Tuesday, February 25, 2020

view of ancient Indian knowledge of multiplication.


Ancient Books Show the Story of Multiplication

By Raj Vedam

27 Oct 2019
Ancient Indians had powers of 10 enumerated in the Rg Veda, which names numbers as large as 10 to the power of 62 and more. Surya Siddhanta shows large and small numbers, measuring time from 10 to the power of 22 seconds up to 10 to the power of minus 7 seconds. The Yajur Veda discusses the nature of infinity in the famous “Purnamidam” mantra. Later Buddhist works name very large numbers, with 10 to the power of 421, and much larger. These instances show knowledge of doubling as a means for multiplication and diminishing as a means for division from the very early Vedic era thru the Buddhist era.
Baudhayana who is Western-dated questionably to 800 BCE shows knowledge of squares and square-roots in Sulba Sutras. Aryabhata (499 CE) in Aryabhatiya proposed an algorithm called “Kuttaka” to solve linear equations in integer variables which required multiplication and division. By the time of Brahmagupta (625 CE), ancient Indians had rules for multiplication with negative positive and zero numbers as seen in Brahmasputasiddhanta. From Bhaskara II (1125 CE) to the time of Madhava (1400 CE) saw the development of rudimentary calculus, as well as infinite series expansion of several functions, showing advanced knowledge.
It is instructive to see how multiplication was done in other societies in the ancient world.
The Egyptians used repeated doubling of numbers to multiply as seen in their earliest work, “Moscow papyrus” of 1800 BCE, a period after contact with migrants from India, around 1900 BCE.
The Sumerians who worked with the Harappans had a base-60 system which was inherited in neo-Babylonia, and between 300- 400 BCE, we see multiplication tables till 59 in Cuneiform tablets. Ancient Indian trade with the Sumerians, Kassites, Babylonians thru ports from Bharuch and Lothal to ancient Red Sea and Persian Gulf ports permitted transmission of Indian knowledge in various time periods, accounting for similarities seen in stories, medicine, astronomy and math.
The Greeks used repeated doubling similar to the Egyptians to do rudimentary multiplication, and are known to have origins in the Pythagorean School, influenced by ancient India.
The Chinese had multiplication tables at least by 300 BCE as seen in a recent find by Tsinghua Univ (see the picture). The book Nine Chapters on Mathematical Arts (between 100 CE – 250 CE) even discussed a method of solving simultaneous linear equations, indicating knowledge of multiplication and division. The Chinese benefited with Buddhist knowledge transfers of Indian math and medicine over an extended period of time.
The Arabs learnt arithmetic and astronomy including several other fields of study from Sanskrit works translated to Arabic and Persian in the 8th-12th centuries, notably using Al Khwarizmi’s 825 CE work, On the Calculation with Hindu Numerals, as well as translations of Brahmagupta’s works, which included decimal place value multiplication.
Europe learnt about Indian numerals via Arabic works translated to Latin such as Algoritmi de numero Indorum in the 11th-13thcenturies in Toledo, but were thwarted by the Church for use of “Satan’s numbers”, fearful of “zero” and “infinity”.
Fibonacci introduced Indian numerals to Western Europe in 1200s, but adoption was slow till invention of the printing press and works by Adam Ries, a German who wrote a popular text showing how to do arithmetic using Indian numerals in 1500s.
In Britain, the first evidence we have of place-value multiplication is in Robert Recorde’s works, for example in his 1556 book, The Castle of Knowledge, (see the picture below, where a number is cubed), many thousands of years after Indians were routinely multiplying large numbers.
One has to wonder how Britain matured in math from the elementary arithmetic in this 1556 book to Isaac Newton (1643-1727), allegedly inventing calculus in deep rivalry with Leibnitz, in about 100 years of gestation of mathematical ideas and principles.
And at the same time, India that was light-years ahead of Europe in math went behind by 1700s, and its educational system lay in ruins by 1850s.(See Sahana Singh's book, The Educational Heritage of Ancient India: How an Ecosystem of Learning Was Laid to Waste).
While there is no doubt about the development of modern mathematics post 1700s in Europe even as classical civilizations were being ravaged by the colonialists, their dearth of citation to earlier works that they built upon has led to a regrettable industry of Eurocentric works that posit the birth of all math in Babylon, Greece and Europe, with just grudging nods to Indian, Chinese and Arabic mathematicians of ancient times.

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Sunday, February 23, 2020

GP.

http://bit.ly/37mPjP9

Indication of the future incarnation.

We visited this temple immediately after having the darshanam of the great Lord Attivaradar at Kanchi. Still being in the state of mesmerized bliss on seeing the Lord and after  tasting the hot Mysore pak the visit to this temple will be etched in our minds for a long time to come we felt  very positive welcome vibes as if the Lord was saying there you were rushed through look at me at leisure to your hearts content and the thairsadam prasadam still lingers in us. Grand children were given a second helping. A beautiful temple a memorable visit felt blessed. 
The Visvaroopa Lakshmi Narasimha Temple is located at a distance of about 60 kms from chennai at Kattavakkam village Walajabad  via padappai.


The gigantic majesty and the fascinating grandeur of the sixteen feet tall idol and felt moved by the delightfully awe-inspiring Divine Form of the Lord. The total height of the Form of the Lord from the base till the hoods of ‘Adhisesha’ is 25 feet.


The exquisitely sculpted ‘Divya Mangala Moola Vigraham’ of the Lord , has the distinctly unique features exactly in line with the description of the Lord as found in the ‘Brahma Sthuthi’ ( ‘Dhyana Sloka’ ) of Sri Lakshmi Nrusimha preceding the ‘Lakshmi Nrusimha Sahasranama Sthothra’.
  the Lord displays an extremely pleased and a broadly smiling face (‘athiprasanna vadhanam’)with a very condescendingly kind mood for responding to all our prayers, is seated in the Yogic posture with His consort ‘Lakshmi’ seated on His left lap who is embracing the Lord with Her right hand and holding a lotus flower on Her left hand. The Lord wields the ‘Sudarsana Chakra’ on His back right hand and the bow and arrow on His back left hand (as the fore-running indication of the fame He intends to acquire wielding these ‘Kodanda’ in the subsequent ‘Yuga’ in the Rama Avatara) while His both the forehands are in the usual ‘Abhaya Hastha’ and ‘Varada Hastha’ postures. Nrusimha also known as ‘Athirudra’, in this holy Form has three eyes, the third one on His forehead and the ‘Adhisesha’ above His head has seven hoods (like the seven flames of the sacred fire, ‘Saptha Jihva’) each with a separate crown and sparkling ‘Nagarathna’ above each head.
 

quotes from vedas

“Do not be led by others,
awaken your own mind,
amass your own experience,
and decide for yourself your own path.”
― Veda

“This earth is His, to Him belong those vast and boundless skies;Both seas within Him rest, and yet in that small pool He lies.”
― Atharvaveda

“O Indra, destroy all
those lustful people
behaving like birds....
angry ones
behaving like wolves....
greedy ones
behaving like vultures....
enticed ones
behaving like owls.....
arrogant ones
behaivng like eagles
and the jealous ones
behaving like dogs.”
― Veda
"Through all this world strode Vishnu:
thrice his foot he planted,
and the whole world was gathered in his footsteps.
Vishnu, the guardian,
he whom none deceiveth,
made three steps and established his laws."
-the Sama Veda (8:2:5)
“One should strongly resent miserliness
and indulge in charity
because one can acquire the never-ending wealth
of immortality by doing so.”
-The Rig Veda


"Hail, Water,
ye bring health and bliss:
ye help us to energy.
That we may look on great delight!
-the Sama Veda (9:2:10


“One should performed karma for the benefit of humanity
with an unbiased approach because bias gives birth to evil,
which creates thousands of obstacles in our path. ”
The Rig Veda






One not knowing a land asks of one who knows it,
he goes forward instructed by the knowing one.
Such, indeed, is the blessing of instruction,
one finds a path that leads him straight onward.

“One ruins the mind
if he or she indulges in bad deeds
and ends up in misery. ”
The Rig Veda


“The person who is always involved in good deeds experiences incessant divine happiness. ”
-The Rig Veda



By self dedication (Vrata) one obtains consecration (Diksha)
By consecration one obtains grace (Dakshina)
By grace one obtains reverence (Sraddha),

By reverence is Truth (satya) obtained YV.Vs 19-30

When, Lord of our prayer, the first of Speech and the foremost
The sages uttered, giving the unnamed a name,
Which was their best and their most stainless, then they
With love revealed the Divine secret in their souls RV 10-71-1

You who by the Dharma (law) has spread about
Flowering and seed bearing plants and streams of water
You who generate the matchless lightning in the sky RV 2-13-7







Wednesday, February 19, 2020

Tuesday, February 18, 2020

SR of Sarangadeva

Digital Rare Book:
Sangita Ratnakara Of Sarangadeva
Chapter On Dancing
Translated By K Kunjunni Raja and Radha Burnier
Published by The Adyar Library and Research Center, Madras - 1976
Read book online:
Download pdf book:
The Sangita-Ratnakara, literally "Ocean of Music and Dance", is one of the most important Sanskrit musicological texts from India. Composed by Śārṅgadeva in the 13th century, both Hindustani music and Carnatic music traditions of Indian classical music regard it as a definitive text. The author was a part of the court of King Singhana II (1210–1247) of the Yādava dynasty whose capital was Devagiri, Maharashtra.
The text is divided into seven chapters. The first six chapters, Svaragatadhyaya, Ragavivekadhyaya, Prakirnakadhyaya, Prabandhadhyaya, Taladhyaya and Vadyadhyaya deal with the various aspects of music and musical instruments, while the last chapter Nartanadhyaya deals with dance. The medieval era text is one of the most complete historical Indian treatises on the structure, technique, and reasoning on music theory that has survived into the modern era, and is a comprehensive voluminous text on ragas (chapter 2) and talas (chapter 5).
The text is comprehensive synthesis of ancient and medieval musical knowledge of India. The text has been frequently quoted by later Indian musicologists in their music and dance-related literature. Significant commentaries on the text include the Sangitasudhakara of Simhabhupala (c. 1330) and the Kalanidhi of Kallinatha (c. 1430).
Author
Sangita Ratnakara was written by Sarangadeva, also spelled Sarngadeva or Sharangadeva. Sarangadeva was born in a Brahmin family of Kashmir. In the era of Islamic invasion of the northwest regions of the Indian subcontinent and the start of Delhi Sultanate, his family migrated south and settled in the Hindu kingdom in the Deccan region near Ellora Caves (Maharashtra). Sarangadeva worked as an accountant with freedom to pursue his music interests in the court of King Singhana II (1210–1247) of the Yadava dynasty.
Content
The text is a Sanskrit treatise on Sangita or music-related performance arts tradition.Sangita is stated by the text as a composite performance art consisting of Gita (melodic forms, song), Vadya (instrumental music) and Nrtta (dance, movement).
The 13th-century Sangita Ratnakara classifies Sangita into two kinds: Marga-sangita and Desi-sangīita. Marga refers to the classical techniques taught by Bharata in Natya Shastra. Desi Sangita refers to regional improvisations that may not follow the classical rules and structure for the music and performance arts.
The text has seven chapters:
Svaragatādhyāya (sound system)
Rāgavivekādhyāya (raga)
Prakīrņakādhyāya (performing practice)
Prabandhādhyāya (compositions, poetic meter)
Tālādhyāya (tala)
Vādyādhyāya (musical instruments)
Nartanādhyāya (dance)
The first chapter has eight sections. It opens with reverential verses to the Hindu god Shiva, who is called the "embodiment of sound, sung about by the entire world" and the one delighting according to the Vedas.The author pays homage to his ancestors, then to ancient scholars such as Bharata, Matanga, Dattila and Narada, as well as major gods and goddesses of Hinduism in first section of the first chapter. In the second section, there is hardly any mention of music or dance, rather Sarngadeva presents his metaphysical and physiological beliefs, as well as credits the origin of music to the Samaveda. He presents musical topics and definitions of musical concepts starting with section three of the first chapter, with frequent mentions of Shiva and the Hindu goddess Saraswati.
According to Sarngadeva's verses 27-30 of the section 1.1, song is everywhere, in the cry of a baby, in the beats of nature, in the pulse of life, in every human act of Dharma, Artha, Kama and Moksha. The sections 3 through 8 of the first chapter describe nada (sound), svara (tone), śruti (microinterval), gramas (primary scales), murcchanas (derivative scales), varna (color), jati (mode), alankara (embellishment), giti (singing styles), meters and other basic musical concepts.
The suddha (pristine) svaras are those in the Sama Veda, states the text.
- Wikipedia
Photo credit:
Swaminathan Natarajan Photography

Monday, February 17, 2020

sleeping Rama.

Temple at  Vengadampatti or a sleeping Ram.
Temple was renovated by support they had received from Sri Baskara Gurukkal of Germany in doing so. The EO also mentioned that efforts were now on to repair the compound wall around the temple, and renovate the Vijayanagara period Rajagopuram 
Two gigantic Dwarapalakas flank either side of the Sanctum Sanctorum where the main deity Sri Venugopalaswamy resides with his consorts Radha and Rukmani.
In a separate enclosure, lies the 19 feet Sri Rama on a seven hooded Adisesha, with Sita Devi and Hanuman at his feet. The sight of the absolutely handsome Rama, resting so gracefully, literally takes your breath away. 


Other rare and dazling feature of the temple is dharshan of Sri Anandhasayana Ramar. One may ask why it is rare. Ramar always in the standing posture in all  temples. Sayana Kolam (sleeping posture) is very rare. The deity is about 18 feet, sleeping on Adhi Sesha  and Goddess Seetha in sitting posture. The face of Lord Rama is as beautiful as Lord Ranganatha. One may wonder why it is Sri Ramar and Not Lord Ranganatha.It is clear from the explanation given by the Battacharriyar that Anandhasayana Ramar has two hands  and have no counch and chakra as lord assumes human form. Lord keeps his head in a stone as he was in the exile in the forest. Lord Ranganatha have two consorts Sridevi and Bhoodevi. Here Ramar has one consort. Lakshmana, avatar of Adhisesha always with Lord exists here in the form of 7 head Adhi seshsa. More so LordAnjeneya as bhaktha in front of his feet. It clearly tells it is a Sayana Ramar a rare deity. To the knowledge of many one more Sayana Ramar is  in Thirupullani near Rameswaram.



Anandhasayana  Ramar temple at this place is more apt for other reason also. That, this place was a dense forest earlier and named as Thennarkadu (South Forest) and many name of the habitats in these are  depicting Ramayana. Just for example Thindivanam, Villupuram, Seethakuppam, Ammbu booti palayam like that. The distance all these place are about 80 kms. More evidance is available like these to show Lord Ramas was wandering  in this area. Sayana Ramar is the will of the God and dazzling posture to protect and liberate the devotees.