Category Archives: Historical / Scientific facts

The purpose of this category is to rewrite the TRUE & AUTHENTIC World & Indian History without any Pride or Prejudice towards any individual or community or country or religion. Also the purpose of this category is to explore the Sciences behind different Customs & Traditions, Rituals & Followings, Mythology & Scriptures.

Raghav-Yadviyam Kavya

" दक्षिण का एक ग्रन्थ "

क्या ऐसा संभव है कि जब आप किताब को सीधा पढ़े तो रामायण की कथा पढ़ी जाए और जब उसी किताब में लिखे शब्दों को उल्टा करके पढ़े
तो कृष्ण भागवत की कथा सुनाई दे।

जी हां, कांचीपुरम के 17वीं शदी के कवि वेंकटाध्वरि रचित ग्रन्थ "राघवयादवीयम्" ऐसा ही एक अद्भुत ग्रन्थ है।

इस ग्रन्थ को
‘अनुलोम-विलोम काव्य’ भी कहा जाता है। पूरे ग्रन्थ में केवल 30 श्लोक हैं। इन श्लोकों को सीधे-सीधे
पढ़ते जाएँ, तो रामकथा बनती है और
विपरीत (उल्टा) क्रम में पढ़ने पर कृष्णकथा। इस प्रकार हैं तो केवल 30 श्लोक, लेकिन कृष्णकथा के भी 30 श्लोक जोड़ लिए जाएँ तो बनते हैं 60 श्लोक।

पुस्तक के नाम से भी यह प्रदर्शित होता है, राघव (राम) + यादव (कृष्ण) के चरित को बताने वाली गाथा है ~ "राघवयादवीयम।"

उदाहरण के तौर पर पुस्तक का पहला श्लोक हैः

वंदेऽहं देवं तं श्रीतं रन्तारं कालं भासा यः ।
रामो रामाधीराप्यागो लीलामारायोध्ये वासे ॥ १॥

अर्थातः
मैं उन भगवान श्रीराम के चरणों में प्रणाम करता हूं, जो
जिनके ह्रदय में सीताजी रहती है तथा जिन्होंने अपनी पत्नी सीता के लिए सहयाद्री की पहाड़ियों से होते हुए लंका जाकर रावण का वध किया तथा वनवास पूरा कर अयोध्या वापिस लौटे।

विलोमम्:

सेवाध्येयो रामालाली गोप्याराधी भारामोराः ।
यस्साभालंकारं तारं तं श्रीतं वन्देऽहं देवम् ॥ १॥

अर्थातः
मैं रूक्मिणी तथा गोपियों के पूज्य भगवान श्रीकृष्ण के
चरणों में प्रणाम करता हूं, जो सदा ही मां लक्ष्मी के साथ
विराजमान है तथा जिनकी शोभा समस्त जवाहरातों की शोभा हर लेती है।

" राघवयादवीयम" के ये 60 संस्कृत श्लोक इस प्रकार हैं:-

राघवयादवीयम् रामस्तोत्राणि
वंदेऽहं देवं तं श्रीतं रन्तारं कालं भासा यः ।
रामो रामाधीराप्यागो लीलामारायोध्ये वासे ॥ १॥

विलोमम्:
सेवाध्येयो रामालाली गोप्याराधी भारामोराः ।
यस्साभालंकारं तारं तं श्रीतं वन्देऽहं देवम् ॥ १॥

साकेताख्या ज्यायामासीद्याविप्रादीप्तार्याधारा ।
पूराजीतादेवाद्याविश्वासाग्र्यासावाशारावा ॥ २॥

विलोमम्:
वाराशावासाग्र्या साश्वाविद्यावादेताजीरापूः ।
राधार्यप्ता दीप्राविद्यासीमायाज्याख्याताकेसा ॥ २॥

कामभारस्स्थलसारश्रीसौधासौघनवापिका ।
सारसारवपीनासरागाकारसुभूरुभूः ॥ ३॥

विलोमम्:
भूरिभूसुरकागारासनापीवरसारसा ।
कापिवानघसौधासौ श्रीरसालस्थभामका ॥ ३॥

रामधामसमानेनमागोरोधनमासताम् ।
नामहामक्षररसं ताराभास्तु न वेद या ॥ ४॥

विलोमम्:
यादवेनस्तुभारातासंररक्षमहामनाः ।
तां समानधरोगोमाननेमासमधामराः ॥ ४॥

यन् गाधेयो योगी रागी वैताने सौम्ये सौख्येसौ ।
तं ख्यातं शीतं स्फीतं भीमानामाश्रीहाता त्रातम् ॥ ५॥

विलोमम्:
तं त्राताहाश्रीमानामाभीतं स्फीत्तं शीतं ख्यातं ।
सौख्ये सौम्येसौ नेता वै गीरागीयो योधेगायन् ॥ ५॥

मारमं सुकुमाराभं रसाजापनृताश्रितं ।
काविरामदलापागोसमावामतरानते ॥ ६॥

विलोमम्:
तेन रातमवामास गोपालादमराविका ।
तं श्रितानृपजासारंभ रामाकुसुमं रमा ॥ ६॥

रामनामा सदा खेदभावे दया-वानतापीनतेजारिपावनते ।
कादिमोदासहातास्वभासारसा-मेसुगोरेणुकागात्रजे भूरुमे ॥ ७॥

विलोमम्:
मेरुभूजेत्रगाकाणुरेगोसुमे-सारसा भास्वताहासदामोदिका ।
तेन वा पारिजातेन पीता नवायादवे भादखेदासमानामरा ॥ ७॥

सारसासमधाताक्षिभूम्नाधामसु सीतया ।
साध्वसाविहरेमेक्षेम्यरमासुरसारहा ॥ ८॥

विलोमम्:
हारसारसुमारम्यक्षेमेरेहविसाध्वसा ।
यातसीसुमधाम्नाभूक्षिताधामससारसा ॥ ८॥

सागसाभरतायेभमाभातामन्युमत्तया ।
सात्रमध्यमयातापेपोतायाधिगतारसा ॥ ९॥

विलोमम्:
सारतागधियातापोपेतायामध्यमत्रसा ।
यात्तमन्युमताभामा भयेतारभसागसा ॥ ९॥

तानवादपकोमाभारामेकाननदाससा ।
यालतावृद्धसेवाकाकैकेयीमहदाहह ॥ १०॥

विलोमम्:
हहदाहमयीकेकैकावासेद्ध्वृतालया ।
सासदाननकामेराभामाकोपदवानता ॥ १०॥

वरमानदसत्यासह्रीतपित्रादरादहो ।
भास्वरस्थिरधीरोपहारोरावनगाम्यसौ ॥ ११॥

विलोमम्:
सौम्यगानवरारोहापरोधीरस्स्थिरस्वभाः ।
होदरादत्रापितह्रीसत्यासदनमारवा ॥ ११॥

यानयानघधीतादा रसायास्तनयादवे ।
सागताहिवियाताह्रीसतापानकिलोनभा ॥ १२॥

विलोमम्:
भानलोकिनपातासह्रीतायाविहितागसा ।
वेदयानस्तयासारदाताधीघनयानया ॥ १२॥

रागिराधुतिगर्वादारदाहोमहसाहह ।
यानगातभरद्वाजमायासीदमगाहिनः ॥ १३॥

विलोमम्:
नोहिगामदसीयामाजद्वारभतगानया ।
हह साहमहोदारदार्वागतिधुरागिरा ॥ १३॥

यातुराजिदभाभारं द्यां वमारुतगन्धगम् ।
सोगमारपदं यक्षतुंगाभोनघयात्रया ॥ १४॥

विलोमम्:
यात्रयाघनभोगातुं क्षयदं परमागसः ।
गन्धगंतरुमावद्यं रंभाभादजिरा तु या ॥ १४॥

दण्डकां प्रदमोराजाल्याहतामयकारिहा ।
ससमानवतानेनोभोग्याभोनतदासन ॥ १५॥

विलोमम्:
नसदातनभोग्याभो नोनेतावनमास सः ।
हारिकायमताहल्याजारामोदप्रकाण्डदम् ॥ १५॥

सोरमारदनज्ञानोवेदेराकण्ठकुंभजम् ।
तं द्रुसारपटोनागानानादोषविराधहा ॥ १६॥

विलोमम्:
हाधराविषदोनानागानाटोपरसाद्रुतम् ।
जम्भकुण्ठकरादेवेनोज्ञानदरमारसः ॥ १६॥

सागमाकरपाताहाकंकेनावनतोहिसः ।
न समानर्दमारामालंकाराजस्वसा रतम् ॥ १७ विलोमम्:
तं रसास्वजराकालंमारामार्दनमासन ।
सहितोनवनाकेकं हातापारकमागसा ॥ १७॥

तां स गोरमदोश्रीदो विग्रामसदरोतत ।
वैरमासपलाहारा विनासा रविवंशके ॥ १८॥

विलोमम्:
केशवं विरसानाविराहालापसमारवैः ।
ततरोदसमग्राविदोश्रीदोमरगोसताम् ॥ १८॥

गोद्युगोमस्वमायोभूदश्रीगखरसेनया ।
सहसाहवधारोविकलोराजदरातिहा ॥ १९॥

विलोमम्:
हातिरादजरालोकविरोधावहसाहस ।
यानसेरखगश्रीद भूयोमास्वमगोद्युगः ॥ १९॥

हतपापचयेहेयो लंकेशोयमसारधीः ।
राजिराविरतेरापोहाहाहंग्रहमारघः ॥ २०॥

विलोमम्:
घोरमाहग्रहंहाहापोरातेरविराजिराः ।
धीरसामयशोकेलं यो हेये च पपात ह ॥ २०॥

ताटकेयलवादेनोहारीहारिगिरासमः ।

हासहायजनासीतानाप्तेनादमनाभुवि ॥ २१॥

विलोमम्:
विभुनामदनाप्तेनातासीनाजयहासहा ।
ससरागिरिहारीहानोदेवालयकेटता ॥ २१॥

भारमाकुदशाकेनाशराधीकुहकेनहा ।
चारुधीवनपालोक्या वैदेहीमहिताहृता ॥ २२॥

विलोमम्:
ताहृताहिमहीदेव्यैक्यालोपानवधीरुचा ।
हानकेहकुधीराशानाकेशादकुमारभाः ॥ २२॥

हारितोयदभोरामावियोगेनघवायुजः ।
तंरुमामहितोपेतामोदोसारज्ञरामयः ॥ २३॥

विलोमम्:
योमराज्ञरसादोमोतापेतोहिममारुतम् ।
जोयुवाघनगेयोविमाराभोदयतोरिहा ॥ २३॥

भानुभानुतभावामासदामोदपरोहतं ।
तंहतामरसाभक्षोतिराताकृतवासविम् ॥ २४॥

विलोमम्:
विंसवातकृतारातिक्षोभासारमताहतं ।
तं हरोपदमोदासमावाभातनुभानुभाः ॥ २४॥

हंसजारुद्धबलजापरोदारसुभाजिनि ।
राजिरावणरक्षोरविघातायरमारयम् ॥ २५॥

विलोमम्:
यं रमारयताघाविरक्षोरणवराजिरा ।
निजभासुरदारोपजालबद्धरुजासहम् ॥ २५॥

सागरातिगमाभातिनाकेशोसुरमासहः ।
तंसमारुतजंगोप्ताभादासाद्यगतोगजम् ॥ २६॥

विलोमम्:
जंगतोगद्यसादाभाप्तागोजंतरुमासतं ।
हस्समारसुशोकेनातिभामागतिरागसा ॥ २६॥

वीरवानरसेनस्य त्राताभादवता हि सः ।
तोयधावरिगोयादस्ययतोनवसेतुना ॥ २७॥

विलोमम्
नातुसेवनतोयस्यदयागोरिवधायतः ।
सहितावदभातात्रास्यनसेरनवारवी ॥ २७॥

हारिसाहसलंकेनासुभेदीमहितोहिसः ।
चारुभूतनुजोरामोरमाराधयदार्तिहा ॥ २८॥

विलोमम्
हार्तिदायधरामारमोराजोनुतभूरुचा ।
सहितोहिमदीभेसुनाकेलंसहसारिहा ॥ २८॥

नालिकेरसुभाकारागारासौसुरसापिका ।
रावणारिक्षमेरापूराभेजे हि ननामुना ॥ २९॥

विलोमम्:
नामुनानहिजेभेरापूरामेक्षरिणावरा ।
कापिसारसुसौरागाराकाभासुरकेलिना ॥ २९॥

साग्र्यतामरसागारामक्षामाघनभारगौः ॥
निजदेपरजित्यास श्रीरामे सुगराजभा ॥ ३०॥

विलोमम्:
भाजरागसुमेराश्रीसत्याजिरपदेजनि ।स
गौरभानघमाक्षामरागासारमताग्र्यसा ॥ ३०॥

॥ इति श्रीवेङ्कटाध्वरि कृतं श्री ।।

कृपया अपना थोड़ा सा कीमती वक्त निकाले और उपरोक्त श्लोको को गौर से अवलोकन करें की दुनिया में कहीं भी ऐसा नही पाया गया ग्रंथ है ।

शत् शत् प्रणाम ऐसे रचनाकार को। 🙏

Connection between diff Body parts & Planets !!

Did you know that every finger in your hand is connected to a planet? ~ Sri Sri 
Every finger in your hand is connected to a planet. The thumb is connected to Mars. Mars stays alone.

Index finger is connected to Jupiter (Jupiter shows the path, it is the teacher). When you want to show something, you show using the index finger, this is Jupiter. The middle finger is connected to Saturn; Saturn is the servant. The ring finger is connected to the Sun; the Sun is the king. And who owns the jewels? The king, and so you put rings only on the ring finger. That’s why it’s called the ring finger. The little finger is connected to Mercury. So when you do chin mudra, what is happening? The index finger (Jupiter) and the thumb (Mars) are coming together, that is wisdom and power.
Why is the thumb connected to Mars? It is because whenever you win, what do you do? You put your thumbs up. Thumbs up is a sign of victory. When you lose what do you do? You put your thumbs down. So these gestures are so inbuilt in us.
Different planets affect different parts of your body. Your teeth is connected to Saturn. Your eyes are connected to the Sun, your cheeks are connected to Venus, forehead to Mercury, nose to Jupiter. I mean this as the connection of microcosm with the macrocosm. It is so fascinating!
Similarly, moods depend on the moon. A mood does not stay for more than two and a quarter day. That is the amount of time the moon is at one place. The moment the moon moves from that place; your mood also changes. And when the moon and Saturn combine, people get depressed. So these emotions, these feelings, they come and they go away. Nothing is permanent. No planet is permanently stationary in one place. They all move. But when you identify yourself with any one of these emotions, you get stuck. That’s when you don’t move. That is when it infiltrates into your body and you get sick, and all such things happen. Isn’t it fascinating? So what is the way? How to move on from that?
On a cloudy day, when a flight takes off, what does it do? It goes above the clouds, and then there is sunshine. That is what the spiritual practices are. They move us away from the Chit Akasha(the space of the mind) to the Chida Akasha(space of pure consciousness). We move beyond all the emotions.
9 planets moving through the 12 constellations brings 108 units of change. So to enhance the good effects and to reduce the malefic effects, ‘Om Namah Shivaya’ is chanted 108 times. That uplifts you, uplifts your spirit, and takes you beyond. It connects you to the Chida Akash(space of pure consciousness).

Madhava the Medieval India Mathematical Genius

Madhava of Sangamagrama (c. 1340 – c. 1425), was an Indian mathematician-astronomer from the town of Sangamagrama. His writings were later transmitted to Europe via Jesuit missionaries and traders who were active around the ancient port of Muziris at the time. As a result, it had an influence on later European developments in analysis and calculus.His birth place Sangamagrama is present-day Irinjalakuda near Thrissur, Kerala, India.

He was the first to use infinite series approximations for a range of trigonometric functions, which has been called the “decisive step onward from the finite procedures of ancient mathematics to treat their limit-passage to infinity“.

One of the greatest mathematician-astronomers of the Middle Ages, Madhava made pioneering contributions to the study of infinite series, calculus, trigonometry, geometry, and algebra.
Madhava was born as Irińńaŗappiļļy or Iriññinavaļļi Mādhava . He had written that his house name was related to the Vihar where a plant called “bakuļam” was planted. Bakuļam was locally known as “iraňňi”.

Irinjalakuda was once known as ‘Irińńāţikuţal’. Sangamagrāmam (lit. sangamam = union, grāmam = village) is a rough translation to Sanskrit from Dravidian word ‘Irińńāţikuţal’, which means ‘iru (two) ańńāţi (market) kǖţal (union)’ or the union of two markets.
Madhava provided the creative impulse for the development of a rich mathematical tradition in medieval Kerala. However, most of Madhava’s original work (except a couple of them) is lost. He is referred to in the work of subsequent Kerala mathematicians, particularly in Nilakantha Somayaji’s Tantrasangraha (c. 1500), as the source for several infinite series expansions, including sinθ and arctanθ.

The 16th-century text Mahajyānayana prakāra cites Madhava as the source for several series derivations for π. In Jyeṣṭhadeva’s Yuktibhāṣā (c. 1530), written in Malayalam, these series are presented with proofs in terms of the Taylor series expansions for polynomials like 1/(1+x2), with x = tanθ, etc.
As per the old Indian tradition of starting off new chapters with elementary content, the first four chapters of the Yuktibhasa contain elementary mathematics, such as division, proof of Pythagorean theorem, square root determination, etc.

The radical ideas are not discussed until the sixth chapter on circumference of a circle. Yuktibhasa contains the derivation and proof of the power series for inverse tangent, discovered by Madhava.
In the text, Jyesthadeva describes Madhava’s series in the following manner:

“The first term is the product of the given sine and radius of the desired arc divided by the cosine of the arc. The succeeding terms are obtained by a process of iteration when the first term is repeatedly multiplied by the square of the sine and divided by the square of the cosine. All the terms are then divided by the odd numbers 1, 3, 5, …. The arc is obtained by adding and subtracting respectively the terms of odd rank and those of even rank. It is laid down that the sine of the arc or that of its complement whichever is the smaller should be taken here as the given sine. Otherwise the terms obtained by this above iteration will not tend to the vanishing magnitude.”
This is wrongly attributed to James Gregory, who discovered it three centuries after Madhava.
Madhava laid the foundations for the development of calculus, which were further developed by his successors at the Kerala school of astronomy and mathematics.

(It should be noted that certain ideas of calculus were known to earlier mathematicians.) Madhava also extended some results found in earlier works, including those of Bhāskara II.
Madhava developed some components of calculus such as differentiation, term-by-term integration, iterative methods for solutions of non-linear equations, and the theory that the area under a curve is its integral.
-Arjun Kadya

Interesting facts about AUM !!

5 Facts You May Not Know About ‘OM’
You’ve chanted OM, hundreds maybe thousands of times, and the symbol is, well, everywhere. But have you ever wondered, what it is about OM, that makes yogi’s wholeheartedly chant its glory and live in its symbolic presence?

Here are 5 facts you may not know, to help deepen your knowledge and connect your heart to this ancient sacred syllable. 

1. The sound of OM encompasses all words, all sounds in human language 

OM is a matrix of all sounds, when in its diversified form gives rise to all words used in language. 

Linguistically, all audible sounds are produced in the space within the mouth beginning at the root of the tongue and ending at the lips. The throat sound is A, and M is the lip sound; and the sound U represents the rolling forward of speech articulation which starts at the root of the tongue, continuing until it ends in the lips.

To pronounce OM correctly, remember, the sound vibration is pronounced “oom” as in home.

2. AUM and OM

In Sanskrit, the sound “O” is a diphthong spelled “AU”. A diphthong is the blending of two vowel sounds where both are normally heard and make a gliding sound. As a result, the difference between OM and AUM is simply one of transliteration. 

3. AUM represents the 3 Fold Division of Time

            A – is the waking state

            U – is the dream state

            M – is the state of deep sleep

At the end of AUM is a pause, a silence. This represents the state known as Turiya, or Infinite Consciousness

4. The visual symbol represents the meaning of AUM

The symbol OM visually consists of three curves, one semicircle, and a dot.
The large bottom curve symbolizes the waking state, A.
The middle curve signifies the dream state, U.

The upper curve denotes the state of deep sleep, M.

The dot signifies the fourth state of consciousness, Turiya.
 The semi circle at the top represents Maya and separates the dot from the other three curves. It signals to us that it is the illusion of Maya that is an obstacle to realization of the Highest.

 5. OM is associated with Ganesha

 The physical form of Lord Ganesha is said to be that of OM. The upper curve, of OM, is identified with the head or the face of Ganesh. The Lower curve his belly. The twisted curve, on the right side of OM is the trunk.

 Once you know the meaning, “Om” becomes the name of the Lord for you. Now you can call him, invoke him, pray to him. This is why many of the prayers, chants or mantras begin with “Om”. 

OM Shanti Shanti Shanti

Music & Chakras !!

The first chakra is at the base of the spine, at beginning of the anus and is called MULADHARA. Just above that is the next chakra called SVADHISTHANA. The third chakra is just above the navel called MANIPURA. Above that is the ANAHATA chakra which is in the center of the chest. Then is the throat chakra called VISSHUDHA. Above that is the chakra in-between the eyebrows called AJNA. The last chakra is on top of the head called SAHASRARA.

The drums affect the Mooladhara (the base chakra or the first chakra). The big and small drums, their effect is from the Mooladhara to Swadishtana(second chakra). The big wind instruments like trumpets affect the second to third chakra (Swadhisthana to the Manipura). Metallic sounds affect the Manipura to Anahata(the fourth chakra). When you hear a metallic screech, something happens in your belly. How many people have noticed this? The string instrument has its affects from the naval to the heart. Veena and Sitar – stringed instruments affects the Anahata (the heart chakra).

Flute music, wind instruments and sometimes the piano sounds affect the Anahata to Vishudhi (the throat chakra). Bells, sounds of water, bird songs, very soft and subtle sounds have its effects from throat to the Agna Chakra (in between the eyebrows). Then finally the Sahasrara the (top of the head) is affected by meditation and all other instruments put together at once.

If you watch any Indian rituals, you will understand that they knew this. In the temples, they placed the drums on the periphery, then there are the big wind instruments, and on the very inside of the sanctum sanctorum are bells and conch. So, sound vibes are balanced from the drums to the wind instruments, then stringed instruments, then again wind instruments and then bells and finally, it all ends in silence. The purpose of sound is silence. Did you all know this? Sound originates from silence and its goal is silence. Silence simply means total harmony. When there is total harmony deep within you, then even sound seems like an object, it seems heavy. But the way is through sound, through music. Music is that which connects the individual to the universal. The limited mind expands through music and realizes it is already part of the big consciousness or the big mind.

~ Sri Sri Ravi Shankar