Time, the creative element!

The vibration of the OM light is called Time or Kaalam. The vibration of the primal OM light is the dance of Lord Shiva and that of sound is Uma. Hence ‘Omkara’ Natana. Uma is ‘word’ (vaak) and Shiva is ‘meaning’ (artha). So, Mayan says that Kaalam is the creative element of all the objects of the universe and adds that the universe itself is the product of Time. “Time is the creative source of all objects. It is time that changes into form. It is time that blossoms into the universe and Kaalam thus does wonders” – Mayan. Therefore, Kaalam itself is designated as Kaala Brahman. Kaalam, in simple words is the speed or vibration of energy or light. The summum-bonum of these discussions is that vibration causes all phenomena.

This concept is extended to poetry, music and dance where Kaalam is redesignated as Taalam, maatra or kaalam, the ruling element of all forms of poetry, music and also dance. What would be unique and astonishing is that the same Taala measure is extended to create visual material forms (time-spaces) of which one is the building whether it is a temple or house. Sculptural representations are also born of this scientific theory of rhythm (Taala) and therefore they are divine and worship worthy.”

~ Dr. V. Ganapati Sthapati, Temple Architecture: The Living Tradition

All in us…

Fractal Universe

We contain within us all the information of the universe. We are a fractal of the multi-dimensional universe where the whole is reflected in the part. On the conscious level, however, we only use a small portion of our potential.

Sacred geometry is a tool that has been used for thousands of years to reach beyond the physical and awaken the divine within. The shapes, patterns and forms that develop from the circle and sphere are harmonic modules that can help attune, empower, uplift and inspire the human condition and open us more to the greater whole.

~ Jonathan Quintin

Vaastu Veda – Link to The Ancient Past 1

By Dr. Jessie Mercay
posted by Ganesh

Dr. V. Ganapati Sthapati is our direct link to the ancient past. He was a practicing traditional architect/designer, builder, sculptor, writer and teacher, born of the aboriginal creative tribe of India – Vishwakarma. He was a Vishwabrahmin and his genealogy can be traced as far back as 1050 years with an understanding that his ancient ancestors beyond that time were also Sthapatis (an honored title for a person who is all inclusively an architect, builder, sculptor and scholar). Excellence and fame has followed his family through the ages. He has been given numerous awards from State level to National level. His most recent award was a designation of Padma Bushan by the government of India. Among his many other distinctions, he is designated as Shilpi Guru of India – highly esteemed teacher of this body of knowledge. He was the only living Shilpi Guru in the 20th and 21st century. This tribe, Vishwakarmas or Vishwabrahmins, has owned a unique body of technical literature called Vaastu Shastras, Sthapatya Veda, Pranava Veda and Aintiram for about 12,000 years. Within these texts are enshrined a science and technology that reveals two substances known as Vastu and Vaastu. Vastu is unmanifest subtle energy and Vaastu is gross energy as seen as the material world. These are depicted in Einstein’s equation E=mc2.

This entire body of knowledge is recognized as Mayonic Science and Technology, Vaastu Veda or Sthapatya Veda. Also rooted in this knowledge base is the Agamic literature. In his Srimat Bhagavatam Veda Vyasa, the compiler of the Vedas, mentions Sthapatya Veda. Vyasa mentions that Sthapatya Veda is to be held as one of the Vedas apart from Rig (Rik), Yajur, Sama, and Atharva Veda.


This Sthapatya Veda has been in force from very ancient times in the name of Vaastu Shastras.

While at one time the Shilpis of Bharat had regional names for their clans, today they are united under a national association called Akhila Bharata Vishwakarma Mahajanasabha. In the past centuries these clan members thrived as the entire culture depended on the products of these artisans. They too created everything from cities to jewelry, pots and pans, and even home furnishings – all done in a specific mathematical order designed to bring peace to the owner. Today many of their functions have been taken over by pseudo Vaastu consultants who know little of the authentic tradition.

In addition to the traditional building and manufacturing arts, under the umbrella of Vaastu Science falls the five Fold Science: Poetry, Music, Dance, Sculpture, and Architecture which correspond with the traditional science of Iyal, Isai, Natam, Kattidam, and Sirpam in the Tamil tradition. In Sanskrit they are called Sabda Veda, Gandharve Veda, Natya Veda, Sthapatya Veda, and Pranava Veda. They are all governed by a unique grammar of r the science of Energy and Matter, Space and Time, and Rhythm and Form. The fundamental nature of these elements is revealed in the ancient text, The Pranava Veda. This is none other than the Science of manifestation. That is, the science of how the Infinite Energy (Vastu) transforms itself into matter or form (Vaastu).


Fabric of The Universe: The Origins, Implications, and Applications of Vastu Science By Jessie J. Mercay. Text and diagrams, with permission, from Dr. Jessie Mercay, Fabric of the Universe, aumscience.com/wordpress. For any questions please visit http://www.aumscience.com.

Vaastu through the Arts – Part 2


By Dr. Jessie Mercay
posted by Ganesh

Earlier we saw a definition of Vastu and Vaastu based upon a study of the roots of the words as below…

Vas: to shine; to grow bright, to bestow by shining upon, to cause to shine; to enter into, to dwell, becoming light, dawning, the seat or place of, an abiding substance or essence, the pith or substance of something, to cohabit with.

Vaas: to make fragrant or to perfume, an intoxicant, to be or make firm, dwelling place, to assume the appearance of, matter. (Cologne Lexicon)
Tu: One who changes his shape at will.

Vastu is that energy or force that lives eternally. It is never-ending and omnipresent.

In examining these definitions, we can see that Vastu is the seat of an abiding, shining luminous substance or essence (the essence of life). It has a quality of growing brightness and is the pith or substance that enters into and cohabits with that in which it dwells and that which dwells within it. It is the source of the material world yet it cohabits with the material world as Vaastu. It does not separate itself from the material world. In fact, the material world (Vaastu) exists within the body of Vastu. It changes its shape at will and becomes the innumerable forms of the material world and exists as Vaastus (all material forms).

Vaastu is that which assumes the appearance of matter. It makes firm or gives concrete shape to the place where it dwells. It makes fragrant that in which it dwells. That fragrance is the intoxicating spiritual bliss experienced by people who live in or visit a Vaastu structure, listen to Vaastu music or poetry, or view Vaastu sculpture and dance. Here we are speaking of authentically created and executed forms of these arts based on the ancient Shastras.

Authentic Vaastu or Mayonic arts that use the principles Mayan established brings forth this essence we call Vastu. This essence is luminous. It causes that which it enters to shine – glow. As it becomes Vaastu, that form which it enters – music, poetry, architecture etc., becomes fragrant with the light of Vastu – the light of consciousness. The listener, viewer, or inmate then becomes permeated with specific qualities of consciousness exhibited in the art. This results in an intoxicating experience of spiritual bliss.

This Mayonic Science/ Vaastu Science and Technology must live. Conscious people must take it as a personal responsibility to help it grow in their area of interest. It is the savior of the world, the balm for the suffering on the weary road of life. It brings enlightenment and spiritual bliss to those who partake of arts and architecture that demonstrate its principles.

From the pen of Santi – Deva a 14th century monk:

This Thought of Enlightenment…
it is an elixir made to destroy death in the world,
an unfailing treasure to relieve the world’s poverty,
a supreme balm to allay the world’s sickness,
a tree under which may rest all creatures wearied with wandering over life’s paths,
a bridge open to all wayfarers for passing over hard ways,
a moon of thought arising to cool the fever of the world’s sin,
a great sun driving away the gloom of the world’s ignorance,
a fresh butter created by the churning of the milk of the Good Law.

For the caravan of beings who wander through life’s paths hungering to taste of happiness, this banquette of bliss is prepared, that will satisfy all creatures coming to it.

Those of us who have supported, studied and applied this art and science bring this banquet of bliss to the world. Come join us. Build a Vaastu house, garden cottage or temple cottage, learn the application of Mayonic/Vaastu principles to the visual arts, or study Vaastu music. Support AUM S&T. Somehow participate in this great endeavor for the wellbeing of humanity.


Fabric of The Universe: The Origins, Implications, and Applications of Vastu Science By Jessie J. Mercay. Text and diagrams, with permission, from Dr. Jessie Mercay, Fabric of the Universe, aumscience.com/wordpress. For any questions please visit http://www.aumscience.com.

Vaastu through the Arts – Part 1

By Dr. Jessie Mercay
posted by Ganesh

The Swelling of Brahmam

The musician is poised for a moment over her sitar. Her attention is drawn to her source – her center point in the cave of her heart – Atman (Soul). She waits. In a moment, a swelling of consciousness begins as a vibration of the Brahma Sutra in her Atman. She translates that vibration into action as she strums the strings of her instrument. The music swells just as her Atman swells. The supreme bliss felt by the musician, as she becomes the bodily instrument of Brahmam is transferred through her music to the listener. She becomes the song of God. The listener becomes the song of God. Throughout her recital she strikes special micro notes that tap directly into the pulse of God that brings bliss to the listener. These srutis are received by the listener, transferred to the Atman of the listener, and the Atman of the listener begins to vibrate with Supreme bliss.

The poet pauses for a moment with his pen… The sculptor pauses for a moment with his chisel… The painter pauses for a moment with her brush…

When the artist knows the secrets of Vaastu science and arts then that artist becomes the bodily instrument for the swelling of consciousness and transfers that pulse or frequency into their art. The viewer or listener then shares in that unspeakable bliss. This was the art and music that lived world-wide in ancient days. One can experience bits and pieces of this through selections of Classical Indian music – particularly Carnatic music. Mozart seems to have struck a few blissful chords. Traditional Indian dance holds the secrets of a mathematical order. But music and dance today are pretty much bereft of access to these micro sounds called srutis. Dr. Veerapandian of SHASTRA University in Tanjore, India has decoded Mayan’s Aintiram in terms of what we call Mayonic music or Vaastu music with the hope of transforming music around the world for the well-being of humanity.

The sculptors of Dr. V. Ganapati Sthapati’s stone yard strike these micro notes with their chisels in the form of the mathematical order of the stone they sculpt. Vaastu architects, consultants, and builders who are trained through the American University of Mayonic Science and Technology also strike the micro notes with the application of the precise measure called Ayadi to building architecture.


Fabric of The Universe: The Origins, Implications, and Applications of Vastu Science By Jessie J. Mercay. Text and diagrams, with permission, from Dr. Jessie Mercay, Fabric of the Universe, aumscience.com/wordpress. For any questions please visit http://www.aumscience.com.