Sacred Arts Univercity

Introduction

Nithyananda Sacred Arts is established to preserve, revive and spread the vedic Temple arts, architecture and artefacts for people to live and experience the rich consciousness-based vedic heritage. The temple based arts and architecture is a Science based on the perfect frameworks of cosmic laws, sacred geometry, proportion and symmetry, sophisticated mathematical principles and cardinal directions. This Science is grounded on the sacred truth that ‘a temple is a miniature of the Cosmos comprising the five elements (earth, water, fire, air and ether) and its presiding deity (worshipful God form)’. Every aspect of temple and temple arts - from the size, shape, material, structure density, the size of the halls, pillars, courtyards, the facing directions, to the process of installing the deity and the art forms used – all these are revealed in the VedaAgamas, the source scriptures such as ‘Sthapatya Veda’ or ‘Vastu Shastra’ or ‘Shilpa Shastra’.

शिल्पं हास्मिन्नधिगम्यते य एवं वेद। यदेव शिल्पानीँ३ । आत्मसंस्कृतिर्वाव शिल्पानि च्छन्दोमयं वा एतैर्यजमान आत्मानं संस्कुरुते।

śilpaṃ hāsminnadhigamyate ya evaṃ veda। yadeva śilpānīm̐3 । ātmasaṃskṛtirvāva śilpāni cchandomayaṃ vā etairyajamāna ātmānaṃ saṃskurute।

Shilpāni, works of art of man, is the imitation of Divine forms. By employing their rhythms, the artisans metrically reconstitute, and interpret the limitless knowledge of the sacred hymns, from the limits of human ability. -Source: Rigveda, Aitareya Brahmana, 6.5..27

Modern Architecture and Vedic Architecture

Modern architecture has much to learn from ancient Vedic Temple Sciences. Several researches and studies have proven the indigenous perfection of Vedic Architecture. It has been scientifically proven that the characteristic configuration, geometric configuration of the Hindu temple, built with extraordinary perfection, has significantly increased the strength against earthquake movements, resulting in creation of ever-lasting, structurally sound structures, which are proven earthquake-resistant.

Temple Arts and Lifestyle for Superconscious Breakthrough

Nithyananda Sacred Arts Univercity (spelt with a ‘c’ as it is envisioned to be a city of its own!) founded by HDH Bhagavan Nithyananda Paramashivam in 2003, is the world's largest producer of Temple Arts and Deities with the mission to –

• Procure, collect, traditionally make, preserve the Temple arts and Temple traditions and cultural heritage.
• Spread the Temple arts and architecture in its highest form as a celebrative lifestyle of peace and bliss, as per the authentic scriptures.
• Operate as a University of learning the Science and the applied technology of Sacred Arts and Temple Architecture.
• Provide training, livelihood to sthapathis - the generations of temple architects who preserve the rare Temple Sciences.

Vision

Creating a beautiful highly evolved humanity, a civilisation of new species following the rich Vedic Hindu life. The Vedic Hindu civilization both in its life style, tradition, art and its architecture. Swamiji, has envisioned:

• The Pandiyan (CHETTINAD) architecture for the construction of all the buildings and
• The Madurai Architecture for all the temple construction...
• … for all Hindu gods and deities

(vigrahas – idols for worship) and their Vahanas (vehicles and chariots for processions) and just about everything that brings out all the grandeur and galore one can imagine which is truly inherent to the fascinating Hindu tradition. Building a temple based civilization nothing less comparable to the best civilizations that ever existed.

Some references here, To kindle your imagination, of what you can expect.

• Dwaraka – created for Lord Krishna by Viswakarma
• Swarnalanka – created for lord Shiva by Viswakarma

Why were they renowned? Primarily because of its beauty of the art and architecture that reflected from the beautiful creative artistic space and Lifestyles these people were living. So here is an opportunity for you to bring out the reflection of your artistic creative side and contribute to this magnificent civilization to be.

HDH Bhagavan Nithyananda Paramashivam has guided every aspect of temple and temple arts - from the size, shape, material, structure, the size of the halls, pillars, courtyard, the facing directions, to the process of installing the deity and the art forms used, as per veda agamas, the source scriptures such as ‘Sthapathya Veda or Vastu Shastra or shilpa shastra

Deitification Process

In Hindu tradition we have mastered the Science of making body to live in the zones of enlightened vertical time zones through Deitification Process -HDH Bhagavan Nithyananda Paramashivam

Mummification vs. Deitification

The Science Of Mummification in Egyptian Pyramids was not with the mere aim to preserve their bodies but a science to achieve immortality. But in Sanatana Hinduism this system was far more evolved and gave the most precise way of immortality for your being. Deitification is far more evolved science of immortality than mummifying.

Deitification process of Moorthy of HDH Bhagavan Nithyananda Paramashivam

15 Feet tall deity of HDH Bhagavan Nithyananda Paramashivam, blessing the world in the form of PARAMASHIVA himself. The tallest ever deity made by the Nithyananda Sacred Arts Ministry till date.

Deitification of Sarvajnapeetha Yajamans and Kartas

Greatest boon one can get while living in the body is the boon of living in the breathing space of a living master, with the grace of Paramashiva, this boon has extended to living in the breathing space of the divine even after you leave your body.

Being deitified is one of the best things, one can do to guarantee, their life to be in the same space of as Paramashiva along with Paramashiva.

All Yajamans and Karthas will be blessed forever by being deitified (exist in the form of deities just like these, eternally in the breathing space of Paramashiva and Devi Parashakthi)

Stone Division

At the age of 10 years old during the Navaratri celebrations in the Arunachaleshwara Temple of His birthplace, His Divine Holiness was in the Devil Unnamalai Amman shrine after having taken bath in the temple holy water tank on His Guru Yogananda Puri's Instruction. After receiving the initiation into the bheeja mantra for Parashakti, suddenly, in the shrine itself His Divine Holiness had the darshan of the living, breathing form of Devi Parashakti. Immediately, upon having the darshan, His Divine Holiness set out to carve the deity in stone. He first heated up a nail and beat it until it could act as a chisel. He began carving the form which He saw into stone. His Divine Holiness took this deity as it was in the making to Arunagiri Yogishwara, the embodiment of Paramashiva who manifested as His guru for a 9 month period, who taught how to birth deities. This became the first deity thousands of deities which would would be created by the Sacred Arts Univercity.

First deity of the standing form of Devi Parashakti birthed by His Divine Holiness

Sthapathis are professionals in temple architecture and deity creation. They belong to the Vishvakarma community – the ancient Vedic community of architects and artisans.

HDH Bhagavan Nithyananda Paramashivam is upholding the purity of the Science of Temple-building by bringing new life and livelihood to this fast dwindling Sthapati community.

Each step of the Sthapati’s task is outlined in the Sthapatya Vedas and Agamas (the scriptures of Vedic architecture science) with great precision and mathematical and scientific frameworks that is ahead of any modern architectural science.

As per the guidance of HDH Bhagavan Nithyananda Paramashivam, numerous hindu scriptures and books are referred and all deities are made as per the dimensions specified as per scriptures

Identification of best stones for sculpting

Granite Stone Work

Thousands of unique deities have been crafted to support temples worldwide

Kailasa in Los Angeles | Nithyanandeshwara Hindu Temple

Kailasa in Malaysia | Nithyanandeshwara Hindu Temple

Kailasa in Houston | Nithyanandeshwara Hindu Temple

Metal Sheet Division

In approximately 1987, at the young age of 10 years during the Navaratri festival, HDH Bhagavan Nithyananda Paramashivam had the darshan of the Sri Chakra - the sacred Cosmic geometry, which He inscribed on this copper sheet with the compass needle of His pre monastic brother’s geometry box. Shocked at His impeccable reproduction of the complex geometry from the darshan alone, His vedanta, tantra and Srividya Guru, Mata Vibhutananda Puri, immediately initiated Him into Srividya worship,

Srividya is the worship of the universal cosmic mother through The Sri Chakra. This is the first personally etched sheet metal work which grown today multifold.

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Types of Sheet Work -

• Brass sheet Work
• Silver sheet Work
• Gold Sheet Work

Copper and brass metal sheets are worked with to create ornate kavacham - armours - for stone and metal deities. The armours are placed on the deities during festive occasions, adding décor.

Metal Deity Works

In approximately 1987, HDH Bhagavan Nithyananda Paramashivam made His first metal casted deity using Aluminium vessels from His home. This beautiful Lakshmi deity is the first metal-casted deity which has grown today as a mini-industry where artisans make deities by casting metal weighing up to several tonnes!

We procure brass which is used as turbine in ships. There are only 5 ship dismantling yard in world, one being in Gujarat. This turbine made of brass has best composition of copper and zinc and other metals. Also this brass has gone for years of seasoning in saline water of sea, which makes it resistant to any corrosion. Also this composition is best for strength, life, and consecration of deity.

Casting of metal deities in Panchaloha (5-metal combination of copper, brass, zinc, tin and gold), involves an elaborate and authentic process of a single mould for every metal casting, employing the following processes:

• Wax modelling of deities
• Covering the wax model with mud from the banks of the sacred river Cauvery in South India
• Melting the wax through extremely high temperatures
• Pouring molten metal into the mud mould to cast the deities
• Extracting the metal deity from the mould and finishing it through skilled sculpting
• Generating intricate line drawings and crafting the rare sculpting tools that are unavailable in the contemporary market
• Employing the ‘Sithuzhi velai’ – extremely fine and nested carving on metal using extra-fine tools to show ornate details on the deity forms.

And last but not the least, using only the coconut palm leaf for all measurements, with the Vedic unit of measurement called ‘talam’.