#mahameru

[nasehatpendaki]

“Tepat setahun yang lalu kamu kembali erupsi, lekas membaik semeru”

[mydailyfoodss]

[talonabraxas]

Scientific Decodation of Sri Yantra (श्रीयंत्र)

The term yantra, which literally means an instrument for holding or restraining, may be used to denote a variety of linear diagrams which play a significant role in the meditative practices of Tantric Hinduism. Yantras may be simple designs such as the cross, triangle, square, circle or lotus pattern, symbolizing basic concepts, or may be more complex combinations of such elements in figures representing in abstract form the particular creative forces in the cosmos which are called divinities.

The Sri Yantra is an ancient Indian symbol depicting the vibrational form (a form of mystical diagram) that rishis saw during mediations using the tone OMM. The Sri Yantra (sacred instrument) or Sri Chakra (sacred wheel) or Mahameru (3D) is a yantra formed by nine interlocking triangles that surround and radiate out from the central (bindu) point, the junction point between the physical universe and its unmanifest source.

It represents the Goddess in her form of Shri Lalita the beauty of the three worlds (Heaven, Earth, Hell). The shapes of five elements, found in Sri-yantra are; Air/ wood : Rectangular, Fire : Triangular, Earth : Square, Space / Metal : Round and Water element : Wavy form. They are closely related to the mandalas used by both Hindu and Buddhist Tantrism, in which geometric design is supplemented by elaborate symbolic images of the deities which by their various forms and attributes indicate different aspects of the hidden order of reality.

As the yantra is ‘the linear paradigm of the mandala’, expressing the same principles in geometric form. Like mandalas, yantras are used in the context of meditation and worship as visual-aids to concentration of the mind leading to realization of abstract principle which is the inner meaning of the visible representation. The best known and geometrically the most complex yantra is the Sri-yantra, also known as the Sri- chakra. The structure of this yantra is enigmatically described in the Saundarya-lahari (the Wave of Beauty) a lengthy poem praising the great goddess whose dwelling place the Sri-yantra is said to be.

By reason of the four Srikanthas (srikantha is an epithet of Shiva) and the five damsels of Shiva (which have the nature of Shakti), which are penetrated by Sambhu (i.e. bindu- the dot in the centre) and constitute the nine fundamental natures, the 43 (or 44) angles of your dwelling place are evolved, along with the 8-petalled (Ashta Prakriti) and 16-petalled lotuses(16 Phases of Moon, the circles and the three lines (TriGunas ; Satva Rajo Tamo).

When the inquisitive Sati addressed her curiosity regarding the functioning of the universe to Lord Shiva, he gave her a detailed pictorial explanation by connecting a number of lines. These lines proceeded to interlace themselves to form 43 triangles within a circle. It is composed of nine triangles, it is known as the Navayoni Chakra. These nine triangles are of various sizes and intersect with one another. This circle was further surrounded by layers of petals contained in three additional circles which were finally encompassed in three more sharp layers.

Sri Yantra is a circuit showing chakras of the body. Each chakra of the yantra is a symbol of chakra of the human body. In the middle is the power point (bindu), visualizing the highest, the invisible, elusive centre from which the entire figure and the cosmos expand. The triangles are enclosed by two rows of (8 and 16) petals, representing the lotus of creation and reproductive vital force. The chakras present in the body represent superimposition of 4 triangles and 5 triangles in an upward position and downward position respectively.

These interlocking of upward and downward triangle lead to the formation of 43 smaller triangles in the Sri Yantra. The downward pointing triangle is a way of representing Shakti which is the female principle. On the other hand, the triangles pointing upwards are representing Shiva, male principle. The broken lines of the outer frame denote the figure to be a sanctuary with four openings to the regions of the universe.

The different parts or petals and lines of the yantra are usually arranged in concentric circles (mandalas) and contain rays or sub-limbs of devi. The Shri Yantra has nine of these mandals, each filled with various aspects of the Devi. In Shri Yantra there are 111 aspects. The Shri Yantra is said to be a geometric form of the human body, which implies that goddess as Macrocosm is one with human being as Microcosm.

According to Tantra, the creation of the world begins with an act of division of the opposites that are united in the deity. From their splitting arises, in an explosion of energy, the multiplicity of the world. Starting from pure unity (Shiva), the world is continuous unfolding (energized by the power of Shakti), until a state is reached when the process must reverse and involute back to the very beginning. Multiplicity must once again become unity. Yantras are symbolic representations of this process of evolution and involution.

In its three-dimensional forms, Sri Yantra is said to represent Mount Meru, the cosmic mountain at the center of the universe. The Sri Yantra is conceived as a place of spiritual pilgrimage. It is a representation of the cosmos at the macrocosmic level and of the human body at the microcosmic level (each of the circuits corresponds to a chakra of the body). The human being is a miniature universe. All that is found in the cosmos can be found within each individual, and the same principles that apply to the universe apply in the case of the individual being.

For human beings, the body is considered the most perfect and powerful of all yantras and is seen as a tool for inner awareness. Formation of these 43 triangles is happening by the intersection of circles, starting from a central point - Bindu this central point expanding as a circle, then in the same measurement four circles creating further intersections by repeating this process fractals are formed.

Fractals are infinitely complex patterns that are self-similar across different scales. They are created by repeating a simple process over and over in an ongoing feedback loop, the central part of the Sri Yantra is 43 triangles out of circular fractals, after the fractal formation connecting the appropriate intersections 43 triangles, Sri Yanta is formed.

This formation will tell the secret of how the human body evolved in Karana (Causal) Sookshma (Subtle) level with the flow of Prana. Bodies are mere conceptions in the lower order of beings and they are not to the point in the case of God. Therefore, be wise, and worship the one pure, unblemished Transcendence. If unable to comprehend this pure state, one should worship God in the concrete form which is most agreeable to him; in this way, too, one is sure to reach the goal, though gradually. Though one attempted it in millions of births, one would not advance except in one of these two ways.

The main structural pieces in the Sri Yantra to start opening you to see multidimensionally beyond the simple lines and shapes. The Sri Yantra are surrounded by a square with four “T” shapes jutting out on each of its four sides. These “T” shapes are referred to as the gates of Bhuper, a reference to the earth (bhu). Each of these gates has a mystical significance beyond the representation of the four directions on the Earth plane (North, East, South & West). The square itself including the “T” gates form the foundation of the Sri Yantra and stabilize all energy within it for manifestation.

This square contains the earth (bhu) energy and when activated, the “T”s are the gates that control energetic access in the more Earthbound planes of the resident Divine energy for that specific Yantra (there are different types of Yantras with different Divine beings associated with them). Specific mantras are the keys to unlock or lock these gates. Looking inside the sacred geometry of this square you will find:

Circles which generally symbolize the Water element

Vertical Lines which are understood as containing the Fire element,

Diagonal Lines represent the Air element

Horizontal Lines which represent Ether element

Remember the Square itself is the Earth element

Looking at the center shapes of the Sri Yantra pay attention to the triangles:

Triangles, when pointed up, contain the Divine Masculine, as well as the Fire nature.

Triangles that are pointed downward, they contain Water element and the Divine Feminine.

For thousands of years, sages in India and other parts of the world meditated to discover sacred (self organising) life principles, how to enhance happiness and reduce misery in life. Sri Chakra arose in their visions. It combined geometry, sounds and life to channel the nameless, formless powers of God.

It is the king of yantras with nine layers of Shaktis (powers) covering the light of God in the forms of stars, lotuses and squares containing powers, passions and beauties. Their unmasked beauty and razor sharp intellects earned them a nickname- khadgamala- a garland of swords. They cut off and pierce through all limiting ideas of I and mine to release your unbounded bliss of God.

Learn the secret teachings of Sa-maya (Shakti’s happiness) Dakshina (Shiva’s happiness) or Kaula (Both happiness’s) and Vama (offering self in fire) acharas, and finally Ananda Bhairavis of devotees forming into a self empowering mandalas of Sri Chakras. The Guru at the center of such a circle is called Maha Mandaleswara.

Layers of coverings in Sri Chakra:

1. Square- 10 siddhis, 8 passions, 10 gestures. Use them to enjoy astral powers.

2. Lotus of 16 petals. Time is divided into 16 lunar days, each day bringing a special dream gift.

3. Lotus of 8 petals. Let go of inhibitions. Offer fruits of all your actions to Goddess.

4. Star of 14. Powers ruling the worlds place their riches at your feet.

5. Outer star of 10. These airy spirits blow away poverty.

6. Inner star of 10. They defend you from enemies.

7. Star of 8. They eliminate diseases.

8. Triangle. They teach secrets of controlling lust, enhancing wisdom and manifesting visions.

9. Circle or point. Take you to unending powers beyond mind. Merge with infinite peace, bliss and light of union with Shiva-Shakti.

The typical Sri Yantra with its central point (bindu) and concentric circles of petals and other geometries are conceived of as a sacred dwelling in which the presiding deity and their entourage take up residence. The bindu represents the location of the highest manifestation of the deity as well as the focal point through which the deity transcends the relative plane, with its form and structure to merge into the formless consciousness.

To help visually understand, the bindu is the center of the Sri Yantra and the dot is the symbol of AUM it represents the piercing, breaking or bursting through (bindu vedhana) and it is the final stage.

'यद् पिण्डे तद् ब्रह्माण्डे' Sri Yantra is a geometrical representation of the Human body as well as the Universe. Fractals are infinitely complex patterns that are self-similar across different scales. They are created by repeating a simple process over and over in an ongoing feedback loop, the central part of the Sri Yantra is 43 triangles out of circular fractals, after the fractal formation connecting the appropriate intersections 43 triangles, Sri Yanta is formed, this formation will tell the secret of how the human body evolved in Karana (Causal) Sookshma (Subtle) level with the flow of Prana.

This is the very same formless consciousness in which the devotee merges with the highest truth. The Sri Yantra is then fully activated in its Divine nature and reveals the true potential and nature of the devotee in this merging and loving relationship with the Divine as the divine.

Vidya means knowledge, specifically female knowledge, or the Goddess, and in this context relates to her aspect called Shri, Lalita or Tripurasundari whose magical diagram is called the Shri Yantra. She is a red flower, so her diagram is a flower too. Lalita means She Who Plays. All creation, manifestation and dissolution is considered to be a play of Devi or the goddess. Mahatripurasundari is her name as transcendent beauty of the three cities, a description of the goddess as conqueror of the three cities of the demons, or as the triple city (Tripura), but really a metaphor for a human being.

Sri Yantra is usually translated as a machine, but in the special sense of the tantrik tradition refers to the Devi in her linear or geometrical form. Yantras, by the way, are always used flat. They may be two-dimensional or three-dimensional. Every aspect of Devi has her own mantra and yantra. The yantra of Devi Lalita is Shri Yantra. The divinity of the yantra always occupies the centre or apex.

Sri Vidya (worship of the Supreme Being as Goddess) has a very holy tradition traced to the Vedas. The methods and intention for the worship of Sri Vidya has been extensively mentioned in the book Tripura Rahasya. Sri Tripura Rahasya, otherwise known as Haritaayana Samhitaa, begins with "OM Namaha" ("Salutations to Aum") and ends with "Shri Tripuraiva Hrim" ("Tripura is only Hrim"). Even Adi Shankara has used the story of Samvarta as found in Tripura Rahasya in his Brahma Sutra Bhasya. The book says that one should worship Tripura, the soul-sorceress, the all-hearted Vasini, the Siva and the Parameswari as the Satguru in the heart.

The seventh chapter of the book ends with the following: He is pure intelligence and His consciousness is absolute and transcendental. Such is the consciousness-intelligence in purity, Absolute Being, the One Queen, Parameswari (Transcendental Goddess) overwhelming the three states and hence called Tripura. Though She is undivided whole the universe manifests in all its variety in Her, being reflected as it were, in a self-luminous mirror. The reflection cannot be apart from the mirror and is therefore one with it. Such being the case, there cannot be difference in degrees (e.g., Siva, or Vishnu being superior to each other).

In its three dimensional forms Sri Yantra is said to represent Mount Meru, the cosmic mountain at the center of the universe. The Sri Yantra representation of the cosmos at the macrocosmic level and of the human body at the microcosmic level (each of the circuits correspond to a chakra or vortex of the body).

The Sri Yantra is a configuration of nine interlocking triangles ( 9×9 grid or gross body ), surrounded by two circles of lotus petals with the whole encased within a gated frame, called the “earth citadel”. The nine interlocking triangles centered around the bindu (8×8 grid the central point of the yantra or microabode or subtle body ) are drawn by the superimposition of five downward pointing triangles, representing Shakti ; the female principle and four upright triangles, representing Shiva ; the male principle.

The nine interlocking triangles form forty three small triangles each housing a presiding deity associated with particular aspects of existence. Man’s spiritual journey from the stage of material existence to ultimate enlightenment is mapped on the Sri Yantra. The spiritual journey is taken as a pilgrimage in which every step is an ascent to the center (8×8) , a movement beyond one’s limited existence, and every level is nearer to the goal.

Such a journey is mapped in stages, and each of these stages corresponds with one of the circuits of which the Sri Yantra is composed from the outer plane ( 9×9 ) to the bindu ( 8×8 ) in the center. The Sri Yantra is a tool to give a vision of the totality of existence, so that the adept may internalize its symbols for the ultimate realization of his unity with the cosmos. The goal of contemplating the Sri Yantra is that the adept can rediscover his primordial sources. The circuits symbolically indicate the successive phases in the process of becoming.

The Sri Yantra is composed of a central figure that is surrounded by two circular rows of petals and then by a rectangular enclosure called the bhupura. Here, we will be focusing mainly on the central figure which is composed of nine overlapping triangles and a bindu point. Four of the triangles point up, the other five point down. In the most popular configuration the two biggest triangles touch the outer circle on all three points.

When looking at the figure we notice that there is a high degree of interconnectedness between the nine triangles. This means that every triangle is connected to one or more of the other triangles via common points and they do not criss cross. Where the triple intersection points are located. These are the points that lock together the triangles. You can’t move one without also moving the others. This interconnections scale up to infinite small (Planck length a unit of length) protons etc. ) to infinite big ( cosmos, universe ). This is the principle of cosmic entanglement.

Notice also that the two biggest triangles are touching the outside circle on three points and that the apex of every triangle is connected to the base of another triangle. The up and down triangles when overlapped give a pentacle (पंचकोण जो तंत्र में प्रयुक्त होता है). Thus Sri Yantra is a geometry with five degrees of freedom. Pentadic scale of cosmic regulation is called panchmahabhuta in Hinduism and 5 energies in Chinese occult , which means that up to five different criterion can be used to define it. This is why we have to decide on the location of five lines when drawing the figure.

Five degrees of freedom is not a lot considering that there is a total of nine triangles. This is because of the high degree of interconnectedness between the triangles. This effectively limits the possibilities and variations that can be achieved. Lets now take a look at the bindu point; the small point located in the central triangle. It should be located in the center of the innermost triangle. This can be achieved precisely by placing the bindu at the center of a circle that fits inside this triangle. This is known in mathematics as the incenter of a triangle. To achieve a perfectly centered figure however, the bindu should also be located at the center of the outer circle.

The equilateral (समभुज) triangle is a perfect and minimal structure. It is the simplest, strongest and most fundamental structure in geometry and computer graphics. It has the highest degree of tensegrity (the characteristic property of a stable three-dimensional structure ) for a minimum amount of structural elements. This is also why the geodesic domea structure or building shaped like half a ball, made up of many parts that form triangles and other shapes with several sides ) a spherical structure composed of small triangles is the only man-made structure that becomes proportionally stronger as it increases in size.

The Sri Yantra symbolizes, among other things the unfoldment of creation. The bindu represents the unmanifest ( 8×8 grid of subtle body ), the silent state. The next level in the expression of the Universe is represented by the innermost triangle. This level represents the trinity of rishi, devata, chanda, or the observer, the process of observation and the object being observed.

At this point the symmetry of creation is still intact and will be broken when it reaches the next level which represent the grosser aspects of the relative. This reflects the unfoldment from unity or singularity to trinity as expounded (explain the meaning ) in the Vedic literature. According to the Veda the Universe becomes manifest when unbounded awareness becomes aware of itself.

The spark of self awareness ignites creation. At this point Unity divides into the trinity of rishi (the observer), devata (process of knowing) and chanda (the object of perception). The same idea is also found in the bible as the principle of the holy trinity. The central triangle is the central lens of the Sri Yantra. If as some suggest, this pattern is capable of emitting a significant amount of subtle energy, the importance of having a well balanced and centered figure becomes obvious. For these reasons the central triangle should be equilateral in an optimal . For this to happen the highest down pointing primary triangle must have an angle of 60 degrees .

The Centre of Mass (a point 'Bindu' representing the mean position of the matter in a body or system). Another measure of overall balance of a structure is the center of mass. This is the point in the geometry where it would balance if it was a solid object.

The central triangle of Sri Yantras shows a configuration/arrangement where only concurrency/agreement is achieved. In this case the bindu, the center of the outer circle and the center of mass are not aligned( arrange in a straight line). The central figure shows a Sri Yantra that achieves concurrency and concentricity. As a result the bindu and the center of the outer circle overlap nicely. The center of mass still doesn’t overlap however.

The three criterion that we have suggested (concurrency, concentricity and equilateral central triangle), the three centers overlap and we have a perfectly centered and balanced figure where the bindu is well centered and more importantly the centermost triangle has an angle very close to 60 degrees. This is called perfect balance or harmony with the source of all existence .

Since the Sri Yantra is based on triangles it is very appropriate that there are currently three main ways to represent this figure. The first and probably the most common is the plane form, which is what we have been looking at so far.

The second is the pyramidal form called Meru in India. Mount Meru is a mythical mountain. So named because of the mountain shape of the figure.

The third and rarest form is the spherical form or Kurma. Kurma was the second incarnation of Vishnu, the turtle incarnation.

This refers to the similarity between this form and the shell of a turtle. Ever wondered why the shell of a turtle is so robust. It is interesting to note that there seems to be some confusion with the use of these two terms. The pyramidal form is often wrongly referred to as Kurma.

A hymn from Atharvaveda is dedicated to an object that closely resembles this. The sriyantra (‘great object’) belongs to a class of devices used in meditation, mainly by those belonging to the Hindu tantric tradition. The diagram consists of nine interwoven isosceles triangles four point upwards, representing Shakti, the primordial female essence of dynamic energy, and five point downwards, representing Shiva, the primordial male essence of static wisdom.

The triangles are arranged in such a way that they produce 43 subsidiary triangles, at the centre of the smallest of which there is a big dot (known as the bindu). These smaller triangles are supposed to form the abodes of different gods, whose names are sometimes entered in their respective places.

In common with many depictions of the Sriyantra they have outer rings consisting of an eight-petalled lotus, enclosed by a sixteen petalled lotus, girdled in turn by three circles, all enclosed in a square with four doors, one on each side. The square represents the boundaries within which the deities reside, protected from the chaos and disorder of the outside world.

Tantric tradition suggests that there are two ways of using the sriyantra for meditation. In the outward approach one begins by contemplating the bindu and proceeds outwards by stages to take in the smallest triangle in which it is enclosed, then the next two triangles, and so on, slowly expanding outwards through a sequence of shapes to the outer shapes in which the whole object is contained.

This outward contemplation is associated with an evolutionary view of the development of the universe where, starting with primordial matter represented by the dot, the meditator concentrates on increasingly complex organisms, as indicated by increasingly complex shapes, until reaching the very boundaries of the universe from where escape is possible only through one of the four doors into chaos.

The ‘inward’ approach to meditation, which starts from a circle and then moves inwards, is known in tantric literature as the process of destruction ( a falling blackhole and emerging by big bang in a new universe ). The mathematical interest in the Sriyantra lies in the construction of the central nine triangles, which is a more difficult problem than might first appear. A line here may have three, four, five or six intersections with other lines.

The problem is to construct a sriyantra in which all the intersections are correct and the vertices of the largest triangles fall on the circumference of the enclosing circle. There is, however, a curious fact about all the correctly constructed sriyantras, whether enclosed in circles or in squares. In all such cases the base angle of the largest triangles is about 51.

The interpenetration of the nine basic triangles gives rise to a number of subsidiary triangles (43 including the central triangle enclosing the bindu) which form the abodes of the deities, representing the particularization of the original creative forces into more concrete manifestations. Sometimes the names of deities and Sanskrit syllables are written into these triangles, or images of the deities are placed in them.

In most versions of the yantra this central design is enclosed by two circular lotus-patterns with eight and sixteen petals, a girdle of three concentric circles, and finally a square arrangement of straight line with four openings ( Dharma Artha Kama Moksha). Dharma is duty, Artha means wealth, Kama is desire and Moksha means liberation.This square outline, which is common also to mandalas, symbolizes the royal palace in which the deities reside – an area of sacred space protected from the disintegrating forces of chaos.

In general, the Sri-yantra is a ‘cosmogram’ a graphic representation of the universal processes of emanation and reabsorption reduced to their essential outline. The yantra is an expression in terms of linear symbolism of the cosmic manifestations, beginning with the primordial unity.

The basis of Sri Chakra is its mantra; the fifteen lettered mantra in three groups: a e i la hrim; ha sa ka ha la hrim; sa ka la hrim. The sixteenth letter “srim” is present in a subtle form. Sri Chakra is basically a triad; and, is also related to number nine .

The triangle which is primary to the chakra has three angles and the deity residing in it is Tripura. The mantra of each of the nine enclosures of Sri Chakra is three lettered; the Mother Goddess is worshiped in her three forms; the Kundalini energy in the individual is threefold, and the phenomenal processes arising out of the union of Shiva and Shakthi are also three.

The Chakra design represents Tripura or Tripura Sundari; while her manifest powers (yogini) are nine. There are also three dimensions of the Sri-chakra corresponding to the three sections (kuta) of the mantra; and, each of these dimensions has a further division into three units. Each of these nine units are called as chakras that are encased in Sri Chakra.

All its other interpretations are also in terms of three and nine. The three groups that constitute the mantra are called Kuta (peaks) or Khanda (segments). They are interpreted variously in sets of three as:

1-Agni (fire), Surya (sun) and Chandra (moon);

2-srishti (creation), Shtithi (preservation) and laya (dissolution) ;

3-Iccha ( will), jnana (knowledge) and kriya (action);

4-Sattva, Rajas and Tamas;

5-Jagrat (wakefulness) ;swapna (dream state) and sushupthi (deep sleep);

6-Jnatra (the knower), jnana (the knowledge) and jneya ( the known) ;

7- Atma (individual self), Antaratma (inner being) and Paramatma (supreme self);

8- Past , present and future

Om Shree Matre Namah

By Anadi Sahoo ji

[novelcain]

Dude!! Skittle!! Skittle!! I can't rn- I just found out that Sun Wukong Great Sage Equal To Fucking Heaven, The Monkey King from Journey To The West, stated by Budha Himself is capable of moving Planets and Stars. And I was there's "there's no fucking way!!". So I went and searched it up-

LiKe OH MY GOSH!! if the reader and wukong's child somehow has this capabilities its going to be chaos utter CHAOS!!

And I also need confirmation if this is really true since I haven't read the books yet!

*slowly slides this post across the table* for whenever you have time to read jttw ofc~ •‵⩊′•

And yes, this is 100% true!🤩 Sun Wukong has a lot more power than what a lot of people realize. His physical strength alone is nigh impossible to measure.

In fact! One of Sun Wukong's greatest feat (imo) was when he held up the Buddhist physical embodiment of the universe, Mount Sumeru (aka Meru, Sineru, or Mahameru). And not only did he hold up the the mountain of the cosmos (containing the whole universe, infinity itself) he did so on one shoulder because the other shoulder was holding up another mfin mountain.

In other words, Sun Wukong got that dawg in him.

And any children he has, he will happily pass that trait down to as well. 😌

omg this has been in my drafts for days now im so sorry😅

[touchn2btouched]

This is the "pagoda flower" or "Mahameru", a unique auspicious flower in Tibet. The pagoda flowers in the Himalayas bloom every 400 years. Our generation is fortunate to see the pagoda blossom. Please share it for others to see. Good luck for the rest of your life!

[mputraff]

38

Entah berapa kali, langit-langit kamar ini menyaksikan lelaki separuh dewasa yang buih-buih harapannya tak juga menjadi nyata. Belantara matanya masih saja terbuka oleh realita yang belum juga menjadi niscaya. Benaknya berderit-derit ketakutan seraya berbisik mengatakan; masa depan, masa depan, masa depan. Tidak hanya itu saja, hatinya selalu bergumam tentang keluarganya, ibunya, kakaknya, ayahnya, berjodoh dengan siapa, besok harus makan apa, nanti tinggal dimana, kerja dimana, hingga tempat peristirahatannya di akhirat kelak. Nampaknya kerikil-kerikil kecil yang mengendap menjadi satu sudah berubah menjadi mahameru. Sudah tak bisa ia genggam lagi, tak ada pilihan lain selain meminta kepada Rabb Yang Maha Tinggi. Bagi-Nya, semua yang ada di dunia ini hanyalah kecil atau angan-angan semata. Pun mahameru, gunung yang paling tinggi di tanah jawa. Memang harus seperti itu, kan? Semua rintangan yang kita hadapi harus bergantung kepada Yang Maha Suci. Bila Yang Maha Kuat tidak menjadi pilihan untuk meminta, lantas kemana lagi kita harus mencari? Bandung, yap setiap malam ovt selalu hadir dan menyapa.     

[samlarej]

When you travel around Bali and witness the many temples scattered on the island, you will notice some very distinct architectural features. When it comes to the larger temples, the most impressive feature you will see are the meru, the multi-tiered shrines that tower high-above the rest.

The term ‘meru’ is a reference to Mt. Mahameru, the sacred mountain of Hindu (and Buddhist) cosmology. It is fabled to be found at the ‘centre of the world’; its summit, at a million kilometres high, is where heaven is located, the abode of the gods. With its religious importance, Mt. Mahameru has been symbolically represented through architecture, such as the prang in Khmer temples of Cambodia and Thailand, or the Balinese meru towers.

The meru towers, or pelinggih meru, are easily recognised with their pagoda-style, multi-tiered roofs that diminish in size as they ascend. The tiers, known as tumpang, are nearly always oddly-numbered, going from one to as high as eleven levels – except for one meru found at Taman Ayun Temple, which features two levels.

You will find these meru in the jero of a temple, the innermost sanctum reserved for the most sacral activities. As pelinggih, or shrines, they are therefore ‘seats’ for gods and spirits, who will temporarily reside within them. Being symbolic of the great holy mountain, the height of the meru thus shows the importance of the residing god or spirit; the higher up the mountain, the holier the ‘resident’.

The eleven-tiered merus are often reserved for the highest of the Hindu gods – Shiva, Brahma and Wisnu – such as that found at Pura Ulun Danu Beratan, whose towering meru is dedicated to Shiva and Paravathi, goddess of fertility and love. The five-tiered merus are dedicated to Bhatara Mahajaya, god of Mount Agung; the three-tiered meru of Pura Luhur Uluwatu is dedicated to Dan Hyang Nirartha, a legendary Hindu priest.

The roofs of a meru are constructed with the black fibres of the sugar palm tree known as ijuk, and the whole structure is carefully constructed according to the philosophies of traditional Balinese architecture

[aliblablabla]

Anak Gunung yang (Belum) Pernah Naik Gunung

Begitulah kurang lebih seloroh Pattara kepadaku, dulu. Sekarang pun masih sama. Kalimat "Mendaki Gunung Semeru" masih bersih tanpa coretan di kertas life planner ku. Belum pernah ku ganti ava twitter, profpict Instagram/WA/FB dengan diriku sedang memegang plakat bertuliskan "sekian mdpl". Nama-nama gunung belum menghiasi Highlight Instagramku. Belum ada footage-footage yang kemudian dirangkai menjadi sebuah video pendakian yang kemudian diposting di sosmed dengan caption "Indonesia itu indah, jangan di rumah aja" (padahal mah seharian di rumah juga enak xD).

Ya, aku masih belum naik gunung. Sampai Prau menjadi cukup overrated saat ini dan Mahameru bukan lagi menjadi impian utama, aku masih belum naik gunung. Belum juga menemukan partner sehidup sesurga yang mampu meluluhkan hati ibunda untuk mengizinkan anaknya naik gunung h e h e h e :D.

Tapi aku masih suka gunung. Melihat dari kejauhan pun tak mengapa. Aku masih suka gunung dan orang-orang yang dengan kreatifnya membuat video pendakian. Aku masih suka gunung dan orang-orang yang membagikan keindahannya lewat foto di Instagram. Dan akan tetap mengagumi gunung walau belum berkesempatan menikmati keindahannya dari puncak.

Selamat Hari Gunung Internasional!

[lamyaasfaraini]

Day 17 - A song that someone showed you

30 days song challenge

Lagu ini terbodor (skrg ya jadi bodor), terbikin geer, terbingung, ter ter ter pokonya. Saat itu lg pdkt sama suamiku sblm jadi pacar haha. Blio kirim lagu ini katanya suruh dengerin, abis aku dengerin malah di telfonin minta responnya. Saat itu aku bingung hahaha.. Bentar liriknya gini

Mungkin saja aku yang salah mengerti, mungkin hanya aku yang banyak berharap. Namun sungguh tak ada cinta yang lain, dengarkan ingin ku ini. Jadi saja~

Cuy aku suka kahitna tp knp lagu ini baru denger haha. Dikenalin lah sama suamiku sabari kode mreun nya etateh wkwk. Duh geer kalo diinget2. Iya aku masih gantungin saat itu, karena aku pengennya you nyatakan chynta eye to eye dong ah.. Pas prakna mah kitapun gatau jadiannya kapan ya ojol2 ayang2an aja huahaha bodor gaksiii. Tydac ada tgl jadian pacaran. Pake kira2 aja akhir feb kalo ngga awal maret 2015 gt ajalah yaa. Makasih mas pacar udah ngenalin lagu kode ini yaa sampe ku liat dulu liriknya hahaha

Nah kalo lagu ini mah pas udah pacaran kalo lg main kerumah mas pacar, suka muterin lagu ini meleee. Playlistnya emg itu lg itu lg. Bawaannya teh saat pacaran mah anak hiking, anak outdoor bgt blio teh, tempat fav nya Eiger udah brp juta kali kesana, ya belanja sepatu, tas, carrier, baju. Beliin seserahan aja jaket gunung coy, beliin sendal gunung jg buat w. Ampun deh.. Ya belom lg ke kofisyopnya. Belom beneran naik gunungnya selama pacaran udah 2x kayanya naik gunung, kemping lebih sering lg. Knp w ngga ikut? Ngga enak ijin ortunya haha pdhl umurnya dah 26-27. Trus ya mas pacar sama geng atau komunitasnya lah yaa. Berusaha menjadi supportive GF bgt w teh membiarkan menyalurkan hobi, wlpn udat adat weh kalo hese sinyal. Hidihh..

Ya sampe dengerin lagunya jg kudu ttg gunung, Mahameru.. Jadi weh baru apal lagu dewa 19 ada jg ya judulnya Mahameru~

Yak Wouter Hamel, kemarin udah posting dgn judul yg berbeda. Tapi dikenalin sama adik sepupuku ya lagu ini March, April, May. Lebih jazz bgt iniicchh.. Enakeun~ akhirnya jadi ya dengerin lagu2 yg lainnya. Jazz nya ngga terlalu berat masih ngepop buat nak muda kek kita eaa~

Kalo lagu ini dikenalin sama kakanya adik sepupuku yg ngenalin Wouter Hamel. Aku tau Travis tapi lagu ini diputerrrr terus sm dia. Taunya lagunya kesukaan pdkt-an nya, jadi aku hafal deh gara2 dia dan malah suka jg lagu stuck in my head hahaha

[glimpsewords]

Puncak Mahameru, 2019

untuk sampai pada titik ini, ada banyak hal yang harus dilakukan lebih lama dari biasanya. kaki yang berjalan lebih lama dari biasanya, mata yang memandang lebih lama dari biasanya, mulut yang terus berdoa tanpa henti dari biasanya, dan beberapa hal lainnya yang dilakukan lebih lama dari biasanya. ketika di bawah, semua orang bahu membahu untuk saling memberi semangat agar semua bisa sampai puncak dengan selamat. tidak ada seorang pun yang berniat untuk menjatuhkan satu sama lain. yang diharapkan adalah mereka bisa sama-sama turun kembali dengan selamat. begitu pula dalam hidup, kita tidak perlu menjatuhkan orang lain agar kita bisa berada di atas. yang kita perlu hanyalah bagaimana kita bisa sama-sama naik untuk berada di atas. semoga ketika kita sedang berada di atas, kita bisa lebih merasa bukan merasa lebih.

[nasehatpendaki]

Kalian yakin tidak mau naik gunung?

Perihal cerah atau tidak bukan karen doa mantan yah guys, kalian curi curi waktu nya yg pas aja insyallah dapet view gini, ohiya kalian dapet lautan awan di gunung mana nih? Coba absen di kolom komentar🍃🏔

Jangan lupa follow media partner kami :

@telusuri_gunung

@gunung60second

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[indra69]

When you travel around Bali and witness the many temples scattered on the island, you will notice some very distinct architectural features. When it comes to the larger temples, the most impressive feature you will see are the meru, the multi-tiered shrines that tower high-above the rest.

The term ‘meru’ is a reference to Mt. Mahameru, the sacred mountain of Hindu (and Buddhist) cosmology. It is fabled to be found at the ‘centre of the world’; its summit, at a million kilometres high, is where heaven is located, the abode of the gods. With its religious importance, Mt. Mahameru has been symbolically represented through architecture, such as the prang in Khmer temples of Cambodia and Thailand, or the Balinese meru towers.

The meru towers, or pelinggih meru, are easily recognised with their pagoda-style, multi-tiered roofs that diminish in size as they ascend. The tiers, known as tumpang, are nearly always oddly-numbered, going from one to as high as eleven levels – except for one meru found at Taman Ayun Temple, which features two levels.

You will find these meru in the jero of a temple, the innermost sanctum reserved for the most sacral activities. As pelinggih, or shrines, they are therefore ‘seats’ for gods and spirits, who will temporarily reside within them. Being symbolic of the great holy mountain, the height of the meru thus shows the importance of the residing god or spirit; the higher up the mountain, the holier the ‘resident’.

The eleven-tiered merus are often reserved for the highest of the Hindu gods – Shiva, Brahma and Wisnu – such as that found at Pura Ulun Danu Beratan, whose towering meru is dedicated to Shiva and Paravathi, goddess of fertility and love. The five-tiered merus are dedicated to Bhatara Mahajaya, god of Mount Agung; the three-tiered meru of Pura Luhur Uluwatu is dedicated to Dan Hyang Nirartha, a legendary Hindu priest.

The roofs of a meru are constructed with the black fibres of the sugar palm tree known as ijuk, and the whole structure is carefully constructed according to the philosophies of traditional Balinese architecture, 

[skema-rupa]

ㅤㅤㅤOriel Chandrika Mahameru, Odi. Gadis ini sebenarnya keturunan Melayu dan Sunda, tapi lahir dan tumbuh di bawah langit Ibukota. Cita-citanya ketika kecil ingin menjadi dokter gigi tapi kini kariernya berbelok arah menjadi pekerja industri seni, sebagai model dan musisi.

ㅤㅤㅤTerlalu mandiri dan selalu melalang buana, membuat kedua orang tuanya resah. Anak semata wayang mereka terlalu hidup independen, kapan gadis itu akan menetap dan memiliki pasangan hidup? Odi cuma bisa nyengir tanpa bisa menjawab dengan kata.

ㅤㅤㅤBelum tahu saja, kisah asmaranya tak semulus kariernya. Alasannya sama, Odi terlalu mandiri sehingga melukai harga diri laki-laki. Sampai akhirnya ia diperkenalkan dengan pemuda dengan persona yang bertentangan.

[asharid]

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[senapan-angin]

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[pooma-satsangam]

தமிழில்

Adi Shankaracharya’s Divine Realization by Observing a Snake Protecting a Frog

Around 1,200 years ago, in the beautiful village of Kaladi on the banks of the Poorna River in Kerala, lived a Namboothiri Brahmin couple, Shivaguru and Aryamba. They had been childless for a long time and undertook severe penance, worshipping Lord Shiva with pure devotion. Pleased with their devotion, the compassionate Lord Shiva blessed them with a son, who was named Shankara. They lovingly raised him.

At the age of five, Shankara underwent the sacred thread ceremony. Soon after, his extraordinary abilities began to manifest.

One day, while seeking alms, Shankara encountered a poor woman who, despite her poverty, did not want to send him away empty-handed. She searched her house and found a single dried gooseberry, which she offered to Shankara. Touched by her generosity, Shankara prayed to Goddess Lakshmi, and golden gooseberries rained down in her house.

On another occasion, seeing his mother Aryamba struggling to bathe in the Poorna River due to her health, Shankara prayed to the Ganga River. Miraculously, the Poorna River changed its course to flow behind their house.

By the age of eight, Shankara had mastered the four Vedas and six Shastras, and his fame spread far and wide. Even the local king came to see him.

With his mother’s permission, Shankara embraced asceticism to fulfill his life’s purpose. He became a disciple of the great sage Govinda Bhagavatpada on the banks of the Narmada River and served him devotedly.

Following his guru’s instructions, Shankara went to Kashi, where he defeated various scholars in debates and established the Advaita philosophy, which teaches that all living beings are manifestations of the divine.

Shankara wrote numerous works, including commentaries on the Upanishads, Bhagavad Gita, Brahma Sutras, Vishnu Sahasranama, and Patanjali’s Yoga Sutras. He also composed many devotional hymns and texts like Vivekachudamani and Atmabodha to make these teachings accessible to all.

He established the Panchayatana form of worship, which involves the simultaneous worship of five deities: Shiva, Ambal, Vishnu, and others. He also defined the six orthodox schools of Hindu philosophy.

One day, while walking along the banks of the Tungabhadra River with his disciples, Shankara witnessed a remarkable sight. A snake was shading a frog in labor from the sun with its hood. Astonished, Shankara thought, “In nature, a snake preys on frogs. Yet here, a snake is protecting a frog in distress. What a divine place this must be!”

He decided that this auspicious place was perfect for establishing his first monastery. He drew the Sri Chakra on a rock and meditated on Goddess Saraswati, who appeared before him.

“Mother, you must reside here permanently as Sri Sharada and bless the devotees,” prayed Shankara.

The goddess, pleased with his prayer, agreed.

The monastery established by Shankara on that day, with Sri Sharada as the main deity, came to be known as the Sri Sharada Peetham.

Shankara designated the Yajur Veda as the principal Veda for the Sri Sharada Peetham. He also provided the Sri Chandramouleeswara Spatika Lingam, the Sri Ratnagarbha Ganapati idol, and the Mahameru Yantra from Kailasa for the daily worship at the Peetham.

Shankara entrusted the administration of the Sri Sharada Peetham to his chief disciple, Sri Sureshwaracharya, who was considered an incarnation of Lord Brahma.

At the age of 32, Shankara reached the sacred site of Kedarnath in the Himalayas, worshipped Lord Shiva, and then disappeared into the snow-covered mountains.

தவளையை காத்த நாகத்தை பார்த்து தெய்வீகத்தை உணர்ந்த ஆதிசங்கரர்

நிறம் மற்றும் எழுத்துரு அளவு மாற்ற

கிட்டத்தட்ட 1,200 ஆண்டுக���ுக்கு முன் கேரள மாநிலத்தில் பூர்ணா நதிக்கரையில் காலடி எனும் அழகிய கிராமத்தில் வாழ்ந்து வந்த நம்பூதரி பிராமண தம்பதியான சிவகுரு - ஆர்யாம்பாள் ஆகியோருக்கு, நீண்ட நாட்களாக குழந்தை பாக்கியமே இல்லாதிருந்ததால் அவர்கள் கடும் விரதம் பூண்டு,

சிவபெருமானை துாய்மையான பக்தியுடன் ஆராதித்து வந்தனர்.அதனால் மகிழ்ச்சியடைந்த கருணாமூர்த்தியான பரமேஸ்வரன், அவர்களுக்கு தம் அம்சத்துடன் கூடிய ஓர்ஆண் குழந்தையை அருளினார். அக்குழந்தைக்கு சங்கரன் எனப் பெயரிட்டு பாசத்துடன் வளர்த்து வந்தனர்.

ஐந்து வயதில் உபநயனம் செய்து வைத்தனர். அதன்பின், ஸ்ரீ சங்கரரின் அபார சக்திகள் வெளிப்பட துவங்கின

ஒரு நாள், தாம் பிச்சை கேட்ட ஒரு வீட்டில் வறுமை தாண்டவமாடியபோதிலும், அந்த வீட்டு பெண்மணி தன்னிடம் பிச்சை கேட்டு வந்த பிரம்மச்சாரியை ஏமாற்ற மனமில்லாமல், வீடு முழுதும் தேடி உலர்ந்த ஒரு நெல்லிக்கனியை கண்டெடுத்து, அதை ஸ்ரீ சங்கரருக்கு பிச்சை அளித்தாள் அந்த ஏழ்மை நிலையிலும் அவளுக்கிருந்த உயர்ந்த மனப்பாங்கு ஸ்ரீசங்கரரின் இதயத்தை பெரிதும் தொட்டது.

��க்கணத்திலேயே அவர் ஸ்ரீ மஹாலக் ஷ் மியை வேண்டிக்கொள்ள, அப்பெண்மணியி��் வீட்டில் தங்கநெல்லிக்கனிகள் மழையென பெய்தனபின் ஒருமுறை, தம் தாயார் ஆர்யாம்பாள் பூர்ணா நதியில் தினப்படி நீராடி சென்றுவருவதற்கு அவரது உடல்நிலை ஒத்துழைக்காததைக் கண்டஸ்ரீ சங்கரர், கங்காதேவியை பிரார்த்திக்க, பூர்ணா நதியே தன் ஓட்டத்தை ஸ்ரீசங்கரரின் இல்லத்திற்கு பின்னால் இருக்குமாறு மாற்றிக் கொண்டு விட்ட அதிசயம் நடந்தது

எட்டு வயதிற்குள்ளாகவே நான்கு வேதங்களையும், ஆறு சாஸ்திரங்களையும் கற்றுத்தேர்ந்து விட்ட ஸ்ரீ சங்கரரின் பெருமை எங்கும் பரவத் துவங்கியது. அப்பிரதேசத்தை ஆண்ட மன்னரே ஸ்ரீ சங்கரரை நேரில் வந்து தரிசித்து சென்றார்

தம் பிறவியின் நோக்கம் நிறைவேறும் பொருட்டு, தம் தாயாரின் அனுமதியுடன் துறவறம் ஏற்ற ஸ்ரீ சங்கரர்,

நர்மதை நதிக்கரையில் வாழ்ந்து வந்த மஹானாகிய ஸ்ரீ கோவிந்த பகவத்பாதரை தம் குருவாக ஏற்று அவருக்கு சேவை புரிந்து வந்தார்

தம் குருநாதரின் ஆணையை ஏற்று காசிக்கு சென்ற ஸ்ரீசங்கரர், பல்வேறு மதத்தினரையும் தம் வாதத் திறமையால் வென்று'உலகில் உள்ள அனைத்து உயிர்களும் இறைவனின் அம்சங்களே' எனும் அத்வைத மதமே பரம்பொருளை பூரணமாக அறிய உதவும் மதம் என்பதை நிலைநாட்டினார்

உபநிஷதங்கள், பகவத்கீதை, வியாச முனிவரின் பிரம்ம சூத்திரங்கள், விஷ்ணு ஸஹஸ்ர நாமம், பதஞ்சலி முனிவரின் யோக சூத்திரங்கள் போன்ற பெரும் தெய்வீக படைப்புகளின் உட்பொருளை அனைவரும் எளிதில் புரிந்து கொள்ளும் வகையிலும் விவேக சூடாமணி, ஆத்மபோதம், சதச்லோகீ போன்ற பற்பல கிரந்தங்களையும், பக்தி மார்க்கத்தை விரும்புவோருக்கு உதவும் வகையில், பக்தி ரசம் ததும்பும் நுாற்றுக்கணக்கான ஸ்லோகங்களையும் ஸ்ரீ சங்கரர் அருளினார்

வேதங்களை சார்ந்து பரம்பொருளை அறிவிக்கும் மார்க்கங்களாக அத்வைதம், யோகம், சாங்க்யம் முதலான ஷட்தர்சனங்கள் எனப்படும் ஆறு மார்க்கங்களை நிர்ணயித்தார்

பஞ்சாயதனம் எனப்படும் சிவன், அம்பாள், விஷ்ணு முதலான ஐந்து கடவுளர்களை ஒருசேர வழிபடும் பூஜை முறையை ஏற்படுத்தினார்.

சைவம், வைணவம், சாக்தம் முதலான ஆறு ஆதாரப்பூர்வமான மதங்களை அறிவித்தார்

காஷ்மீரில் பற்பல பெரும் பண்டிதர்களை வாதத்தில் வென்று, புகழ் பெற்ற சர்வஜ்ஞ பீடத்தில் அமர்ந்தார்இந்தியாவின் நான்கு திசைகளிலும் நான்கு பீடங்களை தோற்றுவித்தார். அவரால் முதலில் தோற்றுவிக்கப்பட்ட பீடமே தென் திசையில் உள்ள சிருங்கேரி ஸ்ரீ சாரதா பீடமாகும். இதர பீடங்கள் புரி - கிழக்கு, பத்ரி - வடக்கு மற்றும்

துவாரகா - மேற்கு ஆகிய இடங்களில் அமைக்கப்பட்டன ஒரு நாள் தம் ��ீடர்கள் பின் தொடர, துங்கா நதிக்கரையில் ஸ்ரீ சங்கரர் வந்து கொண்டிருந்த சமயம் அங்கு தென்பட்ட ஒரு காட்சி, அவரை பெரும் ஆச்சரியத்துக்குள்ளாக்கியது.

வெயிலில் பிரசவ வலியால் அவதிப்பட்டுக் கொண்டு இருந்த தவளைக்கு, நாகம் ஒன்று தன் படத்தை விரித்து நிழலை தந்து கொண்டிருந்தது.

இதைக் கண்ட ஸ்ரீ சங்கரர், 'இயற்கையிலேயே நாகத்திற்கு தவளை உணவாகும்.ஆயினும், இங்கோ தன் இரையான தவளையைஇரையென காணாது, அதன் இன்னலுக்கு இரங்கி அதற்கு உதவ ஒரு நாகம் முற்படுகிறதென்றால், இந்த மண்ணின் மகிமை தான் என்னே!' என எண்ணினார்.

மறுகணமே, 'என் முதலாவது பீடத்தை அமைக்க இந்த புண்ணியம் நிறைந்த தலமே மிக பொருத்தமான இடம்' என உறுதிபூண்டார். பின் அங்கிருந்த பாறையின் மேல் அம்பாளின் எந்திரமான, ஸ்ரீ சக்கரத்தை வரைந்தார்.

அதன்பின் அவர் ஸ்ரீ சரஸ்வதி தேவியை தியானம் செய்தார். தேவியும் உடனே காட்சி தந்தாள்.

'தாயே... ஸ்ரீ சாரதை எனும் பெயரில் நீ இவ்விடத்தில் நிரந்தரமாக குடிகொண்டுபக்த ஜனங்களுக்கு அருள்புரிந்து வர வேண்டும்' என சங்கரர் பிரார்த்தித்தார்.

தேவியும், மகிழ்வுடன் அவரின் பிரார்த்தனைக்கு சம்மதித்தார்.

ஸ்ரீ சாரதையை பிரதான தெய்வமாக கொண்டு அன்றைய தினம் அவரால் தோற்றுவிக்கப்பட்ட பீடம், ஸ்ரீ சாரதா பீடம் என்றே அழைக்கப்பட்டு வரத் துவங்கியது

ஸ்ரீ சாரதா பீடத்திற்கு பிரதான வேதமாக யஜுர் வேதத்தை அறிவித்தார், ஸ்ரீ சங்கரர். கைலாசத்திலிருந்து தருவிக்கப்பெற்ற ஸ்ரீ சந்திரமவுலீஸ்வர ஸ்படிக லிங்கத்தையும், ஸ்ரீ ரத்னகர்ப கணபதி விக்ரஹத்தையும் மற்றும் மஹாமேரு எந்திரத்தையும் பீடத்தின் நித்ய பூஜைக்கென ஸ்ரீ சங்கரர் அளித்தார்

ஸ்ரீ சாரதா பீடத்தின் நிர்வாகத்தை தம் முக்கிய சீடரும் சாட்சாத் நான்முக பிரம்ம தேவனின் அவதாரமாகவே கருதப்பட்டஸ்ரீ சுரேஸ்வராசார்யாரிடம் ஸ்ரீ சங்கரர் ஒப்படைத்தார்

தம், 32 வயதில் இமயமலையில் உள்ள கேதார்நாத் திருத்தலத்தை அடைந்து, சிவபெருமானை வழிபட்டு பின், பனிபடர்ந்த மலைகளூடே சென்று மறைந்தார்.