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“The Story of Vishnu and the Sage Divakara One of the origin stories surrounding the Sree Padmanabhaswamy Temple revolves around the sage Divakara Muni. One day, Vishnu appeared to the sage as a lovely child, which caught Divakara’s attention. When the sage requested the child to stay with him, he agreed to do so on the condition that he would be treated with respect. If the sage failed to do so, however, he (the child) would vanish immediately. The god decided to be a nuisance, but Divakara tolerated his antics. Finally, however, the sage could no longer take it, and scolded the child. Vishnu ran away and disappeared. Before disappearing, Vishnu told the sage that should he wish to see him again, he would find him in Ananthankaadu.
It was only then that Divakara realized the child’s true identity. Stricken by remorse, he followed the route he believed the child had taken. Foregoing food and rest in the process, the sage arrived in a wooded area near the sea coast after a few days. It was there that Divakara saw the child disappearing into a large Ilappa tree (Indian Butter Tree). The tree fell onto the ground and assumed the form of Vishnu reclining on the celestial snake Ananta. The form, however, was too huge to behold, and the sage prayed to Vishnu to shrink it, so that he could see the whole thing. The image shrank to a size three times the length of the sage’s staff, the Sree Padmanabhaswamy Temple was built around it. Thus, this became the idol now seen in the temple. “
“A historian or archaeologist defines it as a specific period of time, usually about 3 or 4 thousand years ago, in which four specific books bearing the name "Veda" were the basis of civilization in India. Others define "Vedic" as anything which pertains to the Veda and their civilization, including anything that develops with its root in the Veda.
Vedic Chants aren’t your typical chant. Chanting using tonally accented verses and hypnotic melodies. These chants are no longer pure when put onto paper, one can’t simply just read from a page the chant in question and hope it will open the vault door. Once put on paper the chants lose potency…the chant requires the human element of one trained in the Vedic way. & as was noted above, there are only a very few members who keep the tradition alive.
“The samhita, pada and krama pathas can be described as the natural recitation styles or prakrutipathas. The remaining 8 modes of chanting are classified as complex recitation styles or Vikrutipathas as they involve reversing of the word order. The backward chanting of words does not alter the meanings in the Vedic (Sanskrit) language”
“the first and foremost concern of ancient Vedic astrology is the "birth-star" – the nakṣatra occupied by the Moon. These stars are addressed in terms of the Vedic gods which empower them. Interpretive meaning in ancient Vedic astrology comes from knowing the qualities and traits of the Vedic gods who empower the fixed stars. It has nothing to do with elements, modes, planetary rulers, etc.
It was primarily based on roughly 27 fixed stars (nak昭즑tra) and the manner in which the Moon moved through these stars and formed combinations (yoga) with the Sun and Associated phases.
The astrological points of reference used in ancient Vedic astrology are the 27 fixed stars (nak昭즑tra) Each of the nakshatras is governed as 'lord' by one of the nine graha in the following sequence: Ketu (South Lunar Node), Shukra (Venus), Surya (Sun), Chandra (Moon), Mangala (Mars), Rahu (North Lunar Node), Brihaspati (Jupiter), Shani (Saturn) and Budha (Mercury). This cycle repeats itself three times to cover all 27 nakshatras. The lord of each nakshatra determines the planetary period known as the dasha, which is considered of major importance in forecasting the life path of the individual in Hindu astrology.”
“Rules for drawing kolam patterns
(1) Loop drawing-lines, and never trace a line through the same route.
(2) The drawing is completed when all points are enclosed by a drawing-line.
(3) Straight lines are drawn along the dual grid inclined at an angle of 45
(4) Arcs are drawn surrounding the points
(5) Smooth drawing-lines. Lines should not bend in a right angle.”
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes. Such behaviour may have referred to the actual short-toed eagle of India. The image of Garuda is often used as the charm or amulet to protect the bearer from snake attack and its poison, since the king of birds is an implacable enemy and "devourer of serpent". Garudi Vidya is the mantra against snake poison to remove all kinds of evil.
Dhanvantari said:—Now I shall enumerate to you the Gārudam, as disclosed by Sumitra to Kashyapa. This Gārudi Vidyā tends to neutralise the effects of all kinds of poison. The five fundamental material principles of earth water, light (heat), air and ether are represented by the different letters of the alphabet as their symbols, which should be regarded as the presiding deities of the occult diagram to be meditated upon at the time of Dhyānam. The deities reside in these five fundamental material principles. The letters Sa, Ka, and Tha are symbolical of the energy of Shiva (ether). The rite of Nyāsa should be duly performed, and the Chaturvaktra Mantram should be psychically located by the votary inside the palms of his hands, in the soles of his feet, as well as in the cavities of his heart and ears. By meditating in this fashion a votary may achieve all kinds of success. First imagine a yellow coloured quadrangle as symbolical of the Earth, of which Indra is the presiding deity. At the centre of this quadrangle should be contemplated the ring of Varuna, at the centre of which is the mystic, translucent lotus upon which the half moon sheds its cool, turquoise-blue beams. Around this should be imagined as transcribed the triangular Mandalam of fire, crossed by a Svastika mark (cross) and burning with the effulgence of primordial fire. Around this should be imagined the circle of Vāyu, sable coloured like the inside of a cut bar of black antimony, and impressed with the mark of the occult Vindu (Bindu?). Encircling this ring of Vāyu should be imagined the Vyoma-Mandalam, dreadful in its infinite vastness, lying effulgent and motionless like the ocean of milk (Kshira), or like a sea of molten crystal. The celestial serpents Vāsuki and Shankhapāla should be imagined as residing in the quadrangle of the earth; Karkata and Padma-Nābha, in the ring of Varunā; Kalika, in the Mandalam of fire; and Takshaka and Mahāvjaka, in the ring of air. The material principles of earth, water, etc., should be imagined by the votary as located in his fingers, starting with the thumb and ending with the small finger, both in the usual and inverse order of enumeration. Likewise, the Jayā and Vijyayā Mantras should be located in the bone-joints, the Shiva-Shadanga Mantram in the cavity of the mouth; and the Hrid Mantra in the arms and the tuft of hair on the crown of the head, and the Vyāpakam in the phalanges of fingers. The rite of Bhutanyāsa should be performed with the Shivānga Mantras preceded by “Om” and followed by, “Namas.” This rule should be followed in respect of establishing and worshipping all forms of Mantra. The first letters of the names of these celestial serpents are the Mantras respectively sacred to each of them, which being duly recited by a votary enables him to draw any of them to his side. The Mantras composed of the names of the five fundamental physical principles coupled with “Om” and “Namas” should be then recited, whereby the celestial Garuda would appear unto the votary in all his glory and prowess.
So on the levels... is that a representation of where we humans pass through during the span of our lives ? Something along those lines ?
Garuda is known as the eternal sworn enemy of the Nāga serpent race and known for feeding exclusively on snakes.
My suggestion is to think about the astrology chanting in conjunction with the diagram of the kolam.