Did Vaastu influence the building of the Taj?

[KashifAsrar]

Did Vaastu influence the building of the Taj?​

Jugal Kishor


With the Taj part of the new Seven Wonders of the World list, let’s take a close look at this monument from the Vaastu viewpoint. Unbelievable though it may sound, Vaastu dictated the design of the monument right from its location. To the North of the Taj runs the River Yamuna and it flows from the West to East. This is perfect, for Vaastu says that the area North and East of a building should slope northwards and eastwards.
It has been said quite rightly that the Taj Mahal is a blend of Persian and Indian architecture. Though its exterior is Persian, its soul is Indian. For instance, Vaastu Shastra holds that the width of a building should equal its height. If you use a measuring tape in the Taj, you’ll that its length and width are exactly the same as its height. This couldn’t have happened if the architects who designed the Taj had been unaware of Vaastu.
Looking back at history, it was natural that Vaastu influenced Muslim architecture. Shah Jahan and Jahangir’s mothers were Hindus, for instance, Shah Jahan’s mother was the daughter of Udai Singh of Marwar in Rajasthan and Jahangir’s mother belonged to the royal family of Amber. Both these regions, Marwar and Amber, were the citadels of Vaastu Shastra. So it’s not surprising that Jahangir and Shah Jahan’s mothers brought Vaastu influences to the Muslim homes they married into.
In the privacy of their ch a m b e r s, they wors h i p p e d Lords Ganesh, Brahma, Surya, Vishnu, and Mahesh, who represent the five forces of nature that Vaastu seeks to harness for human good. The Taj pays homage to these five fundamentals because its four pillars represent Ganesh, Brahma, Surya, Vishnu, and its dome represents Mahesh, the God of space.
Some medieval-architecture experts believe that the Taj brought in bad luck to Shah Jahan. They attribute this to the fact out that Shah Jahan fell ill and was imprisoned after building the Taj. I disagree, for what brought Shah Jahan bad luck was not the Taj but a black marble monument he tried to make across the river. But, he was unable to complete this because its location carried a jinx from the Vaastu viewpoint. South of it ran the Yamuna, and the land sloping southwards from a building brings disaster. No wonder the white Taj Mahal is one of the world’s spectacular wonders, while the black Taj ended up haIf-done and buried under the earth.
There is yet another feature that suggests a Vaastu influence on the Taj. And this is the fact that the monument has three shapes – a square, an octagon, and a circle. The floor of the Taj is a square. But the four guest-rooms on its four sides give the same square an eight-sided octagonal shape. The dome on top is a circle. These three shapes represent the Hindu Holy Trinity. Could there be greater proof of the Vaastu influences which determined the shape of the Taj?

 

[KashifAsrar]

Sometime Jugal Kishore crosses the limit of sanity with his Vastu shastra.
Kashif

 

[Adux]

god!!!!!!!!!!!!!!!!1 its a beautiful sight, let it be....... forget the stupid feng shui snd vastu!!!!!!!!!1

 

[niaz]

I hope that most of my Indian friends have visited Tomb of Emperor Humayun built by his son Emperor Akbar at the insistence of his mother Hamida Bano completed in 1570. The architect was Syed Mohammad from Herat, probably of Turkic origin as Herat had been a capital of the Timurids princes. As a visitor, I detected a lot of similarities betweeen the Taj and Humayun's tomb ( built of Red Sandstons instead of marble). Taj was built in 1648, 78 years later by Ustad Eissa another Iranian/Turkic architect. Both the designs also bear some similarity to the Taimur's tomb in Samarqand as well.

Since Taimur took quit a few artisans with him from India to Samarqand, there could be some Hindu/ Indian/Vaastu indfluence in the shape or design. Very simply; every architect, if he is a master of his trade, would have studied and have knowledge of previous designs and buliding techniques which would manifest in some way in his creations and thus would enable bigots such as Jugal Kishore to have a field day in their flight of fancy. Mr Kishor goes on to blame the war of succession betweeen the brothers and eventual imprisonment of Shah Jehan by his son Aurangzeb on the ill luck brought about by the black marble. This definitely OTT.

The fact is,Moghuls considered all Indian races beneath them except the Rajputs. There was no problem for any Moghul prince as there were plenty of courtesans around for sex. Marriage on the other hand was always for political reasons. Therefore Moghul princes only married among Rajput when marrying outside the religion mainly because they needed Rajput's military prowess. Of course because Jehangir himself was 50% Rajput may have something to do with it too.

Even Mumtaz Mahal was married to Prince Khurram because her father Asif Khan was Wazir of Jehangir. Actually Shah Jehan owed his accesion to his father in law, Noor Jehan ( Aunt of Mumtaz Mahal) wanted to make her own son in law Prince Shehryar the king after Jehangir died.

IMO opinion the article is nothing but hogwash.

 

[Adux]

Good read sir.

 

[Awesome]

errmm... Some bg info on what is Vastu?

Vasta means sifarish in Arabic.

 

[PakForce Unlimited]

Does anyone here have photos of Taj Mahal when it got bombed during WWII?

 

[Ababeel]

Bombed during WWII!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

 

[PakForce Unlimited]

Bombed during WWII!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

yes, by the japanese. I have once seen a picture in the newspaper where they are repairing the dome.

 

[genmirajborgza786]

errmm... Some bg info on what is Vastu?

Vasta means sifarish in Arabic.

Vaastu Shastra, also spelled as Vastu Shastra (Vaastu- physical environment and Shastra- knowledge/ text/ principles. The 't' in both the words is dental) is one of the traditional Hindu canons of town planning and architecture. These canons are codified in texts such as Manasara Silpa Shastra (by Manasara), Mayamatam (by Maya), Viswakarma Vaastushastra (by Viswakarma), Samarangana Sutradara (by Raja Bhoja), Aparajita Priccha (a dialogue betwee Viswakarma and his son Aparajita, written by Bhuvanadevacharya) and Silparatna. Other treatises such as Agni Purana and works by Kautilya and Sukracharya are not popular even though they preceded the previously mentioned documents. Distinction of style exists due to each documents place of origin. Mayamata and Mansara Silpa Shastra are considered Dravidian because they are from south India whereas Viswaskarama Vaastu Shastra is considered Aryan due to its north Indian origin. Vaastu Shastra deals with various aspects of designing and building living environments that are in harmony with the physical and metaphysical forces/ energies of the cosmos such as the gravitational, electromagnetic and supernatural. Building practices based on limited interpretations of these principles are still sustained in specific areas of India.

Though Vastu is conceptually similar to Feng Shui in that it also tries to harmonize the flow of energy (Also called Life-force, and Prana in Sanskrit, similar to Chi in Chinese) through the house, it differs in the details, such as the exact directions in which various objects, rooms, materials etc are to be placed.

Contents [hide]
1 Components of Vaastu Shastra
2 Basics of Vastu: The five elements
3 Vaastu Purusha Mandala
4 Mandala in site planning and architecture
4.1 Mandala and site
4.2 Mandala and building
5 Aspects of environment and energy
6 Other aspects of buildings
7 Conclusion
8 References
9 See also
10 External links



[edit] Components of Vaastu Shastra
All places of dwelling are termed Vastu however the actual physical manifestation of the dwelling is called Vaastu. There are four categories of Vaastu-

The earth/ site- Bhoomi, the principal dwelling place on which everything else rests
The structures on the earth - Prasada
Movable objects (vehicles) - Yaana
Furniture- Sayana
As these categories suggest, the principles of Vaastu Shastra extend from the macro level to the micro level- site selection, site planning and orientation, zoning and disposition of rooms, proportional relationships between the various parts of buildings and the character of buildings.


[edit] Basics of Vastu: The five elements
Vaastu is the science of direction that combines all the five elements of nature and balances them with the man and the material. Vaastu Shastra is creating a congenial settings or a place to live or work, in most scientific way taking advantages of the benefits bestowed by the five elements called “Paancha Maha Bhootas” of the nature thereby paving the way for enhanced health, wealth, prosperity and happiness in an enlightened environment.


The world comprises of five basic elements, also known as the Paanchbhootas. They are Earth, Water, Air, Fire and Space. Out of the nine planets, our planet has life because of the presence of these five elements.


EARTH (Bhumi):- Earth, the third planet in order from the sun, is a big magnet with North and South poles as centers of attractions. Its magnetic field and gravitational force has telling effects on everything on the Earth, living and non-living.

WATER (Jal) :- This is represented by rain ,river ,sea and is in the form of liquid , solid(ice) and gas (steam , cloud ) . It forms part of every plant and animal. Our blood is nothing but water with haemoglobin and oxygen.

AIR (Vayu):- As a life supporting element, air is very powerful life source. Human physical comfort values are directly and sensitively dependent on correct humidity, air flow, temperature of air, air pressure, air composition and its content.

FIRE (Agni):- It represents light and heat without which the life will extinct. All the days and nights, seasons, energy, enthusiasm, passion, vigour is because of light and heat only.

SPACE (Aakash):- It is the shelter provider to all the above elements.

There is an invisible and constant relation between all the five elements. Thus, the man can improve his conditions by properly designing his buildings by understanding the effectiveness of these five natural forces.


[edit] Vaastu Purusha Mandala
The Vaastu Purusha Mandala is an indispensable part of Vaastu Shastra and constitutes the mathematical and diagrammatic basis for generating design. Purusha refers to energy, power, soul or cosmic man. Mandala is the generic name for any plan/ chart, which represents the cosmos metaphysically/ symbolically, a microcosm of the universe.

In Hindu cosmology the surface of the earth is represented as a square, the most fundamental of all Hindu forms. The earth is represented as four cornered with reference to the horizon's relationship with sunrise and sunset, the North and South direction. It is called Chaturbhuji- four cornered- and represented in the symbolic form of the Prithvi Mandala. The astrological charts or horoscopes(Rasi, Navamsa, etc.,) also represent in a square plan the ecliptic- the positions of the sun, moon, planets and zodiacal constellations with reference to a specific person's place and time of birth.

The Vaastu Purusha Mandala is a specific type of mandala used in Vaastu Shastra. It is the metaphysical plan of a building/temple/site that incorporates the course of the heavenly bodies and supernatural forces.

The legend of the Vaastu Purusha is related thus. Once a formless being blocked the heaven from the earth and Brahma with many other Gods trapped him to the ground. This incident is depicted graphically in the Vaastu Purusha Mandala with portions allocated hierarchically to each God based on the contributions and positions in performing this act. Brahma occupied the central portion - the Brahmasthana- and other Gods were distributed around in a concentric pattern. There are 45 Gods in all including 32 outer Gods.

http://upload.wikimedia.org/wikipedia/en/6/6e/Vaastu.jpg

The principal Gods/ presiding deities of each direction (called the ashtadikpalar) are:

Northeast- Eeshanya- Ruled by Lord of all quarters or Eeshwara Siva (Religions,Luck and Faith)
East- Aditya- Ruled by Sun God - Aditya (Seeing the world)
Southeast- Agni- Ruled by Lord of Fire - Agni (Energy Generating)
South- Yama- Ruled by Lord of Death - Yama (Damaging)
Southwest- Pitru/Nairatya- Ruled by ancestors (History)
West- Varuna- Ruled by Lord of water (Physical)
Northwest- Vayu- ruled by Lord Of Winds (Advertisement)
North- Kubera- Ruled by Lord of Wealth (Finance)
Centre- Brahma- Ruled by Lord/Creator of the Universe (Desire)
The Vaastu Purusha is the presiding deity of any site. Usually he is depicted as lying on it with the head in the Northeast and the legs in the Southwest but he keeps changing his position throughout the year.


Pitha Mandala
Mahapitha MandalaBold textItalic text'Italic text== Mandala types and properties== The form of the Vaastu Purusha Mandala is basically a square but there are various types of mandalas depending on the way in which the basic square is divided. In each case, the square is subdivided into smaller squares by lines running parallel/ perpendicular to the sides. Each side of the square can be divided from 1 to 32 divisions. Thus, the number of squares in the Vaastu Purusha Mandala may vary from 12 to 322, i.e from 1, 4, 16, 25 and so on to 1024. Each of these mandalas has a distinct name and is used in specific contexts.

As mentioned earlier, the central area in all mandalas is the Brahmasthana. The space occupied by it varies in different mandalas-in Pitha (9) and Upapitha (25) it occupies one square module, in Mahaapitha (16), Ugrapitha (36) and Manduka (64), four square modules and in Sthandila (49) and Paramasaayika (81), nine square modules. The Pitha is an amplified Prithvimandala in which, according to some texts, the central space is occupied by earth. The Sthandila mandala is used in a concentric manner.

The most important mandalas are the Manduka/ Chandita Mandala of 64 squares and the Paramasaayika Mandala of 81 squares- especially the former. The normal position of the Vaastu Purusha- head in Northeast, legs in Southwest- is as depicted in the Paramasaayika Mandala. However, in the Manduka Mandala the Vaastu Purusha is depicted with head towards East and feet towards West.

An important er of squares, or ayugma, its centre is constituted by one module or pada and when divided into an even number of squares or yugma, its centre is constituted by a point formed by the intersection of the two perpendicular central lines. In spatial terms, the former is sakala or manifest/ morphic and the latter is nishkala or unmanifest/ amorphous.


[edit] Mandala in site planning and architecture
The mandala being a metaphysical plan is put to use in site planning and architecture through a process called the Pada Vinyasa. Pada Vinyasa is a method whereby any site can be divided into grids/modules or padas. Depending on the position of the Gods occupying the various modules, the zoning of the site and disposition of functions in a building are arrived at.

Mandalas have certain points known as marmas which are vital and vulnerable energy spots on which nothing should be built. They are determined by certain proportional relationships of the squares and the diagonals.


[edit] Mandala and site
A site of any shape can be divided using the Pada Vinyasa. Sites are known by the number of divisions on each side. the types of mandalas with the corresponding names of sites is given below.

Sakala(1 square)corresponds to Eka-pada (single divided site)
Pechaka(4 squares) corresponds to Dwi-pada (two divided site)
Pitha(9 squares) corresponds to Tri-pada (three divided site)
Mahaapitha(16 squares) corresponds to Chatush-pada (four divided site)
Upapitha(25 squares) corresponds to Pancha-pada (five divided site)
Ugrapitha(36 squares) corresponds to Shashtha-pada (six divided site)
Sthandila(49 squares) corresponds to sapta-pada (seven divided site)
Manduka/ Chandita(64 square) corresponds to Ashta-pada (eight divided site)
Paramasaayika(81 squares) corresponds to Nava-pada (nine divided site)
Aasana(100 squares) corresponds to Dasa-pada (ten divided site)

[edit] Mandala and building
The concept of sakala and nishkala are applied in buildings appropriately.

In temples, the concepts of sakala and nishkala are related to the two aspects of the Hindu idea of god/ worship - Sagunopaasana, the supreme as personal God with attributes and Nirgunopaasana, the supreme as absolute spirit unconditioned by attributes. Correspondingly, the Sakala, complete in itself, is used for shrines of gods with form- sakalamoorthy- and to perform yajnas. However the Nishkala is used for installation of idols without form- nishkalamoorthy- and for auspicious, pure performances. The amorphous centre is considered beneficial to the worshippers, being a source of great energy. This could also be used for settlements.

In commercial buildings, only odd number of modules are prescribed as the nishkala or amorphous centre would cause too high a concentration of energy for human occupants. Even here, the Brahmasthana is left unbuilt with rooms organised around.

In accordance with the position occupied by the Gods in the mandala, guidelines are given for zoning of site and distribution of rooms in a building. Some of these are northeast should house the pooja room, east- bathroom, southeast- kitchen, south- bedroom, southwest- armoury, west- dining, northwest- cowshed, north- treasury.


[edit] Aspects of environment and energy
Vaastu Shastra describes various criteria which determine the choice of a site. The most exalted shape for a site is square, however rectangle is also acceptable. It explains about soil examination or Bhu- Pariksha. One particular test involves the digging of a hole and refilling it again with the dug soil. Based on the volume occupied by this soil in the pit, its characteristics are determined. A gnomon is used in determining the orientation, this practice is called Sanku Sthaapanam. Vaastu Shastra also prescribes sites suitable for different castes.

Vaastu Shastra prescribes desirable characteristics for sites and buildings based on flow of energy. Many of the rules are attributed to cosmological considerations - the sun's path, the rotation of the earth, magnetic field, etc., The morning sun is considered especially beneficial and purifying and hence the East is a treasured direction. The body is considered a magnet with the head, the heaviest and most important part, being considered the North Pole and the feet the South pole. Hence sleeping with one's head in the North is believed to cause a repulsive force with the earth's magnetic North and thus considered harmful. Bedrooms are therefore designed keeping this in mind. This is a wide spread practice in India even today.

Energy is primarily considered as emanating from the Northeast corner and many site and building characteristics are derived from this. Sites sloping down towards North or East from higher levels of South and West are considered good. Open spaces in site and openings in the building are to be more in the North and East than in the South and the West. No obstacles are to be present in the North and the East. Levels and height of buildings are to be higher in the South and West when compared to the North and East.The Southwest corner is to be the highest, followed by Southeast, then by Northwest and finally by Northeast. The triangle formed by joining the Southwest, Southeast and the Northwest corner of the site is attributed to the moon and the triangle formed by joining the Northeast, Northwest and Southeast corner of the site is attributed to the sun. The former are prescribed to be heavier and higher and the latter light and lower. Sites having a longer East- West axis are considered better. The diagonal connecting Southwest and Northeast is to be longer than the diagonal connecting Southeast and Northwest. An extended Northeast corner is considered beneficial.


[edit] Other aspects of buildings
There are many other principles in Vaastu Shastra, to mention a few which involve certain mathematical calculations -Maana for proportional relationships in a building and Aayaadi which specify conditions for maximum wellbeing and benefits for the residents of a building.


[edit] Conclusion
Vaastu Shastra evolved as a compilation of planning principles for a healthy living based on the knowledge base of the time (similar to Western treatises such as Vitruvius') and was not meant to be absolute. Its current popularity stems from its focus on a wholesome approach to space and form. Vastu was earlier used in the design of Hindu homes, but became less prominent in the industrialization period during and following the colonial British Raj. But it is used extensively in temple design, and so survived in the clans of temple designers and architects. In recent years, it has again gained mainstream popularity, and there are several Vastu 'consultants' in India, some dubious, some genuine.

www.vastu2vaastu.com

www.aumscience.com


http://en.wikipedia.org/wiki/Vaastu_Shastra

 

[genmirajborgza786]

"The Astrological Origin of Islamic Geomancy" (PDF)

http://www.shikanda.net/ancient_models/BINGHAMTON%201996.pdf

 

[genmirajborgza786]

Catalogue: Astrology/Divination/Magic
A Note on Astrology, Divination, and Magic

Of the numerous practices employed in the medieval Islamic world to foretell future events or discern hidden things, astrology was by far the most popular. Its primary use was in the preparation of horoscopes. These were intended to indicate the influences of the stars and the planets on a person either at birth or at other times in his or her life, though horoscopes were also commonly used to determine the wisdom of undertaking a particular course of action. The next most popular form of divination was known in Arabic as ‘ilm al-raml ('the science of the sand'), which came to be known as 'geomancy' in medieval Europe. Unlike astrology, geomancy did not require astronomical observations and calculations. Instead, divination was accomplished by forming and then interpreting a design, called a 'geomantic tableau' consisting of 16 positions, each occupied by a geomantic 'figure'. There are several manuscripts at NLM with geomantic tableaux, as well as the generation lines of dots used to form the figures, drawn in the margins; for an illustrated example, see MS P 28, fols. 51b-52a.

Magic squares played an important role in Islamic talismanic designs. The first appearance of such a square (called a wafq in Arabic) in Islamic literature occurred in the alchemical writings attributed to Jābir ibn Ḥayyān. This early magic square was recommended as a charm for easing childbirth, and it is thought to have been of Chinese origin. It was a 3 x 3 magic square, consisting of nine cells with the numbers 1 to 9 arranged with 5 in the center so that the contents of each row, column, and the two diagonals added up to 15. This particular magic square had its own Arabic name: buduh, after the four letters occupying the four corners of the square (b-d-wa-h). In subsequent years Islamic writers developed a variety of methods for forming magic squares of higher order, with 4 x 4, 6 x 6 and 7x7 squares being particularly popular.

For a general introduction to magic and divination in the medieval and early modern Islamic world, see F. Maddison and E. Savage-Smith, Science, Tools & Magic [Khalili Collection of Islamic Art, 12] (Oxford: Oxford University Press / London: Azimuth Editions, 1997), pp. 59-164; R. Irwin, The Arabian Nights: A Companion (London: Allan Lane/The Penguin Press, 1994), pp. 188-94; E. Douttß, Magie et religion dans l'Afrique du Nord (Algers, 1908, reprinted Paris 1984); and D.B. MacDonald and T. Fahd, 'Simiya' in EI, 2nd edition, vol. 9, pp. 612-3.

For magic squares, see 'Buduh' in EI, 2nd edition, suppl. p. 153-4; and 'Djadwal' in EI, 2nd edition, vol. 2, p. 370; Jacqes Sesiano, Un traité medieval sur les carres magiques: De l'arrangement harmonieux des nombres (Lausanne: Presses Polytechniques et Universitaires Romandes, 1996); and F. Maddison and E. Savage-Smith, Science, Tools & Magic [Khalili Collection of Islamic Art, 12] (Oxford: Oxford University Press / London: Azimuth Editions, 1997) pp. 106-7.

For amulets, see A. Fodor, Amulets from the Islamic World: Catalogue of the Exhibition held in Budapest in 1988 [The Arabist. Budapest Studies in Arabic, 2] (Budapest, 1990); P.W. Schienerl, Schmuck und Amulett in Antike und Islam [Acta Culturologica, 4] (Aachen, 1988); and R. Kriss and H. Kriss-Heinrich, Volksglaube im Bereich des Islam. Band II: Amulette, Zauberformeln und Beschwörungen (Wiesbaden, 1962); and F. Maddison and E. Savage-Smith, Science, Tools & Magic [Khalili Collection of Islamic Art, 12] (Oxford: Oxford University Press / London: Azimuth Editions, 1997), pp. 132-147.

For numerology, see also T. Fahd, 'Huruf, ‘ilm al-' in EI, 2nd edition, vol. 3, pp. 595-6; A. Schimmel, The Mystery of Numbers (Oxford: Oxford University Press, 1993)

For divination, see T. Fahd, La Divination arabe, etudes religieuses, sociologiques et folkloriques sur le milieu natif de l'Islam (Strasbourg/Leiden: Brill, 1966); T. Fahd, 'Kihana' in EI, 2nd edition, vol. 5, pp. 99-101; E. Savage-Smith and M.B. Smith, Islamic Geomancy and a Thirteenth-Century Divinatory Device [UCLA Studies in Near Eastern Culture and Society, 2] (Malibu, CA: Undena, 1980)

In the collections at NLM there is a short Arabic essay on numerology attributed to Zosimos (3rd to 4th century AD), and a treatise on magic and magic square attributed (incorrectly) to Caliph ‘Ali, and another extracted from the writings of Ibn ‘Abd al-Muṭṭalib (who lived sometime before 1546). The other related items, eleven in number, at NLM are anonymous and mostly fragmentary.

In addition, geomantic tableaux are to be found in the margins of three different manuscripts MS P 5, fol. 348b; MS A 18.1 on the pastedowns; and MS P 28, item 4, fols. 51b-52a.

http://www.nlm.nih.gov/hmd/arabic/astrology1.html