The History of the Swastika, page 2
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reply posted on 29-8-2009 @ 04:32 AM by xxxcosta
Here is another source where the swastika came from.
It represent four dirrections where to Hopi Indians were travelling to and from, leaving the carvings of it where they traveled. After their journey was over they finally settled in Arizona.
www.book-of-thoth.com...
It represent four dirrections where to Hopi Indians were travelling to and from, leaving the carvings of it where they traveled. After their journey was over they finally settled in Arizona.
www.book-of-thoth.com...
reply posted on 29-8-2009 @ 06:24 AM by PsykoOps
reply to post by FULCRUM
Not only that we still use it on emblems and insignias. Von Rosen cross (blue swastika on a white background) was indeed the most visible one. Untill it became politically incorrect.
Not only that we still use it on emblems and insignias. Von Rosen cross (blue swastika on a white background) was indeed the most visible one. Untill it became politically incorrect.
reply posted on 8-6-2010 @ 08:02 PM by Mystical Sadhu
Geometry, Form, Focus and Flow
Our ability to perceive is based upon being alive, having a subjectivity by which to perceive objects objectively, and a sense of relativity, a discriminating faculty by which to differentiate factors of the object, ourselves and our relationships with such objects and their and our environments. Part of identifying what are certanties or closely sure of being certanties must have to do with paring something into its core elements to properly coneptualize it in truth and to comprehend its intercourse with us, other objects and other subjectivities in the greatest ranges and patterns, necessitating a magnanimous mind as well.
From inception to fulfillment, a pathway through the dimensions, a journey through the dimensions illustrates this point. While a straight line may eventually prove to not be so straight, for our purposes at the moment let's operate as if straight lines remain straight.
A concept, minimalistically for this illustration, could be conveyed as a straight line, as if unfettered by any other factors in the Universe. Being straight, no sense of distance or length applies, yet. Every concept meets its contradiction, and in this pristinely clinical setting, we'll utilize another straight line bisecting the first, perpindicularly, and relatively at a midpoint. Using graphic illustrations, we could say this would be an equilateral cross.
These seeming contradictions conjugate their contrasts synthetically, i.e. thesis meets antithesis which conjugates their synthesis by spinning the cross. For our purposes, we'll consider these perpindicular lines as spinning in what we would perceive to be counter-clockwise. While this spin seems to be the intercourse of these two lines which otherwise would be of a two-dimensional argument, their spin creates the third dimension, the z-axis anchored also in the midpoint of their equilibrium, the midpoint of their conjugation, the midpoint of their intercourse.
The intiation and conjugation of this spin not only creates this axial third dimension, it also creates the fourth dimension, the shallow realm of the fourth dimension, of which an object spinning on its axis is in motion. While this sterile clinical moment focuses on a singular occurence, there are no other objects or actions within their environment to compare and contrast, thus, if the spinning three dimensional object could be considered as an entity, it would not know of itself objectively yet, for it has nothing outside of itself by which to compare and contrast -- it simply is, and does.
Motion, especially perpetual motion, is operative within the aerial state. An object spinning on its axis, especially when motivated from internal sources, has the vital air, or vayu in Sanskrit, of spinning, with the constancy of an axial anchor round which it spins. This axial spin results in another vital air, which is an upward and downward concurrency of vitality in a relatively equipoised manner. As this concurrent vitality flows in either direction along the axis, it reflects an arc in each direction, with each expanding away from the center along the verticality of the axis. A snapshot of this occurence, a two-dimensional representation of these binarial arcings in a crystaline format is represented as a hexagram in what would seem to be a two-dimensional figure:
(c) Satyananda
[edit on 8-6-2010 by Mystical Sadhu]
Our ability to perceive is based upon being alive, having a subjectivity by which to perceive objects objectively, and a sense of relativity, a discriminating faculty by which to differentiate factors of the object, ourselves and our relationships with such objects and their and our environments. Part of identifying what are certanties or closely sure of being certanties must have to do with paring something into its core elements to properly coneptualize it in truth and to comprehend its intercourse with us, other objects and other subjectivities in the greatest ranges and patterns, necessitating a magnanimous mind as well.
From inception to fulfillment, a pathway through the dimensions, a journey through the dimensions illustrates this point. While a straight line may eventually prove to not be so straight, for our purposes at the moment let's operate as if straight lines remain straight.
A concept, minimalistically for this illustration, could be conveyed as a straight line, as if unfettered by any other factors in the Universe. Being straight, no sense of distance or length applies, yet. Every concept meets its contradiction, and in this pristinely clinical setting, we'll utilize another straight line bisecting the first, perpindicularly, and relatively at a midpoint. Using graphic illustrations, we could say this would be an equilateral cross.
These seeming contradictions conjugate their contrasts synthetically, i.e. thesis meets antithesis which conjugates their synthesis by spinning the cross. For our purposes, we'll consider these perpindicular lines as spinning in what we would perceive to be counter-clockwise. While this spin seems to be the intercourse of these two lines which otherwise would be of a two-dimensional argument, their spin creates the third dimension, the z-axis anchored also in the midpoint of their equilibrium, the midpoint of their conjugation, the midpoint of their intercourse.
The intiation and conjugation of this spin not only creates this axial third dimension, it also creates the fourth dimension, the shallow realm of the fourth dimension, of which an object spinning on its axis is in motion. While this sterile clinical moment focuses on a singular occurence, there are no other objects or actions within their environment to compare and contrast, thus, if the spinning three dimensional object could be considered as an entity, it would not know of itself objectively yet, for it has nothing outside of itself by which to compare and contrast -- it simply is, and does.
Motion, especially perpetual motion, is operative within the aerial state. An object spinning on its axis, especially when motivated from internal sources, has the vital air, or vayu in Sanskrit, of spinning, with the constancy of an axial anchor round which it spins. This axial spin results in another vital air, which is an upward and downward concurrency of vitality in a relatively equipoised manner. As this concurrent vitality flows in either direction along the axis, it reflects an arc in each direction, with each expanding away from the center along the verticality of the axis. A snapshot of this occurence, a two-dimensional representation of these binarial arcings in a crystaline format is represented as a hexagram in what would seem to be a two-dimensional figure:
(c) Satyananda
[edit on 8-6-2010 by Mystical Sadhu]
reply posted on 8-6-2010 @ 08:40 PM by Mystical Sadhu
These dimensions, motions and vital airs are described in their sequential continuities, whereas, in the relative world of which we have limited range
of perception, they all, and subequent factors, occur relatively all at once. The intercourse of these elements described, so far, are the
contributing factors as to why "spheres" are the common archtypes of forms we perceive in this hologramatic Universe, from the smallest of subatomic
particles in realms smaller than our everyday existence, to the grand scales of our cosmology of solar systems, galaxies and constellations. This
continuum, however sterile in our illustration here, pervades the Universe and has subsequent elements and factors as well.
How to Utilize the Swastika Yantra for Your Spiritual Progress
The realm of mind where archtypes operate -- both universal archtypes relevant anywhere in the Universe, and those archtypes borne of ethno-cultural origins -- are within the Vijanamaya Kosa, which is polished and optimized through Dharana. Dharana is furthered through Yantras.
A case in point that comes close to the heart of every yogi is illustrated in the mechanized geometry we utilize to both dispel ignorance in ourselves and to determine patterns of action to further the wellbeing of all living entities and lay the foundation for a healthier society through these mechanizations, known as "yantras" ["Y" is pronounced as a "J" when it appears at the beginning of a word] in Sanskrit.
The principles for yantras are the same as those of both art and geometry, including that the shape, though seemingly static, makes the mind flow in certain patterns and towards particular points of focus. Two of the most common yantras we use in Tantra or yoga are the hexagram and the swastika. Recent history misrendered the swastika, its meaning and historical precedence so I will use it as an example, in both function and art, of how being uninformed, underinformed, misinformed, disinformed, and willfully clueless leads people astray from both truth and facts.
Below you will see a statue of Buddah with a swastika on his torso. Which way does it seem the swastika would spin if it was blowing in the wind? Many people in the world, nearly everyone in the West, would experience this statue "as is", though that "as is" is a more material[istic] rendering -- a presumptuous disposition on the perceiver's part -- based upon contemporary mindsets, than the art actually is ... from both the original artist(s) and from the themes of art and science in the culture(s) from which such renderings of Buddha and the swastikas upon the torsos from which this art originates.
Many people fashionably curious about or interested in Buddhism may remark that the Nazi's rendering of the swastika in more recent times is that "they twisted the swastika" or that "they turned it around" or "they reversed it". "So what", you may say, it's only a shape. If it is "only a shape" than whoever may be witnessing or remarking such hasn't got a clue about art even in its shallowest realms, so deanimated by materialistic mindset they have deteriorated toward. Art, and most certainly spiritual geometry are purposefully engineered to bring about subtle effects that further human progress in any and every realm of life.
So, why does the direction of the swastika matter and why is it on Buddha's torso in art? Was Buddha a Nazi? Nazism, or National Socialism, was created in the 20th Century as an alternative to both capeetalism and especially to communism. The swastika, in human spiritual practices, is much older than 7,000 years. Why does it exist at all? For one, it is among the simplest of forms, round which other forms and concepts evolve, similarly to how hydrogen or helium are considered at the core of elements in chemistry.
(c) Satyananda
[edit on 8-6-2010 by Mystical Sadhu]
How to Utilize the Swastika Yantra for Your Spiritual Progress
The realm of mind where archtypes operate -- both universal archtypes relevant anywhere in the Universe, and those archtypes borne of ethno-cultural origins -- are within the Vijanamaya Kosa, which is polished and optimized through Dharana. Dharana is furthered through Yantras.
A case in point that comes close to the heart of every yogi is illustrated in the mechanized geometry we utilize to both dispel ignorance in ourselves and to determine patterns of action to further the wellbeing of all living entities and lay the foundation for a healthier society through these mechanizations, known as "yantras" ["Y" is pronounced as a "J" when it appears at the beginning of a word] in Sanskrit.
The principles for yantras are the same as those of both art and geometry, including that the shape, though seemingly static, makes the mind flow in certain patterns and towards particular points of focus. Two of the most common yantras we use in Tantra or yoga are the hexagram and the swastika. Recent history misrendered the swastika, its meaning and historical precedence so I will use it as an example, in both function and art, of how being uninformed, underinformed, misinformed, disinformed, and willfully clueless leads people astray from both truth and facts.
Below you will see a statue of Buddah with a swastika on his torso. Which way does it seem the swastika would spin if it was blowing in the wind? Many people in the world, nearly everyone in the West, would experience this statue "as is", though that "as is" is a more material[istic] rendering -- a presumptuous disposition on the perceiver's part -- based upon contemporary mindsets, than the art actually is ... from both the original artist(s) and from the themes of art and science in the culture(s) from which such renderings of Buddha and the swastikas upon the torsos from which this art originates.
Many people fashionably curious about or interested in Buddhism may remark that the Nazi's rendering of the swastika in more recent times is that "they twisted the swastika" or that "they turned it around" or "they reversed it". "So what", you may say, it's only a shape. If it is "only a shape" than whoever may be witnessing or remarking such hasn't got a clue about art even in its shallowest realms, so deanimated by materialistic mindset they have deteriorated toward. Art, and most certainly spiritual geometry are purposefully engineered to bring about subtle effects that further human progress in any and every realm of life.
So, why does the direction of the swastika matter and why is it on Buddha's torso in art? Was Buddha a Nazi? Nazism, or National Socialism, was created in the 20th Century as an alternative to both capeetalism and especially to communism. The swastika, in human spiritual practices, is much older than 7,000 years. Why does it exist at all? For one, it is among the simplest of forms, round which other forms and concepts evolve, similarly to how hydrogen or helium are considered at the core of elements in chemistry.
(c) Satyananda
[edit on 8-6-2010 by Mystical Sadhu]
reply posted on 8-6-2010 @ 09:50 PM by Mystical Sadhu
The primary use of the swastika by tantrikas is to unwind a vital energy inherent within all vertebrates. While we may seem to be bisymmetrial, in
more subtle realms there are energy flows, and by their being flows, they have direction. Among these energy flows, half of which are internal and
half of which are external, they are all anchored into one center, which in this part of the universe, on this planet, spins in a clockwise direction
and has its home, most of the time, at the base of the spine. Raising this centristic spin up the spine facilitates evolution, indeed revolutionizes
the human experience, delivering all the talents of the Universe and all the faculties for affecting the Universe within the person who can raise
their own kundalini. Such persons are known as kaola, while a person who can not only raise their own kundalini but also raise the kundalinis of
others is known as a mahakaola.
By doing some preliminary attention and dispositional practices before concentrating on the swastika, the tantrika prepares for using the swastika for raising their kundalini while ensconcing themselves into the deepest rapport of love with the core, the center, the source and controlling faculty of the Universe, the source of all the Universe, each and every part, each and every being, even the existence before the manifestation of the Universe, of which each and all share a tangency ... the dimensionless point, mechanically and practically demonstrated as the axis of the swastika. This point is called the "atman" in Sanskrit, the dimensionless point from which all things exude concurrently and toward which all things arrive at, their desideratum, as their individuality is fulfilled in this manifest Universe.
Despite what has been misrendered in contemporary teachings and books regarding yoga or Buddhism about no-mindedness, the mind is always active, has myriad things of which it can think upon, and will. The nature of the mind is to do something, and for the mind, that means having an object of ideation upon which to anchor its purpose. The cessation of mind is not quietude, the cessation of mind is death, thus tantrikas use objects of attention to bring their minds to anchor within the centricity of their object of ideation, which for tantrikas is the source of the Universe, by any name. The busy conjugations of mind, as represented in the artistically and mechanically minimalistic form of the swastika, utilize the shape of the swastika to both anchor the busy mind into the centricity of the core of the Universe, and to raise their kundalini to and through the top chakra.
(c) Satyananda
[edit on 8-6-2010 by Mystical Sadhu]
By doing some preliminary attention and dispositional practices before concentrating on the swastika, the tantrika prepares for using the swastika for raising their kundalini while ensconcing themselves into the deepest rapport of love with the core, the center, the source and controlling faculty of the Universe, the source of all the Universe, each and every part, each and every being, even the existence before the manifestation of the Universe, of which each and all share a tangency ... the dimensionless point, mechanically and practically demonstrated as the axis of the swastika. This point is called the "atman" in Sanskrit, the dimensionless point from which all things exude concurrently and toward which all things arrive at, their desideratum, as their individuality is fulfilled in this manifest Universe.
Despite what has been misrendered in contemporary teachings and books regarding yoga or Buddhism about no-mindedness, the mind is always active, has myriad things of which it can think upon, and will. The nature of the mind is to do something, and for the mind, that means having an object of ideation upon which to anchor its purpose. The cessation of mind is not quietude, the cessation of mind is death, thus tantrikas use objects of attention to bring their minds to anchor within the centricity of their object of ideation, which for tantrikas is the source of the Universe, by any name. The busy conjugations of mind, as represented in the artistically and mechanically minimalistic form of the swastika, utilize the shape of the swastika to both anchor the busy mind into the centricity of the core of the Universe, and to raise their kundalini to and through the top chakra.
(c) Satyananda
[edit on 8-6-2010 by Mystical Sadhu]
reply posted on 14-6-2010 @ 09:19 AM by roni
reply to post by xxxcosta
"may the four winds, from the four corners of the earth always sweetly and gently, upon you blow"
found that pearl in a 1980's short clip in a newspaper.
"may the four winds, from the four corners of the earth always sweetly and gently, upon you blow"
found that pearl in a 1980's short clip in a newspaper.
reply posted on 14-6-2010 @ 08:02 PM by filosophia
The two ancient Indian Prakrit glyphs, 'Su' and 'Ti' (Suti, or in Sanskrit 'swastika'), when overlaid upon each other, form an actual
swastika.
(www.attan.com...)
(www.attan.com...)
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