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Dr. Vaidyanathan Ganapati Sthapati was a traditional architect, builder and sculptor of international repute. He came from the Sthapati clan, a family of hereditary designers and builders, many of whom have built famous monuments. He devoted a large part of his life to reviving the art and science of Vaastu Shastra, a traditional Hindu system of architecture which literally translates to “science of architecture�. This magazine explores his life, work and ideology of space and art.