Yoga more powerful than Raja Raja

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සිංහල මුල් පිටපතේ අනුවාදනය මෙතනින් රාජ යෝග වලට වඩා බලවත් වාස යෝග

The popular saying of our culture is that the word of the deacon as far as the demon is. This is not merely a saying, but a very powerful statement. The kings of the past The minister and the nobles made their home in order to gain a foothold in their strength and vigorousness. Architecture was a great help for this. Architectural resemblance to kings has been shown separately by the dwellers’ ministers as well as the habitats of those who used war veterans, the habitats of the ministers of Mahamitha, as well as the dwellings. According to each habitat, not only the size of carpentry, gates, and the orientation of the home, but also the building materials for the use of the home.

The world has been advised to make the main points of the world to consider when drafting the habitat for the king, especially the Oriya family. These principles of architecture are the most effective theories of architecture and can also be used in the modern world.

Raising their habits to empower Rajoyo are the reasons for greater public enthusiasm. My house is directly affected by the success or failure of my home. The premise for each decision made by a person is greatly influenced. Especially the matching or misconception of the thesis can be called what happens before or on their previous good or bad luck. There are architectures in his own house, but at the same time, he is aware of those defects in his good times. It is not the worst when it comes to power and it does not have to do the wrong results.

We know that not everyone can get popularity. To do this, the person must have the necessary end-of-life power. In these times of activation, a popular public acceptance is gained, and in others, there is public displeasure. Here, a very important factor is the active participation of the principles of Architecture in the premise of the individual.

The matching of the basic theories of theories with a view to empowering people’s public appearances must be done the same way.

There should be one aspect of the domestic presence – Sampath Maithree, Parama Maithree. To do this, the householder’s birthplace and home of the householder should be done and empowered by one third of the auspices of Sampath, Maithri and Maithri.

Gate Note – The dwelling line of the dwelling heads is a very important archetypal principle. The following binaries should be used.

Vijaya Gate Note – North + South + East – West (Main Gate South)

Sumukha Gate Note + West + East + South (Main Gate East)

Main Gate Note – North + South + West –

(Rising gate West)

Vipula Gate Note – North West + South – (Main Gate North)

In order to match the above portal entries, always select the tailor-made portlet with the birth of the homeholder’s home. Also, the southern direction of the house is inevitable. There are occasions where practically no input can be applied to the south. Especially the blind walls should be used in the “Urine Gate” where the ”

Brass feet – Braille is the center of the house. The universal energy flows from the northeast direction into the south and leaves the southwest. The place where the whole universe is maximized is the Brahma foot. The genres of folk must be properly identified, protected and activated. The flagship of the house should be kept free and clean, and the following should be placed according to the housewife’s genetic makeup according to the location of the house.

Enabling the fan base

Cursed, dried, curly, reefed, dehydrated, today, deer, ash, aslis.

Place a dagger made from the Khomba tree and put it on top of the sacred bowl. Putting a batter (pink currant) into the bowl is very good.

I am a widow, a son of a son, seven, an eye, a visitor, an Anura.

A clay bowl, clay flowers to be placed in a bowl using plural flowers on the sand and pebbles in the bow legs.

Bottom, Bubble, Euththal, Suriana, Dhatus, Totawas, Puwathu, Hataruttu, Revatha.

A wooden bowl made of wood, a wooden flower in a bowl and a live flower potion and a blanket of white sandals.

Directionalism – The royal palace of the king of the king’s palace was always set up so that it could always be seen in the direction of the southwest. People’s representatives should work in the proper direction in the right direction. And if it is possible to use the master bedroom in his southwest direction, it is very optimum. If it is not possible, it is desirable for the West, East or South. Also, you should be careful not to use the direction of the northeast, the southeast.

In this way, you need to make a point and make mistakes in your place of residence that you regularly use to gain public acceptance. Color can be used as a powerful tool for highlighting directions.

Color scheme

North – water – color from white to blue

The southern direction – the jade chest, white between red and yellow

East direction – A fascia, white color between the leaves

West direction – Elpha / Punkasa

When there is a lack of architectural defects in a house, the health, wealth, social acceptance, peace of life, and the continuing generation are very good in the home. It is always necessary to agree with home based theory to accommodate the owner’s livelihood, social status and future prospects.

rāja yōga valaṭa vaḍā balavat vāsa yōga

yakāgē taramaṭa tamayi vimānaya yana kiyamana apagē jana saṁskṛtika vaharē itā janapriya kiyamanaki. meya hudek kiyamanak pamaṇak nova antargataya itā balavat kiyamanaki. atītayē rajavaru amātya hā prabhūvaru tamangē vāsasthānaya sakaskara ganu læbuvē tama tamangē bala sampanna bhāvaya hā virājamāna bava tava tavat trīvra kara gænīmaṭa avaśya piṭivahalak labā gænīma piṇisayi. mē san̆dahā mahōpakārī vūyē vāstu vidyāvayi. vāstu vidyāva tuḷa rajavarungē vāsasthāna amātyavarungē vāsasthāna yuda śilpayangē niyǣḷuṇu ayagē vāsasthāna, mahāmātya væni æmætivarungē vāsasthāna menma ē ē kulagot anuva sakasviya yutu vāsasthāna piḷiban̆dava vena venama penvādī æta. ē ē vāsasthānavalaṭa anukūlava vaḍu riyan pramāṇaya, dvāra pihiṭuvanu labana ākāraya menma gṛhaya diśānugatakaraṇaya pamaṇak nova gṛhaya san̆dahā yodāgata yutu goḍanæn̆gili dravya piḷiban̆dava pavā ven ven vaśayen dakvā æta.

viśēṣayen atri namæti sṛṣivarayā visin raja mætin̆dun san̆dahā vāsasthāna sādāgænīmēdī salakā bæliya yutu pradhāna vāstu siddhānta monavāda yanna piḷiban̆dava lōkayāṭa upades labādī æta. mema vāstu siddhānta itā sakrīya vāstu siddhānta lesa nūtanayēdīda bhāvita kaḷa hæki vāstu siddhānta vē.

rājayōga vaḍā bala ganvana lesa tama vāsasthāna sakas kara gænīma tuḷin vaḍā væḍi mahajana prasādayak dinā gænīma san̆dahā hētu vē. tamāgē gṛhaya tamāgē jīvitaya sārthaka vīma hō asārthaka vīma kerehi sṛjuvama balapānu labayi. pudgalayaku visin ganu labana sǣma tīraṇayak kerehima tamā vāsaya karanu labana pariśraya viśāla balapǣmak sidu karanu læbē. viśēṣayen vāstu siddhānta gælapīma hō nogælapīma tamangē pera kusal hō akusal mata siduvana deyak lesa hæn̆dinviya hæka. dænaṭa tamāgē gṛhaya tuḷa vāstu dōṣa tibuṇada tamāgē kusal balavatva vana kālavaladī ema dōṣa han̆dunāgena ēvā ivat kara gænīmaṭa sit pahaḷa vē. akusal balavat vana viṭa ē san̆dahā sit pahaḷa novana atara dōṣavala væradi pratiphala bhukti vin̆dīmaṭa siduvē.

sǣma pudgalayakuṭama janaprasādaya labā gænīmaṭa nohæki bava apa dannā karuṇaki. ē san̆dahā ema pudgalayāṭa īṭa āvēṇika avaśya śaktīn sakrīya vī tibiya yutuya. mema śaktīn sakrīya vana kālavala dī itā janapriya mahajana prasādayak labāgannā atara tavat kālavala mahajana aprasādaya ætivē. mehidī pudgalayā jīvatvana pariśrayē pavatina vāstu mūladharmayangē sakrīSya vīma itā prabala sādhakayak lesa ismatu vē.

pudgalayakugē rājayōga matuvī mahajana prasādaya balavatvīma san̆dahā pradhāna vāstu siddhānta galapā gænīma pahata ākārayaṭama sidu kaḷa yutuya.

gṛha piṇḍaya tibīma – sampat maitrī parama maitrī yana nækæt valin ek nækatakaṭa bala gænvī tibiya yutuvē. mē san̆dahā kaḷa yutu vannē gṛhahimiyāgē janma nækata saha nivasē nækata galapā ema nækæt deka atara æti vana sambandhaya sampat, maitrī parama maitrī yana nækæt tunen ek nækatakaṭa bala gænvīmayi.

dvāra saṭahana – jana pradhānīnṭa sādanu labana vāsasthānavala dvāra saṭahana itāmat vædagat vāstu mūladharmayak vē. ē anuva pahata dvāra saṭahan yodāgata yutuyi.

vijaya dvāra saṭahana – utura + dakuṇa + nægenahira – baṭahira (pradhāna dvāraya dakuṇa)

sumukha dvāra saṭahana +baṭahira +nægenahira +dakuṇa (pradhāna dvāraya nægenahira)

pradhāna dvāra saṭahana – utura +dakuṇa +baṭahira –

(dhanada dvāraya baṭahira)

vipula dvāra saṭahana – utura baṭahira + dakuṇa – (pradhāna dvāraya utura)

ihata dvāra saṭahan gælapīmēdī sǣma viṭama gṛha himiyāgē janma nækæt samaga galapā janma nækataṭa gælapena dvāra saṭahana tōrā gænīma sidu kaḷa yutuya. esēma nivasē dakuṇu diśā dvāraya anivārya bava san̆dahan kaḷa yutuyi. dakuṇu diśāvaṭa dvārayak prāyōgikava yediya nohæki avasthā ætivē. viśēṣayen andha bitti īkasabā uakaka ehidī “urdumukha dvāraya” yedīma sidukaḷa yutuvē ñarae śrāga

brahma pādaya – brahma pādaya yanu nivasē madhya laCṣyayayi. viśva śaktiya īśāna diśāven gṛhayaṭa ætuḷuvī nirita diśāven piṭavī yayi. ema viśva śaktiya uparima vana sthānaya brahma pādaya vē. jana prradhānīn mema brahma pādaya nisi lesa han̆dunāgena ārakṣā koṭa sakrīya kirīma sidu kaḷa yutuma vē. gṛhayē brahma pādaya nidahasva hā pirisiduva pavatvāgena yā yutuma atara eya vaḍāt sakrīya kirīma san̆dahā gṛhahimiyāgē janma nækataṭa anuva ema sthānaya tuḷa sthāna gata kaḷa yutu dæ pahata dakvā æta.

brahma pādaya sakrīya kirīma

asvida, berana, kæti, rehena, muva sirasa, ada, punāvasa, puṣa, aslisa.

kohom̆ba līyen sādana lada kanappuvak tabā ē mata pūjanīya pātraya vaḍā hin̆duvanna. pātraya tuḷaṭa pāṣāṇa kæbællak (rōsa tiruvāṇā) bahā tæbīma itā yahapatya.

mā, puvapal, utrapal, hata, sita, sā, vīsā, anura, deṭa.

mæṭi pātrayak, mæṭi mal ban̆dunak tuḷaṭa sajīvi mal yodā muhudu væli hā sippikaṭu bahā brahma pādaya mata sthānagata kirīma.

pula, puvasala, utrapala, suvana, denaṭa, siyāvasa, puvapuṭuva, uturupuṭupa, rēvatī.

dævamayen sādana lada pātraya, dævayen sādana lada mal ban̆dunak tuḷaṭa sajīvī mal yedīma hā sudu han̆dun kæbællak bahā tæbīma.

diśānugatakaraṇaya – atītayē rājamāligāvala rajatumā vāsaya kaḷa rājakuṭiya sǣma viṭama pihiṭuvā tibuṇē nirita diśāvē īśāna diśāva balā sayanaya kaḷa hæki ākārayaṭa bava dækvē. esēma mahajana niyōjitayan tama kaṭayutu iṭukara gænīma nisi sthānayē nisi diśāva tuḷa kal gevīma kaḷa yutuvē. esēma tamāgē nirita diśāvē pradhāna nidana kāmaraya yodā gata hækinam eya itā praśasta vē. esē nohækinam baṭahira, nægenahira hō dakuṇu diśā ē san̆dahā sudusuvē. esēma īśāna, ginikoṇa væni diśā kisisētma bhāvita nokirīmaṭa vagabalā gata yutuvē.

mē ākārayaṭa mahajana prasādaya dinā gænīma san̆dahā tamā visin nitara pariharaṇaya karanu labana tama vāsasthānayē diśā balavat kirīma hā dōṣa avama kirīma kaḷa yutuvē. diśā uddīpanaya kirīma san̆dahā itā balavat sādhakayak lesa varṇa saṁyōjanaya dækviya hæka.

varṇa raṭāva

uturu diśāva – jala dhātuva – sudu siṭa nil dakvā varṇa

dakuṇu diśāva – tējō dhātuva sudu ratu, kaha atara varṇa

nægenahira diśāva – vṛkṣa dhātuva sudu, koḷa atara varṇa

baṭahira diśāva – æt rūpaya /punkalasa

nivasaka vāstu dōṣa nomæti viṭa ema nivasa tuḷa jīvatvannangē saukhya, dhanaya samāja piḷigænīma, sāmaya sahajīvanaya, paramparāva yāvatkālīna vīma (daruphala) itā yahapatvē. sǣma viṭama gṛha himiyāgē jīvanōpāya samāja tattvaya hā anāgata apēkṣāvanṭa gælapena lesa gṛhaya vāstu siddhāntavalaṭa ekan̆ga kirīma kaḷa yutuyi.

This is a Google word to word translation of a article publised on Divaina on 2012/09/07.