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THE SENECA PROPHET RECEIVED HIS PROPHECY FROM FOUR MESSENGERS- HE SAYS THE FOUR MESSENGERS WATCH OVER THEM
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The general story of his life may be gleaned from a perusal of his code, there being nothing of any consequence known of his life up to the time of his "vision." In 1794 his name appears on a treaty but whether he took active part in the debates that led up to it is not known. It is known from tradition and from his own story that he was a dissolute person and a miserable victim of the drink habit. The loss of the Genesee country caused him to go with his tribesmen to the Allegany river settlements; Here he became afflicted with a wasting disease that was aggravated by his continued use of the white man's fire water. For four years he lay a helpless invalid. His bare cabin scarcely afforded him shelter but later he was nursed by his married daughter who seems to have treated him with affection. His sickness afforded him much time for serious meditation and it is quite possible that some of his precepts are the result of this opportunity. His own condition could not fail to impress him with the folly of using alcoholic drink and the wild whoops of the drunken raftsmen continually reminded him of the "demon's" power over thought and action. In the foreword of his revelation he tells how he became as dead, and of the visitation of the "four beings" who revealed the will of the Creator.

During the prophet's four years' stay at Tonawanda he became many times discouraged, "reluctant to tell," and though the people gradually became more friendly, he seemed loath at times to proclaim his revelations. Some Christian Indians have explained this as caused by an uneasy conscience that came with greater knowledge of the white man's religion but there is no evidence of this. During this stay he was invited to visit the Onondaga and this he did, though according to his visions it necessitated the singing of his "third song," which meant that he should die. In a vision which he related he saw the four messengers who said "They have stretched out their hands pleading for you to come and they are your own people at Onondaga" (section 122).

"He made mistakes," said Chief Cornplanter, "many mistakes, so it is reported, but he was only a man and men are liable to commit errors. Whatever he did and said of himself is of no consequence. What he did and said by the direction of the four messengers is everything--it is our religion. Ganiodaiio was weak in many points and sometimes afraid to do as the messengers told him, He was almost an unwilling servant. He made no divine claims, he did not pose as infallible nor even truly virtuous. He merely proclaimed the Gai'wiio` and that is what we follow, not him. We do not worship him, we worship one great Creator. We honor and revere our prophet and leader, we revere the four messengers who watch over us--but the Creator alone do we worship." Such is the argument of his followers.

THIS IS INTERESTING THE PROPHET OF THE SENECA TRIBE RECEIVED HIS PROPHECY FROM FOUR BEINGS- BUT THE FOURTH WAS NOT PRESENT- AND IT SAYS "YOU SHALL SEE HIM AT ANOTHER TIME"- THE FOURTH WAS NOT THERE BUT THERE WERE FOUR BEINGS- THE FOURTH IS ALWAYS DIFFERENT/TRANSCENDENT- DOESN'T SEEM TO BELONG- MANY PEOPLE THINK THINGS ARE THREE BUT THEY FORGET THE TRANSCENDENT FOURTH
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THE MESSAGE OF THE FOUR BEINGS

"Now the messengers spoke to me and said that they would now tell me how things ought to be upon the earth. They said: 'Do not allow any one to say that you have had great fortune in being able to rise again. The favor of the four beings is not alone for you and the Creator is willing to help all mankind.'

"Now on that same day the Great Feather 2 and the Harvest dances were to be celebrated and at this time the beings told me that my relatives would restore me. 'Your feelings and spirits are low,' they said, 'and must be aroused. Then will you obtain power to recover.' Verily the servants of the Creator (Hadionyâ?'geonon) said this. Now moreover they commanded that henceforth dances of this same kind should be held and thanksgiving offered whenever the strawberries were ripe. Furthermore they said that the juice of the berry must be drunk by the children and the aged and all the people. Truly all must drink of the berry juice, for they said that the sweet water of the berries was a medicine and that the early strawberries were a great medicine. So they bade me tell this story to my people when I move upon the earth again. Now they said, 'We shall continually reveal things unto you. We, the servants of him who made us, say that as he employed us to cure unto you to reveal his will, so you must carry it to your people. Now we are they whom he created when he made the world and our duty is to watch over and care for mankind. Now there are four of us but the fourth is not here present. When we called you by name and you heard, he returned to tell the news.

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This will bring joy into the heaven-world of our Creator. So it is that the fourth is not with us but you shall see him at another time and when that time is at hand you shall know. Now furthermore we must remind you of the evil things that you have done and you must repent of all things that you believe to have been evil. You think that you have done wrong because of O?gi'we:, Ye'ondâ'thâ and Gone'owon 1 and because you partook of strong drink. Verily you must do as you think for whatsoever you think is evil is evil.'"

THE NEXT MESSAGE TO THE SENECA PROPHET FROM THE FOUR BEINGS WAS FOUR WORDS THAT MAKE THEM SAD- THE SECOND MESSAGE IS FOUR WORDS THAT MAKE THEM HAPPY

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"'Now another message to tell your people.

 

Four words the Creator has given for bringing happiness. They

 

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are amusements devised in the heaven world, the Osto'wägo'wa, 1 Gone:'owon?, Adon'wên and Ganäwên'gowa.'"

 

So they said and he said. Eniaiehuk.

THE CREATOR SANCTIONED FOUR DANCES FOR THE SENECA- AND THEY MAY LEAN ON THE MIDDLE BENCHES AFTER THREE OR FOUR SONGS- WHEN THEY DANCE ONE OF THE FOUR BEINGS IS IN THEIR MIDST

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"'The Creator has sanctioned four dances for producing a joyful spirit and he has placed them in the keeping of Honon'diont 2 who have authority over them. The Creator has ordered that on certain times and occasions there should be thanksgiving ceremonies. At such times all must thank the Creator that they live. After that, let the chiefs thank him for the ground and the things on the ground and then upward to the sky and the heaven-world where he is. Let the children and old folk come and give thanks. Let the old women who can scarcely walk come. They may lean against the middle benches and after listening to three or four songs must say, "I thank the Great Ruler that I have seen this day." Then will the Creator call them right before him.

 

"'It seems that you have never known that when Osto'wägo'wa was being celebrated that one of the four beings was in the midst of it, but it is so. Now when the time for dancing comes you must wash your faces and comb your hair, paint your face with red spots on either cheek, and with a thankful heart go to the ceremony. This preparation will be sufficient, therefore, do not let your style of dress hold you back.

THE FIRST THREE PARTS OF THE SENECCA PROPHET'S PROPHECY HE IS IN CONTACT WITH THE THREE BEINGS- THE FOURTH PART HE IS IN CONTACT WITH THE TRANSCENDENT FOURTH BEING

http://sacred-texts.com/nam/iro/parker/cohl093.htm

THIS IS VERY INTERESTING- THE PROPHECIES OF THE SENECCA PROPHET ARE DIVIDED INTO FOUR PARTS- THE FIRST THREE PARTS HE ONLY IS IN CONTACT WITH THE THREE BEINGS (THREE MESSENGERS)- BUT THEY TELL HIM THAT THERE IS A FOURTH (THE TRANSCENDENT FOURT)- THAT IS THE FIRST THREE DAYS---- THESE MESSENGERS ARE A TRINITY- (lots of threes)--- THE FOURTH PART OF THE SENECCA PROPHET'S PROPHECY IS HIS JOURNEY OVER THE GREAT SKY ROAD AND THAT IS WHEN HE COMES IN CONTACT WITH THE FOURTH BEING

 

"'Now another message.

 

"'Now it is the time for our departure. We shall now go on a journey and then you shall see the coming of the fourth messenger, the journey of our friends and the works of the living of earth. More, you will see the house of the punisher and the lands of our Creator.'"

 

So they said. Eniaiehuk.

THE HUMAN RACE LEAVES FOUR TRACKS
http://sacred-texts.com/nam/iro/parker/cohl094.htm
"'Now another message.

"Suddenly as they looked, a road slowly descended from the south sky 1 and came to where they were standing. Now thereon he saw the four tracks of the human race going in one direction. The footprints were all of different sizes from small to great. Now moreover a more brilliant light than the light of earth appeared.

So they said. Eniaiehuk.

THIS IS FASCINATING- ANOTHER QUDRANT MODEL ILLUSTRATION--- THEY LOOK INTO THE DISTANCE AND SEE WHAT APPEARS TO BE THREE PEOPLE- BUT FINALLY THEY REALIZE THERE IS A FOURTH PERSON LEADING THEM ALL- THE TRANSCENDENT FOURTH- IT APPEARS TO BE THREE BUT THERE IS THE TRANSCENDENT FOURTH- IT SAYS THE FIRST THREE ARE "FRIENDLY"- THE FIRST THREE ARE ALWAYS VERY INTERCONNECTED IN THE QUADRANT MODEL- THE FOURTH IS DIFFERENT LEADING THEM ALL- FOURTH IS TRANSCENDENT AND CONTAINS PREVIOUS THREE

http://sacred-texts.com/nam/iro/parker/cohl126.htm

"So they took up their journey again and in a short time came to a halt. In the distance before them a man appeared to be coming and soon he came nearer. Then he saw that the man was guiding two others, one on either side of him. Now as he looked he saw that one was the daughter of Gaiänt'wakâ and it appeared that she was a large child. With her was his (Ganio`dai'io`) own son, an infant, and they greeted one another, the son and the daughter. Now one could see that they were not strangers for they were friendly. Now moreover a fourth person was leading them all." Eniaiehuk.

THE FOUR SACRED CEREMONIES- THEY GIVE THANKS TO THE FOUR MESSENGERS AND CELEBRATE HANDSOME LAKE THE PROPHET OF THE FOUR BEINGS

http://sacred-texts.com/nam/iro/parker/cohl143.htm

 

Now you did design all that which should occur in the world,

And planned the four sacred ceremonies

That should be perpetuated forever

And celebrated by the people each year.

Be celebrated by these who call themselves your descendants,

That there should be head ones and their assistants

To perpetuate the four ceremonies.

Now as many men-beings as remain on earth are here,

Gathered about this pole.

Now then you have seen that we commenced at the new part of day.

Now you shall know that you are invited to listen to thanking songs this day!

 

Now you did think that you would appoint four messengers whose work should be to watch over earth

And the people that dwell in the world

To keep them all from harm,

For men-beings are your children.

Now do I say, the voices of the people combine as one

To thank you.

We have done as best we can in giving thanks to the four messengers.

Now again-the smoke arises,

And we speak through its incense.

Inhale the smoke as you do listen.

Oh the great Handsome Lake!

THE SENECA HAVE FOUR SACRED CEREMONIES - FOUR BEINGS THANK THE FOUR MESSENGERS

http://sacred-texts.com/nam/iro/parker/cohl144.htm

NE GANEOWO 1

 

One of the four sacred ceremonies of the Seneca

 

V Gwi?'yâ?! [Singing and dancing stop].

Now the whole assemblage is offering thanks!

He thought that certain ones should be the leaders of the people,

The same for both male and female, to preserve the four ceremonies.

So we thank these head ones that they are dutiful to the calling of their Creator.

[Singing and dancing resumed].

 

He thought that he should have four beings for his messengers

Who should watch over the people of earth and that on their strength their living should be.

Now we thank the four messengers that they are faithful to the design of their creation.

[Singing and dancing resumed].

THE DARK DANCE CEREMONY OF THE SENECA IS DIVIDED INTO FOUR SECITONS

http://sacred-texts.com/nam/iro/parker/cohl152.htm

DEWANONDIISSOnDAIK'TA`, PYGMY SOCIETY, THE DARK DANCE CEREMONY

 

The ritual of this society consists of 102 songs, divided into four sections, as follows: The first section, 15 songs; the second, 23 songs; the third, 30 songs, and the fourth, 34 songs. The order of the ceremony is somewhat like that of the Medicine Company. All the songs are sung in darkness. It is believed that the spirit members of the society come and join in the singing, and their voices are thought to be audible at times.

THE Q TRIBE EMPHASIZE THE FOUR- NO OTHER NUMBERS MENTIONED--- HERE IS A QUADRANT PATTERN WHERE THERE IS FOUR GIRLS AND THE FOURTH IS DIFFERENT

http://sacred-texts.com/nam/nw/kt/kt34.htm

He arrived at Gwâ'?nâlâlis. Then Q!â'nêqi?laxu pretended to be an old man. He sat down by a water. "Wash, wash, child of Gwâ'?nâlâlis!" (he thought). Then the children of Gwâ'?nâlâlis came. They were four girls. They saw Q!â'nêqi?laxu. Then one of the children of Gwâ'?nâlâlis said, "A nice little one is sitting on the beach. He shall be my slave." Thus said the oldest child of Gwâ'?nâlâlis. She took water and washed herself. Then she called Q!â'nêqi?laxu. "Come, wash my back," said the oldest child of Gwâ'?nâlâlis. Then Q!â'nêqi?laxu washed the back of the girl. Then Q!â'nêqi?laxu took gum and put it on his first-finger. Then he touched with his first-finger the womb of the child of Gwâ'?nâlâlis. He touched three of them from behind with his finger, but he did not want to touch the one. "Why is this one so daring? Do I know where you come from?"--"You will have her for your wife," said Q!â'nêqi?laxu (referring) to the youngest child of Gwâ'?nâlâlis. Then he married the child of Gwâ'?nâlâlis 2. Then the older sisters of the wife of Q!â'nêqi?laxu became pregnant. Then the wife of Q!â'nêqi?laxu became pregnant, and she had a child.

THE Q TRIBE IS ANOTHER EXAMPLE OF A TRIBE THAT IN THEIR MYTHS THEY DO NOT MENTION ANY NUMBER OTHER THAN FOUR REALLY

http://sacred-texts.com/nam/nw/kt/kt40.htm

Then he hid them from still another old woman. "Is that the way you are"--"That is the way we little ones are. We little ones cannot see."--"Come this way!" Then they went towards Q!â'nêqi?laxu, and he took the gum that he had chewed and spit into their eyes. Then their eyes opened and they saw. "Ah! this is the light on the face of our world, Lord Q!â'nêqi?laxu." That was all. He took the four old women. Now they could see the light of our world. He took them, and they flew upward, and they became birds.

MESKWA- ALSO IN THE MYTHS NO OTHER MENTION OF OTHER NUMBER OTHER THAN FOUR- THIS MYTH QUADRANT QUTERNITY PATTERN WHERE THRE WERE THREE IN THE CANOE AND ANOTHER- THE DIFFERENT TRANSCENDENT FOURTH- JOINS

http://sacred-texts.com/nam/nw/kt/kt49.htm

Then he took a rope and tied it to the salmon. Only its tail he tied to it, and put it on as a belt. Then he asked some one to go with him fishing halibut. Behold! that was the Grizzly Bear and the Cormorant and also Gum. There were three in the canoe. Then, with Greedy-One, there were four in the canoe. They paddled. "What is your bait?" Thus said Greedy-One to Grizzly Bear. "Our bait is squid," said Grizzly Bear. "Don't take that for your bait. Let your testicles be your bait." Thus said Greedy-One to Grizzly Bear. "Let me see," said Grizzly Bear. "Look at this!" said Greedy-One. Then he pretended to cut off his testicles. Behold! what he cut off was salmon. He pretended to cut his testicles. Then he put it into the water, and the halibut bit. Then Grizzly Bear cut his testicles, and Grizzly Bear died.

THIS MYTH IS JUST ABOUT THE FOUR WHALE CARRIERS- NO OTHER NUMBER BUT FOUR MENTIONED IN THE OMAL MYTHS

http://sacred-texts.com/nam/nw/kt/kt60.htm

The father of Thunder-Bird was sitting on the ground. Then he saw the whale. "Come, One-Whale-Carrier!" he said to his child. Then he put on his thunder-bird mask and went to grasp it. He just lifted the face of the whale. Then Mink was grasped. "Tsâ, tsâ," said Mink when he was grasped. Then Thunder-Bird was struck. His eye was stung by the wasp. He was killed by Grizzly Bear and the Wolf. Then Thunder-Bird was dead.

 

"Come, Two-Whale-Carrier!" said the father. Then Two-Whale-Carrier arose, put on his thunder-bird mask, and grasped (the whale). Then he lifted it out of the water, and Two-Whale-Carrier was also killed.

 

"Come, it is wrong with your younger brothers on the water," said the father. Then Three-Whale- Carrier arose, put on his thunder-bird mask, and grasped (the whale). He lifted it higher. Then the Grizzly Bear, the Wolves, and the Black Bear also struck him. His face was covered by the squid, and he fell down.

 

"Come, arise, Four-Whale-Carrier!" Then he arose and put on his thunder-bird mask and grasped (the whale). There just began to be the sound of dripping water. Then he carried it to the beach of his house. "Unfold,

 

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unfold, unfold, unfold!" said Ô'?mâl to his folding canoe. Then it lay across the doorway. Then (the Thunder-Bird) fell down when it came to the beach. Then those were all killed that might have grasped those who go paddling about.

THE ONLY OTHER NUMBER MENTIONED OTHER THAN FOUR IS THE NUMBER THREE TWO TIMES--- FOUR IS MENTIONED MANY TIMES - FOUR DISHES FOUR BOYS- FOUR BASKETS FOUR SONS

DIVE FOUR TIMES FOUR TIMES- FOUR SEAL DISHES FOUR WHALE DISHES FOUR OTTER DISHES- FOUR CHILDREN FOUR YOUNG MEN FOUR BASKETS

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Immediately Many-colored-Woman spoke gratefully on account of what he had said. She came to the corner of the large house, and the man asked Many-colored-Woman to take off her blanket. Many-colored-Woman took off her blanket and her apron, and the man took her on his arms and made her sit down in the water of life. Then the man said, "Oh, my dear! now dive. Dive four times." Thus he said. Immediately Many-colored-Woman dived; and as soon as she came up again, she was able to see our daylight. She dived again, and she continued to dive until she had done so four times. As soon as she had finished, she was a young woman, and she was no longer blind. Immediately Many-colored-Woman was called out of the water by her husband. Then Many-colored-Woman was able to see everything in the house. It is said that the two posts in the rear of the house were thunder-birds, and sea-bears were under the two thunder-birds; and it is said the cross-piece over the thunder-bird posts was a sea-lion, and the posts on each side of the door of the house were each one sea-lion,

 

As soon as the slaves of Many-colored-Woman came in, the carved figure 2 spoke, and said, "O chief, Abelone-Shell-of-the-World! O chief! treat those well who come into your house, chief." (This is the indwelling power of Chief Wealthy.) Then she saw many feast-dishes,--four seal dishes and the same number of killer-whale dishes, and four whale dishes, and four sea-otter dishes.

 

Now, Many-colored-Woman had forgotten her parents on account of her children. After a long time she was again with child, and she gave birth to a boy, and she called her son Place-of-Desire. A long time passed, and the four children of Many-colored-Woman grew up.

 

 

One day the four children were left alone, because she had gone out to dig clams. The four boys played, and Place-of-Desire fell down where Copper-Maker was lying on his back. Then Copper-Maker became angry at Place-of-Desire, and he said, "O children! go away. The reason why you came here is not known, children." Thus said Copper-Maker to his grandchildren. At once the eldest of the brothers spoke, and said to his younger brothers, "Don't play. The word that the old man said to us is important." Thus he said, and they went out of the house. As soon as Many-colored-Woman came home, the eldest one called his mother out of the house. He said, "O mother! how did you come into this country?" Thus he said to her. At once Many-colored- Woman replied to their words, and said, "O children! my slaves

 

Then he--namely, Abelone-Shell-of-the-World--

 

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took the four baskets, and put into them all kinds of things, and he put them aboard the self-paddling canoe. Then he told Many-colored-Woman that she should also come aboard; but she was unwilling, and she just sent her children (and told them) to go and just leave her.

 

 

They started at once, and they steered towards the sun. Then they met what Many-colored-Woman had referred to,--what had been seen by her at the places where she had been paddling. Three days after they had left their father, they heard an eagle screeching. Then the four sons of Many-colored-Woman felt glad. It was evening when they arrived at Red-Sand-Beach, and they went in their canoes right to the beach of the large house in front of which a pole was standing on top of which the eagle was sitting.

 

Then Place-of-Desire went down to the beach, and told his elder brothers. As soon as Place-of-Desire had gone out of the house, the wife of Oldest-One-in-the-World spoke, and said, "Oh, my dear! don't be inconsiderate [in your mind]. Do look at him, if he should come again who came in before. It might be true that he came from our daughter, Many-colored-Woman." Thus she said to him. As soon as she had finished speaking, the four children of Many-colored-Woman came in. Immediately Oldest-One-in-the-World spread out a mat, and the four young men went there and sat down on it. Then Oldest-One-in-the-World split some boards.

 

At once it was heard by his tribe, and they came immediately to discover why Oldest-One-in-the-World was splitting wood. Then the tribe saw the four children of Many-colored-Woman sitting there. Oldest-One-in-the-World spoke, and praised his children. Then Oldest-One-in-the-World asked them to build a fire in his large house. The young men went at once and built a fire in the middle of it; and as soon as the fire in the large house began to burn, the tribe went in, and also the four children of Many-colored-Woman went into it. When the tribe had gone into the house, the oldest of the four young men said to the tribe of their grandfather that they should go and bring the four baskets out of the canoe. At once they went, but in vain. It was not long before they came back. They were not able to lift them. Then Place-of-Desire was just sent by his elder brothers to go and bring the four baskets. It was not long before

 

Then, on account of this, they all believed that they were the sons of Many-colored-Woman; and it is said that Oldest-One-in-the-World was the first one to give a potlatch. Then he gave a feast with the food that was sent to him by Many-colored-Woman; and then he came and showed the large house, and the carvings, and the four seal dishes, and the killer-whale dishes, and the others. And this was first given by Copper-Maker; and Seaside-of-the-World came next, and after that came Copper-Surface, and then the youngest one, Place-of-Desire; and then Oldest-One-in-the-World distributed coppers among his tribe, and he was the first who handed down coppers. The four sons of Many-colored-Woman never went back, and Many-colored-Woman never came back to her country.

THE OMAL TRIBE REALLY ONLY MENTION THE NUMBER FOUR IN THEIR MYTHS

THE ONLY OTHER NUMBER MENTIONED OTHER THAN FOUR IS THE NUMBER THREE TWO TIMES--- FOUR IS MENTIONED MANY TIMES - FOUR DISHES FOUR BOYS- FOUR BASKETS FOUR SONS

DIVE FOUR TIMES FOUR TIMES- FOUR SEAL DISHES FOUR WHALE DISHES FOUR OTTER DISHES- FOUR CHILDREN FOUR YOUNG MEN FOUR BASKETS

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Immediately Many-colored-Woman spoke gratefully on account of what he had said. She came to the corner of the large house, and the man asked Many-colored-Woman to take off her blanket. Many-colored-Woman took off her blanket and her apron, and the man took her on his arms and made her sit down in the water of life. Then the man said, "Oh, my dear! now dive. Dive four times." Thus he said. Immediately Many-colored-Woman dived; and as soon as she came up again, she was able to see our daylight. She dived again, and she continued to dive until she had done so four times. As soon as she had finished, she was a young woman, and she was no longer blind. Immediately Many-colored-Woman was called out of the water by her husband. Then Many-colored-Woman was able to see everything in the house. It is said that the two posts in the rear of the house were thunder-birds, and sea-bears were under the two thunder-birds; and it is said the cross-piece over the thunder-bird posts was a sea-lion, and the posts on each side of the door of the house were each one sea-lion,

 

As soon as the slaves of Many-colored-Woman came in, the carved figure 2 spoke, and said, "O chief, Abelone-Shell-of-the-World! O chief! treat those well who come into your house, chief." (This is the indwelling power of Chief Wealthy.) Then she saw many feast-dishes,--four seal dishes and the same number of killer-whale dishes, and four whale dishes, and four sea-otter dishes.

 

Now, Many-colored-Woman had forgotten her parents on account of her children. After a long time she was again with child, and she gave birth to a boy, and she called her son Place-of-Desire. A long time passed, and the four children of Many-colored-Woman grew up.

 

 

 

One day the four children were left alone, because she had gone out to dig clams. The four boys played, and Place-of-Desire fell down where Copper-Maker was lying on his back. Then Copper-Maker became angry at Place-of-Desire, and he said, "O children! go away. The reason why you came here is not known, children." Thus said Copper-Maker to his grandchildren. At once the eldest of the brothers spoke, and said to his younger brothers, "Don't play. The word that the old man said to us is important." Thus he said, and they went out of the house. As soon as Many-colored-Woman came home, the eldest one called his mother out of the house. He said, "O mother! how did you come into this country?" Thus he said to her. At once Many-colored- Woman replied to their words, and said, "O children! my slaves

 

Then he--namely, Abelone-Shell-of-the-World--

 

p. 281

 

took the four baskets, and put into them all kinds of things, and he put them aboard the self-paddling canoe. Then he told Many-colored-Woman that she should also come aboard; but she was unwilling, and she just sent her children (and told them) to go and just leave her.

 

 

 

They started at once, and they steered towards the sun. Then they met what Many-colored-Woman had referred to,--what had been seen by her at the places where she had been paddling. Three days after they had left their father, they heard an eagle screeching. Then the four sons of Many-colored-Woman felt glad. It was evening when they arrived at Red-Sand-Beach, and they went in their canoes right to the beach of the large house in front of which a pole was standing on top of which the eagle was sitting. 

 

Then Place-of-Desire went down to the beach, and told his elder brothers. As soon as Place-of-Desire had gone out of the house, the wife of Oldest-One-in-the-World spoke, and said, "Oh, my dear! don't be inconsiderate [in your mind]. Do look at him, if he should come again who came in before. It might be true that he came from our daughter, Many-colored-Woman." Thus she said to him. As soon as she had finished speaking, the four children of Many-colored-Woman came in. Immediately Oldest-One-in-the-World spread out a mat, and the four young men went there and sat down on it. Then Oldest-One-in-the-World split some boards.

 

At once it was heard by his tribe, and they came immediately to discover why Oldest-One-in-the-World was splitting wood. Then the tribe saw the four children of Many-colored-Woman sitting there. Oldest-One-in-the-World spoke, and praised his children. Then Oldest-One-in-the-World asked them to build a fire in his large house. The young men went at once and built a fire in the middle of it; and as soon as the fire in the large house began to burn, the tribe went in, and also the four children of Many-colored-Woman went into it. When the tribe had gone into the house, the oldest of the four young men said to the tribe of their grandfather that they should go and bring the four baskets out of the canoe. At once they went, but in vain. It was not long before they came back. They were not able to lift them. Then Place-of-Desire was just sent by his elder brothers to go and bring the four baskets. It was not long before

 

Then, on account of this, they all believed that they were the sons of Many-colored-Woman; and it is said that Oldest-One-in-the-World was the first one to give a potlatch. Then he gave a feast with the food that was sent to him by Many-colored-Woman; and then he came and showed the large house, and the carvings, and the four seal dishes, and the killer-whale dishes, and the others. And this was first given by Copper-Maker; and Seaside-of-the-World came next, and after that came Copper-Surface, and then the youngest one, Place-of-Desire; and then Oldest-One-in-the-World distributed coppers among his tribe, and he was the first who handed down coppers. The four sons of Many-colored-Woman never went back, and Many-colored-Woman never came back to her country.

THE ONLY NUMBER THE OMAL MENTION IN THEIR MYTHS IS THE NUMBER FOUR- FOUR DAYS- four days four days four days four days

 

http://sacred-texts.com/nam/nw/kt/kt63.htm

 

The ancestors of the Koskimo lived at Cut-Beach, and they had for their chief Leader, and Leader had for his wife Sitting-in-Canoe, the princess of Going-Straight-on, the chief of the ancestors of the North people. Leader was always happy while he was hollowing out canoes. He was making a canoe, and he had not finished working on it when he went home. In vain his wife tried to feed him. He said that he was not hungry. He just lay down on his face. In the morning, when daylight came, he remained in the house in the same way. Then Sitting-in-Canoe tried to give him some breakfast, but he only said that he was not hungry. For four days he staid thus in the house. Then the tribe began to talk about what he was doing in the house.

 

As soon as they arrived at the beach of the village, an attendant of Leader began to speak, and woo the princess of Potlatch-Dancer. Then he--namely, Leader--also got a (new) name. Then he had the name Potlatch-Dancer, and he also obtained the feast-dishes. For four days he staid at Open-Bay. Then he got ready and started.

 

He staid there for four days, and then Leader got ready and started. He was going to Nô'xudEm, the village of

 

After they had staid for four days at Nô'xudEm, they got ready and went home. Immediately they made a new house to invite in the ancestors of the North tribe, of the Ocean tribe, and of the Divided tribe. They were invited by Leader. Then he showed the winter-dance

ONLY NUMBER KWAKIUTL MENTION IN MYTHS IS FOUR- NO OTHER NUMBERS- FOUR CAUGHT- FOUR DAYS WAILING- FOUR MEN

http://sacred-texts.com/nam/nw/kt/kt65.htm

The ancestors of the Koskimo were living at Winter-Place, and they had a chief whose name was Centre. He was really treated like a chief by his tribe; for, as soon as the tribe would fish halibut, and (as soon as) two halibut were caught, one was given to the chief; and when the harpooneers went out to hunt sea-otters, when four were caught, they would give two to their chief, Centre. One-half of everything was divided between him and his tribe. Centre had a princess, Woman-receiving-Half; and Woman-receiving-Half named her father Pet; and Woman-receiving-Half had for her husband Born-to-be-Fool, the prince of Copper-Body. Now the chief felt really happy because he was well treated.

 

For four days she kept on wailing

 

Then four men went and lifted up Woman-receiving-Half and placed her on the mat. Then the wise men sat down on either side of Woman-receiving-Half. Then the wise men of the Ghosts began to sing. (This has come down to our time, the means of restoring to life the present Koskimo when they are touched by a Ghost and the words of this song are the way of speaking of the Ghosts.)

FOUR FACED JANUS

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

Quadrifrons ("Janus Fourfaced")

 

The four-sided structure known as the Arch of Janus in the Forum Transitorium dates from the 1st century CE: according to common opinion it was built by the Emperor Domitian. However American scholars L. Ross Taylor and L. Adams Holland on the grounds of a passage of Statius[55] maintain that it was an earlier structure (tradition has it the Ianus Quadrifrons was brought to Rome from Falerii[56]) and that Domitian only surrounded it with his new forum.[57] In fact the building of the Forum Transitorium was completed and inaugurated by Nerva in 96 CE.

 

In Hinduism the image of double or four faced gods is quite common, as it is a symbolic depiction of the divine power of seeing through space and time. The supreme god Brahma is represented with four faces. Another instance of a four faced god is the Slavic god Svetovid.

FOUR SUBCATEGORIES

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

Kaula preserves some of the distinctive features of the Kāpālika tradition, from which it is derived.[1] It is subdivided into four subcategories of texts based on the goddesses Kuleśvarī, Kubjikā, Kālī and Tripurasundarī respectively.[2] The Trika texts are closely related to the Kuleśvarī texts and can be considered as part of the Kulamārga.[3]

FOUR SPHERES OF REALITY

https://en.wikipedia.org/wiki/Aṇḍa

In Kaśmir Śaivism the world is described as being composed of four spheres (aṇḍa) that contain a series of phenomenal elements (tattva). The four aṇḍa are described to appear by the means of the internal abundance of Śiva's divine powers.[1] Outside the four aṇḍa is Śiva tattva which is the substrate and essential nature of all the other tattvas.

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

72 DERIVES FROM TETRAGRAMMATON I POSTED TONS OF STUFF ON THAT- 36 TIMES 2 IS 72--- 36 IS HOLY IN HINDUISM- 36 IS NINE TIMES FOUR IT IS ALSO 6 SQUARED WHICH IS A QUADRANT 6 BY 6

36 STEPS OF VISHNU

 

https://books.google.com/books?id=I4zuAgAAQBAJ&pg=PA46&lpg=PA46&dq=number+36+in+myth&source=bl&ots=1FKtg75_n4&sig=Oj0v2fxKA_E-HQopb7_I4bK8IIo&hl=en&sa=X&ved=0ahUKEwia_LzAz97TAhUSwGMKHXMeBwAQ6AEITjAJ#v=onepage&q=number%2036%20in%20myth&f=false

Quadrant

9 BY 4 SQUARE CUBITS 36 CUBITS SQUARED- 36 times 2 is 72 which is 18 times four which is related to gematria of tetragrammaton in tetractys and also the Jupiter magic square 16 SQUARES

https://books.google.com/books?id=I4zuAgAAQBAJ&pg=PA46&lpg=PA46&dq=number+36+in+myth&source=bl&ots=1FKtg75_n4&sig=Oj0v2fxKA_E-HQopb7_I4bK8IIo&hl=en&sa=X&ved=0ahUKEwia_LzAz97TAhUSwGMKHXMeBwAQ6AEITjAJ#v=snippet&q=36&f=false

Quadrant

FOUR MAJOR PRIESTS (I DESCRIBE HOW THE VEDIC PRIESTS WERE DIVIDED INTO FOUR GROUPS OF FOUR 16)

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

Soma pressings and various animal sacrifices are performed during the building of a great altar. The four major priests symbolically receive the four quarters of space and the four royal queens. On the second of three pressing days, the horse, a hornless goat and gayal are dedicated to Prajapati. Other animals are dedicated to a variety of deities. Three of the queens wash the horse and adorn it with jewelry and ghee.[3] The horse, hornless goat, and gayal are asphyxiated. The chief queen lies down and the adhvaryu guides the horse's penis against the queen's vagina, signifying the birth of a new king.[4][5] The animals are dismembered. The king ascends the throne while the Purusha Sukta is recited.[5]

LEGEND OF THE FOUR YOUNG SAGES

https://en.wikipedia.org/wiki/Ranganathaswamy_Temple,_Srirangam

As per another legend, Sanaka, the four young sages, were trying to worship Ranganatha in Srirangam. They were trying to enter the place, but were stopped by Jaya and Vijaya, the guardians of the temple sanctum. In spite of insistence, the sages tried to enter, but were repeatedly stopped. In anger, all four of them cursed the guardians in one voice that they would be born as demons on earth. The sages disappeared soon after the curse, leaving the guardians trembling in fear. They approached Vishnu and requested him to propitiate them from the curse. Ranganatha said that he would not be able to revert the curse and gave them two options: be born as demons opposing Vishnu in three births or good human beings in the following hundred births. The guardians accepted being demons and are believed to have taken the form of Hiranyaksha & Hiranyakasipu, Ravana & Kumbakarna and Sisupala & Dantavakra. Vishnu took three avatars to kill the demons in each one of those births.[9]

FOUR POSSIBLE SOUNDS AT BIRTH HINDUS

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

Hindu astrologers (see Jyotisha) teach that when a child is born, they should be given an auspicious first name which will correspond to the child's Nakshatra. The 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. Each Nakshatra has four Padas and four sounds and each Pada is of equal width. The Moon remains in each Nakshatra for approximately one day.

ACCORDING TO THE LAWS OF MANU THE FOUR YUGAS FOLLOW A TIMELINE RATIO OF 4:3:2:1

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

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).

DURING THE THIRD OF THE FOUR HINDU YUGAS THE VEDAS ARE DIVIDED INTO FOUR PARTS AND PEOPLE RARELY STUDY ALL FOUR PARTS BUT ONLY STUDY THREE AT THE MOST (THE FOURTH IS TRANSCENDENT)- THE THIRD YUGA IS BAD THE THIRD SQUARE IS ALWAYS BAD AND ACTION

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

There are only two pillars of religion during the Dvapara Yuga: compassion and truthfulness. Vishnu assumes the colour yellow and the Vedas are categorized into four parts: Rig Veda, Sama Veda, Yajur Veda and Atharva Veda. During these times, the Brahmins are knowledgeable of two or three of these but rarely have studied all the four Vedas thoroughly. Accordingly, because of this categorization, different actions and activities come into existence.

THE DHARMA BULL HAS FOUR LEGS THAT REPRESENT THE FOUR YUGAS

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

The Dharma bull, which symbolises morality, stood on three legs during this period. It had all four in the Satya Yuga and two in the later Dvapara Yuga. Currently, in the immoral age of Kali, it stands on one leg. The Treta Yuga lasted 1,296,000 years.[2]

16 SQUARES QMR

http://www.vmission.org.in/hinduism/samskaras.htm

……… In this section we shall present an introduction to these famous sixteen Samskaras of Hindus which cover the entire life span of a person and take him to the door steps to Truth.

 

The Sixteen Samskaras

.

1.

Garbhadan

The first coming together of the husband & wife for bringing about conception.

2.

Pumsvan

Ceremony performed when the first signs of conception are seen, and is to be performed when someone desires a male child.

3.

Seemantonayan

A ceremony of parting of the hairs of the expectant mother to keep her spirits high & positive. Special music is arranged for her.

4.

Jatakarma

After the birth of the child, the child is given a secret name, he is given taste of honey & ghee, mother starts the first breast-feeding after chanting of a mantra.

5.

Nama-karana

In this ceremony the child is given a formal name. Performed on the 11th day.

6.

Nishkramana

In this the formal darshan of sun & moon is done for the child.

7.

Annaprashana

This ceremony is performed, when the child is given solid food (anna) for the first time.

8.

Chudakarana

Cuda means the 'lock or tuft of hair' kept after the remaining part is shaved off.

9.

Karna-vedha

Done in 7th or 8th month. Piercing of the ears.

10.

Upanayan & Vedarambha

The thread ceremony. The child is thereafter authorized to perform all rituals. Studies of Vedas begins with the Guru.

11.

Keshanta

Hairs are cut, guru dakshina is given

12.

Samavartan

Returning to the house

13.

Vivaha

Marriage ceremony

14.

Vanprastha

As old age approaches, the person retires for a life of tapas & studies.

15.

Sanyas

Before leaving the body a Hinddu sheds all sense of responsibility & relationships to awake & revel in the timeless truth.

16.

Antyeshthi

The last rites done after the death.

16 SYLLABLES - 16 SQUARES QMR

http://www.mahavidya.ca/2015/03/10/tripurasundari/

Another important channel of worship is through her Sri Vidya mantra (Bose 112; Foulston & Abbott 119). There are multiple versions of the mantra containing either fifteen or sixteen syllables (Brooks 87; Bose 112;Frawley 92). These mantras follow Tripurasundari’s nature of three where each line represent three sections of the goddess’s body. The three kutas (sections of the mantra) are divided as follows: the first kuta is Tripurasundari’s head, kuta two is her torso and kuta three embodies the area below her hips (Frawley 92). The mantra also ties in the goddess’ relation to the male gods Brahma, Visnu, and Siva (Brooks 94; Frawley 92). The mantra combines both of Tripurasundari’s bodily representations and the male gods sections to relate to the Rig Veda, Yajur Veda, and Sama Veda (Frawley 92). At the end of each kuta is the syllable Hrim and if repeated by itself this sound is often enough to be used as worship (Brooks 94; Frawley 91). In the instances where a sixteenth syllable is spoken (Srim), patrons are found to be repeating all sixteen vowels in the Sankrit language (Brooks 96; Frawley 92).

 

Sodasi (she who is sixteen) is another version of Tripurasundari as a young girl whose childlike nature and innocence, often described as a virgin, and is associated with the sixteen-syllable mantra (Brooks 1107; Frawley 90). Tripurasundari is also known as Rajarajeshavai (Supreme Ruler of the Universe or the Queen of Kings) whose authority wills followers to yield to her spiritual command in order to gain insight and knowledge of the Absolute (Brooks 61; Frawley 90).

THE FAMOUS HARE KRISHNA MAHA MANTRA IS A 16 WORD MANTRA FOUR BY FOUR A QUADRANT MODEL- THE MANTRA IS SAID TO BE "EQUIVALENT TO GOD"- THE MANTRA IS THE QUADRANT MODEL

https://upload.wikimedia.org/wikipedia/commons/5/51/Mahamantra.svg

http://religion.wikia.com/wiki/Hare_Krishna

The Hare Krishna mantra, also referred to reverentially as the Maha Mantra ("Great Mantra"), is a sixteen-word Vaishnava mantra which first appears in the Kali-Santarana Upanishad, and which from the 16th century rises to importance in the Bhakti movement following the teachings of Chaitanya Mahaprabhu.

THE SAURAM DO NOT BELIEVE IN THE TRIMURTI BECAUSE THEY SAY THAT THERE IS A FOURTH- SURYA- AND THEY WILL WORSHIP THE TRIMURTI WITH THE TRANSCENDENT FOURTH ABOE THE TIRUMURTI- I POSTED THE BOOK THAT TALKED ABOUT THE QUATERNITY IN HINDUISM A LONG TIME AGO AND THEY TALKED ABOUT THE TRIMURTI STATUES AND HOW THERE IS A DOCTRINE THAT THERE IS A FOURTH HIDDEN FACE BEHIND THE TRIMURTI--- THE TRANSCENDENT FOURTH- THEY DO NOT BELIEVE IN THE TRIMURTI THEY BELIVE IN THE QUADMURTI

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

 

Sauram[edit]

The Saura sect that worships Surya as the supreme person of the godhead and saguna brahman doesn't accept the Trimurti as they believe Surya is God. Earlier forms of the Trimurti sometimes included Surya instead of Brahma, or as a fourth above the Trimurti, of whom the other three are manifestations; Surya is Brahma in the morning, Vishnu in the afternoon and Shiva in the evening.

I DESCRIBED THAT EMEDOCLES AND SOCRATES DEDUCED THE FOUR ELEMENTS BY TWO DICHOTOMIES MAKING A QUADRANT MODEL AND ADDING THE FIFTH ULTRA TRANSCENDENT AETHER THAT WAS HOT COLD WET AND DRY--- EMPEDOCLES SAID THAT FIRE WAS DIFFERENT!- EMPEDOCLES SAID THAT EARTH AIR AND WATER WERE SIMILAR BUT FIRE WAS DIFFERENT THE DIFFERENT FOURTH- THE AUTHOR OF THIS BOOK SAYS THE SAME PATTERN IS SEEN IN HINDUISM WHERE THE FIRST THREE ELEMENTS ARE ILLUSTRATED AS DIFFERETN FROM FIRE

https://books.google.com/books?id=gbjelOMYyN8C&pg=PT171&lpg=PT171&dq=hindu+quaternity+fourth+face&source=bl&ots=dwxjPEnAZ_&sig=GF1flKzKznA5CbLc1fII0VHG9sU&hl=en&sa=X&ved=0ahUKEwiIpb-1s_PTAhVCxWMKHYoJAdMQ6AEIJzAA#v=onepage&q=quaternity&f=false

QUADRANT

I WOULD HOPEFULLY HAVE TO REFIND IT BUT I POSTED A LONG TIME AGO THE BOOK ON THE QUATERNITY AND IT MENTIONED HOW THE QUATERNITY PERVADED HINDUISM--- IT TALKED ABOUT HOW ORGINALLY THERE WERE THREE GOALS DESCRIBED IN HINDUISM THEN IN THE UPANISHADS A FOURTH TRANSCENDENT GOAL WAS ADDED- THE TRANSCENDENT FOURTH- THE FIRST THREE GOALS ARE CALLED THE TRIVARGA AND THE TRANSCENDENT FOURTH MOKSHA IS PERSONAL AND DIFFERENT- THE FOURTH IS CALLED THE CATURVARGA

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

The concept of moksha developed only in the Upanishads, while the early Vedas treating the goals of human life commonly refer to kāma, artha and dharma as the "trivarga" or "three categories" of possible human pursuits. The Dharmaśāstras and the epics Ramayana and Mahabharata are the first known sources that comprehensively present the notion that integrated living entails the pursuit of four goals or ends.[12] Prasad (2008) states that the division between the trivarga and mokṣa is intended to highlight the context between the social (trivarga) and personal (mokṣa) spheres.[33]

 

Scharfe states, "there are abundant references both to the trivarga and caturvarga in Hindu literature throughout the ages".[38]

 

Purusartha focused literature[edit]

Each of these four canonical puruṣārthas was subjected to a process of study and extensive literary development in Indian history. This produced numerous treatises, with a diversity of views, in each category. Some purusartha-focused literature include,

 

On Dharma

These texts discuss dharma from various religious, social, duties, morals and personal ethics perspective. Each of six major schools of Hinduism has its own literature on dharma. Examples include Dharma-sutras (particularly by Gautama, Apastamba, Baudhayana and Vāsiṣṭha) and Dharma-sastras (particularly Manusmṛti, Yājñavalkya Smṛti, Nāradasmṛti and Viṣṇusmṛti). At personal dharma level, this includes many chapters of Yogasutras.

On Artha

Artha-related texts discuss artha from individual, social and as a compendium of economic policies, politics and laws. For example, the Arthashastra of Kauṭilya, the Kamandakiya Nitisara,[39] Brihaspati Sutra,[40] and Sukra Niti.[41] Olivelle states that most Artha-related treatises from ancient India have been lost.[42]

On Kama

These discuss arts, emotions, love, erotics, relationships and other sciences in the pursuit of pleasure. The Kamasutra of Vātsyāyana is most well known. Others texts include Ratirahasya, Jayamangala, Smaradipika, Ratimanjari, Ratiratnapradipika, Ananga Ranga among others.[43]

On Moksha

These develop and debate the nature and process of liberation, freedom and spiritual release. Major treatises on the pursuit of moksa include the Upanishads, Vivekachudamani, Bhagavad Gita, and the sastras on Yoga.

The Sanskrit Epics devote major sections on purusarthas,[44] in particular debating dharma.[45][46]

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

Four avatars of Ganesha are listed in the Ganesha Purana: Mohotkata, Mayūreśvara, Gajanana and Dhumraketu. Each avatar corresponds to a different yuga, has a different mount and different skin complexion, but all the avatars have a common purpose – to slay demons.[66]

JUNG QUATERNITY

https://archive.org/stream/ThePortableJung/The%20Portable%20Jung_djvu.txt

The vision shows us an essential differentiation of the

God-image: God now has four faces, or rather, four an-

gels of his face, who are four hypostases or emanations, of

which one is exclusively occupied in keeping his elder son

Satan, now changed into many, away from him, and in

preventing further experiments after the style of the Job

episode. 101 The Satans still dwell in the heavenly regions,

since the fall of Satan has not yet occurred. 1 he above-

mentioned proportions are also suggested here by the fact

that three of the angels perform holy or beneficial func-

tions, while the fourth is a militant figure who has to keep

Satan at bay.

 

This quaternity has a distinctly pneumatic nature and is

therefore expressed by angels, who are generally pictured

with wings, i.e., as aerial beings. This is the more likely as

they are presumably the descendants of Ezekicl's four

seraphim. 102 The doubling and separation of the quaternity

into an upper and a lower one, like the exclusion of the

Satans from the heavenly court, points to a metaphysical

split that had already taken place. But the pleromatic split

is in its turn a symptom of a much deeper split in the

divine will: the father wants to become the son, God wants

to become man, the amoral wants to become exclusively

good, the unconscious wants to become consciously re-

sponsible. So far everything exists only in statu nastendi.

THE FOUR ABODE SEATS

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

The Chota Char Dham (Devanagari: छोटा चार धाम) (literally translated as 'the small four abodes/seats', meaning 'the small circuit of four abodes/seats'), is an important Hindu pilgrimage circuit on the under construction Chota Char Dham Railway[1] in the Indian Himalayas. Located in the Garhwal region of the state of Uttarakhand (formerly the northwestern section of Uttar Pradesh), the circuit consists of four sites—Yamunotri (Hindi: यमनोत्री), Gangotri (Hindi: गंगोत्री), Kedarnath (Hindi: केदारनाथ), and Badrinath (Hindi: बद्रीनाथ).[2] Badrinath is also one of the four destinations (with each destination being in different corners of the country) of the longer Char Dham from which the Chota Char Dham likely draws its name.[3][4]

FOUR STAGES OF LIFE HINDUISM (IT SAYS "FOURTH STAGE IS DIFFERENT"

https://en.wikipedia.org/wiki/Ashrama_(stage)

Asrama and Purushartha[edit]

The Ashramas system is one facet of the complex Dharma concept in Hinduism.[3] It is integrated with the concept of Purushartha, or four proper aims of life in Hindu philosophy, namely, Dharma (piety, morality, duties), Artha (wealth, health, means of life), Kama (love, relationships, emotions) and Moksha (liberation, freedom, self-realization).[3] Each of the four Ashramas of life are a form of personal and social environment, each stage with ethical guidelines, duties and responsibilities, for the individual and for the society. Each Ashrama stage places different levels of emphasis on the four proper goals of life, with different stages viewed as steps to the attainment of the ideal in Hindu philosophy, namely Moksha.[20]

 

Neither ancient nor medieval texts of India state that any of the first three Ashramas must devote itself solely to a specific goal of life (Purushartha).[21] The fourth stage of Sannyasa is different, and the overwhelming consensus in ancient and medieval texts is that Sannyasa stage of life must entirely be devoted to Moksha aided by Dharma.[21]

SEE IT SAYS EARLY HINDU TEXTS ONLY DISCUSS THREE STAGES OF HUMAN LIFE- LATER ONES ADD THE FOURTH TRANSCENDENT ONE- FOURTH ALWAYS DIFFERENT

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

Some chapters of the Upanishads, for example hymn 4.4.22 of Brihadaranyaka Upanishad, specify only three stages of human life – Brahmacharya, Grihastha and Vanaprastha.[15] They make no mention of gender, class or caste restrictions on these stages of life. All three stages are recommended as path to Brahman (inner Self, Soul). In contrast, later texts[16] specify four stages of human life.

https://hinduism.stackexchange.com/questions/3836/why-arjuna-is-attributed-as-supreme-archer-when-infact-karna-was-much-skillful-t

There were four main and powerful archers in mahabharata at that time,

 

Ganga Putr Bhishma,

Acharya Drona,

Ang Raj Karna And

Arjun

These men were perhaps the four greatest warriors of the era and were also well learned and had firm principles by which they lived.

ACCORDING TO HINDUS IN THE BEGINNING THERE WERE QUADRUPLE EXPANSIONS OF VISHNU VISHNU TOOK FOUR FORMS EACH ACCORDING TO THE FOUR STATES OF CONSCIOUSNESS (the fourth is different)- THESE ARE CALLED THE QUADRUPLE EXPANSIONS OF VISHNU

http://hindudharmaforums.com/showthread.php?9335-what-is-quadruple-expansions-of-the-Lord-Vishnu

Can Some one explain the quadruple expansions of Lord vishnu ie Sankarshana, Aniruddha, pradumna and vasudeva please let me know their purpose of manifestation? I have very limited knowledge in this.

According to Sri Ranga Ramanuja Muni's commentary on mAndUkya upaniShad, each of the four forms presides over one of the four states of consciousness of the jIvAtma - the waking state (Aniruddha), the dream state (Pradyumna), the state of deep sleep (Sankarshana), and the fourth state that is none of these (Vaasudeva). Since the entire upaniShad is expanding on the meaning of OM, the commentator appears to be likening each of the bhagavad-vyuhas to A-kAra, U-kAra, and M-kAra of the word OM (AUM).

 

I'm sure there are plenty of other explanations also. I seem to recall a Gaudiya Vaishnava author explaining the chatur-vyuhas in relation to sambandha, abhideya, and prayojana, but I can't remember when or where I read that. Maybe in Bhagavat-sandarbha?

 

I also remember a Dvaita list commentator once explaining that each of the chatur-vyuha forms is a partial representation of the powers of the previous one. They are all Naaraayana, but in each form expressing only a portion of His total shaktis.

KRISHNA ORIGINAL FOUR EXPANSIONS

https://sites.google.com/site/iskconcapechat/home/lordships-associates-group/krsna-and-incarnations

Krsna is the original Personality of Godhead. His expansion is Balarama, who expands the original catur vyuha or quadruple expansions.

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

These original catur vyuha expansions reside in Mathura and Dvaraka.

 

From them twenty four forms of Visnu expand (the six times four). They are named differently according to the arrangement of the conch, disc, lotus and club in Their hands

INCARNATIONS OF GOD FOUR YUGAS FOUR COLORs

https://sites.google.com/site/iskconcapechat/home/lordships-associates-group/krsna-and-incarnations

The four yuga-avataras are also described in Srimad-Bhagavatam.

In the Satya-yuga, the incarnation of God is white;

in the Treta-yuga He is red;

in the Dvapara-yuga, He is blackish; and

in the Kali-yuga He is also blackish,

but sometimes, in a special Kali-yuga, His color is yellowish as in the case of Caitanya Mahaprabhu

Visualization of Brahma

http://veda.wikidot.com/brahma

One of the earliest iconographic descriptions of Brahma is that of the four-faced God seated on a lotus. Brahma's icon has four heads (chatur mukha brahma) facing the four quartem. They represent the four Vedas (Rig, Yajur, Sama, Atharva), the four yugas (krita, treta, dwapara, kali) (epochs of time), the four varnas (brahmana, kshatriya, vaisya, sudra). The faces have beards with eyes closed in meditation. There are four arms holding up different objects, akshamala (rosary), kurcha (kusha grass), sruk (ladle), sruva (spoon), kamandala (water pot) and pustaka (book) and in different poses representing the four quartem. Their combination and arrangement vary with the image. Akshamala symbolizes time; Kamandala, the waters of all creation. The implements kusha, sruk and sruva, denote the system of sacrifices used by creatures to sustain each other. The book represents religious and secular knowledge. Hand postures (mudras) are abhaya (protector) and varada (giver of boons). The icon may be in standing posture on a lotus or in sitting posture on a hamsa (swan). Hamsa stands for wisdom and discrimination.

 

Brahma is also shown riding a chariot drawn by seven swans, representing the seven worlds. Temples dedicated to Brahma show his Viswakarma aspect with four heads, the four arms holding the rosary, the book, kusha and kamandala and riding his swan. Temples of Shiva or Vishnu have a niche in the northern wall for Brahma as a parivara devata and his image receives daily worship.

THE VEDAS DIVIDED INTO FOUR SAMHITAS

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

The Vedas have been divided into four styles of texts – the Samhitas (mantras and benedictions), the Aranyakas (text on rituals, ceremonies, sacrifices and symbolic-sacrifices), the Brahmanas (commentaries on rituals, ceremonies and sacrifices), and the Upanishads (text discussing meditation, philosophy and spiritual knowledge).[4][5][6] The Samhitas are sometimes identified as karma-kanda (कर्म खण्ड, action/ritual-related section), while the Upanishads are identified as jnana-kanda (ज्ञान खण्ड, knowledge/spirituality-related section).[7][8] The Aranyakas and Brahmanas are variously classified, sometimes as the ceremonial karma-kanda, other times (or parts of them) as the jnana-kanda.

https://sharathkomarraju.com/2014/06/19/five-faces-of-karna/

Karna’s loyalty made him one part of Dushta Chatushtayam (the wicked foursome) along with Duryodhana, Dushasana and Shakuni, but he wouldn’t once think of breaking away. The world may think anything it wishes of him, he says, but he would never forego his friendship.

http://www.hindupedia.com/en/Talk:Karna

Karna kills Ghatotkaca on the 14th day and participates in the murder of Abhimanyu on the 13th day. Karna defeats all the four Pandavas once each, except Arjuna. However he leaves them alive, recalling his promise to Kunti. He faces defeats from Satyiki, Abhimanyu, Bhimasena and Arjuna.

http://indiafacts.org/first-things-first-lesson-karna-forgot/

Karna was the eldest of the four sons of Kunti. He was elder to Arjuna, Bhimasena, and Yudhishthira. Yet his lifelong battle had been with Arjuna. If one looks at Arjuna, the image most likely to be imprinted on the minds of people would be of Arjuna in a chariot commandeered by Krishna, who held the reins of the horses of the splendid chariot. The image cannot, but remind oneself of these lines from the Katha Upanishad:

Four times more power four heads Brahma

http://tellyreviews.com/2014/07/04/karna-enters-mahabharat-war-after-bhishmas-downfall-drona-to-be-the-new-commander/

* Brahmastra: It is the deadliest weapon created by lord Brahma, astra means weapon. It is said that when the Brahmastra was discharged, there was neither a counterattack nor a defense that could stop it, except by Brahmadanda, a stick also created by Brahma. It was created to uphold Dharma and truth. A much stronger weapon Brahmashira was never used in war, as it had four times more power than the Brahmastra, i.e. Fourth power square as Brahma has four heads. Bhishma, Arjun, Ashwatthama, Drona and Karna had the knowledge to invoke or summon the Brahmashira and to note Ashwatthama only knew the summon part and didn’t know the retraction. Read more about it at its Wikipedia page.

IT WAS ASSERTED THE RIGVEDA CAN BE INTERPRETTED THREE WAYS BY YASKA- THE FOURTH WAY TO INTERPRET ALSO EMREGED DURING ANCIENT TIMES- THE FOURTH IS DIFFERENT

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

 

Yaska, in his famous text titled Nirukta, asserts that Rigveda in the ancient tradition, can be interpreted in three ways - from the perspective of religious rites (adhiyajna), from the perspective of the deities (adhidevata), and from the perspective of the soul (adhyatman).[15] The fourth way to interpret the Rigveda also emerged in the ancient times, wherein the gods mentioned were viewed as symbolism for legendary individuals or narratives.[15] It was generally accepted that creative poets often embed and express double meanings, ellipses and novel ideas to inspire the reader.[15] Nirukta enables one to identify alternate embedded meanings that poets and writers may have included in old texts.[9]

YASKA FOUR MAIN CATEGORIES OF WORDS

https://en.wikipedia.org/wiki/Yāska

Yāska defines four main categories of words:[1]

 

nāma – nouns or substantives

ākhyāta – verbs

upasarga – pre-verbs or prefixes

nipāta – particles, invariant words (perhaps prepositions)

VERY FAMOUS FOUR LINES THE FOURTH LINE IS DIFFERENT (called gayatri verse) THIS WAS POSTED AT THE YOGA PLACE I WENT TO

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

This prefixing of the mantra proper is described in the Taittiriya Aranyaka (2.11.1-8), which states that it should be chanted with the syllable oṃ, followed by the three Vyahrtis and the Gayatri verse.[9] Whereas in principle the gāyatrī mantra specifies three pādas of eight syllables each, the text of the verse as preserved in the Samhita is one short, seven instead of eight. Metrical restoration would emend the attested tri-syllabic vareṇyaṃ with a tetra-syllabic vareṇiyaṃ.[10]

 

The Gayatri mantra is,[9] in Devanagari:

 

ॐ भूर्भुवः स्वः ।

तत्स॑वि॒तुर्वरेण्यं॒

भर्गो॑ दे॒वस्य॑ धीमहि ।

धियो॒ यो नः॑ प्रचो॒दया॑त् ॥

In IAST:

 

om bhūr bhuvaḥ svaḥ

tát savitúr váreṇ(i)yaṃ

bhárgo devásya dhīmahi

dhíyo yó naḥ prachodayāt

– Rigveda 3.62.10[11]

Four 'foots' of the Gayatri

http://veda.wikidot.com/gayatri-mantra

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!

GAYATRI MANTRA BECAME FOUR CENTRAL VERSES OF SRIMAD BHAGAVATAM CALLED Catuh-sloki verses- THE BHAGAVATAM (THIS IS WHAT HARE KRISHNA READS) IS SAID TO BE AN EXPANSION OF THESE FOUR VERSES

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

- It is said that originally the pranava or om mantra expanded into the sacred gayatri mantra (om bhur bhuvah svah tat savitur varenyam bhargo devasya dimahi dhiyo yo nah pracodayat). The gayatri was then expanded into the following four central verses of the Srimad-Bhagavatam, called Catuh-sloki which are as follows:

 

“Prior to this cosmic creation, only I exist, and nothing else, either gross, subtle, or primordial. After creation, only I exist in everything, and after annihilation, only I remain eternally.

 

“What appears to be truth without Me is certainly My illusory energy, for nothing can exist without Me. It is like a reflection of real light in the shadows, for in the light there are neither shadows nor reflections.

 

“As the material elements enter the bodies of all living beings and yet remain outside them all, I exist within all material creations and yet am not within them.

 

“A person interested in transcendental knowledge must therefore always directly and indirectly inquire about it to know the all-pervading truth.” (Bhag.2.9.33-36)

 

These Catuh-sloki verses were taught by the Supreme Lord Vishnu to Brahma at the time of creation, and all other Vedic literature was expanded from them. The Bhagavatam (Bhagavata Purana) is considered to be the complete expansion of these four verses.

http://gosai.com/writings/bhagavad-gita-catur-sloki-bhasya-108-1011

Verses 8 - 11 are the four principal verses of the Srimad Bhagavad-gita. The ontological substance of the book is contained within these four essential verses, beginning aham sarvasya prabhavo - "Everything emanates from Me."

THE FOUR VERSES

http://vaniquotes.org/wiki/Catuh-sloki_Bhagavatam

CC Madhya 25.94, Translation: "The meaning of the sound vibration oṁkāra is present in the Gāyatrī mantra. The same is elaborately explained in the four ślokas of Śrīmad-Bhāgavatam known as the catuḥ-ślokī."

The Lord says, "Only I existed before the creation." From this statement, four ślokas have been composed, and these are known as the catuḥ-ślokī (SB 2.9.33/34/35/36). In this way the Supreme Personality of Godhead informed Lord Brahmā about the purport of the catuḥ-ślokī.

CC Madhya 25.97, Purport: The sound vibration oṁkāra is the root of Vedic knowledge. Oṁkāra is known as the mahā-vākya, or supreme sound. Whatever meaning is in the supreme sound oṁkāra is further understood in the Gāyatrī mantra. Again, this same meaning is explained in Śrīmad-Bhāgavatam in the four ślokas known as the catuḥ-ślokī, which begin with the words ahaṁ evāsam evāgre. The Lord says, "Only I existed before the creation." From this statement, four ślokas have been composed, and these are known as the catuḥ-ślokī (SB 2.9.33/34/35/36). In this way the Supreme Personality of Godhead informed Lord Brahmā about the purport of the catuḥ-ślokī. Again, Lord Brahmā explained this to Nārada Muni, and Nārada Muni explained it to Śrīla Vyāsadeva. This is the paramparā system, the disciplic succession. The import of Vedic knowledge, the original word praṇava, has been explained in Śrīmad-Bhāgavatam. The conclusion is that the Brahma-sūtra is explained in Śrīmad-Bhāgavatam.

CC Madhya 25.102, Translation: "The essence of Śrīmad-Bhāgavatam—our relationship with the Supreme Lord, our activities in that connection and the goal of life—is manifest in the four verses of Śrīmad-Bhāgavatam known as the catuḥ-ślokī. Everything is explained in those verses."

AMRITA SPILLED FOUR PLACES

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

Origin of the Kumbh Mela[edit]

The medieval Hindu theology extends this legend to state that while the Devas were carrying the amrita away from the Asuras, drops of amrita fell at four places on the Earth. In one version of the legend, the carrier who spills the amrita is the divine physician Dhanavantari, who stops at four places on the Earth. In other re-tellings, the carrier who spills the amrita is either Garuda, Indra or Mohini. The four places where the amrita was spilled were: Haridwar, Prayag (Allahabad), Trimbak (Nashik) and Ujjain.[3] According to the legend, these four places acquired a certain mystical power and spirituality. A Kumbh Mela is celebrated at the four places every twelve years for this reason. People believe that after bathing there during the Kumbha mela, one can attain moksha (salvation).

 

While several ancient texts, including the various Puranas mention the samudra manthan legend, none of them mentions spilling of the amrita at four places.[3][4] Neither do these texts mention the Kumbh Mela. Therefore, multiple scholars, including R. B. Bhattacharya, D. P. Dubey and Kama Maclean believe that the samudra manthan legend has been applied to the Kumbh Mela relatively recently, in order to show scriptural authority for the mela.[5]

FOUR PLACES

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

Kumbh Mela or Kumbha Mela (/ˌkʊm ˈmeɪlə/ or /ˌkʊm məˈlɑː/) is a mass Hindu pilgrimage of faith in which Hindus gather to bathe in a sacred or holy river. Traditionally, four fairs are widely recognized as the Kumbh Melas: the Haridwar Kumbh Mela, the Allahabad Kumbh Mela, the Nashik-Trimbakeshwar Simhastha, and Ujjain Simhastha. These four fairs are held periodically at one of the following places by rotation: Haridwar, Allahabad (Prayaga), Nashik district (Nashik and Trimbak), and Ujjain. The main festival site is located on the banks of a river: the Ganges (Ganga) at Haridwar; the confluence (Sangam) of the Ganges and the Yamuna and the invisible Sarasvati at Allahabad; the Godavari at Nashik; and the Shipra at Ujjain. Bathing in these rivers is thought to cleanse a person of all sins.[1]

THE FOUR SHAKTI PEETHAS (PEETHAS HAVE QUADRANT PATTERN the architecture four parts- fourth different)

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

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 parts 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

FOUR GATES SYMBOLIZE FOUR PRINCIPALS AND 16 FACES- 16 SQUARES QMR

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

The Jagannatha Temple at Puri is one of the major Hindu temples built in the Kalinga style of architecture.[41] The temple tower, with a spire, rises to a height of 58 metres (190 ft), and a flag is unfurled above it, fixed over a wheel (chakra).[34][42]

 

 

The temple is built on an elevated platform (of about 420,000 square feet (39,000 m2) area),[43] 20 feet (6.1 m) above the adjacent area. The temple rises to a height of 214 feet (65 m) above the road level. The temple complex covers an area of 10.7 acres (4.3 ha).[39] There are four entry gates in four cardinal directions of the temple, each gate located at the central part of the walls. These gates are: the eastern gate called the Singhadwara (Lions Gate), the southern gate known as Ashwa Dwara (Horse Gate), the western gate called the Vyaghra Dwara (Tigers Gate) or the Khanja Gate, and the northern gate called the Hathi Dwara or (elephant gate). These four gates symbolize the four fundamental principles of Dharma (right conduct), Jnana (knowledge), Vairagya (renunciation) and Aishwarya (prosperity). The gates are crowned with pyramid shaped structures. There is a stone pillar in front of the Singhadwara, called the Aruna Stambha {Solar Pillar}, 11 metres (36 ft) in height with 16 faces, made of chlorite stone; at the top of the stamba an elegant statue of Arun (Sun) in a prayer mode is mounted. This pillar was shifted from the Konarak Sun Temple.[44] The four gates are decorated with guardian statues in the form of lion, horse mounted men, tigers, and elephants in the name and order of the gates.[34] A pillar made of fossilized wood is used for placing lamps as offering. The Lion Gate (Singhadwara) is the main gate to the temple, which is guarded by two guardian deities Jaya and Vijaya.[43][44][45] The main gate is ascended through 22 steps known as Baisi Pahaca, which are revered, as it is believed to possess "spiritual animation". Children are made to roll down these steps, from top to bottom, to bring them spiritual happiness. After entering the temple, on the left side, there is a large kitchen where food is prepared in hygienic conditions in huge quantities; the kitchen is called as "the biggest hotel of the world".[43]

FOUR MAJOR PARTS OF SHAKTIS BODY

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

Thus, there is no dispute regarding these four Adi Shakti Peethas and their locations. (Four Adi Shakti Pithas are also part of 51 Shakti pithas but they are four major parts of Devi Sati's body. So, they are important, powerful and believed as adi shakti pithas))

THE TEMPLE HAS FOUR COMPONENTS- ONE OF THE FOUR SHAKTI PEETHAS

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

The temple is located in the south-west corner of the inner enclosure of the Jagannath temple complex and on the right hand western corner of the tower of Jagannath, next to the sacred pond Rohini kunda.[1][2] The temple faces east and is built of sandstone and laterite. 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]

 

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)

After dividing the samhita he received into three parts, he added a Vedic glossary (Nirukta), which became a fourth part. He taught one of these parts to each of his disciples, who were Balaka, another Paila, Jabala and Viraja (also called Krauncha and Vaitalaki, and the fourth, Niruktakrit, who had the glossary) (Bhag.12.6.54-58 & Vishnu Purana, Book Three, Chapter Four)

 

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

FOUR KINDS OF PRIESTS IN VEDIC SACRIFIECES THE PRIESTS WOULD BE DIVIDED INTO FOUR SETS OF FOUR 16 A QUADRANT MODEL

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

How the one Veda was divided into four is explained more fully in the following quote from the Vishnu Purana: There was but one Veda (in the oral tradition), the Yajur Veda. The first Veda in four parts consisted of 100,000 stanzas, in which there were ten kinds of sacrificial rituals. Dividing it into four parts, Vyasa instituted the sacrificial rite that is administered by four kinds of priests, in which it is the duty of the Adhvaryu priests to recite the prayers (Yajush, or direct the ceremony); of the Hotri priests to repeat the hymns (Richas); of the Udgatri to chant other hymns (Sama); and of the Brahmana priests to pronounce the formula called Atharva. Then the great Muni, having collected together the hymns called the Richas complied the Rig Veda. With the prayers and directions termed the Yajushas he formed the Yajur Veda. With those called the Sama, he formed the Sama Veda. And with the Atharvas he composed the rules of all the ceremonies suited to kings, and the function of the Brahmana agreeably to practice in the Atharva Veda. This was the original tree of the Vedas, having been divided by him into four principal stems, soon branched out into an extensive forest of knowledge. (Vishnu Purana, Book Three, Chapter Four)

Duties of the four priests (officiating at a sacrifice, namely Adhwaryu, Udgata, Hota, and Brahmana).

FOUR DIVISIONS PURANAS- FOURTH DIFFERENT

 

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

Romaharshana divided the Puranas into four basic compilations. [Kashyapa, Savarni and Akritavrana composed three fundamental samhitas, and Romaharshana compiled a fourth, called Romaharshanika. The substance of these four compilations is said to be collected into the Vishnu Purana.] The sage Kashyapa and Suta Gosvami, along with Savarni and Akritavrana, a disciple of Rama, learned these four divisions. (Bhag.12.7.5-7) This is why Suta Gosvami was so qualified to recite the edition of the Srimad-Bhagavatam (Bhagavata Purana) to the sages at Naimsaranya 5,000 years ago that we all study today.

MOUNT MERU CENTER OF THE WORLD GANGES SEPARATES FOUR GREAT RIVERS (16 all)

https://archive.org/stream/in.ernet.dli.2015.180620/2015.180620.Vishnupuranam_djvu.txt

Origin of the Gangs, and separation, on

the top of Meru into four great rivers. — P. 137.

THE STORY OF PRAHLADA PRAHLADA IS ONE OF FOUR SONS

http://www.harekrsna.de/nrisimha-story.htm

Hiranyakashipu had four wonderful, well-qualified sons, of whom the one named Prahlada was the best. Indeed, Prahlada was a reservoir of all transcendental qualities because he was an unalloyed devotee of the Personality of Godhead. Prahlada was completely cultured as a qualified brahmana, having very good character and being determined to understand the Absolute Truth. He had full control of his senses and mind. Like the Supersoul, he was kind to every living entity and was the best friend of everyone. To respectable persons he acted exactly like a menial servant, to the poor he was like a father, to his equals he was attached like a sympathetic brother, and he considered his teachers, spiritual masters and older Godbrothers to be as good as the Supreme Personality of Godhead. He was completely free from unnatural pride that might have arisen from his good education, riches, beauty, aristocracy and so on.

THE FOUR SONS OF HIRANYAKASIPU

 

https://hinduism.stackexchange.com/questions/71/what-is-the-story-of-hiranyakashipus-son-mandara

My question is, is there any information known about the story of Mandara? The Vishnu Purana says "Hirańyakaśipu was the father of four mighty sons, Anuhláda, Hláda, the wise Prahláda, and the heroic Sanhláda, the augmentor of the Daitya race." (The Daityas are a race of demons descended from the sage Kashyap and his wife Diti.) Is Mandara an alternate name for one of these sons? If so I assume that it would be Sanhlada, because he's said to be "the augmentor of the Daitya race", so he presumably increased their territory or something.

 

In any case, where does Mandara's battle with the gods fit in chronologically? It was my understanding that Hiranyakashipu was succeeded as king of the Asuras (demons) by Prahlada, Prahlada was succeeded by Virochana, and Virochana was succeeded by Mahabali. So in relation to these kings of the Asuras, when did Mandara fight the gods? And more importantly, how did the gods ultimately get around Shiva's boon and defeat Mandara?

FOURFOLD DIVISION OF BRAHMAN FOURTH DIFFERENT

https://archive.org/stream/in.ernet.dli.2015.180620/2015.180620.Vishnupuranam_djvu.txt

All these and others appointed to govern the creation are 

but persons of the Great Vishnu, 0 foremost of Munis, All 

the^ kings who have been and who shall be, O foremost of 

twice-born ones, are the portions of Vishnu. The fords of 

celestials, the kings of the Daityas, the sovereigns of the 

DSnavas, the rulers of the demons, the kings of the beasts, 

birds, men, serpents, Nagas, the best of trees, of mountains, of 

planets — those that were, those that are, and those that shall 

be, are but portions 6l Vishnu who is identical mih the 

universe. None else is capable of protecting the world, but 

Hari, the lord of all. 0 greatly wise ascetic, the essence of 

the universal creation exists in him and none else. The 

eternal Vishnu invested respectively with the qualities of 

foulness, goodness, and darkness, creates the universe, 

preserves it and destroys it. By a four-fold manifestation of 

himself he creates the world and in the same way preserves 

and destroys it. In one mianifestation as Brahml, the 

invisible (Vishnu) assumes a visible shape; in his second mani- 

festation. he appears as the patriarch Marichi and others ; KAla 

is the third manifestation and all other beings constitute his 

fourth manifestation. Thus he becomes four-fold in his creation 

invested with the quality of goodness. The Deity in one 

portion as Vishnu, preserves the creation; in his second 

portion he assumes the shape of Manu and others ; in his 

third portion he assumes the shape of time, and in his fourth 

portion he assuj^es the shape of all beings. An<f Mhur in- 

vested with the qqality of goodness, the qjf;cjelleot Fur^s^ 

 

VISHNUPURANAM. 

 

io8 

 

preserves the universe. And invested with the quality of' 

darkness at the end of creation the un-born Deity, in one 

portion, assumes the form of Rudra. In another portion he 

assumes the shape of fire — in another he assumes the shape 

of time, and in his fourth portion he assumes the shape of all 

beings. And thus in his four-fold form he is thp destroyer of 

the universe. This is the four-fold division of the Deity, 0 

Brahman, at all seasons.

THE FOUR FACED GOD CHINESE FOLK RELIGION

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

Phra Phrom (Thai: พระพรหม; from Sanskrit: Para Brahma) is the Thai representation of the deva Brahmā Sahampati,[1] honoured in Thai Buddhism. Phra Phrom is also worshipped in Chinese folk religion as the Four-Faced God (Chinese: 四面神; pinyin: Sìmiànshén) or Four-Faced Awakened One (Chinese: 四面佛; pinyin: Sìmiànfó).

THE VENIDAD (THE ZOROASTRIAN SACRED TEXT) BEGINS IN THE FIRST CHAPTER BY TALKING ABOUT THE 16 GOOD COUNTRIES CREATED BY AHURA MAZDA- THAT WERE SPOILED- 16 SQUARES QUADRANT MODEL

https://books.google.com/books?id=eSAHAAAAQAAJ&pg=PA363&lpg=PA363&dq=varen+four+cornered&source=bl&ots=C4KAnR-SbZ&sig=IbNVl58Q_weg6d2tOwRjCTrVnvE&hl=en&sa=X&ved=0ahUKEwib4pHg74TUAhWrs1QKHeKCDAwQ6AEIMzAE#v=onepage&q=four&f=false

Quadrant

THE FOUR UPAVEDAS

http://www.hindupedia.com/en/Upaveda

There are four Upavedas: Dhanurveda, Gandharvaveda, Ayurveda and Arthasastra. Some schools hold Sthapatyaveda as the fourth Upaveda instead of Arthasastra.

 

Dhanurveda is the science of warfare.

Gandharvaveda is the study if aesthetics and it speaks of all art-forms like music, dance, poetry, sculpture, and erotica.

Ayurveda is the science of health and life.

Arthasastra deals with public administration, governance, economy and polity.

Sthapatyaveda relates with engineering and Architecture.

All these sciences/arts are discussed not just from their technical perspective (though that is primarily done), but also as a means to transcendence.

NEOLITHIC VILLAGERS RAIN TORTOISE CROSS REPRESENTED HORUS WITH A CROSS THE FIGURE OF THE TORTOISE EARTH WAS THE CROSS THE FOUR TRIANGLES REPRESENTED THE FOUR NATIONS

https://books.google.com/books?id=XE1gFZa_DmcC&pg=PA246&lpg=PA246&dq=varen+four+cornered&source=bl&ots=Mf0AhjCb5y&sig=2fHM0MMXPNuVQkXw0f599WGOq48&hl=en&sa=X&ved=0ahUKEwib4pHg74TUAhWrs1QKHeKCDAwQ6AEIRDAI#v=onepage&q=four&f=false

Quadrant

I'M TELLING YOU IT HURTS ME TO THINK ABOUT BUT THERE IS SO MANY EXAMPLES OF QUADRANT EXAMPLES THAT I HAD THAT I CANT REMEMBER NOW THAT I SAW THAT I WROTE DOWN OR WHATEVER BUT I DONT REMEMBER AND DONT KNOW HOW TO FIND

https://archive.org/stream/MichaelTsarionIrishOriginsOfCivilizationVolume1/Michael%20Tsarion/Michael%20Tsarion%20-%20Astrotheology%20-%20Part%202_djvu.txt

THE FOUR ANCIENT CULTS

 

(Stellar, Lunar, Solar, Saturnian)

 

The falsification of history has done more to mislead

humans than any single thing known to mankind -

 

Jean Jacques Rousseau

 

The scholars, academes and mass of the world’s populace seem

completely unaware of the fact that there were at least four great

cults in the ancient world, with one following and supplanting

another as the centuries advanced. Each Cult, until the point

when they joined together, absorbed the mythologies and beliefs

of those antecedent. All used astrology but each Cult made

changes to the lexicon of the past, to the canon of the Gnosis

regarding this subject of subjects. We are inheritors of all these

contentions and alterations. And from our pedestal, looking back

through the generations, we have anything but a true perspective.

The lives and beliefs of our earliest predecessors are especially

obscured by time and obsolescence. Moreover, our perspective

has been consciously distorted by malign influences within the

post-industrial cabals of learning, by those at the helm of the

faculties of history, anthropology, mythology, and religion, etc,.

TSARION SAYS SION FOUR PRINCIPAL GODS PHAROAH

https://archive.org/stream/MichaelTsarionIrishOriginsOfCivilizationVolume1/Michael%20Tsarion/Michael%20Tsarion%20-%20Astrotheology%20-%20Part%202_djvu.txt

SION

 

As in Mt. Sion or Priory de Sion. This is a common term in

Christianity and Judaism, yet few know really to what it refers. It

refers to the Royal (Holy) family of Egypt, the four principle gods

upon which the Pharaoh founds his dynasty. The gods are Set,

Isis, Osiris and Nephthys. The first letters of their names make the

word S.I.O.N. The numerology of these letters is 1 .9.6.5, same as

ROSE ( 9.6.1 .5 ), which is why the rose is used often on occult

circles and used as a symbol of royalty.

TSARION FOUR LEVELS HUMAN CONSCIOUSNESS

https://archive.org/stream/MichaelTsarionIrishOriginsOfCivilizationVolume1/Michael%20Tsarion/Michael%20Tsarion%20-%20Astrotheology%20-%20Part%202_djvu.txt

Quadrant

If the student has taken the Taroscopes Tour and read through

the information presented there, they will have come across the

discussion of how human consciousness develops through 4

levels, which become the types, symbolized since the earliest

times by the four elements or the four suits in the deck of cards.

 

Now, we again find that in the New Testament there are 4

Gospels. There are several reasons for this and one of the main

ones has to do with Astro-Theology.

TSARION SAYS "THE GNOSTICS SAID THAT WHEN 2+2=1 THEN SHALL THE CHRIST BE BORN IN YOU--- 2+2 YOU WOULD THINK EQUALS FOUR BUT FOUR IS ONE FOUR IS THE QUADRANT

https://archive.org/stream/MichaelTsarionIrishOriginsOfCivilizationVolume1/Michael%20Tsarion/Michael%20Tsarion%20-%20Astrotheology%20-%20Part%202_djvu.txt

This cannot be accomplished without

integration of all Four aspects of inner consciousness. And this is

the mystery concealed in the very first Tarot card - Magician, as

well as others. The Gnostics said: when the 2 + 2 = 1 then shall

the Christ be born in you.

TSARION ON THE FOUR TYPES AND FOUR PRECEPTS

https://archive.org/stream/MichaelTsarionIrishOriginsOfCivilizationVolume1/Michael%20Tsarion/Michael%20Tsarion%20-%20Astrotheology%20-%20Part%202_djvu.txt

The 4 Types have always been symbolized by the 4 elements,

Fire, Water, Air and Earth, or as in Tarot: Wands, Cups, Swords,

Disks, or in playing cards, Clubs, Hearts, Spades and

Diamonds. There are innumerable other figurative replications of

these 4 Types. If one examines closely, the cards of the Major

Arcana, especially The Magician and The Universe they will see

this supernal motif pictorialized. It is a wonder that this motif has

been ignored completely by so called Tarot scholars, as the

uniting of the four modalities is the central precept of all

Gnosticism and Magick. This neglect emphasizes what we mean

when we say that there is an exoteric and an esoteric approach to

the mysteries. Many there are who can teach ancient subjects,

but very few who can teach them in the ancient way. In our times

we can have medical professionals displaying the Hermetic

Caduceus (serpent staff) without practicing Hermetically, And we

find so-called "astrologers" who know not what, or where, the

stars really are. A Siderealist is always an astrologer, but an

astrologer is not always a Siderealist. The astrologer who does

TSARION FOUR PRINCIPAL FESTIVALS OF SOLAR WORSHIP AND HE RELATES THEM TO THE FOUR GOSPELS

https://archive.org/stream/MichaelTsarionIrishOriginsOfCivilizationVolume1/Michael%20Tsarion/Michael%20Tsarion%20-%20Astrotheology%20-%20Part%202_djvu.txt

THE REAL FOUR GOSPELS

 

The four principal festivals of the solar worship

celebrated in the northern hemisphere were the

spring or vernal equinox, the summer solstice, the

autumnal equinox, and the winter solstice. Their

observance can be traced to the remotest period of

history or tradition and belongs to every nation and

every wide-spread religion of which we have any

knowledge - Alexander Del Mar

TSARION MENTIONS ARISTOTLES FOUR LEVELS OF BEING THE MINERAL VEGETABLE ANIMAL AND HUMAN- MODERN PHILOSOPHERS I POSTED BOOKS ON IT DO SAY THESE ARE THE FOUR LEVELS AND SAY THIS HAS NEVER BEEN DENIED-- TSARION PROPOSES AN ULTRA TRANSCENDENT FIFTH METAHUMAN (God)- THE FIFTH IS ALWAYS ULTRA TRANSCENDENT- THE FOURTH HUMAN IS TRANSCENDENT AND DIFFERENT FROM THE PREVIOUS THREE FIRST IS ALWAYS NON ACTIVE SECOND IS ALWAYS GOOD THIRD ALWAYS ACTIVE AND DOING FOURTH RATIONAL TRANSCENDENT TSARION PROPOSES A FIFTH

https://archive.org/stream/MichaelTsarionIrishOriginsOfCivilizationVolume1/Michael%20Tsarion/Michael%20Tsarion%20-%20Astrotheology%20-%20Part%202_djvu.txt

The pentagram is the symbol that is seen in all naturally flowering

things. It is another symbol of the female and the Mother (Venus).

It is connected to the Phi ratio (creation ratio), which is why we

see Leonardo, Vitruvius and Agrippa depicting man standing in

that shape. All things grow according to the pentad and its various

harmonics. It represents the fifth level of cognition, or human

evolution and there is nothing "satanic" about it. But since it all

related to the female initiatory precepts, it had no place and no

currency in the Solar and Saturnian power cults that superceded

the Stellar and Lunar epochs. (Incidentally this is the reason why

the letter Greek letter for Phi is a circle and a line, similar to the

English "Q"). The Magician is the one who deems it the object of

life to attain the fifth dimension. The first four are the mineral,

vegetable, animal and human kingdoms. The Magician wishes to

undergo the great metamorphosis and attain the "Meta-Human,"

or "Pharaonic" level, which is that of the true Christ (karast). This

metamorphosis is akin to a rebirth and so there is need to employ

the symbols commensurate with an act of birth namely, the "Ring

and the Rod." This is also why we see the female pentagram and

the protecting precinct of the circle in all Magical depictions.

Unfortunately, the modern practitioners of ceremonial magic have

not the faintest idea of any of this and the Christians, who know

just as little, continue their dialectical rankling and scare tactics.

The latter are reacting against the wrong symbols and the former

are trying to revere symbols that have nothing to do with their

main tenets. All the while the power elite are dancing on their

desks enjoying the entire spectacle. The reason why the

TSARION SAYS THE FOUR INGREDIENTS OF BREAD REPRESENT THE GODDESS

https://archive.org/stream/MichaelTsarionIrishOriginsOfCivilizationVolume1/Michael%20Tsarion/Michael%20Tsarion%20-%20Astrotheology%20-%20Part%202_djvu.txt

Bread was always connected to

the goddess. The four ingredients of bread represented her: grain,

yeast, water and salt.

FOUR WORDS

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

Sahaja is one of the four keywords of the Nath sampradaya along with Svecchachara, Sama, and Samarasa. Sahaja meditation and worship was prevalent in Tantric traditions common to Hinduism and Buddhism in Bengal as early as the 8th–9th centuries.

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

Samarasa is one of four principal keywords and teachings of the Natha Tradition, the other three being 'svecchachara' (Sanskrit: स्वेच्छाचार), 'sama' (Sanskrit: सम), and 'sahaja' (Sanskrit: सहज).[8]

KEN WILBER TALKS ABOUT THE FOUR KINDS OF SAMADHI AS WELL- FOURTH TRANSCENDENT

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

The Theravada Pali texts mention four kinds of samadhi:

 

Momentary concentration (khanikasamadhi): A mental stabilization which arises during vipassana.

Preliminary concentration (parikammasamadhi): Arises out of the meditator's initial attempts to focus on a meditation object.

Access concentration (upacarasamadhi): Arises when the five hindrances are suppressed, when jhana is present, and with the appearance the 'counterpart sign' (patibhaganimitta).

Absorption concentration (appanasamadhi): The total immersion of the mind on its meditation of object and stabilization of all four jhanas.

THERE ARE EIGHT STATES OF JHANA FOUR HAVE FORMS AND FOUR FORMLESS DIVISION IN FOURS- THE FOUR PLUS FOUR PATTERN

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

 

The Pāli canon describes eight progressive states of jhāna: four meditations of form (rūpa jhāna), and four formless meditations (arūpa jhāna

THERE WERE ORIGINALLY FOUR ROADS BUT VETTER ADDED THE FOURTH THE TRANSCENDENT FOURTH

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

Schmithausen discerns three possible roads to liberation as described in the suttas,[17] to which Vetter adds the sole practice of dhyana itself, which he sees as the original "liberating practice":[18]

 

1.The four Rupa Jhanas themselves constituted the core liberating practice of early buddhism, c.q. the Buddha;[19]

2. Mastering the four Rupa Jhanas, where-after "liberating insight" is attained;

3. Mastering the four Rupa Jhanas and the four Arupa Jhanas, where-after "liberating insight" is attained;

4. Liberating insight itself suffices.

EXTREMELY FAMOUS DIVIDED INTO FOUR SECTIONS

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

Contents[edit]

Patañjali divided his Yoga Sutras into four chapters or books (Sanskrit pada), containing in all 196 aphorisms, divided as follows:[20][21][22]

 

Samadhi Pada[20][21][22] (51 sutras). Samadhi refers to a blissful state where the yogi is absorbed into the One. Samadhi is the main technique the yogin learns by which to dive into the depths of the mind to achieve Kaivalya. The author describes yoga and then the nature and the means to attaining samādhi. This chapter contains the famous definitional verse: "Yogaś citta-vritti-nirodhaḥ" ("Yoga is the restraint of mental modifications").[23]

Sadhana Pada[20][21][22] (55 sutras). Sadhana is the Sanskrit word for "practice" or "discipline". Here the author outlines two forms of Yoga: Kriya Yoga (Action Yoga) and Ashtanga Yoga (Eightfold or Eightlimbed Yoga).

Kriya Yoga is closely related to Karma Yoga, which is also expounded in Chapter 3 of the Bhagavad Gita, where Arjuna is encouraged by Krishna to act without attachment to the results or fruit of action and activity. It is the yoga of selfless action and service.

Ashtanga Yoga describes the eight limbs that together constitute Rāja Yoga.

Vibhuti Pada[20][21][22] (56 sutras). Vibhuti is the Sanskrit word for "power" or "manifestation". 'Supra-normal powers' (Sanskrit: siddhi) are acquired by the practice of yoga. Combined simultaneous practice of Dhāraṇā, Dhyana and Samādhi is referred to as Samyama, and is considered a tool of achieving various perfections, or Siddhis. The temptation of these powers should be avoided and the attention should be fixed only on liberation. The purpose of using samadhi is not to gain siddhis but to achieve Kaivalya. Siddhis are but distractions from Kaivalaya and are to be discouraged. Siddhis are but maya, or illusion.

Kaivalya Pada[20][21][22] (34 sutras). Kaivalya literally means "isolation", but as used in the Sutras stands for emancipation or liberation and is used interchangeably with moksha (liberation), which is the goal of yoga. The Kaivalya Pada describes the process of liberation and the reality of the transcendental ego.

FOUR KINDS OF LOCKS FOUR KEYS TO OPEN LOCKS

http://theyogasanctuary.biz/inside-the-yoga-sutras-the-keys-to-peace-i-33/

In this sutra, Patanjali says that there are only four kinds of locks in the world. The four locks are: sukha (happy people), dukha (unhappy people), punya (the virtuous), and apunya (the wicked). At any given moment, you can fit any person into one of these four categories.

Patanjali gives 4 keys to open these locks. He says that if we always keep these 4 keys with us, when we come across any of these four locks, we will have the proper key to open it. The four keys are: maitri (friendliness), karuna (compassion), mudita (delight), and upekshanam (disregard). Patanjali reminds us that there is a Yogic way of approaching all people, no matter what behaviors and attitudes they may be exhibiting at the moment.

IN CHAPTER 1 OF THE FAMOUS YOGA SUTRAS WHICH THEMSELVES ARE DIVIDED INT FOUR PARTS GIVES THE FOUR KEYS TO HAPPINESS AND FOUR KINDS OF PEOPLE

http://yoganonymous.com/yoga-philosophy-explained-patanjalis-4-keys-to-happiness

In the Yoga Sutra's Chapter 1.33, Pantanjali gives us a four-part process to help us clear our hearts of negative energies as a means for quieting our minds.

 

These are known as the Four Keys to Happiness. So what are we unlocking, that’s in the way of our joy? The Four Locks are the 4 kinds of people that we encounter in life: Happy people (sukha), Unhappy people (dukha), Honorable people (punya) and Malicious people (apunya).

 

The Yogic model proposes that in order to access these four keys we must nurture these attitudes.

PANTAJALI FOUR TYPES OF PEOPLE

https://www.artofliving.org/us-en/yoga/patanjali-yogasutra/knowledge-sheet-28

Patanjali categorizes people in the world. There can be only four types of people:

 

People who are happy

People who are unhappy

People who are engaged in good acts, meritorious acts (blessed people)

People who are engaged in not so good acts or demonic acts (sinful people)

THE STAGES OF PATNAJALIS YOGA ARE EIGHT BUT THEY ARE DIVIDED INTO TWO FOURS- I SHOWED YOU ALL HOW IN THE BIBLE AND ACCORDING TO JUNG IN ALL MYTHOLOGIES THE SEVENS ARE DIVIDED AS SEVEN PLUS THREES- THE EIGHTS ARE ALSO DIVIDED AS FOUR PLUS FOURS

http://www.yogajournal.com/practice/the-eight-limbs

These first four stages of Patanjali's ashtanga yoga concentrate on refining our personalities, gaining mastery over the body, and developing an energetic awareness of ourselves, all of which prepares us for the second half of this journey, which deals with the senses, the mind, and attaining a higher state of consciousness.

IT WOULD BE NICE TO HAVE A DVD PLAYER SO I COULD WATCH AND RECORD FOR YOU ALL THE FAMOUS PROFESSOR ON THE TEACHING COMPANY WHO SAID THAT SOCIOLOGISTS AGREE THERE ARE FOUR WORLD RELGIONS AND THE QUESTIONABLE FIFTH IS JUDAISM BUT IT IS NOT A WORLD RELIGION AND THE FOURTH HINDUISM IS DIFFERENT

THE FOURFOLD CATEGORIZATION IT IS DESCRIBED THE FOURTH IS DIFFERENT FIRT THREE ARE CITTA FOURTH IS DIFFERENT

https://plato.stanford.edu/entries/abhidharma/

The Theravāda introduced a system of eighty-two dhamma categories, meaning that there are eighty-two possible types of occurrence in the experiential world, not eighty-two occurrences. These are organized into a fourfold categorization. The first three categories include the bare phenomenon of consciousness (citta) that encompasses a single dhamma type and of which the essential characteristic is the cognizing of an object; associated mentality (cetasika) that encompasses fifty-two dhammas; and materiality or physical phenomena (rūpa) that include twenty-eight dhammas that make up all physical occurrences (Abhidh-av 1). All the eighty-one dhamma types in these three broad categories are conditioned (saṅkhata). Conditioned dhammas arise and cease subject to numerous causes and conditions and constitute sentient experience in all realms of the round of rebirth (saṃsāra).[7] The eighty-second dhamma that comprises the fourth category is unconditioned (asaṅkhata): it neither arises nor ceases through causal interaction. The single occurrence in this fourth category is nirvana (Pali, nibbāna).

https://plato.stanford.edu/entries/abhidharma/

The Sarvāstivāda-Vaibhāṣika introduced four characteristics of conditioned phenomena: origination, endurance, decay, and dissolution. These are classified under the dharma category of “factors dissociated from thought.”

https://plato.stanford.edu/entries/abhidharma/

The Sarvāstivāda replies to this criticism by stating that the activities (kāritra) of the four characteristics of conditioned phenomena are sequential: the limits between the birth and dissolution of any event are referred to as one moment. This solution, however, implies that a single event undergoes four phases within a given moment, which inevitably infringes upon its momentariness (Cox 1995, 151; von Rospatt 1995, 52ff).

http://tdm.ucr.edu/monastery/ritual_liturgy.html

After the chanting and the placing (occasionally) of a piece of paper inside the corpses mouth with "sī na" (ci, ce, ru, ni--four syllables representing the four main section of the Abhidhammasaṅgaha ), the corpse is cleaning with water by members of the deceased's family. Then the corpse is placed in a coffin (usually white with gold painted designs) or if the family cannot afford a coffin, the body is simply placed exposed on a pile of wood and pillows. The coffin or pyre is often flanked by flowers, candles, and incense. Tea, soda, or water is offered to the monks after chanting and the visitors often go to a wake and are served Chinese style shark fin soup and pumpkin seeds or simple local dishes (this food is referred to as matakabatta ). Especially in the rural areas of Thailand, a person holding a white flag on a long pole leads the family and friends to the crematorium or funeral pyre. This procession includes the monks and a group of men carrying the coffin. The Abhidhammasa ṅ gaha or Abhidhamma Chet Kamphi is oftn chanted on the way to the place of cremation. Chinese Thai Buddhists are often buried in a cemetery, but ethnic Thai, Lao, Mon, Khmer, and Burmese Buddhists in Thailand are cremated and their ashes are placed inside small boxes embedded in chedi or the walls of a monastery. These boxes often include the dates of birth and death and a black and white photograph. Sometimes the cremation is held immediately after the funerary rites, but sometimes three or more days later because of astrological charts.

REVEREND LUNDY ADMITTED THAT THE DEPICTION OF CRUCIFIED HINDU DEITY WAS PRE CHRISTIAN AND IT WAS HYPOTHESIZED THAT THE SYMBOL REPRESENTED PLATOS CHIASMA (THE COSMIC CROSS FROM WHICH PLATO THOUGHT WAS BEHIND REALITY)- THE QUADRANT

https://books.google.com/books?id=rey19p_ycHUC&pg=PA243&lpg=PA243&dq=moor+Krishna+crucified&source=bl&ots=85K8Lmalm-&sig=vhLak1c_fGHSKxGKx5CQ4GMNNuc&hl=en&sa=X&ved=0ahUKEwjB9vTyr43UAhUmj1QKHYP7DcgQ6AEITTAK#v=onepage&q=moor%20Krishna%20crucified&f=false

Quadrant

XV. Bali of Orissa Crucified, 725 B.C.
https://www.facebook.com/PanAfrikanEducation/posts/574396692651591
“We learn by the oriental books, that in the district of country known as Orissa, in Asia, they have the story of a crucified God, known by several names, including the above, all of which, we are told, signify ‘Lord Second,’ having reference to him as the second person or second member of the trinity, as most of the crucified Gods occupied that position in the trials of deities constituting the trinity, as indicated by the language ‘Father, Son, and Holy Ghost,’ the Son, in all cases, being the atoning offering,‘ ‘the crucified Redeemer,’ and the second person of the trinity. This God Bali was also called Baliu, and sometimes Bel. The Anacalypsis informs us… that monuments of this crucified God, bearing great age, may be found amid the ruins of the magnificent city of Mahabalipore, partially buried amongst the figures of the temple.”
Kersey Graves
“The World’s Sixteen Crucified Saviors: or Christianity before Christ”
Page 127

stuff on krishna crucified
http://www.truthbeknown.com/kcrucified.htm
(This chapter from Suns of God is 46 pages long, with 142 footnotes and 4 pages of illustrations comprising 12 images. This article represents reportage of a debate and does not draw any firm conclusion as to whether or not Krishna was ever depicted as "crucified" in the Christian sense.)

Blood sacrifice is the oldest and most universal act of piety. The offering of animals, including the human animal, dates back at least twenty thousand years, and, depending on how you read the scanty archaeological evidence, arguably back to the earliest appearance of humanity. Many religions recount the creation of man through the bloody sacrifice of a God-man—a divinity who is torn apart to sow the seeds of humanity.

Patrick Tierney, The Highest Altar: The Story of Human Sacrifice

[A] peculiarity noticed in some of the Irish Pre-Christian illustrations of the Crucifix is the absence of nails; the legs being bound with cords at the ankles It is singular that the dress of one crucified figure, as worn about the loins, corresponds with that of the fabled crucified Christna.

James Bonwick, Irish Druids and Old Irish Religions

The orthodox depiction of Krishna's death relates that he was shot in the foot by a hunter's arrow while under a tree. As is true with so much in mythology, and as we have seen abundantly, there are variances in Krishna's tale, including the account of his death. In The Bible in India, citing as his sources the Bagaveda-Gita and Brahminical traditions, French scholar and Indianist Jacolliot recounts the death of Christna as presciently understood by the godman, who, without his disciples, went to the Ganges to work out stains. After thrice plunging into the sacred river, Krishna knelt and prayed as he awaited death, which was ultimately caused by multiple arrows shot by a criminal whose offenses had been exposed by Krishna. The executioner, named Angada, was thereafter condemned to wander the banks of the Ganges for eternity, subsisting off the dead. Jacolliot proceeds to describe Krishna's death thus:

The body of the God-man was suspended to the branches of a tree by his murderer, that it might become the prey of the vultures.

News of the death having spread, the people came in a crowd conducted by Ardjouna, the dearest disciple of Christna, to recover his sacred remains. But the mortal frame of the Redeemer had disappeared—no doubt it had regained the celestial abodes and the tree to which it had been attached had become suddenly covered with great red flowers and diffused around it the sweetest perfumes.

Jacolliot's description includes a number of arrows, instead of just one, which, along with the suspension in the tree branches, resembles the pinning of the god to Medieval European image of Archers Shooting into Victim Tied to Treea tree using multiple nails. Krishna's subsequent disappearance has been considered an ascension. Moreover, this legend is evidently but a variant of the orthodox tale, constituting an apparently esoteric tradition recognizing Krishna's death as a crucifixion. Indeed, as John Remsburg says in The Christ:

There is a tradition, though not to be found in the Hindoo scriptures, that Krishna, like Christ, was crucified.

In Bible Myths and Their Parallels in Other Religions, Doane elaborates upon the varying legends concerning Krishna's death:

The accounts of the deaths of most of all virgin-born Saviours of whom we shall speak, are conflicting. It is stated in one place that such an one died in such a manner, and in another place we may find it stated altogether differently. Even the accounts of the death of Jesus are conflicting

The Vishnu Purana speaks of Crishna being shot in the foot with an arrow, and states that this was the cause of his death. Other accounts, however, state that he was suspended on a tree, or in other words, crucified.

Doane then cites M. Guigniaut's Religion de l'Antiquité, which states:

The death of Crishna is very differently related. One remarkable and convincing tradition makes him perish on a tree, to which he was nailed by the stroke of an arrow.

Doane further relates that the pious Christian Rev. Lundy refers to Guigniaut's statement, translating the original French un bois fatal as a cross. Doane next comments:

Although we do not think he is justified in doing this, as M. Guigniaut has distinctly stated that this bois fatal (which is applied to a gibbet, a cross, a scaffold, etc.) was un arbre (a tree), yet, he is justified in doing so on other accounts, for we find that Crishna is represented hanging on a cross, and we know that a cross was frequently called the so cursed tree. It was an ancient custom to use trees as gibbets for crucifixion, or, if artificial, to call the cross a tree.

To wit, the legend of Krishna's death has been interpreted to mean that he was pinned to a tree, essentially representing a crucifixion. However, it is not just tradition but artifacts that have led to the conclusion that Krishna was crucified. Indeed, there have been found in India numerous images of crucified gods, one of whom apparently is Krishna, important information not to be encountered in mainstream resources such as encyclopedias.

Moreover, it appears that Krishna is not the first Indian god depicted as crucified. Prior to him was another incarnation of Vishnu, the avatar named Wittoba or Vithoba, who has often been identified with Krishna. As Doane further relates:

It is evident that to be hung on a cross was anciently called hanging on a tree, and to be hung on a tree was called crucifixion. We may therefore conclude from this, and from what we shall now see, that Crishna was said to have been crucified.

In the earlier copies of Moor's Hindu Pantheon , is to be seen representations of Crishna (as Wittoba ), with marks of holes in both feet, and in others, of holes in the hands. In Figures 4 and 5 of Plate 11 (Moor's work), the figures have nail-holes in both feet . Plate 6 has a round hole in the side ; to his collar or shirt hangs the emblem of a heart (which we often see in pictures of Christ Jesus)

Rev. J. P. Lundy, speaking of the Christian crucifix, says:

I object to the crucifix because it is an image, and liable to gross abuse, just as the old Hindoo crucifix was an idol.

And Dr. Inman says:

Crishna, whose history so closely resembles our Lord's, was also like him in his being crucified.

Thus, we discover from some of the more erudite Christian writers, admitting against interest, that images of a Indian god crucified, with nail holes in the feet, had been discovered in India, and that this god was considered to be Krishna, as Wittoba . As we have seen, Moor's book was mutilated, with plates and an entire chapter removed, which have luckily been restored in a recent edition of the original text. Fortunately, Higgins preserved for posterity some of Moor's statements and plates, recounting and commenting upon the missionary's remarkable discovery:

Mr. Moor describes an Avatar called Wittoba, who has his foot pierced.

This incarnation of Vishnu or CRISTNA is called Wittoba or Ballaji. He has a splendid temple erected to him at Punderpoor. Little respecting this incarnation is known. A story of him is detailed by Mr. Moor, which he observes reminds him of the doctrine of turning the unsmote cheek to an assailant. This God is represented by Moor with a hole on the top of one foot just above the toes, where the nail of a person crucified might be supposed to be placed. And, in another print, he is represented exactly in the form of a Romish crucifix, but not fixed to a piece of wood, though the legs and feet are put together in the usual way, with a nail-hole in the latter. There appears to be a glory over it coming from above . Generally the glory shines from the figure. It has a pointed Parthian coronet instead of a crown of thorns....

In the images provided by Moor we possess representations of an Indian god, Wittoba/Krishna, in cruciform, with nail Indian Crucifixion in Spaceholes. The image of the godman crucified without the wood, "in space," can also be found reproduced in Lundy's book, wherein he asserts that it is indeed non-Christian, to wit uninfluenced by Christianity and representing an older tradition of a crucified god. With this transcendent cruciform of the deity and others in mind, Higgins continues his intriguing detective tale:

… I cannot help suspecting, that it is from this Avatar of Cristna that the sect of Christians heretics got their Christ crucified in the clouds.

Long after the above was written, I accidentally looked into Moor's Pantheon, at the British Museum, where it appears that the copy is an earlier impression than the former which I had consulted: and I discovered something which Mr. Moor has apparently not dared to tell us, viz. that in several of the icons of Wittoba, there are marks of holes in both feet, and in others, of holes in the hands. In the first copy which I consulted, the marks are very faint, so as to be scarcely visible. In figures 4 and 5 of plate 11, the figures have nail-holes in both feet. Fig. 3 has a hole in one hand. Fig. 6 has on his side the mark of a foot, and a little lower in the side a round hole; to his collar or shirt hangs the ornament or emblem of a heart, which we generally see in Romish pictures of Christ; on his head he has an Yoni-Linga. In plate 12, and in plate 97, he has a round mark in the palm of the hand.…

Figure 1, plate 91, of Moor's Pantheon, is a Hanuman, but it is remarkable that it has a hole in one foot, a nail through the other, a round nail mark in the palm of one hand and on the knuckle of the other, and is ornamented with doves…

It is unfortunate, perhaps it has been thought prudent, that the originals are not in the Museum to be examined. But it is pretty clear that the Romish and Protestant crucifixion of Jesus must have been taken from the Avatar of Ballaji, or the Avatar of Ballaji from it, or both from a common mythos.

As Higgins relates, Moor was compelled by Christian zealots not to publish the volume intact. Elaborating on Higgins's contentions regarding Christian mutilation of documents, Graves says:

[Higgins] informs us that a report on the Hindoo religion, made out by a deputation from the British Parliament sent to India for the purpose of examining their sacred books and monuments, being left in the hands of a Christian bishop at Calcutta, and with instructions to forward it to England, was found, on its arrival in London, to be so horribly mutilated and eviscerated as to be scarcely cognizable. The account of the crucifixion was gone—cancelled out.

In recounting his experiences in India regarding the images he subsequently used as plates in his book, the missionary Moor states, "A man, who was in the habit of bringing me Hindu deities, pictures, etc., once brought me two images exactly alike." Moor's self-appointed, post-mortem censor, Rev. Simpson, notes at this point that these images were of a crucifix. Simpson then comments, "The subject, a crucifix, is omitted in the present edition, for very obvious reasons." In other words, the crucifix image was removed so it would not offend good Christian sensibilities. In fact, it apparently would serve as evidence that the crucified savior god motif predated Christianity and was found in "heathen" nations.

Moor continues his story concerning the presentation to him of the crucifix images:

Affecting indifference, I inquired of my Pandit what Deva it was: he examined it attentively, and, after turning it about for some time, returned it to me, professing his ignorance of what Avatara it could immediately relate to; but supposed by the hole in the foot, that it might be Wittoba, adding that it was impossible to recollect the almost innumerable Avataras described in the Puranas.

The subject [of plate 98] is evidently the crucifixion; and, by the style of workmanship is clearly of European origin, as is proved also by its being in duplicate. These crucifixes have been introduced into India, I suppose, by Christian missionaries, and are, perhaps, used in Popish churches and societies…

CRUCIFIED GODS AT NEPAL ARMS CRUCIFORM PROTECTORS

http://www.truthbeknown.com/images/egyptcrucifix.jpg

http://www.truthbeknown.com/kcrucified-3.htm

Regarding Lundy's latter assertion that the Indian god is "God and a strange mixture of man, but not the Christ of the Gospels," we ask, how not? Christ is all of the things Lundy lists, especially when one factors in the Savior's biblical "Father," the architect of good and evil, who is generally not amiable but almost always wrathful, etc. Furthermore, while Krishna is the "shepherd-god of Mathura," Christ is the shepherd god who lived in Maturea. Moreover, Lundy, evidently dismayed by this non-Christian crucifix, unconvincingly attempts to justify its existence as a "prophecy of Christ," as had the early Church fathers done with so many mythical motifs when confronted with their existence prior to the Christian era. Regarding Lundy's admissions, Blavatsky remarks:

 

One is completely overwhelmed with astonishment upon reading Dr. Lundy's Monumental Christianity. It would be difficult to say whether an admiration for the author's erudition, or amazement at his serene and unparalleled sophistry, is stronger. He has gathered a world of facts which prove that the religions, far more ancient than Christianity, of Christna, Buddha, and Osiris, had anticipated even its minutest symbols. His materials come from no forged papyri, no interpolated Gospels, but from sculptures on the walls of ancient temples, from monuments, inscriptions, and other archaic relics, only mutilated by the hammers of iconoclasts, the cannon of fanatics, and the effects of time. He shows us Christna and Apollo as good shepherds; Christna holding the cruciform chank [crook] and the chakra [wheel], and Christna "crucified in space," as he calls it…. Of this figure—borrowed by Dr. Lundy from Moor's Hindu Pantheon—it may be truly said that it is calculated to petrify a Christian with astonishment, for it is the crucified Christ of Romish art to the last degree of resemblance.

 

As it is, Dr. Lundy contradicts Moor, and maintains that this figure is that of Wittoba, one of the avatars of Vishnu, hence Christna, and anterior to Christianity, which is a fact not very easily put down. And yet although he finds it prophetic of Christianity, he thinks it has no relation whatever to Christ! His only reason is that "in a Christian crucifix the glory always comes from the sacred head; here it is from above and beyond…."

 

To be sure, an image of a crucified Krishna, prior to Christianity, is a fact not easily ignored, and one must wonder how it came to be so disregarded.

 

Interestingly, the Wittoba temples whence ostensibly came these images are located at Terputty and Punderpoor, the former of which was, in Moor's time, under the control of the British, who had purchased the site. It may be asked why the British would thus be so interested in an avatar purportedly so minor and unimportant as to warrant exclusion of his story from their reports. The avatar was, in fact, important enough to be widespread and to have names in a number of different dialects, names or titles that included Wittoba, Ballaji, Vinkatyeish, Terpati, Vinkratramna Govinda and Takhur. Concerning Ballaji, Higgins says, "The circumstance of Ballaji treading on the head of the serpent shows that he is, as the Brahmins say, an Avatar of Cristna." Higgins also states that very ancient monuments of the crucified god Bali of Orissa can be found in the ruins of Mahabalipore. It is interesting to note the correlation between Bali and "Baali," Baal, Bal or Bel, the Phoenician, Babylonian and Israelite god, whose Passion is represented on a 4,000-year-old tablet purportedly in the British Museum. Furthermore, among others with the prefix "Bhel" or some other variant, there is an Indian sun-worshipping site of some antiquity called Bhelapur or Bhaila Pura, "a place of Bhailasvamin," the latter being a name of the sun god. The name Bhailasvamin is quite similar to the Belsamen of the British Isles, with "Brit" also apparently related to "Bharat," the indigenous name of India.

 

Any evidence of crucified gods in India—asserted by some to be commonplace in sacred areas, but hidden by the priesthood—may today be scant. It is an intriguing coincidence that many of the scholars who unwillingly and against interest exposed this information were not only Christian but also British, and that the British took over pertinent places, possibly with the intent of destroying such evidence, among other motives. As Higgins—himself a Brit—says:

 

And when we perceive that the Hindoo Gods were supposed to be crucified, it will be impossible to resist a belief that the particulars of the crucifixion have been suppressed.

 

Higgins also states:

 

When a person considers the vast wealth and power which are put into danger by these Indian manuscripts; the practice by Christian priests of interpolating and erasing, for the last two thousand years; the well-known forgeries practised upon Mr. Wilford by a Brahmin; and the large export…to India of orthodox and missionary priests; he will not be surprised if some copies of the books should make their appearance wanting certain particulars in the life of Cristna…

 

And, Higgins further remarks:

 

Neither in the sixteen volumes of the Transactions of the Asiatic Society of Calcutta, nor in the works of Sir. W. Jones, nor in those of Mr. Maurice, nor of Mr. Faber, is there a single word to be met with respecting the crucifixion of Cristna. How very extraordinary that all the writers in these works should have been ignorant of so striking a fact! But it was well known in the Conclave, even as early as the time of Jerome.

 

The "Conclave," of course, is the Catholic cardinals' clique that elects popes. Unfortunately, Higgins does not recite his argument or cite his sources for such a fascinating claim.

 

Nor does the mystery end there. In his comments concerning the various enigmatic images of an Indian god crucified, Rev. Lundy also acknowledges other striking assertions, regarding purported Irish crucifix images:

 

Was Krishna ever crucified? Look at Fig. 61 and see. It is indeed an ancient Irish bronze relic, originally brought to the island from the East by some of the Phoenicians. It is unlike any Christian crucifix ever made. It has no nail marks in the hands or feet; there is no wood; no inscription; no crown of thorns, but the turreted coronet of the Ephesian Diana; no attendants; the ankles are tied together by a cord; and the dress about the loins is like Krishna's. It is simply a modification of Krishna as crucified. Henry O'Brien thinks it is meant for Buddha. But another most accomplished Oriental scholar says it is Krishna crucified: "One remarkable tradition avers the fact of Krishna dying on the fatal cross (a tree), to which he was pierced by the stroke of an arrow, and from the top of which he foretold the evils that were coming on the earth, which came to pass from thirty to forty years afterwards, when the age of crimes and miseries began; or about the same length of time as intervened between our Lord's crucifixion and the destruction of Jerusalem, an age of bitter calamities and crimes…."

 

Lundy is obviously convinced that a pre-Christian image of a god was found in Ireland and is Phoenician in origin, Irish Crucifix imagerepresenting Krishna "crucified," as described in the orthodox tale. The good Reverend then provides images of "Irish" and "Egyptian" crucifixes, and remarks:

 

"Here are two crucifixes, one with the wood, and the other without it. Fig. 65 is the old Irish cross at Tuam, erected before Christian times, and is obviously Asiatic; Fig. 66 is from an old Nubian temple at Kalabche, long anterior to the Christian era…"

 

Egyptian CrucifixAgain, we have pre-Christian images of crucified gods, according to a pious and learned Christian authority. The same Christian authority verifies, against interest, this crucial information also provided by his "enemy" Higgins, as Lundy himself terms him.

 

Indeed, in his argument against the charge that the Indian priesthood fabricated the Krishna and Buddha stories based on the gospel fable, Higgins likewise claims that "Buddha" was crucified, referring to "the immaculate conception, crucifixion, and resurrection of Buddha, in Nepaul and Tibet." In his assertions, he discusses the equinoctial date (March 25th) for the death and resurrection of a number of solar-fertility gods, and refers to the writings of Father Georgius (Alphabetum Tibetanum, 510), saying:

 

The following passage from Georgius will show that the crucifixion and resurrection of Buddha took place precisely at the same time as all others: In plenilunio mensis tertii, quo mors Xacae accidit.

 

The Catholic missionary Georgius's remarks in English are: "On the full moon of the third month, wherefore death befalls Saca [Buddha]." Hence, Saca/Buddha dies at the vernal equinox, as is appropriate for a sun god.

 

Higgins's arguments against the charge of plagiarism by Indians from Christians are quite logical and sound: He notes, for example, the archaeological evidence found at Ellora and Elephanta, as well as the intricacy of the Indian religious system, which indicates antiquity. He then definitively states that the Krishna stories are "most clearly no interpolation" and that they are an intrinsic part of Brahmanism. He further points out the absurdity of supposing that the Christian religion—with its miniscule enclaves in India—could have so influenced the vast subcontinent and its well-established religious system, i.e., the enormous Hindu population, with its "great variety of dialects." As Higgins says:

 

…In the history of Buddha, as well as of Cristna, are to be found many of the stories which are supposed to be forged; so that two sects hating one another, and not holding the least communication, must have conspired over all the immense territories east of the Indus, to destroy and to rewrite every old work, to the amount almost of millions; and so completely have they succeeded that all our missionaries have not, in any of the countries where the Brahmins are to be found, or in which there are only Buddhists, been able to discover a single copy of any of the works uncorrupted with the history of Cristna. Buddha is allowed by Mr. Bentley to have been long previous to Cristna, and he is evidently the same as Cristna, which can only arise from his being the sun in an earlier period.

 

Another Indian sun god apparently frequently depicted as crucified is Indra, who as a solar hero could be considered interchangeable with Wittoba and Krishna. The crucifixion of Indra is likewise recorded in the monk Georgius's Alphabetum Tibetanum, p. 203, according to Higgins, who provides pertinent passages in the original Latin:

 

Nam A effigies est ipsius Indrae crucifixi signa Telech in fronte manibus pedibuseque gerentis.

 

Although written in the 18th century, this work is in Latin, which was commonly used by the better educated precisely in order to go over the heads of the masses and keep secrets from them. Father Georgius's book contained images of this Tibetan savior "as having been nailed to the cross. There are five wounds, representing the nail-holes and the piercing of the side. The antiquity of the story is beyond dispute." Titcomb also relates the crucifixion of Indra as found in Georgius:

 

The monk Georgius, in his Tibetanum Alphabetum (p. 203), has given plates of a crucified god worshipped at Nepal. These crucifixes were to be seen at the corners of roads and on eminences. He calls it the god Indra.

http://www.truthbeknown.com/images/egyptcrucifix.jpg

In Asiatic Researches, Col. Wilford, another pious Christian, verifies that the "heathen" Hindus venerated crosses in public places and at crossroads. The appearance of the crucified gods as roadside protectors is logical: If you were going to put up an image of a god as a protector, would you not make his arms as widespread as possible, i.e., in cruciform? In fact, it would be surprising if such images did not exist.

CROSSES ON GRAVES ETRUSCANS BEFORE CHRISTIANITY

http://www.truthbeknown.com/kcrucified-4.htm

The Catholic Encyclopedia ("CE") continues:

 

In the proto-Etruscan cemetery of Golasecca every tomb has a vase with a cross engraved on it.

 

Thus, even the practice of marking graves with the cross precedes the Christian era by centuries.

CRUCIFORM ODYSSEUS AND CARTHAGE ASSYRIA

http://www.truthbeknown.com/kcrucified-4.htm

Thus, CE asserts that the Greek hero Ulysses or Odysseus is bound to a cross and symbolizes "the crucified." The cruciform image of a god or human with arms extended dates back at least several centuries prior to the common era. As CE also says:

 

Cruciform objects have been found in Assyria. The statues of Kings Asurnazirpal and Sansirauman, now in the British Museum, have cruciform jewels about the neck (Layard, Monuments of Nineveh, II, pl. IV). Cruciform earrings were found by Father Delattre in Punic tombs at Carthage.

CRUIFORM SWORD

http://catherinemayoauthor.com/my-books/murder-at-mykenai/the-greek-bronze-age/

Archaeologists call it the “cruciform” sword, because of the hilt shape. Odysseus’s dagger, in Ch 8, is modelled on a real late Bronze Age dagger found on Ithaka.

ST CLEMENT SAW ODYSSEUS CLINGING TO THE CRUCIFORM SHIP MAST TO ESCAPE THE SIRENS AND TIEING HIMSELF TO IT AS SYMBOLIC OF THE CRUCIFIXION- CRUCIFIX IS QUADRANT

https://books.google.com/books?id=2cLl2VPOIKMC&pg=PA135&lpg=PA135&dq=cruciform+odysseus&source=bl&ots=CmeljqNR7R&sig=dcV1EXalrbuZ8iUuJzanFdppGYM&hl=en&sa=X&ved=0ahUKEwjD06HmuI7UAhUrrlQKHSImBxcQ6AEIMzAD#v=onepage&q=cruciform%20odysseus&f=false

Quadrant

I POSTED THE STUFF ON THE DJED PILLAR YEARS AGO ALL THIS STUFF IS IN MY OVER 60 QMR BOOKS- NOW IVE JUST BEEN POSTING LINKS SO YOU SEE ITS TRUE-FOUR HORIZONTAL BARS CROSSLIKE

http://www.ancient-origins.net/myths-legends-africa/sacred-symbol-djed-pillar-002325

The djed symbol has the appearance of a vertical shaft or pillar. It usually had four horizontal bars near the top, with a series of vertical lines between each bar. It also had four bands around the neck of the shaft, beneath the first of the horizontal bars. Sometimes it is topped with a capital.

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

NOTICE HOW THEY ADD A TRANSCENDENT FOURTH TO THE FOUR YOGAS- THERE IS THREE YOGAS AND THE TRANSCENDENT FOURTH

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

The Three Yog are three soteriological paths mentioned in Bhagavad Gita for the liberation of human spirit.[1] They are

 

Karma Yog or the Path of Action (karma)

Bhakti Yog or the Path of Devotion (bhakti) to Ishvar (God)

Gyan Yog or the Path of Knowledge (Gyan)

 

A "fourth yog" is sometimes added, Raj Yog or "the Path of Meditation". This is the classical Yog presented in the Yog Sutr of Patanjali. Patanjali's system came to be known as Raj Yog or "Royal Yog" retro-actively, in about the 15th century, as the term Yog had become popular for the general concept of a "religious path".

 

The systematic presentation of Hindu monotheism as divided into these four paths or "Yog" is modern, advocated by Swami Vivekananda from the 1890s.[citation needed] They are presented as four paths to God suitable for four human temperaments, viz. the active, the emotional, the mystic and the philosophical.[citation needed]

AGAIN LOOK AT THE PATTERN- THE ARTICLE IS CALLED THE THREE BODIES - BUT SIDDHARAMESHWAR MAHARAJ ADDS A FOURTH TRANSCENDENT DIFFERENT BODY- ALSO THE FOUR STATES OF CONSCIOUSNESS WHERE THE FOURTH TURIYA IS TRANSCENDENT

https://en.wikipedia.org/wiki/Three_Bodies_Doctrine_(Vedanta)

 

According to Sarira Traya, the Doctrine of the Three bodies in Hinduism, the human being is composed of three sariras or "bodies" emanating from Brahman by avidya, "ignorance" or "nescience". They are often equated with the five koshas (sheaths), which cover the atman. The Three Bodies Doctrine is an essential doctrine in Indian philosophy and religion, especially Yoga, Advaita Vedanta and Tantra.

 

 

Four bodies[edit]

Siddharameshwar Maharaj, the guru of Nisargadatta Maharaj, discerns four bodies, by including turiya or the "Great-Causal Body"[12] as a fourth body. Here resides the knowledge of "I am" that cannot be described,[13] the state before Ignorance and Knowledge, or Turiya state[12]

THE MANDUKYA UPANISHAD TALKS ABOUT THE FOUR PARTS OF AUM SAYING AUM IS FOURFOLD WITH THE FOURTH TRANSCENDENT PART SILENCE AND IT TALKS ABOUT THE FOUR STATES OF CONSCIOUSNESS WITH THE FOURTH TRANSCENDENT PART TURIYA

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

Aum in the Mandukya Upanishad[edit]

 

The Mandukya Upanishad is one of several Upanishads that discuss the meaning and significance of the syllable Om (Aum).

The Mandukya Upanishad opens by declaring, "Om!, this syllable is this whole world". Thereafter it presents various explanations and theories on what it means and signifies.[4] This discussion is built on a structure of "four fourths" or "fourfold", derived from A + U + M + "silence" (or without an element[28]).[3][4]

 

Aum as all states of time

 

In verse 1, the Upanishad states that time is threefold: the past, the present and the future, that these three are "Aum". The four fourth of time is that which transcends time, that too is "Aum" expressed.[4]

 

Aum as all states of Atman

 

In verse 2, states the Upanishad, everything is Brahman, but Brahman is Atman (the soul, self), and that the Atman is fourfold.[3]

 

Aum as all states of consciousness

 

In verses 3 to 6, the Mandukya Upanishad enumerates four states of consciousness: wakeful, dream, deep sleep and the state of ekatma (being one with Self, the oneness of Self).[4] These four are A + U + M + "without an element" respectively.[4]

 

Aum as all of etymological knowledge

 

In verses 9 to 12, the Mandukya Upanishad enumerates fourfold etymological roots of the syllable "Aum". It states that the first element of "Aum" is A, which is from Apti (obtaining, reaching) or from Adimatva (being first).[3] The second element is U, which is from Utkarsa (exaltation) or from Ubhayatva (intermediateness).[4] The third element is M, from Miti (erecting, constructing) or from Mi Minati, or apīti (annihilation).[3] The fourth is without an element, without development, beyond the expanse of universe. In this way, states the Upanishad, the syllable Om is the Atman (the self) indeed.[3][4]

 

Four states of consciousness[edit]

See also: Three Bodies Doctrine (Vedanta) and Kosha

The Mandukya Upanishad describes four states of consciousness, namely waking (jågrat), dreaming (svapna), and deep sleep (suṣupti),[web 1][web 2] which correspond to the Three Bodies Doctrine:[29]

 

The first state is the waking state, in which we are aware of our daily world. "It is described as outward-knowing (bahish-prajnya), gross (sthula) and universal (vaishvanara)".[web 2] This is the gross body.

The second state is the dreaming mind. "It is described as inward-knowing (antah-prajnya), subtle (pravivikta) and burning (taijasa)".[web 2] This is the subtle body.

The third state is the state of deep sleep. In this state the underlying ground of concsiousness is undistracted, "the Lord of all (sarv'-eshvara), the knower of all (sarva-jnya), the inner controller (antar-yami), the source of all (yonih sarvasya), the origin and dissolution of created things (prabhav'-apyayau hi bhutanam)".[web 2] This is the causal body.

The fourth factor is Turiya, pure consciousness. It is the background that underlies and transcends the three common states of consciousness.[web 3] [web 4] In this consciousness both absolute and relative, saguna brahman and Nirguna Brahman, are transcended.[30] It is the true state of experience of the infinite (ananta) and non-different (advaita/abheda), free from the dualistic experience which results from the attempts to conceptualise ( vipalka) reality.[31] It is the state in which ajativada, non-origination, is apprehended.[31]

THE MANDUKYA UPANISHAD SAYS THERE ARE FOUR PARTS OF ATMAN - AND IT SAYS "THE FOURTH STATE OF THE SELF IS BEYOND THE PREVIOUS THREE" THE FOURTH IS TRANCENDENT

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

Theory and nature of Atman[edit]

The verses 3 through 7 discuss four states of Atman (Self, Soul).[3][4]

 

Verse 3 of the Upanishad describes the first state of Self as outwardly cognitive with seven limbs,[32] nineteen mouths,[33] enjoying the gross,[34] a state of Self common in all of human beings.[3][4]

 

The Mandukya Upanishad, in verse 4, asserts the second state of Self as inwardly cognitive with seven limbs, nineteen mouths, enjoying the exquisite, a state of brilliant Self.[3][4]

 

The Upanishad's verse 5 states the third state of Self as one without desire or anticipations, where pure conscience is his only mouth, where he is in unified cognition, enjoying the delight, a state of blissful Self.[3][4]

 

The verses 6 and 7 of the Upanishad states the fourth state of Self as one beyond all the three, beyond extrospective state, beyond introspective state, beyond cognitive state, the state of ekatmya pratyaya sara (one with the Self), tranquil, benign, advaita (without second). He then is the Self, just Atman, the one which should be discerned.[3][4]

 

Johnston summarizes these four states of Self, respectively, as seeking the physical, seeking inner thought, seeking the causes and spiritual consciousness, and the fourth state is realizing oneness with the Self, the Eternal.[35]

ATMAN IS ONE OF FOUR ETERNAL NON PHSYICAL STATES- it also says there are five physical substances but it again fits the quadrant pattern air water earth and fire and the fifth ultra trasncendent aether (akasha)- Aristotle said the first four are hot and wet cold and wet so on but aether is all of the dichotoies cold wet hot and dry

 

Vaiśeṣika school[edit]

The Vaisheshika school of Hinduism, using its non-theistic theories of atomistic naturalism, posits that Ātman is one of the four eternal non-physical[58] substances without attributes, the other three being kala (time), dik (space) and manas (mind).[

 

https://en.wikipedia.org/wiki/Ātman_(Hinduism)

http://www.hinduwebsite.com/atman.asp

 

In the mortal world, the Self is subject to the illusion of states. The Mandukya Upanishad informs us that the self is fourfold:

The wakeful Vaishwanara, the Universal Male (the ego),

The dreaming Taijasa, the enjoyer of subtle objects and the Lord of the luminous mind, (the astral),

The mysterious Prajna, the one who remains in deep sleep and who is the Lord of Wisdom

Atman the eternal, the incommunicable, the end of phenomena, and verily Brahman himself.

Every day, we go through these four states but we do not know who we truly are as we mistake the ego for the Self.

THE FOUR QUARTERS

http://www.kheper.net/topics/Upanishads/Mandukya.htm

The Mandukya Upanishad

Bridging the gap between the spontaneous and ecstatic mysticism of the early Upanishads and the systematic metaphysics of Advaitic Vedanta was the short but influential late Upanishad, the Mandukya Upanishad, which refers to four states of consciousness, four aspects of being - waking or gross, dreaming or subtle, dreamless sleep or very subtle, and the Fourth which is the Absolute or Self (Atman), these being related to each of the three letters of the important Indian mantra AUM, with the fourth principle representing silence (the Unmanifest)

 

The relevant part of this short text runs as follows:

 

2. ...This self (Atman) is Brahman. This same self has four quarters.

3. The first quarter is vaishvanara, whose sphere is the waking state [jagarat, the world], who cognises (prajna) external objects...

4. The second quarter is taijasa, whose sphere is the dream (svapna) state, who cognises (prajna) internal objects...

5. ...The third quarter is prajna, whose sphere is deep sleep (sushupta), who has become one, who is verily a mass of cognition (prajna), who is full of bliss and who enjoys bliss, whose face is thought.

6. This is the lord of all, this is the knower of all, this is the inner controller; this is the source of all; this is the beginning and end of beings.

7. (Turiya is) not that which cognises the internal, not that which cognises the external, not that which cognises both of them, not a mass of cognition, not cognitive, not non-cognitive. Unseen, incapable of being spoken of, ungraspable, without any distinctive marks, unthinkable, unnameable, the essence of the knowledge of the one self, that into which the world is resolved, the peaceful, the benign, the non-dual, such, they think is the fourth (Turiya) quater. He is the self (Atman); He is to be known.

[S. Radhakrishnan (transl.), The Principle Upanishads, pp.695-698 (London, George Allen & Unwin Ltd, 1953)]

In this Upanishad the four quarters are four aspects of the one Reality: the four-fold classification of existence into the objective, subjective, consciousness, and transcendent-Absolute, states of consciousness. So Turiya is the Transcendent Absolute Reality, the Atman. Prajna here refers to the cosmic dimension of bliss, consciousness, causal body) which is identified with God (Ishwara). The other two quarters, Taijasa and Vishva or Vaishvanara, represent the inner and outer, subtle and gross, psychic and physical, dimensions of the Individual being. The word Taijasa actually means "bright" or "fiery" [Larson, Classical Samkhya, p.185]; compare this with the Indian term for the gods: devas or "shining ones"

I DISCUSSED THE LAKOTA HAD 16 GODS FOUR SETS OF FOUR A QUADRANT MODEL- THERE DANCES EVERYTHING WAS DONE IN FOURS FOURTH ALWAYS DIFFERENT THEY SAW FOUR AS SACRED ALL THEIR MYTHOLOGIES BASED ON FOUR--- "THE LAKOTA SUN DANCE WAS A CRUCIFIXION"- CANDIDATE ARMS OUTSTRETCHED CRUCIFORM CIRCLE AND CROSS

http://www.irishoriginsofcivilization.com/druidic-symbolism-2.html

http://www.irishoriginsofcivilization.com/uploads/3/1/3/5/31352851/7219174.gif?423

The Lakota Sun Dance ceremony was, to all intents and purposes, a "crucifixion." The candidate was raised into the air, his arms outstretched to embrace the cosmos. During the ceremony the candidate experienced the presence of the "Great Spirit." The idea of the circle and cross and of a ritual sacrifice was common throughout the Americas long before Christianity made an appearance. (In Mexico, the "Feathered Serpent" was seen in proximity to a cross.) North-American Indian tribes had elaborate annual rites with rich cosmological and Astro-Theological themes. Giant medicine wheels (representing zodiacs) were constructed on the plains. Some of these earthworks are approximately 10,000 years old. (Here for more.)

TERTULLIAN SAID TO THE PAGANS WHO MOCKED JESUS "YOUR RELIGION IS ALL CROSS" POINTING OUT THAT ALL OF THE PAGANS WORSHIPPED THE CROSS (QUADRANT)

http://www.irishoriginsofcivilization.com/druidic-symbolism-2.html

...the non-Christians possessed crosslike sacred objects and revered their idols of gods in the shape of a cross or in cruciform. In fact, Tertullian is very insistent on this point, stating of the Pagans, "your religion is all cross" and "your gods in their origin have proceeded from this hated cross" - D. M. Murdock (Christ in Egypt)

OSIRIS CRUCIFORM

http://www.irishoriginsofcivilization.com/druidic-symbolism-2.html

Osiris was represented as being stretched on the immense cross formed by the junction of the meridian and the equator. This deity was suspended in the Phrygian mysteries to a cruciform tree – Arthur Dyott Thompson (On Mankind: Their Origin and Destiny)

http://www.irishoriginsofcivilization.com/druidic-symbolism-2.html

A number of Egyptian goddesses are likewise depicted in cruciform, with arms and wings outstretched, found in tombs and commonly on coffins - ibid

BAAL CRUCIFIED OUTSTRETCHED CRUCIFORM ARMS

http://www.truthbeknown.com/kcrucified-5.htm

Just as the Brahmans represented their god Krishna as a crucified man with a wreath of sunbeams around his head, just as the ancient Assyrians represented their sun god Baal as a man surrounded by an aureole, and with outstretched arms, thus forming a perfect cross, so the Romans reverenced a crucified incarnation of the god Sol, and many ancient Italian pictures of Jesus as a crucified Savior bear the inscription, "Deo Soli," which may mean "To the only God," or "To the God Sol."

Four upayas

http://www.idsa.in/idsacomments/UnderstandingKautilyasFourUpayas_pkgautam_200613

The four upayas or approaches, i.e., ways of realising aim or object have existed since the period of the epics and the Dharmasastra. The upayas are sama- dana- behda- danda: conciliation, gifts, rupture and force. The upayas have a wider application, being useful in securing the submission of anyone. In a 1954 essay “The Four Upayas of Hindu Diplomacy” in The Indian Year Book of International Affairs published by The Indian Study Group of International Affairs, University of Madras in 1954 R. Bhaskaran invited attention to history to show that upayas existed in the Dharmasastras, Sukra Niti, Agni and Matsya Puranas, and Nitisara of Kamanadaki, besides many other texts. The South Indian Jain scholar Somadeva Suri, in the Nitivakyamitra written in the 10th century, mentions the four upayas. In Sanskrit literature, the upayacatusthaya or the “four expedients” and the “turiya” or fourth upaya invariably means Danda or force. By the time of the Ramayana, these four upayas had become such well-known commonplace that the poet could put these quite casually in a soliloquy. For example, Hanuman argues “Here the situation is beyond the three upayas and the fourth alone is indicated. One can not negotiate with demons nor bribe people abounding in wealth. A strong nation cannot be divided against itself, only superior force can win.” (R. Bhaskaran, “ The Four Upayas of Hindu Diplomacy” in The Indian Year Book of International Affairs published by The Indian Study Group of International Affairs, University of Madras in 1954). In Mahabharata and later Smrtis, the upayas are mentioned as well and in the famous commentary on Yajnavalkya (the Mitaksara), the four methods are held applicable not only in diplomacy but in all human relationships, including those between father and son, and teacher and pupil. Further, each upaya has many variations or procedures. V.R. Ramachandra Dikshitar, in War in Ancient India (1944), noted that the Puranas and later niti works like that of Kamadakiya add three more upayas to the original four—upeksha, maya and indrajala. Maya is an aspect of danda, and upekha and indrajala aspects of bheda. In this commentary, in order to avoid complexities, I prefer to stick to the basic four.

FOUR GROUPS

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.

FOUR DIALECTS CLASSICAL SANSKRIT

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

There were four principal dialects of classical Sanskrit: paścimottarī (Northwestern, also called Northern or Western), madhyadeśī (lit., middle country), pūrvi (Eastern) and dakṣiṇī (Southern, arose in the Classical period). The predecessors of the first three dialects are attested in Vedic Brāhmaṇas, of which the first one was regarded as the purest (Kauṣītaki Brāhmaṇa, 7.6).[22]

Aristotle four species of locomotion

http://classics.mit.edu/Aristotle/soul.1.i.html

There are four species of movement-locomotion, alteration, diminution, growth; consequently if the soul is moved, it must be moved with one or several or all of these species of movement. Now if its movement is not incidental, there must be a movement natural to it, and, if so, as all the species enumerated involve place, place must be natural to it. But if the essence of soul be to move itself, its being moved cannot be incidental to-as it is to what is white or three cubits long; they too can be moved, but only incidentally-what is moved is that of which 'white' and 'three cubits long' are the attributes, the body in which they inhere; hence they have no place: but if the soul naturally partakes in movement, it follows that it must have a place.

Four Gods

http://www.newadvent.org/cathen/04405c.htm

Very weird are the cosmogonies of the ancient Mexicans. They are characterized by the strong influence of dualism, the universe being in the throes of a perpetual contest of good and evil. The infinite deity has four sons, the black and the red Tezcatlipoca, and Quetzalcoatl, and Huitzilopochtli. These four brothers consulted together about the creation of things. The actual work fell to the lot of Quetzalcoatl and Huitzilopochtli. They made fire, then half the sun, the heavens, and the waters, and a certain great fish therein with the name Cipactli. From its flesh was formed the solid earth and the first man and woman, Cipactonal and Oxomuco. The half-sun created by Quetzalcoatl lighted the world but poorly, and the four gods consulted once more to add another half to it. Tezcatlipoca did not wait for their decision, but transformed himself into the sun. But after thirteen times fifty-two years, Quetzalcoatl seized a great stick, and with a blow knocked Tezcatlipoca from the sky into the waters, and became the sun himself. Four times the earth was destroyed in this struggle. Quetzalcoatl is at present triumphant, but Tezcatlipoca is only biding his time. This cosmogonic episode of war between brothers runs through other North American accounts as, e.g., Tawiscara and Joskeha amongst the Iroquois, and is prominent in the Egyptian cosmogony.

Fourth is different

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

According to Alfonso Caso[2] there were four earth gods - Tlaltecuhtli who was male and three earth goddesses - Coatlique, Cihuacoatl and Tlazolteotl. In one of the Mexica creation accounts Tlaltecuhtli is described as a sea monster who dwelled in the ocean after the fourth Great Flood, an embodiment of the raging chaos before creation.[3] Quetzalcoatl and Tezcatlipoca, in the form of serpents, tore him in half, throwing half upwards to create the sky and stars and leaving the other half to become the land of the earth. He remained alive, however, and demanded human blood.

https://sexologyinternational.com/tantra-and-starting-with-self/

Traditionally, Tantra comprised of four parts: jnana (metaphysical knowledge), yoga (contemplative practices), kriya (ritual), and charya (religious guidelines). Though, emphasis on sexuality was practiced by certain Tantric groups, generally it was understood that each of these four parts was necessary in order to achieve true union and transcendence.

https://thesevenminds.wordpress.com/2017/03/17/tantra/

Each Tantra-Agama text consists of four parts:

 

Jnana pada, also called Vidya pada – consists of doctrine, the philosophical and spiritual knowledge, knowledge of reality and liberation.

Yoga pada – precepts on yoga, the physical and mental discipline.

Kriya pada – consists of rules for rituals, construction of temples (Mandir); design principles for sculpting, carving, and consecration of idols of deities for worship in temples; for different forms of initiations or diksha. This code is analogous to those in Puranas and in the Buddhist text of Sadhanamala.

Charya pada – lays down rules of conduct, of worship (puja), observances of religious rites, rituals, festivals and prayaschittas.

http://rsvidyapeetha.ac.in/sansknet/general/ourheritage/vedicheritage.htm

The [Primeval] [vak] manifests itself in four forms, as we learn from the great sage Dirghatamas,- [Catvari] [vak] [parimita] [padani], -which are perceived and realized only by those who, in their quest of Brahman, in their life--long [sadhana], have attained the status of [manishins] by bringing their mind and senses under complete control having eventually opened their third eye, [medha], -[tani] [vidur] [brahman] [ye] [manisinah]

FOUR LEVELS OF SPEACH

https://sreenivasaraos.com/tag/tantra/

The various ancient texts speak of the levels of speech, which, generally, are taken to be four. Each School – Grammarians, Mimamsa, Upanishads, Tantra, Yoga, mythology etc – offers its own understanding and explanation of the four levels of speech. These levels are variously explained as the varieties of speech that are said to be spoken either in four regions of the universe; or spoken by divine beings and humans ; or as speech of the humans , animals, birds and creatures . These four are even explained as four levels of consciousness.

FOURTH LEVEL OF SPEACH SEEN AS DIFFERENT

https://sreenivasaraos.com/tag/tantra/

According to Rishi Dīrghatamas, there are four levels of speech. Only the wise who are well trained, endowed with intelligence and understanding know them all. As for the rest; the three levels remain concealed and motionless. Mortals know only the fourth.

 

Chatvaari vaak parimitaa padaani / taani vidur braahmaanaa ye manishinaah. Guhaa trini nihita nengayanti / turiyam vaacho manushyaa vadanti. (Rigveda Samhita – 1.164.45)

 

But, he does not specify what those four levels of speech are.

 

*

 

The notion that there are four quarters or four levels of existence ; and of which, only one quarter is within the experience of mortals also appears in the Purusha-sukta (Rig-Veda 10.90.3) ascribed to Rishi Narayana – Paadosya Vishva Bhutaani Tri-Paada-Asya-Amrtam Divi .

https://sreenivasaraos.com/tag/tantra/

 

GAYATRI MANTRA FOURTH LINE DIFFERENT FROM OTHER THREE EXTREMELY FAMOUS ON WALL OF YOGA STUDIO I WENT TO

 

And, there is also the Turiya paada (Chaturtha or Fourth) the fourth line of the Gayatri mantra. It is said; while the traditional three lines of Gayatri mantra can be grasped by reason, the fourth line, which is mystical in its import, and can be comprehended only through intuition. The fourth line (Turiya paada) which reads ‘paro rajas ya tapati’ is said to be hidden (darshatasya) or un-manifest (apad); beyond intellect; resplendendent, shining beyond the worlds known; and , which is the support of the Gayatri itself and of the Universe.

GAYATRI MANTRA FOUR LINES FOURTH SEEN AS TRANSCENDENT- GAYATRI MANTRA SEEN AS THE GREATEST MANTRA- THE FOURTH LINE IS SEEN AS DIFFERENT FROM OTHER THREE

https://sreenivasaraos.com/tag/turiya-gayatri/

33.2. The extended form of Gayatri, thus, has four lines. It is said; Gayatri mantra is four-footed (chatuspaada) when Pranava (Om) accompanies it. However, when Pranava is omitted it is only three-footed (Chatuspaada Gayatri pranavenavena saha; pranavam vina tripaada). This statement is based on the faith that the syllable Om encompasses all the Vyahrti-s; or, rather, the Vyahrti-s are extensions of Pranava Om.

 

Turiya paada

 

34.1. There is another stream of discussion on the fourth line (Turiya paada) of Gayatri in Brihadaranya Upanishad (5.14.7). The fourth line, it is said, occurs following the traditional three lines of Gayatri mantra of twenty-four syllables. The text says that while the first three lines can be grasped by reason, the fourth line, which is mystical in its import, and can be comprehended only through intuition. The Upanishad adores the fourth line as ‘Namaste turiyaaya darshataya padaaya’.

 

34.2. This fourth paada is said to be hidden (darshatasya) or un-manifest (apad); and, is beyond intellect. It represents Savitr as the Purusha, shining as the very core or as the essence of the solar orb (mandala-antargata-purusha), who is the inner-being (antaryamin), the heart of all beings (sarva-jivatma).

THE TRANSCENDENT 16TH- 16 SQUARES QMR

https://sreenivasaraos.com/tag/turiya-gayatri/

36.2. Further, Tripura-tapini-Upanishad which deals with the basic concepts and symbolisms of Sri Vidya, provides, among other things, the tantric interpretations to Chatush-paada Gayatri, the Gayatri of four lines, composed of thirty-two syllables (Tt.Up : 1.2 to 1.8). The text compares theTuriya paada the fourth line (Paro rajase Savadom) with the fifteen-lettered Panchadasi mantra of Sri Vidya. The Panchadasi mantra is implicit or hidden (just as Turiya paada); and, it becomes explicit or manifest when the sixteenth (sodasha) letter Srim is added to it. Srim is Mother-Goddess’s own form.

TAITTIRIYA UPANISHAD SAYS THERE ARE FOUR VYAHRTIS AND "EVERYTHING IN THIS EXISTENCE IS FOURFOLD"

https://sreenivasaraos.com/tag/turiya-gayatri/

47.3. Taittiriya Upanishad further states: These are the four Vyahrti-s. And, everything in this existence is fourfold. One who understands, through meditation, the four states in the four planes of existence, knows Brahman (ta yo Veda sa brahma). Everyone loves such a knower. And, the gods bring him offerings (sarvesmai deva balim avahanti). Prachinayogya (descendent of sage Prachinayoga) was initiated into this meditation.

THE FOURTH IS DIFFERENT/TRANSCENDENT

http://www.mantraonnet.com/upanishads/taittiriya-book1.html

1. BHIH BHUVAH SUVAH: these are the three utterances (vyahrti). Mahacamasya makes known the fourth of them:

 

MAHAH. 'Greatness' That is brahman: that is the self. The other gods are limbs of it. BHUH is this world. BHUVAH is middle-air. SUVAH is that world.

 

2. MAHAH is the sun. All the worlds grow great through the sun. BHUH is fire. BHUVAH is air. SUVAH is the sun. MAHAH is the moon. All the lights grow great through the moon. BHUH is the re verses. BHUVAH is the saman verses. SUVAH is the yajus verses.

 

3. MAHAH is brahman. All the Vedas grow great through brahman. BHUH is the breath. BHUVAH is the lower breath. SUVAH is the diffused breath. MAHAH is food. All the breaths grow great through food. These are fourfold, in four ways. The four utterances are fourfold. The one who knows them knows brahman: all the gods bring tribute to him.

THE THREE AND FOUR DYNAMIC

http://creative.sulekha.com/sri-gayatri-part-two-the-mantra-and-its-import_559480_blog

33.2. The extended form of Gayatri, thus, has four lines. It is said; Gayatri mantra is four-footed (chatuspaada) when Pranava (Om) accompanies it. However, when Pranava is omitted it is only three-footed (Chatuspaada Gayatri pranavenavena saha; pranavam vina tripaada). This statement is based on the faith that the syllable Om encompasses all the Vyahrti-s; or, rather, the Vyahrti-s are extensions of Pranava Om.

THE FOURTH STATE OF CONSCIOUSNESS IS SEEN AS TRANSCENDENT AND IS ELUCIDaTED THROUGH A QUADRANT MODEL THE FOURTH FORM OF SPEECH ALSO SEEN AS TRANSCENDENT

https://komarraj.blogspot.com/2012/10/mantras-sacred-words-of-power.html

Para, Pashyanti, Mydhamya, Vaikhari - The Four Forms of Speech

 

The Vedas proclaim that there are four categories of human speech or sound vibrations. The whole macrocosm of our thoughts and actions is a projection these sound vibrations that prevail at different frequencies. Paravani or Paravak, the Supreme Speech, which exists within all of us, is the inner vibration, the source of all sound. By and large, we are aware of only one level of speech that is, our physical tongue. Nevertheless, there exist four stages of speech - Para, Pashyanti, Madhyama and Vaikhari which correspond to our four states of consciousness - Turiya (the transcendental state), Sushupti (dreamless state), Swapna (dreaming state), and Jagrut (wakeful state). Thus, Para represents the transcendental consciousness, Pashyanti represents the intellectual consciousness, Madhyama represents the mental consciousness, and Vaikhari represents the physical consciousness. Our ability to experience different levels depends upon the elevation of our consciousness.

THE FOURTH LEVEL OF SPEECH IS SEEN AS TRANSCENDENT

https://komarraj.blogspot.com/2012/10/mantras-sacred-words-of-power.html

The fourth and highest level of speech is Para, the transcendent sound, which is beyond the perception of the senses. Para is all pervading and all encompassing. Para is pure intention. It is unmanifest. It is the sound of one’s soul, a state of soundless sound. It is the speech that flows directly from the Cosmic Creator. It expresses Ambika Shakti - the Universal Mother. It exists within all of us. All mantras, infinite syllables, words, and sentences exist within Para in the form of vibration in a potential form. In Pashyanti and Para the power of one’s words is manifested.

GANESHA IS CALLED THE SYLLABLES OF THE FOUR LEVELS OF SPEECH

https://komarraj.blogspot.com/2012/10/mantras-sacred-words-of-power.html

The vow Ritam Vachmi, Satyam Vachmi from the Ganapati Atharva Shirsha Upanishad (Rig Veda), invoking Lord Ganesha, expresses the idea that one should speak words that will strengthen both ritam (cosmic truth) and satyam (worldly truth). It further says, Tvam Chatvari Vakpadani (Thou art the very syllables of the four measures of speech).

FOURTH STATE OF CONSCIOUSNESS TRANSCENDENT

https://yogainternational.com/article/view/4-degrees-of-human-speech

Succeed at uniting the conscious mind with the unconscious and subconscious minds and you create the superconscious mind, whereupon you can go beyond the three common states of consciousness to reach turiya (the fourth state). Join vaikhari seamlessly with madhyama and pashyanti and you may gain access to para, which expresses turiya and other higher states of consciousness.

GANESHA FOUR CREATURES GANESHA TRIDENT ON FOREHEAD THE ROMANI PEOPLE CALL TRIDENT A CROSS- IT IS THE CROSS

http://www.crystalinks.com/ganesh.html

The image of Ganesha is a composite one. Four animals, man, elephant, the serpent and the mouse have contributed to the makeup of his figure. All of them individually and collectively have deep symbolic significance.

GANESHA "HAS THE FORM OF AUM"- AUM IS THE QUADRANT FOURFOLD ACCORDING TO MANDUKYA UPANISHAD

http://www.crystalinks.com/ganesh.html

Ganesha is also defined as Omkara or Aumkara, that is "having the form of Om (or Aum) (see the section The names of Ganesha). In fact, the shape of his body is a copy of the outline of the Devanagari letter which indicates the celebrated Bija Mantra. For this reason, Ganesha is considered the bodily incarnation of the entire Cosmos, He who is at the base of all of the phenomenal world (Vishvadhara, Jagadoddhara). Moreover, in the Tamil language, the sacred syllable is indicated precisely by a character which recalls the shape of the elephant's head of Ganesha.

 

Ganesha, in fact, is the symbol of he who has discovered the Divinity within himself.Ganesha is the first sound, OM, in which all hymns were born. When Shakti (Energy) and Shiva (Matter) meet, both Sound (Ganesha) and Light (Skanda) were born.

http://www.advaita-vedanta.org/archives/advaita-l/2002-September/003860.html

But it seems like a natural evolution of thought if we take bhu, bhuvah,

and sva to mean the earth, air, and heaven and maha to be the source of

the three worlds as mentioned in the upanishad we know from elsewhere that

maha can be divided into four--ahamkara, buddhi, manas, and prajna or

chitta. Prajna (= satya) is Brahman.

FOUR PARTS

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

Ahamkara is one of the four parts of the antahkarana (inner organ) described in Hindu philosophy. The other three parts are Buddhi, Citta and Manas

I POSTED ALL THIS STUFF BEFORE ITS IN MY OVER 60 QMR BOOKS

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

In Vedāntic literature, this antahkaraṇa (internal organ) is organised into four parts:[2]

 

Ahamkāra (ego) – identifies the Atman (self) with the body as 'I'

Buddhi (intellect) – controls decision making

Manas (mind) – controls sankalpa (will or resolution)

Chitta (memory) – deals with remembering and forgetting

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

Citta is the object of meditation in the third part of Satipatthana, also called Four Foundations of Mindfulness.

THE FOURTH IS TRANSCENDENT

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

It is commonly believed that Vedas are three in number, not four. Many consider only Rig Veda, Yajur Veda and Sama Veda as Vedas. Atharva Veda is said to have originated recently and is not part of Vedas.[3]

FOUR VOLUMES OF THE BOOK

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

Volumes[edit]

The book is compiled in 4 volumes, each of 1008 pages

 

Volume 1[edit]

Vedaadyanthangal (Beginning & ends of Vedas)

Chatur Veda Paryatanam - a journey through 4 Vedas

Rigvedadi Bashya Bhoomika

Vedadhikara Niroopanam

Vaidika Swara Shaashtram

Vaidika Yagaswaroopam

Vaidika Vangmayathinte Rooparekha

Volume 2[edit]

Rigvedapadanam

Rigveda Samhita (Devanagari lipi with Swaras marked & Malayalam script)

Rishi, Devata, Chandhass, Swaraanukramanika in Rigveda

Mantraanukramanika

Devata concepts in Rigveda - a study

Volume 3[edit]

Yajurvedapadanam

Yajurveda Samhita (Devanagari lipi with Swaras marked & Malayalam script)

Rishi, Devata, Chandhass, Swaraanukramanika in Yajurveda

Devata concepts in Yajurveda

Samavedapadanam

Samaveda Samhita (Devanagari lipi with Swaras marked & Malayalam script)

Rishi, Devata, Chandhass, Swaraanukramanika in Samaveda

Devata concepts in Samaveda

Volume 4[edit]

Atharvavedapadanam

Atharvaveda Samhita (Devanagari lipi with Swaras marked & Malayalam script)

Rishi, Devata, Chandhass, Swaraanukramanika in Atharvaveda

Selected Sooktas with meaning

Mantraanukramanika

ONLY FOUR TEXTS SURVIVE

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

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]

NOMMO BECAME FOUR PAIRS OF TWINS- ONE REBELLED THE TRANSCENDENT FOURTH

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

Dogon mythology says that Nommo was the first living creature created by the sky god Amma. Shortly after his creation, Nommo underwent a transformation and multiplied into four pairs of twins. One of the twins rebelled against the universal order created by Amma. To restore order to his creation, Amma sacrificed another of the Nommo progeny, whose body was dismembered and scattered throughout the universe.[1] This dispersal of body parts is seen by the Dogon as the source for the proliferation of Binu shrines throughout the Dogons’ traditional territory; wherever a body part fell, a shrine was erected.

FOUR APHORISMS

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

Refutation in Brahma-sutra[edit]

The Pancharatra texts are, however, refuted in the Brahma Sutras in the Utpatyasambhavaadhikaranam of the second chapter.[10] Vyasa (Badarayana) explains how the pancharatra texts are non-Vedic in four aphorisms. These sutras have been explained in greater detail by Adi Shankara and has been established beyond doubt that they are contradictory to the Vedas.

 

उत्पत्यसम्भवात् (utpatyasambhavAt): The vedas and the Upanishads hold that Jeeva is eternal and they don't have origin or destruction. However the Pancharatra texts describes extensively about the origin of Jeeva, and their destruction, which is contradictory to Vedas.[11]

न च कर्तुः कारणम् (na ca kartuH karaNaM) : Pancharatra also has non-vedantic message by saying that the agent (Sankarshana, equivalent to Jeeva) creates his own instrument, Pradyumna and Pradyumna creates Aniruddha. These contradict both Pratyaksha and Shruti, and thus there is no Pramana for this doctrine.[12]

विज्ञानादि भावे वा तदप्रतिषेध (vigyanAdi bhAve vA tadapratiSedhaH) : Here Brahmasutra firmly establishes, even if you consider the four forms mentioned in Pancharatra, viz. Vasudeva, Sankarshana, Pradyumna and Aniruddha to be Paramatma, as opposed to successively "inferior" instruments generated by the agent, it is not convincing. Because if all four are mutually different, but are Paramatma, then it contradicts the vedic teachings of one supreme Paramatma. Also, if it can be argued that emerging from God gives a godly status, then why stop at just four? One can regress this to the last speck of matter in the Universe, and each of them can be individual Paramatma. Thus Reductio ad absurdum of the contents in Pancharatra.[13]

विप्रतिषेधाच्च (vipratiSedhAcca) : Also, the text is claimed to have multiple such contradictions to Vedas and also passages that are not respectful of Vedas, such as "Not having found the highest bliss in Vedas, Sandilya studied this Sastra". Such a text cannot be accepted by a Vedantin.[14]

FOUR KINGDOMS

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

Gonds ruled in four kingdoms (Garha-Mandla, Deogarh, Chanda, and Kherla) in central India between the 16th and 18th centuries. They built number of forts, palaces, temples, tanks and lakes during the rule of the Gonds dynasty. The Gondwana kingdom survived until the late 16th century. They also gained control over the Malwa after the decline of the Mughals followed by the Marathas in 1690.[citation needed] The Maratha power swept into Gondland in the 1740s.The Marathas overthrew the Gond Rajas (princes) and seized most of their territory. While Some Gond zamindaris (estates) survived until recently.[7]

ADD A FOURTH TO THE TRIMURTI A LOT OF HINDUS SAY THE TRIMURTI IS NOT HINDU BUT ADD SURYA AS FOURTH ABOVE THE OTHER THREE IT SAYS THE TRANSCENDENT FOURTH

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

The Saura sect that worships Surya as the supreme person of the godhead and saguna brahman doesn't accept the Trimurti as they believe Surya is God. Earlier forms of the Trimurti sometimes included Surya instead of Brahma, or as a fourth above the Trimurti, of whom the other three are manifestations; Surya is Brahma in the morning, Vishnu in the afternoon and Shiva in the evening. Surya was also a member of the original Vedic Trimurti, which included Agni and Vayu. Some Sauras worship either Vishnu or Shiva as manifestations of Surya, others worship the Trimurti as a manifestation of Surya, and others exclusively worship Surya alone.

FOUR LEVELS HUMAN LIFE

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

According to the Vishnu Purana, Shaunaka was the son of Gritsamada, and invented the system of the four levels of human life

BROTHERS OUT IN THE FOUR DIRECTIONS MAKING QUADRANT

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

When Yudhishthira became emperor of Indraprastha he sent his four younger brothers out in different directions to subjugate kingdoms for the Rajasuya sacrifice. Bhima was sent out to the East, since Bhishma thought the easterners were skilled in fighting from the backs of elephants and in fighting with bare arms, he deemed Bhima to be the most ideal person to wage wars in that region.[9] The Mahabharata mentions several kingdoms to the east of Indraprastha which were conquered by Bhima.[10] A key victory was his fights withJarasandha of the Magadha empire. This was the most important win, as Jarasandha had several allies in the region, including Shishupala and Bhagadatta. Krishna tricked Jarasandha into having a wrestling bout with Bhima. This was an agonizing battle that stretched for 13 long days. At the end, Bhima broke Jarasandha's backbone with his knee and tore apart his body into two.[11]

KILLS FOUR PANDAVA BROTHERS

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

In the Araneya sub-book, Yaksha kills four Pandava brothers, one after another, when they arrive at a lake to fetch water. Yudhishthira arrives at the lake (shown). Yaksha offers to revive their life, if Yudhishthira answers his questions correctly. Yaksha asks some 144 questions on nature of human life, virtues, ethics, duties and society. This is one of many discussions of virtues and ethics in Aranya Parva.

https://www.religiousforums.com/threads/saura-sect-in-hinduism.170289/

Thus in the Taittirîya Saṁhitâ, VI, 5, 61 ƒ. the story of Aditi cooking a Brahmaudana oblation for the gods, the Sâdhyas, is narrated. The remnant of the oblation was given to her by the gods, and four Âdityas were born to her from it. She then cooked a second oblation and ate it herself first; but the Âditya born from it was an imperfect egg. She cooked a third time and the Âditya Vivasvat, the progenitor of man, was born. But the Saṁhitâ does not give the number and names of the eight Âdityas and this omission is supplied, by the Taittirîya Brâhmaṇa (I, I, 9, I ƒ). The Brâhmaṇa tells us that Aditi cooked the oblation four times and each time the gods gave her the remnant of the oblation. Four pairs of sons were thus born to her; the first pair was Dhâtṛi and Aryaman, the second Mitra and Varuṇa, the third Aṁsha and Bhag and the fourth Indra and Vivasvat. But the Brâhmaṇa does not explain why the eighth son was called Mârtâṇḍa and cast away.

THE FOURTH TRANSCENDENT

http://hindudharmaforums.com/showthread.php?13299-Isha-Upanishad-refutes-Mayavada-(Illusionism)-by-Shankara/page5

"The Saura sect that worships Surya as the supreme person of godhead and saguna brahman doesn't accept the Trimurti as they believe Surya is God. Earlier forms of the Trimurti sometimes included Surya instead of Brahma, or as a fourth above the Trimurti, of whom the other three are manifestations; Surya is Brahma in the morning, Vishnu in the afternoon and Shiva in the evening. Surya was also a member of the original Vedic Trimurti, which included Agni and Vayu. Some Sauras worship either Vishnu or Shiva as manifestations of Surya, others worship the Trimurti as a manifestation of Surya, and others exclusively worship Surya alone."

FOUR TREATISES 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.

ORIGINALLY TRIVARGA THREE GOALS THEN FOURTH ADDED LATER- THE FIRST THREE SEEN AS VERY CONNECTED

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

The concept of moksha developed only in the Upanishads, while the early Vedas treating the goals of human life commonly refer to kāma, artha and dharma as the "trivarga" or "three categories" of possible human pursuits. The Dharmaśāstras and the epics Ramayana and Mahabharata are the first known sources that comprehensively present the notion that integrated living entails the pursuit of four goals or ends.[12] Prasad (2008) states that the division between the trivarga and mokṣa is intended to highlight the context between the social (trivarga) and personal (mokṣa) spheres.[33]

 

Kamasutra states the relative value of three goals as follows: artha is more important and should precede kama, while dharma is more important and should precede both kama and artha.[27] Kautiliya's Arthashastra, however, argues that artha is the foundation for the other two. Without prosperity and security in society or at individual level, both moral life and sensuality become difficult. Poverty breeds vice and hate, while prosperity breeds virtues and love, suggested Kautiliya.[4] Kautilya adds that all three are mutually connected, and one should not cease enjoying life, nor virtuous behavior, nor pursuit of wealth creation. Excessive pursuit of any one aspect of life with complete rejection of other two, harms all three including the one excessively pursued.[28] The sastras, states Kane,[29] observe that the relative precedence of artha, kama and dharma are naturally different with age.

MANUSMURTI DIVIDED FOUR PARTS

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

The modern version of the text has been subdivided into twelve Adhyayas (chapters), but the original text had no such division.[19] The text covers different topics, and is unique among ancient Indian texts in using “transitional verses” to mark the end of one subject and the start of the next.[19] The text can be broadly divided into four, each of different length. and each further divided into subsections:[19]

 

Creation of the world

Source of dharma

The dharma of the four social classes

Law of karma, rebirth and final liberation

The text is composed in metric Shlokas (verses), in the form of a dialogue between an exalted teacher and disciples who are eager to learn about the various aspects of dharma.[20] The first 58 verses are attributed by the text to Manu, while the remaining more than two thousand verses are attributed to his student Bhrigu.[20] Olivelle lists the subsections as follows:[21]

FOUR HOLY SIGHTS LINKED TO SHIVA

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

Khajuraho is one of the four holy sites linked to deity Shiva (the other three are Kedarnath, Kashi and Gaya). Its origin and design is a subject of scholarly studies. Shobita Punja[28] has proposed that the temple’s origin reflect the Hindu mythology in which Khajuraho is the place where Shiva got married; with Raghuvamsha verse 5.53, Matangeshvara honoring ‘’Matanga’’, or god of love.

ARTWORK SYMBOLIZES THE FOUR PURSUITS

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

All temples, except[27] one (Chaturbhuja) face sunrise - another symbolic feature that is predominant in Hindu temples. The relative layout of temples integrate masculine and feminine deities and symbols highlight the interdependence.[28] The art work symbolically highlight the four goals of life considered necessary and proper in Hinduism - dharma, kama, artha and moksha.

CHATUR MEANS FOUR

https://en.wikipedia.org/wiki/Chaturbhuj_Temple_(Khajuraho)

Chaturbhuj temple (Devanagri: चतुर्भुज मंदिर) is dedicated to Lord Vishnu.[1] The name Chaturbhuj (Devanagri: चतुर्भुज) is a derived from Sanskrit words चतु: = four and भुजा = arms, which literally means One who has four arms; and refers to Lord Vishnu.

FOUR REALS FOUR WORKS FOUR FUNDAMENTAL PRINCIPLES FOUR SECTS

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

Four Reals[edit]

The cari vastu or the Four Reals defined this religious system. They are:

 

Guru — reverence of a Guru, or Spiritual Preceptor.

Deva — worship of a single God.

Naam — the chanting and singing the name and the qualities of God.

Bhakat — the association or the congregation of devotees (bhaktas).

Four Books: sacred texts[edit]

The single most important religious text is the Bhagavata, especially the Book X (Daxama). This work was transcreated from the original Sanskrit Bhagavata Purana to Assamese in the 15th and 16th centuries by ten different individuals, but chiefly by Srimanta Sankardev who rendered as many as ten Cantos (complete and partial) of this holy text.

 

Three other works find a special place in this religion: Kirtan Ghoxa, composed by Sankardev; and Naam Ghoxa and Ratnavali, composed by Madhavdev.

 

Denominations[edit]

 

The different branches of the Ekasarana dharma, based on (Cantile 1984:170). Note that the followers of Damodardeva and Harideva deny they took initiation from Sankardeva.

The religion fissured into four sanghati (samhatis or sub-sects) soon after the death of Srimanta Sankardeva. Sankardev handed down the leadership to Madhabdev, but the followers of Damodardev and Harideva did not accept Madhabdev as their leader and formed their own group (Brahma sanghati). Madhabdeva at the time of his death did not name a successor. After his death three leaders formed their own denominations: Bhabanipuria Gopal Ata (Kaal sanghati), Purushuttom Thakur Ata, a grandson of Sankardev (Purusa sanghati) and Mathuradas Burhagopal Ata (Nika Sanghati). They differ mostly in the emphasis of the cari vastus (four fundamental principles)

 

Brahma sanghati

The Brahma sanghati developed as a result of Damodardev and Haridev moving away from Sankardev's successor Madhabdev's leadership. Over time this sanghati brought back some elements of Brahminical orthodoxy. The vedic rituals which are generally prohibited in the other sanghatis are allowed in this sanghati. Brahmins too found this sanghati attractive and most of the Sattras of this sanghati have traditionally had Brahmin sattradhikars. Among the cari vastus, Deva is emphasised, worship of the images of the deva (Vishnu and the chief incarnations, Krishna and Rama) are allowed. Among the gurus Damodardev is paramount. Later on they came to call themselves Damodariya after Damodardev.

Purush sanghati

The Purush sanghati was initiated by the grandsons of Sankardeva—Purushottam Thakur and Chaturbhuj Thakur—after the death of Madhavdev. The emphasis is on Naam. Sankardeva has a special position among the hierarchy of Gurus. Some brahminical rites as well as the worship of images is tolerated to some extent.

Nika sanghati

This sanghati was initiated by Padma, Mathuradas and Kesava Ata. The emphasis is on sat-sanga. This sanghati is called Nika (clean) because it developed strict codes for purity and cleanliness in religious matters as well as in general living, as laid down by Madhabdeva. Idol worship is strictly prohibited and it gives special importance to Madhavdev.

Kala sanghati

The Kala sanghati, initiated by Gopal Ata and named after the place of his headquarters Kaljar, placed its emphasis on Guru. The leader of this sanghati came to be considered as the physical embodiment of Deva, and the disciples of this sect are not allowed to pay obeisance to anyone else. This sect was successful in initiating many tribal and socially backward groups into the Mahapuruxia fold, and it had the largest following among the different sanghatis. The followers of this sect were responsible for the Moamoria rebellion against the Ahom royalty.

FOUR ORDERS

https://en.wikipedia.org/wiki/Satra_(Ekasarana_Dharma)

Satras (Assamese: সত্ৰ) are institutional centers associated with the Ekasarana tradition of Vaishnavism, particularly in the Indian state of Assam and neighboring regions.[1][2] Numbering in the hundreds, these centers are generally independent of each other and under the control of individual adhikaras (or satradhikars), though they can be grouped into four different Sanghatis (orders).

 

The Satra is generally a four-sided enclosed area with four gateways (karapat). Centrally placed in this enclosure is a rectangular prayer-hall (Namghar or kirtanghar) at the aligned in the east-west direction. On its eastern side there is an additional independent structure called the Manikut (jewel-house), the sanctum santorum, in which the asana, a wooden tetradehral structure with four carved lions), is placed containing the main object of worship (usually a copy of the Bhagavat Purana in manuscript or an idol). The namghar is surrounded by four straight rows of huts, called hati, in which monks (bhakats) reside. The adhikara and other high officers of the Satra reside in the eastern hatis.[12]

JUSTINIAN CODE FOUR BOOKS FOURTH DIFFERENT

https://www.britannica.com/topic/Code-of-Justinian

The Justinian code consists of four books: (1) Codex Constitutionum, (2) Digesta, or Pandectae, (3) Institutiones, and (4) Novellae Constitutiones Post Codicem.

ROMULUS AND THE TRANSCENDENT FOURTH FUNCTION

https://www.questia.com/library/journal/1P3-53914826/the-second-founder-and-the-fourth-function-constantine

The Second Founder and the Fourth Function: Constantine after Romulus

By Miller, Dean A.

Read preview

Article excerpt

 

The author compares the founding of Constantinople, the second Rome, by Constantine with the mythical founding of Rome by Romulus, and suggests that both rituals involved facets of Domezilian trifunctionality, modified by N.J. Allen's "fourth function".

 

Key Words: Constantine, Romulus, Georges Dumezil, Byzantium, Rome, IndoEuropean trifunctionality, fourth fitaction

 

Any 'founding king' will by definition be a figure of some mystery, combining the features of the eponym or ultimate ancestor of the polity with the special potencies integral to one who literally makes Something out of Nothing. In this paper I intend to try to find a pattern of mutuality and equivalence in the careers of two such founders: Romulus, held responsible for the very beginnings of Rome, and Constantine the Great who - approximately a millennium later - would found the Second Rome, named after himself, that is the city of Constantinople.

 

This-serious project is made somewhat easier because of the recent work of N. J. Allen, who, in explicating an important addendum to the trifunctional theories of Georges Dumezil1 which Allen has termed the Fourth Function, has examined and reinterpreted the Romulan evidence in some detail: Romulus has, in fact, become Allen's ideal or exemplary Fourth Function ruler (Allen 1987, especially Allen 1996). Here Allen followed Dumezil in finding that Romulus had combined in himself the key powers of all three of the I-E functions - i.e., (in bare outline) sovereign power, military prowess, encouragement of fecund growth (Dumezil 1966/70: 25).

 

The Romulan stance as 'first king' and as 'magical king' was supported by this combinatory mystery, and, even more, was dramatized by the fact that the Founder was succeeded by kings who evidently represented each of the three Functions in turn: Numa Pompilius as lawmaker, Tullus Hostilius as warmaker, and Ancus Marcius as one who "conforme d'alleurs a l'esprit de la troisieme fonction" (Dumezil 1968: 273). I do not have the time here to deal with every aspect of Allen's F4 theory, but I do want to underscore certain of his main descriptive points concerning the Romulan biography (other then this king's omnifunctional competence): (a) his semi-divine parentage, Co) the fact of the auspici, that is, the divine or heaven-sent (extraordinary) communication that authenticated Romulus's particular form and vision of his City and, as well, the installation or mobilization of the (ordinary) sacra that followed, (c) the sacrifice/fratricide, wherein Romulus was held ultimately responsible for the death of his twin, Remus, and (d) the death or 'immortalization' of Romulus himself.

 

The drama of Romulus and its details is taken mainly, if not exclusively, from Livy, and so shows that "historicizing of myth" to which the Romans are known to have been addicted. Now I would like to take up the Second Foundation, and Constantine as the Second Founder; here, I suggest, we confront an event in history that has been extensively recast or surrounded in myth, seeing the founder-figure of Constantine the Great drawn back into what Gilbert Dagron appropriately calls Constantinople imaginaire (Dagron 1984), especially in the source called the Patria, and his deeds laid out or explicated in what Dagron terms patriogsaphy. First, we must react to the overt resemblances that can be set up between one city's foundation and the other - and here we will already have taken note of the infiltration of elements of mystery and the supernatural into whatever bald historical account we possess. We initially assume that a Founder must deploy that combination of potencies seen so clearly in Romulus; Constantine will in fact show these, but we also have to deal with any possibility of a later parallel with the semi-divine paternity of Romulus, identified as a son of Mars. To find this parallel - to make Constantine semi-divine - is not a simple matter, but we know that aspects and even the natures of emperors and gods were thoroughly confounded early on in the Principate, and in the Tetrarchy devised by Diocletian, some decades before Constantine won supreme power, symbolic godhead was assigned to both senior and junior rulers: Diocletian, for example, was declared to be assimilable to Juppiter Maximus Optimus, his junior Maximianus to Hercules, the Divine Son (Alfoldi 1970: 44). …

OGLALA SIOUX THE FOUR COLORS

http://www.greatdreams.com/crop/2011ccs/2011ccs2.htm

Oglala Sioux

 

The Native American medicine man, Sword, told the creation story of the four colors -- yellow for rock, green for the earth, blue for the sky, and red for the sun.

 

All colors are united in the rainbow, and all things are united in a single Great Spirit, Wakantaka. Sword imparted this story --

 

Who is the oldest? Rock is the oldest, the grandfather.

 

Who is the next oldest? Earth is the next oldest, the grandmother.

 

Who is the next oldest? Sky is the next oldest, giver of life and motion.

 

Who is the next oldest? Sun is the next oldest, above us.

 

The first elk appeared on the top of the primeval rock and bayed loudly. In answer, the first dawn arose out of the dark abyss which confronted the rock. But naturally the elk, the rock, the dawn, and the abyss, were all really Wakantaka.

THE FOUR ELEMENTS AND THE SEVEN CHAKRAS A FOUR PLUS THREE PATTERN

http://www.greatdreams.com/crop/2011ccs/2011ccs2.htm

The point I am getting at here, is that these particular types of formations are referring directly to Earth and the material dimension: earth, water, fire, air. These four elements are associated with the first four chakras, with the fourth, the Anahata (meaning: a sound not made by striking, i.e. Om) chakra the heart chakra being represented by a twelve-petalled pink lotus whose centre is a smoky coloured hexagram. This chakra is the centre where material and spiritual energies meet, join, and interact. It is the balance, and therefore a stabilizing force, as is suggested by the cube form in the centre of the Toot Balden crop circle.

THE FOUR LETTERS

http://www.bhagavatam-katha.com/important-story-the-four-letters-send-by-yamaraja/

Lord Yama said, “Amrita! You spent all your life in sense indulgence with no interest in spiritual life. How then could you know the letters I sent you? Not one, but four letters I did send to you. But you ignored all of them.”

Amrita was greatly puzzled: “Four letters did you send? But not even one letter reached me. It is just possible that the postman/courier forgot to deliver it.”.

Lord Yama said, “My friend, do you think I will take a paper and pen and write a letter to you?

No, With your body as paper, with the pen of bodily changes I wrote my letters and time is the messenger who delivered those letters.

1) Years ago, your hair turned grey. That was my first letter. You ignored it.

2) Falling of your teeth was my second letter.

3) My third letter was sent to you when your eyesight failed.

4) The fourth message was when your body became paralysed.

AUM IS FOURFOLD- EAR SHAPED AS AUM AND MAKARAM IS THE PIERCING- FOUR PARTS COMPARED TO COWS FEET

http://www.bhagavadgitausa.com/AUM_OM.htm

There are four curves in the AUM Graphical iconic symbol:

 

The first curve of Bhija-Akshara (Seed letter) is A, the second U, the third M, and the fourth Chandrabindu (crescent with a dot) the after-sound. The third curve compared to the elephant's trunk emits the sound M. A is Bhur loka (gross world), U Bhuvar Loka (the subtle world) and M Suvar loka, the causal world.

 

AUM is Pranava (Prana + Va = Life breath + Sakti or energy) because it sustains breath or life (Prana = breath) and flows with the expelled breath.

 

A is waking state, U the dream sleep, and M deep sleep. The silent interval between two AUMs is Turiya state, the fourth state.

 

Turiya is Spiritual Transcendental consciousness. Visva, Taijasa, and Prajna merge and fuse sequentially. Turiya is without any attributes. It is santam, sivam, and advaitam (peace, goodness, and nondual), for didactic purposes. It or He is the Self. Objective consciousness is absent and its seed is absent. Ramana Maharishi calls this “Wakeful Sleep.” Turiya is present and functional in the perfected ones, even when they are awake. In Turiya, there is an irreversible union with Brahman: There is Oneness with Brahman. There is a permanent Metaphysical Unity. There are four progressive Turiya states, one deeper and subtler than the earlier one. The silence that follows the Sound AUM corresponds to this state. (See Below, compared to level one.) The presiding deity is the Supreme Vāsudeva Himself; He is Vāsu and Deva, meaning an indwelling God.

If an aspirant meditates on Brahman in all his four parts (AUM-Silence) he becomes non-dual with Brahman.

Ramalinga Swamigal of Madras (1823-1874 C.E.) explains Turiya as follows: 'I became it; It became me.'

Here is the view of Joseph Campbell on Turiya. (Page 71-72, Myths of Light.)

The goal of the various forms of yoga is to go into that realm of undifferentiated consciousness while remaining awake. We don't have a counterpart to this concept in our Western vocabularies. It doesn't even have a name in India; it is called simply the fourth state, and that is the fourth letter of the syllable (AUM), the level of silence. Because all the words that we speak refer either to waking images and logic, dream images and logic, or ignorance. We do not have words for this, and so it is the ultimate silence, but it is that which we are....

Level one to four is evolutionary, a centrifugal movement from the fountainhead.

Level One: The Absolute, Brahman, Turiya, and the Silence after AUM have a horizontal relationship with one another. All are Imperishable Brahman. It is all thought, all Bliss, no dream, no activity, no name, no form, all light and all absolute repose.

Level Two: God, Isvara, Prajna, and AUM belong to the category of the Unmanifest becoming the manifest universe of beings and matter. He is the Sutratman (Thread-Soul) running through all the souls of the universe. These are derivatives of the imperishable immeasurable Brahman. Brahman BECOMES ISVARA OR PERSONAL GOD with pure wisdom or Prajna. Brahman does not diminish or cease to be, by becoming Isvara. Brahman-Isvara is the Principle behind the Mula-Prakrti or the unmanifested, the inner guide (controller) of all souls. This is compared to deep sleep.

Level Three: Isvara is the immediate cause of Hiranyagarbha, which is the embryo of the world. When this embryo (an internalized state compared to the dream state, ideas, and possibilities) projects into space and time, we get Virāt or manifestations. Ramanuja, a Tamil Brahmana says that Isvara is the inner controller of Cit and Acit (Beings and universe, sentient and insentient).

Level Four: When the embryo stage matures and is exteriorized, the manifest world is like the waking state. This corresponds to Vaisvanara. Vaisvanara = Visva + Nara = Whole, universal, entire, all + Men = relating to all men.

1: Waking State: A of the A U M. The 1st Sound, A. In the wakeful state, the Indriyas, prana, manas, buddhi, ahankaaara (Ego) - Citta are all operative. This state is what we know as life and biological functions. Accordingly, the consciousness is projected outwards. The Self (1st part) enjoys the gross matter.

 

2: The Dream Sleep: U of A U M. the 2nd Sound, U. The consciousness is turned inside. The ego is still operative as per Ramana.. The Self (2nd part) is dreaming and enjoys subtle objects.

 

3: Deep Sleep: M of A U M. The 3rd sound, M. No ego play here. The sleeper desires nothing that he usually desires during the waking state. No dreams occur. The Self (the 3rd part) is undifferentiated consciousness, and enjoys bliss, being bliss itself. The lower self is absorbed in the Highest Self . Buddhi is in a potential state, and in a state of suspended animation.

 

4: Turiya: Silence following A U M. The 4th part of the Self. It is undifferentiated. It is without attributes. No ego play here. There is quietness (Santam), Peace and Bliss (Sivam), without-a-second (advaitam). This is the realization. This is absorption. This is beyond Kaivalya - Splendid isolation - and more. This is Samadhi. This is oneness. This is SatChitAnanda. It is beyond time, space and form. It is beyond consciousness. It is the source. The four parts of the Self are compared to the cow's feet. And as said earlier Self is OM.

 

The four components of Self is the same four components of A U M and Silence. Silence that comes after AUM is the fourth component / Turiya. Now we arrived at soundless Brahman. To reiterate: A is the waking state. U is the Dream State. M is Deep Sleep. Turiya is the fourth state. All four components form a unit or syllable or a sound byte of Atman-Brahman - Sound Brahman / Soundless Brahman. AUM-Silence = AUM-Turiya = Dual to Non-dual state. AUM state is a dual state for the self, and Turiya, the fourth dimension inducts the self into a non-dual state. You become one with Brahman.

THE FOUR CURVES OF THE AUM

 

http://www.bhagavadgitausa.com/AUM_OM.htm

Quadrant

THE THREE SYMBOLS ARE THE SAME THING THE TRISHUL IS THE CROSS THE SWASTIKA IS THE QUADRANT CROSS AND THE AUM IS THE FOURFOLD AND EVEN IN THE UPANISHADS IT SAYS THE SWASTIKA IS THE AUM

https://www.wattpad.com/story/97344050-swastik-om-trishul-trishakti-yantra

Trishula is one of the weapon of Lord Shiva. As per Hindu mythology, it is said that the Trishakti Trishul Yantra which has Hindu symbols of Om and Swastik in Trishul is wielded by Lord Shiva

GANESHA FORMS TWO GROUPS OF 16

https://en.wikipedia.org/wiki/Thirty-two_forms_of_Ganesha

Ramachandra Rao says that:

 

The first sixteen of the forms of Gaṇapati shown [in the Sritattvanidhi] are more popularly worshipped under the name shoḍaśa-gaṇapati. Among them, the thirteenth, viz. Mahāgaṇapati, is especially widely worshipped. There is a tāntrik sect which is devoted to this form. Śakti-gaṇapati, Ucchishṭa-gaṇapati and Lakshmī-gaṇapati are also tāntrik forms, which receive worship which is cultic and esoteric. Heraṃba-gaṇapati is popular in Nepāl.

FOUR PURANAS DEAL GANESHA- FOUR INCARNATIONS GANESHA PURANA

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

Granoff finds problems with this relative dating because the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas that deal at length with Ganesha

 

Like the Ganesha Purana, the Mudgala Purana considers Ganesha to represent the ultimate reality of being. As such, Ganesha's manifestations are endless but eight of his incarnations (Sanskrit:अवतार; avatāra) are of most importance. The eight incarnations are introduced in MudP 1.17.24-28. The text is organized into sections for each of these incarnations.[5][6] These are not the same as the four incarnations of Ganesha that are described in the Ganesha Purana.

Surya is celebrated as a deity in Buddhist artwork, such as the ancient works attributed to Ashoka. For example, Surya appears in Mahabodhi temple in Bodhgaya, riding in a chariot pulled by four horses.[10] Such artwork suggests that the Surya as symbolism for the victory of good over evil is a concept that may have developed independently in ancient Indian subcontinent in parallel to ideas that may have been exchanged between India and Persia.[10]

SURYA FOUR HANDS FOUR HORSES

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

The Brihat Samhita, a Hindu text that describes architecture, iconography and design guidelines, states that Surya should be shown with two hands and wearing a crown. In contrast, the Vishnudharmottara, another Hindu text on architecture, states Surya iconography should show him with four hands, with flowers in two hands, a staff in third, and in fourth he should be shown to be holding writing equipment (Kundi palm leaf and pen symbolizing knowledge).[2] His chariot driver in both books is stated to be Aruna who is seated.[2] Two females typically flank him, who represent the dawn goddesses named Usha and Pratyusha. The goddesses are shown to be shooting arrows, a symbolism for their initiative to challenge darkness.[30]

 

The iconography of Surya has also varied over time. In some ancient arts, particularly from the early centuries of the common era, his iconography is similar to those found in Persia and Greece suggesting likely adoption of Greek, Iranian and Scythian influences.[2][29] After the Greek and Kushan influences arrived in ancient India, some Surya icons of the period that followed show him wearing a cloak and high boots.[30][32] In some Buddhist artwork, his chariot is shown as being pulled by four horses.[10] The doors of Buddhist monasteries of Nepal show him, along with the Chandra (moon god), symbolically with Surya depicted as a red circle with rays.[33]

BRAHMA CREATED FOUR TYPES

https://www.templepurohit.com/brahma-creator-hindu-god/

Tales suggest that in the beginning, Brahma sprang from the cosmic golden egg and he then created good & evil and light & dark from his own person. He also created the four types: gods, demons, ancestors, and men (the first being Manu)

FOUR NAVARATRI
https://en.wikipedia.org/wiki/Navratri
https://en.wikipedia.org/wiki/Rama
Navratri (Sanskrit: नवरात्रि, literally "nine nights"), also spelled Navaratri or Navarathri, is a multi-day Hindu festival celebrated in the autumn every year. It is observed for different reasons and celebrated differently in various parts of the Indian subcontinent.[2][1] Theoretically, there are four seasonal Navratri. However, in practice, it is the post-monsoon autumn festival called Sharad Navratri that is the most observed in the honor of the divine feminine Devi (Durga). The festival is celebrated in the bright half of the Hindu calendar month Ashvin, which typically falls in the Gregorian months of September and October.[2][3]

STORY OF FOUR BLESSINGS

http://www.bhagavatam-katha.com/category/krishna-story-every-day/stories-about-narada-muni/

Narada Muni story: Story of four blessings

Once great sage Narada Muni was traveling. While travelling he meet different people and He is give different kinds of blessings to different types of persons. First he meet king’s son, a prince, so he blessed him, raja-putra ciram jiva: “You are a king’s son, a...

THE FOUR ELEMENTS FOUR GRANDCHILDREN

https://en.wikipedia.org/wiki/Mrs._Kaushik_Ki_Paanch_Bahuein

The story revolves around an upper middle-class Rajasthani joint family called the Kaushiks living in Jaipur. The family members are Mr. Satyadev and Mrs. Bindeshwari Kaushik, their five sons, Utkarsh, Bittu, Shivendu, Aditya and Karthik, their five daughters-in-law Gehna, Nimmi, Simran (now Karantiya), Ria and Lovely, their four grandchildren, Gudiya, Lucky, Bubbly, Anu and also Mr. Kaushik's mother whom they call Ammasa. Mrs. Bindeshwari Kaushik is the family matriarch who has made strict rules and regulations in her house and all the family members follow them.

 

The story began with Mrs. Kaushik's search for an ideal daughter-in-law and wife for her youngest son, Karthik. According to her, an ideal daughter-in-law should be an amalgamation of the elements of nature (earth, air, water, fire and sky) akin to the virtues represented by her other four loving, honest and obedient daughters-in-law.

STORY OF MADHAVI FOUR STAGES

http://creative.sulekha.com/the-bizarre-story-of-madhavi-of-the-ancient-times_543499_blog

The bizarre story of Madhavi of the ancient times

 

This is a story of ancient times that appears in Udyoga Parva (sections 119-122) of Mahabharata. It is a story that is uncoiled in four stages. Initially, Narada narrated it to Dhritarastra, which Vyasa recorded; Vaishampayana narrates that to Janamejaya; and finally Suti recites the entire epic. Narada’s narration comes about as an extension to his own story of fall owing to his conceit and arrogance. It is incidental; and not integrated into the Epic. It is not supported by any other narration in the Epic. The story raises many uncomfortable questions about the status and treatment of women in a society of a bygone era, which was guided by its own set of values. The fascinating but disturbing episode has been studied, in depth, by scholars, feminists and dramatists from sociological, psychological and various other angles.

FOUR KINGS FOUR ROYAL LINES FOUR MEN

http://creative.sulekha.com/the-bizarre-story-of-madhavi-of-the-ancient-times_543499_blog

7.3. The kings who figure in her life did not consider their relation with Madhavi as scandalous. The society in which she lived treated her with great respect. Her sons who were aware of their birth antecedents proudly called themselves the sons of Madhavi. The fact that they were the sons of the common wife of four kings did not prevent them from succeeding to thrones of their fathers. In fact, Sibi and Ashtaka were made kings by preference over the sons of their fathers’ individual wives

 

7.4. When her sons met her again after they had grown into fine young men, they greeted their mother with great reverence: “those monarchs saluted her and bowed down to her ‘O the abode of asceticism, instruct us all thy sons, what command of yours shall we obey’ ”. At her command they help their grandfather Yayati ascend to heaven again : “It was thus that those daughter's sons born in four royal lines, those multipliers of their races, by means of their virtues, sacrifices, and gifts, caused their maternal grandfather to ascend again to heaven. And those monarchs jointly said, 'Endued with the attributes of royalty and possessed of every virtue, we are, O king, thy daughter's sons! By virtue of our good deeds, ascend thou to heaven. ” (Mbh: Udyoga Parva; section 122)

 

7.5. Madhavi’s character, as I see it, is invested with a certain air of dignity. She had been true to her independent nature, fulfilling her womanhood in a manner she found appropriate in the given circumstances. Her unsullied and detached attitude to her unique encounters with four men perhaps defines her ‘virgin’ status. At the end of the episode she exercises her choice without disgust, rancor or regret; and retires into the woods.

MADHAVI LIVE WITH FOUR MEN

http://creative.sulekha.com/the-bizarre-story-of-madhavi-of-the-ancient-times_543499_blog

Question of Many husbands

 

15.1. As said earlier, Kunti need not have to live with the gods who provided her with sons. But, Draupadi had to live with five husbands all her life. Madhavi had to live with four men; but, in succession, each for about nine months. Draupadi’s husbands were brothers; and that helped to maintain and strengthen fraternal unity among the Pandavs. While in the case of Madhavi, her men were unconnected and unrelated, excepting that all the four were kings.

SHIVA CUT OFF BRAHMAS FIFTH HEAD NOW HAS FOUR

https://www.quora.com/Why-did-lord-Shiva-cuts-lord-Bramhas-5th-head

Lord Shiva did the same and got deprived of female part. In grief and pain of getting disjoint, Lord Shiva left his duty towards the maintainance of the universe and as a trinity(the three maintainers of the universe). he became an Aghori(rennouncing the world). Now, after watching the pain of Shiva, Bramha and Vishnu were constantly strategizing to bring shiva back. Once Bramha started a Stuti(verse) in order to praise the 4 vedas. At that time Bramha had 5 heads, four of his heads were praising Vedas, but in order to make Shiva angry and realize his duties towards vedas, the fifth head of bramha started denouncing(saying the worst of) Vedas. The Plan was successful , the world saw the anger of shiva, who immediately chopped of the fifth head of Bramha.Thus trinities always have a small or a big but a good intentions for any positive or negative roles.

RULE THE CARDINAL DIRECTIONS- FOUR TIMES FOUR SONS

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

Yayati's father, Nahusha is transformed into a python by a curse uttered by the sages as punishment for his arrogance. Yayati's elder brother, Yati, is initially given the kingdom, but turns it down and instead becomes an ascetic. Yayati then becomes king in his place and prospers so greatly that he is able to conquer the whole world. He appoints his four younger brothers to rule the world's cardinal directions[citation needed]

 

Madhavi married four times and had one son with each husband. She married Haryyashwa, Ikshvaku King of Ayodhya; Divodasa, King of Kashi; Ushinara, Bhoja King of Kashi and the Maharishi Vishwamitra. With the Ikshvaku King Haryyashwa, she had a son named Vasumanas who became a wealthy king and practised charity. With Divodasa, the King of Kaśi, she had the mighty warrior King Pratarddana who acquired weapons from Sage Bharadwaja and defeated the Haihayas and the Videhas in battle. With the Bhoja King Ushinara, she had Shibi, who became a Chakravartin Samrat and conquered the world, practised Dharma and charity. With Sage Vishwamitra, Madhavi had a son named Ashtaka, who became famous for performing sacrifices and charity. The four sons of Madhavi didn't like Yayati's self-righteousness, but each one used their powers to send Yayati to heaven. Madhavi herself lost interest in marriage and performed penances in the forest for the rest of her life. Madhavi's four sons, after ruling their kingdoms, joined their mother and lived with her in the forest until her death.

"Anu, the fourth son of Yayati, had three sons, named Sabhanara, Caksu and Paresnu. From Sabhanara came a son named Kalanara, and from Kalanara came a son named Srnjaya. From Srnjaya came a son named Janamejaya. From Janamejaya came Mahasala; from Mahasala, Mahamana; and from Mahamana two sons, named Usinara and Titiksu.The four sons of Usinara were Sibi, Vara, Krmi and Daksa, and from Sibi again came four sons, named Vrsadarbha, Sudhira, Madra and atma-tattva-vit Kekaya...." (Bhagavata Purana, 9.23.1-4).

PROPHECIED FOUR FAMOUS SONS

http://www.blush.me/unwind/yayatis-daughter-madhavi-renewing-virginity

That wasn’t all, she was also prophesied to give birth to four famous sons. So, Galava agreed and took Madhavi, and thus began the string of Madhavi’s marriages in exchange for shyama karna horses. First, she was wed to Haryasva, the Ikshvaku king who ruled Ayodhya, who was so enamoured by Madhavi’s appearance, “I only have 200 horses, but if the maiden begets me a son, I promise to give you the horses and set her free once my son is born." The son was named Vasumanas, and he wrote the 10th mandala of the Rigveda.

 

Source Vishwamitra married Madhavi, who bore him Ashtak. Vishwamitra presented his son with the entire stable when he mastered the Ashwamedha Yagnas and became a great seer like him. He also freed Madhavi at last. Yayati had so far heard of all his grandsons’ achievements but wished for a domestic life for his daughter. He tried arranging for a swayamvara of his only daughter, but Madhavi, who had fulfilled her dharma of four great sons renounced the world to live the life of a hermit like a sanyasi king.

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

Swami Sivananda's approach to yoga was to combine the four main paths - karma yoga, bhakti yoga, jnana yoga and raja yoga along with various sub-yogas such as kirtan and hatha yoga

FOUR CHAPTERS

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

 

 

Hatha Yoga Pradīpikā lists thirty-five earlier Haṭha Yoga masters (Skt. siddha), including Ādi Nātha, Matsyendranātha and Gorakṣanātha. The work consists of four chapters that include information about purification (Skt. ṣaṭkarma), posture (āsana), breath control (prāṇāyāma), spiritual centres in the body (cakra), coiled power (kuṇḍalinī), force postures (bandha), (kriyā), power (śakti), subtle/gross bodily connections (nāḍī), and symbolic gestures (mudrā), among other topics.

ADD A FOURTH TO THE THREE

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

Later, new movements within Hinduism added raja yoga as the fourth spiritual path, but this is not universally accepted as distinct to other three.[35][36]

The Purvabhaga has four padas with the total of 125 chapters.[ https://en.wikipedia.org/wiki/Naradiya_Purana

SWASTIKA POSE- SWASTIKA IS QUADRANTIt's fine to stay in this position, but if you want to complete the swastika shape, externally rotate your right leg and draw it out to the side until it is perpendicular to your torso. Work the outer right hip away from your torso to keep the side waist long, just as you would in standing poses like Trikonasana (Triangle Pose) and Ardha Chandrasana (Half Moon Pose). Flex your foot to 90 degrees, and press out firmly through your right heel while continuing to extend out through your left toes. Try to keep your pelvis squared toward the floor.

 

https://www.yogajournal.com/practice/open-arms

 

In One-Armed Swastika Pose I, your body looks like one of the crosspieces of the ancient Asian symbol of good luck.

 

2. Eka Bhuja Swastikasana II

 

Image placeholder title

To come into One-Armed Swastika Pose II, lie face-down with your arms reaching straight up overhead and your palms on the ground, shoulder-width apart. To keep your body integrated and engaged as you enter the arm stretch, place the inner edges of your big toes together and extend energy down through your tailbone and legs and up through the crown of your head. On an inhalation, draw your elbows in toward your torso until they're almost underneath your shoulders, and rise up into a mild Sphinx Pose.

FOUR ORIGINAL VERSES

http://bhaktivinoda.com/4-original-verses-of-srimad-bhagavatam-catur-sloka/

– How has Sri Bhaktivinoda Thakura translated the 4 original verses of Srimad Bhagavatam (catur-sloka)?

(1) O Brahma! I, the Personality of Godhead, was existing before creation, when there was nothing but Myself. There was no material nature, the cause of this creation. That which you see now is also I, the Personality of Godhead, and after annihilation what remains will also be I, the Personality of Godhead.

(2) O Brahma! That which appears to be of value, but has no relation to Me, has no reality. Know that it is My illusory energy, a reflection, which appears in darkness.

(For detailed explanation of the above 2 verses, please refer to Sri Krsna-samhita Chapters One and 2.)

(3) O Brahma! Please know that the universal elements enter into the cosmos; similarly, I Myself also exist within everything created, and at the same time I am outside of everything.

(For detailed explanation of this verse please refer to Sri Krsna-samhita Chapters 3, 4, 5, 6, and 9)

(4) A person searching after the Supreme Absolute Truth, the Personality of Godhead, must certainly search in all circumstances, in all space and time, and both directly and indirectly.

(For detailed explanation of this verse please refer to Sri Krsna-samhita Chapters 7, 8, and 10.) (Sri Krsna-samhita First Edition 1880)

– What is the mystery of the 4 original verses of Srimad Bhagavatam (catur-sloka)?

– Om tat sat satyam param dhimahi

The mystery behind 4 original Bhagavatam verses:

jnanam parama-guhyam me — Knowledge about Me as described in Sastras is very confidential: — Direct perception of the Absolute Truth.

yad vijnana-samanvitam — It has to be realized: — Indirect perception of the Absolute Truth.

sarahasyam — With devotional service: — The activities of the living entities and the Supreme Lord, known as the science of love.

tad-angam ca — The necessary paraphernalia for that process: — The confidential science of devotional service.

grhana gaditam maya — You may take it up carefully.

yavan aham — I Myself in My eternal form

yatha-bhavo — My transcendental existence.

yad-rupa-guna-karmakah — My transcendental form, qualities, and activities.

tathaiva tattva-vijnanam — By factual realization.

astu te mad-anugrahat — Let it be awakened within you out of My causeless mercy. (Sri Krsna-samhita First Edition 1880)

Another revelation, Who is qualified to study Srimad Bhagavatam?. Check out the previous page too: Rightful Candidates for Shuddha-Bhakti. You will benefit from reading the whole work: Books (Free!).

FOUR SURVIVING WORKS

https://en.wikipedia.org/wiki/Kalpa_(Vedanga)

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. The oldest dharmasūtra is generally believed to have been that of Apastamba, followed by the dharmasūtras of Gautama, Baudhayana, and an early version of Vashistha. It is difficult to determine exact dates for these texts, but the dates between 500–300 BCE have been suggested for the oldest dharmasūtras.[citation needed]

SOCIETY FOUR NOT THREE ESTATES- 72 is gematria of tetragrammaton- FOUR PROFESSIONAL GROUPS

 

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

These divisions, from an archaeological and sociological point of view, are revealing because they make clear that, since from at least the 1st century BCE onwards, society was divided into four, not three, feudal estates

Archaeological remains and literary evidence from Zend commentaries on the Avesta suggest that the sanctuary was surrounded by a passageway on all four sides. "On a number of sites the gombad, made usually of rubble masonry with courses of stone, is all that survives, and so such ruins are popularly called in Fars čahār-tāq or 'four arches'." (Boyce, 1987:10)

 

The next highest grade of fire is the Atash Adaran, the "Fire of fires". It requires a gathering of hearth fire from representatives of the four professional groups (that reflect feudal estates): from a hearth fire of the asronih (the priesthood), the (r)atheshtarih (soldiers and civil servants), the vastaryoshih (farmers and herdsmen) and the hutokshih (artisans and laborers). Eight priests are required to consecrate an Adaran fire and the procedure takes between two and three weeks.

 

alternatingly recite the 72 verses of the Yasna liturgy

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

Her iconography shows her with four hands, which represent the four goals of human life considered important to the Hindu way of life: dharma, kāma, artha, and moksha.[17][18]

I'm a

STORY ABOUT FOURTH WISE MAN

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

The story is an addition and expansion of the account of the Biblical Magi, recounted in the Gospel of Matthew in the New Testament.[3] It tells about a "fourth" wise man (accepting the tradition that the Magi numbered three), a priest of the Magi named Artaban, one of the Medes from Persia.

. Click here to add your own text and edit me. It's easy.

16 FACES

COMPLEX FOUR COMPONENTS

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

The temple is built on an elevated platform (of about 420,000 square feet (39,000 m2) area),[43]20 feet (6.1 m) above the adjacent area. The temple rises to a height of 214 feet (65 m) above the road level. The temple complex covers an area of 10.7 acres (4.3 ha).[39] There are four entry gates in four cardinal directions of the temple, each gate located at the central part of the walls. These gates are: the eastern gate called the Singhadwara (Lions Gate), the southern gate known as Ashwa Dwara (Horse Gate), the western gate called the Vyaghra Dwara (Tigers Gate) or the Khanja Gate, and the northern gate called the Hathi Dwara or (elephant gate). These four gates symbolize the four fundamental principles of Dharma (right conduct), Jnana (knowledge), Vairagya (renunciation) and Aishwarya (prosperity). The gates are crowned with pyramid shaped structures. There is a stone pillar in front of the Singhadwara, called the Aruna Stambha {Solar Pillar}, 11 metres (36 ft) in height with 16 faces, made of chlorite stone; at the top of the stamba an elegant statue of Arun (Sun) in a prayer mode is mounted. This pillar was shifted from the Konarak Sun Temple.[44] The four gates are decorated with guardian statues in the form of lion, horse mounted men, tigers, and elephants in the name and order of the gates.[34] A pillar made of fossilized wood is used for placing lamps as offering. The Lion Gate (Singhadwara) is the main gate to the temple, which is guarded by two guardian deities Jaya and Vijaya.[43][44][45] The main gate is ascended through 22 steps known as Baisi Pahaca, which are revered, as it is believed to possess "spiritual animation". Children are made to roll down these steps, from top to bottom, to bring them spiritual happiness. After entering the temple, on the left side, there is a large kitchen where food is prepared in hygienic conditions in huge quantities; the kitchen is called as "the biggest hotel of the world".

The temple is built using light-grey sandstone, and, architecturally, it exemplifies typical Kalinga temple architecture in the Deula style. The complex comprises four components: vimana (tower structure containing the sanctum), jagamohana (assembly hall), nata-mandapa (festival hall) and bhoga-mandapa (hall of offerings). There is also a kitchen connected by a small passage. The temple is set within a garden, and is known as "God's Summer Garden Retreat" or garden house of Jagannatha. The entire complex, including the garden, is surrounded by a wall which measures 430 by 320 feet (131 m × 98 m) with height of 20 feet (6.1 m).[52]

TEMPLE DEULA FOUR COMPONENTS

The temple is built using light-grey sandstone and architecturally, it exemplifies typical Kalinga temple architecture[1] in the Deula style. The complex comprises four components: vimana (tower structure containing the sanctum), jagamohana (assembly hall), nata-mandapa (festival hall) and bhoga-mandapa (hall of offerings). There is also a kitchen connected by a small passage.[2] The temple is set within a garden,[1] and is known as "God's Summer Garden Retreat" or garden house of Jagannath.[3] The entire complex, including garden, is surrounded by a wall.

FOUR PROTECTOR GODS

 

This protection extended through life and beyond death. Horus was associated with the afterlife through his Four Sons who protected the vital organs of the deceased. These four gods represented the four cardinal points of the compass and each was presided over and protected by a goddess. The Four Sons of Horus were:

http://www.ancient.eu/Horus/

Duamutef - a jackal god who protected the stomach, represented the east, and was protected by Neith.

Hapy - a baboon god who protected the lungs, represented the north, and was protected by Nephthys.

Imsety - a god in human form who protected the liver, represented the south, and was protected by Isis.

Qebehsenuef - a hawk god who protected the intestines, represented the west, and was protected by Selket.

These organs were held in canopic jars which sometimes had the head of the protector-god as the lid handle. The most famous example of the canopic protectors is the alabaster artifact from the tomb of Tutankhamun in which Isis, Neith, Nephthys, and Selket are carved. All four of the protector-gods were depicted as mummified men with their respective different heads of jackal, baboon, human, and hawk. These were all seen as manifestations of Horus who was a friend to the dead. Horus was invoked at funerals for protection and guidance for those who had departed and for the living who remained behind.

16 PETALS

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

This chakra is sometimes known as the Indu, Chandra, or Soma Chakra. In other descriptions, it is located on the forehead - white, with 16 petals - corresponding to the vrittis of mercy, gentleness, patience, non-attachment, control, excellent-qualities, joyous mood, deep spiritual love, humility, reflection, restfulness, seriousness, effort, controlled emotion, magnanimity and concentration.

SUN GOD OF BABYLON REPRESENTED BY TRISHUL CROSS ALTAR OF ST PAUL IN LONDON HAS FOUR TRISHULS

THE TRIDENT TRISHUL CROSS CATHOLIC

 

The trident projecting from the head of baby Jesus on the Roman Catholic Madonna and child image.

 

Catholic Chasuble

 

The same image is found on clothing and regalia, architecture, and art. Also notice the hand and how it’s displayed with two fingers and a thumb prominent, another form of a trident.

The Bronze hand of Roman mystery cult Sabazios/Dionysus; also the Eleusian Mysteries and Orphic Mysteries. It dates from the late Roman Empire, when all forms of divination from scrying to astrology flourished. Note: the serpent/dragon/lizard head, the pine cone, and the reverse awen handsign, the cow/bull above the altar and something which resembles that of a human in a pupa.

If you research Trident Books, you will find many esoteric subjects. This company is obviously owned by witches and warlocks.

https://moly.hu/konyvek/emily-lyle-ten-gods

In the Indo-European case, there are four colours in the system, and these are seen very clearly in the Indian set of white, red, yellow, and black placed round the world quarters which are related respectively to brahmins, ksatriyas, vaisyas, and sudras, i.e. priests, warriors, cultivators and serfs, and so the Indo-European pattern would have four different ascribed identities relating to the four age grades distinguished by these four colours.

THE AUTHOR OF THE BOOK SAYS "IT IS INTERESTING TO SEE THE FOURFOLDNESS SO OFTEN ASSOCIATED WITH VAISHNAVISM"- IT SAYS THAT VISHNU HAS FOUR FORMS

NARADA SAYS THE HIGHEST BEING HAS BECOME FOUR VYUHA SYSTEM FOUR FORMS OF KRISHNA FOUR SONS OF DHARMA FOUR FACED VAIKUNTHA CATURMURTI FOUR SONS DASARATHA

 

https://books.google.com/books?id=6znEVPmI8UsC&pg=PA30&lpg=PA30&dq=nara+narayana+hare+krishna+fourfold&source=bl&ots=z0vpARZGbw&sig=e-P711oPVOB2dm3g87hoj9UQXgo&hl=en&sa=X&ved=0ahUKEwjihsKYxZzWAhWrj1QKHbXfCEsQ6AEIOzAH#v=onepage&q=four&f=false

QUADRANT

FIRST FOUR AVATARS GOLDEN AGE

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

The first four avatars of Vishnu appeared in Satya or Krita Yuga, the first of the four Yugas, also called 'The Golden Age', the next three in the second Yuga, the Treta Yuga, the one avatar after that appeared in the third Yuga, the Dwapara Yuga and the two remaining avatars, including tenth and the last avatar, appear in the last Yuga, Kali Yuga. The time till completion for Kali Yuga is in 427,000 years.[6] In the Vishnu Purana and the Bhagavata Purana, the Kali-yuga ending is described with the appearance of Kalki, who will defeat the wicked, liberate the virtuous, and initiate a new Satya or Kalki Yuga.[7]

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

The Hindu literature on iconography such as the Visnudharmottara Purana and Rupamandana describe him as a man with matted locks, with two hands, one carrying an axe. However, the Agni Purana portrays his iconography with four hands, carrying his axe, bow, arrow and sword. The Bhagavata Purana describes his icon as one four hands, carrying his axe, bow, arrows and a shield like a warrior.[24] Though a warrior, his representation inside Hindu temples with him in war scenes is rare (the Basohli temple is one such exception). Typically, he is shown with two hands, with axe in his right hand either seated or standing.[24]

KRISHNA TEMPLE IN DELHI DIVIDED FOUR SECITONS

MY FRIEND JUST TOLD ME THAT HE WENT TO DELHI IN INDIA THERE IS A "DARK ROOM YOU GO INSIDE AND YOU WATCH A TEN MINUTE MOVIE AND ITS A BIG SCREEN AND ITS CUT UP INTO QUADRANTS AND THEY CALL IT LIKE THREE D KRISHNA VISION" HE DOESNT KNOW HOW TO EXPLAIN IT BUT HE SAID ITS ALL QUADRANTS

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

ISKCON Temple, designed and built by Achyut Kanvinde who in 1993 agreed to accept a pro-bono commission to build this temple complex for the followers of Srila Prabhupada,[1] is one of the largest temple complexes in India. It comprises numerous rooms for priests and for service renders. It has many halls that are used for its administration purposes and various seminars. It is divided into four broad sections.[citation needed]

16 ROUNDS 16 SQUARES QMR

http://www.iskcondesiretree.com/profiles/blogs/time-management-in-krishna?overrideMobileRedirect=1

I was asked by many devotees about how we can manage time after we come to Krishna Conciseness (KC). Many think that if they start to chant 16 rounds of Hare Krishna Maha mantra, they will not be able to cope up with their prescribed duty. Be it a student or a working class, all are having this problem of managing the time effectively. Here is an attempt to help every one to improve our time management skills.I will be shearing a few of the tips that I learned during my initial days of KC and also that I have learned at my work place.

http://digital.library.temple.edu/cdm/ref/collection/p245801coll10/id/9685

QUATERNITY IN HINDUISM FOURTH HUSBAND DIFFERENT

Counting to Four: Assessing the Quaternity of C.G. Jung in the Light of Lacan and Sophiology

 

Quadrant

TRIMURTI SADASHIVA FOURTH FACE DIFFERENT HIDDEN

http://digital.library.temple.edu/cdm/ref/collection/p245801coll10/id/9685

Quadrant

BULGAKOV QUATERNITY

http://ivashek.com/en/texts/554-sophia-the-wisdom-of-god

In opposition to this scholastic abstraction which can only lead to heresy regarding the doctrine of the Trinity, we must insist on the full ontological reality of Ousia-Sophia. This is no mere self-determination of the personal God; Ousia, and therefore Sophia, exists for God and in God, as his subsistent divinity. Yet here is no “fourth Hypostasis”; we do not transform the Holy Trinity into a quaternity, but merely recognize precisely jn the Ousia the divinity of God* a_ principle “other” than his hypostases. It is quite natural, of course, for discursive reason to hesitate when confronted with the necessity of drawing a distinction between the hypostatic and the essential, sophianic, being of the one self-sufficient divine Spirit. Such a distinction, however, is only a consequence of the trinitarian dogma, which is a doctrine not only of the hypostases of the Trinity, but also of the consubstantiality of their nature. No more will sound ontology, however, suffer us to reduce the essential nature of the Godhead to the shadowy existence of a logical abstraction.

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AGNI THE SWASTIKA AND FIRE

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.

 

 

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.