Showing posts with label ancient. Show all posts
Showing posts with label ancient. Show all posts

Saturday, February 21, 2026

How Did They Know?

 


Each civilisation had a different way of looking at the stars. They found different patterns and linked them to a wide range of traditions, legends and stories. 

What is amazing is not the patterns but the level of detail they were able to observe in the night sky. A few years ago the jolly, ebullient Khurshed Batliwala gave a talk listing out a few things ancient Indian scientists observed and recorded - 

The Great Bear and Arundhati-Vashishta

The core pattern of this constellation is hard to miss. It looks like a giant kite with a long tail. The Greeks called it Ursa Major, the Great Bear, and saw a far more elaborate pattern - the quadrangle of the kite became the torso of the bear, the tail became its neck and head while the surrounding stars took the shape of a fat tail and spindly legs. 

Ancient Indians, on the other hand, focused on the core form and called it the "Sapta Rishi" - the seven sages - Bhrigu, Vashista, Angiras, Atri, Pulastya, Pulaha and Kratu. Of these Vashista is of special interest because the ancients noticed that this bright spot in the sky was not one but two different stars in close proximity - a double-star. They named the second star after the sage's wife, Arundhati. Each of these stars correspond to the following Arab-Greek equivalents:

Brightness of celestial objects is measured in Apparent Magnitude. This is on a reverse logarithmic scale, which means that the brighter an object is, the lower its magnitude number. In the Great Bear constellation, the brightest star is Alioth (mag 1.76 - 33rd brightest in the sky), followed by Dubhe (m 1.79), Alkaid, Mizar / Vashishta (m 2.23), Merak, Phecda, and Megrez. 

Note that Mizar / Vashishta is not the brightest, yet it is a well-known naked eye double star with the fainter star Alcor (Vashistha's wife, Arundhati - 'washed by the rays of sun'). This is the double-star, as Batliwala points out, that newlyweds in South India view formally because they rotate in perfect synchrony, and symbolise a balanced, harmonious, and lifelong marriage of mutual respect. References to this symbolic traditions are found in early Vedic literature, including the Rig Veda and especially the Brahmanas (like Taittiriya Brahmana). Out of the thousands of stars in the night sky how did the ancients decide to select this double star?

Batliwala goes on to describe other instances in ancient records and traditions that make us wonder about their perceptiveness:

  • The depiction of Varaha avatara in iconography carrying a round earth, long before the Egyptians of Greeks discovered that the earth was round;
  • Antares ("like-Mars"), the 16th brightest star in the sky was named "Jeshta" (biggest, eldest, oldest). How did they figure that this star is 40,000 bigger than the sun, ad one of the biggest stars known to man?
  • Rust-proof pillars - the one displayed in Delhi and another the Kollur pillar, said to have been built by tribals to welcome Adi Shankaracharya (8th century CE)
  • Metallurgy - Zinc extraction from ore was known for 4000 years . A difficult metal to extract because it liquifies at 997C and turns into gas at 1000C. So it had to be extracted within a 3 degree window. The ancients metallurgists did this by turning the furnace up-side down. This technology was copied by the Chinese and in turn, patented by William Champion (1709-89) in Britain
  • The value of Pi up to 30 decimals encoded in a Krishna sloka in the KatapayaSankhya format where numbers associated with alphabets: (eg., 1 = ka, ta, pa, ya)

Recently a few more examples turned up in a post titled, "How Much did the Ancients Know ? It’s fascinating". It records the work of one Dharampal (1922–2006), an Indian Gandhian thinker and independent historian who became known for re-examining India’s pre-colonial society using British archival records. 

Dharmpal notes that Hindu astronomers, many years BCE, represented the planets in ways that encoded precise astronomical knowledge. Jupiter was depicted with four dancing girls circling around it. Saturn was represented as a figure with seven arms, one of which grasped a ring. 

  • The Dancing Girls of Jupiter: Four moons of Jupiter were not known in Europe before 1609, when Galileo first observed them through his telescope. Even then, only the third and fourth satellites were occasionally visible to the naked eye, and only in the clearest atmospheric conditions. The fact that Hindu astronomical tradition represented Jupiter with exactly four attendant figures suggested a knowledge of these satellites that predated European discovery.
  • The Seven Arms of Saturn: Until 1783, European astronomy recognised only five satellites of Saturn. The sixth satellite was not discovered until 28 August 1789, when William Herschel identified it. The seventh satellite was observed by Herschel only after he had completed his grand telescope of forty feet focal length, and was first seen on 17 September 1789.

There is no mention of lenses or telescopes in the scriptures and records, so how did ancient Indians see and record details of celestial bodies with such amazing accuracy? 

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REFERENCES & LINKS

Katapayadi Sutra - https://www.eviolinguru.com/kadapayadi-sutra.html

https://en.wikipedia.org/wiki/Apparent_magnitude

https://en.wikipedia.org/wiki/Mizar

https://en.wikipedia.org/wiki/Alcor_(star)

How much did the ancients know? - https://substack.com/home/post/p-188261182 

Sunday, December 05, 2021

Revisited: Gupta Period Sculptures

Lighting changes everything. 

Last week I visited the Indian Museum in Kolkata after more than a decade, and I was struck by the way in which an improvement in the display of exhibits could bring about a qualitative change in the way people relate to them. It make you stop and observe more carefully, to spot variations in style that were missed out earlier, and to spend more time marvelling at the milieu, the social and cultural environment that enabled these artists to flourish. So much so that even a random visitor like me could begin to see clearly, for the first time, the differences between the various schools of art.

I was fascinated in particular by the earthliness and realism of sculptures created during a period that is known as the Golden Age of Indian Art - the Gupta Period (~ 100 to 500 CE). Quite unlike the idealised, supra-human versions of gods that are popular in modern iconography, here we see figures that look like  earthly, familiar, just like the the ordinary people who were walking past these exhibits in the museum. Sometimes the similarity is so striking it is hard to believe that these sculptures were created more than 1800 years ago!

Take for instance this panel of three pillars excavated from Bhuteshwara, near Mathura, in North India. On one side we have three lovely ladies  representing three Yakshis, and on the reverse you see scenes from the Jataka stories about the life of Bodhisatvas in their various incarnations.




Also unlike my visit a decade earlier, this time I was armed with the power of the internet on my mobile, so it did not take long to expand on the display tags, and learn that one panel depicted the Jataka tale  about Sibi, a king once celebrated for his righteousness.  This story is told in just three blocks on a single pillar - a little bird seeks refuge from a hawk, perched on the lap of the king; the hawk demands compensation from the king for having to give up its food, so the king cuts a part of his own to flesh to feed the hawk. 


The other two pillars seem to be from other stories though, featuring elephants and monkeys. Wonder where I could find some more details, not only about about the stories that have been sidelined here but also about the Gupta Period in general.





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REFERENCES & LINKS

* Indian Museum, Kolkata - Virtual Gallery -  https://indianmuseumkolkata.org/cmspages/virtual-gallery
* Google Arts and Culture - Life of Buddha in Indian Art - https://artsandculture.google.com/exhibit/the-life-of-buddha-in-indian-art/uwLycg_jrsTeKg


 

Sunday, May 20, 2018

Apasmara and the Loss of Recollection




Representation of Siva as Nataraja, or the 'God of Dance', is supposed to be the acme of classical Indian sculpture. 

Having seen it hundreds of times, in temples, museums, and even government offices (there is fine specimen in the North Block), I have always been drawn to  its face. Composed and serene while engaged in callisthenics within a ring of fire, he seems rather cool about a little guy getting squashed underfoot. 

As children we had always been told that this was the demon of ignorance being trampled, and that the dance itself represented the three cyclic states of the cosmos - creation (srishti), preservation (sthithi) and destruction (samhara). All this highbrow symbolism has been beyond my comprehension, and I could only marvel at the sheer dedication, effort and patience that had gone into making each of these amazing Chola bronzes.

Today, my own veil of ignorance was lifted a bit - thanks to a tweet from @ARaganathan72 that let me to a remarkable article in the Swarajya magazine - "Nataraja and Epilepsy: An Interpretation of the Cosmic Dancer".

The author, Anand Venkatraman is a neuro-surgeon, no less, at the Harvard University. His focus is on the little man getting trampled by the Cosmic Dancer and who goes by names such as Apasmara and Muyalaka. AV goes into the etymology of 'Apasmara', translates it from Sanskrit as "Loss of Recollection". Apasmara is also the term for epilepsy which is one among the  eight 'Mahagada' or dreadful diseases in Ayurveda texts.

Pointing to the fact that the Aztecs and the ancient Greeks considered epilepsy a sacred disease, AV highlights the link between epilepsy and memory:
"Memory is what links our existence from second to second. Memory provides us with a sense of continuity, a perception of an enduring self, and gives meaning to what would otherwise be seemingly random events."
Inside our brains, epileptic fits emerge from the Temporal Lobes where memories are encoded, and the Hippocampus which is "ground zero for the intersection of mind and brain, of the environment and the organism, as memories are etched into its structure like a DVD"

So the Nataraja reminds us to overcome our epileptic fits of forgetfulness, to reach out to the inner conciousness that unites us with the whole cosmos.

If 'Apasmara' has such a deep meaning, I now wonder what 'Muyalaka' means...also, why is the little demon doggedly holding on to a little snake?? 




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LINKS:
- Swaraj Article - "Nataraja and Epilepsy: An Interpretation of the Cosmic Dancer" - https://swarajyamag.com/ideas/the-nataraja-and-epilepsy-an-interpretation-of-the-cosmic-dancer
- On Apasmara / Muyalaka - https://www.yogapedia.com/definition/9098/apasmara