Saturday, September 08, 2007

The same system Leonardo used was the basis for our Hindu Temples

The myths are elements of the soul which is eternal. In India, myth is very much alive still today bhavans journal Vol.No.54 Issue No. 2 Contents August 31, 2007 Back to Periodicals India’s True History is in its Myths - II An Interview with Patrizia Norelli-Bachelet
Q. You’ve said India’s history is its myths.
Yes, of course; India did not record history as we understand it in the West. Historians will scream at this statement, but it is a fact. What the civilisation considered important is found in the myths that were preserved; and the verses that go back to the Vedic Age. This country understood what should be preserved; everything else was peripheral. I successfully used the same Vedic method applied to contemporary politics and history to prove the point in the new Indo-centric cosmology. There was this underlying eternal myth that continued playing itself out. The Gods and Goddesses are the symbols of those energies as they evolved through time. Rudra might become Shiva, but they are still the same original energies. They are the foundation that fortunately still exists in the country. This is the history that has been preserved. Yes, today we are recording history as we know it, and that has its place. But the heart and soul of the civilisation is to be found elsewhere. For example, in the Vishnu line of Ten Avatars with accompanying Epics we have history, Indian style, pure and simple. And, let us be clear, it is cosmology without superstition.
Q. You were talking about a survey published recently that showed India’s fixation with numbers. What’s your take on India’s great love of the 9?
This is the number that could be said to encapsulate the whole destiny of the country; but here is another example of superstition versus knowledge: this fixation to have number plates on vehicles that equal 9. OK, I’m happy to see it, but it is superstition entirely. Nobody who has the 9 on their plates understands the profound depths of what it means to be carrying that number. You may like it because it is your ‘lucky number’, but still it is superstition. The number 9 is the key. It is a fact. All my new cosmology was born out of that realisation: the zero and the nine are equal. I am amused by it, and yes, it is a fixation, but I could say that that is why I am doing my work here because of fixations like this. Maybe people who are obsessed with that number, if they read an interview like this would come to realise there is much more to the number 9. As it stands it is simply a superstition, – but an enjoyable one.
Q: But why particularly the 9?
Often through periods of darkness and great vicissitudes, methods are used to preserve important elements of the knowledge. One such is the number 9. Another example is that you have the Navagrahas in every temple; at the entrance are the 9 planets. Perambulation is performed around them before all else. The interesting thing is that at the time this practice was established there were known to be only six planets plus the sun. Science steps in to criticise and says Rahu and Ketu do not belong there – they are not planets, nor is the Sun and the Moon. Yes, true, they are not. But Rahu and Ketu are important elements; they are intersections of orbits that produce eclipses. Taken together I call them the axis of a horoscope. But what interests me is that this is how they kept the 9 alive until the time when the system would really consist of the 9 planets, which means the complete harmony of 3 x 3. India gave the world the zero; the sun is the zero. The last three planets, including Pluto, were all discovered when this new cosmology had to come forward to unveil India at the centre. To achieve this, the system must equal 9. What may happen tomorrow, who can say? They may eliminate Pluto – but I doubt it.
In India no one is going to accept that they knock out the ninth planet. They want their 9!The Navagrahas may be astronomically wrong but they make sense from another point of view: somebody way back had the vision that the harmony of 9 was important. In India even if they celebrate the wrong day, the wrong time, they fall right! Even with the chaos in this country it gets it right at the end of the day. Elsewhere we would not even have this interview; you would not be discussing these elements as lively topics in the country. You would not be talking about this depth of knowledge – this is what India must offer to the world – and that is certainly not superstition.
Q. You recently published an article on Leonardo Da Vinci saying that he uses these ancient systems as well. You write that in his great fresco in Milan, The Last Supper, he hid the Tropical Zodiac and the script it contains. Can you comment on this?
His fresco contains the exact system that you find in the Hindu Temple; the same cosmological basis – the same tropical zodiac. There is one school of knowledge; the Earth travels on that ecliptic pathway which has no boundaries; it is neither Italian, nor Indian, nor French, nor Arabic. If you awaken to that as Leonardo had, you will come up with the same system. India has that system; all Hindu Temples incorporate it, though it may be forgotten now. From time to time I remind them, often to the delight of devotees and temple administration. It is a fact - perhaps 1500 or 2000 years ago the same system Leonardo used was the basis for our Hindu Temples. Specifically it was the knowledge contained in the zodiac. It goes even deeper here. The whole astrological system is the foundation of the Hindu Temple, and the myths they contain. Leonardo used the same tropical zodiac with its symbols as in the Hindu Temple. However, in the painting he focuses on a very particular element - the sign/symbol Scorpio of the 12 - because in Europe it encapsulates the questions that needed to be addressed. In India you don’t have that emphasised as much as in the West because here there is no tradition of a crucified Divine Son.
For example, Kartikeya, rather, is the victorious God of War. In the high Renaissance, Europe was enraptured with the passion and the image of a crucified Saviour. Now, that is the sign Scorpio that Leonardo made central to the theme of his paintings. The point I make in the article is there are two aspects to Scorpio: the higher one of the Eagle, and the lower, the Scorpion. In India, the Eagle is Garuda, Vishnu’s carrier. In ancient India they did not know the lowly scorpion. They did not and do not have the tradition of a crucified Son, - hence no lower symbolism, only the higher.
Originally in early Christianity, for several hundred years that was true as well. Leonardo was conveying this fact. He did not accept as finality the crucifixion. In his famous drawing, the Vitruvian Man in the Circle and the Square, he makes that very clear. The higher and lower both are right here on Earth, in mankind. There is the possibility of overcoming the pull of this lower force and finally conquering death. So all of this is contained in his paintings; but to recognise it you have to have the same foundation of knowledge. He was not hiding anything; but no one understood this by the 15th century.
It is the same in India; nobody understands the relationship between the Tropical Zodiac and its symbols and what we have in temples built across several thousand years based on the same system. The correlation needs to be made; but that can only be done if you adopt the Sayana/Tropical Zodiac system. When we say, Leonardo hid ‘codes’, it is not so. It is that no one was in the position to grasp what he was conveying. No one understood. The same can be said about India today: it is all ‘written’ in the Hindu Temple, exactly as Leonardo depicted in his famous fresco; but similarly, one ‘looks’, but does not ‘see’.
Patrizia Norelli-Bachelet is the Director of Aeon Centre of Cosmology and has resided in South India since 1971. She is author of the three volumes of ‘The New Way’, as well as ‘The Gnostic Circle’, and numerous other books and publications. She can be contacted at BACK Patrizia Norelli-Bachelet [from Lori Tompkins]

No comments:

Post a Comment