[Advaita-l] A shri-yantra from higher loka

[Raghav Kumar Dwivedula]

Namaste Shrinivas ji
One interesting point is that even the man who is staunchly claiming he did
it with his team of workers, comes across as a shraddhAvAn who respects the
concept of sacred geometry and it's manifest ramifications.

He says that after they finished work on the sri yantra -

"For some reason, instead I built the design with lines of cairns (small
piles..) The design was about sixty yards across, precise
and symmetrical. The center of the design was left open, in a sense
unfinished, because
it lay under the bus, directly beneath the spot where I regularly practiced
meditation.
After the design was completed, animals started to come into its
boundaries. This was
in complete contrast to the previous year when only a few birds and
kangaroo rats came
near this spot in a six-month period. As far as I could tell, nothing had
changed except
that I had made the design. In the next three months, several hundred
animals of all
kinds appeared inside the design. Many of them, such as the water ouzels,
had to come
some distance from their normal habitat. Others, such as the golden foxes
that slept by
the door in the late afternoon, were undoubtedly always in the area but
because of their
shyness had never before come close.

The animals that came behaved in an unusual manner. They did not seem
inhibited by
my presence and they did not seem to be territorial or aggressive with each
other. For
example, one night I watched owls, rabbits and kangaroo rats all within a
few feet of
each other without seeing any signs of fear or aggression. Several times I
saw twenty or
more jack rabbits gathered together, walking upright on their hind legs and
on more
than one occasion antelope walked into camp and stood looking at me
attentively.
Later that fall in a gallery in the Midwest, I made the same design from
desert rocks
mounted in columns of white concrete. The design was more elaborate because
it
included a vertical dimension and used vertical and horizontal colored
chalk lines to
enhance its articulation.

During the exhibition I remained in the gallery and observed the visitors
to see how the
design might influence their behavior. Classes of school children who would
visit the
exhibition in groups of twenty to thirty were the most interesting. They
would
invariably remain within the boundaries of the design even though there was
far more
space outside the design than inside. When their teachers asked them to sit
down on the
floor for discussion, they would always collect in the center of the design
and the
youngest ones would pile themselves two and sometimes three deep on each
other’s
laps, filling the center completely. Adults who visited the exhibition also
tended to stay
inside the design and many remarked that the place felt good and that they
stayed much
longer than intended.

At this time, I began researching traditional designs from different parts
of the world. I
found this particular design almost exactly described in an obscure
Sanskrit text called
the Vastu Sutra Upanishad. According to this text the design was to be
placed on stone
blocks before carving sacred images. Carving the parts of the image in
harmony with
the design was said to insure that the image would be “attractive to
consciousness” and
this in turn would result in the finished image being entered by the
consciousness of the
deity. The phrase “attractive to consciousness” caught my attention.

About this time a friend asked if I could make a Sri Yantra. The Sri Yantra
is a
traditional design from India that is thought of as an instance or
occurrence (rather than
a symbol) of the deepest laws and forces of Mother Nature or Mother Divine.
I spent a
few months doing extensive library research on the Sri Yantra and also
spoke with
people who had experienced its use in India as part of the spiritual
tradition of Sri
Vidya. Then I decided it would be consistent with its traditional use to
make one from
gold leaf and transparent pigments.

The process of research, and especially construction of the Sri Yantra,
produced a
powerful influence. It restructured my awareness and perception. I believed
that my
sensory experience and understanding of deep laws and forces of Nature was
rapidly
unfolded."

Whether we agree with the above words or not, he does come across as a
shraddhAvAn.

One more aspect of this entire sri yantra effect is that if making such
designs has a beneficial effect on the living  beings around, that's most
welcome, doesn't matter whether earthlings make them or extraterrestrials
like  Thor Ragnarok wormholes through space-time to come to earth and makes
them. If abhyudaya or nihshreyasa are promoted, thats positive.


Om

Raghav



On Thu 2 Aug, 2018, 8:13 PM Shrinivas Gadkari via Advaita-l, <
advaita-l at lists.advaita-vedanta.org> wrote:

> Namaste Shri Subramanian,
>
> Hopefully my last post on this topic.
>
> Just because a diagram very likely has been drawn by beings from
> a higher loka does not make the work apaurusheya. After all these
> beings from higher loka (say for example gandharva-s) are manifested
> limited beings.
>
> shrI-yantra diagram by itself, is a divine diagram, and most certainly
> would
> be termed apaurusheya.
>
> Regards,
> Shrinivas Gadkari
> --------------------------------------------------------
> Is there an 'apaurusheya' element suggested in this whole issue?
>
> Regards
> Subrahmanian. V
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