the 7th Veedhi, one comes to all the 4 entrances of the Gopura Vaasal (gate). The height of the
Gopuram is 236 feet high with 13 Nilays. 12 Kalasams are kept on the top of the Gopuram. Below
we see the gopuram and a close up of the diety Vishnu.
It is a traditional belief that Adi Sankara (the first Shankara in his lineage, who was the first philosopher to consolidate the doctrine of Advaita Vedanta), pictured to the right, installed at Srirangam, a Yantra (a symbolic representation of aspects of divinity) called Janakarshana (denoting God who attracts mankind) Yantra to attract pilgrims to this sacred temple, just as at Tirupati he installed the Dhanakarshana (denoting God who at tracts wealth) Yantra. Sankara infused immense power to this Yantra, which has proved true to its name. Tirupati is the richest temple in the
A Chola by name Dharma Varma, who was then ruling the territory, had seen the Ranga Vimana at the Yagasala when Dasaratha performed the Putrakameshti Yaga. He was so fascinated that he wanted to have it installed in his region. When he undertook tapas on the banks of Chandrapushkarani, the sages told him that Sri Ranga Vimana was expected to arrive any time and requested him to give up the penance. Soon the "Sriranga Vimana" carried by Vibheeshana arrived. Dharma Varma was overjoyed as the Lord had willed to make it his abode. He built a shrine for the Vimana, the surrounding Prakara known as "Dharma Varma Veedhi" and arranged for proper daily worship.
Dharma Varma worshipped the Ranga Vimanam for a long time and attained salvation. Years passed and once an unprecedented flood came in River Kaveri, which brought an enormous quantity of silt and sand and flooded the entire country. It is said that the flood was so devastating that even the peak of the gopuram of the temple was submerged under sand and looked like a sand dune.
The entire city surrounding it was utterly devastated. The Chola king shifted the capital from Tri (Uraiyur) to Tanjore. The Ranga Vimanam temple was left uncared for, submerged under sand, which gradually gave rise to other, vegetation’s, which at last became a west. Then it so happened that once Chola prince went out for a pleasure hunt. He rested for some time under a tree in this forest. A parrot living on the tree suggested to king that down below be lying submerged the sacred Ranga Vimanam. (The prince thereafter came to be known as Kilikanda Chola, he who saw the parrot). The Chola king had heard about the Ranga Vimanam and found its location in the forest from the parrot. The information was also corroborated by a dream seen by the prince. He immediately started excavation work and unearthed the temple with the prakarams. He also made additions and alterations to the temple particularly the addition of a mandapam in the name of the parrot, still known as Kili Mandapa.
The river Kaveri is the very same river Viraja that eternally flows in Vaikunta (the abode of Lord Vishnu), Srirangam Temple is verily Vaikuntam itself, the Abode of Lord Vishnu where he sits in all splendor and majesty in the company of Nityasuris (eternal companions of Vishnu, who are freed from the bondage of earthly life).
The Vimana is in the form of the Pranava (the signifier of the Two Fold OM in the Pranava Veda). Source: www.wikpedia.com
www.templenet.com www.indian-heritage.org
www-hindubooks-org.doc (R.K. Das)
www.divyadesamonline.com (Prof. V.S. Seshadri)
www.gosai.com
www.astrouniverse.com Mayonic Science significance
One point that comes to mind is that the legend above describes the Chola as worshipping the Vimanan. This is a straightforward indication that the ancients were aware that it was the temple itself (vimanan and sanctum) that were worthy of worship and can bring Moksha or enlightenment. Worshiping the vimanan meant being in the presence of it – in close proximity - thus being the recipient of the vibration or Bhakti of the Vaastu form.
This picture depicts images carved on the Gopurum. There are a variety of body postures and facial expressions that portray the elements of Vaastu visual aesthetics mentioned in part one of this text.
Srirangam Demonstrating the Fullness of the Mayonic Code through Rangaraja
In Fabric of the Universe the concept that the scientific Mayonic Code was; demonstrated again and again in temple and iconic structures. One fundamental principal in the manifestation process is that that the waveforms in Absolute Space that are formed through the pulsation known as Time are square waves. It is also postulated that those square waves are transformed to sine waves as part of the Vastureva vaastu process. The transformation from square waves to sine waves and back again is the story of the dynamics of Vastureva vaastu - the 8X8 Vastu Purusha Mandala transforming itself into the manifest 9X9 Vaastu Purusha Mandala and back again.
As this takes place, I suggest that the transformation of 8 to 9 results in the production of standing waves. I believe that this scientific principle is encoded in the forms created by Vishwakarmans (Shilpis, sthapatis etc.) using principles of Mayonic Science and Technology. For example, I suggest that the famous Vishnu Statue, Rangaraja is one such encoded form. The coiled serpent with many heads (Adisesha) represents/ demonstrates standing square waves and standing sine waves in their steady state forming a foundation for manifest Vaastu to sustain itself in material form represented by the God Vishnu (Ranganatha). While there may be other meanings associated with this particular statue form, I am suggesting that this might be an encoded scientific meaning.
In review, a standing wave pattern is a vibrational pattern created within a medium (space, stone, clay, architectural structures etc.) when the vibrational frequency of the source causes reflected waves from one end of the medium to interfere with incident waves from the source in such a manner that specific points along the medium appear to be standing still. Because points, which appear to be standing still, characterize the observed wave pattern the pattern is
In the Shilpic tradition of Mayonic Science and Technology, this (and other scientific principles) was preserved through visual language and visual mathematics in the reclining Vishnu statue and in the forms of other gods and goddesses.