Pranam Leave aside destruction of nature. WHAT EXACTLY IS THE NATURE'S NATURE?. CHIDAMBARAM NATARAJAR answered all about nature . Nature is pRakrithi the Maya. It is also destroyed finally. If so, discreet destruction is permitted. But in the Maya world, we follow only one principle of destruction alone which is condemnable. In Maya we destroy, so we have to reinstall. So keeping off is not the solution to protect. Allowing human growth in all uncertainties is the best growth-solution.
SRISHTI, STHITHI AND Samhara 3S The whole thing is there, you see. The world of space and time, matter and energy, the world of creation and destruction, the world of psychology…We (the West) don’t have anything remotely approaching such a comprehensive symbol, which is both cosmic and psychological, and spiritual. ―Aldous Huxley, 1961 <https://www.rarebooksocietyofindia.org/postDetail.php?id=196174216674_10153443073251675> In it, Shiva is in the *Bhujangatrasita karana *pose—literally “frightened by a snake <https://www.academia.edu/12795485/_Shiva_Nataraja_Shifting_Meanings_of_an_Icon._Art_Bulletin_81.3_1999_390-419>“—with his left leg held across his body at hip level, and every element contains a deep meaning. Roughly, Shiva is here at once seen creating and destroying existence; offering the escape hatch from this constant chaos; and, finally, revealing the clue to that escape hatch, which is to subdue ignorance. The following are the five most important elements, indicating the *Panchakritya, *or five key acts of the Nataraja. *Srishti** or creation: *The Nataraja’s rear left arm carries the hourglass-shaped drum, *damuru, *the vibrations of which create the universe. Some conflate this <https://medium.com/bliss-of-wisdom/exploring-shiva-bf3939790fff> with the Big Bang of cosmic creation. *Sthithi* *or maintenance/protection: *The open palm of the forehand indicates an assurance: There is nothing to fear about constant cosmic overhaul; change is normal and I’m here to protect you. *Tirobhava** or concealment:* The hidden lower-left palm pointing downwards says he’s the creator of *maya*, illusion or the veil of ignorance. *Anugraha** or blessing or liberation: *The raised left foot, combined with the closed hand, signifies the option available before the seeker: *moksha* or liberation from ignorance and, by implication, from the cycle of birth and death. A few more elements complement the idea of *Panchakritya*. These are: *Muyalaka or Apasmara: *This dwarf demon at the Nataraja’s feet represents the evils of ignorance and ego, to be trampled upon if one must rise to a higher plane of self-actualisation. *Circle of fire: *The frame around Nataraja is *maya, *illusion, as experienced through the cyclical phenomenon of birth & death. Yet, for all the esoteric ideas attributed to him, the dancing lord likely has more earthy origins. *Samhara** or destruction:* The raised, rear right-hand carries the fire that atrophies matter to a formless state, only for regeneration. In that sense, it is the fire of transformation, not destruction. It implies constant change, echoing the precept of “There’s no being, only becoming.” <http://indian-philosophy.braincells.com/buddhism/hina_kshan.html> Chidambaram derives its name from a combination of *chit *or consciousness (in Sanskrit) and *ambaram *or cosmos. “In that sense, this spot of Nataraja in this temple may be considered the centre of cosmic consciousness,” says Devi Bala Dikshitar, one of the many priests officiating there. The shift to the copper alloy helped perfect the image. “It seems that only with an appreciation of the greater tensile strength of metal, compared to wood, were the limbs, locks, and sash flared out more… towards a circular shape,” says Sharada Srinivasan, an archeologist who studies ancient metals at the National Institute of Advanced Studies, a multidisciplinary centre located at Bengaluru’s Indian Institute of Science campus. Other astronomical connections, too, emerge. For instance, a major festival is held in Chidambaram at the time of the winter solstice in December. During that time, the Orion constellation is seen in its zenith above the temple. In the early part of the 20th century, Sri Lanka-born art historian and scholar Ananda Coomaraswamy made inroads into the western mind with his philosophical, spiritual, and cosmic interpretations of the Nataraja. British enthusiasts and historians had till then been dismissive about Indian art unless it was influenced by Greek aesthetics, Allen writes. Coomaraswamy’s seminal 1912 essay, *The Dance of Siva <https://archive.org/details/danceofsivafourt00coomiala/page/56>, *later published in his influential collection of essays <https://babel.hathitrust.org/cgi/pt?id=nyp.33433082246665&view=1up&seq=11> on Indian art and culture, might be deemed the launchpad of the Nataraja’s global journey. Citing the many versions of Shiva’s dance, Coomaraswamy said the root idea behind all of them was the “manifestation of primal rhythmic energy.” He wrote: In the night of Brahma, Nature is inert, and cannot dance till Shiva wills it. He rises from His rapture, and dancing sends through inert matter pulsing waves of awakening sound, and lo! matter also dances appearing as a glory round about Him. Dancing He sustains its manifold phenomena. In the fullness of time, still dancing, he destroys all forms and names by fire and gives now rest. This is poetry; but nonetheless science. Echoed in TS Eliot’s famous poetic lines ‘At the still point of the turning world…there the dance is…’ French sculptor Auguste Rodin (1913) in his essay ‘La Danse de Siva’ illustrated it with the same Nataraja bronze from the Government Museum, Chennai, Huxley himself, as the introductory quote suggests, was enamoured of Nataraja. “The great world of all-embracing material world with its flames, within this Shiva dances… He is everywhere in the universe. This is his dance, the manifestation of the world called his Leela, his play. His sense of reign upon the just and the unjust and he is not beyond good and evil, of course, it is all an immense manifestation of play,” he says in a 1961 interview. Fritjof Capra, the Austrian-born American physicist*, *80 years old now, was among them. In an email to Quartz, he said: In the Summer of 1969…one late afternoon, I was sitting by the ocean (in California)…when I suddenly became aware of my whole environment as being engaged in a gigantic cosmic dance. As a physicist, I knew that the sand, rocks, water, and air around me were made of vibrating molecules and atoms, and that these consisted of particles that interacted with one another by creating and destroying other particles…but until that moment I had only experienced it through diagrams and mathematical theories…I “saw” the atoms of the elements and those of my body participating in this cosmic dance of energy. I felt its rhythm and I “heard” its sound; and at that moment I *knew* that this was the Dance of Shiva. A lot has changed in the field of particle physics since Capra’s “moment.” However, he says, nothing has “invalidated the two grand themes of modern physics—the fundamental unity… and the intrinsically dynamic nature of its natural phenomena.” That dynamic nature of physical reality is embodied in the myth of the dancing Shiva, he adds. Before Albert Einstein propounded his theory of relativity in the early 20th century, it was assumed that matter could ultimately be broken down into indivisible indestructible parts. But when individual subatomic particles were smashed against each other in high-energy experiments, they didn’t scatter into smaller bits. Instead, they merely re-arranged themselves to form new particles using kinetic energy or the energy of motion: subatomic dynamism. “At the subatomic level, all material particles interact with one another by emitting and reabsorbing (i.e., creating and destroying) other particles. Modern physics shows us that every subatomic particle not only performs an energy dance, but also *is* an energy dance; a pulsating process of creation and destruction. For the modern physicist, then, Shiva’s dance is the dance of subatomic matter,” Capra said in his email. “I immediately saw parallels to some ideas in quantum physics,” Capra says. Astronomer Carl Sagan was another one fascinated by these synchronicities, writing in his book *Cosmos, *which became a 13-part miniseries <https://bigthink.com/philip-perry/7-things-you-need-to-know-about-carl-sagans-cosmos> with one episode shot in India, that he liked to imagine the Nataraja was “a kind of premonition of modern astronomical ideas <https://books.google.com.hk/books?id=HJs64QawLccC&pg=PA83&lpg=PA83&dq=carl+sagan+nataraj+cosmos&source=bl&ots=8uLS73nM9P&sig=ACfU3U2ZQab-Ur7FEwLXTrnmaYtEJbdfGw&hl=en&sa=X&ved=2ahUKEwj4zcb507rmAhWqzIsBHekqB6E4FBDoATACegQIBxAB#v=onepage&q=carl%20sagan%20nataraj%20cosmos&f=false> .” This idea of the eternal universal dancer has so deeply caught on among physicists and cosmologists that in 1993, an abstract sculpture called Cosmic Dancer <https://cosmicdancer.com/a_multi-dimensional_artwork.php>*,* was launched to the Russian Mir space station. Asked about how his artwork, its designer Arthur Woods said: …the (Nataraja) appears very angular yet aesthetic with the four arms outstretched and the raised front leg. Thus my sculpture, which is also very angular could be viewed as a symbolic abstraction of this figure as it dances in the cosmic weightlessness of space…its form is always in a transient state of change…This and the fact that it is free of terrestrial gravity, imparts a supranatural quality normally reserved for gods. Thus this qualitative relationship to the god Shiva can be made. In 2004, the government of India gifted the European Organization for Nuclear Research, or CERN, a 2-metre tall Nataraja statue which now stands at the entrance of the facility in Switzerland where the world’s most powerful particle accelerator, or the Hadron Collider, became operational in 2008. It has prompted enough curiosity that the CERN website addresses its presence <https://home.cern/resources/faqs/cern-answers-queries-social-media>: This deity was chosen by the Indian government because of a metaphor that was drawn between the cosmic dance of the Nataraj and the modern study of the “cosmic dance” of subatomic particles. Thus Nature is life and death; nature is there only to nurture us; indiscreet misuse alone which is rare has to be condemned; but we are afraid of the villains to raise our voice and speak or write peripherally and call it as we are the best!!!. NB Such value is unknown to CM and HR & CE TN We are worried about Kashmir files after the horse bolted out; why do we not speak when the iron is hot as Chidambaram files?. KR IRS 9622 On Thu, 9 Jun 2022 at 06:53, Markendeya Yeddanapudi < [email protected]> wrote: > > > -- > *Mar**Feeling the Feelings* > > > > We live in feelings and emotions, which take to the phenomena of thoughts. > Not a single thought, feeling or emotion has a concrete material form. You > cannot measure any of them in liters, miles or kilos. Reality is abstract. > Living is the yearning to feel the feeling and emotion of everything. > Understanding cannot be struck up in some math equation or mechanical > design. Understanding ultimately needs the emotional connect. The method > available on earth is breathing, smelling and sensing and connecting to the > emotion base, so that feeling gets triggered. > > In free, lush and thick nature where the air flow is the symbiotic flow of > rapture, there is a continuous flow of predication, synchronizing with the > ever changing subjects, as the universe is changing continuously. Once the > Sages went into the deep forests, to join the flow of predications from > nature and synchronize their feelings as living. For them every life form > is a form of emotions and very sacred and the subjects of the predication > flow of the air. The life forms exhaled predications. > > The urge to relate emotionally is the essence of living. When the > emotional symbiosis is achieved, with some other person or organism, then > the relation becomes the flow of love. And every life form yearns for love. > > Thick, free and lush nature never insults and wounds the feelings. Your > exhalations are automatically received by the airflow, and you get > responses, often as thought or as idea flashes, the translation of feeling > into thoughts and ideas. > > Nature is the only and gigantic Bank of emotions and ideas. Technology as > a substitute is perversion. Economics is the destruction of the great bank > of emotions-nature. > > Can anyone show one area on earth where technology has not destroyed > nature? If your eyes can see everything, even atoms changing into energies, > then you feel that you are just nature, part of the great bank of emotions. > > Economics without Ecology and bonded to Newtonian Mechanics has become the > ultimate destruction of nature. We have to just assume away that the > emotional Man,is not emotional but only mechanical, the economic man, the > mimic of Mechanics. > > Let us strive for the inclusion of at least now the medicinal value of > every leaf, flower and plant from LKG to PhD, so that the madness of > destroying nature can be stemmed. And try to protect nature. > > YM > -- You received this message because you are subscribed to the Google Groups "Thatha_Patty" group. To unsubscribe from this group and stop receiving emails from it, send an email to [email protected]. 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