Sunday, September 19, 2010

Really sweet site where you can listen to ancient traditional mayan instruments.

Sunday, August 29, 2010

aboroginal myths

In the beginning the earth was a bare plain. All was dark. There was no life, no death. The sun, the moon, and the stars slept beneath the earth. All the eternal ancestors slept there, too, until at last they woke themselves out of their own eternity and broke through to the surface.

When the eternal ancestors arose, in the Dreamtime, they wandered the earth, sometimes in animal form -- as kangaroos, or emus, or lizards -- sometimes in human shape, sometimes part animal and human, sometimes as part human and plant.

Two such beings, self-created out of nothing, were the Ungambikula. Wandering the world, they found half-made human beings. They were made of animals and plants, but were shapeless bundles, lying higgledy-piggledy, near where water holes and salt lakes could be created. The people were all doubled over into balls, vague and unfinished, without limbs or features.

With their great stone knives, the Ungambikula carved heads, bodies, legs, and arms out of the bundles. They made the faces, and the hands and feet. At last the human beings were finished.

Thus every man and woman was transformed from nature and owes allegiance to the totem of the animal or the plant that made the bundle they were created from -- such as the plum tree, the grass seed, the large and small lizards, the parakeet, or the rat.

This work done, the ancestors went back to sleep. Some of them returned to underground homes, others became rocks and trees. The trails the ancestors walked in the Dreamtime are holy trails. Everywhere the ancestors went, they left sacred traces of their presence -- a rock, a waterhole, a tree.

For the Dreamtime does not merely lie in the distant past, the Dreamtime is the eternal Now. Between heartbeat and heartbeat, the Dreamtime can come again.

The Great Father Spirit whispered to the sleeping goddess. Yhi awoke and immediately light appeared. Yhi represents the mother goddess image so often associated with fertility and the bringing of life in many ancient Creation traditions.

The mother goddess brought vegetation to life and insects were the first to appear. Insects became an important part of Aboriginal life, both eaten and used as medicine. The witchety grub, for example, was an important insect desert food. Animals were brought to life, their spirits called out of dark caverns. According to the myth, evil spirits attempted to impede the efforts of Yhi.

The world was filled with ice. The light of the mother goddess melted the ice and she created the seasons. Significantly, at her departure, she promised the grieving animals reluctant to see her leave that their spirits, upon death, would live on with the goddess. That the afterlife extends to all living beings is a belief found in many early societies, including the Native American.

From traditional aboriginal art- looks like the modern model for the structure of the universe and indra's net right?

Saturday, August 28, 2010

collection of different creation myths

Creation of the Universe

Another and more popular version has Vishnu playing an initiating role. This may be because Vishnu had gained prominence amongst the three supreme gods. It goes as follows. In the beginning a vast dark ocean washed upon the shores of nothingness and licked the edges of night. Vishnu was asleep on Seshnag the serpent. At the time of creation the vibrant sound of Om filled the void with energy. The night had ended and Vishnu awoke. As the dawn began to break, from Vishnu's navel grew a magnificent lotus flower. In the middle of the blossom sat Brahma. Vishnu commanded Brahma to create the world. Brahma split the lotus flower into three. He stretched one part into the heavens. He made another part into the earth. With the third part of the flower he created the skies. He filled the earth with landforms and trees and plants and animals and birds and fish.

The Creation according to Hindu mythology is not an event that happened once. Creation and Destruction follow each other without beginning and without end. Some mythologies may have only creation and then the universe continues indefinitely. Other mythologies may begin with creation and end with destruction – there would be nothing before creation and nothing after destruction.

Today even science is not certain how the universe began. Three theories predominate. The Steady State theory says the universe was always essentially as it is now and that is how it will always be. The Big Bang theory says that the universe had a specific beginning. There was nothing before that. Even time began with the birth of the universe. The Oscillating Universe theory is one in which the universe expands to a point, then contracts and collapses into a singularity which then explodes into a new universe, repeating the cycle. This has some similarity with the Hindu mythology model.

We see many cycles in nature. After every day there is a night and after every night there is a day. The same applies to the movement of tides and to seasons. The alignments of stars and planets follow a cyclical pattern. Even the ice ages have occurred periodically. It must have therefore been reasonable to assume that the universe also follows a cyclic pattern

Thursday, August 26, 2010

Fuego nuevo

popol vuh parte 01

Popol Vuh - The Maya Creation Myth - part 2 of 7

Popol Vuh - The Maya Creation Myth - part 1 of 7

Popol Vuh - Gemeinsan tranken sie den Wein (1981)

The literal translation of the Popul Vuh- beautiful

poetic interpretation

Popol Vuh

The Popol Vuh is the creation story of the Maya. Below is one part of this story that recounts the first attempts of the creator, Heart of Sky to make humans. The story goes on to explain that the final attempt, that resulted int the "True people" was accomplished by constructing people with maize. This is a very reasonable explanation since, in essence, it was the cultivation of maize that gave the early Maya culture the means to change from hunters gatherers to their highly advanced civilization.

Here is the story of the beginning,
when there was not one bird,
not one fish,
not one mountain.
Here is the sky, all alone.
Here is the sea, all alone.
There is nothing more
–no sound, no movement.
Only the sky and the sea.
Only Heart-of-Sky, alone.
And these are his names:
Maker and Modeler,
and Hurricane.
But there is no one to speak his names.
There is no one to praise his glory.
There is no one to nurture his greatness.

And so Heart-of-Sky thinks,
"Who is there to speak my name?
Who is there to praise me?
How shall I make it dawn?"
Heart-of-Sky only says the word,
and the earth rises,
like a mist from the sea.
He only thinks of it,
and there it is.
He thinks of mountains,
and great mountains come.
He thinks of trees,
and trees grow on the land.
And so Heart-of-Sky says,
"Our work is going well."
Now Heart-of-Sky plans the creatures of the forest
-birds, deer, jaguars and snakes.
And each is given his home.
"You the deer, sleep here along the rivers.
You the birds, your nests are in the trees.
Multiply and scatter," he tells them.
Then Heart-of-Sky says to the animals,
"Speak, pray to us."
But the creatures can only squawk.
The creatures only howl.
They do not speak like humans.
They do not praise Heart-of-Sky
And so the animals are humbled.
They will serve those who will worship Heart-of-Sky.
And Heart-of-Sky tries again.
Tries to make a giver of respect.
Tries to make a giver of praise.

Here is the new creation,
made of mud and earth.
It doesn't look very good.
It keeps crumbing and softening.
It looks lopsided and twisted.
It only speaks nonsense.
It cannot multiply.
So Heart-of-Sky lets it dissolved away.
Now Heart-of-Sky plans again.
Our Grandfather and Our Grandmother are summoned.
They are the most wise spirits.
"Determine if we should carve people from wood,"
commands Heart-of-Sky.
They run their hands over the kernels of corn.
They run their hands over the coral seeds.
"What can we make that will speak and pray?
asks Our Grandfather.
What can we make that will nurture and provide?"
asks Our Grandmother.
They count the days,
the lots of four,
seeking an answer for Heart-of-Sky.
Now they give the answer,
"It is good to make your people with wood.
They will speak your name.
They will walk about and multiply."
"So it is," replies Heart-of-Sky.
And as the words are spoken, it is done.
The doll-people are made
with faces carved from wood.
But they have no blood, no sweat.
They have nothing in their minds.
They have no respect for Heart-of-Sky.
They are just walking about,
But they accomplish nothing.
"This is not what I had in mind,"
says Heart-of-Sky.
And so it is decided to destroy
these wooden people.
Hurricane makes a great rain.
It rains all day and rains all night.
There is a terrible flood
and the earth is blackened.
The creatures of the forest
come into the homes of the doll-people.
"You have chased us from our homes
so now we will take yours,"
they growl.
And their dogs and turkeys cry out,
"You have abused us
so now we shall eat you!"
Even their pots and grinding stones speak,
"We will burn you and pound on you
just as you have done to us!"
The wooden people scatter into the forest.
Their faces are crushed,
and they are turned into monkeys.
And this is why monkeys look like humans.
They are what is left of what came before,
an experiment in human design.

The Omaha Big Bang

Modern scientists think that the universe began billions of years ago with an explosion of matter and energy called the Big Bang. The Native American Omaha people have their own "big bang" account of creation. At first all living things were spirits floating through space, looking for a place to exist in bodily form. The sun was too hot. The moon was too cold. The earth was covered with water. Then a huge boulder rose out of the water and exploded with a roar and a burst of flame that dried the water. Land appeared. The spirits of plants settled on earth. Animal spirits followed. Finally the spirits of people took bodily form on earth.

Wednesday, August 25, 2010

Sacred Geometry

Sacred Geometry Workshop

         This page is a unique sacred geometry workshop to illustrate the role of geometry in the creation of the spiritual and physical universe. Most authors on this subject differ in their understanding and description of this process. After extensive research and contemplation, this workshop offers a unique perspective to this age-old mystery.

Tools needed: A drawing compass and a straight edge.

         Yes, that's all that's needed for the creation of the cosmos! A drawing compass can be as simple as a piece of string with a sharp pencil on one end and a pin on the other. But a good drawing compass will work much better. A good straight edge can be a ruler, but you won't need the measurements on the side. In geometry, we work with units and ratios. You can make one unit, usually the radius of your circle, represent one inch, one meter or one light year. Please yourself, and forget about metric conversions!

Laws needed: Cosmic and human laws are plentiful, but you will only have to know one main geometric law for this workshop:
         Pythagorean Theorem:  where "a" and "b" are the two shorter sides of a triangle and "c" is the longer side or the hypotenuse, opposite a right angle (90 degrees). By some simple math, we find that c (un-squared) will be equal to the square root of a plus b i.e. 

         There are many ways of explaining and studying Sacred Geometry. We trust that on this website, this unique method of integrating the creative power of sound into the unfolding geometric process will be helpful to you. So let's get to the essence of Sacred Geometry by contemplating the creation of the cosmos through geometry, or the Geometry Of Divinity (GOD).

         The One God or supreme Spirit, as Wholeness, is represented by the circle.

         Looking in more detail, God has a dual aspect, a male/female nature as Alpha and Omega, the Divine Us or Elohim, as hinted at in Genesis 1:26: "Let us make man in our image after our likeness." In the East, Brahman (with an n) has the dual polarity of Brahma and his feminine consort Sarasvati, the creators. They are symbolized by the balanced yin/yang action in the Tai Chi.

         How did they create us? In their own image and likeness (Genesis 1:26 as quoted above), and by sounding the "soundless sound" (OM, AUM or the Word, as discussed below). Geometrically, this process is done in two stages. The first is by drawing a second circle of the same radius with it's centre anywhere on the circumference of the first.

         This creates what is called the "vesica pisces" (fish-shape in the middle) in the West or "mandorla" (almond shape) in the East. The One point, at the centre of the circle, has now become two points, which create a line between them equal to the radius of each circle. We shall assign a length of 1 unit to that radius line.

         This line represents a musical string at rest, which is the same as the straight line on an oscilloscope (like the no-heartbeat straight line on a cardiograph).

         The second stage is to draw another radius line from the centre of each circle to the top (or bottom) of the vesica pisces. This creates a perfect equilateral triangle. The line, which had no surface area or "substance" or sound, has now given birth to the triangle of defined area, representing the primordial sound.

         This is seen as an oscillation on an oscilloscope, or a heartbeat on a cardiograph, like Elohim breathing life into their creation. 
This primordial sound is the beginning of the entire creation (the REAL "big bang"!). The ancient wisdom from East and West explain sound as the origin of the creative process of the universe:

         "In the beginning was the Word, and the Word was with God, and the Word was God." - Bible: John 1:1

         "In the beginning was Brahman with whom was the Word. And the Word was Brahman." - Vedas (Written long before the Book of John.)

         The ancient source of all esoteric Hindu texts, called the Book of Dzyan, describes creation in a sequence of unfolding sounds, linked to geometric symbols. It starts with a circle, representing Brahman; then the point in the centre called Para Sabda (the Word as the first vibration); then two parallel lines as Pasyanti; then a triangle as Madhyama (patterns of spiritual sound as consciousness); and finally Vaikhari, as sound made manifest as the physical cosmos, represented as a small triangle within a larger segmented triangle. Some of the Greek philosophers like Pythagoras and Plato understood creation to be based on sound and music, and they used geometry as part of their language. Goethe once said: "Geometry is frozen music."

         Sound and music do not have to be physical, traveling through the air etc. You can hear a song in your heart or mind with no physical sound. Music exists in the mind of a composer before it gets written and performed. Therefore this tiangle, and the sound it represents, is still on the spiritual level, which is why the original sound is called the "soundless sound". The closest approximation to this original soundless sound is the OM or AUM.

         From this first triangle, other triangles can be formed by other radii, all having the same size and shape. These represent the offspring of God, as spiritual sons and daughters not yet born into physical embodiment. Their three equal sides represent the divine qualities of love, wisdom and strength, as described on the page 
Balancing the Trinity Within.

         Interestingly, these triangles created by the original primordial sounding of the OM are not only symbolic. There is also a literal aspect to it. The science of Cymatics, described on page 2, depicts the specific geometric patterns created by a certain frequency or chord of sound. When the OM is sounded into a microphone, a pattern of interlaced triangles appears on the oscilloscope screen. This knowledge is not new. In the East, advanced adepts tuned in intuitively to this knowledge. A yantra is a pattern that relates to a specific mantra (spoken prayer), which they meditate on while giving the mantra. The yantra used for the OM bears a striking resemblance to the oscilloscope pattern . So "modern" science is not always so far ahead of the "primitive" people of the past. (In fact, our modern metal vehicles that poison us with carbon monoxide are primitive to those adepts who can bi-locate at will.)

         So far the process of creation we have followed is still on the spiritual level. The next step is for its crystallization into the physical. Geometrically, this is done via the square. From the diagram of the single triangle in the vesica pisces , draw two verical parallel radii from the base of the triangle (centre of each circle) to the circumference of the two circles, which will cut them exactly at their tops. (There is a way to draw an exact right angle with just a compass and straight edge, but it's a bit complex to explain now.) Now join the two top points to form a perfect square, with sides of 1 radius. This represents the proverbial base of the pyramid, the foundation for all manifestation on the physical plane. It gives us the 4 points of the compass, the 4 winds, the 4 elements of fire, air, water and earth etc.

         The physical plane is the feminine polarity to the spiritual as the masculine. The English word "matter" comes partly from the ancient sanscrit word "mater", meaning mother. Hence Mother Nature and Mother Earth. How does nature grow? Cells multiply by division! They first divide in half. This is done by diagonally dividing the square. This diagonal now becomes the first side of the next square. This is where the Pythagorian Theorem comes in handy. The diagonal is the hypotenuse "c" and the 2 shorter sides of the triangle are both 1 unit. Therefore c = 
(1 + 1) = 2. Arithmetically, the sqaure root of 2 is equal to 1.4142135.... ad infinitum, which is pretty clumbsy to work with, which is one of the advantages of sticking to geometry. It also illustrates that the spiritual realm, represented by geometry, cannot be exactly defined or understood in the physical realm, represented by arithmatic. There are actually just 3 important numbers upon which all of the Platonic Solids and most of sacred geometry are based, and they are all square roots: 2, 3 and 5. The other two will be introduced shortly.

         What is interesting is that the area of the second square is exactly double that of the first. It can be seen that the one half of the first square in the diagram above forms a quarter section of the second square. And if you divide the second one diagonally in half, the third square formed by it's diagonal will be double the area of the second, and on and on, doubling each time.

         This multiplication by division is one of the two geometric depictions of how nature grows. The other is by the Golden Ratio described on page 1. It is based on 
5 and the Fibonacci Series, where each number is the sum of the previous 2 numbers. This is the actual ratio that Mother Nature uses in the growth process.

         The next step after constructing the square, as the foundation for all manifestation on the physical plane, is to cover 3-dimensional volume. There are five volumes which are thought to be the most essential because they are the only volumes which have all edges and all interior angles equal, as shown on page 1, and are the expressions in volume of the triangle, the square and the pentagon: 3, 4, 5. Therefore our next step is to construct the pentagon. It can be done from the vesica pisces, which we shall do for the sake of flow, even though there is a more exact method.

         First of all, from the initial vesica pisces, draw a vertical line from it's top to it's bottom. If the width of the vesica pisces is still 1 unit (radius), then the vertical line will be exactly 
3. Neat, huh! (3 = 1.73205.....). (The proof of this is a bit too complex to include here.)

         Now draw another circle, radius still equal to 1, with its centre at the bottom of the vertical line. Draw dotted lines, as shown in the figure below, from where the bottom circle cuts the outside of the other cirles, through the point where the bottom cirle cuts the vertical line, and continue them to where they cut the tops of the opposite circles. Draw a solid line radius from those points to the centre of their circle. These points will also be the ends of the horizontal line through the vesica pisces. From the top of these 2 new lines, subtend an arc equal to one radius across the extended vertical line through the vesica pisces. Both these arcs will coincide at the same point on the vertical line. Now join this point to the tops of the circles where the previous 2 new lines cut. This will now form a pentagon.

         We have found out above how to get 
2 and 3. To get 5, the last of the 3 Platonic Solid numbers, draw a line from any corner on the pentagon, to any other corner on the pentagon. It will always equall 5 (or 2.23606...).

Congratulations! You have just gone through the creation of the universe! We have covered the symbolic process of creation, from circle to triangle to square, to physical volume through the Platonic Solids. (There are also other geometric ways of describing the creative process, including starting with the most complex and all-inclusive Platonic Solid, the icosahedron. This is covered on Page 1 in the paragraph The 5 Platonic Solids.)

Tuesday, August 24, 2010

Mayan Cosmology


 "Here is the story of the beginning when there was not one bird, not one fish, not one mountain. Here is the sky, all alone. Here is the sea, all alone. There is nothing more-no sound, no movement. Only the Creators, only Heart-of-Sky, Huracán alone. And these are his names: Maker and Modeler,  the first is Caculhá-Huracán, the second is Chipi-Huracán, the third is Raxá-Caculhá, those three form Hart-of-Sky. But there is no one to speak his names. There is no one to praise his glory. There is no one to nurture his greatness... 
How should it be sown, how should it dawn?" . . .  And then the Earth arose because of them, it was simply their word that brought it forth.  For the forming of the Earth they said "Earth." It arose suddenly, just like a cloud, like a mist, now forming, unfolding. . . . Such was the formation of the Earth when it was brought forth by the Heart of Sky, Heart of Earth, as they are called. . . The Sky was set apart, and the Earth was set apart in the midst of the waters). (Popol Vuh)  

These roads are sometimes imagined as canoe routes. About three hours after midnight, Linda Schele identifies the visible portion of the Milky Way with the cosmic canoe, illustrated in Classic Maya art, that conveys the maize god through the Underworld to the place where he will be resurrected, the hearth of Creation in Orion. Here the sky of the new era will be raised. Later, as the Milky Way begins to turns upright again, the canoe appears to sink. (Drawing by Linda Schele

On that day the creator gods set three stones or mountains in the sky after lifting it with the sacred tree of life,  from the dark waters that once covered the primordial world. These three stones formed a cosmic hearth at the center of the universe. The gods then struck divine new fire by means of lightning, which charged the world with new life

Monday, August 23, 2010

Going round in circles :)

Today, as per modern understanding it is considered that the time progresses in a linear manner. There are many theories, which explain the nature, origin, its end and other matters related to the Time. According to the most popular theory, the time originated at the Big Bang with the start of the universe and will end at Big Crunch where the universe also would end. Big Bang refers to a massive explosion, of infinitely dense substance, which created the universe consisting of all the stars, galaxies and all the rest. Big Crunch refers to the event of collapsing back the whole universe again into an infinitely dense matter. However the theory could not explain what happened before and what will happen after. This and other similar theories were formulated based on scientific observations with modern sophisticated equipment and mathematical calculations using advanced computer methods.
Ancient people also had thought about these problems related to the time and formulated concepts and proposed various models to satisfy the observations with naked eye and deduction based on logic.
Most of the ancient societies believed that the time progressed in a cyclic manner. They observed the cyclic nature of the day and night, similar repeating pattern of seasons year after year; monthly cycles of moon's change of form etc. and extended the same for larger time scales too. Ancient Indian system of time measurement is an example for this.

Ancient Indian Cyclic Time System

In the Indian system, Years are named and there are 60 names. Once the 60 names are finished, the next year starts with the first name again. This goes on in a cyclic manner. Beyond this level there are 4 epochs or Yugas, namely, Krita Yuga, Treta Yuga, Dvapara Yuga, and Kali yuga. They are not equal in the length of time. Duration of each epoch is as follows:
  1. Krita-yuga: 1,728,000 years
  2. Treta-yuga: 1,296,000 years
  3. Dvapara-yuga: 864,000 years
  4. Kali-yuga: 432,000 years
All these four Yugas together is called a Chatur Yuga, which means "four epochs". 71 cycles of Chatur Yuga is called a manvantara. At the end of each manvantaraperiod, there comes a partial devastation period, which is equivalant to the duration of krita yuga. This means after every manvantara period, the world is partially destroyed and recreated.
According to Hindu scriptures, in this cyclic process of time, 1000 chatur yugaperiod is called a Kalpa, and period of time is equal to a daytime for the Lord Brahma, the creator of the universe. These scriptures put Brahma's age at 100 years in his unique time scale. Therefore Brahma's life span is equal to 311,040,000,000,000 human years. This period in named as maha kalpa. A universe lasts only for one maha kalpa period. At the end of it the universe is completely destroyed together with the creator Brahma and a new universe would be created with a new Brahma. This cycle goes on endlessly. The Vedic universe passes through repetitive cycles of creation and destruction. During the annihilation of the universe, energy is conserved, to manifest again in the next creation.

The Gond Mythology of Creation

Bada Dev was sitting on a lotus leaf when the idea of creating the world came to Him; He needed clay to create the world. He looked down but all He saw was water, He rubbed His chest and removed some of the congealed muck from His breast and fashioned a crow out of it. Bada Dev now sent the crow in search of the Clay.

The crow flew away in search of the clay. He looked everywhere but all he could see was nothing but water, tired and exhausted he settled on a stump that protruded above the endless sheet of water. He had not even settled down properly when a voice asked him “who is this sitting on my claw”.

The voice belonged to Kekda Mal, the crab, the crow narrated his woes to Kekda Mal and sought his help in finding the clay. Kekda Mal said to the crow, “the clay has gone to the nether world and is being eaten up by the earthworm. The crow requested Kekda Mal to somehow bring the earthworm out of the netherworld.

Kekda Mal dragged the earthworm out, but the worm was not ready to let go of the clay, because it was his food, Kekda Mal caught the earthworm by the neck and squeezed it really hard, the earthworm spat out the clay. The crow grabbed it and flew back to Bada Dev.

Bada Dev now asked Makda Dev, the spider to spin a web across the sheet of water, Bada Dev spread the clay on the web and released all the animals and birds and other living being on the earth.

Man asked Bada Dev “what do I feed my children”, Bada Dev plucked three hairs from his head and threw them on the earth, they took root and grew into Mango, Teak and Kassi Trees. Bada Dev now gave an axe and a hatchet to Man and asked him to make something from the wood of the three trees.

The moment Man began to chop the tree, Kathphodwa – the woodpecker, began to imitate his actions, Man got distracted and ended up giving glancing blows to the wood. Man ended up destroying the trees all that was left with him were crooked pieces of wood. In frustration he threw the Hatchet at the Kathphodwa, the woodpecker flew off and the Hatchet disappeared in the skies.

Man went back to Bada Dev for help, Bada Dev gave him some ash from his fire and asked him to bury it in the roots of the trees, Bada Dev also told Man, “there has to be an explanation for all the wood getting chopped in this manner”.

The moment man placed the ash on the roots, the trees flowered and the earth was filled with forests. In an attempt to understand the secret of the crooked piece of wood the man threw it on the earth.

The bamboo maiden emerged from the place where the piece of wood had fallen. The Goddess of grains who was hiding inside the bamboo maiden, now emerged and spread herself all over the earth.

The crooked piece of wood turned out to be the first plough and from then on man learnt to cultivate crops. In order to prevent the goddess of grain from disappearing once again the Gond woman learnt a thing or two from the white-ant and built a Lillar Kothi (granary), she filled it up with grain to feed the whole world.

There are a couple of very interesting touches in the story that point to the humanness of tribal gods. Bada Dev obviously did not enjoy the luxury of a daily bath. Bada Dev is not like the gods of “civilised beings” and works, unlike other Gods that one is more familiar with.

The fact that the crow, the crab and the spider, living beings that have generally been presented in the company of evil by “more evolved” civilisations but shine in the Gond Myth in a constructive and positive light, is probably suggestive of the relations that the tribal peoples established with their environment.

" One Gond myth, essentially a separation of heaven and earth myth tells us about how earth and sky fell in love and wanted to be married and the Creator agreed to celebrate their wedding. All creatures were invited tot he wedding and they all agreed to come except the Jackal. He warned the Creator that if Earth and Sky married, there would be no room left between their coupling for any creation to take place. The Creator understood this and decided to marry the Earth with the Sun instead."

finding common points of connection

Using structure as a link- Indras net and the currently used model for the structure of the universe could be possible links between the theological space and the model of the timeline.

Using time and space as link- tandav (creation and destruction)- big bang and theory of expansion and destruction

Using the point of origin as a link- the sientific idea f the origin as being a void is common in many creation myths too.

Evolution of the Universe: Structure and Galaxy Formation

looking at structures of the universe

A simulation of the structure of the universe- foamy, web like

Indra's Net

'As the threads of Indra's net bind the gems to the net so do our physical bodies bind our minds and other physical entities bind other systems to the universe. Through the threads we reach each other, passing information across the expanses of space. '



This graphic and metaphor for The Mystery of Love is the enduring Hindu cosmic ideal of the Net of Indra, also called the Net of Gems. It communicates that all loves are reflected in every other love and that the universe is an interconnected whole, which can be experienced as an interdependent universe or a universe of love.

The story goes that Indra (the King of all Hindu Gods) commissioned a highly skilled craftsman to create a large net consisting solely of polished gems and finely woven silk threads. The jewels were placed at the intersections of the net, and in each one could be seen every other jewel. For Hindus the net described a universe that was entirely interconnected—a cosmology that implies the oneness of being.
When related to love, each and every intersection represents a moment of connection between separate forces, be it man and woman; human and God; the individual and nature; parent and child. The jewel is love and so—in the net—every love is reflected in every other love. The net of Indra represents how different forms of love are held together in a universe held together by love.
The metaphor is even more powerful than that. For the Net of Indra does not actually exist. It is an idea, an illusion, a myth or a story that humans imagine to help them understand the universe. All of us live by such stories, to explain, to connect to, to give meaning to the experience of being alive, whether about the birth of the universe or the feelings we perceive others have for us—or we have for Others. Love is such a story; rather, love is many such stories.


The Bhumandala represents different features of the cosmos, and speaks of innumerable universes. Each one is contained in a spherical shell surrounded by layers of elemental matter that mark the boundary between mundane space and the unlimited spiritual world.
The region within the shell is called the Brahmanda, or "Brahma egg." It contains an earth disk or plane—called Bhu-mandala—that divides it into an upper, heavenly half and a subterranean half, filled with water. Bhu-mandala is divided into a series of geographic features, traditionally called dvipas, or "islands," varshas, or "regions," and oceans.
In the center of Bhu-mandala is the circular "island" of Jambudvipa, with nine
varsha subdivisions. These include Bharata-varsha, which can be understood in one sense as India and in another as the total area
inhabited by human beings. In the center of Jambudvipa stands the cone-shaped Sumeru Mountain, which represents the world axis and is surmounted by the city of Brahma, the universal creator.

Similarities between the Bhumandala model and the modern cosmological model:
- Both suggest that the earth isn't flat
-the disk of Bhu-mandala corresponds in some detail to the solar system
- If we compare Bhu-mandala with the Earth, the solar system out to Saturn, and the Milky Way galaxy, Bhu-mandala matches the solar system closely, while radically differing in size from Earth and the galaxy.
Furthermore, the structures of Bhu-mandala correspond with the planetary orbits of the solar system

The universe of the Maya were centered on a tiered pyramid, and rest upon a crocodillian cosmic sea. Each quarter of the earth was associated with color, and the center of the earth was a "fifth direction". Four sacred beings supported the dome of heaven, illustrated as a two-headed dragon, which had a body as a sky band of celestial symbols. It is arched over the moon goddess, who is holding the rabbit discerned in the moon's face, and a skeletal Venus, and the sun god. Pleides, is a star cluster and a rattlesnake tail. Creation of both sun and probably the planet Venus was explained with a legend of Hero twins who vied with the Lords of Death during a series of ball games. The victorious twins became these celestial bodies.

The Navajo Cosmos was portrayed as a sand painting, the world view of Diné-- "the people," as Navajo referred to themselves, centering on the family hogan. The first hogan was built in the place the ancestors emerged, and travelled through three previous words before arising from a hollow reed into this "glittering" place. The four quarters of the world is characterized with color, holy mountain, time of day, and a sacred person. The rainbow god is a guardian, and the sky sparkles with constellations (the Milky Way) symbolized by a band of crosses. Young warriors carry the blue sun and white moon. Beyond the sky is a land in which the Big Wind (yellow) and Big Thunder rule.

The king of the Inca believed he was the son of the sun, and the cosmos was centered on the Sun Temple at Cuzco, Peru. In one origin myth the Inca people came from three caves; in another myth they arose from Lake Titicaca. The straight red lines are ceques, symbolizing connections to sacred places. The major ceques formed borders of the four-quarted Inca world. The Milky Way blended into the underworld and brought dark, fertile mud to the sky upon its return, which formed patches that resemble animals, like the snake (at top) toad, tinamou bird, mother and baby llama, fox and a second tinamou. The sun is portrayed as a male god, and the moon as a female.

Original paintings by Ken Dallison, Principal Consultants; Original Article by John B. Carlson, Center for Archaeoastronomy (Maya); Trudy Griffen-Pierce, University of Arizona (Navajo); Gary Urton, Colgate University (Inca).

Quick overview of creation myths

Creation Hymn (Nasadiya)

There was neither non-existence nor existence then; there was neither the realm of space nor the sky which is beyond. What stirred? Where? In whose protection? Was there water, bottomlessly deep?

There was neither death nor immortality then. There was no distinguishing sign of night or day. That one breathed, windless, by its own impulse. Other than that, there was nothing beyond.

Darkness was hidden by darkness in the beginning; with no distinguishing sign, all this was water. The life force that was covered with emptiness, that one arose through the power of heat [tapas].

Desire came upon that one in the beginning; that was the first seed of mind. Poets seeking in their heart with wisdom found the bond of existence in non-existence.

Their cord was extended across. Was there below? Was there above? There were seed-placers; there were powers. There was impulse beneath; there was giving-forth above.

Who really knows? Who will here proclaim it? Whence was it produced? Whence is this creation? The gods came afterwards, with the creation of this universe. Who then knows whence it has arisen?

Whence this creation has arisen – perhaps it formed itself, or perhaps it did not—the one who looks down on it, in the highest heaven, only he knows – or perhaps he does not know.

From the Rig Veda (10.129). Translated by Wendy Doniger O’Flaherty