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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 Purusha Sukta by author Zachary F. Lansdowne Ph.D (who served as President of the Theosophical Society in Boston, has been a frequent contributor to The Esoteric Quarterly. His book The Revelation of Saint John, which provides a verse-by-verse analysis of the entire Revelation, was reviewed in the Fall 2006 issue). The following article is a continuation from the previous article The Purusha Sukta | Human Evolution | 103. Verses 15 and 16 would be presented in the following post. 15. Seven were his altar sticks, three times seven were the kindling bundles, when the gods, performing the sacrifice, bound the beast Purusha. Human beings, like their prototype, face seven inward initiations that are milestones for three interrelated schemes of evolution, are subject to various hierophants who administer these initiations, and remain prisoners of the planet until they complete them. This verse is applicable to either human beings or the Planetary Logos. First, let us consider its application to human beings. Initiations, which are mentioned in the commentary for the fifth verse, occur during inward ceremonies. Bailey writes, “This ceremony of initiation marks a point of attainment. It does not bring about attainment, as is so often the misconception. It simply marks the recognition by the watching Teachers of the race of a definite point in evolution reached by the pupil.” Thus, initiations could be thought of as milestones for the evolutionary journey of human beings. An altar stick burning with fire symbolizes an initiation ceremony that is taking place because, as Bailey says, “An initiation is a blaze of illumination.” In the verse, the seven altar sticks indicate that human beings face, or have as a prospect, seven initiations on their evolutionary journey. These altar sticks are not yet burning, indicating that the seven initiations do not take place at the beginning of the evolutionary journey but instead lie ahead. Bailey has the same time orientation when she writes, “There are five initiations ahead of the disciple, with two more ahead of the Master, making in all seven initiations.” After human beings undergo five initiations, they become a “Master,” which means that they have become a member of the spiritual kingdom and therefore a candidate for the two remaining initiations. The verse says, “three times seven were the kindling bundles.” Here, the phrase “three times seven” is the literal translation of the original Sanskrit words. Some translators carry out this multiplication and assume that the Sanskrit words denote the number “twentyone.” What else could the phrase “three times seven” mean? The number seven has a symbolic meaning in the Rig Veda, as Aurobindo explains: “The number seven plays an exceedingly important part in the Vedic system, as in most very ancient schools of thought. We find it recurring constantly—the seven delights … ; the seven flames, tongues or rays of Agni … ; the seven forms of the Thought-principle … ; the seven rivers … All these sets of seven depend, it seems to me, upon the Vedic classification of the fundamental principles, the tattvas, of existence … In the Veda, then, we find the number of the principles variously stated … But the full number ordinarily recognized is seven.” As in the sixth verse, “kindling” symbolizes the limitations that support the continuation of the evolutionary process. If we regard the number seven as a symbol of completion, then seven “kindling bundles” symbolize a complete scheme of evolution; so three sets of seven kindling bundles symbolize three complete schemes of evolution. These multiple schemes of evolution must refer to different vehicles of consciousness because more than one scheme cannot be associated with the same vehicle. These schemes must be interrelated because they have common milestones. What might these schemes be? Blavatsky writes, “It now becomes plain that there exists in Nature a triple evolutionary scheme … or rather three separate schemes of evolution, which in our system are inextricably interwoven and interblended at every point. These are the Monadic (or spiritual), the intellectual, and the physical evolution.” The word hierophant comes from the Greek word (hierophantes) that means “one who shows sacred things.” It was the title of the chief priest at the Eleusinian Mysteries, which were outward initiation ceremonies held in ancient Greece. Bailey uses this title to denote the chief officer at an inward initiation ceremony and says that the identity of this officer depends upon the initiation being taken. For example, she writes, “At the seventh initiation … the Logos of our scheme on His own plane, becomes the Hierophant,” which means that the Planetary Logos Himself administers the seventh initiation. A human being is a prisoner of the planet, but, as Bailey explains, such a prison house enables evolution to occur: “Into the prison house of form enter all that live; some enter consciously and some unconsciously, and this we call birth, appearance, incarnation, manifestation … This produces therefore in the world field of awareness a gradual and slow growth towards self expression, self-appreciation, and self realization… Finally the time arrives when the Principle of Liberation becomes active and a transition is effected out of a prison house that cramps and distorts into one that provides adequate conditions for the next development of consciousness.” The symbols in the above verse also apply to the Planetary Logos because Bailey states: “Our Planetary Logos has for objective seven initiations.”36 Bailey goes on to say that “the cycles in the evolutionary process of all these Entities [a Solar Logos, a Planetary Logos, and a human being] may be divided mainly into three groups” and that “the ‘prisoners of the planet’ … [include] the Planetary Logos.” Further, she states that the hierophant is “a Cosmic Logos in the initiations of a Solar Logos, and of the three major Planetary Logo,” and is “a Solar Logos in the initiations of a Planetary Logos.” Here, “Cosmic Logos” denotes a composite Life who is even greater than the Solar Logos. 16. The gods sacrificed […]
Mathomathis would like to present an article on Time-Frequency Analysis of Chanting Sanskrit Universal Sound “OM” Mantra by author:- Ajay Anil Gurjar and Siddharth A. Ladhake | Sipna’s College of Engineering & Technology, Amravati University, Maharashtra, India To incorporate spiritual welfare in step with our substance welfare, meditation provides as a way. Highly sensitive expressive experienced people are more probable to be satisfied and efficient in their life in recent days. It turns out that simultaneously they cannot give concentration and think discursively. Whether in the medical or technological or social spheres, to develop our excellence of life, human venture has sought all down the ages. Promoting the quality of our mind together with our material standard of living is essential to improve our quality of life. To deal with the increasing stress of modern standard of living, Humanity is progressively turning in the direction of different meditative practices. People have been heading for their gawk inwards in propose to attain peace of mind, since they are not capable to locate steadiness in the external world. Modern psychotherapists have begun to discover various therapeutic benefits of meditation practices. Meditation induces the state of relaxation and the altered state of consciousness. They are particularly efficient in psychotherapy. However, for inculcating a more positive attitude in the direction of life at large, meditation is being utilized as a personal growth device over everything else recently. For psychological stress, Speech signal is uttered to be a considerable indicator. The speech signal expresses the information enclosed in the vocal word. As with several real-world signals, Speech signals are non-stationary. Hence the frequency contents changes diagonally the time; Fourier analysis is unconvincing. Speech signal processing refers to the acquisition, manipulation, storage, transfer and output of human utterances by a computer. The main goals are the recognition, synthesis and compression of human speech. Speech signals are including the features such as temper, physical characteristics and added pragmatic information. Most of these characteristics are audible as well. Concerning 25% of information enclosed in a clean speech signal refers the speaker. Through abstract psychological procedures speech production initiates the aspiration to communicate and the thought that is to be communicated. There are quantities of human verbal communications that are effectively non-linguistic, even if speech is an oral action which is greatly verbal. Tone of voice excellence, prosody, rhythm and pausing are the non-verbal characteristics. For a non-verbal signaling system, these phenomena stand which interweave with the verbal or linguistic system. In the midst of supplementary things, information about the physiological and psychological condition of the speaker is carried by the non-verbal content of the voice. Since, undoubtedly perceptible (nonverbal) action typifies human beings; they are capable of identifying dissimilar states. Our mind is entirely permitted to focus and give attention extra on sound by the repetition of Mantra i.e. chanting. The additional features that distract our energies for instance other thoughts, sensations and interruptions are too cleaned away by the repetition of mantra. As the mind clears away the mess of unnecessary internal discourse, our senses become more heightened and mind becomes sharper and perspective. The theory in using mantras or chanting is that the body and mind begin to resonate with the frequency of the voice, helping to organize thoughts and consciousness. Reciting a mantra continuously “purifies the speech and ‘protests the mind’ by maintaining a constant spiritual connection; and of course it helps disperse mental chatter”. If there is no religious preference then the sound vibration ‘OM’ is a universally recognized mantra .The sound of OM is also called Pranava, meaning that it sustains life and runs through Prana or breathes. The OM is composed of three letters, A, U, and M. These symbolize the practitioner’s impure body, speech, and mind Chanting OM (AUM) will bring us to a state of purity in body mind and soul. The chanting of ‘OM’ mantra drives away all worldly thoughts and removes distraction and infuses new vigor in the body. Modern science has to reaffirm that OM mantra chanting allows our mind to focus and clear away unnecessary thoughts, sensations and distractions which divert our energies. In this paper, by utilizing signal processing techniques OM mantra chant signal is analyzed to endorse its effects on consciousness and steadiness of mind. The Time-Frequency analysis is performed on the OM chant signal using wavelet transforms. Our analysis results confirm that the chanting of OM mantra will improve our consciousness and give steadiness to mind by clearing all worldly thoughts. Mantra:- Mantra is intrinsically related to sound and sound is reverberating in everything in this universe. A Mantra is a sound repeated over and over until it integrates into our consciousness – frees the mind from its constant doing, and elevates us to an altered state of awareness. In this state, we can connect with our soul at its most profound level, achieving a state of universal consciousness. Mantras have some features in common with spells, in that they are a translation of the human will or desire into a form of action. As symbols, sounds are seen to effect what they symbolize. Mantra has been called the sound-body of God: It is God in the form of sound. Mantra helps to quieten the mind. It works because it actively chases away our errant thoughts. Mantra helps to clear our mind and purify our inner being. This purification is essential to good meditation. OM Mantra:- The basic mantra is OM or ‘Aum’, which in Vedic dharma is known as the ‘pranava mantra,’ the source of all mantras. If there is no religious preference then the sound vibration ‘OM’ is a universally recognized mantra. It is the representation of the Supreme Being. The past, present and the future are all included in this one sound. Meditation on this sacred syllable is said to satisfy every need and leads to liberation. The power of chanting the OM mantra is as follows: The chanting of OM drives away all worldly thoughts and removes distraction […]
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 | 103) Their website can be located Indicstudies.us. The studies is also conducted by N.S. Rajaram PhD. Author’s in the volume 1 of thier research start their discussion on a topic called Why are History and the Chronology Important by Kosla Vepa PhD. Simulations using Planetarium Software and the date of the war: A search is made for the years in which there is a conjunction of Saturn (sani) with Aldebaran (Rohini) between 3500 BCE and 500 CE. As Saturn takes an average of 29.5 years to go around the sun once, the event also repeats with the same period. There are 137 such conjunctions during the interval specified in the previous section/articles. A search is then made for those years from among these 137 dates when Mars (angaraka) is retrograde before reaching Antares (Jyestha). Since the retrograde motion of Mars repeats with the same period as its synodic period, a spread of two years on either side of each of the dates was considered in the search. The search reduced the set to just seventeen: 3271 BCE, 3067 BCE, 2830 BCE, 2625 BCE, 2388 BCE, 2183 BCE, 1946 BCE, 1741 BCE, 1503 BCE, 1299 BCE, 1061 BCE, 857 BCE, 620 BCE, 415 BCE, 28 CE, 233 CE and 470 CE, when Saturn was near Aldebaran and Mars executed a retrograde motion before reaching Antares. A search is then made for those years in which there is a lunar eclipse near Pleiades (i.e., on the Karthika Purnima). This reduces the set to just two, 3067 BCE and 2183 BCE. It turns out that in both of these years the lunar eclipse is followed by a solar eclipse at jyestha. A sequence of ‘two eclipses within a period of 13 days also occurs in the two eclipse seasons. When one considers the fact that Bhisma passed away on the Magha Shukla Astami, after the occurrence of winter solstice, a unique date results, for the winter solstice in January 13, 3066 BCE occurred on sukla panchami where as the winter solstice in 2182 BCE occurred on Krishna Chaturthi. Thus a unique date of 3067 BCE for the date of the war emerges. The author has shown that this date is consistent with all the other astronomical references in the epic in several publications with the help of copious illustrations of star maps generated by Planetarium software. Some of them will be included as part of this essay by way of illustration Illustrations: Astronomical events are reproduced, shown from the figure(s) below (Star Maps). In the 1st Figure, the day lord krishna starts on his diplomatic mission, it is clearly seen that moon is near revati, and sani is at rohini. Second Figure, shows the full moon in kartika, it also happens to be a lunar eclipse day. At this time, lord krishna is busy with the peace talks in Hastinapura. In the 3rd Figure, lord krishna rides with Karna after the failure of the peace mission, it is Uttaraphalguni. Seven days from that day, it will be amavsya at jyestha. Lord Krishna sends the message to Bhisma and Drona to start the war rituals that day. 4th Figure shows the star map for that that day, which is also a solar eclipse day. The retrograde loop of Mars in that year is also shown in the figure. The retrograde motion of Mars before reaching Jyestha had occurred several months earlier. 5th Figure shows the day the war starts: moon is at bharani. 6th Figure shows the fourteenth day, when the war continues until the wee hours (mean the early hours of a day, or the period immediately after midnight) of the morning and stops when the moon rises. 7th Figure shows the last day of the war, it is Shravana Nakshatra and lord balarama returns. 8th Figure shows the day of Bhima’s expiry: Shukla Astami, Rohini Nakshatra. The sheer volume of astronomical data and the consistency of the astronomical references reinforce conclusively the traditional belief that the war took place about five thousand years ago, and that the astronomical references are not clever interpolations of some latter day astronomer. The date established, 3067 BCE, provides the ‘sheet-anchor’ for the history of India The uniqueness of this date: It should be noted that the date of 3067 BCE has been derived entirely on the basis of astronomical information found in the epic alone. No information from any other outside source has been used. This date is identical to the date proposed by four other scholars. However, more than forty scholars have proposed a date for the Mahabharata war ~3000 BCE. Of these seventeen have proposed 3102 BCE, ten other authors have proposed 3101 BCE, seven authors have proposed 3139 BCE, some 3138 BCE, and 3137 BCE respectively. The question naturally arises which should be accepted and which should be rejected, if any. It is very easy to demonstrate that none of these dates can reproduce the astronomical events as described in the epic. For example, Figure shown below the star map for October 19, 3138 BCE, it is jyestha amavasya, and according to Dr. Vedavyas, war began on that day. However, the day of jyestha amavasya is required to be a solar eclipse day, as per the conversation between lord krishna and and Karna: rahurarkamupesyati…and..saptamacchapi divasad amavasya bhavisyati….tamahuh sakradevatam but October 19, 3138 BCE is not a solar eclipse day. The solar eclipse in that year had occurred on August 21 near [email protected] and not near jyestha. Furthermore, Shani is at mula and not rohini, and angaraka is at ardr (where he becomes retrograde later in the year) and not past anuradha having become retrograde before reaching jyestha as described in the epic. In short, none […]
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. The following article would be presented on Types of Vimanas, i.e. different type of flying vehicles or aircrafts or aeroplanes depicted in the Vimana Shastra’s. Before proceeding further on the following article, its advised to complete the previous article on: Types Of Vimanas | Sundara Vimana | 102 “Atha Rukma Vimana Nirnayaha” | Next the principles of Rukma Vimana Maharshi Bharadwaaja Sutra 1: “Rukmascha” Sootra” | “Rukma too” Bodhaananda Vritti: This vimana is of golden colour. Therefore it is called Rukma vimana, Rukma meaning gold. The Rukma should be made out of Raajaloha only. By duly processing, Raajaloha can be made to assume golden colour. That metal should be used for the vimana. “Yaana-Bindu” says:- “After first producing golden colour for Raajaloha, the vimana should be formed.” “Varna-sarvasva” mentions the colouring process: Praana-kshaara or ammonium chloride 4 parts, wild Bengal gram 32 parts, shashakanda (or lodhra?) benzoin? 18 parts, naaga or lead 20 parts, sea-foam 16 parts, maakshika or iron pyrites 6 parts, panchaanana or iron 20 parts, paara or mercury 15 parts, kshaara-traya or 3 kinds of salt: natron, salt-petre, borax, 28 parts, panchaanana or mica 20 parts, hamsa or silver 17 parts, garada or aconite 8 parts, and panchaamrita or 5 sweets–curds, milk, ghee, sugar, honey, these should be filled in the melter, and after boiling, and drawing the liquid through two outlets, fill in the crucible and place in furnace, and blow to 800 degrees’ heat, and then transfer it to the cooler. That will be Raajaloha, pure, golden-coloured, tensile, and mild. The vimana, made out of this loha or alloy, will be very beautiful and delightful. The Peetha:- The peetha or ground plate of the Rukma vimana should be tortoise-shaped, 1000 feet long, and 1 foot thick, or any other desired size. On its eight sides, 20 feet long spaces should be fixed underneath the peetha. At each centre fixtures like birds’ beaks should be attached with revolving keelakas. Then double iron-balls or wheels, in couples, should be fixed in each of the 8 centres. Ayas-chakra:- Lalla gives the form of ayaschakra-pinda: 12 feet long and wide, and 8 kankushtas in weight, they should be made round like a grind-stone. They should be inserted in the beaks at the 8 centres. From each chakra-pinda up to the electrical generator chain wires should be connected with switches. Batinikaa-Stambha Or Button-switch pole:- One foot wide and 4 feet high poles should be fixed. They should have switches wired up to the electric pole. 8 inches wide wheels should be fixed in the middle of the pole, on either side, with wires. From the electric pole chain wires should enclose the wheels and be fixed in another pole with inside hinges. On the top of the poles should be fixed goblet shaped cups with button-switches like half-blooms with wheels and keys, so that on pressing the button with the thumb the wheels in the other pole will revolve from electric contact. Then the wheels in the electric pole will also revolve, producing 5000 linkas of speed. Flying Due to this electrical force, the ayah-pinda wheels beneath the peetha will beat against it and make it rise and move upwards. And by moving the switches of the wheeled poles above the peetha, the poles will revolve with speed, and accelerate the speed of the vimana. By the concussion of the wheels underneath, and the action of the poles above, the vimana will move upwards and gain height and fly with dignity. Electric tube wheels aiding flight:- Above the peetha, naalas or tubes should be fixed at 1 foot intervals. On both sides of each naala toothed wheels 2 feet wide and 1 foot high should be fixed with proper keelakas. Taking electric wires through the keelakas, and passing over the wheels and reaching the foot of each naala, they should be attached to wheels 3 feet wide and 3 feet high. In the midst of 20 naalas a pole should be fixed in the centre. Narayana says:- Preparing a pillar 4 feet wide and 4 feet high, and making a 2 feet opening in its middle, fix keelakas at the top, middle, and lower end of the opening. Two keelakas with 6 wheels, with glass coverings, with wires, and naala and leather covering should be fixed at the lower end for attracting electricity. In the middle part of the opening, for transmitting the current, a five-faced keelaka should be fixed, with 5 wheels, glass covering, 2 naala tubes, two wires, attached to 3 rods, and vessel containing veginee oil. By the flow of the current the wheels in the upper end should be made to whirl by properly adjusting keys. In front of the opening a big wheel should be fixed with gumbha keelakas. Similarly wheels should be fixed at the foot of each pillar. On top of them a four inch wide pattika or flat band should be adjusted commencing from the samsarga key chakra up to the front of the electric yantra. By operating that key, power will flow through the wires, and entering the key at the foot of the pillar set the wheels in motion. On the motion of the big wheel the sandhi-wheels in the naala-dandas will also revolve with speed, and the current will enter the 5 faced keelaka, and entering the oil vessel it will gather force, and passing through the 2 naalas, set all the wheels in the pillar in forceful motion, generating 25000 linkas speed, which will give the vimana 105 krosa or nearly 250 miles speed per ghatika, or 24 minutes. Having dealt with the mechanism for setting the vimana in motion, we now consider the mechanism for giving direction to the vimana in its course. […]