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 Title : Emergence of Artistic flora in vedas Author : Shri Radhakrishna Shastri

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The universe is the portrait of the nature and this portrait is prevalent in the form of the universe. Indian Heritage signifies the sacred-fire-burning-ritual (Agnihotra). The specially designed platform is deemed as an appropriate venue for performing an Agnihotra. The Celebral-God called as 'Yognya Bhagwan' presides over this ritual by accepting the holy seat atop sacred platform, is (The Sacred-Fire-Deity). He, who is an innovative Creator of various facets of art, the manifestation of this creative art is profoundly praised in the Vedas through its verses. The hymns/verses are simultaneously sung as the prayers while administering this holy Agnihotra and the sacrificial-grass (wood-sticks) are put inside the sacred-fire. This is a pure Vedic-Art.

The poet Kalidasa in his famous poetic-work has beautified this art in praiseworthy notes ............ Parvatiji used to sprinkle water and clean the entire area around the Agnihotra daily, she would collect the glorious flowers and the sacrificial-grass and Lord Shankar used to offer her relief her pains from this regular services by blowing the cool-breez in the form of the moon-rays adoring his forehead. Summarily, these verses examplify the art of Agnihotra. In its citations both the literal as well as the practical aspects are decoratively praised, which are seriously indepth & mysterious descriptions. This very art of Agnihotra was initially adapted in the form of 'Sandhya' i.e. the Eve-prayer, which was popularly practiced in the state o Rajasthan. In Rajasthan an idol of eve is specially made, which is known as 'Saanzhee' and its pious procession is take out through the entire village. Ordinarily, such kind of 'Sanzhee' are crafted during Navaratri, colourfully painted and richly decorated with flowers. In the 'Ratri-sukta' from Durgasaptashati ............ the word 'Sandhya' is depicted in the form of the mighty strength because, the 'Saanzhee' creation is widely undertaken by the maiden-folk ............ since the same is worshipped during the evenings mainly. Whereas, the Sandhya is performed by the Brahmin as an evening ritual they offer prayers o Goddess Gayatri, during the Gayatri-dhyana (the uninterrupted recital of specific verses), the reference to Gayatri comes only through Sandhya. In the ancient ages while persuading Deeti's insistent demand Kashyapa explained to Deeti at this hour the bull-ridden Bhootnath takes supervisory stroll around the Universe for inspecting and analysing the rightful & wrong deeds/actions of its inhabitants in all forms right from the smallest of the species to the human being. Hence, be alert and do pray the God (at this hour). This denotes the significance of Sandhya, which is recited in the praise of Lord Shiva, declared in the Shrimadbhagwat emphatically.

In the legendary poetry Raghuvansha, while both Sulakshana and Deelip were engaged in their chores and engaged in the services of their beloved cow Nandini, standing in between them, her skin colour sparkles blood-red, as if she herself is imbibing the persona of Sandhya ............ During sunset, the fabulous red colour spreads across the widest range of skies ............ This miraculous manifestation is scintillating. The chapters from Vedas, have descripts of assorted religious rituals & regualatory commandments to be followed by the religious devouts ............ like Sarvatobhadra Mandal, Lingatobhadra Mandal, Vastu Mandal, Yogini Chakra, Kshetrapal Mandal from the texts & technicalities of these arts associated with the Legendary Vedas. Amongst which the tangible manifestations & creations like the Saanzha idols, the group of contrivances & unified mechanisms i.e. Yantras may be regarded as the visible experimental dimensions of art, readily available for test. However, these mechanism (Yantras) could be dynamised & activised through the enliving chants of Vedic Mantras (specific verses). There was an article published in the newsletter 'Kalyan', which said: 'a person had made a mystical mechanism-apparatus (Yantra) of the Lord Kaal Bhairava & whenever he would sing the praiseworthy notes of the prayers of the Lord before that mechanism-apparatus, miraculously though, the dust which had accumulated over the apparatus, would start to blow - off, eventually evolving a shapely idol of Kaal Bhairava. Similarly, during the regime of Allauddin Khilji, a mystique-devout, who had crafted himself one Gopal Yantra, had affixed it above the much travelled Kushak-gallio in the downtown "Mathura" such a way that, whenever a Muslim (warriers) moved beneath this Yantra, would get struck and lose his grace & sura as an instantaneous effect of this powerful apparatus, like-wise the passers-by Muslims would mystically grow the bunch of hair-band in the back of his head. Astonishing though, the influencial & mighty Muslim rank & file was thus decimated effectively. The Yantra is an art of scientific knowhow & the science of Tantra (Technical form of Verses) also constitutes the Vedas. The Swastik-sign is the symbolic-replica of Lord Ganesh alias OM. The Swastik-lithography is all about the ancient art comprehensively self-reliant. The creative art of idol-crafting followed by the flourishing Yantra creation art. Mathura is accredited for, which gained its fame through the idol-making art. Vedas encompass both the visible & invisible manifestations of God. The art of creation i.e. Brahma is considered as an Original Creator in the Vedas.

An art in a way is Nature's gesture accommodating the broadbased scientific phenomenon, as equally it is the form of an act or play considered as the Fifth Veda script. The word Nata (an actor) can be found in Mahabhittayam as well as in the great Sanskrit grammarian Panini's Sutras or Dhatu-Patha. Lord Shiva is always respectfully regarded as the God of all knowledge/learnings, the arts & science. Lord Krishna in Kaaliya-Leela part of Bhagwat has been depicted as dancing on the hoods of Kaaliya Kobra. Lord Narayan Krishna was always considered as the originating Guru (the Supreme Boss) amongst all facets of art. Narayana & Shiva are infact inseparables. In Krishna the lump of scybala is found to be prevalent. Although in the rhythmic sound beats/effects of 'tat', 'tat', 'thai' the direct meaning is not traceable or explicable, these rhythmic beats allure the scientist's knowledge like magnetic-pulses, freeze actions with mesmerising effect, as a consequence of mystical affliction. The village-inhabited women-folk got mesmerised by these innate manifestations like a magnetic effect; they remained spell-bound and hence never returned. The art has both miniscule as well as the monolith forms. The largest part is materialistic as well as visible/tangible. The most imitable arts like drawing are the tangible forms. The miniscule art is like the soft-silky & cool moon-rays adorned by Lord Shiva. All other forms of art evolve and flourish through this fundamental form of art.

Paninishiksha states sixtyfour Varnas inherent in Shambhu's personality. These are invariably the 64 branches of various arts whom both the Yogi Vedics & Tantriks call as 64 Yoginis. Bhagwan Bhooteshwar situates within the Yogini Chakra's centre (Kalasankasini Tantra), who is considered as the mentor of the cluster of these arts, controlling its aspirants through the rhythemic beats. Maharishi Panini was accorded the fourteen Sutras by him (Bhooteshwar). There is the guiding quotation in the form of one significant sutra which is extremely beneficial for the progress & advancement of the maharishis like Sanaka etc, which concurrently denotes an art of sex. The particular Mantra which denotes the Shiva & Shakti reads as - "AH". With the blissful kindness of Adiguru Shankara, this art eventually came to be known as 'Nature's Art' .......... right since the origination, existence & inundation of this Universe, this has always been an indispensable part ............ the third concluding part of the nature enfolding as an art of annihilation.

The Hymn of Dawn (Usha-Sukta), from Rig Veda, illustrates this with the metaphor like the Deity Usha arrives over the horizon riding on a Chariot of sun-rays even before sunrise. It is believed that when a person gets a sudden hiccough, if he immediately recalls the correct identity of the person purportedly remembering him, calls him his hiccough, miraculously stops. This is an art of intuition, wherein the telepathy acts as a coupler / bridge between two different minds at two ends. Hence the Yogi can attain this bliss of linking his inherent tinge of mind (innermost core of mind), its dynamic energy connects his soul with the Supreme Creator (Brahma), who can hold an unuttered dialogue & interact with the Yogi, which the third person (even if present) can never understand or notice. After all, this phenomenal metaphysical art can only be analysed and practiced by the Kailashnath Umanath only. Can we the earthern mortals ever understand it?

Tag Names : Rugveda,Ved
Other articles of this author :
1 The practic of Dowry or Dahej its form and nature in Vedic Times
2 The language and script of Vedas
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