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In Shaivism and other Hindu systems, Shiva is the formless transcendental Being (often called Paramashiva), the Divine source. This is the source that rests in each and everyone. It is not a god seperate from yourself, it is the core being of yourself. Nothing external or separate from you, rather it is your heart of hearts. More important than the literal translated meaning of this mantra is it’s sound, it’s vibration. Just as with all mantras the sound of it is more important than its literal meaning. This mantra is also known as the five syllabled mantra – Panchakshari Mantra, for it consists of five syllables, Na – Ma – Shi – Va – Ya. The start of the mantra, Om, does constitute as a syllable because it is the Mahabija, the great seed from which all other mantras and sounds arose. The syllables within the mantra are said to have a range of meanings and attributes.
Na is the Lord’s concealing grace, Ma is the world, Shi stands for Siva, Va is His revealing grace, Ya is the soul.’ He continues,elaborating,that,”the five elements, too, are embodied in this ancient formula for invocation. Na is earth, Ma is water, Shi is fire, Va is air, and Ya is ether, or akāsa. Many are its meanings.”
Paramahamsa Muktananda also eloquently explains this point and tells of how the Om Namah Shivaya mantra benefits ones mind and spiritual path, he speaks of the nadi’s, the channels of pranas and the purity of mind. Repeating this mantra rids the mind of tamas and rajas, making it suitable for lofty spiritual experience.
Paramahamsa Muktanandaji has said the following words in relation to the Om Namah Shivaya mantra:-
“Underlying this mantra is a great secret. As we chant the five syllables Namah Shivaya, the five elements that comprise the body are purified. Each of the syllables corresponds to one of these elements: the syllable na to the earth element, the syllable ma to the water element, the syllable shi to the fire element, the syllable va to the air element, and the syllable ya to the ether element. Each syllable purifies its corresponding element. As long as the body and the mind are not completely pure, we cannot fully benefit from our spiritual practice. Therefore, we repeat Om Namah Shivaya to help cleanse them.”
The four elements are the quadrant model the fifth is the ultra transcendent so Nama shivaya is the quadrant model

https://narasimhaye.wordpress.com/2008/11/08/the-panchakshara-mantra-by-neil-campbell/

16 is the squares of the quadrant model. The "Great" mantra is supposed to be said "16 rounds" and it has 16 words.

The Hare Krishna mantra, also referred to reverentially as the Maha Mantra ("Great Mantra"), is a 16 word Vaishnava mantra which is mentioned in the Kali-Santarana Upanishad, and which from the 15th century rose to importance in the Bhakti movement following the teachings of Chaitanya Mahaprabhu.This Mantra is composed of three Sanskrit names of the Supreme Being; "Hare," "Krishna," and "Rama."[1][2]

Narada asks to be told this name of Narayana, and Brahma replies:

Hare Krishna Hare Krishna, Krishna Krishna Hare Hare, Hare Rama Hare Rama, Rama Rama Hare Hare; These sixteen names are destructive of the evil effects of Kali. No better means than this is to be seen in all the Vedas.

https://en.wikipedia.org/wiki/Hare_Krishna_(mantra)

These four words are used to begin every study in Hare Krishna- they are repeated

Om Namo Bhagavate Vasudevaya means "Om, I bow to Lord Vasudeva or Lord Krishna".[5]

Om Namo Bhagavate Vasudevaya in Devnagari, this Mantra is used for invocation and obeisance to Krishna
Term Devanagari Listen Meaning
Om 

About this sound Om (help·info) Refers to the Supreme Infinite Spirit or Person. Om represents the Shabda Brahman.
Namo 
नमो (namo)
About this sound Namo (help·info) Salutation, worship , a common spoken valediction or salutation originating from the Indian subcontinent. 'Namo' नमो is the Sandhi form of 'namas' नमस्, neuter nominative singular.
Bhagavate 
भगवते
About this sound Bhagavate (help·info) 1. God in Sanskrit, someone who is considered God (or equally powerful, merciful). 'Bhagavate' भगवते is the dative of 'bhagavat' भगवत्.
2. Bhagavate is one who is becoming divine.[6]
Vasudevaya 
वासुदेवाय
About this sound Vasudevaya (help·info) Name of Krishna, Krishna is also known as Vaasudeva (Krishna), because he was the son of Vasudeva. In the Bhagavad-Gita, Arjuna called Krishna by the name Vaasudeva multiple times. 'Vāsudevāya' वासुदेवाय is the dative of 'vāsudeva' वासुदेव. Other meaning for Vasudevaya is Vasu means "Life in all beings" Devaya means "God". This means God(life/light) who lives of all beings.

https://www.facebook.com/groups/1854649874815490/

In the Hindu religion, an Avatar is an extraordinary being, the miraculous incarnation of the Divine in a human form, for the well of the humanity. By definition, the Avatar has sixteen particular gifts: the ability to materialize objects at will; qualities of omniscience, omnipresence and omnipotence; the capacity to transmit a pure love current, inexhaustible; the possibility to transcend all conditions of the Karma which appears by his capacity to transform miraculously the life of a person by an act of divine will.

http://www.ridingthebeast.com/numbers/nu16.php

16 is the squares of the quadrant model
Ahura Mazda created 16 lands

This article is an analysis of the sixteen lands described in the first chapter of Vendidad, based on the additional information available in Vendidas as well as the various texts of Vedic tradition

http://takshasila.wikidot.com/article:sixteen-lands-of-ahuras

Kuterastan is the creator in a creation myth of the Kiowa Apache from the southern plains of North America. His name means One Who Lives Above.

According to them Four Deities created creation.

The story of his creation tells that in the beginning, before there were earth or sky there was only darkness. Into it came a small and thin disc with yellow and white on its alternate sides, and inside it sat Kuterastan, a small bearded man no larger than a frog. Kuterastan is described as awakening and rubbing his eyes. When he peers above him into the darkness it filled with light and illuminated the darkness below. When he looked east the light became tinged with the yellow of dawn, and when he looked west the light was shaded with the amber tones of dusk. As he glanced about himself clouds in different colors appeared. Then again Kuterastan rubbed his eyes and face, and as he flung the sweat from his hands another cloud appeared with a tiny little girl Stenatliha sitting on top. Stenatliha's name translates as the Woman Without Parents. Kuterastan and Stenatliha were puzzled where the other had come from, and where were the Earth and Sky. After thinking for some time, Kuterastan again rubbed his eyes and face, then his hands together, and from the sweat flying as he opened hands first Chuganaai, the Sun, and then Hadintin Skhin, or Pollen Boy, appeared. After the four sat a long time in silence on a single cloud, Kuterastan finally broke the silence to say, "What shall we do?" and started the creation.

In the story of creation for the Kuterstan four deities appear. Then these four deities create creation.

After the Earth has been created Kuterastan sang a repeating refrain, "The world is now made and it sits still" and the four Gods were finished.

Like

https://en.wikipedia.org/wiki/Kuterastan

https://en.wikipedia.org/wiki/Char_Dham

In Hindu Puranas Hari (Vishnu) and Har (Shiv) are referred as eternal friends. It is said wherever there resides Lord Vishnu, Lord Shiva also resides nearby. Chaar Dhaams are also not exception of this. So the Kedarnath is considered as the pair of Badrinath, Rangnath Swami is considered the pair of Rameshwaram. Somnath is considered as the pair of Dwarka. However one thing is also to be noted here that according to some traditions the Char Dham are Badrinath, Rangnath-Swami, Dwarka and Jagannath-Puri all the four of which are Vaishnav sites and their associated places are Kedarnath, Rameshwaram, Somnath and Lingaraja Temple, Bhubaneswar (or may be Gupteshwar) respectively.
https://en.wikipedia.org/wiki/Char_Dham

https://en.wikipedia.org/wiki/Char_Dham

Char Dham
From Wikipedia, the free encyclopedia
For denomination Himalayan pilgrimage sites, see Chota Char Dham.
Char Dham
Badrinath temple.jpgRameswaram Gopuram.jpgDwarkadheesh temple.jpgTemple-Jagannath.jpg

Badrinath • Rameswaram
Dwarka • Puri
This box: view talk edit
Char Dham is located in India BadrinathBadrinath DwarkaDwarka PuriPuri RameswaramRameswaram
Char Dham
The char dham is defined by the Pandavas in Mahabharata as "Badrinath" , "Kedarnath" , "Gangotri" and "yamunotri" to get rid of their sins. Char Dham as defined in modern days (literally: 'the four abodes/seats') are the names of four pilgrimage sites in India that are widely revered by Hindus. It comprises Badrinath, Dwarka, Puri and Rameswaram. It is considered highly sacred by Hindus to visit Char Dham during one's lifetime. The Char Dham defined by Adi Shankaracharya consists of four Vaishnavite pilgrimages.[1][2]

The ancient pilgrimages sites in the Indian state of Uttarakhand viz. Yamunotri, Gangotri, Kedarnath, and Badrinath were known as Chota Char Dham to differentiate them from the bigger circuit of Char Dham sites.[3][4][5][6]

Indian Prime minister has inaugurated Chardham Mahamarg Vikas Pariyojana for connectivity improvement in these pilgrimages on 23 December 2016

Contents [hide] 
1 Historical description
2 The four associated places of the Char dhaams
3 Pilgrimage details
3.1 1. Puri
3.2 2. Rameswaram
3.3 3. Dwarka
3.4 4. Badrinath
4 See also
5 References
Historical description[edit]
According to Hindu mythology, Badrinath became prominent when Nar-Narayan, an avathar of Vishnu did Tapasya there. At that time that place was filled with Berry trees. In Sanskrit language they are called Badri, so the place was named Badrika-Van i.e. the forest of Berry. The particular spot where the Nar-Narayan did Thapasya, a large Berry tree formed covering him to save him from rain and sun. Local believe matha Lakshmi became the Berry tree to save Narayan. Post Thapasya, Narayan said, people will always take her name before his name, hence Hindus always refer "Lakshmi-Narayan ". It was therefore called Badri-Nath i.e. the Lord of Berry forest. This all happened in the Sathya/Sath-Yuga. So Badrinath came to be known as the first Dham.

The second place, Rameshwaram got its importance in the Thretha-Yuga when Lord Rama built a Shiva-lingum here and worshiped it to get the blessings of Lord Shiva. The name Rameshwaram means "Rama's Lord". Rama himself is an avathar of Lord Vishnu.

The third Dhaam Dwaraka got its importance in the Dwapara Yuga when Lord Krishna, another avathar of Lord Vishnu, made Dwaraka his residence instead of Mathura, his birthplace.[7]

The Four Shankaracharya Peeth (Seats) at the Chaar Dham school of Hinduism, created at least four Hindu monastic institutions. He organised the Hindu practitioners under four Maṭhas (Sanskrit: मठ) (institutions/monasteries), with the headquarters at Dvārakā in the West, Jagannatha Puri in the East, Sringeri Sharada Peetham in the South and Badrikashrama in the North.[8]

The table below gives an overview of the four Amnaya Mathas founded by Adi Shankara, and their details.[9]

Shishya
(lineage) Direction Maṭha Mahāvākya Veda Sampradaya
Padmapāda East Govardhana Pīṭhaṃ Prajñānam brahma (Consciousness is Brahman) Rig Veda Bhogavala
Sureśvara South Sringeri Śārada Pīṭhaṃ Aham brahmāsmi (I am Brahman) Yajur Veda Bhūrivala
Hastāmalakācārya West Dvāraka Pīṭhaṃ Tattvamasi (That thou art) Sama Veda Kitavala
Toṭakācārya North Jyotirmaṭha Pīṭhaṃ Ayamātmā brahma (This Atman is Brahman) Atharva Veda Nandavala
The four associated places of the Char dhaams[edit]
In Hindu Puranas Hari (Vishnu) and Har (Shiv) are referred as eternal friends. It is said wherever there resides Lord Vishnu, Lord Shiva also resides nearby. Chaar Dhaams are also not exception of this. So the Kedarnath is considered as the pair of Badrinath, Rangnath Swami is considered the pair of Rameshwaram. Somnath is considered as the pair of Dwarka. However one thing is also to be noted here that according to some traditions the Char Dham are Badrinath, Rangnath-Swami, Dwarka and Jagannath-Puri all the four of which are Vaishnav sites and their associated places are Kedarnath, Rameshwaram, Somnath and Lingaraja Temple, Bhubaneswar (or may be Gupteshwar) respectively.

Pilgrimage details[edit]
1. Puri[edit]

Jagannath Temple, Puri
Puri located at the east, is located in the state of Odisha, India. Puri is one of the oldest cities in the eastern part of the country. It is situated on the coast of the Bay of Bengal. The main deity is Shri Krishna, celebrated as Lord Jagannatha. It is the only shrine in India, where goddess, Subhadra, sister of Lord Krishna is worshipped along with her brothers, Lord Jagannatha and Lord Balabhadra. The main temple here is about 1000 years old and constructed by Raja Choda Ganga Deva and Raja Tritiya Ananga Bhima Deva. Puri is the site of the Govardhana Matha, one of the four cardinal institutions or Mathas established by Adi Shankaracharya. Brahma, Vishnu & Maheswara three are together in all-time every place. In Kali yuga Sreemandir as jagannath temple in Puri. Jagannath-Vishnu, Balabhadra-Maheswara & Subhadra-Brahma. This is the plume for Oriya people to celebrate a special day in this Dham which is known as Ratha Yatra ("Chariot Festival").[10][11]

2. Rameswaram[edit]

Image of the east and west temple towers
Rameswaram located in the South is in the Indian state of Tamil Nadu. It is situated in the Gulf of Mannar at the very tip of the Indian peninsula. According to legends, this is the place from where Lord Rama, built a bridge Ram Setu to Lanka. The Ramanatha Swamy Temple dedicated to Lord Shiva occupies a major area of Rameswaram. The temple is believed to have been consecrated by Shri Rama Chandra. Rameswaram is significant for the Hindus as a pilgrimage to Benaras is incomplete without a pilgrimage to Rameswaram. The presiding deity here is in the form of a Linga with the name Sri Ramanatha Swamy, it also is one of the twelve Jyotirlingas. Brahma, Vishnu & Maheswara three are together in all-time every place. Rama-Vishnu, Laxman-Brahma & Hanuman-Maheswara.[citation needed]

3. Dwarka[edit]

Dwarakadheesh Temple, Dwarka
Dwarka located in the west is in the state of Gujarat, India. The city derives its name from the word "dvar" meaning door or gate in the Sanskrit language. It is located confluence to where the Gomti River merges into the Arabian Sea. However, this river Gomti is not the same Gomti River which is tributary of Ganga River The city lies in the westernmost part of India. The legendary city of Dwaraka was the dwelling place of Lord Krishna. It is believed[who?] that due to damage and destruction by the sea, Dvaraka has submerged six times and modern day Dwarka is the 7th such city to be built in the area.[citation needed]

4. Badrinath[edit]

Badrinath Temple, Badrinath
Badrinath is located in the state of Uttarakhand. It is in the Garhwal hills, on the banks of the Alaknanda River. The town lies between the Nar and Narayana mountain ranges and in the shadow of Nilkantha peak (6,560m).

https://en.wikipedia.org/wiki/Char_Dham

https://infogalactic.com/info/Matha

The oldest matha follows the Advaita Vedanta tradition and they are headed by Shankaracharyas, a title derived from the name of Ādi Śankara, a prominent religious teacher of the eighth century.[2] Ādi Śankara established the following mathas, with each of his four main disciples in charge: Sureshwaracharya, Hastamalakacharya, Padmapadacharya, and Totakacharya respectively. The four Āmnāya mathas founded by Ādi Śankara, all of which are Smartist, are:
Śringeri Śāradā Pīṭham, at Shringeri, Karnataka
Dvaraka Pitha, at Dwarka, Gujarat
Govardhana matha, at Puri, Odisha
Jyotirmath, in Uttarakhand
https://infogalactic.com/info/Matha

http://svasthaayurveda.com/the-four-types-of-agni/
Agni is the "fire," that drives all digestion and metabolism in the Indian medical practice of Ayurveda. The digestive and absorption process is called Pakwagni (digestive fire)
The digestive fire (aka Agni), according to Ayurveda, is such a dynamic concept, it is stated to be the main determiner of one’s energy, vitality and well being. One’s overall digestion is likely to determine the overall health of that individual.
If the fire is strong, one is able to take in various types of food and properly absorb, metabolize and eventually eliminate any unused portion. The channels of the body will remain open and the energies of the body can flow freely. If the fire is weak or imbalanced, even the healthiest of food that is taken in will not go through this process and therefore remain in the body causing a toxic sludge known as ama. This ama then fills the channels of the body, causing stagnation and blockage which eventually will lead to the pathway of disease.
There are four types of Agni (digestive fire) in Ayurveda. Each one correlates to a specific dosha type. Whichever dosha is imbalanced in the body tends to reveal the current agni type of an individual. These agni types are known as:
1. Vishama Agni: This agni type is related to Vata dosha and typically shows an imbalance of wind in the body. Common symptoms would be gas, bloating and gurgling after food intake. The appetite and metabolism tends to fluctuate and be irregular. Constipation is common, and the digestion is variable. When ama accumulates in these individuals, a brownish-black coating will form on the tongue. Emotional imbalances that relate to Vishama agni tend to be anxiety, fear, insecurity, restless mind, spacey mind, and quickly fluctuating emotions.
If this sounds like your digestion type, find relief with Vata Honey Infusion.
2. Tikshna Agni: This agni type is in relation with Pitta dosha and will reveal an imbalance of fire in the body, caused by the hot, sharp, and penetrating qualities that this dosha possesses. Common symptoms include an over-active metabolism and hypoglycemia (low blood sugar). These individuals tend to have a sharp appetite that will lead to extreme crankiness if this hunger is not fulfilled. Once food is taken in, a person with Tikshna agni may experience heartburn, acid indigestion, dry mouth, hot flashes, and inflammation. Elimination tends to be over-active and typically is soft, loose, and at times even liquid. Ama accumulation will show as a yellowish, orange coating on the tongue. Emotional imbalance that are related will be anger, frustration, a quick temper, envy, jealousy, and judgmental tendencies.
If this sounds like your digestion type, find relief with Pitta Honey Infusion.
3. Manda Agni: This metabolic imbalance is linked to Kapha dosha and reveals a disruption of the water and earth element in the body. These individuals show symptoms of slow metabolism, excessive weight, allergies and an overall feeling of heaviness both physically and mentally. The appetite is typically quite low and skipping meals is never a problem. Although their food intake may be minimal, weight gain is consistent and losing weight is a difficult battle. After food intake, a feeling of heaviness and lethargy remains and nausea and congestion may occur. Elimination tends to be regular although may sometimes contain mucus or oil. The presence of ama in the system will show a thick, white coating on the tongue. Emotional imbalance will tend towards sadness, depression, dullness, foggy headed, overly emotional, greed and attachment.
If this sounds like your digestion type, find relief with Kapha Honey Infusion.
4. Sama Agni: This agni type occurs when one is in complete balance and all three doshas remain in harmony. Digestive power is at full capacity and there are no unwanted symptoms after food intake. In fact, when one has Sama agni there is a feeling of vitality, energy, and fulfillment after a meal. These individuals can eat practically any type of food without any ill effect. Metabolism is balanced and elimination is regular. There is an overall state of Svastha (perfect health) and the emotions are in equilibrium. No ama is present in the system and the tongue will be clean of any coating. The mental state remains balanced and there is complete compassion, patience, calmness and clarity in the heart. Unfortunately it is quite rare to find an individual of this statute, although it is an obtainable goal with the proper guidance and discipline.
http://svasthaayurveda.com/the-four-types-of-agni/

Anubandha chatushtaya (Sanskrit: अनुबन्ध चतुष्टय) literally means four connections, and therefore, it is four-fold in nature and content viz, – a) adhikāri ('the qualified student') who has developed ekāgrata ('single pointed mind'), chitta shuddhi ('purity of the mind') and vikshepa ('freedom from restlessness and impurity') or adhikāra (aptitude); b) vishaya ('subject matter' or 'the theme') pertaining to the Jiva-Brahman identity; c) prayojana or phalasruti ('result' or 'fruit') which is atyantika-dukha-nivritti ('complete cessation of sorrow') and paramānanda-prāpti ('attainment of supreme happiness'), and d) sambandha ('relationship' or 'intertextuality') between adhikāra, vishaya and prayojana.[1]

Sadananda reminds that:-

तत्र अनुबन्धो नाम अधिकारिविषयसंबन्धप्रयोजनानि |
"The preliminary questions of the Vedanta are the determination of the competency of the student, the subject-matter, its connection with the book and the necessity of for its study." – Vedantasara (sutra I.5)
a)- Adhikāra is the capacity to study (adhyana) the subject-matter in which respect there exist doubts (sandhigadha) which is the basis of the intended inquiry into that particular subject-matter for the eventual removal of all doubts and gain of its proper understanding. Madhavacharya speaks about three levels of adhikāra – adhama ('lower'), madhyma ('middle') and uttama ('higher'), the last two levels indicate that the student is of peaceful mind (śanta), is understanding and has non-repressed sense-control (danta), has withdrawn from worldly objects (uparata), indifferent (titikśu) and composed and tranquil (samhita), and knows that he is adequately prepared to meet the truth face to face.[2] The Mimāmsikas consider adhikāra to be a notion of appropriateness. All things and actions have identifiable adhikāra. Adhikāra indicates the level of preparation necessary for making one skilled for higher gains.[3] The concept of adhikāra also helps describe the relationship between purusha and prakrti and explain the reason for activation of creative power of nature, and thus brings about the experience of the world (darśana bhoga) and liberation from this experience (kaivalya). The eagerness to know incites the obligation (adhikāra) to bring about realization of knowledge.[4] In this direction the student must firstly develop Ekāgratā ('one-pointed'). Ekagrata is the state of determined and continuous concentration obtained by integrating the psycho-mental flux (sarvārthatā i.e. variously directed, discontinuous, diffused attention) which is – योगश्चित्तवृत्तिनिरोधः (Yoga Sutra)- meaning – Yoga is suppression of psycho-mental states i.e. disappearance of all possible misconceptions. In this yogic state of ekagrata the yogi gains genuine will.[5] Upasana brings about ekagrata, and upasana in its own turn is brought about by chitta shuddhi ('the purity of heart');[6] and controls vikshepa (all forms of mental wanderings or distractions).

In Sanskrit grammar, an adhikara is a 'heading rule' made belonging to it, by the accent of swarita with the object of avoiding a repeated designation.[7]

b)- Vishaya is the object of knowledge, here the subject-matter; the universal Self (Brahman) seemingly different from the individual self (Jiva). Knowledge reveals the real to be superimposed by the unreal on account of ignorance.[8] As explained by Sadananda the subject is the one-ness of the individual soul and the universal soul (the Absolute) as explained by the Upanishads; this is the essence of the Vedanta.[9] Consciousness, which is infinite and indivisible, is able to come into contact with objects and is inherent in objects which are thus very many varying phases of consciousness; such objects that are by themselves phases of consciousness are vishaya-caitanya, outside consciousness no object can exist.[10]

c)- Prayojana means - the 'purpose', 'end result' or 'resolution of the inquiry'; it is the established result arrived at after practice of devotion conducted with a peaceful mind and body (śanta bhāva).[11] Uddyotakara explains that the basic urges for attainment of happiness and avoidance of sorrow, such as the chaturvarga composed of dharma, artha, kama and moksha, prompt human activity, and which motivation leads to the end results or prayojana. Vedānta Paribhāśa, recognizing this chaturvarga describes prayojana as that which when known is desired as one’s own,[12] Prayojana is the realizable purpose,[13] the desired reason or motive which prompts actions[14] but which cannot be indicated separately from sambandha, both being inter-related,[15]

d)- Sambandha does not necessarily identify either vishaya or prayojana [16] though it can be factual and reasonable (siddha) or contrary to fact and reason (asiddha). Shankara tells us that the self is bodyless (aśarira) but its relationship (sambandha) with the body is asiddha because the self is unrelated to any activity of the body and unconnected with merit and demerit arising from activity notwithstanding the fact that the jiva erroneously identifies itself with the body.[17] Vedantasara afore-cited statement as an exposition of these four anubandhas ('connections') and in particular the connection called sambandha to mean – (quote) "the relation of what has to be made known in the Vedantic system, the identity between Brahman and the individual soul" (unquote).[18]

Implication[edit]
In Hindu philosophy, Anubandha chatushtaya is a traditional Indian rhetorical mode connected with the gain of knowledge and supreme perfection, which mode is based on four fundamental aspects of thoughts and actions working in-tandem which are – a) the proposed subject or theme, b) the intended goal and its nature, c) why for that goal is sought in the light of d) the subject opted and the anticipated apprehension of truth.[19] Krishna assures Arjuna:-

परं भूयः प्रवक्ष्यामि ज्ञानानां ज्ञानमुत्तमम् |
यज्ज्ञात्वा मुनयः सर्वे परां सिद्धिमितो गताः ||
"I shall again speak of that highest knowledge which is superior to any other knowledge, knowing which all the sages have attained the supreme perfection." Bhagavad Gita (XVI.1)
and thereafter, proceeds to explain how that knowledge can be gained and developed which would eventually free a mumukshu ('seeker') who due to association with the modes of nature (prakrti) is entangled in this material world, and therefore, explains the nature of the three gunas. This particular statement is in the form of an Anubandha chatushtaya the subject-matter of which is Brahma Vidya, the goal is liberation from sorrow, and pryojanam is the knowledge of Brahman which gives spontaneous release. Krishna leads Arjuna to that knowledge of the self which reveals what the subject is, what the "I" is – Tat Tvam Asi , this is the relationship that helps the seeker, possessing basic qualities, to decide whether he should connect or associate with the subject-matter or not.[20]

https://en.wikipedia.org/wiki/Anubandha_chatushtaya

https://en.wikipedia.org/wiki/Kashmir_Shaivism

 

Practice[edit]

Part of a series on

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To attain moksha, sādhana or spiritual practice is necessary. Kashmir Shaivism describes four methods (upāya-s):[20]

 

āṇavopāya, the method of the body,

śaktopāya, the method of the mind,

śāmbhavopāya, the method of Consciousness,

anupāya the ‘methodless’ method.

https://en.wikipedia.org/…/Dialogue_Concerning_the_Two_Chie…

Galileo's most famous text is divided into four parts/days

The Dialogue Concerning the Two Chief World Systems (Dialogo sopra i due massimi sistemi del mondo) was a 1632 Italian-language book by Galileo Galilei comparing the Copernican system with the traditional Ptolemaic system. It is one of the most famous works in science history, because it was the work that questioned the geocentric Ptolemaic view of the Universe and proposes a heliocentric Copernican view. This is the work that got Galileo in trouble and tried and put in prison. Galileo was not persecuted because he proposed a heliocentric universe, but because in this work he tried to make the Pope look dumb, giving him the title Simplicio, or simple. The work employs the quadrant model pattern.
The text of ‘A Dialogue of the Two Chief World Systems’ was divided in four parts (days), reflecting the quadrant model pattern. The first day was about dimensions and perfection, new stars, sunspots and observation of the moon. The second day dealt with movement, the pendulum, air and wind. The third day treated the measurement of the stars and the retrograde movement of sunspots and finally the fourth day was concerned with the tides and the impetus (each day builds on the next and interestingly the fourth day Galileo's ideas were wrong. The fourth is always different, and each square builds on the next, the nature of the quadrant model pattern). So the first and third days were ‘static’, about measurements and the second and fourth days were ‘dynamic’, concerned with the processes which lead to the argument of a sun-centered cosmos.
This presentation coincided with the four phases (unity – separation – unity – separation) in the Greek interpretation of being as proposed by the philosopher Empedocles. This characterization of the four phases is also is familiar in the (quadralectic) interpretation of the quadrants. There is no proof that Galileo deliberately employed the four-division in this way.
The dialogue signifies to scientists the triumph of science and one of the greatest achievements in science history, and they see it as the symbol of Galileo as the martyr for science, like Jesus was the Martyr for the Christians. It is no coincidence that it reflects the quadrant model pattern, the form of existence.

https://en.wikipedia.org/…/Dialogue_Concerning_the_Two_Chie…

http://weddings.iloveindia.com/indian-weddings/hindu-marriage/solah-shringar.html#qiebZu1WSjU2T4BC.99

 

Almost all the girls wish to look their best and epitomize beauty on their wedding day. In India, the beautification of the bride consists of sixteen parts and covers almost every part of the body, right from the head to the toe. To get detailed information about the solah shringar of an Indian bride, explore the following lines.

Solah Shringar

Bindi

The first shringar of the bride, bindi has a strong religious implication and is a sacred symbol of a married woman. To make the bindi look utmost attractive, you can even decorate it with red and white dots around it and along the eyebrows.

Sindoor

A sacred symbol of suhaag, sindoor or vermillion is applied on the center parting of the hair and is a part of the shringar of a married woman.

Maangteeka

A hair accessory, Maangtika is worn on the central parting of the hair of the bride. It is mostly made out of gold.

Anjana

Kajal or kohl is one of the most popular solah shringar. It is basically applied on the edges of the upper and lower eyelids, enhancing the bride's eyes and making it attractive and appealing.

Nath

Nath or the nose ring completes the look of the bride, making her look traditional and ethnic. Made of gold, it is generally worn on the left nostril and is supported by a gold chain, which extends just behind left ear.

Haar

After the face, next comes the neck of the bride. It is adored with beautiful haar or necklace, which is usually made of gold and embellished with diamonds, pearls or stones.

Karn Phool

Ear rings or karn phool adorn the ear of the bride. Mostly, the ear ring flaunted by the bride is made out of gold and is extremely beautiful and heavy.

Mehendi

Mehndi signifies the essence of love in wedlock and is essentially applied on the hands and feet of the bride, to strengthen that bond of love. It is one of the most special pre-wedding rituals in India.

Choodiyan

Bangles or choodiyan adore the wrist of the bride and are usally made of glass, laakh or gold. Conventionally, brides adore their wrist with red bangles.

Baajuband

Baajuband or more popularly known as armlets are worn on the upper arms of the bride and are similar to bangles in their appearance. Mughal, Rajasthani or Jaipuri are the most popular designs of baajuband.

Aarsi

The fingers of the bride are adored with exotic rings. Aarsi is the thumb ring which the bride wears. It mostly has mirror embedded on it and enable the bride to have a glimpse of herself as well as her life-partner

Keshapasharachana

Apart from the make-up, hair style plays an imperative role in determining the look of the bride. Mostly, the hair is tied in the braid style, with hair accessories and flowers accentuating the look.

Kamarband

Kamarband is a waist band that is tied on the waist line of the bride. Made up of gold, it is embellished with stones, diamonds and precious gems and is beautifully designed.

Payal & Bichuas

Made up of silver, it is a thick chain that is tied on the ankle and is adored with tiny bells that make enticing sound. Bichuas or toe rings are similar to rings worn in the fingers of the hand, but are worn in the fingers of each foot.

Itar

Itar is a special fragrance that is applied on to the bride. It emits a special aroma and that helps the bride stay fresh despite the long elaborate rituals performed.

Bridal Dress

Made in bright bridal colors, such as red, maroon, gold or green, bridal dress comprises of saree, lehenga and salwar kurta. It truly brings out the eternal beauty of the bride.

Read more at

http://weddings.iloveindia.com/indian-weddings/hindu-marriage/solah-shringar.html#qiebZu1WSjU2T4BC.99

https://www.himalayanacademy.com/view/b28_rajam
Ganesha is usually worshipped as 16 forms. There are 32 forms, which Hindus divide into two sets of 16, but it is most popular to represent Ganesha in a quadrant model 16.

Mt Meru is the axis Mundi in Hinduism and has four sides.

 

https://en.wikipedia.org/wiki/Mount_Meru

 

From this point Sumeru expands again, going down in four terraced ledges, each broader than the one above. The first terrace constitutes the "heaven" of the Four Great Kings and is divided into four parts, facing north, south, east and west. Each section is governed by one of the Four Great Kings, who face outward toward the quarter of the world that they supervise.

 

40,000 yojanas is also the height at which the Sun and Moon circle Sumeru in a clockwise direction. This rotation explains the change from day to night; when the Sun is north of Sumeru, the shadow of the mountain is cast over the continent of Jambudvīpa, and it is night in that location; at the same time it is noon in the opposing northern continent of Uttarakuru, dawn in the eastern continent of Pūrvavideha, and dusk in the western continent of Aparagodānīya. Half a day later, when the Sun has moved to the south, it is noon in Jambudvīpa, dusk in Pūrvavideha, dawn in Aparagodānīya, and midnight in Uttarakuru.

 

The next three terraces down the slopes of Sumeru are each longer and broader by a factor of two. They contain the followers of the Four Great Kings, namely nāgas, yakṣas, gandharvas, and kumbhāṇḍas.

 

The names and dimensions of the terraces on the lower slopes of Sumeru are given below:

 

Name Height above the sea Breadth Length (on one side)

Cāturmahārājika 40,000 yojanas 2,000 yojanas 24,000 yojanas

Sadāmada 30,000 yojanas 4,000 yojanas 32,000 yojanas

Mālādhara 20,000 yojanas 8,000 yojanas 48,000 yojanas

Karoṭapāni 10,000 yojanas 16,000 yojanas 80,000 yojanas

https://en.wikipedia.org/wiki/Jambudvipa

Jambudvīpa (Sanskrit: जम्बुद्वीप) is the dvipa ("island" or "continent") of the terrestrial world, as envisioned in the cosmologies of Hinduism, Buddhism, and Jainism, which is the realm where ordinary human beings live.
The word Jambudvipa literally refers to "the land of Jambu trees" where Jambu is the name of the species (also called Jambul or Indian Blackberry) and dvipa means "island" or "continent".
It is the axis mundi.
Markandeya Purana and Brahmanda Purana divide Jambudvipa into four vast regions shaped like four petals of a lotus with Mount Meru being located at the center like a pericarp. The city of Brahmapuri is said to be enclosed by a river, known as Akash Ganga. Akash Ganga is said to issue forth from the foot of Lord Vishnu and after washing the lunar region falls "through the skies" and after encircling the Brahmapuri "splits up into four mighty streams", which are said to flow in four opposite directions from the landscape of Mount Meru and irrigate the vast lands of Jambudvipa

16 is the squares of the quadrant model

 

http://www.lotussculpture.com/blog/16-step-puja-worship-hinduism/

 

There are numerous forms of worship among Hindus, of which Puja is one of the more popular. The most widely accepted and followed system of Puja is the Shodasa – Upachara Puja, or 16 – Service worship.

The main purpose of this type of Puja is two-fold. Primarily it is to uplift the five senses of the worshiper, and by doing so elevate him to a higher level of consciousness that will promote good thoughts and actions. Secondarily it draws upon the Indian traditions of honoring a guest, wherein each upachara is a service to the deity who takes presence in the sculpture for the duration of the Puja.

Dhyaana – Meditating on the deity that is being invoked.

Aavaahana – Inviting the deity into the altar.

Aasana – Giving the deity a seat.

Paadya – Washing the deity’s feet with clean water.

Arghya – Offering the deity water to rinse hands and mouth.

Aachamana – Offering the deity water to drink.

Snaana – Bathing the deity with various auspicious items.

Vasthra – Dressing the deity with clean clothes.

Yagnopaveetha – Offering the deity a clean sacred thread.

Gandha – Spreading fresh sandalwood paste on the deity.

Pushpa – Offering fresh flowers while chanting the deity’s names.

Dhoopa – Spreading incense smoke throughout the altar.

Deepa – Waving a lamp to illuminate the freshly decorated deity.

Naivedya – Offering the deity food.

Taambula ­– Offering the deity a refreshing mix of betel nut and leaves.

Pradakshina & Namaskara – Circumambulating the altar and bidding farewell to the deity.

Among these sixteen services, five hold more importance than the rest. Together these five services are referred to as the pancha – upacharas, and include gandha, pushpa, dhoopa, deepa, and naivedya. Collectively, these five services engage the five senses.

Gandha – Touch

Sandalwood paste cools the skin and is a natural insect repellant.

Pushpa – Hearing

The recitation of the deity’s names that accompanies each flower engages the ears.

Dhoopa – Smell

Incense envelops the entire temple with a refreshing fragrance for the nose.

Deepa – Sight

The lamp illuminates the deity and brings out the beauty of the icon to the eyes.

Naivedya – Taste

Food that has been offered to the deity is eaten and entices the taste buds.

http://www.lotussculpture.com/blog/16-step-puja-worship-hinduism/

16 is the squares of the quadrant model. There are 16 rights of passage followed by Hindus
http://hinduonline.co/HinduCulture/ListOfSamskaras.html
The Samskāra are a series of Sacraments, Sacrifices and Rituals that serve as rites of passage and mark the various stages of the Human life and to signify entry to a particular Ashrama. All Human beings, especially the Dvija or twice-born are required to perform a number of sacrifices with oblations for gods, Ancestors and Guardians in accordance with the Vedic dictums for a Dharmic or righteous life.
Sanskar is a commonly used variant of the Sanskrit word 'Samskara' and signifies cultural heritage and upbringing in modern Hindi.
Apart from the practices, the word "Samskāra" is used in communication denoting the upbringing criteria of a Hindu. For example- It is said that a boy with good Samskāra does right and it is supposed that he will not fall in sin, i.e. Lust, Anger and Wine. It may be concluded that Samskāra is a word to denote the qualitative quality among Hindus.
Most Vedic rituals consist of Homa - fire scarifies of elaborate and intrinsic designs and complex methodology, accompanied by recitation of Vedas by qualified Priests in honor of a particular Demigod or god, fire offerings of various ingredients, gifts to be given in charity, presence of elders for blessings, amidst sanctified sacrificial grounds, sacred herbs and good omens. Each important milestone of a Human life is to be celebrated by undertaking a particular Samskara wherein the significance of that milestone is ritualistically conveyed.
The 16 Samskaras Most of the Brahmins used to follow complex rituals in connection with major events in their lives, such as pregnancy, childbirth, education, marriage, and death. Although, the number of major samskaras fluctuates between 12 and 18 in the Grhya Sutras, later, it became 16 in number,[1] generally known as "Shodasha Samskaras" . They are illustrated below:

https://en.wikipedia.org/wiki/Mount_Kailash  According to Hinduism, Lord Shiva, the destroyer of ignorance and illusion, resides at the summit of a legendary mountain named Kailāśa, where he sits in a state of perpetual meditation along with his wife Pārvatī. He is at once the Lord of Yoga and therefore the ultimate renunciate ascetic, yet he is also the divine master of Tantra.[7]
According to Charles Allen, one description in the Vishnu Purana of the mountain states that its four faces are made of crystal, ruby, gold, and lapis lazuli.[8] ]

http://indianpalmreading.blogspot.com/…/minor-lines-on-hand…
In Indian palmistry there are 12 minor lines and four major lines 16 in all. 16 is the squares of the quadrant model. The fourth quadrant is different. Similarly there are 12 minor prophets and four major prophets in the Bible

The 8x8 (64) grid Manduka Hindu Temple Floor Plan, according to Vastupurusamandala. The 64 grid is the most sacred and common Hindu temple template. The bright saffron center, where diagonals intersect above, represents the Purusha of Hindu philosophy.[2][30]
https://en.wikipedia.org/wiki/Hindu_temple

The quadrant plan of hindu temples
https://en.wikipedia.org/…/File:64_grid_Manduka_design_Hind…

...See More

https://en.wikipedia.org/wiki/Hindu_temple

The 9x9 (81) grid ‘’Parama Sayika’’ layout plan (above) found in large ceremonial Hindu Temples. It is one of many grids used to build Hindu temples. In this structure of symmetry, each concentric layer has significance. The outermost layer, Paisachika padas, signify aspects of Asuras and evil; while inner Devika padas (25 squares) signify aspects of Devas and good. In between the good and evil is the concentric layer of Manusha padas (49 squares) signifying human life; All these layers surround Brahma padas (3 by 3, 9 squares), which signifies creative energy and the site for temple’s primary idol for darsana. Finally at the very center of Brahma padas is Grabhgriya (Purusa Space), signifying Universal Principle present in everything and everyone.
These are the largest Hindu temples and they have four cocentric layers, each representing four qualities.
https://en.wikipedia.org/…/File:81_grid_Parama_Sayika_desig…

Hindu Temples

https://arganesh3.wordpress.com/…/04/swastika-the-square-w…/

This was from the website on the swastika by Swastika science guy
Quadrant Model of Reality
By Dr. Jessie Mercay
“As in Micro, so in Macro. The whole exists within the minutest particle and the minutest particle contains the whole. The atom contains the universe and the universe contains the atom, and neither exists without the other. Creator exists within creation, even as creation exists within creator.”
– Brahmarishi Mayan, circa 10,500 BC
Mamuni Mayan discovered that the fundamental form of creation is the cube.
This cubical structure is called the micro abode (smallest particle that is the abode of pure consciousness/absolute space). The initial pulse in Absolute Space as described in this monograph forms this minute structure.
If we take Mamuni Mayan’s statement above and apply it to current scientific knowledge about the nature of square waves gained through modern science perhaps we can have a better understanding
of the subtle formation of the initial 4X4 structure during the manifestation process. In other words, Mayan’s law above states in essence that what is in the manifest world is found in the unmanifest world and vise versa. Since we already have scientific knowledge about square waves in the material world perhaps we can apply this to the unmanifest world and the manifestation process. This will possibly help us to understand the peculiarities of the process of manifestation.
Scientists have discovered that when a square wave begins it has a fall equal to its rise. In the figure below, the + point is the zenith (peak) of the rise of the square wave while the – points out the nadir (lowest point) in the fall of the square wave. This represents one full pulse in the square wave. The diagram below demonstrates this.
Notice that as the square wave falls to its nadir it proceeds forward in the space-time continuum. Thus the rise and fall of the square wave pulse actually occupies what might be called four units of space within the one pulse. In observing this phenomenon visually it becomes immediately apparent that the single pulse of the square wave actually creates four space-time units as shown below:
In other words, one square wave pulse could be said to create four space-time units. Hence, we may extrapolate from this that with the first pulse of Absolute Space; four Space Time units are created.
It is as if with one blip or pulse, Absolute Time, Om Light and OM Sound are created (4 units composed of Absolute Space, Absolute Time, OM light and OM Sound)
Then manifestation occurs in two pulses at a time (each blip contains 4 Space Time Units or 8 units each in an additive manner) – blip blip (Air); and continues – blip, blip (Fire); blip blip (Water); blip blip (Earth).
Eventually forming what is called the 8×8 Manduka Mandala.
In summary, the initial manifestation process begins with the formation of a 2×2 structure formed from one pulse of Absolute Space.
It is from that point on that the additive factor of eight begins
Note: Above are two demonstrations of the development of the sacred form known as the swastika related to the concept the square wave. It is easy to see how this ancient cross-cultural image was derived.
Representation of this Self spin is noted throughout history in many cultures including China, Tibet, Nepal, Mexico, Native American, South Pacific and of course India. The images or a permutation of the image is in the form of the swastika. This image is not to be confused with the tilted swastika used by the Nazis.

http://www.dalsabzi.com/…/symbolisms_ramaya…/chapter_two.htm

The Four Divine Brothers
The four brothers grew up to be fine young boys -pampered and equally loved by all their three mothers and their father.
In one of the poems Tulsidas tries to compare what Sri Rama looks like. He finally gives up and claims that Rama is so unique to behold, that he can­not be compared. Rama looks like Rama.
Finally it was time that the boys started their education. They were sent to the forest with their family Guru.
A GURU
According to Hindu tradition great importance has been attached to the status of ‘Guru’, the Preceptor or the teacher. Just like a teacher is required to acquire any kind of skill or art, a Guru would be required to initiate one into the spiritual journey. As a matter of fact the word Guru can be interpreted thus (according to the Advayataraka Upanishad).
The syllable ‘Gu’ Arial">— means darkness, the syllable ‘ru’ means dispeller — so the word ‘Guru’ would mean ‘the one who dispels the darkness of ignorance’.
According to another interpretation Guru means the “weighty one”, thereby denoting the spiritual quality in terms of quantity. He is heavy with wisdom and learning and ever ready to pour to the thirsty. He is like a mature ripe fruit, which is ready to fall on the hungry and deserving. Since the Guru becomes the means by which one aspires to attain the Lord, it is not uncommon for the Hindu to treat God and the Guru as one.
In one of the famous couplets, one hears the devotee feeling puzzled as to whom to offer obeisance first, to the Lord or to the Guru. He then is convinced that he should first bow to the Guru, as he is the means through whom the Lord would be united to him.
The Guru is however different from the family priest whose task is to perform religious rituals.
It is said in Hindu scriptures that one ought to have implicit faith in one’s Guru which, the world; being as commercialised as it is today, is difficult. However the scriptures also claim that once an honest aspirant is ready, his destined Guru does materialise.
A Reader remarks:
"....... having implicit faith in one's Guru is very difficult today as we tend to get carried away by the strong waves of the highly materialistic world in which we are living. But it is not impossible as it is also a question of personal will" where I think we CLEARLY situate a person's free will in deciding to listen to the Guru,-true. readiness also implies the willingness to surrender to the Guru but then very often it also happens that later the aspirant does not always feel inclined to obey the Guru so that it becomes important to discipline oneself in doing so- hence highlighting the importance of obedience to the Guru if we want to succeed both in the spiritual and material world.I think it would also be a good idea to mention that countless are the fake Gurus in the Kalyug but that a sincere and unswerving aspirant will always come to meet a true Guru.
Damini
In the hermitage of Guru Vashishta, all the boys, be they Princes or of ordinary lineage, were treated alike. The Princes were however taught archery and the art of defense.
In ancient India, emphasis was not only laid on the academic and physical aspect, but also upon the spiritual upbringing. Hence the four boys became well versed in ancient Hindu scriptures. They not only learned them but also imbibed them into their soul.
Sri Rama emerged the most brilliant and most rounded personality he was not only wise but was considered wisdom incarnate.
SRI RAMA
According to Hinduism God assumes the form of a trinity as Brahma, Vishnu and Mahesh.
Brahma is the Creator of mankind; Vishnu the God responsible for it preservation; Shiva or Mahesh the annihilator.
According to the legend, Lord Vishnu rests on a Milky Ocean. His wife Laxmi who is the Goddess of Wealth is at his feet (as a Preserver of Mankind, he would have to own Natural Wealth). The hoods of the serpent Shesh protect the Lord like an umbrella.
Despite Lord Vishnu having temptations of wealth around him and lying on the turbulent sea with a serpent over his head, he seems to be at un­matchable ease, which is shown by the fact that he is reclining.
This is the quality that one aspires for in life. One must be able to take temptations and ups end downs in one life without getting agitated. This is what Sri Rama was able to do during his lifetime.
Rama’s ability to do his duty with every member of his family, his compassion and understanding of human nature, make him, according to Hindus, the symbol of knowledge, the Incarnation of Lord Vishnu.
LAKSHMANA
Lakshmana, the son of Sumitra, is considered the incarnation of the serpent Shesh. A popular legend claims that the world rests on this particular serpent. Hence this serpent never rests but is ever alert Even when God, in the form of Lord Vishnu, rests, it is the fangs of the serpent that protect the Lord in the form of an umbrella.
BHARATA
The son of Kaikeyi stands for Dharma and Love. He loved and did his rightful duty despite going through pain and criticism through no fault of his own.
SHATRUGHNA
Shatrughna the son of Sumitra seems to be the least talked about character in the Ramayana, maybe because he hardly talks; yet he acts when necessary.
His name Shatrughna, which means the destroyer of the enemy the destroyer of evil.
By Shatrughna’s character the Ramayana is probably trying to tell us that those too serve, who stand and watch and act when necessary.
In our Hindu philosophy it is a well-accepted belief that those serve most who talk least.
BOW AND ARROW
The Bow that Rama always carries is curved on one side with a tight straight string tied to it.
Rama as God embraces all, the straight as well as the crooked.
AHILYA
After the formal education of the four brothers was completed they returned back to the Kingdom of Ayodhya to their parent’s home. After a while Vishwamitra, a sage, came to the court of Dasaratha to seek permission to take the young princes with him, to kill certain demoniac characters who were harass­ing the sages during their prayers.
The demoniac character is symbolic of evil. The main purpose of Rama’s life was to eradicate evil. Rama, with his brother, Lakshmana, therefore went with sage Vishwamitra where he killed the demons and rescued his devotees from their plight.
When we are in true trouble it behaves us to put in our efforts to improve the situation. When all else fails, one appeals to God through a sage. God comes and redeems us from our troubles.
Once, during that trip, to the forest, Rama was asked to do an unusual task. He was asked to touch a stone statue with his feet and bring it back to life. Rama was informed that the stone statue was once a living woman called Ahilya. She had done some wrong deeds and hence had been turned to stone, with a promise that only Rama could restore her back to her original form.
This story is symbolic.
When one continuously does wrong deeds, one’s conscience dies and one’s heart literally can turn into stone.
It requires a divine word or a divine touch to melt that heart and make it live again.
Rama’s touch had that very magical soothing effect.
Ahilya was healed from her sin. She regained her former purity and resplendence by the infinite Grace of Sri Rama."

http://www.sharanagati.org/the-four-special-qualities-of-k…/

 

 

The four special qualities of Krishna

 

May

28

 

krishna

(continues from the previous issue)

One special quality of Krishna is His beauty. He is so nice that we cannot imagine. Then the second special feature of Krishna is His pastimes. And then His entourage, His devotees. And Krishna is always described with a flute – this is the fourth special feature of Krishna, the ultimate. From this we can understand that this Krishna concept of Godhead is the form of beauty. He is the greatest lover. Or we can say that He is the Lord of divine happiness. Rasaraj – He is the king of rasa. Rasa is the happiness between the soul and the Supreme. So if you ask: why Krishna? This is the reason. Because He is the God of love, divine love.

Of course, we have to and we want to respect all divine personalities on this scale, so to say. But if you enter this tradition of Krishna faith, then you will find the unlimited depth of divine feelings, spiritual feelings.

In one sense we can say that this is a choice of a person – what kind of divine personality he will worship. But if we examine what is the greatest power in the universe – and I think we can agree that this is the power of love, affection – then, if we are connected, if we are searching for the God of this beautiful, creative, maintaining loving power, then this is Krishna-bhakti.

So either we start from theoretical investigation, or you simply like the devotees of Krishna, or you taste the prasadam, you will be convinced.

Shrila Shridhara Maharaj says: “the Krishna conception of Godhead”. God, or divinity, is a general name. This is something beyond material limitations; the divine light is beyond matter. But it is so high and so powerful, that it makes us blind, therefore we think that there is no origin of that bright light, only the light. But there is an origin. So if we go further, we shall find all the layers and gradations of divinity. And then, from this general but hazy view of energy or something incomprehensible, we shall be able to focus more and more on the personal aspect of the Supreme. And when we understand that God is personal, then this whole picture is much more clear. And the special lila, the special pastimes of Krishna are so charming, that we want to enter those pastimes. So therefore – Krishna! Because He is all-attractive; not only attractive for some, He is attractive for all.

 

http://www.sharanagati.org/the-four-special-qualities-of-krishna/

16 is the squares of the quadrant model

The Vedic forms of belief are one of the precursors to modern Hinduism.[78] Texts considered to date to the Vedic period are mainly the four Vedas, but the Brahmanas, Aranyakas and the older Upanishads as well as the oldest Shrautasutras are also considered to be Vedic. The Vedas record the liturgy connected with the rituals and sacrifices performed by the 16 Shrauta priests and the purohitas.[citation needed]

https://en.wikipedia.org/wiki/Vedic_period

64 is the double tetrahedron Merkaba isotropic vector equilibrium and four quadrant model 16s

https://www.quora.com/Are-64-dimensions-as-mentioned-in-the-Vedas-ancient-Sanskrit-texts-possible

 

Are 64 dimensions as mentioned in the Vedas (ancient Sanskrit texts) possible?

According to Vedic Cosmology, there are countless universes, which are clustered together like foam on the surface of the Causal Ocean. The universes are separated from each other by the shell that envelopes each universe. Although the universes are clustered together, interactions between the universes are impossible. Each universe is completely protected by an enormous shell. Thus, each universe has a boundary. The universe is ball shaped and surrounded by an eight-fold shell.

This shell is composed of primeval material elements in their most subtle manifestation. The shell consists of eight spherical layers in which each successive material element is manifested and stored. If we penetrate the universal shell consisting of these eight spherical layers, we will enter the universal globe and find a hollow region containing all the inhabited planets.

According to Vedic physics, space inside our universe is multidimensional. There are 64 main dimensions and each dimension is further divided into many sub-dimensions. Since the inhabitants of earth can only perceive three dimensions, their senses have no access to many other realms of universal reality. Therefore, we are unable to perceive many other planets and their inhabitants. Furthermore, there are other planets which we can perceive but at the same time we cannot see their inhabitants.

 

According to Vedic physics, different planetary levels have different time scales. Relativity of time is elaborately described in the Vedic literatures."

Answer

THE FOURTH IS TRANSCENDENT (CONTAINING THE PREVIOUS THREE)

https://en.wikipedia.org/wiki/Level_of_consciousness_(Esotericism)

 

Advaita Vedanta[edit]

Aum (Om) Mantra

Aum (Om) Mantra

In particular, the Advaita Vedanta school of Hindu philosophy has been a topic of extensive study in both Eastern and Western cultures for its tiered depiction of the steps toward attaining self-realization.[8] Unlike the unidirectional nature of Mayan, Inca, and ancient shamanic perspectives, however, this particular belief structure arranges the attainment of oneness with OM through rows and domains, each of which constitutes a fragment of this vibratory sound.[9]

 

Row Level Realm Description

1: "A" Waking Conscious External, active conscious

2: "U" Dreaming Unconscious Subtle images and impressions

3: "M" Deep Sleep Subconscious Focus on latent or inactive thought patterns

4: "AUM" Absolute Consciousness Transcending of all three levels

OM Mantra[edit]

Similarly, the seven levels of consciousness defined by modern-day OM mantras strive to reach Absolute Reality through the same four realms described in the Advaita Vedanta, with three transitional tiers in between each.[10]

 

Between the first ("A") and second ("U") levels is the Unmani, similar to the Western concept of hypnagogia, or the movement from full alertness into stage 1 sleep

Between the second ("U") and third ("M") levels is the Aladani, mirroring ideas of REM sleep

Between the third ("M") and fourth ("AUM") levels is the Samadhi, or the attainment of deep absorption

https://iskconeducationalservices.org/HoH/tradition/1200.htm

https://iskconeducationalservices.org/HoH/tradition/1200.htm

https://iskconeducationalservices.org/HoH/img/tradition/four.jpg

FOUR SECTS OF HINDUISM AND THE FOURTH SMARTISM IS DIFFERENT AND KIND OF CONTAINS PREVIOUS THREE

Four main communities can be identified, each according to its respective focus of worship (these four communities are discussed in the Vaishnavism, Shaivism, Shaktism, and Smarta pages). Each community, which we loosely term here a "denomination," favours its own specific deity or deities (below).

 

Top Left: A lady wears the V or U-shaped clay mark (tilak) that denotes a follower of Vishnu. Her neck and prayer beads are made of wood from the sacred Tulsi plant.

 

Top Right:Tilak consisting of three horizontal white lines denotes a worshipper of Shiva. The young priest shown here has added a fourth, horizontal line in yellow (perhaps denoting his specific tradition). Shaivites wear Rudraksha beads, of which their rosaries are also made.

 

Bottom Right:A sannyasi of one of the ten orders founded by Shankara. Although aligned to the Smarta practice of worshipping five deities, they often tend to favour Shiva. This man's staff is a single rod (eka-danda) to distinguish him from the Vaishnava sannyasis whose staff is made of three rods (tri-danda).

 

Bottom Left: Worshippers of Durga (Shakti), who do not usually bear any clear distinguishing marks, though they often wear the red dot (chandlo) in between the eyebrows.

RAM AND HIS THREE BROTHERS- THE FOUR BROTHERS OF THE RAMAYANA- ALL SEEN AS DIVINE FOURFOLD

https://en.wikipedia.org/wiki/Dasharatha

https://en.wikipedia.org/wiki/File:Four_Sons_of_Dasaratha.jpg

Birth Of Four Sons Of Dasharatha

LOOK AT ALL OF THE QUADRUPLE FOURFOLD EXPANSIONS IN HINDU MYTHOLOGY

BALARAMA EXPANDS HIMSELF INTO FOUR FORMS- "THESE FIRST FOUR PLENARY PORTIONS ASSIST IN THE MATERIAL COSMIC MANIFESTATION)---- KRISHNA EXPANDS HIMSELF INTO FOUR FORMS- ONE OF WHICH IS BALARAMA- THE FOUR ARE KRISHNA BALARAMA PRADYUMNA AND ANIRUDDHA------- THESE FOUR THEN UNDERGO ANOTHER QUADRUPLE (FOURFOLD EXPANSION)

https://books.google.com/books?id=a2KPChj7lTwC&pg=PA162&lpg=PA162&dq=quadruple+expansion+krishna&source=bl&ots=Nc2Z8bd77N&sig=eWGydgqluoPVw0WWQfqafv2L4jg&hl=en&sa=X&ved=0ahUKEwie8vDDhP3SAhUJw1QKHY1uARMQ6AEIJzAC#v=onepage&q=quadruple%20expansion%20krishna&f=false

LOOK AT ALL OF THE QUADRUPLE FOURFOLD EXPANSIONS IN HINDU MYTHOLOGY

BALARAMA EXPANDS HIMSELF INTO FOUR FORMS- "THESE FIRST FOUR PLENARY PORTIONS ASSIST IN THE MATERIAL COSMIC MANIFESTATION"---- KRISHNA EXPANDS HIMSELF INTO FOUR FORMS- ONE OF WHICH IS BALARAMA- THE FOUR ARE KRISHNA BALARAMA  PRADYUMNA AND ANIRUDDHA------- THESE FOUR THEN UNDERGO ANOTHER QUADRUPLE (FOURFOLD EXPANSION)

https://books.google.com/books?id=a2KPChj7lTwC&pg=PA162&lpg=PA162&dq=quadruple+expansion+krishna&source=bl&ots=Nc2Z8bd77N&sig=eWGydgqluoPVw0WWQfqafv2L4jg&hl=en&sa=X&ved=0ahUKEwie8vDDhP3SAhUJw1QKHY1uARMQ6AEIJzAC#v=onepage&q=quadruple%20expansion%20krishna&f=false

QUADRUPLE EXPANSIONS

http://www.iskcondesiretree.com/forum/topics/how-to-convince-others-that-lord-krishna-is-supreme-over-lord

Then Lord Balarama expands Himself into the original Caturvyuha forms or quadruple expansion's viz.

1) Vasudeva 2) Sankarshan 3) Pradyumna 4) Aniruddha

In the Laghu-bhāgavatāmṛta Śrīla Rūpa Gosvāmī has explained Kṛṣṇa's being both Kṣīrodakaśāyī Viṣṇu and Nārāyaṇa in the spiritual sky and expanding in the quadruple forms known as Vāsudeva, Saṅkarṣaṇa, Pradyumna and Aniruddha

QUADRUPLE EXPANSIONS

http://www.stephen-knapp.com/lord_balarama_who_is_he.htm

To explain more clearly, all expansions of the Lord begin with Sri Krishna. For His pastimes in one of the highest levels of the spiritual realm, called Dvaraka, Sri Krishna expands Himself into Balarama, who then expands Himself into Pradyumna and Aniruddha. These four expand into a second quadruple which is present in the unlimited Vaikuntha planets of the spiritual sky. The second quadruple is known as Vasudeva, Sankarshana, Pradyumna, and Aniruddha. They are changeless, transcendental expansions of the Supreme Lord, Krishna. In the second quadruple, Vasudeva is an expansion of Krishna, and Sankarshana is a representative of Balarama.

SWASTIKA IS A QUADRANT PUT ON NEW CAR AND PUT FOUR LEMONS UNDER EACH TIER

https://www.thoughtco.com/car-puja-guide-1770548

In India if you buy a new car the tradition is to draw a swastika on it and break a coconut

 

The pujari (priest) draws a swastika (an auspicious Hindu symbol) with the third finger of the right hand (this is an auspicious finger; it's said that a woman should apply kumkum on the forehead with this finger). This symbol is drawn on the car with turmeric powder mixed with water, which does not stain the car. It can also be drawn with sandalwood paste. The swastika--born in India over 5,000 years ago--is an auspicious (good luck) symbol and means "to be well".

 

WHAT YOU WILL NEED

This varies slightly from temple to temple, but in general, the things which are needed include:

 

Four lemons

One coconut

Money to pay the pujari

(Optional) Ganesha idol to place on the dashboard

FOUR TYPES

 

https://en.wikipedia.org/wiki/Malla-yuddha

 

Malla-yuddha (Devanagari: मल्लयुद्ध,[1] Bengali: মল্লযুদ্ধ, Kannada: ಮಲ್ಲಯುದ್ಧ, Telugu: మల్ల యుద్ధం malla-yuddhaṁ, Tamil: மல்யுத்தம் malyutham, Thai: มัลละยุทธ์ mạllayutṭh̒) is the traditional South Asian form of combat-wrestling[2] created in what is now India, Pakistan, Bangladesh, Nepal and Sri Lanka. It is closely related to Southeast Asian wrestling styles such as naban and is the ancestor of kusti.

Malla-yuddha incorporates grappling, joint-breaking, punching, biting, choking and pressure point striking. Matches were traditionally codified into four types which progressed from purely sportive contests of strength to actual full-contact fights known as yuddha.[3] Due to the extreme violence, this final form is generally no longer practised. The second form, wherein the wrestlers attempt to lift each other off the ground for three seconds, still exists in south India. Additionally, malla-yuddha is divided into four styles, each named after Hindu gods and legendary fighters: Hanumanti concentrates on technical superiority, Jambuvanti uses locks and holds to force the opponent into submission, Jarasandhi concentrates on breaking the limbs and joints while Bhimaseni focuses on sheer strength.

https://en.wikipedia.org/wiki/Hanuman

According to legend, Hanuman is one of the four people to have heard the Bhagwad Gita from Krishna and seen his Vishvarupa (universal) form, the other three being Arjuna, Sanjaya and Barbarika, son of Ghatotkacha and also Karna at the time of his death.

THERE ARE FOUR DENOMINATIONS OF HINDUS LIKE THERE ARE FOUR MAJOR SCHOOLS OF ISLAM- THE SMARTAS THE FOURTH SECT WORSHIP FIVE GODS IN A QUINCUNX- A QUINCUNX IS A CROSS OF FIVE ELEMENTS- IT IS CALLED "THE QUINCUNX PATTERN)

https://aknandy.wordpress.com/2017/02/23/in-smarta-tradition-of-hinduism-shiva-is-a-part-of-its-panchayatana-puja/

In the Smarta tradition of Hinduism, Shiva is a part of its Panchayatana puja. This practice consists of the use of icons or anicons of five deities considered equivalent, set in a quincunx pattern. Shiva is one of the five deities, others being Vishnu, Devi (such as Parvati), Surya and an Ishta Devata such as Ganesha or Skanda or any personal god of devotee’s preference

THE TRIDENT IS A CROSS- THE DEVILS PITCHFORK IS A CROSS- I DISCUSSED THE ROMANI NAME FOR TRISHULA TRIDENT IS ACTUALLY CROSS

http://gnosticwarrior.com/trident.html

The Cretans (Minoans) of Ancient Greece were known as liars, warriors, sea people and Gnostics. They also had one of the largest roles in building most all of Western civilization with strong ties in the East to Egypt, India, Rome and many other countries.  As I mentioned in this article, one of their main symbols was the Trident  and later we would see this same symbol in Christian art as a symbol of the devil who walks the earth with his 3 pronged pitchfork. A devil who like the Cretans, are well known as liars, and who the church calls an apostate.

TRIDENTS ARE CROSSES- THE KOHEN USED CROSSES FOR THE OFFERINGS

http://gnosticwarrior.com/trident.html

This biblical connection with the mythology of Neptune makes sense since the trident is also a symbol of the Jewish priests known as the Kohanim who use the 3 prong fork to take their portions of offerings. At one time it is said that the ancient Phoenician Tyrians who had named their priests Kohanim (Cohanim or singular Kohen). The island known today as Dia sits just 7 miles off the coast of Crete and city of Knossus. It is the original home of the Kohanim who were known 3,000 years ago as the Koans and the island of Dia was called Kos (Cos, Coos, Ceus, Zia etc). The word Dia is another name for Zeus (Jupiter). The sacred Dragon isle of the God of Healing, Aesculapius. Some of the most famous men in history were called Koans from Kos. People such as the Father of True Medicine, Hippocrates. His sons Drakon, Thessalus, and son in law, Polybus, were Kohen trained doctors as well. It was also the birthplace to Pharaohs such as the Greco-Egyptian, Ptolemy II.

TRIDENT IS A CROSS

http://gnosticwarrior.com/trident.html

The most ancient Cretan coins show the Phoenician god Tan (translated Poseidon by Philo of Byblos) with a fish-tail, that is as a fish-god, and holding a Neptune's trident. The name of this god is found, too, in composition in the Cretan Itanos, from i-tan, isle of Tan. Now Tan was son of Yam, son of Ba'al, son of II (or Kronos). Did the trident thus descend from Kronos or Saturn to the seagod Poseidon or Neptune? That Kronos was prominent in the worship of Crete is abundantly clear from the fact of human sacrifices having been there, as in Rhodes, offered to him.

http://gnosticwarrior.com/trident.html

TRIDENT IS CROSS
Later in many countries such as Asia and India after Alexander the Great had conquered the region, you will find that the Trident became intertwined in their religions such as a symbol of Buddha, and also the Hindu God Shiva where it can be found in every Siva temple in India. Therefor, we can safely say that it was the Greek Macedonian King and Son of the God Ammon, Alexander the Great who had brought the rule of Greek myth and law of the Trident into these countries over 2,000 years ago. A symbol they possess to this very day.

TRIDENT IS A CROSS

http://gnosticwarrior.com/wp-content/uploads/2014/03/Trident-Britannia-Statue.jpg

http://gnosticwarrior.com/trident.html

Britannia is an ancient term for Roman Britain and also a female personification of the island which encompass the parts of the island south of Caledonia (Scotland). In the 2nd century, Roman Britannia came to be personified as a goddess, armed with a trident and shield and wearing a Corinthian helmet. (Wikipedia)

GANESHA REPRESNETS AUM- WHICH ACCORDING TO THE UPANISHADS IS FOURFOLD

http://www.skandagurunatha.org/oracles/ganesha-chap1.asp

Ganesha says

"So My trunk forms the letter in Hindu scripture that represent Om, the word or sound of thought."

 

It said, "Ganapati represents the Primordial Sound from which all worlds have taken birth. He is the Lord of the Spoken Word, the Master of Speech." The Lord of Speech represents the sound 'Omkar,' or `Om.' This was reminiscent of the first verse of John in the Bible, "In the beginning was the Word and the Word was with God and the Word was God."

TRIDENT-TRISHULA IS CROSS

 

Trident Cross

http://www.seiyaku.com/customs/crosses/trident.html

A trident (tri = three, dent = teeth) is a three-pronged spear for fishing and also a military weapon. Used extensively in mythology and also in religions such as Hinduism and Christianity.

 

By Paul Harding, with thanks to

Sean Wright for his inspiration, and

Alexander Roman for his updates and corrections

 

 

Trident Cross

 

Vajra

TryzubBarbadian flag

Barbados

 

Britannia

Britannia

(Roman)

 

Painting by Masayuki Kondo

Buddhist

(Japanese)

Painting by

Masayuki Kondo

 

Shiva

Shiva

(Indian)

A trident is the main feature on the flag of Barbados. It's not a cross; it's not even intended to be a religious symbol.

 

As an island nation, the Barbadian trident might be associated with the symbol of Neptune, the Roman god of the sea. But in fact it's the top part of Britannia's trident, snapped off from the shaft, representing the country's independence from Britain in 1966. The barbed tines are appropriate for a country named Barbados. (See Barbed Cross)

 

Perhaps the closest we can get to a real Trident Cross is based on the Tryzub. This is an ancient Ukrainian symbol with a fascinating history. (See Tryzub Cross)

 

Vajra

Vajra

Another religious Trident Cross is the Double Vajra. This is a symbolic weapon commonly seen in Asian art, wielded by gods of dharmic religions such as Buddhism (in various forms), Jainism (the symbol or mark of Dharmanatha) and Hinduism (the weapon of the Vedic god Indra). The word vajra is Sanskrit for 'thunderbolt'.

 

Trident

Trident

Apart from the Tryzub, the Trident Cross is rarely seen in Christian art, for reasons we explain below. The one shown on the left is similar to the Fleur-de-Lis Cross and has strong emphasis on 'three'. Three arms, each with three sharp points, and the meaning is clearly Trinitarian.

 

🔱

&# 128305;

 

Ψ

&# 936;

(The symbols on the left, if shown, are generated by your browser. The upper symbol is the Unicode character for the trident and the lower one is the Greek letter psi, both magnified 200%. As with other symbols, such as the asterisk, their appearances may vary, depending on your browser. You can recreate this symbols in Microsoft Windows with Alt+1F531 and ALT+936 respectively.)

 

United Church of Christ

CrownBishamon

Bishamon

(Japanese)

 

Poseidon

Poseidon

(Greek)

 

(Click any image

to enlarge)

The Cross and Crown on the left is part of the logo of the United Church of Christ and is quite similar to the trident.

 

Some claim the trident is (or was) a Pagan symbol and this may be so.

 

CND logo

CND

The word 'Trident' is used in many contexts including, for example, the controversial submarine-launched Trident ballistic missile. Lockheed chose the name 'Trident' in 1979 for its WMD, a name which mocks the 1958 symbol of the Campaign for Nuclear Disarmament - a trident in a non-fighting downward orientation (see Broken Cross).

 

Several battle ships have been named 'Trident', as have cars, record labels, chewing gum and various other company products; there is no patent protection on the name 'Trident'.

 

Trident

NeptuneNeptune

Neptune

(Roman)

 

Gladiator

Gladiator

(Roman)

Tridents are seen in art depicting gods of the sea, which most people now refer to as mythical gods.

 

The symbol on the left is associated with the planet Neptune, named after the Roman god of the sea. This god likes fishing but whilst there's lots of icy water on Neptune, as far as we know there are no fish. Nor worms. But at least he's got his trident ready, and presumably lots of patience.

 

As well as a fishing spear, the trident was also a gladiator's weapon in Ancient Rome.

 

Trident

Cross with Tridents

(Click image to enlarge)

The trident is occasionally seen in Christian art, and reconciling this warrior symbol with the love of Christ causes confusion.

 

Britannia

Britannia

(Roman)

The Roman goddess Britannia, often shown with a trident, was adopted by Great Britain and now seen in several churches of national importance. The statue shown on the right is outside St. Paul's Cathedral, London.

 

(Some are keen to point out the similarity between the trident and the pitchfork carried by the Devil. This is misleading because the trident and the pitchfork are two completely different implements. In any case, it's most unlikely that the Devil carries a pitchfork, or trident; it would just melt in hell's fire.

 

Blivet

'Devil's Fork', an impossible structure also known as the 'Devil's Tuning Fork', a 'Blivet' or a 'Poiuyt'.

The origin of the Devil's pitchfork is uncertain. There are similarities with the trident, in that the fork is usually seen with three tines. But rather than a fishing implement or fighting weapon, the Devil's pitchfork is more likely to be an oversized toasting iron - too big for a slice of bread but big enough to roast a sinner over the flames of Hell.

 

Theological tradition states that the Devil is a spiritual personification of evil; the most evil of spirits and with that definition, a pitchfork makes no difference.

 

 

The symbolism of the trident may have had 'dark' symbolism in older religions but in a Christian context, it reflects the teaching of Jesus to his disciples to be "fishers of men". And there is nothing 'dark' or demonic about that.

 

fish and trident

Before Constantine, Christians tended to conceal their religious identity for fear of persecution. They revealed themselves to each other through symbols such as the fish, the dolphin, the anchor and later, the trident; hence the alternative name; Disguised Cross.

 

It is not a common Christian symbol today because the meaning is neither clear nor convincing. Here are four interpretations:

 

i. To overcome evil, a military weapon like the fitched St. James Cross >St. James Cross

 

ii.

When the trident's teeth are short, the trident looks like a crown. Christians refer to Jesus Christ as the King, and when crucified He wore a crown of thorns

Cross and Crown

 

iii.

When the teeth are long and wavy, they look like flames. Fire is a common way to show the grace of God and also Glory

Glory

 

iv.

As a fish-catcher for "fishers of men".

Trident

Trident

The problem with the first interpretation (i) is that it's not the most effective weapon to have in an arsenal.

 

The second interpretation (ii) is plausible but something that looks more like a crown of gold or a crown of thorns is more recognisable. Similarly with the third interpretation (iii), a halo is a more standard art form.

 

The problem with the fourth (iv) is that tridents do a lot of damage to a fish. Poke a trident into a fish and ask if it likes being saved. (Mental Health Warning: Don't talk to fish.) There'll be no response because the fish will either be dead or writhing in agony. Even hardline fundamentalists and evangelical hermeneuticists will agree that "fishing for men" is a metaphor.

 

Shiva

Shiva

There's one more interpretation:

 

v. Just as the three teeth of the Hindu Shiva trident represent the three-in-one world, the three in a Christian context represent the Holy Trinity

And here's a further nautical connection:

 

The mammal famed for saving men is the dolphin. If a dolphin is seen riding the wake of a ship that is considered a good omen for a safe and successful voyage.

 

It comes as no surprise therefore that Jesus Christ has been depicted in Christian art as a dolphin; the friend and preserver of man. In the Catacomb of Callixtus, is a fresco representing a dolphin twisted around a trident. Another shows the dolphin impaled on a trident to form a Tau Cross. These are interpreted as symbolic of the Crucifixion of Christ. (See also Dolphin Cross)

 

Camargue Cross

Shown on the left is an Anchor Cross seen in Provence Gardian in south-eastern France, which Sean Wright identifies as "a symbol of the Three Theological Virtues: Faith, Hope and Love (cross, anchor, heart)." Tridents can be seen at the top and arm ends, made from crescent shaped fleuries.

 

The three cross arms each with three points are clear and strong references to those three virtues, and of course, the Holy Trinity. Sean goes on to point out another three-three and dolphin in the Old Testament story of the prophet Jonah:

 

Sean writes:

"The dolphin, known by the ancients as a friendly 'fish', was used by the Early Church as a symbol of Christ carrying the souls of Christians to the safety of heaven, as well as a symbol of Jonah and the 'great fish' and therefore a symbol of the Resurrection, since Jesus compared it to Jonah being in the belly of the 'fish' for three days and three nights."

The vedic square is made of quadrants

https://en.wikipedia.org/wiki/Vedic_square

Numerous geometric patterns and symmetries can be observed in a Vedic square some of which can be found in traditional Islamic art.(Pritchard 2003, pp. 119–122)

THE ARANYAKA UPANISHAD SAYS THE LORD HAS 16 PARTS- 15 PARTS THAT ARE NOT FIXED AND THE 16TH (the fourth of the fourth quadrant) THAT IS FIXED DIFFERENT- 16 SQUARES QUADRANT MODEL

https://books.google.com/books?id=g3c9AQAAMAAJ&pg=PA226&lpg=PA226&dq=upanishads+16+parts&source=bl&ots=SE4TZ9WSbw&sig=hRAwvuUbvLDYM_cukR6fxJawDsg&hl=en&sa=X&ved=0ahUKEwjquqOcmf3SAhVGMGMKHYeNAVQQ6AEIPTAF#v=onepage&q=upanishads%2016%20parts&f=false

Quadrant

THE ARANYAKA UPANISHAD SAYS THE LORD HAS 16 PARTS- THE PRASHNA UPANISHAD SAYS THAT EVERY PERSON HAS 16 PARTS- 16 SQUARES IN TEH QUADRANT MODEL

https://en.wikipedia.org/wiki/Prashna_Upanishad

The sixth Prashna in the Upanishad opens with a story of a prince visiting one of the student and asking, "where is the person with sixteen parts?" The student confesses he does not know, with the ethical precept, "answering with untruth, when one does not know the answer, is wrong".[56] The student asks sage Pippalada the same question. The sage answers, states the Upanishad, that he and every human being has sixteen parts.[57]

 

This answer is significant because more ancient texts of the Vedic era, such as the Samhitas, refer to Prajapati, the Lord of Creation, as Sodasin (Sanskrit: षोडशिन्) - which literally means, the one with sixteen parts.[57][58] Man, implies the sixth Prashna of the Upanishad, is created in Prajapati's image and innately lord of creation. The section states, soul is immortal.[59] Self-knowledge, the knowledge of Brahman, is the highest knowledge, state the closing verses of the Prashna Upanishad.[57][59]

SHANKARA WAS CONSIDERED AN AVATAR OF SHIVA- HE SAID THERE WERE 16 AUTHENTIC UPANISHADS- 16 IS THE SQUARES OF THE QUADRANT MODEL

https://msu.edu/~puhek/miem/Upanishads.html

Of the one hundred and eight extant Upanishads, sixteen were recognized by Shankara as authentic and authoritative.

THE FOUR GREAT SAYINGS

https://en.wikipedia.org/wiki/Mahāvākyas

The Mahavakyas (sing.: mahāvākyam, महावाक्यम्; plural: mahāvākyāni, महावाक्यानि) are "The Great Sayings" of the Upanishads, as characterized by the Advaita school of Vedanta.

 

Most commonly, Mahavakyas are considered four in number,[1][2]

 

Prajnanam Brahma (प्रज्ञानम् ब्रह्म)

Aham Brahma Asmi (अहम् ब्रह्म अस्मि)

Tat Tvam Asi (तत् त्वम् असि)

Ayam Atma Brahma (अयम् आत्मा ब्रह्म)

 

The four principal Mahavakyas[edit]

Though there are many Mahavakyas, four of them, one from each of the four Vedas, are often mentioned as "the Mahavakyas".[3] According to the Vedanta-tradition, the subject matter and the essence of all Upanishads is the same, and all the Upanishadic Mahavakyas express this one universal message in the form of terse and concise statements.[citation needed] In later Sanskrit usage, the term mahāvākya came to mean "discourse", and specifically, discourse on a philosophically lofty topic.[web 1]

 

According to the Advaita Vedanta tradition the four Upanishadic statements indicate the ultimate unity of the individual (Atman) with Supreme (Brahman).[citation needed]

 

The Mahavakyas are:

 

prajñānam brahma - "Prajñāna[note 1] is Brahman"[note 2], or "Brahman is Prajñāna"[web 3] (Aitareya Upanishad 3.3 of the Rig Veda)

ayam ātmā brahma - "This Self (Atman) is Brahman" (Mandukya Upanishad 1.2 of the Atharva Veda)

tat tvam asi - "Thou art That" (Chandogya Upanishad 6.8.7 of the Sama Veda)

aham brahmāsmi - "I am Brahman", or "I am Divine"[7] (Brhadaranyaka Upanishad 1.4.10 of the Yajur Veda)

People who are initiated into sannyasa in Advaita Vedanta are being taught the four [principal] mahavakyas as four mantras, "to attain this highest of states in which the individual self dissolves inseparably in Brahman".[8]

THERE ARE 16 SUTRAS 16 EQUATIONS IN VEDIC MATHEMATICS- 16 IS THE SQUARES OF THE QUADRANT MODEL

https://arxiv.org/pdf/math/0611347.pdf

In 1957, when he decided finally to undertake a tour of the USA he rewrote from his memory the present volume of Vedic Mathematics [51] giving an introductory account of the sixteen formulae reconstructed by him. This is the only work on mathematics that has been left behind by him.

Now we proceed on to give the 16 sutras (aphorisms or formulae) and their corollaries [51]. As claimed by the editor, the list of these main 16 sutras and of their sub-sutras or corollaries is prefixed in the beginning of the text and the style of language also points to their discovery by Sri Swamiji himself. This is an open acknowledgement that they are not from the Vedas. Further the editor feels that at any rate it is needless to dwell longer on this point of origin since the vast merit of these rules should be a matter of discovery for each intelligent reader.

Now having known that even the 16 sutras are the Jagadguru Sankaracharya’s invention we mention the name of the sutras and the sub sutras or corollaries as given in the book [51] pp. XVII to XVIII.

16 VEDIC SUTRAS 16 EQUATIONS MATHEMATICS-- 16 SQUARES QUADRANT MODEL

https://www.youtube.com/watch?v=KdZN8bhUfqw

'Vedic Mathematics' is the name given to the ancient system of mathematics. The system is based on 16 Vedic sutras or aphorisms, which are actually word-formulae describing natural ways of solving a whole range of mathematical problems. It is a unique technique of calculations based on simple rules and principles, with which any mathematical problem - be it arithmetic, algebra, geometry or trigonometry - can be solved.

THE HINDU CHALISAS ARE VERY POPULAR- THEY ARE FOUR BY FOUR BY FOUR BY FOUR LINE QUATRAINS--- 40 LINES IN ALL - FOURTY WHICH IS FOUR TIMES TEN- THE OPENING LINE OF THE CHALISA TALKS ABOUT THE FOUR FRUITS THAT RAMA BESTOWS- FOUR FRUITS
https://www.youtube.com/watch?v=liKbzGXGokU&t=485s
http://aumamen.com/stotra/hanuman-chalisa
Hanuman Chalisa has 40 verses, each verse is four lined (chaupi)

OPENING LINE

"Cleansing the mirror of my mind with the dust from the Lotus-feet of Divine Guru, I describe the unblemished glory of Lord Rama, which bestows four fruits of Righteousness (Dharma), Wealth (Artha), Pleasure (Kama) and Liberation (Moksha) "

16 SQUARES OF THE QUADRANT MODEL- 16 PARTS OF THE MIND

http://isha.sadhguru.org/blog/yoga-meditation/science-of-yoga/harnessing-true-power-of-mind/

Sadhguru: Chit Shakti meditation is not just visualization. In the yogic understanding, there are 16 dimensions to the human mind. These 16 dimensions fall into four categories. These four categories are known as buddhi, manas, ahankara, and chitta. Buddhi is the intellect – the logical dimension of thought. Unfortunately, the modern education systems and modern sciences have largely limited themselves to buddhi. That is a buddhu (foolish) way of existence.

I WATCHED A HARE KRISHNA THING WHERE THEY WERE TALKING ABOUT THE 16 RIVERS - 16 SQUARES QUADRANT MODEL

https://en.wikipedia.org/wiki/List_of_major_rivers_of_India

 

Known as Ganga-Satluj Ka Maidaan (गँगा सतलज का मैदान), this area is drained by 16 major rivers. The major Himalayan Rivers are the Indus, Ganges, and Brahmaputra. These rivers are long,and are joined by many large and important tributaries. Himalayan rivers have long courses from their source to sea.(in India Arabian sea and Bay of Bengal)

16 is the squares of the quadrant model

http://www.krishna.com/three-forms-one-god

http://www.krishna.com/three-forms-one-god

 

QUADRUPLE EXPANSIONS- ALSO IT IS DESCRIBED KRISHNA HAS 64 QUALITIES- THAT IS FOUR 16's FOUR QUADRANT MODEL- BUT IT IS SAID HE HAS FOUR SPECIAL QUALITIES

Krishna is distinguished from all others because He possesses sixty-four qualities in full. Other manifestations of Krishna possess varying degrees of these qualities.

 

The Nectar of Devotion clarifies: “Krishna has four more [qualities], which are not manifest even in the Narayana form of Godhead, what to speak of the demigods or living entities. They are as follows: (61) He is the performer of wonderful varieties of pastimes (especially His childhood pastimes). (62) He is surrounded by devotees endowed with wonderful love of Godhead. (63) He can attract all living entities all over the universes by playing on His flute. (64) He has a wonderful excellence of beauty which cannot be rivaled anywhere in the creation.”

 

 

The first four expansions in the vilasa category (prabhava-vilasa) originate from Lord Balarama (vaibhava-prakasha). Prabhava manifestations are fully potent; vaibhava manifestations are partially potent. The four expansions Vasudeva, Sankarshana, Pradyumna, and Aniruddha are known as the catur- vyuha.Catur means “four,” and vyuha means “guard” or “arms.” These forms have four arms, and They guard the four directions of the material world. They reside in the spiritual world. Srila Prabhupada refers to Them as the aides-de-camp of Lord Krishna.

Vasudeva, the first expansion, is the presiding deity of consciousness and the cause of the brahmajyoti effulgence.

Sankarshana comes from Vasudeva and is the presiding deity of false ego. He is the source of Karanodakashayi Vishnu. Sankarshana is known as the integrating and disintegrating power of God. In other words, He maintains the law of gravity and oversees the destruction of the universe.

Pradyumna comes from Sankarshana and is the presiding deity of intelligence. He is responsible for universal growth and maintenance. From Pradyumna comes Garbhodakashayi Vishnu.

Aniruddha, who comes from Pradyumna, is the presiding deity of the mind and the source of Kshirodakashayi Vishnu.

Srila Prabhupada explains: “The Lord in His different features (Vasudeva, Aniruddha, Pradyumna, and Sankarshana) maintains both the gross and subtle material elements of this world. As mentioned in Bhagavad-gita, the gross material elements are earth, water, fire, air, and ether, and the subtle material elements are mind, intelligence, and ego. All of them are controlled by the Supreme Personality of Godhead as Vasudeva, Sankarshana, Pradyumna, and Aniruddha… . Lord Krishna, by His quadruple expansion (Vasudeva, Sankarshana, Pradyumna and Aniruddha), is the Lord of psychic action—namely thinking, feeling, willing, and acting.” (Srimad-Bhagavatam 4.24.35-36, Purport)

From these first four expansions come other catur- vyuhas, known as vaibhava-vilasa. The months of the year and the markings of tilaka are named for these vaibhava-vilasa manifestations.

16 is the squares of the Quadrant Model- THE 16 WORD Mahamantra -QUATRAIN IS FOUR LINES 16 WORDS

https://en.wikipedia.org/wiki/Hare_Krishna_(mantra)

The Hare Krishna mantra, also referred to reverentially as the Maha Mantra ("Great Mantra"), is a 16 word Vaishnava mantra which is mentioned in the Kali-Santarana Upanishad, and which from the 15th century rose to importance in the Bhakti movement following the teachings of Chaitanya Mahaprabhu.This Mantra is composed of three Sanskrit names of the Supreme Being; "Hare," "Krishna," and "Rama."[1][2]

 

Popular culture[edit]

Further information: Hare Krishna in popular culture

The Hare Krishna mantra appears in a number of famous songs, notably those by Boy George in Bow down mister, the Beatles (in the lyrics of George Harrison and John Lennon), and has been at the number 1 spot on the UK singles charts on more than one occasion, through Harrison's solo single "My Sweet Lord". Harrison put a Hare Krishna sticker on the back of the headstock of Eric Clapton's 1964 Gibson ES-335; the sticker also appears on Gibson's 2005 reproduction of the guitar.

 

Produced by Harrison, Radha Krishna Temple (London)'s recording "Hare Krishna Mantra" was issued as a single on the Beatles' Apple record label in 1969. The single was a commercial success, peaking at number 12 in the UK, and led to the Temple devotees appearing on the popular music show Top of the Pops.

 

The mantra also appears in The Pretenders' Boots of Chinese Plastic.[18]

 

Less well-known but equally relevant to fans of pop music culture are recordings of the Hare Krishna mantra by The Fugs on their 1968 album Tenderness Junction (featuring poet Allen Ginsberg), by Nina Hagen, and by Hüsker Dü on their 1984 album Zen Arcade.[19]

 

Kula Shaker, Boy George, and members of The Rubettes have recorded music tracks about Krishna Consciousness.

 

At the 2008 and 2009 VMA Awards, the host, English comedian Russell Brand ended the ceremony by saying Hare Krishna, as he does at all his shows.

 

The Washington D.C. Production duo Thievery Corporation released a track on the 2008 album titled Hare Krishna.

 

In The Muppet Movie a running gag entailed one character saying they were lost and the other saying "maybe you should try Hare Krishna."

 

In the Seinfeld episode "The Subway", a patron in Monk's restaurant yells, "Hare Krishna! Hare Krishna!" when he sees George walk in wearing only a bedsheet. A similar scenario occurs in Scrubs when J.D. shaves his head in support for a chemo patient, and in the movie Stripes when John Candy's character leaves the army barber.

 

The Hare Krishnas are featured in the popular video game series Grand Theft Auto originally as pedestrians, and in later installments as a gang.

 

The band Shelter features themes and lyrics of Hare Krishna culture. Also in the Hip Hop genre, the band Govinda Sky has several songs about Krishna Consciousness.

 

In the film Osmosis Jones (2001), Jones pushes past two cells in Franks stomach who are singing 'Hare Krishna' whilst playing a drum and jiggling a tambourine.

 

In episode nine, season five, of Mad Men, ("Christmas Waltz") Paul Kinsey reappears not as a bearded, pipe smoking copywriter, but as a follower of Hare Krishna.

 

While addressing Stanford graduates in 2005, Apple founder Steve Jobs mentions “…I would walk the 7 miles across town every Sunday night to get one good meal a week at the Hare Krishna temple.”

 

In a 2010 experimental study involving both devotees and non-devotees, singing vowels like "ah" and "eh" was found to be more joyful than singing vowels like "oh" and "uh", possibly due to a facial feedback effect.[20]

 

Scriptural references[edit]

The practice of chanting the Hare Krishna mantra is recommended in the Puranas, the Pañcaratra, and throughout Vaishnava literature in general.[21] For example:

 

All the grievous sins are removed for one who worships Lord Sri Hari, the Lord of all lords, and chants the holy name, the Maha-mantra.

— Padma Purana, 3.50.6

When the sixteen names and thirty-two syllables of the Hare Krishna mantra are loudly vibrated, Krishna dances on one's tongue

— Stava-mala-vidyabhusana-bhasya, Baladeva Vidyabhusana in Bhaktisiddhanta's Gaudiya Kanthahara 17:30

…[Anyone] can immediately become eligible to perform Vedic sacrifices if he once utters the holy name of the Supreme Personality of Godhead or chants about Him, hears about His pastimes, offers Him obeisances or even remembers Him.”

—  Srimad Bhagavatam, 3:33 6

 

 

 

The Hare Krishna mantra is composed of Sanskrit names in the singular vocative case: Hare, Krishna, and Rama (in Anglicized spelling). It is a poetic stanza in anuṣṭubh meter (A quatrain of four lines (pāda) of eight syllables).

 

hare kṛṣṇa hare kṛṣṇa

kṛṣṇa kṛṣṇa hare hare

hare rāma hare rāma

rāma rāma hare hare

 

 

Hare Krishna Hare Rama Sankeertan By Vinod Agarwal [Full Song] I Maha Mantra Mahima & Madhurima

youtube.com

https://www.youtube.com/watch?v=tfczGnmGpwU

The 16 word chant of the Hare Krishna movement. Krishna is said 4 times. Ram is said 4 times. 16 is the squares of the quadrant model.

According to the Hare Krishna just listening to this chant dissolves you of your sins and it is the most powerful chant.

Rama is an avatar of Krishna from the Ramayana. In the story Ram has to save his wife Sita from demons. The question is if Sita remained loyal to him and did not have sex with the demons. If she did Rama has to kill her by throwing her on a fire. She is thrown on the fire but saved because she was pure. Theologians say that the story is a parallel and allegory of the story of Israel where Israel is called the wife of God and she is dispersed to be regathered by God, like when Sita was lost by Rama but he retrieves her.

Ram is considered an expert archer.

The Ramayana (/rɑːˈmɑːjənə/; Sanskrit: रामायणम्, Rāmāyaṇam, pronounced [rɑːˈmɑːjəɳəm]) is a Sanskrit epic poem ascribed to the Hindu sage and Sanskrit poet Valmiki. It is regarded as one of the two great works of Indian literature, along with the Mahabharata

16 is the squares of the Quadrant Model- THE 16 WORD Mahamantra -QUATRAIN IS FOUR LINES 16 WORDS

https://en.wikipedia.org/wiki/Hare_Krishna_(mantra)

The Hare Krishna mantra, also referred to reverentially as the Maha Mantra ("Great Mantra"), is a 16 word Vaishnava mantra which is mentioned in the Kali-Santarana Upanishad, and which from the 15th century rose to importance in the Bhakti movement following the teachings of Chaitanya Mahaprabhu.This Mantra is composed of three Sanskrit names of the Supreme Being; "Hare," "Krishna," and "Rama."[1][2]

 

Popular culture[edit]

Further information: Hare Krishna in popular culture

The Hare Krishna mantra appears in a number of famous songs, notably those by Boy George in Bow down mister, the Beatles (in the lyrics of George Harrison and John Lennon), and has been at the number 1 spot on the UK singles charts on more than one occasion, through Harrison's solo single "My Sweet Lord". Harrison put a Hare Krishna sticker on the back of the headstock of Eric Clapton's 1964 Gibson ES-335; the sticker also appears on Gibson's 2005 reproduction of the guitar.

 

Produced by Harrison, Radha Krishna Temple (London)'s recording "Hare Krishna Mantra" was issued as a single on the Beatles' Apple record label in 1969. The single was a commercial success, peaking at number 12 in the UK, and led to the Temple devotees appearing on the popular music show Top of the Pops.

 

The mantra also appears in The Pretenders' Boots of Chinese Plastic.[18]

 

Less well-known but equally relevant to fans of pop music culture are recordings of the Hare Krishna mantra by The Fugs on their 1968 album Tenderness Junction (featuring poet Allen Ginsberg), by Nina Hagen, and by Hüsker Dü on their 1984 album Zen Arcade.[19]

 

Kula Shaker, Boy George, and members of The Rubettes have recorded music tracks about Krishna Consciousness.

 

At the 2008 and 2009 VMA Awards, the host, English comedian Russell Brand ended the ceremony by saying Hare Krishna, as he does at all his shows.

 

The Washington D.C. Production duo Thievery Corporation released a track on the 2008 album titled Hare Krishna.

 

In The Muppet Movie a running gag entailed one character saying they were lost and the other saying "maybe you should try Hare Krishna."

 

In the Seinfeld episode "The Subway", a patron in Monk's restaurant yells, "Hare Krishna! Hare Krishna!" when he sees George walk in wearing only a bedsheet. A similar scenario occurs in Scrubs when J.D. shaves his head in support for a chemo patient, and in the movie Stripes when John Candy's character leaves the army barber.

 

The Hare Krishnas are featured in the popular video game series Grand Theft Auto originally as pedestrians, and in later installments as a gang.

 

The band Shelter features themes and lyrics of Hare Krishna culture. Also in the Hip Hop genre, the band Govinda Sky has several songs about Krishna Consciousness.

 

In the film Osmosis Jones (2001), Jones pushes past two cells in Franks stomach who are singing 'Hare Krishna' whilst playing a drum and jiggling a tambourine.

 

In episode nine, season five, of Mad Men, ("Christmas Waltz") Paul Kinsey reappears not as a bearded, pipe smoking copywriter, but as a follower of Hare Krishna.

 

While addressing Stanford graduates in 2005, Apple founder Steve Jobs mentions “…I would walk the 7 miles across town every Sunday night to get one good meal a week at the Hare Krishna temple.”

 

In a 2010 experimental study involving both devotees and non-devotees, singing vowels like "ah" and "eh" was found to be more joyful than singing vowels like "oh" and "uh", possibly due to a facial feedback effect.[20]

 

Scriptural references[edit]

The practice of chanting the Hare Krishna mantra is recommended in the Puranas, the Pañcaratra, and throughout Vaishnava literature in general.[21] For example:

 

All the grievous sins are removed for one who worships Lord Sri Hari, the Lord of all lords, and chants the holy name, the Maha-mantra.

— Padma Purana, 3.50.6

When the sixteen names and thirty-two syllables of the Hare Krishna mantra are loudly vibrated, Krishna dances on one's tongue

— Stava-mala-vidyabhusana-bhasya, Baladeva Vidyabhusana in Bhaktisiddhanta's Gaudiya Kanthahara 17:30

…[Anyone] can immediately become eligible to perform Vedic sacrifices if he once utters the holy name of the Supreme Personality of Godhead or chants about Him, hears about His pastimes, offers Him obeisances or even remembers Him.”

—  Srimad Bhagavatam, 3:33 6

 

 

 

The Hare Krishna mantra is composed of Sanskrit names in the singular vocative case: Hare, Krishna, and Rama (in Anglicized spelling). It is a poetic stanza in anuṣṭubh meter (A quatrain of four lines (pāda) of eight syllables).

 

hare kṛṣṇa hare kṛṣṇa

kṛṣṇa kṛṣṇa hare hare

hare rāma hare rāma

rāma rāma hare hare

 

 

Hare Krishna Hare Rama Sankeertan By Vinod Agarwal [Full Song] I Maha Mantra Mahima & Madhurima

youtube.com

https://www.youtube.com/watch?v=tfczGnmGpwU

The 16 word chant of the Hare Krishna movement. Krishna is said 4 times. Ram is said 4 times. 16 is the squares of the quadrant model.

According to the Hare Krishna just listening to this chant dissolves you of your sins and it is the most powerful chant.

Rama is an avatar of Krishna from the Ramayana. In the story Ram has to save his wife Sita from demons. The question is if Sita remained loyal to him and did not have sex with the demons. If she did Rama has to kill her by throwing her on a fire. She is thrown on the fire but saved because she was pure. Theologians say that the story is a parallel and allegory of the story of Israel where Israel is called the wife of God and she is dispersed to be regathered by God, like when Sita was lost by Rama but he retrieves her.

Ram is considered an expert archer.

The Ramayana (/rɑːˈmɑːjənə/; Sanskrit: रामायणम्, Rāmāyaṇam, pronounced [rɑːˈmɑːjəɳəm]) is a Sanskrit epic poem ascribed to the Hindu sage and Sanskrit poet Valmiki. It is regarded as one of the two great works of Indian literature, along with the Mahabharata

Four sampradayas and other sects[edit]

https://en.wikipedia.org/wiki/Vaishnavism

The Vaishnavism traditions may be grouped within four sampradayas, each exemplified by a specific Vedic personality. They have been associated with a specific founder, providing the following scheme: Brahma Sampradaya (Madhvacharya), Sri Sampradaya (Ramanuja), Rudra Sampradaya (Vishnuswami, Vallabhacharya),[200] Kumaras sampradaya (Nimbarka).[201][note 4] These four sampradayas emerged in early centuries of the 2nd millennium CE, by the 14th century, influencing and sanctioning the Bhakti movement.[47]

http://www.radhanathswami.us/forum/topics/significance-of-16-rounds-of---- KRISHNA HAD 16 THOUSAND WIVES- THE 16 WORD MAHA MANTRA IS SUPPOSED TO BE SAID 16 ROUNDS

 

The quadrant image permeates the hare krishna movement

Lord Krsna is the original person adi purusa(Govindam adi purusam tam aham bhajami from Brahma Samhita).His first expansion is Lord Balarama.From Lord Balarama expand the first four catur vyuha:-Vasudeva,Pradyumna,Aniruddha,Sankarsana.The first four expansions have four hands.Every avatara or Vishnu forms are further expansions of these four personalities or the expansions of their expansions and so on.

Thus,we see four is an important number.Its square is 16.It is also said that Lord Krsna had sixteen kalas.He had more than 16000 wives(16,108 to b exact).

Four's cube is 64.Srila Rupa Goswami listed 64 qualities of Krsna in Nectar of Devotion. Hare krishna are required to chant hare krishna 16 rounds a day

There is another way of thinking.16 rounds means 16*108=1728 times we say Hare Krishna maha mantra.The mantra has four times Krsna and four times Rama. Four is the quadrant. 16 is the quadrant model. 64 is four quadrant models/ the meta quadrant model

https://en.wikipedia.org/wiki/Krishna_Vasudeva

https://en.wikipedia.org/wiki/Krishna_Vasudeva

The Harivamsa describes intricate relationships between Krishna Vasudeva, Sankarsana, Pradyumna and Aniruddha that would later form a Vaishnava concept of primary quadrupled expansion, or chatur vyuha.[7]

https://www.laetusinpraesens.org/docs/territ.php

5. Antonio de Nicolas (1978) recognizes four complementary languages (see review: part 1 and part 2) as underlying the structure of the Rig Veda:

Language of non-existence

Language of existence

Language of images and sacrifice

Language of embodied vision

THE FOUR MATHAS

https://en.wikipedia.org/wiki/Smarta_Tradition

Adi Shankara is one of the leading scholars of the Smarta Tradition, and he founded some of the most famous monasteries in Hinduism.[62] These have hosted the Daśanāmi Sampradāya under four Maṭhas, with the headquarters at Dwarka in the West, Jagannatha Puri in the East, Sringeri in the South and Badrinath in the North.[62][63] Each math was headed by one of his disciples, called Shankaracharya, who each independently continued the Advaita Vedanta Sampradaya.[62] The ten Shankara-linked Advaita monastic orders are distributed as follows: Bharati, Puri and Saraswati at Sringeri, Aranya and Vana at Puri, Tirtha and Ashrama at Dwarka, and Giri, Parvata and Sagara at Badrinath.[64]

 

The mathas which Shankara built exist until today, and continue the teachings and influence of Shankara.[65][66]

 

The table below gives an overview of the four largest Advaita Mathas founded by Adi Shankara, and their details.[63][web 1] However, evidence suggests that Shankara established more mathas locally for Vedanta studies and its propagation, states Hartmut Scharfe, such as the "four mathas in the city of Trichur alone, that were headed by Trotaka, Sureshvara, Hastamalaka and Padmapada".[67]

 

The Sringeri Sharada monastery founded by Jagatguru Sri Adi Shankaracharya in Karnataka is the centre of the Smarta sect.[17][41]

 

Shishya

(lineage) Direction Maṭha State Mahāvākya Veda Sampradaya

Padmapāda East Govardhana Pīṭhaṃ Odisha Prajñānam brahma (Consciousness is Brahman) Rig Veda Bhogavala

Sureśvara South Sringeri Śārada Pīṭhaṃ Karnataka Aham brahmāsmi (I am Brahman) Yajur Veda Bhūrivala

Hastāmalakācārya West Dvāraka Pīṭhaṃ Gujarat Tattvamasi (That thou art) Sama Veda Kitavala

Toṭakācārya North Jyotirmaṭha Pīṭhaṃ Uttarakhand Ayamātmā brahma (This Atman is Brahman) Atharva Veda Nandavala

https://en.wikipedia.org/wiki/Govardhana_matha

Govardhana matha is one of four cardinal institutions established by Adi Shankara (c. 8th century CE), the reviver of Vedic Sanatana Dharma.[4] Shankara's four principal disciples, Padma-Pada, Hasta-Malaka, Vartika-Kara and Totakacharya were assigned to these four learning centers in the north, south, east and west of India.[5] The subsequent leaders of each of these four monasteries have come to be known as Śaṅkarāchāryas in honor of the math's founder, Adi Shankara.[6] As such they are the leaders of the Daśanāmī Saṃnyāsins who are considered to have custody of Advaita Vedānta[6] These four principle seats of learning are located in Purī (Orissa), Śṛṅgeri (Karnataka) and Dvārakā (Gujarat) with[6] the northern (Uttarāmnāya) monastery being located in the city of Jyotirmaṭh (also known as Joṣīmaṭh).[6]

THE FOUR MAJOR ADI SHAKTI PITHAS (SHAKTI AS WELL AS SMARTA ARE ONE OF THE FOUR DENOMINATIONS OF HINDUISM)

https://en.wikipedia.org/wiki/Shakti

According to some schools, there are four Adi Shakti Pitha and 51 Shakti centers of worship located in South Asia (four Adi Shakti Pitha are also part of 51 Shakti pithas but they are four major parts of Devi Sati's body. So, they are adi shakti pithas). They can be found in India, Sri Lanka, Nepal, Bangladesh, Tibet and Pakistan. These are called Shakti Peethas. The list of locations varies. A commonly accepted list of Shakti Peethas and their temple complexes includes:

https://en.wikipedia.org/wiki/Shakti_Peetha--- THE FOUR ADI SHAKTI PITHAS- SHAKTI IS ONE OF THE FOUR DENOMINATIONS OF HINDUISM

 

Four Adi Shakti Pithas[edit]

The map depicts location of major and minor Shakti Peethas in South Asia. Shakti Peetha Shakti Peetha Shakti Peetha Shakti Peetha Shakti Peetha Shakti Peetha Shakti Peetha Shakti Peetha Shakti Peetha Shakti Peetha Shakti Peetha Shakti Peetha Shakti Peetha Jwala JiJwala Ji Shakti Peetha Shakti Peetha KanyakumariKanyakumari Shakti Peetha ManasarovarManasarovar Shakti Peetha Shakti Peetha Shakti Peetha Shakti Peetha Shakti Peetha Shakti Peetha Shakti Peetha Shakti Peetha Shakti Peetha Shakti Peetha Shakti Peetha Shakti Peetha Shakti Peetha Shakti Peetha Shakti Peetha Shakti Peetha Shakti Peetha Shakti Peetha Shakti Peetha Shakti Peetha PuriPuri Shakti Peetha KolkataKolkata GuwahatiGuwahati

The map depicts location of Shakti Peethas in South Asia, major (blue) and minor (red) .

Some of the great religious texts like the Shiva Purana, the Devi Bhagavata, the Kalika Purana and the AstaShakti recognize four major Shakti Peethas (centers), like Bimala (Pada Khanda) (inside the Jagannath temple of Puri, Odisha), Tara Tarini (Sthana Khanda, Purnagiri, Breasts) (Near Berhampur, Odisha), Kamakhya Temple (Yoni khanda) (Near Guwahati, Assam) and Dakshina Kalika (Mukha khanda) (Kolkata, West Bengal) originated from the limbs of the Corpse of Mata Sati in the Satya Yuga.

 

The Astashakti and Kalika Purana says (in Sanskrit):

 

"Bimala Pada khandancha,

Sthana khandancha Tarini (Tara Tarini),

Kamakshya Yoni khandancha,

Mukha khandancha Kalika (Dakshina Kalika)

Anga pratyanga sanghena

Vishnu Chakra Kshyta nacha"

Further explaining the importance of these four Pithas, the "Brihat Samhita" also gives the location of these Pithas as (In Sanskrit)

 

"Rushikulya* Tatae Devi,

Tarakashya Mahagiri,

Tashya Srunga Stitha Tara

Vasishta Rajitapara" (Rushikulya is a holy river flowing on the foothill of the Tara Tarini Hill Shrine).

List of 4 Adi Shakti Pithas[edit]

In the listings below:

 

"Shakti" refers to the Goddess worshipped at each location, all being manifestations of Dakshayani (Sati), Parvati or Durga;

"Body Part or Ornament" refers to the body part or piece of jewellery that fell to earth, at the location on which the respective temple is built.

Sr. No. Place Body Part or Ornament

1 Puri, Odisha (inside Jagannath Temple complex) Pada Bimala

2 Berhampur, Odisha Breast khanda Tara Tarini

3 Guwahati, Assam Yoni khanda Kamakhya

4 Kolkata, West Bengal (Kalighat Kali Temple) Mukha khanda Dakshina Kalika

ONE OF THE FOUR ADI SHAKTI PITHAS--- IT HAS FOUR COMPONENTS FOUR COMPONENT STRUCTURE

https://en.wikipedia.org/wiki/File:Simplified_schema_of_Kalinga_architecture.jpg

https://en.wikipedia.org/wiki/Vimala_Temple

The Vimala Temple or Bimala Temple is a Hindu temple dedicated to goddess Vimala (Bimala), located within the Jagannath Temple complex in Puri in the Indian state of Orissa. It is generally regarded as a Shakti Pitha, among the holiest temples dedicated to the Hindu Goddess.

 

It is built in the Deula style with FOUR components; vimana (structure containing the sanctum), jagamohana (assembly hall), nata-mandapa (festival hall) and bhoga-mandapa (hall of offerings). The temple was renovated around 2005 and is maintained by the Archaeological Survey of India, Bhubaneswar Circle.

It is built in the Deula style that has four components namely, vimana (structure containing the sanctum), jagamohana (assembly hall), nata-mandapa (festival hall) and bhoga-mandapa (hall of offerings). The temple is maintained and was renovated around 2005 by the Archaeological Survey of India, Bhubaneswar Circle.[2]

https://en.wikipedia.org/wiki/Jagannath_Temple,_Puri

FOUR SHANKARCHARYAS--- HINDU CHAR DAM- FOUR DIVINE SIGHTS- THE TEMPLE HAS FOUR DISTINCT SECTIONAL STRUCTURES

The Jagannath Temple (Odia: ଜଗନ୍ନାଥ ମନ୍ଦିର) of Puri is a sacred Vaishnava temple dedicated to Lord Jagannath (Odia: ଜଗନ୍ନାଥ ମହାପ୍ରଭୁ) and located on the eastern coast of India, at Puri in the state of Odisha.

 

The Govardhan Mutt which is the seat of one of the four Shankaracharyas is also located here

 

The temple is one of the holiest Hindu Char Dham (four divine sites) sites comprising Rameswaram, Badrinath, Puri and Dwarka.[21] Though the origins are not clearly known, the Advaita school of Hinduism propagated by Sankaracharya, who created Hindu monastic institutions across India, attributes the origin of Char Dham to the seer.[22] The four monasteries lie across the four corners of India and their attendant temples are Badrinath Temple at Badrinath in the North, Jagannath Temple at Puri in the East, Dwarakadheesh Temple at Dwarka in the West and Ramanathaswamy Temple at Rameswaram in the South. Though ideologically the temples are divided between the sects of Hinduism, namely Saivism and Vaishnavism, the Char Dham pilgrimage is an all Hindu affair.[23] There are four abodes in Himalayas called Chota Char Dham (Chota meaning small): Badrinath, Kedarnath, Gangotri and Yamunotri - all of these lie at the foot hills of Himalayas [24] The name Chota was added during the mid of 20th century to differentiate the original Char Dhams.[citation needed] The journey across the four cardinal points in India is considered sacred by Hindus who aspire to visit these temples once in their lifetime.[25] Traditionally the trip starts at the eastern end from Puri, proceeding in clockwise direction in a manner typically followed for circumambulation in Hindu temples.[25]

The temple has FOUR distinct sectional structures, namely -

 

Deula, Vimana or Garba griha (Sanctum sanctorum) where the triad deities are lodged on the ratnavedi (Throne of Pearls). In 2. Rekha Deula style;

Mukhashala (Frontal porch);

Nata mandir/Natamandapa, which is also known as the Jagamohan (Audience Hall/Dancing Hall), and

Bhoga Mandapa (Offerings Hall).[29]

IT IS FOUR DAYS- ONLY ON THE FOURTH DAY CAN ENTER TEMPLE

https://en.wikipedia.org/wiki/Ambubachi_Mela

Some Tantric Babas make their public appearances only during these four days

The Ambubachi Mela (Pron: ˈæmbʊˌbɑ:ʧɪ /ˌæmbʊˈbɑ:ʧɪ ˈmeɪlə / mi:lə is an annual Hindu mela held at Kamakhya Temple in Guwahati, Assam.

The temple remains closed for three days during the mela[3][4] for it is believed that mother earth becomes unclean for three days like the traditional women's menstrual seclusion. During these three days some restrictions are observed by the devotees like not cooking, not performing puja or reading holy books, no farming etc.[3] After three days devi Kamakhya is bathed and other rituals are performed to ensure that the devi retrieves her purity.[4] Then the doors of the temple are reopened[3][4][5] and prasad is distributed.[3][5] On the fourth day the devotees are allowed to enter the temple and worship devi Kamakhya. In 2016, the dates of the Ambubachi festival are scheduled between 22/Jun/2016 till 26/Jun/2016 [4][5]

THE FOUR CHAR DAM

https://en.wikipedia.org/wiki/Char_Dham

 

The char dham is defined by the Pandavas in Mahabharata as "Badrinath" , "Kedarnath" , "Gangotri" and "yamunotri" to get rid of their sins. Char Dham as defined in modern days (literally: 'the four abodes/seats') are the names of four pilgrimage sites in India that are widely revered by Hindus. It comprises Badrinath, Dwarka, Puri and Rameswaram. It is considered highly sacred by Hindus to visit Char Dham during one's lifetime. The Char Dham defined by Adi Shankaracharya consists of four Vaishnavite pilgrimages.[1]

 

The Four Shankaracharya Peeth (Seats) at the Chaar Dham school of Hinduism, created at least four Hindu monastic institutions. He organised the Hindu practitioners under four Maṭhas (Sanskrit: मठ) (institutions/monasteries), with the headquarters at Dvārakā in the West, Jagannatha Puri in the East, Sringeri Sharada Peetham in the South and Badrikashrama in the North.[7]

 

The table below gives an overview of the four Amnaya Mathas founded by Adi Shankara, and their details.[8]

 

Shishya

(lineage) Direction Maṭha Mahāvākya Veda Sampradaya

Padmapāda East Govardhana Pīṭhaṃ Prajñānam brahma (Consciousness is Brahman) Rig Veda Bhogavala

Sureśvara South Sringeri Śārada Pīṭhaṃ Aham brahmāsmi (I am Brahman) Yajur Veda Bhūrivala

Hastāmalakācārya West Dvāraka Pīṭhaṃ Tattvamasi (That thou art) Sama Veda Kitavala

Toṭakācārya North Jyotirmaṭha Pīṭhaṃ Ayamātmā brahma (This Atman is Brahman) Atharva Veda Nandavala

The four associated places of the Char dhaams[edit]

In Hindu Puranas Hari (Vishnu) and Har (Shiv) are referred as eternal friends. It is said wherever there resides Lord Vishnu, Lord Shiva also resides nearby. Chaar Dhaams are also not exception of this. So the Kedarnath is considered as the pair of Badrinath, Rangnath Swami is considered the pair of Rameshwaram. Somnath is considered as the pair of Dwarka. However one thing is also to be noted here that according to some traditions the Char Dham are Badrinath, Rangnath-Swami, Dwarka and Jagannath-Puri all the four of which are Vaishnav sites and their associated places are Kedarnath, Rameshwaram, Somnath and Lingaraja Temple, Bhubaneswar (or may be Gupteshwar) respectively.

THE FOUR SIGHTS WHER DROPS OF AMRITA SPILLED
https://en.wikipedia.org/wiki/Sapta_Puri

Legend from Hindu scriptures state that Haridwar is one among the four sites where drops of Amrita, the elixir of immortality, accidentally spilled over from the pitcher, in which it was being carried away by the celestial bird Garuda, after the Samudra manthan (churning of the ocean); the other three places are said to be Ujjain, Nasik, and Allahabad.[6]

FOUR MATHAS

https://en.wikipedia.org/wiki/Shankaracharya

Adi Shankaracharya wished to grace the Indian subcontinent by establishing four major mathas in the four corners of the peninsula – north (Jyothirmath), south (Sringeri), east (Puri), west (Shāradā) – to propagate the philosophy of advaita vedanta and to promulgate the concept of Sanatana dharma, thus establishing dharma or righteousness, as the way of life of people. His primary four disciples took charges of each math and thus established a strong Guru-Sishya parampara (a lineage of masters-disciples) in every math, that continues to guide people to this day.

THEY ARE DESCRIBED AS FOUR PAIRS

https://en.wikipedia.org/wiki/Ashta_Mathas_of_Udupi

The Tulu Ashta Mathas of Udupi are a group of eight mathas or Hindu monasteries established by Madhvacharya, the preceptor of the Dvaita school of Hindu thought

 

The four pairs of mathas are: Palimaru and Adamaru; Krishnapura and Puttige; Shirur and Sodhe; and Kaniyooru and Pejavara.

FOUR PRIMARY MANIFESTATIONS OF BRAHMAN

https://en.wikipedia.org/wiki/Madhvacharya

Madhva conceptualised Brahman as a being who enjoys His own bliss, while the entire universe evolves through a nebulous chaos.[41] He manifests, every now and then, to help the evolution process. The four primary manifestation of Him as the Brahman are, according to Madhva, Vasudeva, Pradyumna, Aniruddha and Sankarasana, which are respectively responsible for the redemptive, creative, sustaining and destructive aspects in the universe

Madhva focussed his criticism on Advaita most, and he wrote four major texts, including Upadhikhandana and Tattvadyota, primarily dedicated to criticizing Advaita.[69]

https://en.wikipedia.org/wiki/Dvaitadvaita

Four Sadhanas[edit]

Sri Nimbarka refers to 4 methods of sadhanas:

 

Karma[edit]

Performed conscientiously in a proper spirit, with one’s varna and asrama thereby giving rise to knowledge which is a means to salvation).

 

Vidya[edit]

Not as a subordinate factor of karma but as an independent means.

 

Upasana or dhyana[edit]

It is of three types. First is meditation on the Lord as one's self, i.e. meditation on the Lord as the Inner Controller of the sentient. Second is meditation on the Lord as the Inner Controller of the non-sentient. Final one is meditation on Lord Himself, as different from the sentient and non-sentient.

 

Gurupasatti[edit]

Devotion and self-surrender to guru.

 

Sri Nimbarkacharya made the "Bhasya" of the Bramhasutra on His Dvaitadvaita Vedanta (Principle of Dualism-Nondualism) in his famous book "Vedanta Parijata Sourabha".

16 TYPES OF PARAPHENALIA 16 SQUARES QUADRANT MODEL

http://nitaaiveda.com/All_Scriptures_By_Acharyas/Suhotra_Dasa_Tapovanachari/Hinduism/Liberation_in_Krishna_Consciousness.htm

NOTICE HOW THE VERSE LIKE ALL THE VERSES IS FOUR LINES

 

A famous vers in Srimad-Bhagavatam explains how complete realization of the Personality of Godhead is to be cultivated.

sravanam kirtanam visnoh

smaranam pada-sevanam

arcanam vandanam dasyam

sakhyam atma-nivedanam

"Hearing and chanting about the transcendental holy name, form, qualities, paraphernalia and pastimes of Lord Krishna, remembering them, serving the lotus feet of the Lord, offering the Lord respectful worship with sixteen types of paraphernalia, offering prayers to the Lord, becoming His servant, considering the Lord one's best friend, and surrendering everything unto Him (in other words, serving Him with the body, mind and words) -- these nine processes are accepted as pure devotional service." (Srimad-Bhagavatam 7.5.23)

16 IS THE SQUARES OF THE QUADRANT MODEL- offer 16 UPACARAS

http://www.deityworship.com/worship/temple-worship/bathing-dressing/

While ringing the bell with your left hand, offer sixteen upacaras to your spiritual master, using flower petals or samanya–arghya water from the panca–patra for each item, and then discard them into a receptacle placed in front of his picture.

THERE ARE 16 STEPS OF POOJA IN HINDUISM- 16 SQUARES OF THE QUADRANT MODEL

http://www.hindu-blog.com/2009/03/16-steps-or-rituals-in-hindu-puja.html

The 16 Steps or Rituals in a Hindu Puja – Upacharas in Hinduism

Image

By Abhilash Rajendran June 11, 2015

There are numerous ways in which a Hindu worships God. For some Hindus lighting a lamp or simple mediation is the way to communicate with the Supreme Being. For some Hindus, it is chanting mantras and doing elaborate puja to a personal deity. Hindu scriptures define numerous steps that are part of a Hindu Puja. Normally, only sixteen Upacharas are followed and it is known as Shodashopachara Puja. Some Hindus limit it to five steps of worship and it is known as Panchopachara.

 

 

 

Here are the Sixteen Upacharas:

Seating of the deity

Welcoming of the deity

Offering water to wash the feet

Offering water to wash the hands

Offering water to sip and rinse the mouth

Providing a bath

Offering fresh clothes and decorations

Offering fresh sacred thread

Offering aromatic substance like sandal paste etc

Offering of flowers

Burning incense

Waving lights

Offering food

Offering betel leaves, betel nuts, camphor etc

Prostrations before the deity and circumambulations

Sending off

THE FOUR VAISHNAVA SAMPRADAYAS

http://history-of-hinduism.blogspot.com/2010/08/hinduism-followers-of-veda.html

 

5. Differences Among the Four Vaishnava Sampradayas

The four Vaishnava sampradayas all agree that Vishnu is the cause, but they explain His relationship with His creation differently. In visistadvaita, the material world is said to be the body of Vishnu, the Supreme Soul. But the dvaita school does not agree that matter is connected to Vishnu as body is to soul, because Vishnu, God, is transcendental to matter. The world of matter is full of misery, but since Vedanta-sutra 1.1.12 defines God as anandamaya (abundantly blissful), how can nonblissful matter be His body? The truth, according to the dvaita school is that matter is ever separate from Vishnu but yet is eternally dependent upon Vishnu; by God's will, says the dvaita school, matter becomes the ingredient cause of the world. The suddhadvaita school cannot agree with the dvaita school that matter is the ingredient cause, because matter has no independent origin apart from God. Matter is actually not different from God in the same way an effect is not different from its cause, although there is an appearance of difference. The example of the ocean and its waves is given by suddhadvaita philosophers to illustrate their argument that the cause (the ocean) is the same as the effect (the waves). The dvaitadvaita school agrees that God is both the cause and effect but is dissatisfied with the suddhadvaita school's standpoint that there is really no difference between God and the world. The dvaitadvaita school says that God is neither one with nor different from the world --He is both. A snake, the dvaitadvaita school argues, can neither be said to have a coiled form nor a straight form. It has both forms. Similarly, God's "coiled form" is His transcendental nonmaterial aspect, and His "straight form" is His mundane aspect. But this explanation is not without problems. If God's personal nature is eternity, knowledge, and bliss, how can the material world, which is temporary, full of ignorance, and miserable, be said to be just another form of God?

6. Reconciliation of the Four Vaishnava Viewpoints

The Chaitanya school reconciles these seemingly disparate views of God's relationship to the world by arguing that the Vedic scriptures testify to God's acintya-shakti, "inconceivable powers." God is simultaneously the cause of the world in every sense and yet distinct from and transcendental to the world. The example given is of a spider and its web. The web emanates from the spider's body, so the spider may be taken as the ingredient cause of the web. But that does not make the spider and the web one and the same. The spider is always a separate and distinct entity from its web. Yet again, while the spider never is the web, the existence of the web cannot be separated from the spider.

There is a further lesson to be learned from this example: while the spider is clearly different from its web-creation, it nonetheless is acutely conscious of every corner of it. In philosophical terms, we could say the spider is transcendental to the web by its identity, yet simultaneously immanent throughout the web by its knowledge. This is a simple yet powerful demonstration of acintya-bhedabheda-tattva. Lord Krishna, in Bhagavad-gita 9.4 and 5, says He pervades the whole universe by His complete awareness of the spiritual and material energies that make up the creation. Yet at the same time, in His identity as the source of everything, He stands apart from the cosmic manifestation.

The web is compared to God's maya-shakti (power of illusion), which emanates from the Real but is not real itself. "Not real" means that the features of maya (the tri-guna, or three modes of material nature: goodness, passion, and ignorance) are temporary. "Not real" does not mean the material world does not exist. The essential ingredient (vastu) of the world is real, because it is the energy of God. But the form this energy takes at the time of cosmic creation is temporary. Therefore the maya-shakti is said to be unreal. Reality is that which is eternal: God and God's svarupa-shakti (spiritual energy). The temporal features of the material world are manifestations of the maya-shakti, not of God Himself. These features of maya bewilder the souls of this world, but they cannot bewilder God. God appears within this material world as the supreme person, yet He is not bound by this world, exactly as a spider moving anywhere in its web-creation is not bound by it.

https://www.youtube.com/watch?v=Fk3q8X6TC5w

Hare Krishna begin every lesson with these four words- Om Namo Bhagavate Vasudevayah

Four Word Mantra to KRISHNA SAID BEFORE EVERY HARE KRISHNA CLASS

https://en.wikipedia.org/wiki/Om_Namo_Bhagavate_Vasudevaya

Meaning[edit]

Om Namo Bhagavate Vasudevaya means "Om, I bow to Lord Vasudeva or Lord Krishna".[5]

 

 

Om Namo Bhagavate Vasudevaya in Devnagari, this Mantra is used for invocation and obeisance to Krishna

Term Devanagari Listen Meaning

Om

About this sound Om (help·info) Refers to the Supreme Infinite Spirit or Person. Om represents the Shabda Brahman.

Namo

नमो (namo)

About this sound Namo (help·info) Salutation, worship , a common spoken valediction or salutation originating from the Indian subcontinent. 'Namo' नमो is the Sandhi form of 'namas' नमस्, neuter nominative singular.

Bhagavate

भगवते

About this sound Bhagavate (help·info) 1. God in Sanskrit, someone who is considered God (or equally powerful, merciful). 'Bhagavate' भगवते is the dative of 'bhagavat' भगवत्.

2. Bhagavate is one who is becoming divine.[6]

Vasudevaya

वासुदेवाय

About this sound Vasudevaya (help·info) Name of Krishna, Krishna is also known as Vaasudeva (Krishna), because he was the son of Vasudeva. In the Bhagavad-Gita, Arjuna called Krishna by the name Vaasudeva multiple times. 'Vāsudevāya' वासुदेवाय is the dative of 'vāsudeva' वासुदेव. Other meaning for Vasudevaya is Vasu means "Life in all beings" Devaya means "God". This means God(life/light) who lives of all beings.

16 SQUARES QUADRANT MODEL

 

http://www.advaita.it/library/kaliasant.htm

1. Hare Rama Hare Rama Rama Rama Hare Hare Hare Krishna Hare Krishna Krishna Krishna Hare Hare 2. These sixteen names (words) are destructive of the evil effects of Kali. No better means than this is to be seen in all the Vedas.

These (sixteen names) destroy the Avarana (or the centripetal force which produces the sense of individuality) of Jiva surrounded by the sixteen Kalas (rays). Then like the sphere of the sun which shines fully after the clouds (screening it) disperse, Parabrahman (alone) shines."

Narada asked: ‘O Lord, what are the rules to be observed with reference to it ?" To which Brahma replied that there were no rules for it. Whoever in a pure or an impure state, utters these always, attains the same world of, or proximity with, or the same form of, or absorption into Brahma.

Whoever utters three and a half Crores (or thirty-five millions) times this Mantra composed of sixteen names (or words) crosses the sin of the murder of a Brahmana. He becomes purified from the sin of the theft of gold. He becomes purified from the sin of cohabitation with a woman of low caste. He is purified from the sins of wrong done to Pitris, Devas and men. Having given up all Dharmas, he becomes freed at once from all sins. He is at once released from all bondage. That he is at once released from all bondage is the Upanishad.

Hari Om Tat Sat !

Om ! May He protect us both together; may He nourish us both together; May we work conjointly with great energy, May our study be vigorous and effective; May we not mutually dispute (or may we not hate any).

Om ! Let there be Peace in me ! Let there be Peace in my environment ! Let there be Peace in the forces that act on me !

Here ends the Kalisantarana Upanishad belonging to the Krishna-Yajur-Veda. 1 1

THERE WERE 16 VEDIC PRIESTS- FOUR WERE THE CHIEFS- FOUR GROUPS OF FOUR A QUADRANT MODEL

https://en.wikipedia.org/wiki/Vedic_priesthood

Priests of the Vedic religion are officiants of the yajna service. As persons trained for the ritual and proficient in its practice, they were called ṛtvij ("regularly-sacrificing").[citation needed] As members of a social class, they were generically known as vipra "sage" or kavi "seer". Specialization of roles attended the elaboration and development of the ritual corpus over time. Eventually a full complement of sixteen ṛtvijas became the custom for major ceremonies. The sixteen consisted of four chief priests and their assistants.[citation needed]

 

 

In the systematic expositions of the shrauta sutras,[4] which date to the fifth or sixth century BCE, the assistants are classified into four groups associated with each of the four chief priests, although the classifications are artificial and in some cases incorrect:[citation needed]

 

With the hotṛ:

the maitrāvaruna

the acchāvāka

the grāvastut (praising the Soma stones)

With the udgātṛ:

the prastotṛ (who chants the Prastâva)

the pratihartṛ ("averter")

the subrahmanya

With the adhvaryu:

the pratiprasthātṛ

the neṣṭṛ

the unnetṛ (who pours the Soma juice into the receptacles )

With the brahman:

the brāhmanācchamsin

the agnīdh (priest who kindles the sacred fire)

the potṛ ("purifier")

This last classification is incorrect, as the formal assistants of the brahman were actually assistants of the hotṛ and the adhvaryu.[clarification needed]

FOUR VEDIC PRIESTS

https://en.wikipedia.org/wiki/Yajna#Other_yajnas

Vedic (Shrauta) yajnas are typically performed by four priests of the Vedic priesthood: the hotar, the adhvaryu, the udgatar and the Brahmin.[15] The functions associated with the priests were:[16]

 

The Hotri recites invocations and litanies drawn from the Rigveda.[17]

The Adhvaryu is the priest's assistant and is in charge of the physical details of the ritual like measuring the ground, building the altar explained in the Yajurveda. The adhvaryu offers oblations.[17]

The Udgatri is the chanter of hymns set to melodies and music (sāman) drawn from the Samaveda. The udgatar, like the hotar, chants the introductory, accompanying and benediction hymns.[17]

The Brahmin is the superintendent of the entire performance, and is responsible for correcting mistakes by means of supplementary verses.

FOUR DEITIES

https://en.wikipedia.org/wiki/Yajna#Other_yajnas

The wedding ritual of Panigrahana, for example, is the 'holding the hand' ritual[28] as a symbol of their impending marital union, and the groom announcing his acceptance of responsibility to four deities: Bhaga signifying wealth, Aryama signifying heavens/milky way, Savita signifying radiance/new beginning, and Purandhi signifying wisdom. The groom faces west, while the bride sits in front of him with her face to the east, he holds her hand while the Rig vedic mantra is recited in the presence of fire.[4][29]

16 IS THE SQUARES OF THE QUADRANT MODEL

The material world is also called Durga or jail. Just as the jail is for those people who break the laws of the government, this material world is created for those souls who do not like to accept Krsna's supremacy. Just as the purpose of the jail is to reform criminals, in the same way the purpose of creation is to reform the conditioned soul or to get rid of his criminal desire to use Krsna's property without Krsna. (SB 2.9.19 purport)

The elementary creation of the sixteen items of matter

1) earth

2) water

3) fire

4) air

5) ether 1) nose

2) tongue

3) eyes

4) skin

5) ear

6) mind 1) smell

2) taste

3) sight

4) touch

5) sound

The five gross elements, the five senses, the five sense objects and the mind make up the sixteen items of matter. The creation of these elementary manifestations is a result of the energies of Maha Visnu. All this is called creation or sarga.

 

 

http://veda.krishna.com/encyclopedia/creation.htm

THE SIXTEEN ESSENTIAL THINGS OF LIFE

 

https://tamilandvedas.com/tag/pray-for-16/

 

Tamils bless newly married couple with auspicious yellow rice (akshathai) greeting them with the words “Let you get Sixteen and Long Live”. Even villagers people, though illiterate, know the ‘sixteen’ does not mean sixteen children, but sixteen essential things in life. Of the three Tamil poets listed the good things that needed in life the most famous sixteen came from a saitly devotee who composed a verse with all the sixteen essentials. It is part of Abhirami Ammai Pathikam- a decad on Goddess Abirami of Tirukkadavur in Tamil Nadu.

Abhirami Bhattar composed also Abhiramai pathikam and prayed for the sixteen. The sixteen things he wanted are as follows:

indian_family1

Everybody needs a Happy Family.

English Translation

O, God of old Kadavur, Sister of Vishnu who is ‘sleeping’ on the ocean, who is inseparable from Amutheesar, O Abhirami, please bless me with the following:–

1)Good and Proper Education,2) Long life, 3)Good friends, 4)Prosperity forever 5)Youthfulness, 6)Disease free (healthy) body, 7)Calm mind (tranquillity), 8)Affectionate wife, 9)Children with good character 10)Name and Fame, 11)Truthfulness, 12)Philanthropy, 13)Theft free Wealth, 14)Good government, 15)Worry free life and 16) Association with your great devotees.

There is one more list of good things in Prabodha Chandrothayam. There is another list given by Kalameham, who is famous for poems with double entendre. It would be appropriate here to list two English poems that follow the Tamils in demanding good things in life:–

http://www.bcrl.be/WATER/hinduism%20on%20water1.pdf
16 SQUARES OF THE QUADRANT MODEL
earth, water and fire. But the living force is
produced by sky, air and water. So water is the common element in both the gross and subtle forms of the material creation. Water is the most prominent element and is therefore the principle element of all the five. (SB 2.10.31 purport)
The elementary creation of the sixteen items of matter:
1) earth 2) water 3) fire 4) air
5) ether
1) nose 2) tongue 3) eyes
4) skin
5) ear
6) mind
1) smell 2) taste 3) sight 4) touch 5) sound
The five gross elements, the five senses, the five sense objects and the mind make up the sixteen items of matter. The creation of these elementary manifestations is a result of the energies of Maha Visnu. All this is called creation or sarga.

16 DAYS 16 SQUARES QUADRANT MODEL

http://www.dadabhagwan.org/path-to-happiness/relationship/death-and-relationships/understanding-shraddha-ceremony/

Dadashri: No, that is not ignorance. There is a long history behind this ceremony of vaas. Shraddha lasts for period of sixteen days, beginning on the eleventh month from the bright half of the lunar month. Now, why did people start such a ritual? These people were indeed very clever! It is a very scientific ploy and this was discovered many years ago.

In India the rainy season occurs during the eleventh month of the Indian calendar. During this time, malaria is widespread because of the increase in mosquitoes. At least one person in every household would contract it. The inflicted person would become bed-ridden and lie on the cot outside his home with fever and other symptoms common to malaria. The fever due to malaria is the fever of pitta (bile- digestive juice produced in the gall bladder) and not that of kapha or vayu (excessive mucus or gas respectively. Pitta, kapha and vayu are Ayurvedic terms, which denotes the three main bio-physiologic compositions of human beings.) During a bout of malaria, one produces an excessive amount of pitta, which attracts mosquitoes. People realized that the disease of malaria would destroy half the population, so they had to come up with a solution fast. In order to bring down the fever, they discovered that a diet high in milk products reduces the excessive production of bile. That is how kheer and other dishes made from milk became popular during shradhha. Ordinarily people could not afford to make kheer everyday.

In reality, the dead do not benefit from these rituals at all. But people have so much greed that they are not willing to give even a dime to charity. That is why the ceremony of Shraddha was contrived so that they would spend their money indirectly, and feed people to honor their late father. And this is how people became convinced. If an obstinate person like myself does not follow the tradition, people around him will nag and pressure him to do so.

Throughout the sixteen days of Shraddha, beginning with the full moon, families would take turns to feed everyone and this is how eating kheer for fifteen days became a common practice. This tradition became convenient because the responsibility to prepare the meals fell on everyone equally and so people did not object. At that time people would even say that if a sick person lived through the sixteen days of Shraddha, he would be fortunate enough to welcome in the Navratri (festival of the worship of goddesses during the nine days of the bright halves of Chaitra and Ashvin months)!

16 DAYS 16 SQUARES QUADRANT MODEL

http://www.dadabhagwan.org/path-to-happiness/relationship/death-and-relationships/understanding-shraddha-ceremony/

Dadashri: No, that is not ignorance. There is a long history behind this ceremony of vaas. Shraddha lasts for period of sixteen days, beginning on the eleventh month from the bright half of the lunar month. Now, why did people start such a ritual? These people were indeed very clever! It is a very scientific ploy and this was discovered many years ago.

In India the rainy season occurs during the eleventh month of the Indian calendar. During this time, malaria is widespread because of the increase in mosquitoes. At least one person in every household would contract it. The inflicted person would become bed-ridden and lie on the cot outside his home with fever and other symptoms common to malaria. The fever due to malaria is the fever of pitta (bile- digestive juice produced in the gall bladder) and not that of kapha or vayu (excessive mucus or gas respectively. Pitta, kapha and vayu are Ayurvedic terms, which denotes the three main bio-physiologic compositions of human beings.) During a bout of malaria, one produces an excessive amount of pitta, which attracts mosquitoes. People realized that the disease of malaria would destroy half the population, so they had to come up with a solution fast. In order to bring down the fever, they discovered that a diet high in milk products reduces the excessive production of bile. That is how kheer and other dishes made from milk became popular during shradhha. Ordinarily people could not afford to make kheer everyday.

In reality, the dead do not benefit from these rituals at all. But people have so much greed that they are not willing to give even a dime to charity. That is why the ceremony of Shraddha was contrived so that they would spend their money indirectly, and feed people to honor their late father. And this is how people became convinced. If an obstinate person like myself does not follow the tradition, people around him will nag and pressure him to do so.

Throughout the sixteen days of Shraddha, beginning with the full moon, families would take turns to feed everyone and this is how eating kheer for fifteen days became a common practice. This tradition became convenient because the responsibility to prepare the meals fell on everyone equally and so people did not object. At that time people would even say that if a sick person lived through the sixteen days of Shraddha, he would be fortunate enough to welcome in the Navratri (festival of the worship of goddesses during the nine days of the bright halves of Chaitra and Ashvin months)!

FOUR STATES OF SOUND

https://en.wikipedia.org/wiki/Pashyanti

Solving the subtle riddle they found the four states of Vāni (speech or sound) – Parā (the spiritual sound of Brahman), Madhyama (the cosmic sound of Vāstu=Purusha), Pashyanti (the semi-cosmic sounds of Vibhootis) and Vaikhari (the gross-level sounds of gross objects and living beings)

 

Tantra, like the Vedas, recognizes four levels of speech. Vaikhari is the audible speech located in the throat and manifest during the waking state; Madhyama is thought located in the heart and manifest during the dream state; Pashyanti is illumined speech located in the navel and manifest during the deep-sleep state, and Parā is the transcendent located at the root center and manifest during Samadhi. The power of speech must be brought down to the base of the spine to allow the energy of consciousness to ascend upward as Kundalini to awaken higher potentials. Pashyanti is the state of seeing, the perceptive or the illumined word; it is the sound that perceives and reveals the truth. Tara represents the illumined word.

THE FOURTH IS ALWAYS DIFFERENT SOUND

https://en.wikipedia.org/wiki/Vāc

RV 1.164.45 uses the word Vac in the sense of speech, as follows:

 

"Speech hath been measured out in four divisions, the Brahmans who have understanding know them.

Three kept in close concealment cause no motion; of speech, men speak only the fourth division."

FOUR REGIONS OF SOUND

Vak also speaks, and is described as a goddess, in RV 8.100:

https://en.wikipedia.org/wiki/Vāc

"When, uttering words which no one comprehended, Vak, Queen of Gods, the Gladdener, was seated,

The heaven's four regions drew forth drink and vigour: now whither hath her noblest portion vanished?"

"The Deities generated Vak the Goddess, and animals of every figure speak her.

May she, the Gladdener, yielding food and vigour, the Milch-cow Vak, approach us meetly lauded."

FOUR SOUNDS WHEN NAMING A BABY- HINDUS

http://www.astrouniverse.com/Malenames.php

The principle technique for deducing the name is to see which nakshatra the moon is in at the moment of birth; this gives four possible sounds. A refinement is to pick one sound out of that four that relates to the Pada or division of the Nakshatra.

FOUR MEN

 

https://en.wikipedia.org/wiki/Enochian_magic

The Enochian system of magic is primarily the work of four men: John Dee, Edward Kelley, Samuel Liddell MacGregor Mathers and Aleister Crowley. The researches of Dr. Thomas Rudd, Elias Ashmole, Dr. William Wynn Westcott and Israel Regardie made additional contributions.[1]

16 SQUARES QMR

 

During Durga Puja sixteen day long ceremonial rites are observed at Sarala. Sarala is dressed differently for sixteen days, each day with anewVesa.Agrandprocessionstartsfromthe temple of Sarala towards Landa Deula (an

46

Orissa Review

http://odisha.gov.in/e-magazine/Orissareview/2009/September/engpdf/46-47.pdf

ancient ruined temple) and again returns to the temple after the worship of Lord Ganesha and other deities. In this procession the Chalanti Pratima (moving deity) of the Mother takes part. People putting on different masks dance merrily showing different feats. Different drum, Ghanta and musical instruments are sounded. During Maha Saptami, Maha Astami and Maha Navami, the worship of the Mother is done with Sodasa Upachar. The worship of the Mother is done in 'Navarna Mantra' depicted in the Tantrik texts. "Aum, Aim, Hrim, Klim, Chamandai Bliche" is the sacred mantra of the Devi. Aim, Hrim, Klim represent Sandini, Sambit, and Power of the Devi respectively and Aum is the sacred symbol of Brahman. Sarala is the embodiment ofthesethreesourcesofthe primordialenergy. This worship of the Mother dates back to Savarnima Manwantara, from very ancient times.

September - 2009

Upto 1946 it was the custom to offer a buffalo as sacrifice on Mahastami before Goddess Sarala. But this practice of offering a buffalo as sacrifice was discarded when Dr. Kailashnath Katju was the Governor of Orissa. From that period a pumpkin is offered in lieu of a buffalo. Sarala is the Vak Devi (Goddess of learning) and Mahisasura Mardini (Destroyer of the demon Mahisasura). Sarala is Asta Bhuja (eight handed). She rides on a lion. She is Parama Vaishnavi. The great Oriya poet Sarala Das, was a devotee of Sarala Jhankada, Her abode is 57 Kms away from Cuttack. The present temple of Sarala is about 400 years old. Sarala is a famous Devi of Orissa and one of the eight famous Sakti Pithas of Orissa.

16 MONDAYS

http://www.shreemaa.org/vow-of-worship-of-lord-shiva-for-sixteen-mondays-0/

Vow of Worship of Lord Shiva for Sixteen Mondays

~~OM~~

This is the story of the worship to be performed on sixteen consecutive Mondays.

One day Bhagawan Bhutanath, Lord Shiva, as the Lord of all Beings, went to tour the samsara (the world of objects and relationships) along with his beloved wife Parvati. They were traveling, seeing many different lands, when they came to the city of Amaravati. There they saw a great shining city, and they took shelter in one particular Shivaloya, a temple of Lord Shiva.

One day Parvati had a desire to play “chalsar,” an Indian dice game. While Shiva and Parvati sat enjoying this game, a Brahmin pujari walked into the temple. Parvati stopped and asked the priest, “Who will win this game?”

Without hesitation or much thought the pujari immediately responded. “Shankarji. Shiva will win.”

After a short time Parvati did in fact lose the dice game and she became very angry. She thought that it was because of the Brahmin’s prediction that she had lost the game. Shiva advised Parvati to remain calm and to control her anger, but Parvati would not be easily appeased. Her anger grew into a great rage and she cursed the Brahmin who had said she would lose the game. Parvati cursed the Brahmin that he would suffer from leprosy.

The Brahmin priest was immediately attacked by the disease, and he became very sad and was filled with great pain from the leprosy that developed. Many days passed and the priest suffered a great deal. He thought, “For what karma have I received such a curse from the Divine Mother? What will I ever be able to do to get her grace once again?” In this way his mind was extremely agitated, and his body pained.

One day that Brahmin priest went into the Shiva temple, where he saw a most beautiful heavenly nymph. This beautiful and shining angelic lady was an Apsara, a celestial maiden who serves the Gods. Standing before the pain stricken priest, she gave him the following instructions: “With all of your energy and devotion to the greatest extent of your capacity, perform the vow of Shiva’s worship on sixteen consecutive Mondays. All of the pain and suffering that now afflict you will completely dissolve if you worship Lord Shiva with pure devotion.”

The radiant Apsara then proceeded to tell the poor afflicted Brahmin exactly how to perform the puja. “In the early morning of each Monday you will bathe and wear a pure white cloth on your body. At the time of cooking you will take a pound of pure white wheat flour, mix with gur and ghee and fry. Offer this ‘Churma’ along with a ghee lamp, as well as gur, beetle nut, a sacred thread, sandal paste, some grains of rice and flowers. With these items especially, you will worship Lord Shiva. You will adorn the blessed Lord Shiva with three lines horizontally and with one mark in the center, and after this you may also take prasad just as you have offered to Shiva. Recite his mantras, sing His songs, perform the fire sacrifice, and make other forms of worship for the Lord.

“Completing your worship to Lord Shiva in this way for sixteen Mondays, on the seventeenth Monday you will take ten pounds of pure wheat flour, mix with ghee and gur and fry. Offer this ‘Churma’ to the great Lord Shiva with all of your devotion and love. You may then partake of the prasad, sharing in the blessings of Lord Shiva. If you observe all that I have instructed, you will certainly be freed from all pain and suffering, and you will soon attain the highest graces and good fortune.”

Finishing her discourse, the Apsara rose up and ascended into the heavens. The Brahmin was completely amazed by this vision, and with full faith, he observed the sankalpa of sixteen Mondays in every detail. Every Monday he wore a pure white cloth and chanted the worship of Lord Shiva, offering the appropriate offerings. Following this vow, he was freed from his disease and sorrow. He became a well known and wealthy man, loved and respected by all of the people of the kingdom. He taught the worship of Lord Shiva to many people, and continued to inspire the people of his community to serve the Lord with truth and joy.

One day that Brahmin priest returned to the temple where Parvati had first cursed him. Parvati was amazed to see that the Brahmin was healed of his disease. When Parvati learned of the power of the vow of sixteen Mondays, she quickly went to her son Kartikeya to share with him this wonderful secret of the regular worship of Lord Shiva.

Kartikeya shared the secret of this worship with his friend. This friend had no wife and desiring to marry, and he at once made the sankalpa, or spiritual promise, to observe the vow of sixteen weeks, praying for the blessing of a good marriage. After completing his vow of worship for sixteen Mondays, the man left his native land and traveled to another Kingdom. Arriving at this new land, he heard that the King had made a very strange public declaration. That King had promised his daughter’s hand in marriage to the one who be chosen by his elephant. The King’s elephant would place a garland of flowers around some man’s neck, according to divine understanding, and that man would become the husband of the princess.

The traveler went to witness this betrothal ceremony, as he had never heard of such a curious way of fixing a marriage. The elephant looked at all the men assembled for the occasion, and then put the garland around his neck. The king happily gave his daughter in marriage, and the traveler became a member of the Royal household.

It was some years later, that the King’s daughter found out that her husband had been chosen for the marriage after he had performed the vow of Lord Shiva’s worship for sixteen Mondays for that purpose. She was eager to have a son, and decided to perform the vow of Lord Shiva’s worship for sixteen Mondays in order to have a beautiful son who could become a king. The wife performed this vow with such devotion and love that Lord Shiva was pleased, and she gave birth to a wonderful son.

When the child grew up, he desired to become the king of a nation, and therefore, he also took the vow of Lord Shiva’s worship for sixteen Mondays to become a good king. When his vow was complete, a messenger came from another King asking whether he might like to join with his daughter to become his wife. He was very happy when he heard of this proposal. He immediately consented, and the King performed the marriage in a gay fashion. The King was delighted to have completed his responsibility to his daughter, and being an old man, he left his body just a short time following the marriage. The young man then inherited the throne.

Immediately after taking over the duties of the kingdom, the new King asked his wife to gather together all of the ingredients for Shiva’s puja. But his wife passed this order to one of her servants, who prepared everything for the worship. While performing the puja, the King received a message which was as follows: ” If the King would not leave that insolent wife, then his lineage would be finished.”

Upon hearing this message, the King was extremely pained and filled with wonder. He asked the ministers what was the matter, and what should he do? The ministers advised him to leave the wife or he would face ruin. Because the wife had not obeyed the King’s order to get ready his puja, but instead had asked her servant to do this, such a wife would only cause him problems. The King again asked the ministers what he should do, and they quickly told him, “Leave the Queen!”

The queen was very sorry when she was exiled from the palace. She wandered on her way, but no one would give her shelter. By this time her status was reduced to a beggar. Her cloth was torn and she had no shoes.

She tried to seek refuge with an old man, but she was chased away. Then she asked for help from an old servant who was washing dishes, but was scared away again. The queen had no place and was cold and frightened. A milk man took her to a nearby Shiva temple, where she told the priest her whole story. He had deep compassion for the poor woman, and he gave her refuge in his temple. But whatever the queen touched became ruined. Worms came into all of the food that she touched, and at this the priest was extremely pained.

Then he told the queen to appease Lord Shiva by observing the vow of sixteen Mondays. He explained to her the entire process, and with great faith and devotion the queen followed this advice of the priest.

On the seventeenth Monday, the King heard a divine voice telling him to search for his wife. Then he sent ambassadors to search everywhere for the exiled queen, and finally they came to the temple where she was residing. Learning the whereabouts of his beloved wife, the king immediately went to that temple to find her.

When the King learned how the queen had performed the vow of Shiva’s worship for sixteen consecutive Mondays, then he was very happy, and he went to the temple priest to do him service and honor in thanks. The priest listened to the King’s story, and blessed them both.

When the King and Queen returned to the capital, all of the subjects of the kingdom welcomed them both with great love and devotion. The King gave the people many gifts and always worked hard at their service. With the grace of Lord Shiva the King and Queen had beautiful children, enjoyed many years of comfort and happiness in their Kingdom, and ultimately went to the Shivaloka.

This is the story of the vow of Lord Shiva’s Worship. Whoever will read it with devotion, or listen to it with one pointed attention, at the time of worship on Monday, will be blessed with health, wealth, the cessation of all disturbances, and the fulfillment of all desires. This is the promise of Lord Shiva. OM NAMAH SHIVAYA.

It took the seven brothers sixteen days to reach their kingdom with the ... performed first Pankaldaki puja, then the Shiva puja and then the Durga puja.

They did 16 pujas

This book also discusses "The altar of the 16" which is an altar with 16 images of Durga

https://books.google.com/books?id=HnU5C3IrHQcC&pg=PA84&lpg=PA84&dq=durga+sixteen&source=bl&ots=ex3gWzvRqe&sig=BN946UH0K38kWX_dzPtrEmlNuO8&hl=en&sa=X&ved=0ahUKEwjUzJrxy5jRAhVHz1QKHT9LCrA4ChDoAQgnMAM#v=onepage&q=durga%20sixteen&f=false

quad

SWASTIKA MEANS- "IT IS"- GOD IN THE BIBLE SAYS I AM- SWASTIKA MEANS "IT IS"

http://sanskrit.org/what-is-the-meaning-of-a-swastika/

In Sanskrit, the proper spelling of the word swastika is svastika. Sanskrit has no ‘w’. Literally, the word svastika is a statement of affirmation, “It is!” “Life is good!” “There is value” “There is meaning!” Svastika is a term that affirms the positive values of life. The word is made of su + as. “As” is the root of the verb “to be” of which the third person singular is, “asti,” “it is.” Su is a prefix used in Sanskrit to intensify meaning in a positive way, thus su+asti means literally, “it really is!” When combined, the ‘u’ changes into a ‘v’ thus giving the form svasti. The ending ka makes this verbal form into a noun. This is the linguistic morphology of the word, svastika.

http://research.omicsgroup.org/index.php/Swastika

In his book The Apocalypse Unsealed (1981), Robert F. Riggs lists the swastika as one of several variations of the quadratura circuli, other examples being oriental mandalas and the Latin cross with the circle of eternity (i.e. the Celtic cross). He notes that the Tetrad 4 (square, cross, or cube) symbolizes the world of man, and a circle (or sphere) symbolizes heaven, the realm of the spirit, and heavenly virtues. As such, the combination of circles, crosses, spheres, and cubes, as found in various forms of the quadratura circuli, symbolize the union of heaven and earth.[17]

16 DAYS 16 SQUARES QMR

https://en.wikipedia.org/wiki/Durga_Puja_in_Odisha

In Shakti peethas (temples of goddess) the Durga Puja is observed with proper rituals for 16 days, starting from Krishnapaksha Ashtami to Shukla paksha Navami of the Hindu Oriya Calendar, known as Shodasa dinatmak Upachara. The pandals are usually decorated beautifully.

16 DAYS 16 SQUARES QMR

https://www.facebook.com/ShriJagannathPremi/posts/707672195998939

In Odisha the special feature of Durga Puja is that, in the temples, it extends over a sixteen day period known as Shodasa Upachara, unlike other parts of the country, where it lasts for three to nine days at most.

16 SYSTEMS OF PHILOSOPHY- 16 SQUARES QMR

http://self.gutenberg.org/articles/Vidyaranya

It, to quote Dr.S.Radhakrishnan, the Sarvadarśanasaṅ̇graha “sketches sixteen systems of thought so as to exhibit a gradually ascending series, culminating in the Advaita Vedanta (or non-dualism).” The Sixteen systems of philosophy expounded by him are:

The Carvaka System

The Buddha System

The Arhata or Jaina System

The purna-prajna System

The Nakulisa-Pasupata System

The Saiva System

The Pratyabhijna System

The Rasesvara System

The Vaiseshika or Aulukya System

The Akshapada or Nyaya System

The Jaiminiya System

The Paniniya System

The Sankhya System

The Patanjala or Yoga System

The Vedanta or System of Sankaracharya

It is to be point out here that Sarva-darsana-sangraha itself doesn’t contain the 16th chapter (Advaita Vedanta or the System of Sankara), absence of which is explained by a paragraph at the end of the 15th chapter (The Patanjali-Darsana). It says: “The system of Sankara, which comes next in succession, and which is the crest-gem of all systems, has been explained by us elsewhere, it is therefore left untouched here”

Sarva

Madhavacharya (also transliterated as Madhava Acharya and Madhavaacharya fl. C. 1380) was an exponent of the Advaita school of philosophy in Hinduism. He was elected, in 1331 CE, the head of the Smarta order in the Math of Sringeri in Mysore territory, founded by Sankaracharya, the great Vedantist teacher of eighth century. He was a Hindu statesman and philosopher who lived at the court of Vijayanagara, the Southern Hindu kingdom. He is believed to have served as a minister under King Bukka of Vijayanagara empire. His younger brother Shyapa (d. 1387) was associated with him in the administration and was a famous commentator on the Rigveda. Shyapa's commentaries were influenced by and dedicated to Madhava.

Sarva-Darsana-Sangraha

Madhavacharya's most famous work is Sarva-darsana-sangraha (Compendium of Speculations - a compendium of all the known Indian schools of

philosophy)(1380) which was written in Telugu script. It, to quote Dr.S.Radhakrishnan, “sketches sixteen systems of thought so as to exhibit a gradually ascending series, culminating in the Advaita Vedanta (or non-dualism).” The Sixteen systems of philosophy expounded by him are:

The Carvaka System

The Buddha System

The Arhata or Jaina System

The purna-prajna System

The Nakulisa-Pasupata System

The Saiva System

The Pratyabhijna System

The Rasesvara System

The Vaiseshika or Aulukya System

The Akshapada or Nyaya System

The Jaiminiya System

The Paniniya System

The Sankhya System

The Patanjala or Yoga System

The Vedanta or System of Sankaracharya

It is to be point out here that Sarva-darsana-sangraha itself doesn’t contain the 16th chapter (Advaita Vedanta or the System of Sankara), absence of which is explained by a paragraph at the end of the 15th chapter (The Patanjali-Darsana). It says: “The system of Sankara, which comes next in succession, and which is the crest-gem of all systems, has been explained by us elsewhere, it is therefore left untouched here”

Sarva-Darsana-Sangraha and Lokayata System of Thought

Sarva-Darsana-Sangraha is one

of the few available sources of information about Lokayata, the materialist system of philosophy in ancient India. To propound his own system of philosophy, he tries to refute, chapter by chapter, the other systems of thought prominent in his day. However, it also has to be added that in this work, with remarkable mental detachment, he places himself in the position of an adherent of sixteen distinct philosophical systems. In the very first chapter, The Carvaka System, of the book he critiques the arguments of Lokayatikas. While doing so he quotes extensively from Carvaka works. It is possible that some of these arguments put forward as Lokayata point of view may be a mere caricature of Lokayata philosophy. Yet in the absence of any original work of Lokayatikas (all of which seems to have been destroyed by their opponents) these are the only very few sources of information available today on materialist philosophy in ancient India. Madhava also wrote a commentary on the Mimalps Sutras. He died as abbot of the monastery of Sringeri.

16 SYSTEMS OF PHILOSOPHY- 16 SQUARES QMR

http://self.gutenberg.org/articles/Vidyaranya

It, to quote Dr.S.Radhakrishnan, the Sarvadarśanasaṅ̇graha “sketches sixteen systems of thought so as to exhibit a gradually ascending series, culminating in the Advaita Vedanta (or non-dualism).” The Sixteen systems of philosophy expounded by him are:

The Carvaka System

The Buddha System

The Arhata or Jaina System

The purna-prajna System

The Nakulisa-Pasupata System

The Saiva System

The Pratyabhijna System

The Rasesvara System

The Vaiseshika or Aulukya System

The Akshapada or Nyaya System

The Jaiminiya System

The Paniniya System

The Sankhya System

The Patanjala or Yoga System

The Vedanta or System of Sankaracharya

It is to be point out here that Sarva-darsana-sangraha itself doesn’t contain the 16th chapter (Advaita Vedanta or the System of Sankara), absence of which is explained by a paragraph at the end of the 15th chapter (The Patanjali-Darsana). It says: “The system of Sankara, which comes next in succession, and which is the crest-gem of all systems, has been explained by us elsewhere, it is therefore left untouched here”

Sarva

Madhavacharya (also transliterated as Madhava Acharya and Madhavaacharya fl. C. 1380) was an exponent of the Advaita school of philosophy in Hinduism. He was elected, in 1331 CE, the head of the Smarta order in the Math of Sringeri in Mysore territory, founded by Sankaracharya, the great Vedantist teacher of eighth century. He was a Hindu statesman and philosopher who lived at the court of Vijayanagara, the Southern Hindu kingdom. He is believed to have served as a minister under King Bukka of Vijayanagara empire. His younger brother Shyapa (d. 1387) was associated with him in the administration and was a famous commentator on the Rigveda. Shyapa's commentaries were influenced by and dedicated to Madhava.

Sarva-Darsana-Sangraha

Madhavacharya's most famous work is Sarva-darsana-sangraha (Compendium of Speculations - a compendium of all the known Indian schools of

philosophy)(1380) which was written in Telugu script. It, to quote Dr.S.Radhakrishnan, “sketches sixteen systems of thought so as to exhibit a gradually ascending series, culminating in the Advaita Vedanta (or non-dualism).” The Sixteen systems of philosophy expounded by him are:

The Carvaka System

The Buddha System

The Arhata or Jaina System

The purna-prajna System

The Nakulisa-Pasupata System

The Saiva System

The Pratyabhijna System

The Rasesvara System

The Vaiseshika or Aulukya System

The Akshapada or Nyaya System

The Jaiminiya System

The Paniniya System

The Sankhya System

The Patanjala or Yoga System

The Vedanta or System of Sankaracharya

It is to be point out here that Sarva-darsana-sangraha itself doesn’t contain the 16th chapter (Advaita Vedanta or the System of Sankara), absence of which is explained by a paragraph at the end of the 15th chapter (The Patanjali-Darsana). It says: “The system of Sankara, which comes next in succession, and which is the crest-gem of all systems, has been explained by us elsewhere, it is therefore left untouched here”

Sarva-Darsana-Sangraha and Lokayata System of Thought

Sarva-Darsana-Sangraha is one

of the few available sources of information about Lokayata, the materialist system of philosophy in ancient India. To propound his own system of philosophy, he tries to refute, chapter by chapter, the other systems of thought prominent in his day. However, it also has to be added that in this work, with remarkable mental detachment, he places himself in the position of an adherent of sixteen distinct philosophical systems. In the very first chapter, The Carvaka System, of the book he critiques the arguments of Lokayatikas. While doing so he quotes extensively from Carvaka works. It is possible that some of these arguments put forward as Lokayata point of view may be a mere caricature of Lokayata philosophy. Yet in the absence of any original work of Lokayatikas (all of which seems to have been destroyed by their opponents) these are the only very few sources of information available today on materialist philosophy in ancient India. Madhava also wrote a commentary on the Mimalps Sutras. He died as abbot of the monastery of Sringeri.

https://en.wikipedia.org/wiki/File:Swastik_on_head.jpg

https://en.wikipedia.org/wiki/Swastika

Hindu child with head shaven and red Swastika painted on it as part of his Upanayana ceremony

I'm a paragraph. Click here to add your own text and edit me. It's easy.

Svastika on a Roman mosaic in Veli Brijun, Croatia

https://en.wikipedia.org/wiki/File:Swastika2.JPG

https://en.wikipedia.org/wiki/Swastika

quad

16 SQUARES OF THE QUADRANT MODEL

 

https://en.wikipedia.org/wiki/Buddhist_cosmology_of_the_Theravada_school

 

RUPA-LOKA (Fine-Material World) The fine material sphere (ruupa loka) consists of sixteen planes. Beings take rebirth into these planes as a result of attaining the jhanas. They have bodies made of fine matter. The sixteen planes correspond to the attainment of the four jhanas. The devas of the Rupadhatu have physical forms, but are sexless and passionless. They live in a large number of "heavens" or deva-worlds that rise, layer on layer, above the earth. These can be divided into five main groups. Suddhavasa devas: Birth in these five realms are a result of attaining the fruit of non-returning (Anagami), the third level of enlightenment: These five realms, called suddhaavaasaa or Pure Abodes, accessible only to those who have destroyed the lower five fetters :self-view, sceptical doubt, clinging to rites and ceremonies, sense desires, and ill-will. They will destroy their remaining fetters :craving for fine material existence, craving for immaterial existence, conceit, restlessness and ignorance during their existence in the Pure Abodes. Those who take rebirth here are called "non-returners" because they do not return from that world, but attain final nibbana there without coming back. They guard and protect Buddhism on earth, and will pass into enlightenment as Arhats when they pass away from the Suddhavasa worlds. Among its inhabitants is Brahma Sahampati, who begs the Buddha to teach Dhamma to the world (SN 6.1)

16 SQUARES OF THE QUADRANT MODEL

 

https://en.wikipedia.org/wiki/Buddhist_cosmology_of_the_Theravada_school

 

RUPA-LOKA (Fine-Material World) The fine material sphere (ruupa loka) consists of sixteen planes. Beings take rebirth into these planes as a result of attaining the jhanas. They have bodies made of fine matter. The sixteen planes correspond to the attainment of the four jhanas. The devas of the Rupadhatu have physical forms, but are sexless and passionless. They live in a large number of "heavens" or deva-worlds that rise, layer on layer, above the earth. These can be divided into five main groups. Suddhavasa devas: Birth in these five realms are a result of attaining the fruit of non-returning (Anagami), the third level of enlightenment: These five realms, called suddhaavaasaa or Pure Abodes, accessible only to those who have destroyed the lower five fetters :self-view, sceptical doubt, clinging to rites and ceremonies, sense desires, and ill-will. They will destroy their remaining fetters :craving for fine material existence, craving for immaterial existence, conceit, restlessness and ignorance during their existence in the Pure Abodes. Those who take rebirth here are called "non-returners" because they do not return from that world, but attain final nibbana there without coming back. They guard and protect Buddhism on earth, and will pass into enlightenment as Arhats when they pass away from the Suddhavasa worlds. Among its inhabitants is Brahma Sahampati, who begs the Buddha to teach Dhamma to the world (SN 6.1)

16 SQUARES QMR

http://www.hindudevotionalblog.com/2008/07/lord-vishnu-shodasa-nama-stotram-16.html

Lord Vishnu Shodasa Nama Stotram - 16 Names of Lord Vishnu

Lord Vishnu Shodasa Nama Stotram is one of the main Prayer (stotras) a Maha Vishnu devotee needs to be addressed to Lord Vishnu as soon as he/she wakes up in the morning. Shoda Namam means Sixteen Names. Vishnu Shoda Nama Stotra describes the 16 Names of Lord Vishnu.

Vishnu Shodasa Nama Stotram Lyrics

Oushade Chinthaye Vishnum,

Bhojane cha Janardhanam,

Sayane Padmanabham cha,

Vivahe cha Prajapathim.

Yuddhe Chakradharam devam,

Pravase cha Trivikramam,

Narayanam Thanu thyage,

Sreedharam priya sangame,

Duswapne smara, Govindam,

Sankate Madhu soodhanam,

Kanane Narasimham cha,

Pavake Jalasayinam,

Jalamadhye Varaham cha,

Parvathe Raghu nandanam,

Gamane Vamanam Chaiva,

Sarva Karyeshu Madhavam.

Shodasaithani Naamani,

Prathar uthaaya ya padeth,

Sarva papa vinirmuktho,

Vishnu lokam samopnuyath.

Meaning of Shodasa Nama of Vishnu - Sixteen Lord Vishnu Names

1) Lord Vishnu – He who is spread everywhere.

2) Janardhana – He who punishes evil people.

3) Padhmanabha – He who has a lotus in his belly button.

4) Prajapathi – He who is the chief of people.

5) Chakradhara – He who is armed with the holy wheel.

6) Trivikrama – He who measured all the worlds in three steps.

7) Narayana – He who resides in all things he creates.

8) Sreedhara – He who carries Goddess of Wealth in his chest.

9) Govinda – He who can be attained by Vedas.

10) Madhu Soodhana – He who killed the ogre called Madhu.

11) Naarasimha – He who took the shape of half lion, half human.

12) Jalasayina – He who sleeps on water.

13) Varaha – He who took the shape of the holy boar.

14) Raghu Nandana – The darling of the clan of Raghu.

15) Vaamana – He who took the shape of a dwarf.

16) Madhava – He who is Lord of everything.

16 SQUARES QMR

 

https://aslansplace.com/language/en/renunciation-of-hinduism/

Know the Self who alone is to be known,

He in whom these sixteen parts rest,

– the spokes of the hub of the wheel of life,

Lest death should hurt you ![6]

Upanishads

16 SQUARES QMR

http://blessingsonthenet.com/indianculture/section/articles/370/the-sixteen-categories

The Sixteen Categories

One can remove misapprehension or false knowledge and attain supreme felicity by the true knowledge of the sixteen categories. The sixteen categories are: means of right knowledge (Pramana), object of right knowledge (Prameya), doubt (Samsaya), purpose (Prayojana), familiar instance (Drishtanta), established tenet (Siddhanta), members (Avayava), argumentation (Tarka), ascertainment (Nirnaya), discussion (Vada), wrangling (Jalpa), cavil (Vitanda), fallacy (Hetvabhasa), quibble (Chala), futility (Jati), and occasion for rebuke (Nigraha-sthana).

There is, first, the state of Samsaya or doubt about the point to be discussed. Next comes the Prayojana or motive for discussing it. Next follows a Drishtanta or example which leads to the Siddhanta or established conclusion. Then comes the objector with his Avayava or argument, split up into five members. Next follows the Tarka or refutation, and the Nirnaya or ascertainment of the true state of the case. A further Vada or controversy takes place, which leads to Jalpa or mere wrangling. This is followed by Vitanda or cavilling, Hetvabhasa or fallacious reasoning, and Nigraha-sthana, the putting an end to all discussion by a demonstration of the objector’s incapacity for argument.

When one attains the true knowledge, his faults, viz., affection (Raga), aversion (Dvesha) and stupidity (Moha) vanish. Aversion includes anger, envy, malice and hatred. Attachment includes lust, greed, avidity and covetousness. Stupidity includes suspicion, conceit, carelessness and misapprehension. Stupidity generates dislike and attachment. You must put an end to the chain, which begins with misapprehension or false knowledge and ends with pain, if you wish to attain release. If false knowledge vanishes, faults will disappear. If faults vanish, one is freed from activity and the consequent transmigration and pains.

Transmigration, which consists in the soul’s leaving one body and taking another, is the cause of its undergoing pleasure and pain. A soul which is no longer subject to transmigration is freed from all pains. The soul attains release as soon as there is an end to the body, and consequently to pleasure and pain.

http://hinduonline.co/HinduReligion/HinduRituals.html

 

16 SQUARES QMR

 

How Sraaddha And Tarpana Benefit The Departed Souls

Gifts to deserving Brahmanas for the benefit of the Pitris, in the proper time and place and with faith, are known as Sraaddha. Sraaddha gives satisfaction to the Pitris. By the offering of the sixteen Sraaddhas, the son helps his father to dwell in joy with the Pitris. The son should perform the Sapindikarana rites for his father. Performance of Sraaddha and Tarpana relieves the hunger and thirst of the departed soul during its journey to the Pitri Loka.

The 16 word Mantra

LORD CAITANYA SAID THERE WAS NO DIFFERENCE BETWEEN THE 16 WORD MANTRA AND KRISHNA

http://1stholistic.com/prayer/Hindu/hol_Hindu-hare-krishna-maha-mantra.htm

Hare Krishna Maha Mantra

The devotees of Lord Sri Krishna, derive unlimited bliss and satisfaction by chanting the Hare Krishna mantra. They are endowed with divine potency for inundating the entire world in a flood of love of Godhead. The mantra is:

Hare Krishna, Hare Krishna, Krishna Krishna, Hare Hare

Hare Rama, Hare Rama, Rama Rama, Hare Hare

There are many Vedic references which specifically recommend the chanting of the Hare Krishna maha-mantra as the most effective means of reaching spiritual realization and counteracting all the problems of this age. Some of these verses are the following:

"All mantras and all processes for self-realization are compressed

into the Hare Krishna maha-mantra."

Narada-pancaratra

"These sixteen words--Hare Krishna, Hare Krishna, Krishna Krishna, Hare Hare/Hare Rama, Hare Rama, Rama Rama, Hare Hare--are especially meant for counteracting the ill effects of the present age of quarrel and anxiety."

Kali-santarana Upanishad

"In this age there is no use in meditation, sacrifice and temple worship. Simply by chanting the holy name of Krishna--Hare Krishna, Hare Krishna, Krishna Krishna, Hare Hare/Hare Rama, Hare Rama, Rama Rama, Hare Hare--one can achieve perfect self-realization."

Vishnu Purana 6.2.17

"Living beings who are entangled in the complicated meshes of birth and death can be freed immediately by even unconsciously chanting the holy name of Krishna, which is feared by fear personified."

Bhag.1.1.14

"The self-realization which was achieved in the Satya millennium by meditation, in the Treta millennium by the performance of different sacrifices, and in the Dvapara millennium by worship of Lord Krishna, can be achieved in the age of Kali

simply by chanting the holy names, Hare Krishna."

Bhag.12.3.52

Hindus believe that chanting the Lord's names is an effective process because the Lord and His names are identical: they are the same spiritual energy. For example, by chanting Hare Krishna a devotee is in immediate contact with God. If he/she chant someone else's name, he/she cannot enjoy their association because the name and the person are different.

Caitanya-caritamrta (Madhya-lila, 17.131-133) explains that there is no difference between the Lord's name, form, or personality, and they are all transcendentally sweet. Krishna's name is the same as Krishna Himself, and is not material in

any way. It gives spiritual benedictions and is full of pleasure. In

Caitanya-cartamrta (Adi-lila, 17.22, and the Padma Purana), the Hare Krishna maha-mantra is said to be the sound incarnation of Krishna, and anyone who chants this mantra is not only in direct association with Krishna, but is also delivered from the clutches of the material energy.

The Hare Krishna maha-mantra is so powerful that one who sincerely takes shelter of it will attain all the desired results of connection with the Supreme.

"The name of the Lord need not be chanted with regard to place, time, circumstantial conditions, preliminary self-purification or any other factors. Rather, it is completely independent of all other processes and rewards all the desires of those who eagerly chant it."

Skanda Purana

The Caitanya- caritamrta (Madhya-lila, 15.107) also points out that one is freed of

all sinful reactions simply by chanting Krishna's names. And all the nine types of devotional service are completed by this process.

Return to: Mantras And Sacred Symbols

KRISHNA HAD 16,000 WIVES

http://aumamen.com/topic/16000-wives-of-krishna-spiritual-significance

Some symbolize the number 16,000 to represent 16 Qualities (or arts or vidyas) that krishna had, which is higher than the previous incarnations of vishnu Eg: Rama had 14

http://aumamen.com/topic/16000-wives-of-krishna-spiritual-significance

16 SQUARES QMR

Note: Another theory relates the Krishna, who plays the flute and the lover of music, and his 16,000 wives to the 16,000 ragas or musical modes or passions or affections of the mind in Indian classical music, and their wives - the raginis (female raga). The raginis selected one of these ragas to which to modulate her strains for affecting and securing the heart of Krishna, the amorous and harmonious deity. Krishna who was devoted to music received and enjoyed every variety of modulation, multiplied to the number of 16,000, fancifully personified in the form of the women derived from Bhauma (a name of Narakasura), a five-stringed musical instrument

Note: Mahabharata has the Narakasura version of the story

Note: Some symbolize the number 16,000 to represent 16 Qualities (or arts or vidyas) that krishna had, which is higher than the previous incarnations of vishnu Eg: Rama had 14

Note: Here is another very interesting symbolic meaning: "When a devotee realizes god, God appears to each as his own (krishna manifested 16108 forms to love them individually), each devotee feels God in his heart as his own lover, he does not reject any one's love. He treats them all equally, loves them all equally (krishna build a palace each for his 16108 wives)"

https://at37.wordpress.com/2013/03/29/137-itzhak-bentov-mystical-friend-of-mine/

 

JEWISIH MYSTIC CLAIMED THAT THE SWASTIKA SYMBOLIZED CREATION

Another JC mystic in fact.

He was a Jewish Czech mystic.

Itzhak Bentov’s name is a recognizable name in many, many circles.

Those that knew him well simply called him Ben.

Images were drawn by Ben.

Does God’s name in the original Hebrew text YHWH literally mean “He Causes to Become”?

And the text that accompanies these images on pages 50-51 of Bentov’s book A BRIEF TOUR OF HIGHER CONSCIOUSNESS states the following: (highlights in red have been added by me)

“This desire resulted in the process of creation, symbolized by the swastika within the creative center, representing a four-dimensional rotating universe.

It is interesting to note that if you merge your consciousness with that of the Creator, you discover within Him a rotating swastika.

In other words, swastika stands for both the Creator and the Creation – they are inseparable”

Bentov died in 1979 in an air accident.

QUADRANT HINDUISM

https://at37.wordpress.com/2012/02/07/applications-for-the-swastika/

 

16 SQUARES QUADRANT MODEL

https://www.youtube.com/watch?v=ZHm2cZUCHTQ#action=share

A Hoberman sphere is not a true sphere, but a polyhedron known as an icosidodecahedron. The Hoberman sphere can be unfolded by allowing certain members to spread apart. This can be accomplished by feeding out a string or cable in the larger models. The operation of each joint is linked to all the others in a manner conceptually similar to the extension arm on a wall-mounted shaving mirror.

 

Clearly the shape of the swastika (6-leg version) plays a critical role in the operation of this sphere.

note the 16 point configuration is similar to the 16 wind Compass Rose that we find in St. Peter’s Square.

JEWISH MYSTIC SAID SWASTIKA IS CREATOR

https://at37.wordpress.com/2013/03/29/137-itzhak-bentov-mystical-friend-of-mine/

From the website Swastika Science

one of the good things about the system is that the system wants to teach you about itself”

BUT what did Itzhak write in his book A Brief Tour of Higher Consciousness that he knew the mundane profane world was not ready to hear on TV?

And it reveals the work of Itzhak more profound because Itzhak was Jewish.

He loved to meditate and this is what he ‘saw’ when meditating and it is central to his theory, his story recovered, part of the narrative recovered that effects you and me.

“This desire resulted in the process of creation, symbolized by the swastika within the creative center, representing a four-dimensional rotating universe.

It is interesting to note that if you merge your consciousness with that of the Creator, you discover within Him a rotating swastika.

In other words, swastika stands for both the Creator and the Creation – they are inseparable”

16 IS THE SQUARES OF THE QUADRANT MODEL

http://www.saivism.net/pantheon/ganesha.asp

Forms of Ganesha

The idols and temples of Ganesha are found all over the world. We we have archeological evidence to suggest that he was worshipped in some temples of northern India as early as first century AD. The Ganapatyam lists 32 iconic forms of Lord Ganesha of which 16 are considered to be the most popular. They are not different Ganeshas but personification of his various aspects and attributes. There are idols and images of Lord Ganesha corresponding to these 16 forms. In each aspect Ganesha is shown with specific color, shape, posture and a variety of objects in his hands. Ganapathi is also symbolically worshipped in the form of a kumbha consisting of a coconut sitting atop the mouth of a round pot or vessel surrounded by five mango leaves. In some places Ganesha is worshipped in the form of lingas, salagramas and yantras. The swastika is also considered to be a symbol of Ganesha because he is a god of luck and auspiciousness. The sixteen forms of Ganesha are shown below:

Bala Ganapathi

Taruna Ganapati

Bhakti Ganapathi.

Maha Ganapathi

Vira Ganapathi

Sakti Ganapathi

Duvija Ganapathi

Ucchistha Ganapathi

Vighnaraja Ganapathi

Kshira Ganapathi

Lakshmi Ganapathi

Siddhi Ganapathi

Urdhava Ganapathi

Heramba Ganapathi

Vijaya Ganapathi

Niruttha Ganapathi

Temples of Ganesha

Traditionally the state of Maharashtra in India is well known for the worship of Lord Ganesha and houses eight of his very famous temples knows as Ashtavinayaka temples. Some details of these temples and their idols are mentioned below

Location Idol Name Detail

Morgaon Mayureshwara Associated with Saint Morya a famous devotee of Lord Ganesha

Thevoor Chintamani Ganesha Served as a religious retreat for the Peshwas the rules of Maratha Kingdom

Ranjangaon Maha Gganapathi The idol of Ganesha with ten heads is also located in the temple complex,

Siddhatek Siddhi Vinayaka The idol is right tusked. So devotees are advised to be extra careful while worshipping.

Lenyadri Cave Girijatmaja The idol is situated in a cave temple with only the back of the idol visible to the worshippers.

Ojhar Kshetra Vighneswara The idol is flanked by Riddhi and Siddha the two Shaktis of Ganesha

Pali Ballaleshwara The name comes from Ballala a boy whom Ganesha rescued from persecution.

Mahad Varada Vinayaka A traditional lamp that has been kept alight since 1892

16 Names of Ganesha

Ganesha is usually worshipped alone. But in the tantric form of worship he is worshipped along with his shaktis as Vallabha. The puranas mention 16 names of Ganesha which are considered to be effective during his worship for warding off evil and gaining his blessings. These names are also used in the prayers addressed to Ganesha during his worship. The 16 names of Ganesha are: sumukha, ekadanta, kapila, vighnaraja, vinayaka, dhumaketu, ganadhyaksha, phalachandra, gajakarna, lambodara, vikata, vakratunda, surpanakha, heramba, skandapurvaja and mahaganapathi. Ganesha is also worshipped as the supreme Brahman himself by the followers of Ganapatya Sect

Some rare and interesting aspects of Ganesha are found in some temples of India such as the the image of Bala Ganapathi crawling on his hands like a baby at Vellore in Andhra Pradesh, the image of Ganesha holding a flute just like Krishna at Madurai, a female aspect of Ganesha called Ganeshini at Suchindra and Madurai and a five headed Heramaba Ganapathi riding a lion at Nagapattinam. The female aspect of Ganesha is also called Vinayaki, Surpakarni and Lambamekhala.

16 SQUARES QUADRANT MODEL

http://swamiindology.blogspot.com/2013/02/hindu-eagle-mystery-deepens.html

12.Tamil Encyclopedia Abithana Chintamani ( year 1899) attributes sixteen acts to Garudas. Many of them actually belong to people with eagle totem. They were against people with snake totem (Nagas). It is the ancient history of India. One must go deeper in to it to reveal the secrets.

http://www.spiritualityhealth.com/articles/phases-desire

16 SQUARES OF THE QUADRANT MODEL

 

Phases of Desire

Meditate on the 16 eternal moon-phase goddesses for a deeper understanding of how we are transformed by passionate connection.

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Spiritual practices

When I first embarked on a spiritual practice, I thought it was a journey best undertaken alone: work on your issues until you are perfect, and don’t let your lovers or friends interfere with your sacred inner work. Then New York yoga teacher Eric Stoneberg introduced me to the nityas, or eternal moon-phase goddesses, who are said to represent 16 manifestations of desire in the Rajanaka tantra tradition of Hinduism. Sally Kempton, in her book Awakening Shakti, writes: “Cosmic desire brings the universe into being, and the world is, in one sense, an outflowing of the cosmic erotic impulse.” I realized I had it all wrong: it is often through desire for, and communication with, the other that true spiritual growth can happen.

As these 16 goddesses (five of whom are described here) trace the phases of the moon from new to full, they tell a story of literal and metaphorical sexual union. Each figure represents one aspect of the complexities, vulnerabilities, ugliness, and transformative potential of human connection. Following is an introduction to five of these evocative shaktis. Take time to reflect on them as the moon cycles through its phases; you may discover your own shadows, suddenly, moonlit.

First night (new moon)

Kameshwari, “Always Empowering Desire”

Kameshwari comes to us in complete darkness, in the expectant waiting of the moonless night. She carries the noose, which collects desire, and the goad, which spurs it to action. Her hands are open in a gesture of giving and receiving. She invites us to go deep into “the fertile darkness of raw possibility,” in Stoneberg’s words, and to ask, What do I truly desire?

Fourth Night

Bherunda, “Molten Gold”

If this goddess had a theme song, it would be “Sexual Healing.” Bherunda is hot, like molten gold, and, uniquely, naked. In her exposed state, she carries extra weaponry, including a shield that Stoneberg describes as “a song that she knows how to sing to protect herself.” Her molten gold dissolves fear, shame, and other poisons that may rise with desire. Her very vulnerability is what protects and heals her.

Eighth night

Tvarita, “With Quickness”

Tvarita lives right at the halfway point in the moon cycle, where we are inexorably tipping toward the full (we’re “doin’ it” now, Stoneberg tells us). She is the wild one, clad in green leaves, surrounded by lions, bears, and monkeys, roaring and howling. One hand makes the gesture of giving and receiving, while the other gestures in fearlessness. This moment of terrifying, primal, wild authenticity is her gift.

Twelfth night

Vijaya, “A Slice of Victory”

Vijaya appears, lazy and contented on the back of a sleeping lion, in the restful moment when the lovemaking is over. She is saumya, sweet and calm, but only in the dark: in the light, she is aghori, gruesome. Close loving relationships take work, and accepting the shadow sides of yourself and the other can take a heroic effort. True love lives in the sweet fantasy of the dark as well as the harsh light of day.

Sixteenth night (full moon)

Lalita Tripura Sundari, “She Who Is Lovely in the Three Worlds”

Lalita, the “goddess of erotic spirituality,” according to Kempton, is also sometimes called Shodashi, “16,” pictured as a beautiful 16-year-old girl. Her “three worlds” are dreaming, waking, and unconsciousness. She can see our deepest desires—emotionally, sexually, and spiritually—and wants to help us transform them into compassionate action rather than tame them into submission.

16 WAYS OF PAYING TRIBUTE- 16 SQUARES QUADRANT MODEL

http://www.worldreligionnews.com/religion-news/hinduism/hindu-celebration-elephant-god-ganesh

Around three months before Ganesh Chaturthi, a life-like clay figure of Lord Ganesh is created. The size of that statue is up to the people making it, but some are over twenty-five feet. When the actual festival day comes around, the statue is put on a raised platform created by temples, put underneath tents and tended by priests. Then ‘shhodashapachara’, or sixteen ways of paying tribute, are offered to the statue as a symbol of the people offering them to the elephant god. Many offerings include coconut and red flowers. The statue is then anointed with red paste.

Read more at World Religion News: "The Hindu Celebration of the Elephant God Ganesh"

16 ARMS- 16 SQUARES QMR

http://www.newworldencyclopedia.org/entry/Narasimha

While avatars preceding Narasimha were depicted as half-human, half-animal to symbolically assert their nature as both animal and avatars of Vishnu, Narasimha is pictured this way in order to display his actual physiognomy. The main emphasis of his depictions is often placed upon his power, braveness and independence. In some depictions he is ferocious, with three large bulging eyes, a gaping mouth with fangs bared, his mane heavy, his tail flayed upon the ground, and his sharp claws withdrawn. In other depictions he is more calm, seated or standing peacefully amongst his consorts and showing yogic signs. Often, his legs are crossed in the lotus position, held there by a meditation band (or yoga-patta), as if he is engaged in deep contemplation. These kind of depictions are classified as Yoga-Narasimha. Sometimes he is pictured with consorts, such as Lakshmi. In his more vicious forms he is shown carrying the slain Hiranyakashipu on his lap. His color is usually bright yellow. He is most commonly pictured with four arms, but can also have two, eight or as many as sixteen arms. He carries a variety of weapons and symbols associated with Vishnu such as the club (a symbol of knowledge), a wheel, a conch, a discus and an axe depending on the number of arms depicted. One free hand is often held in the abhaya mudra, a symbol of fearlessness. Behind his head there often rises a seven-headed serpent, representing the cosmic snake Shesha upon which he is said to sleep.

AGNI THE FIRE GOD AND THE SWASTIKA

http://theswastikasymboloriginandmigration.blogspot.com/2010/03/swastika-symbol-is-also-commonly.html

The swastika symbol is also commonly associated with the sun as a meteorological tool and as the monogram of Vishnu and Siva(9). For this reason, scholars often connected this meaning of the swastika to the notion that the Aryans primitively worshipped the sun, despite claiming to be monotheistic(10). Agni is the god of the fire-stick, which is also associated with the swastika, which is believed to represent sacred fire sticks(11). The above image is a depiction of Agni, the Hindu God.

The swastika has a number of related meanings and many variations of the swastika existed by the Late Bronze period. It is believed in several areas to be a symbol for reincarnation and longevity. In Scandinavia, swastikas are the symbol that embodies the god Thor and for Latins it embodied Jupiter, Tonans and Pluvius. The symbol itself is believed to be a representation of the lightning bolt associated with Thor’s Hammer. The symbol has also been linked with the fylfot cross and the Chinese Y(12). The Hebrew letter ‘tau’ also has very similar features as the swastika, which means the sign of life and can also be interpreted to represent fertility(13).

 

Interpretations such as these seem to have similar ideologies about the symbol. However, in order to discuss the symbols importance further, its origins must be explored so that the swastika and its relation to the Silk Road, and resulting migration can be put into context.

AGNI FIRE AND THE SWASTIKA

https://en.wikisource.org/wiki/Popular_Science_Monthly/Volume_10/November_1876/The_Early_History_of_Fire

The spindle or pramantha had wound round it a cord of hemp mixed with cow-hair, and with this cord the priest of Brahma gave it an alternating rotary motion from right to left and from left to right. In rotating the spindle, one end of it rested in a depression made at the intersection-point of two crossed pieces of wood, the ends of which were bent to a right angle, and firmly secured with four bronze nails, thus preventing them from moving. The entire apparatus was called swastika.[2] The father of the sacred fire was named Twastri, i. e., the divine carpenter who made the swastika and the pramantha, the mutual rubbing of which together produced the divine babe Agni. Its mother was named Maya. Agni took the name of Akta (i. e., anointed, christos) after the priest had poured on its head the soma, and on its body the purified butter of the sacrifice.

 

In his interesting work on the "Origin of Fire," Adalbert Kuhn gives to the PSM V10 D028 Hindu swastika 1.png and to this other like sign, PSM V10 D028 Hindu swastika 2.png the name of arani, and both of them he regards as the religious symbols, par excellence, of our old Aryan ancestors—the symbols of sexual reproduction.

https://en.wikipedia.org/wiki/Swastika

The swastika featured on Athenian pots

The swastika was known as ‘the chariot of Mithra’ in Iran.

http://harekrishnamantra.blogspot.com/2013/10/sixteen-kalas.html

16 KALAS 16 SQUARES QUADRANT MODEL

 

The Jiva(Soul) and SuperSoul have sixteen Different Kalas , corresponding to which sixteen words or names are given in this Mahamantra.

1) srih ----------------------------- Opulence

2) bhuḥ ------------------- Land, Property

3) kīrtih -------------------------------- Fame

4) ila ------------------------ Communicator

5) lila ------------------- Pleasure, pastime

6) kantih ---------------- Radiance, Beauty

7) vidya ----------------------- Knowledge

8) Vimala ---------------------Void of flaws

9) Utkarsini --------------------- Motivator

10) Jnana ---------------------------Wisdom

11) Kriya -----------------------------Action

12) Yoga ----------------------- Conjucator

13) Prahvi --------------------------Humility

14) Satya -------------------------------Truth

15) Isana --------------------------------Lord

16) Anugraha -----------Bestower of boon

16 celestial degrees complete

1. The art of friendship – the art of making others one’s own – the art of winning the heart of others.

2. The art of dealing with others – the art of divine behavior – the art of dealings and divine behavior.

3. The art of reforming – the art of transformation – the art of transformation

4. The art of refreshing – the art of being carefree – the art of relaxing

5. The art of developing – the art of learning – the art of learning

6. The art of remaining happy and content – the art of progressing – the art of marching ahead

7. The art of keeping others happy/ healthy – the art of staying healthy – the art of staying healthy

8. The art of organizing – the art of writing – the art of writing

9. The art of leadership – the art of leadership – the art of leadership

10. The art of administration – the art of ruling – the art of administration

11. The art of learning and teaching – the art of teaching – the art of learning

12. The art of enjoying work and leisure – The art of making people smile – entertaining

13. The art of speech – giving a speech – sweet talking

14. The art of thinking – making best out of waste – changing waste into best

15. The art of social service and spiritual welfare – giving sustenance – sustenance

16. The art of concealing and revealing – accommodation – absorbance

Classified

There is Akasa (space or ether). From the sabda (vibrations) in space, Vayu (air) is produced. From air, Tejas (fire) emerges. From Tejas water is produced. The solidified form of water is the Prithvi (earth). These are the Panchabhutas (five basic elements).

There are the Panchapranas (five vital breaths): Prana, Apaana, Samaana, Udaana and Vyaana. The five elements and the five vital breaths together make ten.

The five Jnanendriyas (organs of perception) are the eyes, the ears, the nose, the mouth and the skin (seeing, hearing, smelling, speaking and touching are the faculties of these organs). With these five, the total goes upto fifteen.

There is the mind. With it, we have the sixteen kalas.

These sixteen kalas are present in every human being, performing their respective functions ecstatically.

Different Species - Explained Below

1) Anna Maya (with cereals)

2) Pranamaya (with breath)

3) Mano Maya (with mind)

4) Vigyanamaya (with knowledge)

5) Anandamaya (with joy)

6) Atishayini (With Peace)

7) Viparinabhini (With Love)

8) Sankramini (With Creator)

9) Prabhavi (Kartum Akartum, that is able to do seemingly impossible tasks)

10) Kunthini

11) Vikasini (विकासिन् vikAsin adj. great )

12) Maryadini (highly respected or with etiquette)

13) Sanhaladini (संह्लादिन् saMhlAdin adj. cheering, a source of happiness)

14) Ahladini (आह्लादिन् AhlAdin adj. causing joy or delight)

15) Paripurna (complete knowledge of all forms of awakening)

16) Swarupavasthitha (swarup + awasthith = established in his real true self)

In the scriptures, Chaitanya-Shakti is measured by means of kalas.

Sandipani Muni also imparted this knowledge to Sri Krishna.

According to this:

Rocks, minerals and other inert matter have the lowest Chaitanya-Shakti of 1 kala.

Plants are the next evolution of Chaitanya-Shakti with 2 kalas.

Animals have 3,4 kalas.

Average human beings have 5 kalas.

Human beings with higher spiritual capacities have 6 kalas.

Saints have 7 kalas. The most advanced saints and sages have 8 kalas.

It is not possible for saints to go beyond 8 kalas. A normal human body cannot sustain greater than 8 kalas. Beyond that starts the incarnations (avataras) with special sattva bodies.

Varaha Avatara of Vishnu had special sattva body with 11 kalas.

Sri Ramachandra incarnated with 12 kalas.

When Sandipani Muni was imparting this knowledge to Sri Krishna and Balarama, he did not know that Sri Krishna was an Avatara. He mentioned upto Sri Ramachandra and said that in future other Avataras of Vishnu will incarnate. Sri Krisha incarnated with 16 kalas (Purna-Avatara), the highest possible Chaitanya Shakti. Amsa-Avataras incarnate with lesser kalas.

SWASTIKA REPRESENTS NAVAL OF VISHNU - SWASTIKA IS QUADRANT

http://www.stephen-knapp.com/swastika_its_real_meaning.htm

The Swastika appears as a cross with branches bent at right angles, pointing in a clockwise direction. In essence, it represents well-being for all, and the circular nature of its points represents the repetitive nature of reincarnation, and also indicates the all-pervasiveness of the Absolute and the eternal nature of the Brahman, the spiritual dimension. If you draw a circle around it, it also symbolizes the Sun-god, Surya, as the ultimate source of light, heat and the energy of the universe that flows in all directions. The four arms of the Swastika stand for the four main directions, namely North, South, East, and West. The central point of the Swastika also represents the navel of Lord Vishnu from which Lord Brahma originated. This also indicates the expanding nature of the universe from a central point. The Swastika also represents the constantly changing world which evolves around an unchanging center, which is God.

 

The four branches of the Swastika represent the fourfold principles of divinity, which include: 1) Brahma, as the four-faced secondary creator of the universe who spreads the sacred knowledge in four directions; 2) the four Vedas, namely the Rig, Sama, Yajur, and Atharva; 3) the four aims of life or Purusharthas, namely, Dharma (righteousness or sacred duty), Artha (acquiring wealth), Kama (fulfilling desires), and Moksha (liberation from any further cycles of birth and death); 4) the four ashramas of life which make the latter possible, namely Brahmacharya (student life of self-control), Grihastha (house-holder life), Vanaprastha (retired), and Sannyasa (life of renunciation); and 5) the four Varnas, or Brahman, Kshatriya, Vaishya, and Shudra.

http://www.newsnation.in/article/148233-sharad-purnima-2016-know-the-auspicious-time-to-celebrate-the-moon-festival.html

Sharad Purnima 2016:The only day in the year when moon comes out with all sixteen Kalas

Sharad Poornima puja is performed by newly wed women who observe rigorous fast on the day of Sharad Purnima. Sharad Purnima 2016 falls on 15th of October.

By News Nation Bureau | Updated On : October 15, 2016 12:50 PM

26

SHARES

Sharad Purnima 2016: Know the auspicious time to celebrate the moon festivalSharad Purnima 2016: Know the auspicious time to celebrate the moon festival

New Delhi :

Sharad Poornima also known as Kojagiri Purnima, Kojagari, Kojagara or Kojagiri Purnima and Kumar Purnima, is basically an harvest festival. Sharad Purnima is one of the most famous Purnimas in Hindu Calendar. According to Hindu mythology it is belived that on this day Sharad Purnima is the only day in the year when the moon comes out with all sixteen Kalas. Sharad Poornima puja is performed by newly wed women who observe rigorous fast on the day of Sharad Purnima. Sharad Purnima 2016 falls on 15th of October.

In Hinduism, each human quality it is believed that the combination of sixteen different Kalas creates a perfect human personality. It was Lord Krishna who was born with all sixteen Kalas and He was the complete incarnation of Lord Vishnu.

The Sharad Purnima or Kojaagari Purnima or Kumar Purnima is a harvest festival celebrated on the full moon day of the Hindu lunar month of Ashvin (September–October). It marks the end of monsoon.

On Sharad Purnima not only Moon shines with all sixteen Kalas but its rays also have certain healing properties. To take advantage of Sharad Purnima, Rice-Kheer a famous Indian sweet dish made of cow milk, rice and sugar, is prepared and left in moonlight for the whole night. In the morning, Rice-Kheer which is belived to be fortified with the moonlight is consumed and distributed as Prasad.

http://www.newsnation.in/article/148233-sharad-purnima-2016-know-the-auspicious-time-to-celebrate-the-moon-festival.html

Sharad Purnima 2016:The only day in the year when moon comes out with all sixteen Kalas

Sharad Poornima puja is performed by newly wed women who observe rigorous fast on the day of Sharad Purnima. Sharad Purnima 2016 falls on 15th of October.

By News Nation Bureau | Updated On : October 15, 2016 12:50 PM

26

SHARES

Sharad Purnima 2016: Know the auspicious time to celebrate the moon festivalSharad Purnima 2016: Know the auspicious time to celebrate the moon festival

New Delhi :

Sharad Poornima also known as Kojagiri Purnima, Kojagari, Kojagara or Kojagiri Purnima and Kumar Purnima, is basically an harvest festival. Sharad Purnima is one of the most famous Purnimas in Hindu Calendar. According to Hindu mythology it is belived that on this day Sharad Purnima is the only day in the year when the moon comes out with all sixteen Kalas. Sharad Poornima puja is performed by newly wed women who observe rigorous fast on the day of Sharad Purnima. Sharad Purnima 2016 falls on 15th of October.

In Hinduism, each human quality it is believed that the combination of sixteen different Kalas creates a perfect human personality. It was Lord Krishna who was born with all sixteen Kalas and He was the complete incarnation of Lord Vishnu.

The Sharad Purnima or Kojaagari Purnima or Kumar Purnima is a harvest festival celebrated on the full moon day of the Hindu lunar month of Ashvin (September–October). It marks the end of monsoon.

On Sharad Purnima not only Moon shines with all sixteen Kalas but its rays also have certain healing properties. To take advantage of Sharad Purnima, Rice-Kheer a famous Indian sweet dish made of cow milk, rice and sugar, is prepared and left in moonlight for the whole night. In the morning, Rice-Kheer which is belived to be fortified with the moonlight is consumed and distributed as Prasad.

http://www.hindubooks.org/sudheer_birodkar/hindu_history/omkar.html- SWASTIKA IS QUADRANT

http://www.hindubooks.org/sudheer_birodkar/hindu_history/swasfort.gif

Did the Swastika originate as blueprint for a fort called Su Vastu?

In the conventional type of a fort, the fall of one of the gates to the attacking army would lead to the Enemy's pouring into the fort and lead to massacre or capture of all or most of its inhabitants. But under the Swastika grids fall of one of the four gates could still keep, at least three-fourths of the fort safe. The understanding of the Swastika as a blueprint for a fort can also be etymologically corroborated. In Sanskrit, Vasa means to inhabit and Vastu means habitation. While Su means good. The word Swastika might be an amalgam of the terms 'Su' and 'Vastu' pronounced as as 'Swastu') meaning 'a good habitation'.

http://worldhinduism.org/2016/10/14/sharad-purnima-2016-know-the-auspicious-time-to-celebrate-the-moon-festival-2/

16 SQUARES QUADRANT MODEL

In Hinduism, each human quality it is believed that the combination of sixteen different Kalas creates a perfect human personality. It was Lord Krishna who was born with all sixteen Kalas and He was the complete incarnation of Lord Vishnu.

http://www.proudhindu.org/ancient-hindus/the-hindu-story-of-creation-which-one

16 SQUARES OF THE QUADRANT MODEL- OLDEST WORK OF CREATION HINDUS 16 MANTRA POEM

The central account of creation in Hinduism – the one that I think of first (“Sahasra sirsha purusha…”) – is found in the Rg Veda: the Purusha Suktam, the hymn of the Cosmic Man, Purusha, who was sacrificed by the Gods to create man. This sixteen-mantra poem is regarded as the oldest work on cosmic anatomy and ecology. It reveals that the universe is an infinite continuum of energy. Yet it describes this energy as a living force, with eyes, ears, arms, legs, hands and feet and heads watching over all of existence. Just as the universe guards the many limbs and energies of its infinite structure, so each of us is meant to become aware of the greater life force within us and its many aspects.

https://en.wikipedia.org/wiki/File:Brooklyn_Museum_71.202_Standing_Female_Figure.jpg

https://en.wikipedia.org/wiki/Kongo_cosmogram

IT IS A SWASTIKA- OF THE KONGO PEOPLE- THEY SAY IT REPRESENTS FOUR MOMENTS OF THE SUN

 

The cosmogram was a core symbol of the Kongo culture. An ideographic religious symbol, the cosmogram was called dikenga dia Kongo or tendwa kia nza-n' Kongo in the KiKongo language.[1][2][3] Ethnohistorical sources and material culture demonstrate that the Kongo cosmogram existed as a long-standing symbolic tradition within the BaKongo culture before European contact in 1482, and that it continued in use in West Central Africa through the early twentieth century.[1] In its fullest embellishment, this symbol served as an emblematic representation of the Kongo people, and summarized a broad array of ideas and metaphoric messages that comprised their sense of identity within the cosmos.[4]

Robert Farris Thompson describes it as thus: "Coded as a cross, a quartered circle or diamond, a seashell spiral, or a special cross with solar emblems at each ending - the sign of the four moments of the sun is the Kongo emblem of spiritual continuity and renaissance par excellence. In certain rites it is written on the earth, and a person stands upon it to take an oath, or to signify that he or she understands the meaning of life as a process shared with the dead below the river or the sea - the real sources of earthly power and prestige, in Kongo thinking... The intimation, by shorthand geometric statements, of mirrored worlds within the spiritual journey of the sun, is the source and illumination of some of the more important sculptural gestures and decorative signs pertaining to funerary monuments and objects designated for deposit on the surface of funerary tombs, or otherwise connected with funerary ceremonies and the end of life."[

http://www.huffingtonpost.com/entry/photographer-captures-mesmerizing-scenes-from-hindu-rituals_us_57f6a843e4b0263f500e6e7b

Sixteen days after the cremation, ashes and three bones from the deceased are thrown into the sea; Varkala, India.

16 SQUARES QMR

http://www.justforkidsonly.com/truth/?p=102

Nyaya or the system of logic was developed by rishi Gautam. According to Nyaya, obtaining the valid knowledge through logic helps to attain liberation. Nyaya philosophy describes 16 systems or points of understanding, called “Padārtha,” to extract “basic meanings” of any entity. These are: 1. Pramāna (evidences), 2. Prameya (theorem or analysis), 3. Samshaya (doubt or questioning), 4. Prayojana (aim, goal, or purpose), 5. Drashtānta (examples), 6. Siddhānta (conclusion or abstract), 7. Avayava (subdivisions, part, or sections), 8. Tarka (logic or hypothetical reasoning), 9. Nirnaya (descision, final verdict, or settlement), 10. Vāda (doctrine, principle, or arguments), 11. Jalpa (debate, hot discussion), 12. Vitanda (quibble or caviling), 13. Hetavābhāsa (gross purpose), 14. Chhala (fallacy or tricking), 15. Jāti (kind or descent), and 16. Nigrahasthāna (point of defeat). All 16 padarthas are further explored. For example, Nyaya school describes four types of reasoning or evidences (pramāna): A. Evidences in favor of validity of the knowledge are: direct perception (pratyaksh pramana), inference or guess work (anumāna pramana), comparative evidence (upamāna pramana), and verbal or testimonial evidence (shabda pramana). B. Evidences in favor of invalidity of the knowledge are: memory (smruti), doubt (samshaya), errors, variability, or vicissitudes (viparyāya), and hypothetical reasoning (tarka). All kinds of the evidences are further explored. For example: direct perception. It can also be of two kinds: laukika or sādhārana (ordinary or sensory), and alaukika or asādhārana (extra ordinary or extra sensory). Both are further explored. For example, ordinary perceptions can be divided into six categories, namely, auditory, tactile, visual, gustatory, olfactory, and mental. Extra ordinary perceptions are further divided into three varieties: sāmanya-lakshana (common sense or intuition), gnān-lakshana (calculated or knowledge based from the previous experience), and yogaja (ESP). Perceptions are also divided into: savikalpa (relative) and nirvikalpa (absolute).

CONSIDERED AVATAR OF GOD- 16 DISCIPLES RAMAKRISHNA

16 SQUARES QMR

https://en.wikipedia.org/wiki/Disciples_of_Ramakrishna

Ramakrishna Paramhansa Deva had sixteen direct disciples (other than Swami Vivekananda) who became monks of the Ramakrishna Order; they are often considered his apostles. In the Ramakrishna-Vivekananda movement, the apostles have played an important role. Apart from Swami Vivekananda the direct disciples or apostles of Ramakrishna were as follows.

16 IS THE SQUARES OF THE QUADRANT MODEL-16 ARROWS

http://www.krishnalilas.com/76-the-deliverance-of-salva.htm

Lord Kṛṣṇa struck Śālva with sixteen arrows, and with showers of arrows He overpowered the airplane, just as the sun in a clear sky overpowers the whole sky by an unlimited number of molecules of sunshine. Śālva struck a severe blow to Kṛṣṇa's left side, where the Lord was carring His bow, Śārṅga, and as a result the Śārṅga bow fell from Lord Kṛṣṇa's hand. This dropping of the bow was indeed wonderful. Great personalities and demigods who were observing the fighting between Śālva and Kṛṣṇa became most perturbed by this, and they began to exclaim, "Alas! Alas!"

https://en.wikipedia.org/wiki/File:Chakra_ayudhapurusha.jpg

FIERCE FORM OF VISHNU WITH 16 ARMS 16 SQUARES QUADRANT MODEL- IN STAR OF DAVID WHICH IS DOUBLE TETRAHEDRON MERKABA

https://en.wikipedia.org/wiki/Ayudhapurusha

Another description describes the Chakra as a sixteen-armed fierce form of Vishnu. He holds a chakra, shankha, bow, parashu, asi (sword), arrow, trishula, pasha, ankusha, agni (fire), khadga (sword), shield, hala (plough), musala, gada and kunta

 

Sudarshana Chakra depicted as an ayudhapurusha and fierce aspect of his owner Vishnu.

16 JAIN SATIS 16 SQUARES QMR

http://www.jainpedia.org/themes/people/women-in-the-jain-tradition/sol-sati/index.html

As examples of the ideal Jain woman, lists of the satīs' names are believed to invite good fortune. These lists therefore have ritual functions, serving as blessings and auspicious recitations. The Bharahesara nī Sajjhāy – a list of virtuous Jain men and women – is a major element in Śvetāmbara Jains' morning confession or rāīa pratikramaṇ. This indicates the moral authority and religious influence of the notion of the satī.

‹‹ Previous12Next ››

Identifying the 16 satīs

This detail from a manuscript painting shows Princess Rājīmatī on her wedding day, awaiting her fiancé Prince Nemi. He decides to renounce the world and become a monk when he hears the cries of the animals about to be slaughtered for the marriage feast. T

Jains conventionally group 16 satīs together. This list probably stems from a short hymn, often called Brāhmī Candanbālikā after its first line.

The 16 satīs are usually listed as follows:

Brāhmī

Sundarī

Candanbālā

Rājīmatī

Draupadī

Kausalyā

Mṛgāvatī

Sulasā

Sītā

Subhadrā

Śivā

Kuntī

Damayantī

Puṣpacūlā

Prabhāvatī

Padmāvatī.

Though there are occasional changes in the order of the names, this list is remarkably stable in Jain tradition.

Several of these 16 satīs, such as Candanbālā and Rājīmatī, are significant figures in traditional stories and feature in elements of Jain rituals in addition to their status as satīs. On the other hand, some of the best-known and most revered satīs, such as Rohiṇī, Añjanāsundarī and Mayṇāsundarī, are not included in the 16 satīs. The 16 satīs is a fixed list so other satīs, including later popular ones, are not included.

Differences between Jain and Hindu satīs

The 16 Jain satīs include five satīs shared with Hinduism. They are:

Draupadī

Kausalyā

Sītā

Kuntī

Damayantī.

The very popular satī Añjanāsundarī is also a Hindu satī. Jains define satīs in ways that invoke ideals that are also found in Hindu satī notions about women's fidelity and moral strength. However, there are important differences in the concept of the satī between the two faiths.

In Hindu contexts, the faithfulness that is at the heart of a woman's identification as a satī centres on her husband, but in Jain contexts it revolves around loyalty to the Jain religion.

The same satī may appear in both Hindu and Jain versions but with subtly different emphases. For example, Jainism has a long tradition of telling the Hindu Rāma story and so Rāma's wife Sītā appears in a wide array of Jain texts. However, the Jain versions of these satī tales conform to Jain ethics and virtues by stressing renunciation, non-violence and the veneration of Jinas and Jain monks.

Jains share with Hindus common ideas relating to satīs, such as:

pativratā – a wife who vows to be devoted to her husband

saubhāgya – the auspiciousness of a wife whose husband is alive.

A major exception is the Hindu satīmātā and her death on her husband's funeral pyre. Jains clearly reject any ideas of bodily self-sacrifice for two reasons. Firstly, the passion involved in such an act goes against the Jain ideal of detachment. Secondly, they reject the self-immolation because of its profound violence.

The Jain satīs embrace austerities for their own benefit and that of others, but do so with the expectation that ultimately these austerities will work towards their own liberation. This fidelity to religion often leads to renunciation of the worldly life in favour of nunhood, but not always.

The ideal of the devoted wife is a powerful part of the model woman for Jains, especially regarding the wife's virtue. This aspect is found in many Jain satīs. In contrast to Hindu satīs, Jain satīs include virtuous women whose virtue becomes plain in their renunciation both before and after marriage.

Ritual uses of satī lists

The notion of the virtuous woman is very influential in the Jain faith. Lists of exemplary Jain womanhood provide female Jains with models of religious devotion and behaviour. The satī lists are also used in important rites familiar to nearly all Śvetāmbara Jains.

There are two ritual uses associated with lists of satīs.

The most important is the recitation of the Bharahesara nī Sajjhāy as part of the morning confession – pratikramaṇ. The Bharahesara nī Sajjhāy is a list of 100 virtuous Jain men and women and is a fixed part of the daily ritual. Its key role suggests that the virtues of women alongside those of virtuous men are valuable in the rites of karma reduction. All Śvetāmbara mendicants recite the confession every day and pious lay people and fasters also make a morning confession.

Secondly, satī lists establish a catalogue of female virtue that can be used as a type of auspiciousness. The Brāhmī Candanbālikā, Soḷ Satī no Chand and other satī lists usually function as auspicious texts – māṅgalik. Recounting one of these lists blesses the start of a sermon or other religious event. Jains also often recite the lists in the morning to begin the day auspiciously.

In addition, some individual satīs in the 16 satīs are associated with independent rituals. For example Candanbālā is linked to the Candanbālā Fast and Rājīmatī is both the model for women's renunciation and is linked to the Saubhāgya Pañcamī Fast.

THE FIRST OF 16 DREAMS QUEEN TRISHALA HAD WAS AN ELEPHANT WITH FOUR TUSKS  (funny the picture shows four trunks maybe typo)

http://www.jainworld.com/literature/story29.htm

The first dream Queen Trishala had was of an Elephant. It was a big, tall, and an impetuous with four tusks. It was an auspicious elephant, and was endowed with all the desirable marks of excellence.

 

This dream indicated that she would give birth to a child with exceptionally high character. The four tusks signified that he would guide the spiritual chariot with its four components: monks, nuns, laymen, and laywomen.

16 DREAMS OF MAHAVIRA MOTHER-16 SQUARES QMR

 

https://www.youtube.com/watch?v=0BXg7L8OBTE

qmr

THERE IS 16 ARMED GANESH AND 16 HEADED BRAHMA

http://www.kashgar.com.au/articles/ganesh

Iconic representations of Ganesh show considerable variation, his form changing over time from that of a simple elephant in earliest depictions to the Ganesh we know today, typically having the head of an elephant and a large rotund belly. He is generally shown with four arms, although the number may vary from two to sixteen. When in the four-armed configuration he usually holds his own broken tusk in his lower-right hand and a laddoo sweet in his lower-left hand which he tastes with his trunk. An axe or goad is held in the right upper hand and a noose is held in the left upper hand. In a modern variation, the lower-right hand does not hold the broken tusk but is turned toward the viewer in a gesture of protection and fearlessness (the abhaya mudra). Each item carries it's own important spiritual significance and they (and the number of arms used to carry them) may vary to include a water lily, mace, discus, rosary, bowl of sweets, musical instrument, spear or staff, depending on the specific symbology intended by the artist.

https://www.ncbi.nlm.nih.gov/books/NBK21950/

Not unlike a code formed by the 4 base letters A,C, G, and T, found in our DNA that form all 64 codons necessary for a code. We further suspect these 4 letters are all that is necessary to script a code necessary for LIFE.

And would it be a coincidence, the eastern scribes discuss the 64 Healing Arts that should be attended to in LIFE?

And a competent musician who has immersed themselves in the ‘art of sound”, can in a beat timed every half second, detect an error of about 1/64th of a second.

Four is the quadrant. 64 is four quadrants

https://www.revolvy.com/topic/Royal%20stars&uid=1575

FOUR ROYAL STARS

Although there is mention of the Royal Stars influencing the Ancient Egyptians in roughly 5,000 BCE, they were noted when the Ancient Persian Prophet Zarathustra, also known as Zoroaster in Greek, mentioned them in the Bundahishn, the collection of Zoroastrian Cosmogony and Cosmology, in approximately 1,500 BCE.[3] Zoroastrianism was a religion formed by Zarathustra, based upon the God Ahura Mazda and was native to Persia.

The four stars with their modern and ancient Persian names were:

Aldebaran (Tascheter) - vernal equinox (Watcher of the East)

Regulus (Venant) - summer solstice (Watcher of the South)

Antares (Satevis) - autumnal equinox (Watcher of the West)

Fomalhaut (Haftorang/Hastorang) - winter solstice (Watcher of the North)

The four dominant stars have an apparent magnitude of 1.5 or less.[4] The reason why they are called "Royal" is that they appear to stand aside from the other stars in the sky. The four stars, Aldebaran, Regulus, Antares, Fomalhaut, are the brightest stars in their constellations, as well as being part of the twenty five brightest stars in the sky, and were considered the four guardians of the heavens.[3] They marked the seasonal changes of the year and marked the equinoxes and solstices. Aldebaran watched the Eastern sky and was the dominant star in the Taurus constellation, Regulus watched the North and was the dominant star in the Leo constellation, Antares watched the West and was the alpha star in Scorpio, and Fomalhaut watched the Southern sky and was the brightest star in Piscis Austrinus (sharing the same longitude with the star Sadalmelik which is the predominant star in Aquarius). Aldebaran marked the vernal equinox and Antares marked the autumnal equinox, while Regulus marked the Summer Solstice and Fomalhaut the Winter Solstice. While watching the sky, the dominant star would appear in its season, each having a time of the year when most noticeable. Regulus was seen as the main star because it was in the constellation of Leo, giving it the power of the lion, signifying the strength of kings with large implications.[5]

The constellations of the Royal Stars were said to be fixed because their positions were close to the four fixed points of the sun's path.[5] The sun was then surrounded by four bright stars at the beginning of every season.[6] From this observation individuals began to denote them the Royal Stars.[6]

By 700 BCE the Nineveh and Assyrians had essentially mapped the ecliptic cycle because of the four stars and were in result able to map the constellations, distinguishing them from the planets and the fixed stars.[5] From this, in 747 BCE the Babylonian King Nabu-nasir adopted a calendar derived from information based on the four stars, one following an eight-year cycle and one a nineteen-year cycle (later adopting the nineteen-year calendar as standard).[7]

The Royal Stars were used primarily for navigation.They were also believed to govern events in the world. Major disasters, breakthroughs, and historical phenomenons were seen as caused by the stars and their alignment in the sky during the time in which the event occurred.[5] When the stars were aligned accordingly, favourable conditions followed, and when they were negatively aligned, disaster was predicted. Because Regulus was the most influential of the Royal Stars, events that took place while Regulus was in dominance were amplified and grave, foreshadowing destruction.

Like

16 SQUARES QMR

https://en.wikipedia.org/wiki/Jyotirlinga

Somnath is traditionally considered the first pilgrimage site: the Dwadash Jyotirlinga pilgrimage begins with the Somnath Temple. The temple, that was destroyed and re-built sixteen times, is held in reverence throughout India and is rich in legend, tradition, and history. It is located at Prabhas Patan (Somnath – Veraval) in Saurashtra in Gujarat.

http://bharathkidilse.blogspot.com/2009/12/monday-fast-katha.html

16 SQUARES QMR

Sixteen Weeks Monday Fast

Once Lord Shiva visited the famous city of Amravati . Parvati also accompanied him. On their way, they saw a beautiful Shiva temple and decided to spend some time there. One day, Parvati found Lord Shiva in a playful mood. She said to him, Oh my Lord, let us have a dice game. Lord Shiva obliged her and the game started. Meanwhile, the priest of the temple had come there. Parvati turned towards him and said Please foretell who will win this game? The Brahman gave no serious thought to her question and abruptly said, Lord Shiva will win the game. Incidentally Parvati won the game. She was angry because the Brahman had told a lie. Lord Shiva tried to pacify her, but she cursed the Brahman that he be a leper. In due course, the Brahman became a leper and spent a miserable life.

After some time a few fairies descended on the earth and pitied the fate of the priest. On asking him, the priest narrated the whole episode. One of the fairies said, You observe Monday fasts for sixteen weeks without break. On the seventeenth Monday, prepare some holy food or Prasaad with flour mixed with ghee and gur. Distribute this prasaad among the members of your family and take some yourself. You will be free from this leprosy. The fairies disappeared and the priest followed the instructions. Soon, he regained his normal health.

Once Lord Shiva and Parvati again visited that temple. Parvati was surprised to see the priest. He was his normal self. She enquired about this feat and the priest narrated the whole story. Parvati was happy; she also decided to observe Monday fasts for sixteen weeks. Incidentally, on the seventeenth Monday, when she broke her fast, her beloved son Kartikeya, who was displeased with her, appeared and said, 0 dear mother what is that power with which you have called me? What is the mystery? Parvati said, 0 my dear son, all this miracle is due to observing Monday fasts for sixteen weeks without interruption. Kartikeyas Brahman friend had been in a foreign land for quite some time. Kartikeya said, I shall observe Monday fasts for sixteen weeks for happy reunion with my friend. He observed the 16 weeks fasts as per rules and to his great surprise his friend returned hale and hearty. The friend enquired about the miracle and Kartikeya told him the modalities to be observed for Monday fast. The Brahman friend was very curious about his marriage. He decided to observe the Monday fasts for sixteen weeks.

On the seventeenth Monday, the Brahman friend went to a city. The ruler of the city decided to marry his daughter to a person on whose neck his well-decorated elephant would put the garland. The Brahman joined the show. Incidentally, the elephant garlanded him. The ruler of the city gave him his daughter and also a lot of money. The couple departed the next day and were back in their home. On the honeymoon night, the bride said, 0 my dear, how is it that the elephant ignored all the princes and garlanded you? How did you succeed on the auspicious moments? The bridegroom said, I observed fasts on sixteen Mondays. Monday is Lord Shivas day. It is due to his blessings that I got a beautiful wife like you. My friend Kartikeya revealed this secret to me. The bride too decided to observe fasts on sixteen Mondays for a beautiful son full of knowledge. Her devotion bore fruit and she gave birth to a beautiful son. As the son grew up, he said to his mother, 0 my dear mother, what is the mystery behind my birth? Please reveal it to me. The mother told him how she observed Monday fasts. The son also decided to observe the fasts to gain a kingdom for his parents. Incidentally, an old kings messengers from a nearby State came there in search of a beautiful and learned bridegroom for the princess. They proposed the princess hand for him and he readily agreed.

The king expired after sometime and the boy became the king. The newly-made king continued his fasts for the next sixteen Mondays. On the seventeenth Monday, he arranged a large prayer party at a temple. All the arrangements were made well in advance. The king requested the queen to accompany him to the temple for breaking the fast after taking prasaad from the priest. The queen refused to go with him. The king had to go alone. The king heard an oracle who echoed, 0 king, turn out the queen from the palace or destruction will fall upon you. The king returned to his palace. He summoned a conference of his ministers and told about the oracle. All of them were taken aback, as it was due to that princess that he became the king of the state. They agreed to his proposal only with a heavy heart. The queen was ultimately turned out. The queen left the palace bare footed and in worn-out clothes. She was thirsty and fatigued. She met an old lady who had a load of spinned spindles on her head. She was going to the city. She felt pity on her and asked to help her in selling the yarn because she did not know the art of selling. The queen took that load on her head. Incidentally, strong wind blew away the spindles which disappeared in the dusty wind. The queen felt sorry and the old lady asked her to go away. The queen went to an oilmans house and sought shelter. The oilman obliged her, but as she stepped in, all of his oil pots developed cracks and the oil began to flow on the ground. The oilman immediately turned her out. The queen was now disheartened. She went to the bank of a river to quench her thirst. As she touched the water, the water dried up. She then went to a deep jungle and saw a tank of water. As she went down the stairs and touched the crystal dear water, it became muddy. She cursed her fate and put a few drops of the muddy water in her mouth. She was now tired and wanted to take rest under a shady tree. As she went near the tree its leaves began to fall and soon it became leafless. The cowherds saw this incident and told the whole story to the priest of a nearby temple. The priest called for the woman. He was surprised to see that the woman had royal features. He consoled her and provided her with all the facilities. But after some days, he also got fed up with her because whatever the woman touched became impure — may it be milk, food or water. One day, the priest said, 0 lady, what curse has fallen upon you? You reveal the mystery.

The woman told him how she rejected a proposal to attend Monday fast prayer. The priest understood the whole thing. He knew it was Shivas curse. He said, 0 dear lady, you observe fasts on sixteen Mondays and Lord Shiva will absolve you of your sins. The woman realised her mistake and observed the Monday fasts for sixteen Mondays. On the seventeenth Monday, the king said to himself, My queen left my palace long ago. Her condition must be very miserable. He called for his courtiers and ordered them to search out the queen. The courtiers reached the temple where the queen was residing. The priest refused to hand over the queen to them and said, Let the king himself come to receive her. The courtiers went to the king and related the whole story.

The king was happy to hear the news. He went to the temple and requested the priest to return his queen to him. The king admitted that he deserted the queen to avoid Lord Shivas wrath. The priest trusted the kings words and the queen returned to the palace. She was given a royal welcome. The king distributed money among the needy and arranged food for the hungry. The king and queen now regularly observed fasts on sixteen Mondays each year and lived a very happy life. After their death they found abode in Lord Shivas city, Shivapuri. Since, then it is believed that a person who observes fasts on sixteen Mondays, gets all pleasures and enters Shivapuri after his death.

Somaya Pradosh Vrat Katha

Pradosh means the dusk of the early night or evening tide. This fast is observed in the evening twilight, and so it is called Pradosh Vrat. It is observed on the 13th day of each lunar fortnight.

The puja and worship is done in the evening. The Pradosha period can be loosely indicated as 1.5 hours before sunset and 1 hour after sunset.

The Shiva Purana states that one undertakes fasting on Pradhosha will be blessed with wealth, children, happiness and honor. The fasting and worship is specially undertaken by women who long to have children. It is said that those praying to Shiva during the auspicious time of Pradhosha will be freed from sins.

There are numerous legends associated with the Pradhosha Vratam. It is believed that Lord Shiva drank the Halahala poison that was churned up from the Ocean of Milk (Samudra Manthan) during Pradosham.

https://stottilien.com/2013/01/15/c-g-jungs-self-in-quaternio-series-of-aion-jesus-or-abraxas/

 

Jung discovered the same thing I discovered

It is true that C.G. Jung saw in Quaternity a divine concept and welcomed the proclamation by the Pope Pius XII in the year 1950 adding the Catholic Holy Virgin Mary, expanding so the Christian Trinity. Neoplatonic philosophy ( and many other metaphysics e.g. Mayan) contained what Jung has called the element of “fourness,” or quaternity, that seems to be so prominent an aspect of the life of the unconscious collective landscape across various cultures. This quaternity is – as the one of the Christian cross – a (3+1) structure, meaning that three parts are equal and the fourth is the “totally different”. One of the most important ramifications, however, unacceptable to some Christians, of the Jungian quaternal recipe is bringing back the original nature of evil and its personification in the real or mythological being of the evil.

The Moses Quaternia

https://stottilien.com/2013/01/15/c-g-jungs-self-in-quaternio-series-of-aion-jesus-or-abraxas/

The Moses Quaternia

The Moses Quaternia

Lower Adam corresponds to the ordinary mortal man Moses corresponds to the culture hero and lawgiver, personalised ally to the ‘father’ Zipporah corresponds to the ‘higher mother’ as the daughter of a king and priest Moses and Zipporah represent the ‘royal pair’ for the ordinary man (Lower Adam) which for Moses corresponds on the other hand to his ‘higher man’ (Higher Adam) and his anima, Miriam The higher man is synonymous with the ‘spiritual, inner” man, who is represented in the quaternio by Jethro Such is the meaning of the quaternio when seen from the standpoint of Moses. But since Moses is related to Jethro as the lower Adam, or ordinary man, is to Moses, the quaternio cannot be understood merely as the structure of Moses’ personality, but must be looked at from the standpoint of the lower Adam as well.

The extended (shadow) Moses Quaternia

The Extended Moses Quaternia

The Extended Moses Quaternia

Extensions of the ordinary man’s psychic structure downwards, towards the subhuman, the dark and evil side represented by the shadow – the extended Mose. Homo carnalis refers here to the human Mose as opposite of the spiritual lead. The black woman is his wife. The negative anima is represented by Miriam who was the sister of two powerful biblical figures, Moses and Aaron. Her name derives from the root Mary, Mariamne, or Maria, meaning “bitterness.” She remained steadfast in her determination to free the Hebrew people from the pharaoh’s oppression. But Miriam was human, and not perfect. For her pride and insubordination to the power of God working through Moses, she became afflicted with a disfiguring skin disease (leprous’). Miriam ‘spoke against’ Moses and even stirred up his brother Aaron against him. because of the black(Ethiopian) woman whom he had married.

The paradise Quaternia.

The Paradise Quaternia

The Paradise Quaternia

The snake symbol brings us to the images of Paradise, trees and earth. This amounts to an evolutionary regression from the animal Kingdom back to plants and inorganic nature, epitomized in alchemy by the secret of matter, the lapis. Here lapis is not to be understood as the end product of the opus but rather as its initial material. This arcane substance was also called lapis by the alchemists.” Lapis–a unity, often stands for the prima materia in general, consists of four elements or has to be put together from them.

prima materia–a bit of the original chaos (increatum of Paracelsus) which was believed to be hidden somewhere in metals, particularly in mercury, or in other substances. Not in itself a simple thing (massa confusa). Elements are not united but merely coexistent in chaos, they are hostile to one another and will not unite of their own accord–must be combined through the alchemical procedure. Represents and original state of conflict and mutual repulsion. Splitting up or unfolding of the original unity into the multiplicity of the visible world.

The Lapis Quaternio

The Lapis (Alchemy) Quaternia

The Lapis (Alchemy) Quaternia

This primary substance is round (masa globosa, rotundum) like the world and the world soul; it is the ‘stone that has spirit’, in modern parlance the most elementary building-stone in the architecture of matter, the atom, which is an intellectual model. The alchemists describe the ’round element’ now as a primal water, now as a primal fire, or as pneuma, primal earth, or ‘corpusculum nostrae sapientiae’, the little body of our wisdom. As water or fire it is the universal solvent, as stone and metal it is something that has to be dissolved and changed into air (pneuma, spirit).

Zosimos calls the rotundum the omega element, which probably signifies the head. The skull is mentioned as the vessel of transformation in the Sabaen treatise…the vas is often synonymous with the lapis, so that there is no difference between the vessel and its content; in other words, it is the same arcanum.

In the hierarchical series of those four, Good and evil are clearly shown to arise from a deintegration of the central Serpens node, “the point of maximal tension in the psyche.” In the Serpens node itself, these extreme opposites presumably coexist without contradictions. In these Aion diagrams, Jung shows two distinct forms of the archetypal Self. Evil (Diabolos) and Good (Christos) arise only in the first hierarchical form of the Self. They do not occur at all in the circular forms of the Self—the ouroboric, rotational.

Quaternio series: Moses - Shadow - Paradise - Lapis Quaternio

Quaternio series: Moses – Shadow – Paradise – Lapis Quaternio

Quaternio series; Man culminates in the of a good God, but rests below on a dark and evil principle (Devil or serpent). The serpent has its compliment in the Paradise Quaternio which leads into the world of plants and animals. Indeed, this serpent actually dwells in the interior of the earth and is the pneuma that lies hidden in the stone. The symmetrical compliment of the serpent, then, is the stone (earth) or in symbolism, the alchemical stage, whose central idea is the lapis which compliments the serpent. The stone is, however, not a human ego but a collective entity, a collective soul an hermaphrodite.The point of greatest tension between the opposites…(is)…the double significance of the serpent, which occupies the center of the system. Being an allegory of Christ as well as of the devil, it contains and symbolizes the strongest polarity into which the Anthropos falls when he descends into Physis. The ordinary man has not reached this point of tension: he has it merely in the unconscious, i.e., in the serpent.The Round is the primary substance (rotundum) like the world and the world soul; it is the ‘stone that has spirit’, in modern parlance the most elementary building-stone in the architecture of matter. The alchemists describe the rotundum the omega element.

The hierarchical Quaternio series shows the highest central node, the Anthropos, evolving in four deintegrations and reintegrations from the lowest central node, the rotundum. In doing so, it passes through four quaternios. A quaternio is a structure composed of two pyramids sharing a common base. If the apex of one pyramid points upward, the apex of the other necessarily points downward. It might be possible to construct a fifth quaternio above the Anthropos. It might deintegrate into God-Shekinah and Jesus-Mary, his mother. The reintegration would occur in the next higher central node which could be named simply “God.” But here the upward progression seems to end. What is beyond God? Jung addresses this particular problem by asking, rhetorically, what his diagram would be if its hierarchical nature were destroyed by bending it around so that the lowest node, rotundum, lay next to the highest node, Anthropos?

In the circular Quaternio series

Quaternio series circular

Quaternio series circular

the lowest node moves “upward” toward increasingly more comprehensive integrations.Can this upward movement continue indefinitely? Obviously it cannot. Much more can be said about the cricular one. For the present discussion of evil it is only necessary to point out that Evil belongs only to first quaterino. There is no place for Evil in the structure of second. Again, both good and evil arise from disintegration of the Serpens node, the “point of maximal tension in the psyche.

Jung’s View on Jesus “Answer to Job”

Laws of Manu

https://en.wikipedia.org/wiki/Varna_(Hinduism)

Rationalized the caste systems. It was a systemization of the Hindu view of society and contained the teachings about the four ends of humanity and the four stages of life. Also spoke about the four great divisions of society (varnas (colors)). Brahmins (preists, scholoars head), kshatriyas (warriors arms) Vaishyas (merchants, craftsmen thighs) and shudras (peasants feet) Harijans or untouchables.

FOUR NECESSARY FIELDS OF KNOWLEDGE
https://en.wikipedia.org/wiki/Arthashastra
The Arthashastra then posits its own theory that there are four necessary fields of knowledge, the Vedas, the Anvikshaki (philosophy of Samkhya, Yoga and Lokayata),[note 2] the science of government and the science of economics (Varta of agriculture, cattle and trade). It is from these four that all other knowledge, wealth and human prosperity is derived.[39][41] The Kautilya text thereafter asserts that it is the Vedas that discuss what is Dharma (right, moral, ethical) and what is Adharma (wrong, immoral, unethical), it is the Varta that explain what creates wealth and what destroys wealth, it is the science of government that illuminates what is Nyaya (justice, expedient, proper) and Anyaya (unjust, inexpedient, improper), and that it is Anvishaki (philosophy)[45] that is the light of these sciences, as well as the source of all knowledge, the guide to virtues, and the means to all kinds of acts.[39][41] He says of government in general:

https://en.wikipedia.org/wiki/Nyaya

Nyaya school's epistemology accepts four out of six Pramanas as reliable means of gaining knowledge – Pratyakṣa (perception), Anumāṇa (inference), Upamāṇa (comparison and analogy) and Śabda (word, testimony of past or present reliable experts).[

NOTICE HOW THE FOURTH TRANSCENDS THE PREVIOUS THREE

https://en.wikipedia.org/wiki/File:4_Pramanas,_epistemology_according_to_ancient_Nyayasutras.svg

https://en.wikipedia.org/wiki/Nyaya

The Nyaya school considers perception, inference, comparison/analogy, and testimony from reliable sources as four means to correct knowledge, holding that perception is the ultimate source of such knowledge.[5][7]

https://en.wikipedia.org/wiki/Nyaya

 

SIXTEEN SQUARES QMR

Sixteen Padārthas or Categories[edit]

The Nyaya metaphysics recognizes sixteen padarthas or categories and includes all six (or seven) categories of the Vaisheshika in the second one of them, called prameya.[24] These sixteen categories are pramāṇa (valid means of knowledge), prameya (objects of valid knowledge), saṁśaya (doubt), prayojana (aim), dṛṣṭānta (example), siddhānta (conclusion), avayava (members of syllogism), tarka (hypothetical reasoning), nirṇaya (settlement), vāda (discussion), jalpa (wrangling), vitaṇḍā (cavilling), hetvābhāsa (fallacy), chala (quibbling), jāti (sophisticated refutation) and nigrahasthāna (point of defeat).[25][26]

LORD CAITANYA, THE AVATAR OF KRISHNA WHO SAID THAT KRISHNA WAS EQUIVALENT TO THE 16 WORD MAHA MANTRA SAID THERE WERE 16 CATEGOREIS OF DEVOTEES

 

http://www.vedas.org.ls/cc/madhya/24/292.htm

CC Madhya 24.292, Translation: “On the path of spontaneous devotional service, there are also sixteen categories of devotees.

https://the-spiritual-path.com/2013/01/14/mater-dei-mother-of-god/

 

JUNG QUATERNITY FOURTH ARCHETYPE

 

Mater Dei/ Mother of God

PUBLISHED ON January 14, 2013 by Jenna Lilla

Our Lady of Vladimir (12th century), the holy protectress of Russia, now in the Tretyakov Gallery. US Public Domain via Wikimedia

Vladimir Mother of God- painted in 1130 in Constantinople. US Public Domain via Wikimedia

In the above image, we see the Theotokos of Vladimir, an image of the mother of God with the Christ child. The icon is a version of Eleusa (tenderness): the Christ child snuggles up to his mother’s cheek [1]. The image is surrounded by a golden light, expressing divine illumination. Carl Jung tells us that presence of Mary betokens the sacred quaternity. Jung says:

“The old philosophers of nature represented the Trinity, inasmuch as it was “imaginata in natura”, as the… “spiritus,” or volatilia,” viz., water, air and fire” (Carl Jung, 1938, p. 76)

The holy trinity is the father, son, and the holy spirit. Beyond the holy trinity there lies a fourth archetype: wholeness is unified through knowledge of the Divine Mother. The Quaternary adds a fourth aspect to the Trinity. In spiritual symbolism, the fourth aspect is represented by the divine mother. Jung adds:

“The fourth constituent on the other hand was the earth or the body. They symbolized the latter by the Virgin. In this way they added the feminine element to their physical Trinity, producing thereby the quaternary or the circulus quadratus…. The medieval philosophers of nature undoubtedly meant earth and woman by the fourth element… The quaternity in modern dreams is a product of the unconscious… the unconscious is often personified by the anima, a female figure. Apparently the symbol of the quaternity issues from her. She would be the matrix of the quaternity, a Mater Dei, just as the earth was understood to be the mother of God.” ” (ibid)

https://www.youtube.com/watch?v=P_9iI7drgJM

Merk Diezle shared a link.
Sep 03, 2016 9:56pm
English Lecture on Ramayana - Day 5 by Sri.Dushyanth Sridhar (Sundara Kandam)
youtube.com
At 1:00 he talks about how if the four brothers ram and his three brothers die then all the monkeys would as well

https://www.youtube.com/watch?v=P_9iI7drgJM

 

Merk Diezle shared a link.

Sep 03, 2016 9:42pm

English Lecture on Ramayana - Day 5 by Sri.Dushyanth Sridhar (Sundara Kandam)

youtube.com

In my qmr books i discussed how if you actually read sacred texts the quadrant model is everywhere

At 51 minutes he discusses how hanuman noticed four types of architecture

One with openings in the four directions some with three some with two some with one

Four Powers of the Mother

https://sriaurobindostudies.wordpress.com/2012/09/09/four-powers-of-the-mother-2/

Posted on September 9, 2012

While there are many forms and aspects of the Divine Shakti manifesting in the universe, Sri Aurobindo identifies four of them as primary. These four represent signal powers and capacities needed to bring about the completeness of the earthly evolution. Sri Aurobindo describes them in brief:

 

“One is her personality of calm wideness and comprehending wisdom and tranquil benignity and inexhaustible compassion and sovereign and surpassing majesty and all-ruling greatness.” This one is called Maheshwari.

 

“Another embodies her power of splendid strength and irresistible passion, her warrior mood, her overwhelming will, her impetuous swiftness and world-shaking force.” This one is called Mahakali.

 

“A third is vivid and sweet and wonderful with her deep secret of beauty and harmony and fine rhythm, her intricate and subtle opulence, her compelling attraction and captivating grace.” This one is Mahalakshmi.

 

“The fourth is equipped with her close and profound capacity of intimate knowledge and careful flawless work and quiet and exact perfection in all things.” Mahasaraswati.

 

Together these four aspects provide the powers and wisdom needed to guide the manifestation. “Wisdom, Strength, Harmony, Perfection are their several attributes and it is these powers that they bring with them into the world, manifest in a human disguise in their Vibhutis and shall found in the divine degree of their ascension in those who can open their earthly nature to the direct and living influence of the Mother.”

 

To the extent that we identify ourselves with any of these aspects we begin to take on that aspect and it then works through us to interact with the other forces at work in the world. It is through the action of these 4 powers of the Mother that progress and development can take place and the virtues and values that they represent can come to their full fruition in a world uplifted by their action.

http://intyoga.online.fr/mothr06.htm

 

FOUR POWERS OF MOTHER FOUR GREAT NAMES

Four great Aspects of the Mother, four of her leading Powers and Personalities have stood in front in her guidance of this Universe and in her dealings with the terrestrial play. 

- One is her personality of calm wideness and comprehending wisdom and tranquil benignity, inexhaustible compassion and sovereign and surpassing majesty and all ruling greatness.

- Another embodies her power of splendid strength and irresistible passion, her warrior mood, her overwhelming will, her impetuous swiftness and world-shaking force. 

- A third is vivid and sweet and wonderful with her deep secret of beauty and harmony and fine rhythm, her intricate and subtle opulence, her compelling attraction and her captivating grace. 

- The fourth is equipped with her close and profound capacity of intimate knowledge and careful flawless work and quiet and exact perfection in all things. 

 

Wisdom, Strength, Harmony, Perfection are the several attributes and it is these powers that they bring with them to the world, manifest in a human disguise in their Vibhuthis and shall found in the divine degree of their ascension in those who can open their earthly nature to the direct and living influence of the Mother. 

To the four we give the four great names, Maheshwari, Mahakali, Mahalakshmi, Mahasaraswati.

THERE ARE 16 PETALS IN ALL IN MOTHER'S SYMBOL- 16 SQUARES QUADRANT MODEL- THE LAST FOUR ARE DIFFERENT- THE FOURTH QUADRANT

http://www.auroville.org/contents/2853

The Mother's symbol

The Mother's symbol

The Mother's symbol

Explanation of the symbol given by The Mother

Explanation of the symbol given by The Mother

The central circle represents the Divine Consciousness.

The four petals represent the four powers of The Mother.

The twelve petals represent the twelve powers of the Mother manifested for Her work.

 

The Mother

 

Four Powers of The Mother

 

In talking about the four powers of the Mother, it helps to know that in India, traditionally, the evolutionary principle of creation is approached, and adored, as the great Mother. Sri Aurobindo distinguishes four main powers and personalities through which this evolutionary force manifests. 

 

Maheshwari

One is her personality of calm wideness and comprehending wisdom and tranquil benignity and inexhaustible compassion and sovereign and surpassing majesty and all-ruling greatness.

 

Mahakali

Another embodies her power of splendid strength and irresistible passion, her warrior mood, her overwhelming will, her impetuous swiftness and world-shaking force.

 

Mahalakshmi

A third is vivid and sweet and wonderful with her deep secret of beauty and harmony and fine rhythm, her intricate and subtle opulence, her compelling attraction and captivating grace.

 

Mahasaraswati

The fourth is equipped with her close and profound capacity of intimate knowledge and careful flawless work and quiet and exact perfection in all things...

 

To know more about the four powers, read Sri Aurobindo's small book The Mother, in which he describes the nature, character and role of the Divine Mother.

QMR

FOUR PARTS OF AUM SIKHS SEE IK OANKAR AS THE HIGHEST AND IT IS LINKED WITH AUM- EVERYTHING CONNECTED

I described the four parts of AUM. The Sikhs see the Aum as the most important symbol but call it Oankar

Iconography[edit]

https://en.wikipedia.org/wiki/Hinduism_and_Sikhism

Main article: Ik Onkar

Ik Onkar, iconically represented as ੴ in the Sri Guru Granth Sahib (although sometimes spelt out in full as ਏਕੰਕਾਰੁ) is the iconographic statement in Sikhism that is 'there is one God'.[8][9] The phrase is an expression of monotheistic unity of God.[10]

The Onkar in (ੴ) of Sikhism is related to Om (ॐ) of Hinduism.[10] Some Sikhs disagree that Ik Onkar is same as Om.[10] Onkar is, states Wazir Singh, a "variation of Om (Aum) of the ancient Indian scriptures (with a slight change in its orthography), implying the seed-force that evolves as the universe".[11] In Ek Onkar, explains Gulati, "Ek" means One, and Onkar is "equivalent of the Hindu "Om" (Aum)".[12]

Oankar ('the Primal Sound') created Brahma, Oankar fashioned the consciousness,

From Oankar came mountains and ages, Oankar produced the Vedas,

By the grace of Oankar, people were saved through the divine word,

By the grace of Oankar, they were liberated through the teachings of the Guru.

— Ramakali Dakkhani, Adi Granth 929-930, Translated by Pashaura Singh[13]

Here is another excerpt from my book the Quadrant Model of Reality
Purushartha is an essential concept in Hinduism. It describes four goals that are required to be a Hindu. They fit the quadrant model pattern. They are
Square 1: Dharma. Dharma is the rights, duties, conduct, and virtue required for you to stay on the right path and not stray and be distracted from the pursuit of transcendence. The first quadrant is responsibility in the quadrant model. Responsibility requires doing what maintains harmony.
Square 2: Artha. Artha is means of life, which is prosperity and material resources needed for you to survive and thrive. The second square is always related to homeostasis and stability.
Square 3: Kama. Kama signifies passions, emotions, desires and wishes and aesthetic enjoyment. The third square is relates to doing. It is said in Hinduism that seeking activities and passion is good so long as you do not violate dharma and artha.
Square 4: Moksha: Moksha is liberation from the wheel of Samsara or the cycle of life and death and maya or illusion.

Here is another excerpt from my book theQuadrant Model of Reality

There are four principal denominations of Hinduism. These fit the quadrant model pattern. They are
Square 1- Saivism. Saivism worship Shiva. Shiva is said to suffuse all existence, sort of representing Being or consciousness. Shiva sits with his bull with a trident, has unkempt hair, and represents the perfect devotee. He sits atop a Himalayan mountain.
Square 2: Vaishnavism. Vaishnavism worships Vishnu, especially Krishna. Worshippers of Krishna point to the Bagavad Gita and say that Krishna even transcends existence, and thus Shiva even stems from Krishna, and thus only Krishna demands worship, and they say even Shiva is devoted to Krishna. Shaivites say they worship Vishnu through worshipping Shiva. Vaishnavism is dualistic and devotional, seeing Krishna as separate and needing of worship. In that sense it can be like Christianity, in which Jesus is often seen as a separate being to be worshipped for salvation.
Square 3: Shaktism. Shaktism worships the Goddess, or Divine Mother, Shakti. It is said that Shakti offers more material blessings and fortunes. Shaktism is said to be a right hand path, that seeks to awaken the kundalini and unite Shakta with Shiva, and it employs magic and sorcery, trance mediumship, and sacrifices.
Square 4: Smartism. Smartas worship the Supreme in one of six forms: Ganesha, Siva, Sakti, Vishnu, Surya and Skanda. As you can see, they are different fro the first three sects, but they also encompass them. That is the nature of the fourth square. Smartas accept all the major Hindu Gods. Smartas are known as liberal or nonsectarian. They employ a philosophical, meditative path, emphasizing man's oneness with God through understanding.Shakti takes the form of Kali, Shrikula and other Goddesses, and the Mother goddess is thought to be the foundation of all existence, or existence itself.

SHIVA TANDAVA- Shivas DACNE IS THE QUADRANT PATTERN- FIRST SQUARE IS CREATION SECOND PRESERVATION- homeostasis second always homeostasis- third destruction third always bad- fourth is illusion- fourth is transcendent- fifth ultra transcendent

The dance is a pictorial allegory of the five principal manifestations of eternal energy:[5]

Srishti - creation, evolution
Sthiti - preservation, support
Samhara - destruction, evolution
Tirobhava - illusion
Anugraha - release, emancipation, grace

https://en.wikipedia.org/wiki/Tandava
QUADRANT

https://en.wikipedia.org/wiki/Shiva_Sahasranama

SHIVA

Chatushpathaay, One who is adored in four ways

391.Chaturamukhaay, One who has four faces, faces in all directions

ALSO ONE WHO IS THE 64 KALAS- 64 is four quadrant models

The 16 WORD MAHAMANTRA THAT HARE KRISHNA SAY IS "EQUIVALENT TO GOD"- 16 SQUARES QUADRANT MODEL- KRISHNA SAYS HE IS BRAHMAN THE UPANISHADS SAY BRAHMAN IS AUM WHICH IS THE FOURFOLD WORD THE FOURTH BEING DIFFERENT- THE UPANISHADS SAY THAT AUM IS THE SWASTIKA- THE SWASTIKA AND THE AUM ARE THE QUADRANT- THE VEDAS SAY AGNIS IS THE SUPREME GOD- THE VEDAS ALSO SAY THAT AGNI IS THE SWASTIKA- THE QUADRANT
THE QUADRANT IS THE CROSS- ALLAH IS FOUR LETTERS IN ARABIC THE FOURTH IS DIFFERENT ARABS MAKE SIGNIFICANCE OF THE FOUR LETTERS POINTING OUT THAT ALLH ALL AL AND A ALL SIGNIFY ONENESS- YHW AND H THE TETRAGRAMMATON IS GOD OF ISRAEL IT IS FOURFOLD WITH THE FOURTH LETTER DIFFERENT/SILENT-- ACCORDING TO KABALLAH AUM IS ANOTHER NAME FOR GOD---- I DISCOVERED THE GREATEST THEORY IN HISTORY

In Hinduism, life is divided into four stages based on the quadrant model pattern. Treatment of children has varied over time and place. Evolutionary biologists claim that early strategy was to have large families in the hope that a few could survive and reproduce. Current strategies, especially among wealthier societies, allow for fewer and healthier children who can be treated well. Impoverished people tend to have more children, and invest fewer resources in them. The four Hindu life stages are
*Square one: Brachmachyra--the celibate student. This is the period of formal education lasting until the age of 25. The first square, the mental square is the Idealist. This is the student.
*Square two: Grihasta--the married family man. The second square is the Guardian. It is concerned with family, relationships and being dutiful.
*Square three: Vanaprashta--the hermit in retreat. A hermit is an individual, and is related to the Artisan. The third square moves from the second square, which

is focused on the group and belonging, and on the individual who is concerned with the physical and doing--the man is free to have little contact with his family.
*Square four: Sannyasa--the wandering recluse. The fourth stage is the Rational who is reclusive. At this stage the man is supposed to be devoted totally to God; the fourth square is connected to the transcendent and divine.

FOUR KINDS OF ELEPHANTS ACCORDING TO RAMAYANA- AGAIN FOUR IS MOST MENTIONED THE QUDRANT PATTERN IS MOST MENTIONED IN HINDU TEXTS AS WELL

http://www.sacred-texts.com/hin/rama/ry009.htm

14:1 The elephants of Indra and other deities who preside over the four points of the compass.

 

14:2 There are four kinds of elephants. 1 Bhaddar. It is well proportioned, has an erect head, a broad chest, large ears, a long tail, and is bold and can bear fatigue. 2 Mand. It is black, has yellow eyes, a uniformly sized body, and is wild and ungovernable. 3 Mirg. It has a whitish skin, with black spots. 4 Mir. It has a small head, and obeys readily. It gets frightened when it thunders.' Ain-i-Ahbarí * . Translated by H. Blochmann, Ain 41, The Imperial Elephant Stables.

VISHNU GOING TO DIVIDE INTO FOUR- THE FOUR SONS OF THE RAMAYANA

http://www.sacred-texts.com/hin/rama/ry017.htm

Then he decreed, the lotus-eyed,

In four his being to divide,

THE FOUR SONS THE "GLORIOUS FOUR" AND A FOURFOLD ARMY
http://www.sacred-texts.com/hin/rama/ry024.htm
My dearest love amid the four
Is he whom first his mother bore,
Still dearer for his virtues' sake:
Ráma, my child, thou must not take.
But if, unmoved by all I say,
Thou needs must bear my son away,
Let me lead with him, I entreat,
A four-fold army 1 all complete.

SIXTEEN LINES ARE REPEATED- 16 SQUARES QMR

 

http://www.sacred-texts.com/hin/rama/ry050.htm

62:1 The preceding sixteen lines have occured before in Canto XLVIII. This Homeric custom of repeating a passage of several lines is strange to our poet. This is the only instance I remember. The repetition of single lines is common enough.' SCHLEGEL.

FOUR VIRTUOUS SONS

http://www.sacred-texts.com/hin/rama/ry057.htm

And in that solitary spot

Four virtuous sons the king begot:

Havishyand, from the offering named,

And Madhushyand, for sweetness famed,

Mahárath, chariot-borne in fight,

And Dridhanetra strong of sight.

THE FOUR PRINCES WERE EACH FOUR PORTIONS OF VISHNU

http://www.sacred-texts.com/hin/rama/ry079.htm

Around his loving heart they clung

Like arms from his own body sprung. 2

But best and noblest of the four,

Good as the God whom all adore,

 

89:2 Alluding to the images of Vishnu, which have four arms, the four princes being portions of the substance of that God.

THE PRINCELY FOUR- AGAIN OTHER NUMBERS HAVE NOT BEEN BEING MENTIONED
http://www.sacred-texts.com/hin/rama/ry095.htm
With sympathy and love inclined
Most fully of the princely four;
So greatest love to him they bore.

144:2 Four stars of the sixteenth lunar asterism.

 

http://www.sacred-texts.com/hin/rama/ry120.htm

And dire Vis'ákhás 2 lit the air.

http://www.sacred-texts.com/hin/rama/ry313.htm

370:2b Anuhláda or Anuhráda is one of the four sons of the mighty Hiranyakasipu, an Asur or a Daitya son of Kasyapa and Diti and killed by Vishnu in his incarnation of the Man-Lion Narasinha. According to the Bhágavata Purána the Daitya or Asur Hiranyakasipu and Hiranyáksha his brother, both killed by Vishnu, were born again as Rávan and Kumbhakarna his brother.'

FOURFOLD

https://en.wikipedia.org/wiki/Advaita_Vedanta#Sv.C4.81dhy.C4.81ya_and_anubhava_-_understanding_the_texts

Classical Advaita Vedanta emphasises the path of Jnana Yoga, a progression of study and training to attain moksha.[140][141] It consists of fourfold qualities,[142] or behavioral qualifications (Samanyasa, Sampattis, sādhana-catustaya):[143][144][145][note 14]

 

Nityānitya vastu viveka (नित्यानित्य वस्तु विवेकम्) — The ability (viveka) to correctly discriminate between the real and eternal (nitya) and the substance that is apparently real, aging, changing and transitory (anitya).[143][145]

Ihāmutrārtha phala bhoga virāga (इहाऽमुत्रार्थ फल भोगविरागम्) — The renunciation (virāga) of petty desires that distract the mind (artha phala bhoga), willing to give up everything that is an obstacle to the pursuit of truth and self-knowledge.[145][146]

Śamādi ṣatka sampatti (शमादि षट्क सम्पत्ति) — the sixfold virtues or qualities,

Śama (mental tranquility, ability to focus the mind).[145][146]

Dama (self-restraint,[note 15] the virtue of temperance).[145][146]

Uparati (dispassion, ability to be quiet and disassociated from everything;[145] "discontinuation of religious ceremonies"[146])

Titikṣa (endurance, perseverance, ability to be patient during demanding circumstances).[145][146]

Śraddhā (the faith in teacher and Sruti texts).[145]

Samādhāna (attention, intentness of mind).[145][146]

Mumukṣutva (मुमुक्षुत्वम्) — A positive longing for freedom and wisdom, driven to the quest of knowledge and understanding.[145][142]

THERE IS A FOURTH TRANSCENDENT STATE OF CONSCIOUSNESS DIFFERENT FROM PREVIOUS THREE THAT IS THE QUADRANT PATTERN

https://en.wikipedia.org/wiki/Advaita_Vedanta#Sv.C4.81dhy.C4.81ya_and_anubhava_-_understanding_the_texts

Advaita posits three states of consciousness, namely waking (jagrat), dreaming (svapna), deep sleep (suṣupti), which are empirically experienced by human beings,[172][173] and correspond to the Three Bodies Doctrine:[174]

 

The first state is the waking state, in which we are aware of our daily world.[175] This is the gross body.

The second state is the dreaming mind. This is the subtle body.[175]

The third state is the state of deep sleep. This is the causal body.[175]

Advaita also posits the fourth state of Turiya, which some describe as pure consciousness, the background that underlies and transcends these three common states of consciousness.[web 4][web 5] Turiya is the state of liberation, where states Advaita school, one experiences the infinite (ananta) and non-different (advaita/abheda), that is free from the dualistic experience, the state in which ajativada, non-origination, is apprehended.[176] According to Candradhara Sarma, Turiya state is where the foundational Self is realized, it is measureless, neither cause nor effect, all prevading, without suffering, blissful, changeless, self-luminous, real, immanent in all things and transcendent.[177] Those who have experienced the Turiya stage of self-consciousness have reached the pure awareness of their own non-dual Self as one with everyone and everything, for them the knowledge, the knower, the known becomes one, they are the Jivanmukta.[178][179][180]

 

Advaita traces the foundation of this ontological theory in more ancient Sanskrit texts.[181] For example, chapters 8.7 through 8.12 of Chandogya Upanishad discuss the "four states of consciousness" as awake, dream-filled sleep, deep sleep, and beyond deep sleep.[181][182] One of the earliest mentions of Turiya, in the Hindu scriptures, occurs in verse 5.14.3 of the Brihadaranyaka Upanishad.[183] The idea is also discussed in other early Upanishads.[184]

FOUR PREREQUISITIES

https://en.wikipedia.org/wiki/Advaita_Vedanta#Sv.C4.81dhy.C4.81ya_and_anubhava_-_understanding_the_texts

Advaita postulates four pre-requisites for correct perception: 1) Indriyarthasannikarsa (direct experience by one's sensory organ(s) with the object, whatever is being studied), 2) Avyapadesya (non-verbal; correct perception is not through hearsay, according to ancient Indian scholars, where one's sensory organ relies on accepting or rejecting someone else's perception), 3) Avyabhicara (does not wander; correct perception does not change, nor is it the result of deception because one's sensory organ or means of observation is drifting, defective, suspect) and 4) Vyavasayatmaka (definite; correct perception excludes judgments of doubt, either because of one's failure to observe all the details, or because one is mixing inference with observation and observing what one wants to observe, or not observing what one does not want to observe).[215] The internal perception concepts included pratibha (intuition), samanyalaksanapratyaksa (a form of induction from perceived specifics to a universal), and jnanalaksanapratyaksa (a form of perception of prior processes and previous states of a 'topic of study' by observing its current state).[

Anupalabdi to four types: non-perception of the cause, non-perception of the effect, non-perception of object, and non-perception of contradiction.

https://en.wikipedia.org/wiki/Advaita_Vedanta#Sv.C4.81dhy.C4.81ya_and_anubhava_-_understanding_the_texts

 

Some scholars consider Anupalabdi to be same as Abhava,[208] while others consider Anupalabdi and Abhava as different

 

Abhava was further refined in four types, by the schools of Hinduism that accepted it as a useful method of epistemology: dhvamsa (termination of what existed), atyanta-abhava (impossibility, absolute non-existence, contradiction), anyonya-abhava (mutual negation, reciprocal absence) and pragavasa (prior, antecedent non-existence).

64 IS FOUR QUADRANT MODELS
https://en.wikipedia.org/wiki/Odia_literature
In one of his poem, Kanhupa wrote:

Your hut stands outside the city
Oh, untouchable maid
The bald Brahmin passes sneaking close by
Oh, my maid, I would make you my companion
Kanha is a kapali, a yogi
He is naked and has no disgust
There is a lotus with sixty-four petals
Upon that the maid will climb with this poor self and dance.

FOUR TRADITIONAL SIDDHI

https://en.wikipedia.org/wiki/Advaita_Vedanta#Sv.C4.81dhy.C4.81ya_and_anubhava_-_understanding_the_texts

Vimuktatman - Ista-Siddhi[edit]

Vimuktatman (c. 1200 CE)[355] wrote the Ista-siddhi.[355] It is one of the four traditional siddhi, together with Mandana's Brahma-siddhi, Suresvara's Naiskarmya-siddhi, and Madusudana's Advaita-siddhi.[356] According to Vimuktatman, absolute Reality is "pure intuitive consciousness".[357] His school of thought was eventually replaced by Prakasatman's Vivarana school.[349]

https://en.wikipedia.org/wiki/Advaita_Vedanta#Sv.C4.81dhy.C4.81ya_and_anubhava_-_understanding_the_texts

 

Madhvacharya wrote four major texts, including Upadhikhandana and Tattvadyota, primarily dedicated to criticizing Advaita

FOUR SECTS BUDDHISTS

https://en.wikipedia.org/wiki/Upanishads

Edward Roer (Translator), Shankara's Introduction, p. 3, at Google Books to Brihad Aranyaka Upanishad at pages 3-4; Quote - "(...) Lokayatikas and Bauddhas who assert that the soul does not exist. There are four sects among the followers of Buddha: 1. Madhyamicas who maintain all is void; 2. Yogacharas, who assert except sensation and intelligence all else is void; 3. Sautranticas, who affirm actual existence of external objects no less than of internal sensations; 4. Vaibhashikas, who agree with later (Sautranticas) except that they contend for immediate apprehension of exterior objects through images or forms represented to the intellect."

THE FOURTH IS DIFFERENT THE METHODLESS METHOD

https://en.wikipedia.org/wiki/Kashmir_Shaivism

To attain moksha, sādhana or spiritual practice is necessary. Kashmir Shaivism describes four methods (upāya-s):[21]

 

āṇavopāya, the method of the body,

śaktopāya, the method of the mind,

śāmbhavopāya, the method of Consciousness,

anupāya the ‘methodless’ method.

64 is FOUR QMRS

https://en.wikipedia.org/wiki/Tantras

The Hindu Tantras total ninety-two scriptures; of these, sixty-four[3] are purely Abheda (literally "without differentiation", or monistic)

16 SCHOOLS INDIAN PHILOSOPHY 16 CHAPTERS

https://en.wikipedia.org/wiki/Samkhya

The 13th century text Sarvadarsanasangraha contains 16 chapters, each devoted to a separate school of Indian philosophy. The 13th chapter in this book contains a description of the Samkhya philosophy.[89]

16 PHILOSOPHICAL SYTEMS IN 16 CHAPTERS

https://en.wikipedia.org/wiki/Vidyaranya

Sarvadarśanasaṅgraha[edit]

Vidyaranya's most famous works are Pārāśara-Mādhavīya and the Sarvadarśanasaṅgraha "Compendium of school of philosophies", a compendium of all the known Indian schools of philosophy. To quote Sarvepalli Radhakrishnan, the Sarvadarśanasaṅgraha "sketches sixteen systems of thought so as to exhibit a gradually ascending series, culminating in the Advaita Vedanta (or non-dualism)." The sixteen systems of philosophy expounded by him are:[4]

 

Cārvāka

Buddhism

Arhata or Jainism

Ramanuja System

Purna-Prajña Darsana or Dvaita

Nakulisa-Paśupata

Shaivism

Pratyabhijña (Kashmir Shaivism) or Recognitive System

Raseśvara or Mercurial System

Vaisheshika or Aulukya

Akshapada or Nyaya

Jaimini

Pāṇiniya

Samkhya

Patanjala or Yoga

Vedanta or Adi Shankara

The Sarvadarśanasaṅgraha itself doesn’t contain the 16th chapter (Advaita Vedanta, or the system of Adi Shankara), the absence of which is explained by a paragraph at the end of the 15th chapter, (the Patanjali-Darsana). It says: “The system of Sankara, which comes next in succession, and which is the crest-gem of all systems, has been explained by us elsewhere, it is therefore left untouched here”.[5]

 

Vidyaranya tries to refute, chapter by chapter, the other systems of thought prominent in his day. Other than Buddhist and Jaina philosophies, Vidyaranya draws quotes directly from the works of their founders or leading exponents[6] and it also has to be added that in this work, with remarkable mental detachment, he places himself in the position of an adherent of sixteen distinct philosophical systems.

 

Sarvadarśanasaṅgraha is one of the few available sources of information about lokayata, the materialist system of philosophy in ancient India. In the very first chapter, "The Cārvāka System", he critiques the arguments of lokayatikas. While doing so he quotes extensively from Cārvāka works. It is possible that some of these arguments put forward as the lokayata point of view may be a mere caricature of lokayata philosophy. Yet in the absence of any original work of lokayatikas, it is one of the very few sources of information available today on materialist philosophy in ancient India.

from the website sacred swastika

svastika

vatika vs. Vatican

http://www.interferencetheory.com/Blog/files/5ee49ec07ad410e2dff1a9058a99836e-47.html

Now it happens that Hindu monasteries are also called vatika. This raises the question could the pre-Roman Etruscans have based their religion on Hinduism and learned how to stimulate the third eye through entheogenic plants? Given that the Vatican was once a vatika for Vaticinia women (probably from India) who drank from a vat of vatika wine to hallucinate through their swas-tika, most religions may well have been derived from ancient Indian shamanism that incorporated entheogenic herbs.

 

The swastika symbol found in the Hindu Vedas, Greece and around the world could then refer to the swirling tika, or the vortex ("spirit") said to emanate into or out of the crown chakra in Hindu beliefs. Gives a whole new spin to the term "Holy See" for the Vatican, does it not?

 

Now it happens that Hindu monasteries are also called vatika. This raises the question could the pre-Roman Etruscans have based their religion on Hinduism and learned how to stimulate the third eye through entheogenic plants? Given that the Vatican was once a vatika for Vaticinia women (probably from India) who drank from a vat of vatika wine to hallucinate through their swas-tika, most religions may well have been derived from ancient Indian shamanism that incorporated entheogenic herbs. The book "Persephone's Quest" seems to support this idea.

 

The book "Persephone's Quest" seems to support this idea.

from the website sacred swastika

vaTIKAN and swasTIKA

svastika

vatika vs. Vatican

http://www.interferencetheory.com/Blog/files/5ee49ec07ad410e2dff1a9058a99836e-47.html

Now it happens that Hindu monasteries are also called vatika. This raises the question could the pre-Roman Etruscans have based their religion on Hinduism and learned how to stimulate the third eye through entheogenic plants? Given that the Vatican was once a vatika for Vaticinia women (probably from India) who drank from a vat of vatika wine to hallucinate through their swas-tika, most religions may well have been derived from ancient Indian shamanism that incorporated entheogenic herbs.

 

The swastika symbol found in the Hindu Vedas, Greece and around the world could then refer to the swirling tika, or the vortex ("spirit") said to emanate into or out of the crown chakra in Hindu beliefs. Gives a whole new spin to the term "Holy See" for the Vatican, does it not?

 

Now it happens that Hindu monasteries are also called vatika. This raises the question could the pre-Roman Etruscans have based their religion on Hinduism and learned how to stimulate the third eye through entheogenic plants? Given that the Vatican was once a vatika for Vaticinia women (probably from India) who drank from a vat of vatika wine to hallucinate through their swas-tika, most religions may well have been derived from ancient Indian shamanism that incorporated entheogenic herbs. The book "Persephone's Quest" seems to support this idea.

 

The book "Persephone's Quest" seems to support this idea.

WHEN JESUS SAID HE WAS ALPHA OMEGA HE SAID ALEPH TAV AND ALEPH IS LITERALLY A SWASTIKA AND TAV IS LITERALLY A CROSS

I discussed that Jesus says he is the alpha and omega. In hebrew the first and last letters are quadrants
HP Blavatsky said the following in her book the Secret Doctrine
page 98
"The Svastica is the most philosophically scientific of all symbols, as also the most comprehensible. It is the summary in a few lines of the whole work of creation, or evolution, as one should rather say, from Cosmo-theogony down to Anthro-pogony, from the indivisible unknown Parabrahm to the humble moneron of materialistic science, whose genesis is as unknown to that science as is that of the All-Deity itself. The Svastica is found heading the religious symbols of every old nation”
page 100
“It is the Alpha and the Omega of universal creative Force, evolving from pure Spirit and ending in gross Matter. It is also the key to the cycle of Science, divine and human; and he who comprehends its full meaning is for ever liberated from the toils of Mahamaya, the great Illusion and Deceiver”

THERE ARE FOUR VAISHNAVA SAMPRADAYAS- I READ ABOUT THIS IN ONE OF SRILA PRABUPHAD OF HARE KRISHNA BOOKS

 

ONE OF THE SAMPRADAYAS, THE HAMSA, IS HEADED BY THE FOUR KUMARAS

 

https://en.wikipedia.org/wiki/Nimbarka_Sampradaya

QUADRANT

The Origins - Śrī Hansa Bhagavān[edit]

 

Śrī Haṃsa Bhagavān, the originator of the Śrī Nimbārka Sampradāya

Śrī Nimbārka Sampradāya traditionally traces it origin to the four Kumaras, and aims the worship of Śrī Kṛṣṇa.[citation needed]

 

The Four Kumāras[edit]

 

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Sri Sanaka, Sanandana, Sanatana and Sanat Kumara - the four Kumaras

The Four Kumaras namely: Sanaka, Sanandana, Sanātana, and Sanat Kumāra are traditionally the four mind-born sons of Lord Brahmā. They are renowned yogis, who requested their father the boon of remaining perpetually five years old. They were created by their father in order to advance creation, however, they chose to undertake lifelong vows of celibacy (brahmacarya).[1] Śrī Sanat Kumāra Samhitā is a famous treatise on the worship of Śrī Rādhā Kṛṣṇa authored by the brothers, and they have also produced the Śrī Sanat Kumāra Tantra, part of Pancarātra literature.[2] It is due to the tradition coming into contact with the Four Kumāras that it came to be known as the Sanakādi Sampradāya or the Kumāra Sampradāya.[citation needed]

FOUR SAMAPRADAYAS

http://harekrsna.com/philosophy/gss/sadhu/sampradayas/sampradayas.htm

"Vamana, Brahma, Ananta Sesha and Sanaka Kumara will appear as brahmanas by the order of Visnu, for the preservation of eternal righteousness in kali yuga. Visnuswami, Madhvacarya, Ramanuja and Nimbaditya will appear respectively as a portion of Vamana, Brahma, Ananta Sesha and Sanaka Kumara. These four saviours will be the establishers of the four authorised and empowered spiritual channels of disciplic succession in the period calculated from the reign of King Vikrama in 54 B.C. subsequently through the 432,000 year cycle of kali yuga. These four authorised and empowered spiritual channels of disciplic succession are to be fully accepted by all beings; as any word, combination of words or formulation of sound frequencies, invoked or addressed, audible or inaudible, secret or revealed, ancient or contemporary outside their auspices prove to have absolutely no efficacy."

 

Garga Samhita, 10:61:23-26

 

 

"There are four Sampradayas from the beginning of the creation. One is called Brahma Sampradaya, and is coming down by disciplic succession from Brahma; another Sampradaya is coming down from Laksmi, called Sri Sampradaya; another is coming down from the Kumaras, they are known as Nimbarka Sampradaya; another Sampradaya is coming from Lord Siva, Rudra Sampradaya or Visnu Swami. These are four bona fide Sampradayas that are accepted by the bona fide spiritualists. The Impersonalist Sampradaya is not original, neither the Impersonalist Sampradaya or party can help us. At the present moment there are so many Sampradayas, but we have to test them about their method of disciplic understanding. Anyway, all the four Sampradayas above mentioned, they are after worshipping the Supreme Lord Visnu, in His different Expansions, and some of them are in favor of worshipping Radha Krishna."

 

Srila Prabhupada Letter to Upendra, 02-13-68, Boston

 

 

"There are four sects of worshipful devotees of the Lord, and the chief amongst them are the Brahma-sampradaya, Rudra-sampradaya and Sri-sampradaya, descending directly from Lord Brahma, Lord Siva and the goddess of fortune, Laksmi, respectively. Besides the above-mentioned three sampradayas, there is the Kumara-sampradaya, descending from Sanat-kumara. All of the four original sampradayas are still scrupulously engaged in the transcendental service of the Lord up to date, and they all declare that Lord Krsna, Mukunda, is the Supreme Personality of Godhead, and no other personality is equal to Him or greater than Him."

 

Srimad-Bhagavatam 1:18:21 Purport

 

 

"Therefore there is no difference of conclusions amongst the Vaisnava acaryas regarding the Lord and the devotees. Lord Caitanya asserts that the living entity (jiva) is eternally the servitor of the Lord and that he is simultaneously one with and different from the Lord. This tattva of Lord Caitanya's is shared by all four sampradayas of the Vaisnava school (all accepting eternal servitude to the Lord even after salvation), and there is no authorized Vaisnava acarya who may think of the Lord and himself as one."

 

Srimad-Bhagavatam 2:4:21

 

 

"In the Vaisnava-sampradaya, some devotees worship Radha-Krsna, and others worship Sita-Rama and Laksmi-Narayana. Some also worship Rukmini-Krsna. All of these are the same, and all of the devotees are Vaisnavas. Whether one chants Hare Krsna or Hare Rama, it is not very important. Worship of the demigods, however, is not recommended."

 

Teachings of Lord Kapila, Verse 44

 

 

"The philosophers known as kevaladvaita-vadis generally occupy themselves with hearing the Sariraka-bhasya, a commentary by Sankaracarya advocating that one impersonally consider oneself the Supreme Lord. Such Mayavada philosophical commentaries upon Vedanta are simply imaginary, but there are other commentaries on Vedanta philosophy. The commentary by Srila Ramanujacarya, known as Sri-bhasya, establishes the visistadvaita-vada philosophy. Similarly, in the Brahma-sampradaya, Madhvacarya's Purnaprajna-bhasya establishes suddha-dvaita-vada. In the Kumara-sampradaya, or Nimbarka-sampradaya, Sri Nimbarka establishes the philosophy of dvaitadvaita-vada in the Parijata-saurabha-bhasya. And in the Visnusvami-sampradaya, or Rudra-sampradaya, which comes from Lord Siva, Visnusvami has written a commentary called Sarvajna-bhasya, which establishes suddhadvaita-vada.

 

A Vaisnava should study the commentaries on Vedanta-sutra written by the four sampradaya-acaryas, namely Sri Ramanujacarya, Madhvacarya, Visnusvami and Nimbarka, for these commentaries are based upon the philosophy that the Lord is the master and that all living entities are His eternal servants. One interested in studying Vedanta philosophy properly must study these commentaries, especially if he is a Vaisnava. These commentaries are always adored by Vaisnavas."

 

Caitanya-caritamrta, Antya lila 2:95

 

Bhaktivedanta Book Trust. HDG A.C. Bhaktivedanta Swami Srila Prabhupada.

https://en.wikipedia.org/wiki/Shaivism
Major scholars of competing Hindu traditions from the second half of the 1st millennium CE, such as Adi Shankara of Advaita Vedanta and Ramanuja of Vaishnavism, mention several Shaiva sects, particularly the four groups: Pashupata, Lakulisha, tantric Shaiva and Kapalika.

THE FOUR SYLLABLES OF AUM

https://en.wikipedia.org/wiki/Atharvashikha_Upanishad

The Upanishad opens with sages (Rishi) Pippalada, Angiras and Sanatkumara meeting sage Atharvan and ask, "which Dhyana (meditation) is highest?", "what does meditation comprise of and who should meditate", "what is the object of meditation?"[13][14]

 

Om is the highest, replies Atharvan.[13] The text explains the basic meaning of the divine Om mantra, representing the Para Brahman, the highest Brahman, the "Ultimate Reality".[13] Om's has four legs, syllables, which symbolize the four gods and the four Vedic scriptures.[13] It has also four heads, which stand for holy fires – Garhapatya, Dakshina, Ahavaniya and destructive fire.[10][15]

 

The four syllables of Om – A (अ), U (उ), M (म) and the half part (्) are equated with empirical realities, abstract concepts, rituals and gods by the Atharvashikha Upanishad.[16][14]

 

Atharvan explains that the first syllable of Om, "A", represents the Prithvi (Earth), the Rig Veda, the god Brahma – the Creator of the Trimurti, the color red, the eight Vasus, the gayatri meter, and Garhapatya, the sacred fire in a household.[10][16]

 

The second syllable "U" denotes, states the text, the Akasha (sky), the Yajur Veda, the color black, the eleven Rudras, the Tristubh meter, and the Dakshinagni ritual fire.[10][16]

 

The third syllable "M" represents Heavens, the Sama Veda, the color white, Vishnu, the twelve Adityas, the Jagati meter and the Ahavaniya ritual fire.[10][16]

 

The half fourth syllable, which is the hidden part that follows M, represents the Atharva Veda, Purusha (the Supreme Being), the spectrum of all colours, the Maruts deities, the Viraj meter and the Samvartaka fire which destroys creation.[10][16] It reverberates as the sound of Brahman.[17]

THE FOUR SYLLABLES OF AUM- THEY SYMBOLIZE FOUR GODS FOUR HEADS- FOUR HOLYF IRES

https://en.wikipedia.org/wiki/Atharvashikha_Upanishad

The Upanishad opens with sages (Rishi) Pippalada, Angiras and Sanatkumara meeting sage Atharvan and ask, "which Dhyana (meditation) is highest?", "what does meditation comprise of and who should meditate", "what is the object of meditation?"[13][14]

Om is the highest, replies Atharvan.[13] The text explains the basic meaning of the divine Om mantra, representing the Para Brahman, the highest Brahman, the "Ultimate Reality".[13] Om's has four legs, syllables, which symbolize the four gods and the four Vedic scriptures.[13] It has also four heads, which stand for holy fires – Garhapatya, Dakshina, Ahavaniya and destructive fire.[10][15]

The four syllables of Om – A (अ), U (उ), M (म) and the half part (्) are equated with empirical realities, abstract concepts, rituals and gods by the Atharvashikha Upanishad.[16][14]

Atharvan explains that the first syllable of Om, "A", represents the Prithvi (Earth), the Rig Veda, the god Brahma – the Creator of the Trimurti, the color red, the eight Vasus, the gayatri meter, and Garhapatya, the sacred fire in a household.[10][16]

The second syllable "U" denotes, states the text, the Akasha (sky), the Yajur Veda, the color black, the eleven Rudras, the Tristubh meter, and the Dakshinagni ritual fire.[10][16]

The third syllable "M" represents Heavens, the Sama Veda, the color white, Vishnu, the twelve Adityas, the Jagati meter and the Ahavaniya ritual fire.[10][16]

The half fourth syllable, which is the hidden part that follows M, represents the Atharva Veda, Purusha (the Supreme Being), the spectrum of all colours, the Maruts deities, the Viraj meter and the Samvartaka fire which destroys creation.[10][16] It reverberates as the sound of Brahman.[17]

I'm a paragraph. Click here to add your own text and ed

FOUR TYPES- WHITE, RED, YELLOWISH, AND BLACK- 16 around arm

https://en.wikipedia.org/wiki/Rudrakshajabala_Upanishad

Rudrakshajabala Upanishad (Sanskrit: रुद्राक्षजाबाल उपनिषत्), also known as Rudraksha Jabala Upanishad, Rudraksha jabalopanishad, Rudraksha Upanishad (रुद्राक्ष उपनिषत्) and Rudrakshopanishad, is one of 108 Upanishadic Hindu scriptures, written in Sanskrit language. It is dedicated to the Rudraksha, a seed used as prayer beads, which is sacred to the god Shiva. 

 

The characteristics of a rudraksha are then described. A rudraksha of the amla fruit size is the best, followed by the size of a berry and the size of the black gram, the lowest. Four types of rudraksha – white, red, yellowish, and black – are declared fit for four Varnas or castes – Brahmin, Kshatriya, Vaishya, and Shudra, respectively. The best rudraksha is described as well-rounded, well-sized, smooth, hard, thorny, and with a natural hole. A rudraksha which is damaged, broken, infested, or damaged by worms or insects, without thorns, or of abnormal size or shape, should not be used. The rudrakshas should be woven in a silken thread and worn. A rudraksha can be worn on the hair tuft, 30 around the head, 36 in a necklace, 16 on each arm, 12 on each wrist, 15 around the shoulders, and 108 in the yajnopavita (sacred thread). They can be worn as 2, 3, 5, or 7 rounds. One should also wear them around the waist, as earrings, and as a rosary. A devotee of Shiva should eternally wear them. Mantras that should be recited when the rudraksha is worn around a particular part of the body are then recited.[3][4][5][6]

it me. It's easy.

FOUR LEVELS OF SPEECH

https://en.wikipedia.org/wiki/Ganapati_Atharvashirsa

The verses state Ganesha to be all that is spiritual, the satcitananda, all words, all four levels of speech, all knowledge, all consciousness, the source of all universe, the universe now, that in which the universe will someday be dissolved, the three Guṇas of Samkhya philosophy and what is beyond, all states of being, the truth, the oneness, the contentment, the inner bliss.[31]

16 SQUARES OF THE QUADRANT MODEL- THE MAIN TEXT OF THE TRIPURA UPANISHAD HAS 16 VERSES- THERE ARE FIFTEEN GODDESSES AND TRIPURA THE 16TH CONTAINS ALL OF THEM (THE QUADRANT PATTERN WHERE THE FOURTH QUADRANT OF THE FOURTH QUADRANT TRANSCENDS YET ENCOMPASSES THE PREVIOUS ONES- THE TRIPURA MULA- MANTRA HAS 16 SYLLABLES

https://en.wikipedia.org/wiki/Tripura_Upanishad

The Tripura Upanishad (Sanskrit: त्रिपुरा उपनिषद्, IAST: Tripurā Upaniṣad) is a medieval era minor Upanishad of Hinduism.[7] Composed in Sanskrit, the text is classified as a Shakta Upanishad and attached to the Rigveda.[4] It is, as an Upanishad, a part of the corpus of Vedanta literature collection that present the philosophical concepts of Hinduism.[8]

 

The main text consists of 16 verses. This number 16 is significant in the Tantra tradition, and constitutes the sixteen syllabic structure of the Mula-Mantra, or root manta of its Srividya's school.[29] The main message is contained in its 15 verses, to which a sixteenth verse is appended, exactly like the way the yantra is designed wherein the sixteenth syllable is appended to its core fifteen elements. Thus the architectural elements of the Upanishad mirror the architecture of the Srividya mantra.[30]

The verse 6 of the Upanishad succinctly presents her relationship with Shiva, and introduces the names of fifteen goddesses, each an aspect of her as the sixteenth.

FOURFOLD IDENTITY OM BRAHMAN ATMAN AND VISHNU AVATAR NARISMHA---- TALKS ABOUT SUDARSHANA CHAKRA WHICH HAS FOUR PARTS SUDARSHANA ON SIX PETALS NARAYANA ON EIGHT VASUDEVA ON TWELVE AND MATHRUKA ON 16- SIXTEEN SQUARES OF QMR- IT TALKS ABOUT BRAHMANS FOUR DIVISIONS THAT MATCH THE AUM AND STATES OF CONSCIOUSNESS AND FINALLY IT TALKS ABOUT THE FOUR EFFECTS OF WORSHIPPING NARISMHA

https://en.wikipedia.org/wiki/Nrisimha_Tapaniya_Upanishad

The text is notable for asserting a FOURFOLD identity, that Atman (soul, self) is same as Om, Brahman (Absolute Reality) and Vishnu Man-Lion avatar Nrisimha.[4][6] The Upanishad opens with verses of the Rigveda.[4] Its foundation of monism philosophy, as well its style is also found in other Vaishnava Upanishads such as those dedicated to Rama.[4][7]

 

The Nrisimha Mantra, with its four supplementary mantras, is enunciated with the epithet "mantraraja" (king of hymns). It has "Om" as the foremost hymn which is repeatedly emphasized throughout this Upanishad. The text discusses Nrisimha Mantra and related hymns.[4]

 

Brahma explains the importance of the Sudarshana Chakra, also known as Maha Chakra, which would fulfill one’s wishes and opens the way to moksha or liberation. Reciting this mantra daily without any aspirations would help overcome "fire, wind, sun, moon, devas, plants and poison".[11] At the center of this Sudarshana Chakra, Om as the Taraka mantra of Nrisimha are inscribed.[15] These are: Sudarshana (on six petals), Narayana (on eight petals), Vasudeva (on 12 petals), and mathruka (on 16 petals). The old Vedic gods are placed in the realm of Maya, that is outside the circle.[15]

 

 

In the second section Brahman’s four divisions, which match with the four letters of OM, are explained. The letters of AUM and reciting the Nrisimha Mantra would also enable understanding of the Turiya or fourth state of pure consciousness.[10][11]

FOUR STAGES OF LIFE CORRESPOND TO FOUR PATHS OF YOGA--- SOME ASHRAMS TEACH ONLY THREE STAGES OF LIFE THE FOURTH IS ALWAYS DIFFERENT

https://en.wikipedia.org/wiki/Sannyasa

 

Sannyasa (saṃnyāsa) is the life stage of renunciation within the Hindu philosophy of four age-based life stages known as ashramas, with the first three being Brahmacharya (bachelor student), Grihastha (householder) and Vanaprastha (forest dweller, retired).[1] Sannyasa is traditionally conceptualized for men or women in late years of their life, but young brahmacharis have had the choice to skip the householder and retirement stages, renounce worldly and materialistic pursuits and dedicate their lives to spiritual pursuits.

 

The Dharmasūtras and Dharmaśāstras, composed about mid 1st millennium BC and later, place increasing emphasis on all four stages of Ashrama system including Sannyasa.[42] The Baudhayana Dharmasūtra, in verses 2.11.9 to 2.11.12, describes the four Ashramas as "a fourfold division of Dharma". The older Dharmasūtras, however, are significantly different in their treatment of Ashramas system from the more modern Dharmaśāstras, because they do not limit some of their Ashrama rituals to dvija men, that is, the three varnas – Brahmins, Kshatriyas and Vaishyas.[42] The newer Dharmaśāstra vary widely in their discussion of Ashrama system in the context of classes (castes),[43] with some mentioning it for three, while others such as Vaikhānasa Dharmasūtra including all four.[44]

 

The Dharmasūtras and Dharmaśāstras give a number of detailed but widely divergent guidelines on renunciation. In all cases, Sannyasa was never mandatory and was one of the choices before an individual. Only a small percentage chose this path. Olivelle[44] posits that the older Dharmasūtras present the Ashramas including Sannyasa as four alternative ways of life and options available, but not as sequential stage that any individual must follow.[42] Olivelle also states that Sannyasa along with the Ashrama system gained mainstream scholarly acceptance about 2nd century BC.[45]

FOUR DHARMASUTRAS - USES FOUR EIGHT SYLLABLE VERSES PATTERN

https://en.wikipedia.org/wiki/Dharmaśāstra#The_Dharma.C5.9B.C4.81stras

The Dharmasutras were numerous, but only four texts have survived into the modern era.[20] The most important of these texts are the sutras of Apastamba, Gautama, Baudhayana, and Vasistha.[21] These extant texts cite writers and refer opinions of seventeen authorities, implying that a rich Dharmasutras tradition existed prior to when these texts were composed.[22][23]

 

The extant Dharmasutras are written in concise sutra format,[24] with a very terse incomplete sentence structure which are difficult to understand and leave much to the reader to interpret.[20] The Dharmasastras are derivative works on the Dharmasutras, using a shloka (four 8-syllable verse style chandas poetry, Anushtubh meter), which are relatively clearer.[20][5]

 

The FOUR extant Dharmasūtra texts are listed below:

 

Apastamba (450–350 BCE) this Dharmasūtra forms a part of the larger Kalpasūtra of Apastamba. It contains 1,364 sutras.[29]

Gautama (600–200 BCE) although this Dharmasūtra comes down as an independent treatise it may have once formed a part of the Kalpasūtra, linked to the Samaveda.[30] It is likely the oldest extant Dharma text, and originated in what is modern Maharashtra-Gujarat.[31] It contains 973 sutras.[32]

Baudhāyana (500–200 BCE) this Dharmasūtra like that of Apastamba also forms a part of the larger Kalpasūtra. It contains 1,236 sutras.[29]

Vāsiṣṭha (300–100 BCE) this Dharmasūtra forms an independent treatise and other parts of the Kalpasūtra, that is Shrauta- and Grihya-sutras are missing.[28] It contains 1,038 sutras.[29]

 

Of the four extant Dharmasastras, Manusmriti, Yajnavalkyasmriti and Naradasmriti are the most important surviving texts.[74] But, states Robert Lingat, numerous other Dharmasastras whose manuscripts are now missing, have enjoyed equal authority.[74] Between the three, the Manusmriti became famous during the colonial British India era, yet modern scholarship states that other Dharmasastras such as the Yajnavalkyasmriti appear to have played a greater role in guiding the actual Dharma.[75] Further, the Dharmasastras were open texts, and they underwent alterations and rewriting through their history.[76]

 

Contents of Dharmasutras and Dharmaśāstra[edit]

 

A facsimile of an inscription in Oriya script on a copper plate recording a land grant made by Rāja Purushottam Deb, king of Odisha, in the fifth year of his reign (1483). Land grants made by royal decree were protected by law, with deeds often being recorded on metal plates

All Dharma, in Hindu traditions, has its foundation in the Vedas.[17] The Dharmashastra texts enumerate four sources of Dharma – the precepts in the Vedas, the tradition, the virtuous conduct of those who know the Vedas, and approval of one's conscience (Atmanastushti, self satisfaction).[77]

The Dharmasūtra of Baudhāyana like that of Apastamba also forms a part of the larger Kalpasutra

https://en.wikipedia.org/wiki/Baudhayana_sutras

This Dharmasūtra is divided into four books. Olivelle states that Book One and the first sixteen chapters of Book Two are the ‘Proto-Baudhayana’[3] even though this section has undergone alteration. Scholars like Bühler and Kane agree that the last two books of the Dharmasūtra are later additions. Chapter 17 and 18 in Book Two lays emphasis on various types of ascetics and acetic practices.[3]

 

The first book is primarily devoted to the student and deals in topics related to studentship. It also refers to social classes, the role of the king, marriage, and suspension of Vedic recitation. Book two refers to penances, inheritance, women, householder, orders of life, ancestral offerings. Book three refers to holy householders, forest hermit and penances. Book four primarily refers to the yogic practices and penances along with offenses regarding marriage.[5]

FOUR INDRAVARUNAU VERSES
https://en.wikipedia.org/wiki/Vashistha
Vashistha is the author of the seventh book of the Rigveda,[2] one of its "family books" and among the oldest layer of hymns in the Vedic scriptures of Hinduism.[18] The hymns composed by Vashistha are dedicated to Agni, Indra and other gods, but according to RN Dandekar, in a book edited by Michael Witzel, these hymns are particularly significant for four Indravarunau hymns

ALL OF THE ANCIENT SANSKRIT HOLY TEXTS HAVE A FOUR VERSE PATTERN- ALL OF THE FORMS USE FOUR VERSES ONE OF THE FORMS USES THREE VERSE (the dynamic between four and three)- IT SAYS THE POST VEDIC SANSKRIT POETRY IS USUALLY IN QUATRAINS- FOUR VERSES

https://en.wikipedia.org/wiki/Sanskrit_prosody

A stanza (pāda) is defined in Sanskrit prosody as a group of four verses, also called as four quarters.[27] Indian prosody studies developed two types of stanzas. Vritta stanza are those that are crafted with precise number syllables, while Jati stanza are those that are designed based on syllabic instants (morae, matra).[27]

 

Meters depend on duration, where each verse-line has a fixed number of morae, usually grouped in sets of four.

The seven major ancient Sanskrit meters are the three 8-syllable Gayatri, the four 8-syllable Anustubh, the four 11-syllable Tristubh, the four 12-syllable Jagati, and the mixed padas meters named Ushnih, Brihati and Pankti.

 

The major ancient meters in Sanskrit prosody[5][47]

Meter Structure Mapped

Sequence[5] Varieties[48] Usage[49]

Gayatri 24 syllables;

3 verses of 8 syllables 6x4 11 Common in Vedic texts

Example: Rigveda 7.1.1-30, 8.2.14[50]

Ushnih 28 syllables;

2 verses of 8;

1 of 12 syllables 7x4 8 Vedas, not common

Example: Rigveda 1.8.23-26[51]

Anushtubh 32 syllables;

4 verses of 8 syllables 8x4 12 Most frequent in post-Vedic Sanskrit metrical literature; embedded in the Bhagavad Gita, the Mahabharata, the Ramayana, the Puranas, Smritis and scientific treatises

Example: Rigveda 8.69.7-16, 10.136.7[52]

Brihati 36 syllables;

2 verses of 8;

1 verse of 12;

1 verse of 8 syllables 9x4 12 Vedas, rare

Example: Rigveda 5.1.36, 3.9.1-8[53]

Pankti 40 syllables;

5 verses of 8 syllables 10x4 14 Uncommon, found with Tristubh

Example: Rigveda 1.191.10-12[54]

Tristubh 44 syllables;

4 verses of 11 syllables 11x4 22 Second in frequency in post-Vedic Sanskrit metric literature, dramas, plays, parts of the Mahabharata, major 1st-millennium Kavyas

Example: Rigveda 4.50.4, 7.3.1-12[55]

Jagati 48 syllables;

4 verses of 12 syllables 12x4 30 Third most common, typically alternates with Tristubh in the same text, also found in separate cantos.

Example: Rigveda 1.51.13, 9.110.4-12[56]

 

NOTICE ALL OF THEM USE FOUR VERSES

Other syllable-based meters[edit]

Beyond these seven meters, ancient and medieval era Sanskrit scholars developed numerous other syllable-based meters (Akshara-chandas). Examples include Atijagati (13x4, in 16 varieties), Sakkari (14x4, in 20 varieties), Atisakkari (15x4, in 18 varieties), Ashti (16x4, in 12 varieties), Atyashti (17x4, in 17 varieties), Dhriti (18x4, in 17 varieties), Atidhriti (19x4, in 13 varieties), Kriti (20x4, in 4 varieties) and so on.[57][58]

 

 

The Hindu epics and the post-Vedic classical Sanskrit poetry is typically structured as quatrains of four pādas (verses), with the metrical structure of each pāda completely specified. In some cases, pairs of pādas may be scanned together as the hemistichs of a couplet.[81] It is then normal for the pādas comprising a pair to have different structures, to complement each other aesthetically. Otherwise the four pādas of a stanza have the same structure.

16 CLASSES WITH 16 SUBSPECIES 16 SQUARES QMR

 

https://en.wikipedia.org/wiki/Sanskrit_prosody

 

 

In addition to the syllable-based meters, Hindu scholars in their prosody studies, developed Gana-chandas or Gana-vritta, that is meters based on mātrās (morae, instants).[59][58][60] The metric foot in these are designed from laghu (short) morae or their equivalents. Sixteen classes of these instants-based meters are enumerated in Sanskrit prosody, each class has sixteen sub-species. Examples include Arya, Udgiti, Upagiti, Giti and Aryagiti.[61] This style of composition is less common than syllable-based metric texts, but found in important texts of Hindu philosophy, drama, lyrical works and Prakrit poetry.[17][62] The entire Samkhyakarika text of the Samkhya school of Hindu philosophy is composed in Arya meter, as are many chapters in the mathematical treatises of Aryabhata, and some texts of Kalidasa.[61][63]

EACH STANA HAS FOUR INSTANTS AND EACH VERSE IS PRESENTED IN FOUR QUARTERS

https://en.wikipedia.org/wiki/Samkhyakarika

The stanza is divided into feet, each feet has four instants, with its short syllable counting as one instant (matra), while the long syllable prosodically counts are two instants.[17][18]

 

Each verse of Karika are presented in four quarters (two quarters making one half), the first quarter has exactly three feet (12 beats), the second quarter four and half feet (18 beats), the third quarter of every verse has three feet (12 beats again), while the fourth quarter has three and a half plus an extra short syllable at its end (15 beats).[17] Thus, metrically, the first half stanza of every verse of this philosophical text has thirty instants, the second has twenty seven.[17]

16 ARE CREATIVE- EGO INTERFACES THE "SET OF 16"

https://en.wikipedia.org/wiki/Samkhyakarika

Verse 3 adds that primordial nature is uncreated, seven starting with Mahat (intellect) is both created and creative, sixteen[27] are created and evolve (but not creative), while Purusha is neither created nor creative nor evolves (and simply exists).[

 

The Karika's verse 22 asserts that Mahat (the Great Principle, intellect) is the first evolute of nature (Prakriti, human body), from it emerges ego (Ahamkara, I-principle), from which interface the "set of sixteen" (discussed in later verses).[59][58] Verses 23-25 describes Sattva, as the quality of seeking goodness, wisdom, virtue, non-attachment. The reverse of Sattva, asserts Karika is Tamasa. Sattva is the characteristic of intellect, states the text.[63]

THE MOST POPULAR METER IS THE CHUPAI 16 MATRAS- AN EXAMPLE IS THE HANUMAN CHUPAI- (chalisa) 16 SQUARES QMR

https://en.wikipedia.org/wiki/Mātrika_metre

Mātrika metre is a quantitative system of poetic metre in Indic languages.

 

The most popular of these metres in Hindi are the chaupāī (sixteen mātrās), the chaupaī (fifteen mātrās), and the dohā (thirteen mātrās in the first and third feet and eleven, along with end-rhyme in the second and fourth).[2]

HIS TEXT IS DIVIDED INTO FOUR PARTS/CHAPTERS- IN HIS FAMOUS APPROXIMATION OF PI HE BEGINS IT BY SAYING (ADD FOUR TO 100)

https://en.wikipedia.org/wiki/Aryabhata

Aryabhata (Sanskrit: आर्यभट; IAST: Āryabhaṭa) or Aryabhata I[2][3] (476–550 CE)[4][5] was the first of the major mathematician-astronomers from the classical age of Indian mathematics and Indian astronomy. His works include the Āryabhaṭīya (499 CE, when he was 23 years old)[6] and the Arya-siddhanta.

 

Direct details of Aryabhata's work are known only from the Aryabhatiya. The name "Aryabhatiya" is due to later commentators. Aryabhata himself may not have given it a name. His disciple Bhaskara I calls it Ashmakatantra (or the treatise from the Ashmaka). It is also occasionally referred to as Arya-shatas-aShTa (literally, Aryabhata's 108), because there are 108 verses in the text. It is written in the very terse style typical of sutra literature, in which each line is an aid to memory for a complex system. Thus, the explication of meaning is due to commentators. The text consists of the 108 verses and 13 introductory verses, and is divided into four pādas or chapters:

 

1. Gitikapada: (13 verses): large units of time—kalpa, manvantra, and yuga—which present a cosmology different from earlier texts such as Lagadha's Vedanga Jyotisha (c. 1st century BCE). There is also a table of sines (jya), given in a single verse. The duration of the planetary revolutions during a mahayuga is given as 4.32 million years.

2. Ganitapada (33 verses): covering mensuration (kṣetra vyāvahāra), arithmetic and geometric progressions, gnomon / shadows (shanku-chhAyA), simple, quadratic, simultaneous, and indeterminate equations (kuṭṭaka).

3. Kalakriyapada (25 verses): different units of time and a method for determining the positions of planets for a given day, calculations concerning the intercalary month (adhikamAsa), kShaya-tithis, and a seven-day week with names for the days of week.

4. Golapada (50 verses): Geometric/trigonometric aspects of the celestial sphere, features of the ecliptic, celestial equator, node, shape of the earth, cause of day and night, rising of zodiacal signs on horizon, etc. In addition, some versions cite a few colophons added at the end, extolling the virtues of the work, etc.

 

The Aryabhatiya presented a number of innovations in mathematics and astronomy in verse form, which were influential for many centuries. The extreme brevity of the text was elaborated in commentaries by his disciple Bhaskara I (Bhashya, c. 600 CE) and by Nilakantha Somayaji in his Aryabhatiya Bhasya, (1465 CE).

 

Aryabhata worked on the approximation for pi (

π\pi ), and may have come to the conclusion that

π\pi is irrational. In the second part of the Aryabhatiyam (gaṇitapāda 10), he writes:

 

caturadhikam śatamaṣṭaguṇam dvāṣaṣṭistathā sahasrāṇām

ayutadvayaviṣkambhasyāsanno vṛttapariṇāhaḥ.

"Add four to 100, multiply by eight, and then add 62,000. By this rule the circumference of a circle with a diameter of 20,000 can be approached."

THE MOST POPULAR METER IS THE CHAUPAI 16 MATRAS- AN EXAMPLE IS THE HANUMAN CHAUPAI- (chalisa) 16 SQUARES QMR

https://en.wikipedia.org/wiki/Mātrika_metre

Mātrika metre is a quantitative system of poetic metre in Indic languages.

https://www.youtube.com/watch?v=-0AmE9K3ACA

https://www.youtube.com/watch?v=OPs_fl5qvuc

 

The most popular of these metres in Hindi are the chaupāī (sixteen mātrās), the chaupaī (fifteen mātrās), and the dohā (thirteen mātrās in the first and third feet and eleven, along with end-rhyme in the second and fourth).[2]

THERE ARE FOUR PRATISHAKHYAS- ONE OF THE FOUR PRATISHAKHYAS IS CALLED "THE FOUR CHAPTERS" BECAUSE IT HAS FOUR CHAPTERS

 

https://en.wikipedia.org/wiki/Pratishakhyas

 

Pratishakhyas (Sanskrit: प्रातिशाख्य pratiśākhya), collectively constituting four treatises, are the earliest of the Shikshas: works dealing with the phonetic aspects of the Sanskrit language used in Vedas. These works mainly pertain to euphonic permutation and combination of letters and special characteristics of their pronunciation as they prevailed in various schools of Vedic studies.

 

The treatise pertaining to the phonetic and other aspects of Atharva Veda is also ascribed to the sage Saunaka, and derives its name from him: the Saunakiya Chaturadhyayika, which means the Book having four chapters by Saunak. Whitney has translated the work into English.

HANUMAN CHALISA IS CALLED "THE FOURTY CHAUPAI LOOK AT FOURTY REPETITION OF FOUR AND AGAIN EACH CHAUPAI IS FOUR LINES THATS WHAT FOUR LINES MEANS- THE FIRST LINE OF THE CHALISA SAYS FOUR DESCRIBING THE FOUR FRUITS OF THE FOUR GLORIES OF RAMA AND IN THE FINAL VERSE HANUMAN IS DESCRIBE WITH FOUR ADJECTIVES

CHALISA MEANS FOURTY AND THERE IS FOURTY CHAUPAI- CHAUPAI MEANS FOUR VERSES - REPETITION OF FOURS

https://en.wikipedia.org/wiki/Hanuman_Chalisa

https://www.youtube.com/watch?v=liKbzGXGokU

The Hanuman Chalisa[2] (Hindi pronunciation: [ɦənʊmaːn tʃaːliːsaː]; literally Forty chaupais on Hanuman) is a Hindu devotional hymn (stotra) addressed to Hanuman.[3][4] It is traditionally believed to have been authored by 16th-century poet Tulsidas in the Awadhi language,[3] and is his best known text apart from the Ramcharitmanas.[5][6] The word "chālīsā" is derived from "chālīs", which means the number forty in Hindi, as the Hanuman Chalisa has 40 verses (excluding the couplets at the beginning and at the end).[3] Hanuman Chalisa is a devotional hymn dedicated to Lord Hanuman.

 

https://www.youtube.com/watch?v=liKbzGXGokU

 

Introductory Dohas[edit]

Devanagari

श्रीगुरु चरन सरोज रज निज मन मुकुर सुधारि।

बरनउँ रघुबर बिमल जसु जो दायकु फल चारि॥

 

Hunterian

shrīguru charana saroja raja nija mana mukuru sudhāri।

baranau raghubara bimala jasu jo dāyaku phala chāri॥

 

Cleansing the mirror in the form of my mind with the pollen of the lotus-feet of the Guru, I describe the unblemished glory of Rama, which bestows the four fruits.[29][37]

 

Gita Press translation interprets the four fruits as the four Puruṣārthas – Dharma, Artha, Kāma, and Mokṣa.[37] Rambhadracharya comments that the four fruits refer to any of the following

 

The four Puruṣārthas – Dharma, Artha, Kāma, Mokṣa

The four types of Mukti – Sālokya, Sāmīpya, Sāyujya, Sārūpya

Dharma, Jñāna, Yoga, Japa

 

Concluding Doha[edit]

Devanagari

 

पवनतनय संकट हरन मंगल मूरति रूप।

राम लखन सीता सहित हृदय बसहु सुर भूप॥

 

Hunterian

pavantanaya sankata harana mangala mūrati rūpa।

rāma lakhan sītā sahita hridaya basahu sura bhūpa॥

 

O Son of Vāyu, remover of adversities, one with an auspicious form, and the chief among all Devas, may you reside in our hearts along with Rama, Lakshman and Sita.[31][36][78]

 

Rambhadracharya explains that Tulsidas addresses Hanuman with four adjectives in this final verse to indicate that Hanuman helps cleanse the mind (Manas), intellect (Buddhi), heart (Citta) and ego (Ahaṅkāra), and by asking him to reside in the heart of the devotee, Tulsidas ends the work by implying that the refuge of Hanuman is the supreme pursuit.[36]

CHALISA MEANS FOURTY CHAUPAI CHAUPAI IS FOUR VERSES FOURTY FOURS

https://en.wikipedia.org/wiki/Shiv_Chalisa

Shiv Chalisa (Hindi: शिव चालीसा, literally Forty chaupais on Shiva) is a devotional stotra dedicated to Hindu deity, Lord Shiva.[1] Adapted from the Shiva Purana, it consists of 40 (Chalis) chaupais (verses) and recited daily or on special festivals like Maha Shivaratri by Shivaites, and worshippers of Shiva.[2][3]

https://en.wikipedia.org/wiki/Ganesh_Chalisa

Ganesh Chalisa (Hindi: गणेश चालीसा, "Forty chaupais on Ganesh") is a devotional song based on Lord Ganesh as the model devotee of the Hindu. It is a poem written in the Awadhi language. The Ganesh Chalisa has gained enormous popularity among the modern-day Hindus.[citation needed] Many of them recite it daily as a prayer.[citation needed]

https://www.facebook.com/events/961478937273518/

 

She is generally shown to have four arms, but sometimes just two. When shown with four hands, those hands symbolically mirror her husband Brahma's four heads, representing manas (mind, sense), buddhi (intellect, reasoning), citta (imagination, creativity) and ahamkara (self consciousness, ego). Brahma represents the abstract, she, action and reality.

THE FOURTH IS ALWAYS DIFFERENT- MOSTLY KNOWN AS THE THREE MUSES- BUT A FOURTH WAS ADDED

https://www.revolvy.com/topic/Apollo%20and%20the%20Muses&item_type=topic

According to Pausanias in the later second century AD,[9] there were three original Muses, worshiped on Mount Helicon in Boeotia: Aoidḗ ("song" or "tune"), Melétē ("practice" or "occasion"), and Mnḗmē ("memory"). Together, these three form the complete picture of the preconditions of poetic art in cult practice. In Delphi three Muses were worshiped as well, but with other names: Nḗtē, Mésē, and Hýpatē, which are assigned as the names of the three chords of the ancient musical instrument, the lyre. Alternatively they later were called Kēphisṓ, Apollōnís, and Borysthenís, which names characterize them as daughters of Apollo. In later tradition, a set of four Muses were recognized: Thelxinóē, Aoidḗ Archē, and Melétē, said to be daughters of Zeus and Plusia or of Uranus.

ASHKATAMS HAVE EIGHT STANZAS OF FOUR LINES EACH

https://en.wikipedia.org/wiki/Ashtakam

The stanzas in an "ashtakam" are a rhyming quartet with four lines, i.e. end lines rhyme as a-a-a-a. Thus, in an ashtakam generally thirty-two lines are maintained. All these stanzas follow a strict rhyme scheme. The proper rhyme scheme for an astakam is: a-a-a-a/b-b-b-b….. (/ represents a new stanza). The rhyme designs are both ear-rhymes and eye-rhymes. Ear-rhyme where the end letters rhyme in sound and audibility, and eye-rhyme where the end letters appear similar. This rhyme sequence sets the usual structure of the astakam. astakam rhyme consists of identical ("hard-rhyme") or similar ("soft-rhyme") sounds placed at predictable locations, normally the ends of lines for external rhyme or within lines for internal rhyme.

 

Sanskrit language exhibits high richness in sustaining rhyming structures. Thus Sanskrit ashtakams are capable of carrying a limited set of rhymes all over a lengthy composition.

 

Several times in an ashtakam, the quatrains (sets of four lines) conclude abruptly or in other cases, with a couplet (a pair of lines). In the body quatrains the poet establishes a theme and then may resolve it in the final lines, called the couplet, or may leave them unsolved. Sometime the end couplet may contain self-identification of the poet. The structure is also bound by rules of meter for enhanced suitability for recital and classical singing. However, there are several ashtakams that do not conform to the regular structure.

The table below gives an overview of the four Amnaya Mathas founded by Adi Shankara, and their details.[web 2]----- SHANKARA WAS KNOWN FOR WRITING ASHTAKAMS WHICH ARE EIGHT QUATRAINS OF FOUR LINES EACH AND HE SET UP FOUR MATHAS

https://en.wikipedia.org/wiki/Adi_Shankara

Shishya

(lineage) Direction Maṭha Mahāvākya Veda Sampradaya

Padmapāda East Govardhana Pīṭhaṃ Prajñānam brahma (Consciousness is Brahman) Rig Veda Bhogavala

Sureśvara South Sringeri Śārada Pīṭhaṃ Aham brahmāsmi (I am Brahman) Yajur Veda Bhūrivala

Hastāmalakācārya West Dvāraka Pīṭhaṃ Tattvamasi (That thou art) Sama Veda Kitavala

Toṭakācārya North Jyotirmaṭha Pīṭhaṃ Ayamātmā brahma (This Atman is Brahman) Atharva Veda Nandavala

SAGE VIKHANASA WAS SAID TO BE A MAIFESTATION OF VISHNU AND HE HAD FOUR DISCIPLES

https://en.wikipedia.org/wiki/Vaikhanasas

https://en.wikipedia.org/wiki/File:Sri_Vikhanasa_Maharishi.jpg

Vaikhanasas claim to be a surviving school of Vedic ritual, the Taittiriya Shakha of the Krishna Yajurveda. Vaikhanasa tradition says the sage Vikhanasa, who was a manifestation of Lord Mahavishnu, had the Upanayanam along with Brahma consecrated by His father Lord Mahavishnu and educated under Lord Mahavishnu all the Vedas and Bhagawat Saastra on how to worship SriBhagawaan in His Archaavathaara - Iconic Form. Sri Vikhanasa Maharishi came down to earth's most holy place Naimisaaranyam composed the Vaikhanasa Kalpasutra and taught Sri Vaikhanasa Bhagawat Saastra to his four disciples viz., Atri, Bhrigu, Kashyapa and Marichi, respectively the procedures of Samurtarcana, Amurtarchana, devotional service to Vishnu in images. Most Vaikhanasa literature is almost completely concerned with rituals, prescribing the rituals and their rules of performance. To the Vaikhanasas their temple worship is a continuation of Vedic fire sacrifice. Regular and correct worship of Vishnu in a temple will bring the same results as the fire sacrifice even for people who do not maintain their fires.

 

The Vaikhanasa doctrine states that Moksha is release into Vishnu's heaven. The nature of a man's Moksha is dependent on a devotee's service of Japa, attentive repetition of prayer, Huta, Yaaga, sacrifice, archana, service to images, or Dhyana, Yogic meditation. Of the four the Marichi Samhita says Archana is the realisation of all aims.

 

Rishi Vikhanasa with his four disciples Atri, Bhrigu, Marichi and Kashyap.

THE FOUR RISHIS/SAGES

https://en.wikipedia.org/wiki/Atri

The Vaikhanasas sub-tradition within Vaishnavism found in South India near Tirupati, credit their theology to four Rishis (sages), namely Atri, Marici, Bhrigu and Kashyapa

THREE OR FOUR PEOPLE

https://en.wikipedia.org/wiki/Agastya

According to Kamil Zvelebil, the sage Agastya, Akattiyan the Siddha, and Akatthiyar, the author of Akattiyam, were three or possibly four different persons of different eras, who over time became fused into one single person in the Tamil tradition.[61]

EIGHT STANZAS OF FOUR LINES EACH
http://bhajanlyrics.com/665/mahalakshmi-ashtakam
https://www.youtube.com/watch?v=dFq_qcSQXWo
https://www.youtube.com/watch?v=dFq_qcSQXWo
Namastestu Mahamaye
Shree Pithe Sura Poojite
Shanka Chakra Gadha Haste
Maha Lakshmi Namoostute

Namastestu Garudarudhe
Kolasura Bhayankari
Sarva Papa Hare Devi
Maha Lakshmi Namoostute

Sarvajne Sarva Varade
Sarva Dushta Bhayankari
Sarva Duhkha Hare Devi
Maha Lakshmi Namoostute

Siddhi Buddhi Prade Devi
Bhakti Mukti Pradayini
Mantra Moorte Sada Devi
Maha Lakshmi Namoostute

Adyanta Rahite Devi
Adi Shakti Maheshwari
Yogaje Yoga Sambhute
Maha Lakshmi Namoostute

Sthula Sukshme Maha Raudre
Maha Shakti Mahodari
Maha Papa Hare Devi
Maha Lakshmi Namoostute

Padmasana Sthithe Devi
Parabrahma Swaroopini
Parameshi Jagan Mata
Maha Lakshmi Namoostute

Shwetambara Dhare Devi
Nanalankara Shobhite
Jagasthithe Jaganmata
Maha Lakshmi Namoostute

Maha Lakshmyashtakam Stotram
Yah Patheth Bhakti Man Narah
Sarva Siddhi Mavapnoti
Rajyam Prapnoti Sarvada

Eka Kalam Pathennityam
Maha Papa Vinashanam
Dwikalam Yah Pathennityam
Dhana Dhanya Samanvitah

Trikalam Yah Pathennityam
Maha Shatru Vinashanam
Maha Lakshmi Bhavennityam
Prasanna Varada Shubhah

THERE ARE 64 BHAIRAVA'S- 64 IS FOUR 16S HE HAS FOUR HANDS

https://en.wikipedia.org/wiki/Bhairava

Bhairava (Sanskrit, "Terrible, Frightful") is a Hindu deity, a fierce manifestation of Shiva associated with annihilation.[1][2][3][4] Bhairava originated in Hindu legends and is sacred to Hindus and Jains alike. He is worshiped throughout India and Nepal.[5][6]

 

Bhairava is the wandering form of Lord Shiva and they guard the cardinal points. There are 64 Bhairavas. These 64 Bhairavas are grouped under 8 categories and each category is headed by one major Bhairava. The major eight Bhairavas are called Aṣṭāṅga Bhairavas. The Ashta Bhairavas control the 8 directions of this universe. Each Bhairava has eight sub Bhairavas under them, totaling 64 Bhairavas. All of the Bhairavas are ruled and controlled by Maha Swarna Kala Bhairava otherwise known as Kala Bhairava, who is the supreme ruler of time of this universe as per Hindu scriptures. Bhairavi is the consort of Kala Bhairava[7] Bhairava is also called as protector, as he guards the eight directions of the universe. In all Hindu temples, there will be a Bhairava idol. This Bhairava is the protector of the temple. In Shiva temples, when the temple is closed, the keys are placed before Bhairava. Bhairava is also described as the protector of women. He is described as the protector of the timid and in general women who are timid in nature.[8][9]

 

From these Ashta Bhairava's and Ashta Matrika's, 64 Bhairava's and 64 Yogini's were created.[14]

 

Normally in Shiva temples idols of Bhairava are situated in the north facing, southern facing direction. He is also called Kṣetrapāla. He appears in a standing position with four hands.

FOUR BY FOUR BY FOUR BY FOUR LINES KALABHAIRAVA ASHTAKAM

https://www.youtube.com/watch?v=ASa08VbK5V4

Lyrics

 

Deva-rāja sevya-māna pāvan’āṅghri paṅkajam

Vyāla-yadñya sūtra-mindu shekharam krupā-karam

Nāra-dādi yogi-vṛunda vanditam digambaram

Kāshikā pur’ādhi-nātha kāla-bhairavam bhaje

 

Bhānu-koti bāskaram bhav’ābdhi tārakam param

Nīlakantham’īpsi-tārtha-dāyakam trilochanam

Kāla kālam ambuj’āksham aksha-shūlam aksharam

Kāshikā pur’ādhi-nātha kāla-bhairavam bhaje

 

Shūla-taṅka pasha-danda pānim’ādi kāranam

Shyāma-kāyam ādi-devam aksharam nir’āmayam

Bhīma-vikramam prabhum vichitra-tāndava-priyam

Kāshikā pur’ādhi-nātha kāla-bhairavam bhaje

 

Bhukti mukti dāyakam prashasta-chāru-vigraham

Bhakta-vatsalam sthitam samasta-loka-vigraham

Vinik-vanan-mano’dñya-hema kinkini-lasat katim

Kāshikā pur’ādhi-nātha kāla-bhairavam bhaje

 

Dharma-setu pālakam tw’adharma mārga-nāshanam

Karma-pāsha-mochakam susharma-dāyakam vibhum

Svarna-varna-shesha pasha shobhit’āṅga-mandalam

Kāshikā pur’ādhi-nātha kāla-bhairavam bhaje

 

Ratna-pādukā prabh’ābhi-rāma pāda yugmakam

Nityam’advitiyam-ishta daivatam niranjanam

Mṛutyu-darpa-nāshanan karāla-daoṅshtra mokshanam

Kāshikā pur’ādhi-nātha kāla-bhairavam bhaje

 

Atta-hāsa bhinna-padmaj’ānda-kosha samtatim

Dṛushti pāta-nashta pāpa-jāla-ugra shāsanam

Ashta-siddhi dāyakam kapāla-mālika dharam

Kāshikā pur’ādhi-nātha kāla-bhairavam bhaje

 

Bhūta-saṅgha nāyakam vishāla-kīrti dāyakam

Kāshi-vāsa loka-punya pāpa-shodhakam vibhum

Nīti-mārga-kovidam purātanam jagat-patim

Kāshikā pur’ādhi-nātha kāla-bhairavam bhaje

 

Kāla-bhairav’āshtakam pathanti ye manoharam

Dñyāna-mukti-sādhanam vichitra-punya-vardhanam

Shoka-moha-dainya-lobha kopa-tāpa nāshanam

Te prayānti Kāla-bhairav’āṅghri san-nidhim dhruvam

 

Kashika puradi nadha kalabhairavam paje

Kashika puradi nadha kalabhairavam paje

Kalabhairavam paje

Kalabhairavam paje

 

Ooooooooooommmmmmmmmm

THE ASHTAKAM SAYS THAT KALABHAIRAVA "DESTROYS DEATH WITH HIS TRIDENT"- THE BIBLE SAYS THAT JESUS SAVES PEOPLE FROM DEATH WITH THE CROSS- THE CROSS IS THE TRIDENT

 

https://en.wikipedia.org/wiki/Bhairava

QUADRANT

A FOUR BY FOUR BY FOUR BY FOUR BY FOUR SO ON CHANT

https://www.youtube.com/watch?v=a5oGpRzlPO0

Maha Kaalabhairavam – Yam Yam Yam Yaksha Roopam

Aum

 

Yam Yam Yam Yaksha Roopam Dasha Dishi Viditam Bhoomi Kampaayamaanam.

Sam Sam Samhaara Moortim Shira Mukuta Jataa Shekharam Chandra Bimbam.

Dam Dam Dam Deergha Kaayam Vikrita Nakha Mukham Jordhvaromam Karaalam.

Pam Pam Pam Paap Naasham Prannmata Satatam Bhairavam Shetrapaalam.

 

RaM RaM RaM rakta varnam, katikatitatanum Teekshna Dhamshtra Karalam!

Gham Gham Gham Ghosha Ghosham GHa GHa Gha Gha Ghatitam Gharjharam Ghoora naadham!

Kam Kam Kam Kaala Paasam Dhruka Dhruka Dhrudhitham Jwaalitham Kaamadhaaham!

Tam Tam Tam divya Deham, PraNAMatha sathatham, BHAIRAVAM KSHETRA PAALAM!!!

 

Lam Lam Lam Lam Vadanatham la la la la Lalitham Dheergha Jihvaah KaraaLam!

Dhoom Dhoom Dhoom Dhoomra Varnam Sputa vikata mukham Bhaskaram Bheemaroopam,

Rum Rum Rum Roondamaalam, ravitha mahigatham thaamra netram karaalam!

Nam Nam Nam NagnaBhoosham , PraNA Matha sathatham, BHAIRAVAM KSHEThRA PAALAM!!!

 

Vam Vam vaayuveham natajana sadayam Brahma saaram paramtham

Kham Kham khadga hastam tribhuvana vilayam bhaskaram bheema roopam

Cham Cham chalitvaa chala chala chalitha chaalitam bhoomi chakram

Mam Mam maayi roopam pranamata satatam bhairavam kshethra paalam

 

Sham Sham Sham Shankha Hastam, Sasi kara dhavalam, Mooksha Sampoorna Tejam!

Mam Mam Mam Mam Mahaantam, Kula macula kulam Mantra Guptam Sunityam!

Yam Yam Yam Bhootanadham, Kili Kili Kalitham Baalakeli Pradhanam,

Aam Aam Aam Aantariksham , PraNA MATAM satatam, BHAIRAVAM KSHETRA PAALAM!!!

 

Kham Kham Kham Khadga Bhedam, Visha Mamruta Mayam Kaala Kaalam Karalam!

Ksham Ksham Ksham Kshepra Vegam, Daha Daha Dhanam, Tapta Sandeepya Maanam,

Houm Houm Houm Kaara Nadam, Prakatita Gahanam Garjitai Bhoomi Kampam,

Vam Vam Vam Vaala Leelam, PraNA MATAM satatam, BHAIRAVAM KSHETRA PAALAM!!!

 

Sam Sam Sam Siddhi Yogam, Sakala guna makham, Deva Devam Prasannam,

Pam Pam Pam Padmanabham, HariHara Mayanam Chandra SuryaAgni Nethram,

Aim Aim Aim AIshwarya naadham, Sathatha bhaya haram,Poorvadeva Swaroopam,

Roum Roum Roum Roudra Roopam, PraNamatha sathatham, BHAIRAVAM KSHETRA PAALAM!!!

 

Ham Ham Ham Hamsayaanam, Hapitakala Hakam, MuktaYogaatta haasam,

Dham Dham Dham Netra roopam, Siramukhuta Jataabandha BandhAagra Hastam!

Tam Tam Taankaa nadham, Trida salata la tam, Kaama Garvaapa Haram,

Bhrum Bhrum Bhrum BHootanadham, PraNA MATAM satatam, BHAIRAVAM KSHETRA PAALAM!!!

I'm a paragraph. Cli

http://www.academia.edu/3008801/Partially_Enumerating_Tibetan_Buddhism

The four absolute purities

The four activities

The four articles of a monk

The four attentions of calm abiding meditation The four attributes of the noble truth of suffering The four auspicious days of every month

The four branches of karma

The four branches of recitationThe four branches of the fourth level concentration The four branches of the second level of concentration The four castes of Hindu society

The four categories of a person on the paths

The four categories of scriptures on the monastic

discipline

The four causes of deceptive perception or knowledge

The four causes of ignorance

The four changeable mental factors

The four channel wheels

The four channel wheels

The four cities of the demi-gods

The four classes of awareness

The four classes of guests

The four classes of individual liberation vows

The four classes of tantra

The four close mindfulnesses

The four common transmissions

The four compendiums The four completion stage yogas

The four compulsive acquisitions the ve secondary

heinous non-virtues

The four conceptions to be abandoned on the peak

training of the path of seeing

The four conceptualizations

The four demonic forces of the cutting-off ritual The four devils

The four diamond-hard seats

The four direct perceptions

The four distinguishing features of Tantra

The four doors of downfalls

The four elements

The four empties

The four entrustments

The four entrustments

The four excellences

The four exclusive transmissions

The four external manadalas

The four extreme beliefs in inherent existence

The four extremes to be refuted

The four fearlessnesses

The four features characterizing the resultant truth body

of a Buddha

The four features of karma

The four features of the noble truth of the path The four features of the perfection of morality The four features of virtuous efforts

The four fetters

The four fruits of a trainee

The four great deeds of Je Tsong Khapa

The four great feasts

The four great festivals

The four great festivals of Buddha Sakyamuni The four great kings

The four great praises

0 The four great releases The four great wheels

The four gross evils

The four guardian goddesses

The four hundred and fourteen delusions to be

abandoned on the path of meditation The four immaculate merits

The four immeasurables

The four immeasurables

The four initiations of intuitive awareness The four initiations of the highest tantra The four intermediate aeons

The four interpretative sutras

The four interruptions

The four kinds of warriors

The four legs of Dharma

The four legs of miracles

The four levels of the form realm

The four levels of the path of preparation The four levels of the path of preparation The four limbs of the approaching retreat The four links of dependent origination The four mahamudra yogas

The four means of conversions

The four medicine tantras

The four minds of enlightenment preoccupied by faith

The four miraculous ways

The four misapprehensions

The four moral defeats

The four negative conducts

The four negativities

The four noble truths

The four noble truths

The four nominated ordained lay persons

The four objects of metal quiescent meditation

The four objects of pervasion

The four objects of pervasion The four opponent forces

The four ornaments

The four outer offering goddesses inside the madala

The four paths of a trainee

The four perfect abandonments

The four periods of endurance of this universe

The four pledges concerning Ratnasambhava Buddha

The four pledges of Aksobhya

The four positive types of pervasion

The four possible combinations

The four precepts of a monk

The four pre-eminent qualities of the Graded Path to

Enlightenment

The four primary colors

The four principles of thought transformation

The four propelled fruits within the twelve links of

interdependent origination

The four pure concentrations

The four pure meditative absorptions of the higher

realm

The four pure moral bases

The four purities

The four qualities of a disciple

The four qualities of concentration

The four qualities of the six perfections

The four qualities of wisdom

The four reliances

The four root commitments

The four root downfalls

The four root precepts

The four schools of philosophy

The four seals

The four seals according to the Yoga tantra system The four seals of Buddhist doctrine

The four seals of Dharma

The four session yoga

The four special qualities of secret mantra

The four speci c perfect understandings

The four states of existence

The four states of experiencing objects through six-fold

consciousnesses following the maturation of energy

channels

The four states of tantric experience

The four steps of vajra visualization

The four subtle evils

The four suchnesses according to action tantra The four supreme qualities

The four surpassing concentrations on colors The four Tathagatas

The four torrents

The four total purities

The four trainings

The four types of Aryas

The four types of birth

The four types of blessings

The four types of blessings

The four types of close retreat practices

The four types of concentration

The four types of contamination

The four types of contradictions

The four types of desire

The four types of differences

The four types of experiences

The four types of faith

The four types of followers

The four types of followers of Buddha

The four types of food

The four types of generality

The four types of instincts

The four types of lamps

The four types of lying

The four types of mandala offering

The four types of medicine The four types of meditative absorptions

The four types of mind of enlightenment

The four types of objects

The four types of obscurations

The four types of offerings

The four types of persons

The four types of puri ed phenomena

The four types of reasoning

The four types of retention power

The four types of substantial existence

The four types of suffering

The four types of thatnesses

The four types of the perfection of wisdom

The four types of uncollected phenomena

The four types of uni cation

The four types of Vidyadharas

The four types of virtuous activity

The four types of whispered lineages

The four Vedas

The four Vedas of Brahmins

The four vessels of the perfection of wisdom The four vital points

The four ways of explaining a tantric text The four ways of losing vows

The four wheels of the supreme vehicle The four white actions

The four wrong thoughts The four yogas

The four yogas of suchness The four-fold initiation

The four-fold methods

The four-fold Sangha members

ck here to add your own text and edit me. It's easy.

Siddhi-granthas

http://infogalactic.com/info/Advaita_Vedanta

Additionally there are four Siddhi-granthas that are taught in the Advaita-parampara, after study of the Prasthana-trayi:

 

Brahmasiddhi by Mandana Mishra (750–850),

Naishkarmasiddhi by Sureswara (8th century, disciple of Sankara),

Ishtasiddhi by Vimuktananda (1200),

Advaita Siddhi,[web 6] written by Madhusudana Saraswati - 1565-1665.

FOUR STAGES OF SELF CULTIVATION

http://infogalactic.com/info/Advaita_Vedanta

Traditional Advaita Vedanta centers around the study and what it believes to be correct understanding of the sruti, revealed texts, especially the Upanishads.[27][28] Correct understanding is believed to provide knowledge of the identity of atman and Brahman, which results in liberation. The main texts to be studied are the Upanishads, Bhagavad Gita and Brahma Sutras. Correct knowledge, which destroys avidya, psychological and perceptual errors,[29] is obtained by following the four stages of samanyasa (self-cultivation), sravana, listening to the teachings of the sages, manana, reflection on the teachings, and svādhyāya, contemplation of the truth "that art Thou".

SAMANYASA CULTIVATE FOUR QUALITIES

JNANA YOGA FOUR STAGES

http://infogalactic.com/info/Advaita_Vedanta

Jnana Yoga – Four stages of practice

Main article: Jnana Yoga

Classical Advaita Vedanta emphasises the path of Jnana Yoga, a progression of study and training to attain moksha.[56][57] It consists of four stages:[58][59][note 7]

 

Samanyasa or Sampattis,[60] the "fourfold discipline" (sādhana-catustaya), cultivating the following four qualities:[58]

Nityānitya vastu viveka (नित्यानित्य वस्तु विवेकम्) — The ability (viveka) to correctly discriminate between the real and eternal (nitya) and the substance that is apparently real, aging, changing and transitory (anitya).[58][59]

Ihāmutrārtha phala bhoga virāga (इहाऽमुत्रार्थ फल भोगविरागम्) — The renunciation (virāga) of petty desires that distract the mind (artha phala bhoga), willing to give up everything that is an obstacle to the pursuit of truth and self-knowledge.[59][61]

Śamādi ṣatka sampatti (शमादि षट्क सम्पत्ति) — the sixfold qualities,

Śama (mental tranquility, ability to focus the mind).[59][61]

Dama (self-restraint, the virtue of temperance).[59][61]

Uparati (dispassion, ability to be quiet and disassociated from everything;[59] "discontinuation of religious ceremonies"[61])

Titikṣa (endurance, perseverance, ability to be patient during demanding circumstances).[59][61]

Śraddhā (the faith in teacher and Sruti texts).[59]

Samādhāna (attention, intentness of mind).[59][61]

Mumukṣutva (मुमुक्षुत्वम्) — A positive longing for freedom and wisdom, driven to the quest of knowledge and understanding.[59]

Sravana, listening to the teachings of the sages on the Upanishads and Advaita Vedanta, studying the Vedantic texts, such as the Brahma Sutras, and discussions with the teacher;[58]

Manana, the stage of reflection on the teachings;[59]

Nididhyāsana, the stage of meditation on the truths and introspection.[59]

https://en.wikipedia.org/wiki/Four_Kumaras

The Kumaras are four sages (rishis) who roam the universe as children from the Puranic texts of Hinduism,[1][2] generally named Sanaka, Sanatana, Sanandana and Sanatkumara. They are described as the first mind-born creations and sons of the creator-god Brahma. Born from Brahma's mind, the four Kumaras undertook lifelong vows of celibacy (brahmacharya) against the wishes of their father. They are said to wander throughout the materialistic and spiritualistic universe without any desire but with purpose to teach.[1] All four brothers studied Vedas from their childhood, and always travelled together.[3]

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https://en.wikipedia.org/wiki/Swastika

The Arya Samaj is of the opinion that swastik is 'OM' written in the ancient Brahmi script.

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IMAGES OF DURGA ARE KNOWN FOR DRIPPING WITH BLOOD DUE TO HER KILLING- SHE PROTECTS HER FOUR CHILDREN

https://en.wikipedia.org/wiki/Durga_Puja

http://www.gettyimages.com/detail/photo/the-idol-of-goddess-durga-with-her-four-children-royalty-free-image/517081039

https://www.youtube.com/watch?v=6E1hr8jw2KU

The idol of Goddess Durga with her four children

Photograph taken during Durga Puja Ceremony at Kolkata, India. Durga Puja, the ceremonial worship of the mother goddess, is one of the most important festivals, is celebrated every year in the month of October with much gaiety and grandeur in India and abroad, especially in West Bengal, where the ten-armed goddess riding the lion and killing the Buffalo-Demon (Mahishasura) is worshipped with great passion and devotion. The tableau of Durga also features her four children - Kartikeya, Ganesha, Saraswati and Lakshmi.

asy.

DURGA FOUR DAY FESTIVAL PROTECTING HER FOUR CHILDREN

https://en.wikiquote.org/wiki/Durga

https://en.wikiquote.org/wiki/File:IdolofDurgaPooja.jpg

She [Durga] also takes on the role of mother in her later history. At her most important festival, Durga Puja, she is shown flanked by four deities identified as her children: Karttikeya, Ganesha, Sarasvati, and Lakshmi. - David Kinsley

She [Durga] also takes on the role of mother in her later history. At her most important festival, Durga Puja, she is shown flanked by four deities identified as her children: Karttikeya, Ganesha, Sarasvati, and Lakshmi.

http://gyansrajhans.blogspot.com/2009/08/ganeshas-potbelly-four-arms-and-mouse.html

GANESHA DIED BY GETTING HIS HEAD CUT OFF BY A TRISHUL BUT RESURRECTED (THE TRISHUL IS THE CROSS HE DIED BY THE CROSS)

 

Ganesha’s four arms represent the four main divisions of human consciousness: mind, intellect, ego and the emotional reactive process (Chiita in Sanskrit). Four arms also convey the idea of four directions symbolizing omnipresence and omnipotence of Lord Ganesha.

https://en.wikipedia.org/wiki/Ganesha

Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts

I DESCRIBED THERE ARE FOUR DENOMINATIONS OF HINDUS- ONE DENOMINATION WILL WORSHIP GANESHA ALONG WITH FOUR OTHER DEITIES IN A QUINCUNX PATTERN (A CROSS OF FIVE PARTS)--- GANESHA IS SAID TO REPRESENT THE AUM (THE AUM IS FOURFOLD AND THE AUM IS THE SWASTIKA) IT IS SAID THT HIS BODY IN HIS ICONS TAKES THE FORM OF THE AUM- AUM IS THE QUADRANT

https://en.wikipedia.org/wiki/Ganesha

Aum[edit]

Ganesha is identified with the Hindu mantra Aum, also spelled Om. The term oṃkārasvarūpa (Aum is his form), when identified with Ganesha, refers to the notion that he personifies the primal sound.[99] The Ganapati Atharvashirsa attests to this association. Chinmayananda translates the relevant passage as follows:[100]

 

(O Lord Ganapati!) You are (the Trinity) Brahma, Vishnu, and Mahesa. You are Indra. You are fire [Agni] and air [Vāyu]. You are the sun [Sūrya] and the moon [Chandrama]. You are Brahman. You are (the three worlds) Bhuloka [earth], Antariksha-loka [space], and Swargaloka [heaven]. You are Om. (That is to say, You are all this).

 

 

Ganesha (Devanagari) Aum jewel

Some devotees see similarities between the shape of Ganesha's body in iconography and the shape of Aum in the Devanāgarī and Tamil scripts.[101]

INDRAS ELEPHANT HAS FOUR TUSKS

THERE IS A FAMOUS TABLET WITH FOUR NAMES FROM VEDIC PANTHEON ONE IS INDRA- THERE ARE 64 INDRAS IN JAINA RELIGION- 64 IS FOUR QUADRANT MODEL 16

https://en.wikipedia.org/wiki/Indra

In the post-Vedic period, he rides a large, four-tusked white elephant called Airavata.[9] In sculpture and relief artworks in temples, he typically sits on an elephant or is near one. When he is shown to have two, he holds the Vajra and a bow.[66]

INDRAS ELEPHANT HAS FOUR TUSKS

THERE IS A FAMOUS TABLET WITH FOUR NAMES FROM VEDIC PANTHEON ONE IS INDRA- THERE ARE 64 INDRAS IN JAINA RELIGION- 64 IS FOUR QUADRANT MODEL 16

https://en.wikipedia.org/wiki/Indra

In the post-Vedic period, he rides a large, four-tusked white elephant called Airavata.[9] In sculpture and relief artworks in temples, he typically sits on an elephant or is near one. When he is shown to have two, he holds the Vajra and a bow.[66]

https://en.wikipedia.org/wiki/Vinayakas

The Vināyakas were a group of four troublesome demons who created obstacles and difficulties in Hindu mythology, but who were easily propitiated.[2] One theory of the origin of Ganesha is that he gradually came to prominence in connection with the Vināyakas.

In Puranic literature of a much later period the group of four Vināyakas was merged into one definite god named Vināyaka whom Rudra appointed as the "Leader of the Ganas" (Ganapati).[4] This Vināyaka-Ganapati is associated with another god called Dantin, "the one with the tusk," who is said to possess a twisted trunk (vakratuṇḍa) and who holds a corn-sheaf, a sugar cane, and a club.[5] This description of Dantin is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin."[6] The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras.

In the Smrti of Yājñavalkya, written in the 6th century, Vināyaka is definitely mentioned as a demon who had been exalted to the rank of a deva. He is clearly described as elephant-headed by the 8th century.

FOUR TEXTS

https://en.wikipedia.org/wiki/Kalpa_(Vedanga)#Grhya_Sutras

The Dharmasūtras are texts dealing with custom, rituals, duties and law. They include the four surviving written works of the ancient Indian tradition on the subject of dharma, or the rules of behavior recognized by a community. Unlike the later dharmaśāstras, the dharmasūtras are composed in prose.

KRISHNA IS CONSIDERED BY MANY TO BE THE SUPREME PERSONALITY OF GOD- THE HARE KRISHNA BELIEVE THAT KRISHNA IS THE SUPREME PERSONALITY OF GODHEAD- THE PURANA DEALING WITH KRISHNA AND HIS CONSORT RADHA IS DIVIDED INTO FOUR PARTS

https://en.wikipedia.org/wiki/Brahma_Vaivarta_Purana

 

The Brahmavaivarta Purana (Sanskrit: ब्रह्मवैवर्त पुराण, Brahmavaivarta Purāṇa) is a voluminous Sanskrit text and a major Purana (Maha-purana) of Hinduism.[1] It centers around Krishna and Radha, is a Vaishnavism text, and is considered one of the modern era Purana.[2][3][4]

 

The text has four Khandas (parts).[18]

 

Sections in Brahmavaivarta Purana[18][19]

Khanda Number Chapters About

Brahma 1 30 Brahma

Prakriti 2 67 Devi

Ganesha 3 46 Ganesha

Krishna 4 131 to 133 Radha, Krishna

Total 274 to 276 Krishna

https://en.wikipedia.org/wiki/File:9_Grid_Pitha_Mandala_Hindu_Temple_Floor_Plan_Vastu_Purusa_Mandala_Architecture.svg

https://en.wikipedia.org/wiki/Matsya_Purana

The text asserts square grid as ideal for a Hindu temple, discussing 8x8 squares grid mainly, but smaller 3x3 floor plan as well (above). The Matsya Purana in other chapters presents its theories on layout of towns and public works such as water reservoirs.[29][30]

https://en.wikipedia.org/wiki/File:9_Grid_Pitha_Mandala_Hindu_Temple_Floor_Plan_Vastu_Purusa_Mandala_Architecture.svg

https://en.wikipedia.org/wiki/Matsya_Purana

The text asserts square grid as ideal for a Hindu temple, discussing 8x8 squares grid mainly, but smaller 3x3 floor plan as well (above). The Matsya Purana in other chapters presents its theories on layout of towns and public works such as water reservoirs.[29][30]

FOUR YUGAS HINDUISM

https://en.wikipedia.org/wiki/Yuga

Yuga in Hinduism is an epoch or era within a four age cycle. A complete Yuga starts with the Satya Yuga, via Treta Yuga and Dvapara Yuga into a Kali Yuga. Our present time is a Kali Yuga, which started at 3102 BCE with the end of the Mahabharata war.

 

Contents [hide]

1 Four yugas

1.1 Characteristics of each Yuga

2 Durations of the four yugas

3 Decline

4 See also

5 Notes

6 References

7 Sources

7.1 Printed sources

7.2 Web-sources

8 External links

Four yugas[edit]

There are four Yugas in one cycle:

 

Satya Yuga

Treta Yuga

Dwapara Yuga

Kali Yuga

Characteristics of each Yuga[edit]

Satya Yuga (also known as Krita Yuga "Golden Age"): The first and best Yuga. It was the age of truth and perfection. The Krita Yuga was so named because there was but one religion, and all men were saintly: therefore they were not required to perform religious ceremonies. Humans were gigantic, powerfully built, honest, youthful, vigorous, erudite and virtuous. The Vedas were one. All mankind could attain to supreme blessedness. There was no agriculture or mining as the earth yielded those riches on its own. Weather was pleasant and everyone was happy. There were no religious sects. There was no disease, decrepitude or fear of anything. Human lifespan was 100,000 years and humans tended to have hundreds or thousands of sons or daughters. People had to perform penances for thousands of years to acquire Samadhi and die.[citation needed]

Treta Yuga: Is considered to be the second Yuga in order, however Treta means the "Third". In this age, virtue diminishes slightly. At the beginning of the age, many emperors rise to dominance and conquer the world. Wars become frequent and weather begins to change to extremities. Oceans and deserts are formed. People become slightly diminished compared to their predecessors. Agriculture, labour and mining become existent. Average lifespan of humans is around 1000-10,000 years.[citation needed]

Dvapara Yuga: Is considered to be the third Yuga in order. Dvapara means "two pair" or "after two". In this age, people become tainted with Tamasic qualities and aren't as strong as their ancestors. Diseases become rampant. Humans are discontent and fight each other. Vedas are divided into four parts. People still possess characteristics of youth in old age. Average lifespan of humans is around a few centuries.

Kali Yuga: The final age. It is the age of darkness and ignorance. People become sinners and lack virtue. They become slaves to their passions and are barely as powerful as their earliest ancestors in the Satya Yuga. Society falls into disuse and people become liars and hypocrites. Knowledge is lost and scriptures are diminished. Humans eat forbidden and dirty food and engage in unrestrained sinful sexual practices. The environment is polluted, water and food become scarce. Wealth is heavily diminished. Families become non existent. Average lifespan of people is barely 100 years, though, by the end of the Yuga, it will be as low as 20 years.[citation needed]

Durations of the four yugas[edit]

According to the Laws of Manu, one of the earliest known texts describing the yugas, the lengths are 4800 years + 3600 years + 2400 years + 1200 years, for a total of 12,000 years for one arc, or 24,000 years to complete the cycle, which is approximately one precession of the equinox. These 4 yugas follow a timeline ratio of (4:3:2:1).

 

According to Srimad Bhagavatam 3.11.19,[web 1] which is dated at 200 BCE-200CE, the Yugas are much longer, using a divine year in which one day is equal to one human year, thus:

 

one year of the demigods is equal to 360 years of the human beings. The duration of the Satya-yuga is therefore 4,800 x 360, or 1,728,000 years. The duration of the Tretā-yuga is 3,600 x 360, or 1,296,000 years. The duration of the Dvāpara-yuga is 2,400 x 360, or 864,000 years. [web 2]

 

The Viṣṇu Purāṇa Time measurement section of the Viṣṇu Purāṇa Book I Chapter III adds:

 

2 Ayanas (6-month periods, see above) = 1 human year or 1 day of the devas

12,000 divine years = 4 Yugas (= 4,320,000 human years) = 1 Mahā-Yuga (also is equal to 12,000 Daiva (divine) Yuga)

2*12,000 = 24,000 divine year = 12000 revolutions of sun around its dual

While the long yuga count is the most popular, it does not correlate to any known celestial motion found in the Astronomical Almanac. The value of 24,000 years fits relatively close with the modern astronomical calculation of one full precession of the equinox, which takes 25,772 years.[note 1] Thus the yuga cycle may have some basis in known terrestrial cycles. Srimad Bhagavatam 3.11.19 describes the timespans of the demigods, in which a year of a yuga is a year of the demigods. It is this second sloka which appears to have been modified over the years.

 

According to Brahma Kumaris, total duration of four yuga (stages of world cycle) is 5000 years, of which each yuga (stages of world cycle) is 1250 years.

 

Decline[edit]

The ages see a gradual decline of dharma, wisdom, knowledge, intellectual capability, life span, emotional and physical strength.

 

Satya Yuga:- Virtue reigns supreme. Human stature was 21 cubits. Average human lifespan was 100,000 years.

Treta Yuga: – There was 3 quarter virtue and 1 quarter sin. Normal human stature was 14 cubits. Average human lifespan was 10,000 years.

Dwapara Yuga: – There was 1 half virtue & 1 half sin. Normal human stature was 7 cubits. Average human lifespan was 1,000 years.

Kali Yuga: – There is 1 quarter virtue & 3 quarter sin. Normal human stature is 3.5 cubits. Average human lifespan will be 100 years.

In the present days we may be said to live in a Kali Yuga, which is said to have started in 3102 BCE[1] with the end of the Mahabharata war. This date is also considered by many Hindus to be the day that Krishna left Earth and went to his abode.[note 2]

THE LAST AVATAR OF SHIVA HAD FOUR DISCIPLES

https://en.wikipedia.org/wiki/Lakulisha

According to a tradition stated in the Linga Purana, Lakulisha is considered as the 28th and the last avatar of Shiva and the propounder of Yoga system. According to the same tradition, Lakulisha had four disciples, viz., Kaurushya, Garga, Mitra and Kushika. According to another tradition mentioned in the Avanti Khanda of the Skanda Purana, Lakulisha and his four disciples while passing Mahakalavana, installed a linga at that place, which was then known as Kayavarohaneshvara.[2] The Kurma Purana (Chap. 53), the Vayu Purana (Chap. 23), and the Linga Purana (Chap. 24) predicted that Shiva (Maheshvara) would appear in the form of a wandering monk called 'Lakulin' or 'Nakulisha', and that he would have four disciples named, Kushika, Garga, Mitra, and Kanrushya, who would re-establish the cult of Pashupati and would therefore be called Pashupata(s). Lakulisha was the fruition of these divine predictions. According to Vayu Purana V. 1.23.202-214, Lakulisha was a contemporary of Vyasa and Krishna, and was the 28th incarnation of Rudra (Shiva).

https://en.wikipedia.org/wiki/File:Lakulisha_Badami.jpg

Lakulisha among his four disciples Kusika, Garga, Mitra, and Kaurushya, rock-cut stone relief, Cave Temple No. 2 at Badami, Karnataka, Early Chalukya dynasty, second half of the 6th century CE

THE GARUDA PURANA TALKS ABOUT THE 64 GRID AND THE SECOND GRID IT TALKS ABOUT IS THE 16 SQUARE GRID FOR TEMPLES- 64 IS FOUR 16s 16 IS QMR

https://en.wikipedia.org/wiki/File:64_grid_Manduka_design_Hindu_Temple_Floor_Plan_Vastu_Purusa_Mandala_Ancient_Architecture.svg

https://en.wikipedia.org/wiki/File:64_grid_Manduka_design_Hindu_Temple_Floor_Plan_Vastu_Purusa_Mandala_Ancient_Architecture.svg

https://en.wikipedia.org/wiki/Garuda_Purana

The Garuda Purana includes chapters on the architecture and design of a temple.[25][26] It recommends that a plot of ground should be divided into 64 squares, with the four innermost squares forming the Chatuskon (adytum).[25] The core of the temple, states the text, should be reachable through twelve entrances, and the walls of the temple raised touching the forty eight of the squares.[25] The height of the temple plinth should be based on the length of the platform, the vault in the inner sanctum should be co-extensive with adytum's length with the indents therein set at a third and a fifth ratio of the inner vault's chord.[25] The arc should be half the height of pinnacle, and the text describes various ratios of the temple's exterior to the adytum, those within adytum and then that of the floor plan to the Vimana (spire).[25][26]

 

The second design details presented in the Garuda Purana is for a 16 square grid, with four inner squares (pada) for the adytum.[25] The text thereafter presents the various ratios for the temple design.[25] The dimensions of the carvings and images on the walls, edifices, pillars and the murti are recommended by the text to be certain harmonic proportions of the layout (length of a pada), the adytum and the spire.[25][26]

THERE ARE 16 GREAT NATIONS BUT ONE BUDDHIST TEXT ONLY MENTIONS 12 OMITTING THE LAST FOUR- THAT IS SIGNIFCANT- THE LAST FOUR IS THE FOURTH QUADRANT WHICH IS DIFFERENT

https://en.wikipedia.org/wiki/Mahajanapada

The Buddhist Anguttara Nikaya, at several places,[13] gives a list of sixteen great nations:

 

Anga

Assaka (or Asmaka)

Avanti

Chedi

Gandhara

Kashi

Kamboja

Kosala

Kuru

Magadha

Malla

Machcha (or Matsya)

Panchala

Surasena

Vriji

Vatsa (or Vamsa)

Another Buddhist text, the Digha Nikaya, mentions only the first twelve Mahajanapadas and omits the last four in the above list.[14]

I'm a paragraph. Click here to add your own text and edit me. It's easy.

The trishula symbolism is polyvalent and rich. The trishula is wielded by the Hindu God Shiva and is said to have been used to sever the original head of Ganesha. Durga also holds trishula, as one of her many weapons. There are many other gods and deities, who hold the weapon trishula.
It is fascinating that the Trishula was used to cut off the head of Ganesha, one of the main Gods worshipped in India, because Ganesha died and resurrected. The cross is used to kill Jesus, and he dies and resurrects. Similarly the Trishula kills Ganesha, and he dies and resurrects.

https://ocoy.org/original-yoga/glories-powers-om/

 

Here is more information on Om. Recall that according to the Yajurveda the Om is the swastika, and the sound of the Om has four parts to it.

The amount of material in the authoritative scriptures of India and the words of realized saints regarding Om, is truly surprising. Here I have arranged extracts from the scriptures as well as from Vyasa and Shankara, the two greatest authorities on the scriptures, to give an overview of the whole subject of Om in its various aspects. Om is God (Brahman) “Om is Brahman, the Primeval Being.” (Brihadaranyaka Upanishad 5.1.1) “That [Om] is the quintessence of the essences, the Supreme, the highest.” (Chandogya Upanishad 1.1.3) “I will tell you briefly of that Goal which all the Vedas with one voice propound, which all the austerities speak of, and wishing for Which people practice discipline: It is Om.” (Katha Upanishad 1. 2.15-17) “Om is the Supreme Brahman.” (Svetasvatara Upanishad 1:7) “The real nature of Brahman is identical with the Pranava.” (Svetasvatara Upanishad 2:8) “God is the Syllable Om.” (Svetasvatara Upanishad 4:17) “Om is Brahman.” (Taittiriya Upanishad 1.8.1) “Brahman is the Truth that is indicated as ‘Om.’” (Yoga Vashishtha 6:1:30) “The monosyllable Om is the highest Brahman.” (Manu Smriti 2:83,87) Om is both Saguna (With Form) and Nirguna (Without Form) Brahman It is commonly thought that Om is to be used only for meditation on the Formless Transcendent (Nirguna) Brahman, but the following show that, since Om encompasses both the Saguna and Nirguna aspects of Brahman, it can also be used for meditation on God With Form. Saguna and Nirguna are sometimes spoken of as “lower” or “lesser” and “higher.” “Om, indeed, is the Lower Brahman; this is, indeed, the Higher Brahman. Anyone who, meditating on Om, wishes either of the Two [aspects], by him that is attained. This [Om] is the best means [of attainment and realization]; this means is the Higher and Lesser Brahman.” (Katha Upanishad 1. 2.15-17) “OM is Brahman–both the conditioned and the unconditioned, the personal and the impersonal. By meditating upon it the wise man may attain either the one or the other.” (Prashna Upanishad 5.2) “Whether the unconditioned Brahman or the conditioned Brahman, the Syllable Om becomes a means of realizing It. For another scripture has it, ‘The Syllable Om is the higher and lower Brahman.’” (Shankara, Commentary on the Brihadaranyaka Upanishad) “Om is both the higher and the lesser Brahman.” (Shankara, Commentary on the Mandukya Karika) Om is the True Name of God “Om is the Name of the Supreme Lord.” (Shankara, Commentary on the Yoga Sutras) Om unites us with God (Brahman) “Om is the Supreme Brahman…. The knowers of Brahman by knowing what is therein [in the all-containing Om] become merged in Brahman.” (Svetasvatara Upanishad 1:7) “He who utters Om with the intention ‘I shall attain Brahman’ does verily attain Brahman.” (Taittiriya Upanishad 1.8.1) “The holy word, Om bestows the highest state.” (Yoga Vashishtha 5:54) Om is the key to our spirit (atman) “He obtains wishes by singing [intoning], who knowing this, meditates on the udgitha [Om] as the syllable. This, with regard to the self.” (Chandogya Upanishad 1.2.14) Lest we misunderstand and think that Om is to be employed to fulfill just any desire or whim, in this verse the sage informs us that the “wishes” gained through meditation on Om are those relating to the self, the immortal spirit; that those who have lost the consciousness of the self shall regain it through Om meditation. “The Self [atman] is of the nature of the Syllable Om.” (Mandukya Upanishad 1.8.12) Om is the essence of the evolutionary solar energies The life-producing energies of the sun are the energies of Om. Om is the sun of body, mind, and spirit, the Life-Giver of all. All plant, animal, and human life on this planet depends upon the sun. It is the subtle powers of sunlight which stimulate growth and evolution. The sun truly awakens us in the deepest sense. As the germinating seed struggles upward toward the sun and out into its life-giving rays, so all higher forms of life reach out for the sun, which acts as a metaphysical magnet, drawing them upward and outward toward ever-expanding consciousness. Sunlight is the radiant form of Om. The sun initiates the entire solar system into Om. Human beings are solar creatures, therefore to intone Om is the most natural thing they can do. “Now, verily, what is the udgitha is the Om. What is Om is the udgitha. And so verily, the udgitha is the yonder sun and the Om, for the sun is continually sounding ‘Om.’” (Chandogya Upanishad 1.5.1) The most significant part of this verse is the statement that “the sun is continually sounding ‘Om,’” indicating that the evolutionary energy of the sun is a manifestation of Om. Our life depends on the light of the sun, thus our life is also a manifestation of the power of Om. The japa and meditation of Om aligns us with the solar powers that are Om and thereby greatly increase our life force and the evolution of all the levels of our being. “Even as a great extending highway runs between two villages, this one and that yonder, even so the rays of the sun go to both these worlds, this one and that yonder. They start from the yonder sun and enter into the nadis [astral “nerves”]. They start from the nadis and enter into the yonder sun. …When a man departs from this body, then he goes upwards by these very rays or he goes up with the thought of Om. As his mind is failing, he goes to the sun. That, verily, is the gateway of the world, an entering in for the knowers, a shutting out for the non-knowers.” (Chandogya Upanishad 8.6.2,5) The solar rays do not just flow into this world, they also draw upward through the sun and beyond. In the human body the process of exhalation and inhalation is related to solar energy, and much of the solar power on which we subsist is drawn into the body through our breathing. The solar rays do not just strike the surface of our body, but actually penetrate into the physical nerves. Just as the electrical impulses flow through the physical nerves, the subtle life force, or prana, flows through the subtle nadis and keeps us alive and functioning. The prana, then, is a vehicle for the solar energies that produce evolution, and so we join Om to our breathing and merge it into the pranic flow. This practice conditions our subtle levels so that at the time of death we will be oriented toward the solar powers and can ascend upon them–especially if we continue our intonations of Om even after the body has been dropped. Those intonations will guarantee our ascent into the solar world. Those who have imbued themselves with the pranavic vibrations will enter through the solar gate, whereas those who have not done so will be shut out by it and compelled to return to earthly rebirth. Om produces peace and harmony “Only Its [Om’s] knowers sit here in peace and concord.” (Rig Veda I.164.39) “My heart is established in the peace indicated by the resonance of Om.” (Yoga Vashishtha 5:87) “He should repeat Om till the mind gains perfect peace.” (Yoga Vashishtha 6:1:128) Om liberates us at the time of death “At the time of departure from this world, remember Om.” (Yajur Veda 40:15) “Then Satyakama, son of Shibi, asked him [the Rishi Pippalada]: ‘Venerable Sir, what world does he who meditates on Om until the end of his life, win by That?’ To him, he said: ‘If he meditates on the Supreme Being [Parampurusha] with the Syllable Om, he becomes one with the Light, the Sun. He is led to the world of Brahman. He sees the Person that dwells in the body, Who is higher than the highest life. …That the wise one attains, even by the mere sound Om as support, That Which is tranquil, unaging, immortal, fearless, and supreme.” (Prashna Upanishad 5:1,5,7) “Having confined the mind in the heart and…engaged in the practice of concentration, uttering the one-syllabled Om–the Brahman–and remembering Me, he who departs, leaving the body, attains to the Supreme Goal.” (Bhagavad Gita 8:12-14) “The soul, when it departs from the body, goes upward by meditating on the Self with the help of Om as he did while living.” (Shankara, Commentary on the Chandogya Upanishad) Om delivers us from rebirth (samsara) “Om is the Supreme Brahman…. The knowers of Brahman by knowing what is therein [in the all-containing Om] become merged in Brahman, intent thereon [i.e., on Om] and freed from birth.” (Svetasvatara Upanishad 1:7) “By means of the boat of Om that is Brahman one crosses over [samsara, the ocean of birth and death]. The idea is that by controlling the senses through Om the enlightened person should cross over the currents of the river of transmigration with the help of that Om.” (Shankara, Commentary on the Svetasvatara Upanishad) Om conquers fear “One should concentrate one’s mind on Om, for Om is Brahman beyond fear. For a man, ever fixed in Brahman, there can be no fear anywhere.” (Gaudapada [the teacher of Shankara], Mandukya Karika 25) “One should concentrate the mind on Om, Which is essentially the supreme Reality, for Om is Brahman beyond fear, because for one who is ever fixed in It, there can be no fear anywhere, in accordance with the Vedic text, ‘The enlightened man is not afraid of anything.’” (Shankara, Commentary on the Mandukya Karika) Om contains–and confers–all states of consciousness “[The turiyatita state] is the Eternal, beyond the eternal and the transient; it is a pure mass of consciousness. In it there is no question of diversity. It is all, it is supreme blessedness and peace, it is beyond expression. It is purest Om. It is transcendent. It is supreme.” (Yoga Vashishtha 6:1:34) Om confers all true and worthwhile knowledge “Through it [Om] one knows what is to be known.” (Brihadaranyaka Upanishad 5.1.1) “By this [Om] does the threefold knowledge proceed.” (Chandogya Upanishad 1.1.6-10. “The threefold knowledge” may be interpreted as being knowledge of body, mind, and spirit, knowledge of the physical, astral, and causal worlds, knowledge of the threefold Vedas, or knowledge of the Three Eternals: God, Creation, and Souls. Whichever it might be, it is certain that Om is the basis of such knowledge. In other places we see that to know Om is to know the Veda.) Om bestows immortality “One should meditate on the udgitha as this syllable [Om]….This sound is that syllable, the immortal, the fearless. Having entered this, the gods became immortal, fearless. He who knows it thus, praises this Syllable, takes refuge in that Syllable, in the immortal, fearless sound, and having entered it, he becomes immortal, even as the gods became immortal.” (Chandogya Upanishad 1.4.1-5) “This [Om] is the bridge to immortality.” (Mundaka Upanishad 2.2.5) “Because Om is the symbol of the Supreme Self it is the cause of immortality.” (Shankara, Commentary on the Chandogya Upanishad) Om removes all obstacles “From it [Om] comes the disappearance of obstacles.” (Yoga Sutras of Patanjali) Om is the supreme mantra “This [Om] is the best means [of attainment and realization]; this means is the Higher and Lesser Brahman. Meditating on Om, one becomes worthy of worship in the world of Brahman.” (Katha Upanishad 1. 2.15-17) “Om, being so important, should be used as a means to self-realization. If it is used as a means to realization, the entire Vedas are practically used.” (Shankara, Commentary on the Brihadaranyaka Upanishad) “One should meditate on the syllable Om, which is the Udgitha. This syllable, Om, as the Name of the Supreme Reality, is nearest to Him; when It is used He surely becomes gracious just as a man becomes so when his favorite name is used. …It is a symbol [indicator] of the Supreme Self (Paramatma). Thus it is known in all the Upanishads that Om, as a name and as a symbol, holds the highest position of being an aid to the meditation of the Supreme Self. …The syllable Om is the inmost essence of all essences. It is supreme because of Its being the symbol of the Supreme Self. It is competent to be worshipped as the Supreme Self. It is competent to take the place of the Supreme Self since It is to be worshipped like the Supreme Self.” (Shankara, Commentary on the Chandogya Upanishad) “Om being beyond measures is Turiya, It has infinite dimension and Its extent cannot be determined. It is auspicious and holy because of the negation of all duality. He who knows Om is a sage because of his meditating on the Supreme Reality, and not any other man, though he may be learned in the scriptures.” (Shankara, Commentary on the Mandukya Karika) Om is the foremost object of meditation “Dismiss other utterances. This [Om] is the bridge to immortality.” (Mundaka Upanishad 2.2.5) “The monosyllable Om is the highest Brahman. …Undoubtedly a Brahmin reaches the highest goal by japa of Om alone, whether he performs other rites or neglects them.” (Manu Smriti 2:83,87) “Having known Om, one should not think of anything whatsoever [but Om].” (Gaudapada, Mandukya Karika 24) “Om is surely the lower Brahman; and Om is considered to be the higher Brahman. Om is without cause, and without inside and outside; and It is undecaying. Om is indeed the beginning, middle, and end–everything. Having known this way indeed one attains immediately. One should know Om to be God seated in the hearts of all. Meditating on the all-pervasive Om, the intelligent man grieves no more. The Om, without measures and possessed of infinite dimension, is the auspicious entity where all duality ceases. He by whom Om is known, is the real sage, and not so is any other man.” (Gaudapada, Mandukya Karika 24,26-29) “When the syllable Om is known, one should not think of anything whatsoever, serving any seen or unseen purpose; for he has got all his desires fulfilled.” (Shankara, Commentary on the Mandukya Karika) “Om is used to serve as a means to the meditation on Brahman. As other scriptures say, ‘This is the best help (to the realization of Brahman) and the highest.’…‘One should concentrate on the Self, uttering Om.’ [Mahanarayan Upanishad 24:1] ‘One should meditate upon the Supreme Being only through the Syllable Om.’ [Prashna Upanishad 5:5] ‘Meditate upon the Self with the help of the Syllable Om.’ [Mundaka Upanishad 2.2.6] And so on. Although the words ‘Brahman,’ ‘Atman,’ etc. are names of Brahman, yet on the authority of the scriptures we know that Om is Its most intimate appellation. Therefore it is the best means for the realization of Brahman.” (Shankara, Commentary on the Brihadaranyaka Upanishad) Om should be intoned in time with the breath “Speech and breath are joined together in the Syllable Om.” (Chandogya Upanishad 1.1.6) Both speech and breath are manifested and reunited in Om–both in speaking Om aloud and in mentally intoning it in time with the breath. Om is the point of their origin and their return. By joining Om and the breath in japa and meditation we begin moving back to the state where they are one. “One should meditate on the breath in the mouth as the udgitha, for it is continually sounding ‘Om.’” (Chandogya Upanishad 1.5.3) In both japa and meditation we join intonations of Om to the breath because on the subtle levels the breath is always producing the sound of Om. We can even say that the soul breathes Om. So by consciously joining Om to our breathing we can link up with our soul-consciousness and enter into it. This is what is happening when during meditation our intonations of Om become more subtle and whisper-like, and from soul-consciousness we will pass into spirit-consciousness–all through Om. Om is (and accomplishes) the highest pranayama “Pranayama is accomplished by effortlessly breathing and joining to it the repetition of the sacred Om with the experience of Its meaning, when the consciousness reaches the deep sleep state.” (Yoga Vashishtha 5:78) Om is the Sound that leads to Silence “I abandon all thoughts and notions; contemplating Om, I shall remain in the self, in total inner silence.” (Yoga Vashishtha 5:81) The idea is not that after some time in meditation we simply sit, silent and blank, but rather that the inner intonations of Om become increasingly subtle until they pass beyond sound into an actual silent form–not the mere cessation of repetition–that is the state (stithi) of Om, from which all sounds arise: the bhava of Om. Om transforms us into divinity “This is the udgitha [Om], highest and best. This is endless. He who, knowing this, meditates on udgitha, the highest and best, becomes the highest and best and obtains the highest and best worlds. When Atidhanvan Shunaka taught this udgitha to Udara Sandilya, he also said: ‘As long as they shall know this udgitha among your descendants, so long their life in this world will be the highest and best.’ And so will their state in that other world be. One who thus knows and meditates–his life in this world becomes the highest and best, and so his state in that other world, yea, in that other world.’” (Chandogya Upanishad 1.9.2-4. “Highest and best” is an upanishadic title for God.) - See more at:

https://en.wikipedia.org/wiki/Mahamudra

 

Four yogas[edit]

Mahāmudrā is sometimes divided into four distinct phases known as the four yogas of mahāmudrā (S. catvāri mahāmudrā yoga, Wylie: phyag rgya chen po'i rnal 'byor bzhi). They are as follows:[17]

 

one-pointedness (S. ekāgra, T. rtse gcig)

simplicity (S. niṣprapāncha, T. spros bral) "free from complexity" or "not elaborate."

one taste (S. samarasa, T. ro gcig)

non-meditation (S. abhāvanā, sgom med) The state of not holding to either an object of meditation nor to a meditator. Nothing further needs to be 'meditated upon' or 'cultivated at this stage.[note 2]

These stages parallel the four yogas of Dzogchen semde.

FOUR SYLLABLE TRADITION

https://en.wikipedia.org/wiki/Mahamudra

The Dagpo Kagyu "Four Syllables" tradition - This is the tradition that derives from Matripa. The four syllables are a-ma-na-si which comprise the Sanskrit word meaning 'not to take to mind' and passed through the Dagpo Kagyu branches, i.e. any that descend from the teachings of Tilopa rather than those of Niguma, which in practice means all but the Shangpa Kagyu.

FOUR HEROES FOUR CLANS

According to medieval legends, there are four Agnivanshi clans: Chauhans (Chahamanas), Parihars (Pratiharas), Parmars (Paramaras) and Solankis (Chaulukyas).[1][a]

https://en.wikipedia.org/wiki/Agnivansha

One day, Agastya, Gautama, Vashistha, Vishwamitra and other great sages started a major sacrificial ceremony on Arbuda (Mount Abu). The demons interrupted this ceremony by polluting it with flesh, blood, bones and urine. To get rid of these demons, Vashistha performed a homa ritual (fire offering) . This led to the appearance of a hero named Pratihara ("door-keeper"), whom Vashistha placed on the road leading to the palace. After this, a hero named Chalukka appeared from the hollowed palm (chalu) of Brahma. Next, a third hero appeared whom the sage named Pavara (or Para-mara, "slayer of the enemy"). However, these three heroes were not able to stop the demons. Vashistha then dug up a new yajna-kunda (fire pit), and made another offering to the fire, to conjure up a new hero. This four-armed hero held a sword, a shield, a bow and an arrow. Vashistha named him Chahavana (Chauhan), coronated him with Vedic hymns, and then ordered him to fight the demons. The sage also requested the goddess Ashapura to help the hero. Chahuhvana killed the demon Yantraketu, while the goddess killed the demon Dhumraketu. On seeing this, the other demons fled. Pleased with Chahuvana's bravery, the goddess agreed to be his family deity. Prithviraj Chauhan, the hero of Prithiviraj Raso, was born in this family.

 

Prithviraj Raso is the earliest source that includes four different Rajput dynasties (not just the Paramaras) in this legend. Scholars such as Dasharatha Sharma and C. V. Vaidya, who analyzed the earliest available copies of Prithviraj Raso, concluded that its original recension did not contain this legend at all.[10] The earliest extant copy of Prithviraj Raso, dated to 15th century, contains only one sentence regarding the origin of Chauhan dynasty: it states that Manikya Rai was the first valiant Chauhan, and he was born from Brahma's sacrifice.[11] R. B. Singh believes that the 16th century poets came up with the legend to foster Rajput unity against the Mughal emperor Akbar.[12]

 

Parashurama slaughtered Kshatriyas (warriors) 21 times. The only escapees were those who disguised themselves as women, those who fled leaving behind their swords and those who fell at his feet. The absence of any warriors led to a dark age, where rakshasas (demons) increased in number, Vedas came to be trampled under feet, and Hinduism was forgotten. The sages then visited Parashurama's cave on Mount Abu. There, all the gods, men and nāgas assembled and came up with a plan to destroy the demons. Vashistha erected a fire altar and worshipped Shiva, who appeared before the sages. But the demons disrupted the ceremony by throwing impurities like blood, flesh and garbage on the altar. Twenty sages, including their leader Vashistha, then invoked Brahma and Shiva. They erected a new altar and conducted a fresh ceremony, singing hymns from the Sama Veda. Following this, four sword-bearing warriors emerged from the fire pit, and defeated the demons. Parashurama and Shakti blessed the newly created heroes. Chohan, one of the heroes, was four-armed. The sage Bhrigu told him that he would be protected by the goddess Shakti in his endeavours to kill the demons. The goddess protected Chohan from all dangers: every time he fell at her feet, his strength doubled and he was able to slay the demons. The goddess came to be known as Ashapuri because she fulfilled the hopes ("asha") of the sages.

 

A slight variation occurs in the writings of Surya Malla Mishrana, the court poet of Bundi. In this version, the various gods create the four heroes on Vashistha's request.[14] According to the bardic tale of the Khichi clan of Chauhans, the Parwar (Paramara) was born from Shiva's essence; the Solankhi (Solanki) or Chaluk Rao (Chaulukya) was born from Brahma's essence; the Pariyar (Parihar) was born from Devi's essence; and the Chahuvan (Chauhan) was born from the fire.[15] The myth also appears with some variations in the Sisana inscription of the Chauhans of Bedla, and the Khyat of Nainsi.[16]

 

The Bhavishya Purana, some of whose portions date as late as the 19th century, also contains the legend with some variations. In this version, the Kanyakubja Brahmins conducted a sacrifice on Mount Abu to appease Brahma. The recital of the Vedic mantras produced four Kshatriya heroes: Samavedin Paramara, Yajurvedin Chahumana (Chauhan), Trivedin Shukla and Atharvavedin Parihara (Pratihara).[18][6]

FOUR HEROES THE FOURTH DIFFERENT- SLAYED THE DEMON

https://en.wikipedia.org/wiki/Chauhan

These were Parihar (Pratiharas), Chaluk (Chaulukya or Solanki), and Parmar (Paramara). These heroes were unable to defeat the demons. So, the sages prayed again, and this time a fourth warrior appeared: Chahuvana (Chauhan). This fourth hero slayed the demons.[9][10]

 

The earliest available copies of Prithviraj Raso do not mention the Agnivanshi legend.[11] It is possible that the 16th-century bards came up with the legend to foster Rajput unity against the Mughal emperor Akbar.[12] Adaptions of the Prithviraj Raso occur in several later works. The Hammira Raso (1728 CE) by Jodharaja, a court poet of prince Chandrabhana of Neemrana, states that once the Kshatriyas (warriors) became extinct. So, the great sages assembled at Mount Abu and created three heroes. When these three heroes could not defeat the demons, they created Chahuvanaji.[13] A slight variation occurs in the writings of Surya Malla Mishrana, the court poet of Bundi. In this version, the various gods create the four heroes on Vashistha's request.[14] According to the bardic tale of the Khichi clan of Chauhans, the Parwar (Paramara) was born from Shiva's essence; the Solankhi (Solanki) or Chaluk Rao (Chalukya) was born from Brahma's essence; the Pariyar (Parihar) was born from Devi's essence; and the Chahuvan (Chauhan) was born from Agni, the fire.[15]

THE UPANISHAD TALKS ABOUT THE FOUR FOOTS OF THE GAYATRI MANTRA

http://veda.wikidot.com/gayatri-mantra

Four 'foots' of the Gayatri

 

Brahadaranyaka Upanisad 5.14.5 …

 

This verse talks about the unbounded wealth contained within the four 'foots' of the Gayatri Mantra.

 

The first foot (aum bhur bhuvah svaha) is said to be equivalent to the wealth contained in the three worlds put together.

The second foot (tat savitur varenyam) is said to be equivalent to the wealth contained in the three main vedas.

If one were to receive a gift extending as far as there are living beings, that would equal the third foot (bhargo devasaya dheemahi).

The fourth foot (dheeyo yo nah prachodyaat) is based on the glory of the sun, whose power and wealth remains unequaled and unrivaled. Hence, there is no amount of wealth that can equal the fourth foot of the Gayatri!

FOUR DAUGHTERS

https://en.wikipedia.org/wiki/Gayatri_Rajapatni

Gayatri was raised as a princess in Tumapel palace, Kutaraja, the capital of Singhasari kingdom, East Java. Her name derived from Gayatri, the Hindu goddess personification of hymn and mantras. She was the youngest daughter of King Kertanegara. Her siblings are Tribhuwaneswari the oldest, Prajnaparamitha, and Narendra Duhita. Kertanegara did not have any son as his heir, instead he has four daughters, dubbed as the four Princesses of Singhasari.

TRIDENT IS CROSS- BOON NOT TO GET KILLED BY TWO OR FOUR LEGGED CREATURES

https://en.wikipedia.org/wiki/Arunasura

In Hindu mythology, Arunasura was a demon, killed by Goddess Durga in the form of Bhramari Devi, who had attained the boon from Lord Brahma of not getting killed by any two- or four-legged creatures.

 

Parvati then grew to massive size, having four hands holding a mace, trident, longsword and shield

FOUR PADAS OF ELEVEN SYLLABLES

https://en.wikipedia.org/wiki/Tristubh

Tristubh is the name of a Vedic meter of 44 syllables (four padas of eleven syllables each), or any hymn composed in this meter. It is the most prevalent meter of the Rigveda, accounting for roughly 40% of its verses.

 

The tristubh pada contains a "break" or caesura, after either four or five syllables, necessarily at a word-boundary and if possible at a syntactic break, followed by either three or two short syllables. The final four syllables form a trochaic cadence. For example RV 2.3.1:

 

a sámiddho agnír níhitaḥ pṛthivyâm

b pratyáṅ víśvāni bhúvanāniy asthāt

c hótā pāvakáḥ pradívaḥ sumedhâ

d devó devân yajatuv agnír árhan

"Agni is set upon the earth well kindled / he standeth in the presence of all beings. / Wise, ancient, God, the Priest and Purifier / let Agni serve the Gods for he is worthy." (trans. Griffith; note that the translator attempts to imitate the meter in English)

Is to be read metrically as

 

a υ----,υυ|-υ-x

b ----υ,υυ|-υ-x

c ---υ-,υυ|-υ-x

d ----,υυυ|-υ-x

with , marking the caesura and | separating the cadence:

 

a sámiddho agnír , níhi|taḥ pṛthivyâm

b pratyáṅ víśvāni , bhúva|nāni asthāt

c hótā pāvakáḥ , pradí|vaḥ sumedhâ

d devó devân , yajatu | agnír árhan

The Avesta has a parallel stanza of 4x11 syllables with a caesura after the fourth syllable.

 

Tristubh verses are also used in later literature, its archaic associations used to press home a "Vedic" character of the poetry. The Bhagavad Gita, while mostly composed in shloka (developed from the Vedic Anustubh[1]) is interspersed with Tristubhs, for example in the passage beginning at chapter 11, verse 15, when Arjuna begins speaking in Tristubhs.

https://en.wikipedia.org/wiki/Thai_temple_art_and_architecture

CRUCIFORM CROSS SHAPED

 

Mondop (Thai: มณฑป) - A mondop is a specific square or cruciform based building or shrine, sometimes with a spired roof within a Thai Buddhist temple or temple complex. It is a ceremonial structural form that can be applied to several different kinds of buildings. It can house relics, sacred scriptures or act as a shrine. Unlike the mandapa of Khmer or Indian temple, which are part of a larger structure, the Thai mondop is a free-standing unit.

THE BUILDING IS A QUADRANT- CRUCIFORM

https://en.wikipedia.org/wiki/File:Somapura.JPG

The quadrangular structure consists of 177 cells and a traditional Buddhist stupa in the centre. The rooms were used by the monks for accommodation and meditation. In addition to the large number of stupas and shrines of various sizes and shapes, terracotta plaques, stone sculptures, inscriptions, coins, ceramics etc. have been discovered.

 

It is is strongly reminiscent of Buddhist temples of Burma, Java and Cambodia, reproducing the cruciform basement, terraced structure with inset chambers and gradually dwindling pyramid form ... during the age of the Palas some sort of intercourse between eastern India and south-east Asia existed ... but how this temple type, represented in India by this solitary example, became the standard of Buddhist temple architecture is not known."[

16 SYLLABLES

DATTATREYA UPANISHAD HIGHEST MANTRA IS SIXTEEN SYLLABLED MANTRA OF DATTATREYA

 

https://en.wikipedia.org/wiki/Dattatreya_Upanishad

 

The text says that "Dattatreyaya" stands for Satcitananda (literally "being, consciousness, bliss"), while namah denotes Bliss. This is followed by the twelve-syallabled and sixteen-syllabled mantras of Dattatreya, "Om Aam Hrim Krom Ehi Dattatreya svaha" and "Om Aim Krom Klim Klaum Hram Hrim Hraum Sauh Dattatreyaya svaha" respectively.

DATTATREYA'S SIXTEEN AVATARS SIXTEEN SQUARES QMR

 

Bhagwan Dattatreya's Sixteen Avatars

 

https://www.shrisaibabasansthan.org/new_eng%20template_shirdi/shri%20saibaba%20trust/saileela/saileela%20Nov.Dec_2003/page25.html

Bhagwan Shri Dattatreya is known as Avinashi (non-destroyable), Siddharaj, Yogiraj etc. He has been ever advising and guiding his devotees in the worldly and spiritual affairs, yogasadhana and devotion to God. He had many Avatars from Vedic times to date. Of these, sixteen Avatars are regarded as the chief ones. ‘Shri Gurucharitra’ is a great volume in Marathi in ovi form, which depicts the life-mission of Shripad Shri Vallabha and Shri Narsinha Saraswati, the two Avatars of Datta which took place in the Kaliyug. In the fourth chapter of this volume, the account of the birth of Shri Datta under the parentage of Atri-Anasuya in Krityug has been given. This is the fifth Avatar amongst the above mentioned sixteen Avatars. The celebration of the birth days of the sixteen Avatars of Shri Datta, was introduced at Ambejogai (Marathwada), Maharashtra by Shri Datta’s great favourite devotee Shri Dasopant. This was recorded by the revered Vasudevanand Saraswati, another great devotee of Shri Datta and he wrote in Sanskrit ‘Shri Dattatreya Shodash Avatar Jayanti Kalp’. Mahamahopadhyaya Pandit Pandurang-shastri Goswamy has written a most erudite precious volume ‘Dattopasana Kalpadrum’ in Marathi to depict all the information about Shri Dattatreya from Vedic times.

 

Hence it can be really called ‘An Encyclopedia’ of Shri Datta. It has five parts and the fourth part depicts elaborately the biographies of sixteen Avatars of Shri Datta, based on the Sanskrit script of revered Vasudevanand Saraswati. The devotees of Shri Datta may keenly desire to know about these Avatars and so I am attempting to give this account in brief.


DATTATREYA'S SIXTEEN AVATARS SIXTEEN SQUARES QMR

 

Bhagwan Dattatreya's Sixteen Avatars

 

https://www.shrisaibabasansthan.org/new_eng%20template_shirdi/shri%20saibaba%20trust/saileela/saileela%20Nov.Dec_2003/page25.html

Bhagwan Shri Dattatreya is known as Avinashi (non-destroyable), Siddharaj, Yogiraj etc. He has been ever advising and guiding his devotees in the worldly and spiritual affairs, yogasadhana and devotion to God. He had many Avatars from Vedic times to date. Of these, sixteen Avatars are regarded as the chief ones. ‘Shri Gurucharitra’ is a great volume in Marathi in ovi form, which depicts the life-mission of Shripad Shri Vallabha and Shri Narsinha Saraswati, the two Avatars of Datta which took place in the Kaliyug. In the fourth chapter of this volume, the account of the birth of Shri Datta under the parentage of Atri-Anasuya in Krityug has been given. This is the fifth Avatar amongst the above mentioned sixteen Avatars. The celebration of the birth days of the sixteen Avatars of Shri Datta, was introduced at Ambejogai (Marathwada), Maharashtra by Shri Datta’s great favourite devotee Shri Dasopant. This was recorded by the revered Vasudevanand Saraswati, another great devotee of Shri Datta and he wrote in Sanskrit ‘Shri Dattatreya Shodash Avatar Jayanti Kalp’. Mahamahopadhyaya Pandit Pandurang-shastri Goswamy has written a most erudite precious volume ‘Dattopasana Kalpadrum’ in Marathi to depict all the information about Shri Dattatreya from Vedic times.

 

Hence it can be really called ‘An Encyclopedia’ of Shri Datta. It has five parts and the fourth part depicts elaborately the biographies of sixteen Avatars of Shri Datta, based on the Sanskrit script of revered Vasudevanand Saraswati. The devotees of Shri Datta may keenly desire to know about these Avatars and so I am attempting to give this account in brief.

SIXTEEN KALAS RAYS

http://www.thekundaliniyoga.org/hindu_gods/shridattaguru/3_dattaavatars_avatars_of_shri_datta_guru.aspx

The power that various Avatars have differs greatly. God sometimes incarnates with full powers and sometimes a smaller portion of his glory depending on the purpose (Visit Dashavatar). The Lord’s manifestation in His Avatars ranges from nine to sixteen digits or rays (called Kalas). The full or Purna Avatars are those in whom all sixteen rays are present. Purna means it is complete in all respects. From their birth till returning back to Vaikuntha. A Poorna Avatar is one where the avatar is fully conscious, simultaneously about his Jiva form, his God form and his Turiya (Brahm) form, even at the time of their birth.

16 HANDS 16 SQUARES QMR

https://en.wikipedia.org/wiki/Chandi

As Purnachandi, she is visualized as both the essence as well as transcendence i.e. the Brahman; who is beyond Laghu Chandika, who is of the combined form of Parvati, Lakshmi and Saraswati as represented in Durga Saptashati of Markandeya Purana. As Purnachandi, she sports with her sixteen hands, sword, arrow, spear, shakti, chakra, mace, rosary, kartarI, phalaka, karmuka, nagapasha, axe, damaru, skull, boon jesture and protection jesture.[20]


16 HANDS 16 SQUARES QMR

https://en.wikipedia.org/wiki/Chandi

As Purnachandi, she is visualized as both the essence as well as transcendence i.e. the Brahman; who is beyond Laghu Chandika, who is of the combined form of Parvati, Lakshmi and Saraswati as represented in Durga Saptashati of Markandeya Purana. As Purnachandi, she sports with her sixteen hands, sword, arrow, spear, shakti, chakra, mace, rosary, kartarI, phalaka, karmuka, nagapasha, axe, damaru, skull, boon jesture and protection jesture.[20]

THE TEXT LISTS SIXTEEN OBSERVANCES WHICH LEAD TO BONDAGE- 16 SQUARES QMR

https://en.wikipedia.org/wiki/Tirthankara

Tīrthaṅkara-naam-karma[edit]

Jain texts propound that a special type of karma, the tīrthaṅkara nama-karma, raises a soul to the supreme status of a Tīrthaṅkara. Tattvartha Sutra, a major Jain text, list down sixteen observances which lead to the bandha (bondage) of this karma-[14]

 

Purity of right faith

Reverence

Observance of vows and supplementary vows without transgressions

Ceaseless pursuit of knowledge

Perpetual fear of the cycle of existence

Giving gifts (charity)

Practising austerities according to one’s capacity

Removal of obstacles that threaten the equanimity of ascetics

Serving the meritorious by warding off evil or suffering

Devotion to omniscient lords, chief preceptors, preceptors, and the scriptures

Practice of the six essential daily duties

Propagation of the teachings of the omniscient

Fervent affection for one’s brethren following the same path.

16 OBSERVANCES LED TO BONDAGE- THERE ARE FOUR KINDS OF BONDAGE

https://en.wikipedia.org/wiki/Bandha_(Jainism)

Classification[edit]

The bondage is of four kinds:[6]

 

according to the nature or species of karma

depending upon the duration of karma

Fruition of karma, and

The quantity of space-points of karma

KARMA IS DIVIDED INTO TWO SETS OF FOUR
https://en.wikipedia.org/wiki/Types_of_Karma_(Jainism)
According to Jain karma theory, there are eight main types of karma (Prikriti) which are categorized into the ‘harming’ and the ‘non-harming’; each divided into four types.

THERE ARE FOUR MAIN PASSIONS AND EACH PASSION HAS FOUR SUBDIVISIONS THAT IS 16 SIXTEEN SQUARES QMR

https://en.wikipedia.org/wiki/Types_of_Karma_(Jainism)

The four main passions are krodha (anger), maya (deceitfulness), mana (pride) and lobha (greed). The karmas are literally bound on account of the stickiness of the soul due to existence of various passions or mental dispositions [12] Each of these is separated into 4 sub divisions, according to the intensity of their manifestation. The first one is anantanubandhin (of lifelong duration) which completely hinders belief and conduct. The second one is apratyakhyanavarana (hindering and non-renunciation) It makes impossible every reninciation, but allows the existence of true belief and lasts for one year. The third one of still milder intensity is pratyakhyanavarana (hindering with renunciation). It hinders the beginning of complete self-discipline, but does not prevent the existence of true belief and partial self-discipline (desavirati). Its effect lasts for 4 months. The last one is samjvalana (flaming up). It allows complete self-discipline, yet works against the attainment of complete right conduct (yathakhyata charitra). It lasts a fortnight.

ACCORDING TO JAINS THERE ARE FOUR STATES OF EXISTENCE- THERE ARE FIVE TYPES OF BODIES- A HUMAN CAN INHABIT FOUR AT ONCE- AT ANY GIVEN TIME A HUMAN SOUL CAN INHABIT FOUR OF THESE BODIES- AGAIN THE CENTRAL FOUR IF OTHER NUMBERS ARE MENTIONED IT IS AROUND THE DOMINANT FOUR

https://en.wikipedia.org/wiki/Types_of_Karma_(Jainism)

The nama-karma causes the individual diversities of the jivas. It is divided into 93 uttara prakrtis (sub-types), which are mostly quoted in a definitely fixed succession in 4 groups (pinda prakrtis, pratyeka prakrtis, trasadasaka, sthavara dasaka). They are the following:

 

Four states of existence:[18]

Deva gati nama-karma bestows the celestial state of existence,

manusya gati nama-karma bestows the human state of existence,

tiryag gati nama-karma bestows the animal state of existence, and

naraka gati nama-karma which bestows the infernal state of existence.

AT ANY GIVEN TIME FOUR BODIES CAN COEXIST- HUMANS NORMALLY HAVE THREE BODIES BUT ADVANCED HUMANS FOUR- THE FOURTH IS ALWAYS DIFFERENT

https://en.wikipedia.org/wiki/Types_of_Karma_(Jainism)

At any given point of time four bodies can co-exist with a soul. For example, humans normally have three bodies simultaneously—audarika sarira (normal visible gross physical body), taijasa sarira (fiery body), and karmana sarira (karmic body). Some higher spiritual ascetics may possess vaikriya sarira (transformational body).

FOUR PITHAS

https://en.wikipedia.org/wiki/Kamarupa_Pithas

Kamarupa Pithas or Kamrup Piths are ancient pithas or geographical divisions of Kamarupa. The division of the Pithas are not consistent in different sources,[1] though the number of pithas are usually four. Since these pithas are not mentioned in the Kamarupa inscriptions, and are found mentioned only in later medieval texts some authors have suggested that these divisions are possible later fabrications.[2] The Yogini Tantra, gives the boundaries of Kamarupa Pithas, the same work which gives boundaries of ancient Kamrup kingdom as well.[3]

 

Contents [hide]

1 Number of Pithas

2 See also

3 References

4 Bibliography

Number of Pithas[edit]

The number of pithas reported are usually four, though some sources mention just three.[4]

 

The four Pithas were (i) Ratnapitha, the area from the river Karatoya to the river Sonkosh, (modern day Goalpara region), (ii) Kamapitha , from Sonakosh to the river Rupali (Kamrup region), (iii) Swarnapitha, from the river Rupali to the Bharali river (Central Assam) and (iv) Saumarapitha between the Bhairavi and the Dikrang river (Eastern Assam).[5][6]

JAINS FOUR STAGES OF EXISTENCE

https://en.wikipedia.org/wiki/Reincarnation

The Jain texts postulate four gatis, that is states-of-existence or birth-categories, within which the soul transmigrates. The four gatis are: deva (demi-gods), manuṣya (humans), nāraki (hell beings) and tiryañca (animals, plants and micro-organisms).[185] The four gatis have four corresponding realms or habitation levels in the vertically tiered Jain universe: demi-gods occupy the higher levels where the heavens are situated; humans, plants and animals occupy the middle levels; and hellish beings occupy the lower levels where seven hells are situated.[185]

 

Single-sensed souls, however, called nigoda,[186] and element-bodied souls pervade all tiers of this universe. Nigodas are souls at the bottom end of the existential hierarchy. They are so tiny and undifferentiated, that they lack even individual bodies, living in colonies. According to Jain texts, this infinity of nigodas can also be found in plant tissues, root vegetables and animal bodies.[187] Depending on its karma, a soul transmigrates and reincarnates within the scope of this cosmology of destinies. The four main destinies are further divided into sub-categories and still smaller sub-sub-categories. In all, Jain texts speak of a cycle of 8.4 million birth destinies in which souls find themselves again and again as they cycle within samsara.[188]