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Mathomathis would like to present an article on Sushruta Samhita | Medical treatment of inflamed ulcers based on the book Sushruta Samhita, volume 4: Cikitsasthana by Kaviraj Kunja Lal Bhishagratna | 1911 | 123,229 words. The article is a continuation from the previous article which was on: https://mathomathis.com/sushruta-samhita-medical-treatment-of-inflamed-ulcers-102/Readers are expected to complete reading the previous article, before proceeding further. Also, the article was adopted from the website: https://www.wisdomlib.org/, a detailed explanation is available on the website. Metrical Texts: The holy Dhanvantari, the foremost of the pious and the greatest of all discoursers, thus discoursed to his disciple Sushruta, the son of Vishvamitra. Different shapes of Sores: Author in the following section tries to describe the shapes of the various kinds of Vrana (sores or wounds) caused by weapons of variously shaped edges in the different parts of the human body. Traumatic ulcers have a variety of shapes. Some of these are elongated, others are rectangular, or triangular, or circular, while some are crescent shaped, or extended, or have a zigzag shape, and some are hollow in the middle like a saucer, and lastly some have she shapes of a barley corn (bulged out at the middle). An abscess or a swelling, due to the several Doshas and which spontaneously bursts out, may assume any of the aforesaid forms, while the one effected by a surgeon’s knife should never have a distorted or an improper shape. A surgeon thoroughly familiar with the shapes of ulcers is never puzzled at the sight of one of a terrible and distorted shape. Physicians of yore have grouped these variously shaped traumatic ulcers under six broad sub-heads, such as the Chinna (cut), Bhinna (punctured or perforated), Viddha (pierced), Kshata (contused), Piccita (crushed), and the Ghrishta (mangled or lacerated) Definitions: A traumatic ulcer which is oblique or straight and elongated is called a Chinna (cut) ulcer, while a complete severance of a part or member of the body is also designated by that name. A perforation of any of the cavities or receptacles of the body by the tip of a Kunta, spear, Rishti, or a sword or by a horn, attended with a little discharge, constitutes what is called a Bhinna (punctured) wound or ulcer. The Amashaya (stomach), the Pakvashaya (intestines), the Agnyashaya (gall-bladder?), the Mutrashaya (urinary bladder), the Raktashaya (receptacle of blood), the heart, the Unduka and the lungs constitute what is called the Koshtha (viscus). A perforation (of the wall of any) of the Ashayas causes it to become filled with blood which is discharged through the urethra, the anus, the mouth or the nostrils and is attended with fever, thirst, fainting fits, dyspnea, burning sensations, tympanites, suppression of stool, urine and flatus (Vata) with an aversion for food, perspiration, redness of the eyes, a bloody smell in the mouth, and feted one in the body and an aching pain in the heart and in the sides. Their detailed symptoms:- A perforation of the wall of the Amashaya (stomach) is marked by constant vomiting of blood, excessive tympanites and an excruciating pain. A perforation of the Pakvashaya fills it with blood and is attended with extreme pain, a heaviness in the limbs, coldness of the sub-umbilical region, and bleeding through the (lower) ducts and orifices of the body. Even in the absence of any perforation, the Antras (intestines) are filled with blood through the small pores or apertures in their walls in the same manner as a pitcher with its mouth firmly covered may be filled through the pores (in its sides), and a sense of heaviness is also perceived in their inside. A wound or an ulcer caused by any sharp pointed Shalya (shaft) in any part of the body other than the aforesaid Ashayas with or without that Shalya being extricated is called a Viddha (pierced one). An ulcer which is neither a cut nor a perforation or puncture but partakes of the nature of both and is uneven is called a Kshata (wound,). A part of the body with the local bone crushed between the folds of a door or by a blow becomes extended and covered with blood and marrow and is called a Piccita (thrashed) wound or ulcer. The skin of any part of the body suffering abrasion through friction or from any other such like causes and attended with heat and a secretion is called a Ghrishta (mangled or lacerated) wound or ulcer. Their Treatment:- A part or member of the body any wise cut, perforated, pierced or wounded which is attended with excessive bleeding and with the local Vayu enraged or aggravated by the incidental bleeding, or hemorrhage will occasion excruciating pain. Potions of Sneha (oily or fatty liquids) and using the same as a washing (in a lukewarm state) should be advised in such cases. Preparation of Veshavaras and other Krisharas largely mixed with oil or clarified butter should be used as poultices and fomentations with the Masha pulse, etc., and the use of oily ungents and emulsive Vastis (enematas) prepared with decoctions of Vayu-subduing drugs should be applied. A crushed or thrashed wound or abrasion is not attended with any excessive bleeding an absolute absence whereof, (on the contrary) gives rise to an excessive burning sensation and suppuration in the affected part. Cold washes and cooling plasters should be used in these cases for the alleviation of the burning and suppuration as well as for the cooling of the (incarcerated) heat. What has been specifically said of these six forms of ulcers, or wounds should be understood to include the treatment of all kinds of traumatic wounds or ulcers as well. Treatment of cuts or incised wounds etc.— Medical treatment of Chinna cuts. An open mouthed ulcer on the side of the head should be duly sutured as described before and firmly bandaged. An ear severed or lopped off should be sutured in the proper way and position and oil should be poured into its cavity. A Chinna cut on the Krikatika (lying […]
Mathomathis would like to present article on Indian Astronomy | Astronomical Dating of Events | 103 by the author Kosla Vepa Published by Indic Studies Foundation, 948 Happy Valley Rd., Pleasanton, Ca 94566, USA. Previous article can be found here (Indian Astronomy | Astronomical Dating of Events | 108 (Vikrama Samvat | Saptarsi Tradition)) Their website can be located Indicstudies.us. The studies is also conducted by N.S. Rajaram PhD. Author’s in the volume 1 of their research start their discussion on a topic called Why are History and the Chronology Important by Kosla Vepa PhD. The Western historians have tried to identify Kanishka era with 78 CE in their attempt to deny historicity of the Salivahana saka. Professor Sengupta had considered astronomical information from two kharosthi inscriptions which refer to regnal years of Kanishka , but could not match with the 78 CE date and so he proposed his own date for the starting of the Kanishka era. The inscriptions in question are no.26 and no. 35 in the Corpus Inscriptionum Indicarum Vol. II. edited by Sten Konow. According to the inscriptions, in the eleventh year of reign of king Kanishka, on the 20th day of Asadha, it was uttaraphalguni naksatra. In the year 61, on the 8th day of caitra, the naksatra was purvasadha. Know had concluded that the full moon day was the first day of the month in these inscriptions. Sengupta correctly pointed out that there is no such Indian system in which the first day of the month is the full moon day. The months are full moon ending months and the 20th day of Asadha of the inscription would correspond to sravana sukla panchami and 8th day of caitra would correspond to caitra krsna astami. With these calendrical data, when Sengupta tried to calculate the dates based on the 78 CE as the beginning of Kanishka era, he could not quite match the data from the inscriptions. So he proposed that the Kanishka era be started from December 25 of 79 CE, nearly two years after the Salivahana saka. But, based on the list from Rajataragini, Kanishka’s date would be 1298 BCE. The eleventh and sixty-first years would be 1287 BCE and 1237 BCE respectively. Figure A shows the star map for June 23, 1287 BCE, it is sravana sukla pancami uttaraphalguni, an exact match to the inscription. Figure B shows the star map for March 1, 1237 BCE, caitra krsna astami, also an exact match to inscription no. This clearly establishes the consistency of the record in rajatarangini with the kharosthi inscriptions and hence the miss-identification of Kanishka era by the Western historians. Author Concludes as following: The real history of Bharata is preserved in its itihasa and purana texts. The Chronology is comprehensive and cogent. Simulations of the astronomical data preserved in these texts, using modern planetarium software, have attested the coherence of the chronology. From the date of the Mahabharata war, the sarpa yaga of Janamejaya, the date of Buddha, Asoka Maurya, Kanishka, Adi Sankara, the Gupta period, through the Vikrama and Salivahana sakas, the chronology exhibits a continuous flow which has been convincingly demonstrated by the simulations using planetarium software. The consistency is staggering. Many of the sticky points with ‘traditional chronology’ of the historians is simply resolved with these stimulations. There is still a large body of inscriptional data awaiting validation by simulations using the planetarium software.
Mathomathis would like to present an article on Cosmo Graphical Mapping by JOSEPH E. SCHWARTZBERG. The following article would start a conversation on a topic called as: Celestial Mappings To speak of celestial mapping as a part of the cosmographical tradition of traditional Hindu culture is perhaps to extend the meaning of “mapping” beyond its customary limits. Nevertheless, attempts have been made, since ancient times, to present orderly graphic portrayals of portions of the heavens in painting, sculpture, and architecture. The relevant literature is extensive. It derives on the one hand from art historians and on the other from historians of astronomy, and author have studied and understood only a small portion of the total corpus and none of it from primary sources in Sanskrit and other Indian languages. Thus, in what follows author can do no more than to provide a brief sketch of a few of the means and forms by which attempts at celestial mapping, broadly conceived, have been carried out and to indicate something of the emergence on Indian soil of certain centers of observational astronomy that sought to arrive at more objective and accurate views of the heavens than those that sufficed for most religious purposes. The development in India of anthropomorphic icons to represent heavenly bodies may be traced back to the time of the Kusanas (first century A.D.) in the case of Surya, the sun-god; to the mid-second century in the case of the planetary deities (grahas), including the sun and moon; and at least to the sixth and seventh centuries, respectively, in the cases of Rahu and Ketu, the deities associated with eclipses. These “planetary deities,” nine in all, were designated by the Sanskrit term navagrahas and were customarily portrayed in a fixed order, beginning with the seven that in turn exercised their lordship over the days of the week (sun, moon, Mars, Mercury, Jupiter, Venus, and Saturn) and ending with Rahu and Ketu. They so appear in innumerable sculptures (especially on the lintels over the portals of temples), in paintings, and in other forms. Although their early manifestations would hardly be described as maps, we do find in later cosmographies, some of which are described below, the maintenance of both the icons and the order established in ancient times. Iconographic portrayals of astronomical phenomena were not confined to the navagrahas. “In some interesting paintings of the schools of Rajasthan and of Deccan we can see personifications of the lunar days (tithi), of the hours of good auspices (muhurta), of the days of the week (dina, vara), of the months (masa), of the years (varsa), of the stars (naksatra), of the signs of the zodiac (rasi), etc. These are based on iconographic texts often reproduced in the same pictures.” Plate 27 provides a characteristic example of the way naksatras (groups of stars near the plane of the ecliptic separating various lunar mansions) have been portrayed in Rajasthan in recent centuries. Not all symbols used to represent astronomical features in painted cosmographies were pictorial. As Tantric Hinduism developed, its use of essentially geometric astronomical (and astrological) charting came to be quite important. This esoteric tradition has given rise to numerous rather varied and often complex astronomical drawings, many of which have recently found their way into semipopular art books. Author, have not found it possible to study the original sources, which are never cited in the works he has seen. Nor author have been able to translate the abundant text or interpret the mathematical formulas that characteristically accompany the published drawings. Author have referred above to a pair of huge cosmographic paintings in Minaksi temple in the south Indian city of Madurai, both recent (1963 and 1966) replacements for accidentally destroyed works that were originally executed in 1568. One of this pair, entitled Bhugolam (the earth) has already been described. The other (Figure 1), several meters to the left of it and of the same size (about 4.25 X 4.25 m), is designated Khagolam (the celestial dome). Although there is a bit of hindrance for explaining the details of the painting with confidence, He suggests that, much of it could correspond fairly well to the following summation, by Pingree, of a portion of the cosmological sections of various Puranas. [About Figure 1: This oil painting on canvas is in the waiting hall of Minaksi temple, Madurai, Tamil Nadu. It is a repainting (1966) of an original dated 1568. This diagram is believed to represent, among other things, the twelve zodiacal months; the paths of the sun, moon, and five known planets; and presumably the ties of the celestial deities Rahu and Ketu to other heavenly bodies. Size of the original: approx. 4 X 4.5 m. Photograph by Joseph E. Schwartzberg.] Above the earth’s surface and parallel to its base are a series of wheels the centers of which lie on the vertical axis of Meru, at the tip of which is located the North Polestar, Dhruva. The wheels, bearing the celestial bodies, are rotated by Brahma by means of bonds made of wind. The order of the celestial bodies varies; the earliest seems to be sun, moon, naksatras, and Saptarishis (Ursa Major). Some Puranas place the grahas (planets) between the moon and the naksatras; in others, interpolated verses add Mercury, Venus, Mars, Jupiter, and Saturn (in that order) between the naksatras and the Saptarishis. Which of the many concentric circles shown in figure 1 represent the orbits (wheels) noted in the previous description is uncertain. But it seems safe to assume that the male and female figures seated in the center of the painting represent the sun and the moon, respectively, and that the wheels for the planets occupy the relatively light space between the more central and more peripheral groups of concentric rings. Radiating outward from the center of the diagram are twelve spokes that may be described as like hour divisions of a clock. Presumably these are the divisions between the twelve zodiacal months. The spokes vary in color. Those at […]
Mathomathis would like to present an article on: Yajnavalkya Smriti | Vyavahara Law. The following article is an continuation from the previous article Yajnavalkya Smriti | Vyavahara Law | 103. Readers are expected to complete the previous article, before proceeding here. Two Major Divisions of Law: In the post Smrti period, a large amount of commentaries on various Smrtis were produced. While commenting the older texts, the commentators used to incorporate regional customs and practices in their law books for extending and elaborating the existing laws. Accordingly a work written in a particular locality became the law of that locality. Thus several schools of law were emerged in different regions and they are broadly grouped into two divisions called Mitaksara system and Dayabhaga system. Mitaksara system had its development basing the Mts commentary of Vijnanesvara on the code of Yajnavalkya. Dayabhaga school takes its name after the work entitled Dayabhaga written by Jimutavahana, who might have flourished in the early part of the 12 century A.D. This text appears to be a chapter of a vast treatise on Dharmasastra composed by the author. But this chapter only is now extant. The Dayabhaga had been accepted as the supreme authority in Bengal in matters of Hindu law such as inheritance, partition and Stridhana. In all other parts of India the Mitaksara was accepted as paramount authority. These two schools of law fundamentally differ in two main particulars, namely the joint family system and the law of inheritance. The Mitaksara system was based on the principle that the property belongs jointly to the men of the family. The sons, grandsons and great grandson’s sons acquire right to the ancestral property by birth. This is called ‘Janmasvatvavada’ or the theory of ownership arising on birth. But in Dayabhaga school they can acquire it only after the death of the father. There is no right by birth. This is called ‘Uparamasvatvavada’ or the theory of ownership arising on death. In these two systems all the rules and regulations on partition and inheritance are governed by these two basic principles. The Commentaries on Mitaksara: As stated earlier, Mts was accepted as an authority in almost all parts of India, except in Bengal. Because of its widespread acceptance, numerous commentaries have been produced on this work. P. V. Kane has enlisted nine commentaries which are: Subodhini by Visvesvarabhatta Balambhatti by Balambhatta Pramitaksara or Pratitaksara by Nandapandita Mitaksarasara by Madhusudana Gosvami Siddhantasangraha by Radhamohansarma Vyakhyanadipika by Nirdurivasavopadhyaya and Other three commentaries, the names of which are not known, written by Halayudhabhatta, Mukundalal and Raghunatha Vajapeyi. Among them those of Visvesvarabhatta, Balambhatta and Nandapandita are more important. Subhodhini of Visvesvarabhatta: Visvesvarabhatta whose probable date can be considered as the later half of 14th century A.D. was a portage of Madanapala who belonged to the family of ‘Taka’ kings of ‘Kastha’, a city on the banks of Yamuna River to the north of Delhi. The author himself gives his whereabouts in the Subhodhini commentary and also in the introduction of his work called Madanaparijata. P.V. Kane points out that Visvesvara was a native of the Dravida country and in search of patronage he reached the court of Madanapala. It is believed that the four Dharmasastra works, Madanaparijata, Smrtimaharnava, Tithinirnayasara and Smrtikaumudi attributed to Madanapala, were actually composed by Visvesvarabhatta himself. Subodhini might have been written before his migration to North India. This is considered as the most celebrated commentary on Mts. Visvesvarabhatta does not comment each word of Mts, but gives only useful expositions of the difficult provisions of the text. This text with an English translation has been published by Sri. J.R. Gharpure in the Hindu Law text Series. Balambhatti by Balambhatta: Balambhatti, otherwise known as Laksmivyakhyana, on Mts is almost the latest work in ancient Indian law. The date of this commentary can be fixed as later half of the 18 cen. A.D. as a manuscript of the Acarakanda of this work is dated Samvat 1831 which corresponds to 1774-75 A.D. The authorship of the work is an enigmatic one. In the introductory verses of the commentary it is stated that it is written by Laksmi, wife of Vaidyanathapayagunda: But several references in the text make one suspect that it was written by Balakrishna, son of Vaidyanathapayagunda. After an elaborate discussion, P.V. Kane concludes thus: “Therefore it follows either that the Balambhatti was composed by Vaidyanatha himself and ascribed to his wife or that the work was composed by Balakrishna alias Balambhatta son of Vaidyanatha and was ascribed to his mother.” This voluminous work consisting of 10000 verses is the most elaborate commentary on Mts. Among the three portions, Prayascitta is very brief while the other two, Acara and Vyavahara are much exhaustive. The commentator has given more importance to the Acara section and so it gets the status of an independent work. This text is also edited by J.R. Gharpure and published in 1914. An English translation also is available. Pramitaksara or Pratitaksara by Nandapandita: Nandapandia, an esteemed exponent of the Mitaksara in the Banares sub-division, has written a commentary on Mts which is referred to as Pratitaksara in his Vaijayanti commentary on Visnudharmasutra:It seems that the author has not completed this work. Only fragments are found with his descendants. The author is a voluminous writer on Dharmashastra and has credited with the authorship of more than ten works in this field. His Dattakamimamsa is accepted as an authority on adoption throughout India. He lived between the later half of the 16th century and the first half of the 17th century. The Sub-schools of Mitaksara System: Due to the difference of various conditions in the society and the customary practice of different regions, the Mitaksara system itself was adopted with certain local variations in different parts of the country. As a result, this system came to be subdivided into four minor schools namely Benares School Mithila School Maharastra or Bombay School and Dravida or Madras School. The Benares school, covering a substantial portion of Northern India, […]
Mathomathis would like to present the article on the Vaimanika Shastras – Vimana Shastras by Maharshi Bharadwaaja Propounded by Venerable SUBBARAYA SHASTRY Translated into English and Edited, Printed and Published by G.R. JOSYER SCHOLAR, HISTORIAN, ESSAYIST, SANSKRITIST Printed at CORONATION PRESS, MYSORE-4, INDIA. Readers are advised to complete the previous article Vaimanika Shastras – Vimana Shastras | 101 before proceeding further. Bharadwaaja thus defines the word Vimaana, Sutra 1:- Vega Saamyaat Vimaano Andajaanaam | “Owing to similarity of speed with birds, it is named Vimana.” Bodhaananda Vritti: The word “andaja” means “egg-born”, and includes eagles and other birds which fly by their own volition. The Vimana is a vehicle which flies in the sky with speed comparable with birds. Lallachaarya says, “That which can fly in the sky with speed equal to that of birds, is called Vimaana.” Aachaarya Naaraayana says, “That which can speed on earth, on water, through air, by its own power, like a bird, is a “Vimana.” Shankha says, “Experts in the science of aeronautics say, “That which can fly through air from one place to another is a Vimaana” And Vishwambhara says, “Experts say that that which can fly through air from one country to another country, from one island to another island, and from one world to another world, is a “Vimaana”.” Having thus defined the name of the Vimana, the sage proceeds to describe its details. Maharshi Bharadwaaja Sutra 2:- Rahasyagnyodhikaaree | “The pilot is one who knows the secrets.” Bodhaananda: Scientists say that there are 32 secrets of the working of the Vimana. A pilot should acquaint himself thoroughly with them before should acquaint himself thoroughly with them before he can be deemed competent to handle the aeroplane. He must know the structure of the aeroplane, know the means of its take off and ascent to the sky, know how to drive it and how to halt it when necessary, how to manoeuvre it and make it perform spectacular feats in the sky without crashing. Those secrets are given in “Rahasya-Lahari” and other works, by Lalla and other masters, and are described thus: “The pilot should have had training in mantrica and tantrica, kritaka and antaraalaka, goodha or hidden, drishya and adrishya or seen and unseen, paroksha and aparoksha, contraction and expansion, changing shape, look frightening, look pleasing, become luminous or enveloped in darkness, deluge or pralaya, vimukha, taara, stun by thunderous din, jump, move zig-zag like serpent, chaapala, face all sides, hear distant sounds, take pictures, know enemy manoeuvres, know direction of enemy approach, stabdhaka or paralyse, and karshana or exercise magnetic pull. These 32 secrets the pilot should learn from competent preceptors, and only such a person is fit to be entrusted with an aeroplane, and not others. They are explained thus by Siddhanaatha: Maantrika: As prescribed in “Mantraadhikaara” by invoking the mantras of Chhinnamasta, Bhairavee, Veginee, Siddhaamba, acquire the powers of ghutikaa, paadukaa, visible and invisible and other mantras with potent herbs and efficacious oils, and Bhuvaneswaree Mantra which confers spiritual and mesmeric powers, to construct aeroplanes, which don’t break cannot be cut, cannot be burnt, and cannot be destroyed. Taantrika: By acquiring Mahaamaaya, Shambara, and other taantric powers, to endow the plane with those powers. Kritaka: By study of architects like Vishwakarma, Chhaayaaparusha, Mann, Maya and others, to construct aeroplanes of various patterns. Antaraala: In the wind-swept atmospheric region of the sky, in the clash at the borders of mighty currents, an inadvertent plane is likely to be smashed to pieces. But by getting warned of the approach of such danger spots, the plane could be halted and steered with care. Goodha: As explained in ‘Vaayutatva-Prakarana’, by harnessing the powers, Yaasaa, Viyaasaa, Prayaasaa in the 8th atmospheric layer covering the earth, to attract the dark content of the solar ray, and use it to hide the Vimana from the enemy. Drishya: By collision of the electric power and wind power in the atmosphere, a glow is created, whose reflection is to be caught in the Vishwa-Kriyaa-darapana or mirror at the front of the Vimana, and by its manipulation produce a Maaya-Vimaana or camouflaged Vimana. Adrishya: According to “Shaktitantra”, by means of the Vynarathya Vikarana and other powers in the heart centre of the solar mass, attract the force of the ethereal flow in the sky, and mingle it with the balaahaavikarana shakti in the aerial globe, producing thereby a white cover, which will make the Vimana invisible. Paroksha: According to “Meghotpatthi-prakarana,” or the science of the birth of clouds, by entering the second of the summer cloud layers, and attracting the power therein with the shaktya – Akarshana darpana or force-attraction mirror in the Vimana, and applying it to the parivesha or halo of the Vimana, a paralysing force is generated, and opposing Vimanas are paralysed and put out of action. Aparoksha: According to ‘Shakti-tantra,’ by projection of the Rohinee beam of light, things in front of the Vimana are made visible. Sankocha, or Contraction: As prescribed in the Yantraangopasamhaara section, when the Vimana is flying at speed with fully extended wings, and there is danger ahead, turning the 7th switch in the Vimana, its parts can be made to contract. Vistrita: According to ‘Akaashatantra’, when the Vimana is in the central air flood in the third and first regions of the sky, by turning the switch in the 11th section of plane, it becomes expanded suitably according to “Valmeeki Ganita” Viroopa Karana: As stated in “Dhooma Prakarana”, by producing the 32nd kind of smoke through the mechanism, and charging it with the light of the heat waves in the sky, and projecting it through the padmaka chakra tube to the bhyravee oil-smeared Vyroopya-darpana at the top of the Vimana, and whirling with 132nd type of speed, a very fierce and terrifying shape of the Vimana will emerge, causing utter fright to onlookers. Roopaantara: As stated in “Tylaprakarana,” by preparing griddhrajihwaa, kumbhinee, and kaakajangha oils and anointing the distorting mirror in the Vimaana with them, applying to […]