THIS POST IS CONTINUED FROM PART 133, BELOW--
DMITRI MENDELEEV WROTE THAT HE COULD NEVER HAVE DISCOVERED HIS PERIODIC TABLES WITHOUT THE GRAMMAR OF PANINI PENNED 7000 YEARS AGO.
HERE WE ARE EQUATING MATTER WITH SOUND ..
WHO CARES IF SUGAR DADDY THE CEO OF QUORA AND HIS JEWISH TOY BOY CALLS IT PSEUDO SCIENCE
MENDELEEV WAS SO SURE OF PANINIs GRAMMAR AND DIVINE GEOMETRY OF SRI YANTRA , THAT HE LEFT BLANK SPACES FOR ELEMENTS NOT YET DISCOVERED ..
http://ajitvadakayil.blogspot.com/2016/12/108-numerical-equivalent-of-hindu-king.html
Indian music, which “has a cultivated art in India for at least 400 centuries is recognized as a divine art interwoven with the sciences of sound, psychology and mathematics.
It is intended not only for entertainment, but also to help in man’s search for self-realization, opening the spiritual gateway.
The original source of Indian music is considered divine as God Himself is a musical sound which pervades the universe in the form of Nadabrahma
Lord Shiva produced 14 sound sequences from the Damaru while in the throes of his tandav. These sounds formed the foundations for later developments of all phenomes of speech, notes of music and beats of dance.
These sounds were heard by Panini 7000 years ago while in a meditational trance and penned down as the Siva Sutras in his Ashtadhyayi.
Panini constructed Ashtadhyayi on the foundation of these 14 sutras. He called them the Maheshwara Sutras as they emanated from Maheshwara himself.
Puranas narrate how Shiva performed the Thandava Nrutya and transformed into Nataraja, then sounded his Damaru 14 times.
The fascinating design of these 14 foundational sound patterns came to be known as Shiva Sutra Jala, as conveyed in this shloka:
नृत्तावसानेनटराजराजोननादढक्कांनवपंचवारम।
उद्धतुर्काम: सनकादिसिद्धानेतद्विमर्शेशिवसूत्रजालम॥
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