The Sacred Prism and the Para Theory of 7 Colors as the Light, Sound, Matter and Energy Explained with the Punjabi, Gurmukhi, English and Hindi Languages: World, Global and Space Media and Communications: Be Happy Philselfologically – 81

The Brian Prism, the Sacred Crystals that constitute the Matter and Energy and Sound Energies Traveling through it (as “E=M*C*C”) gives all sound, light, and other forms of energies travel through it while splitting the light into 7 Sacred Divisions as the Dimensions of Sacred Vowels in the Hindi and Punjabi Languages as so in all world languages and any other action, activity and execution, the act as we have discussed in the previous part of the series:

“HAHA, RARAH, EANYIAN, YANIAN, YANANA, NANA, MAMA” as shown in the image I have drawn with a free flow explaining some students how the brain, the natural camera in the brain works with Punjabi, the Gurmukhi as the Fission, Fusion and thus the Atomic and Nuclear Energy uses of “Camera and Taking Imaging, Tasks from Start (OO, the OORA) to End (EE, the EERI) with a Middle (AA, the AARA):

The first 3 (the 1st, 2nd, and the 3rd Columns) with 7 Rows help the Left Brain, the 4th with 7 Rows help the Central Brain, and the 5th Column with 7 Rows helps the Right Brain, and thus the (3*7+1*7)+(1*7)=(4*7)+7=35 Sounds with “I” as the 36th Sound, and thus the All in One Theory of Audio, Video and the Imaging!

For the above image and the discussion of the 35 Sacred Vowels and the Consonants, we can sum it up as it says: “The Super Vowels in the Punjabi and Hindi are the “Haha and Rarah” as together with the AA, EE, OO, we have the “HAHA, RARAH, EANYIAN, YANIAN, YANANA, NANA, MAMA”, and these are the sounds that one creates while making the angle adjustments and thus the camera, body, brain and the image adjustments and pronounces it. While uttering these 7 Sacred Vowels, one first utters the first 3 Sacred Vowels of “OO AA EE” the traveling of sound energies from left to right brain, and then “SASA” in the middle brain, and while making the adjustments of the body and brain coordination with the image, and then in flow says and utters the sounds: “KA KHA GA” in the left brain, the “GHA” in the middle brain, and then says as supported by the right brain: “RARAH” as a relief for thus made sacred alignment. Now, we all say and utter these sounds of vowels and the consonants while doing any possible task say taking image, the photo or snap. This repetition goes for all sacred vowels and the consonants until, we complete it with “M”, the 35 Sound of Indian and World Languages, and then we naturally say: “I”, the “AAYI”, and sit down in a chair.”

We use these patterns also for Vata, Kapha and Pita as for “OORA AARA EERI” at the mental plane, and the “Sasa” is the “Ojasa”, and its well managed by the “HAHA”, which gives it hormonal balance, the glands are run and operated by the sacred vowels as we know it the Kundalini, the Semi-conduction in the human or the Living Body. Thus, the First 3 Letters as the Vowels manage the Solar or the Left Side of the Kundalini, and the “SASA” which mostly follows the Breathe Rhythm as the “SAHA”, the “SA” ending to and with “HA”, and usually written as the “Sah” or the “Saha” as the “SA” being the Vi’surgeon acts on the surgical activity on the Kapha, the Kinetic Systems in any part of the Kundalini, the Alphabet Keyboard of Vowels, the Right Brain and the Consonants, Left Brain, while the Vi’surgeons say the “Sah” or the “Vava” are the Central Operating Systems associated with the Breathing Systems running the Kundalini, the Semiconducting activities as the Catalysts as we do the Paranayama, Aluloma-Viloma or any breathing, the “Saha” Exercises or even the normal breathing. The “OORA AARA and EERI”, and thus the First 3 Columns in the 7 Rows in the Punjabi Language create Frictional Force and the Energy, and thus create the Heat and the Vital Energy in the human or the living body, and thus are called the Solar or the “Pita” Creators, and the “SASA”, the 4th Column in the 7 Rows in the Punjabi create the “Temperature Balancing, the Vata, the Vatavarna (Inner Environment) Systems in the Body for the 5th Column in the 7 Rows in the Punjabi, the Gurmukhi, the Brahmi Languages as thus the “Haha”, and the “RARAH” with up to EANIAN, YANIANA, YANANA, NANA, and MAMA create the Cold or the Lunar or the Kapha Energies. It gives every breate the “Prana” Shakti, the Force, Energy, and the Power System that is the “Prana” as the Plural of “P’rama” (mstly witten as the “Parama”, the Supreme in the Indian Languages), and thus the “P” as the “Purusha” as the “Prama”, the Light and the “Prana”, the Energy together as the “Parama”, the “Best Among All Life Energies and Powers, the Parama”. This way we breathe life to any living cell in our body. Thus, with every proper breathe, we complete “35 Sacred Sounds, the Cycle of Life, which ends at the same start as the “Saha”, popularly known as the “Sohun and Hansa”, which means the “Breathe That Controls Life”.

The other aspect of 35 Sounds with “Sah” as the 36th Sacred Sound is the way we do the computer programming:

1. Start or the Beginning of Computer Programming: ? goes as the “OO”, the “OORA”

(In the image 1.0, its similar and almost same <DOCTYPE HTML>

2. Nomination as the flow scripting goes as the “AA” same as in the image taking by the camera and thus the declaration of computer programming: “PHP” goes as the “AA”, the “AARA”

(In the image 1.0, its <html> and <body>)

3. The “EE”, the “EERI” goes as the 1-Dimensional Part of Computer Programming that goes by giving it full description in more dimensions say 3 Dimensions, which hides the 2 Dimensions and shows the 1-Dimension, and thus the “EE” imaging, and thus the 3rd Part of the Computer Programming: “<iFrames>” and more that gives a little movement, and thus gets the decorations of parameters that gives the movement a flow.

(In the image 1.0, its

< p >My First Paragraph< /p >

< h1 >My Paragraph< /h1 > that appears in preview as below

My Paragraph

My First Paragraph

4. The “SA” or the “SASA” goes as the Central, and the Largest Part of Computer Programming and its “Body” contents, the “Layout” Management, and its 3-D in 1-D: Java, Oracle, Multidimensional and other programming, and thus the most dynamic part, and so the “Most or Super Dynamics of Computer Programming”

(In the image 1.0, its </html> and </body>)

5. Final Part of the Computer Programming must have an ending to the complete scripting as if the breathing out the “HAHA”, which is all that gives “Terminal, the Terminus, the Terminator” objectives, the Previews all met well: “Body Closed”.

(In the image 1.0, its the PREVIEW as the “HAHA”)

(The image 1.0: Computer Programming with OORA, AARA, EERI, SASA and HAHA, the Punjabi Language with the Gurmukhi Script)

The above 5 Steps are also applicable to creation, editing and making of music album or any movie or a film as follows:

1. OO, the OORA Step: After taking image, photo, audio or video as the “OORA AARA EERI SASA HAHA”, the 5 Sacred Steps, we have the “Manual or Computer Editing” as when we insert the Tracks into any given system, and as its the Creators First Input, its, the “OORA” the “Brahma of Editing” as the first step in the image 2.1, and we take it to the “Lord Vishnu”,

2. AA, the AARA Step: We declare the procedure by amplifications, and the “AA” is always the “Vishnu of Editing as its how the Track is going to be Sustained”, the 2nd step in the image 2.1,

3. EE, the EERI Step: We declare the “Mixing and the Conversions”, which is the “Shiva Step of Editing”, and thus the “Beginning of Program, which we can view”, and thus the “Bum! Bum”, the Creativity Birth in any making of audios and the videos, and is the Major Step after Birth of Lord Shiva, the “EE” after the Sacred Births of Brahma, the “OO” and the Vishnu, the “AA”, and thus the Mixing in the Image 2.1,

4. SA, the SASA Step: We declare the “Breathe Systems of SASA of the Track as the Slow and the Fast Speeds, and thus the “Shri Ganesh Step” as its the “SASA, the Breathe, which decides time and duration of what we have from the “OORA, AARA, and the EERI” as the “Ready to Launch, the Shri Ganesh, the Ganehsa” as the “Speed Control” in the image 2.1,

5. HA, the HAHA Step: We have the “Preview, the Master System, the Master Track”, which is the “End Product”, the Product of the Ida, the Moon or the Lunar Brain of the say machine or the computer or any other tool including the human, and its the “Preview or the Master Track” as shown in the image 2.1 with the Preview as the Sakshakat, the “Parama” of “Parana” and the “Panara, the Prani” as the Product, the Sacred Blessing and a Gift:

(The image 2.1: Audio, Video or Music and Movie Track Creations and Editing either Manual or with Computer systems as with OORA, AARA, EERI, SASA and HAHA, the Punjabi Language with the Gurmukhi Script)

These 5 Steps complete the Computer Programming, and within each head, body, and the tail, the “Sampata” additional programmings as the repetitions of the 1st Row for the 7 Columns, and thus with can have the 2 Major or the Master Computer Programming Pages, which we can create or repeat as many times as we need, but with say with the 5 Sacred Vowel Repetitions and thus 5 Steps with 7 Rows of the Sacred Rainbow of FM Radio, TV Channel, and or any computer programming. In other words, this Sacred and Universal Programming as the Sacred 35+1 (SAH) System of Computer Programming in say Punjabi, the Gurmukhi, we can make all computer programmings and ease for almost all age groups and even an illiterate person may write this programming for the computers and the machines, and thus the Sacred 35 Sounds of the Alphabet of Punjabi and the Hindi.

The most significant point is that what is present in the Hindi and the Punjabi languages is also present in all other world languages, maths, computing and thus its the universal language symmetry systems applicable to any kind of math, science and or arts and thus is the sacred beauty of the grammars, the “Groomer, the Bride and the Bridegroom, and process of Marriage as the Viaha, which we discuss separately.

The reason that these languages and what it gives us all is the natural life that has the complete knowledge and wisdom which even a kid of 5 years has due to vowel structures in the brain that none can alter or modify. These sacred structures follow the Prism, the Para Theories that need only a little of knowledge outside the human body as we all know it by birth and as long as we remain kids; learn like a child. Later, we get data, information and knowledge from the Shakti, the Force and Energy Conversion Systems, the Dimensions of Force that one can alter, and while claiming that should have the “personal experiences”, and that break the “Theory of Fusion” in which learning wrong things give nothing but fantasy, which is nothing but a virus, which means the creation of tamo guni or the rajo or even the sato guni self-operating systems that may harm the resultant that the Ayurveda calls the “Ojasa”, the Immunity Systems and thus we lack “The Gati, the Velocity and the Chalana, Keep Moving”, and as a result the lacking of researching in our personal life. The world never progresses with the “Theory of Fission” as it is something that humans never need it as the natural world systems do not follow it as in it we have the “Recycling Processes” following the “Theory of Fusion”, which gives us happy, healthy and prosperous life as nature is a cycle as is the Bindu, and I propose it as the “Theory of Circle and Cycle”, the Philselfology as we have reached it the “Automatic Systems Understood as Circles and Cycles in Nature same as the Energy Flows in the Living Ones, the Prana as the Parama, the Prime Thing in Universe!”

In any kind of discussion about the Punjabi, the Gurmukhi, we always have the 7 Rows, which are the backbone, the Spirit of Music as we have the “SA RE GA MA PA DHA NI”+”SAH”, the 7 (Energy or Shakti of Savara (or Swara), the Sacred Vowels, the Sounds) +1 (Power of Saha, the Breathe), which is the Horizontal and Vertical Combinations for the Prose and Poetry in which we always have the Sacred Symmetry of Punjabi, the Gurmukhi as we have already discussed:

7*4+7=35+Sah (Sacred Atomic and Nuclear Fission Theory Operating in all of the Atoms, Molecules of the Universe)

and we have the same with the “Power Dimension” of “SAH, the SAHA” for the music in revere ordering to creation of music tracks as in it the “Power of SAHA” is released by “Fusion” and in creation the power released is by the fission as we have discussed:

“7*1+1=7+Sah” (Sacred Atomic and Nuclear Fusion Theory Operating in all of the Atoms, Molecules of the Universe), and in the “SAH” or the “SAHA” releases lots of energy created by the “Swara, the Sacred Sounds of Music”, and its the simplest form of energy creation that gives “Fertility Power to Everything in the Natural World”, and as the “Sacred Theory of Fusion”, its the “Sacred Hope for Better World from Ages and the Time Immortal”. These 7 Sacred Dimensions of Sawara are from the “SA” from the 1st Row as the “SASA”, and thus the 1st Dimension, the “Re”, the “RA” as the “RARA” is from the 2nd Dimension as we have discussed, and the “GA” or the “GAGA” is from the 3rd Dimension, the Row of the Punjabi, the Gurmukhi Script. The “MA”, the “MAMA” is from the 7th Dimension, and the “PA”, the “PAPA” is from the same 7th Dimension, and the “DHA”, the “DHADHA” in the Punjabi, the Gurmukhi Script is from the 6th Dimension, and then lastly the “NI”, the “NANA” is also from the same 6th Dimension, and we may not use the 4th and the 5th Rows, the Sacred Dimensions of the Punjabi, the Gurmukhi Script. The 8th Dimension of “SAHA” is from the “Union of “SA”, the “SASA” and the “HA”, the “HAHA” as the “SAHA”, which may always go as follows for better understanding:

“SA RE GA MA PA DHA NI SAH” and the Circle or the Cycle of Music Completed as follows:

“SA NI DHA PA MA GA RE SAH”, and the “SAH” is the 8th Note of Indian Classical Music as the Power Dimension. The “SAH” or the “SAHA” is the Sanjoga Theory of Indian Civilizations, and in it, we have One Power Dimension, which when we assume takes all other 7 sacred Dimensions of the Shakti, the Force and Energy Systems, and that is the SAHA, the SANJOGA among the Swara Family as the “SA RE GA MA PA DHA NI SAHA”, and the great wonder is that this very “SAHA” is called the “BHARA”, which is the “WEIGHT SYSTEM” as the “Musical Scales”, and we have so many popular names for it, the “Bhara, Bharon, Bharva, Bhra (especillay the elder brother who takes up as the father), bharna, bharavi, and so son,”, and its goes in the same way as the “8 Cases, the Karka, in which the Subject carries the other 7 Cases with the “SAHA”, the Punctuation in which the Exclamatory Sign is always the Subject that takes the Maximum Bhara, the Bharon Power of any given grammatical structures.”

The Phonetic Music say in the Punjabi and all other world languages goes well as follows:

“OORA AARA EERI”, the Alaap and the Phonetic Sargama, the Phonetic Gamut as in the same way as we take a snap, photo or video by opening the camera or our mouth by the “SASA”, and then sing the 5th Column and the 7 Rows in the Punjabi, the Gurmukhi as the Phonetic Music with Aroha as: “HAHA RARAH EAIYAN YAIANA YANANA NANA MAMA! SAHA!” and the Avroha as: “MAMA NANA YANANA YANIAN EANIAN RARAH HAHA! SAHA!” and the “SAHA”, the Art of Breathe and Musical Focusing, and thus also constituting the 3 Teebar Swara, and 7 Swara of Phonetic Music with the SAHA, and thus the 12 Sacred Sounds of Musical Sounds and the 12th sound of SAHA is always at the end! It is the most compatible with Chinese, Japanese, Native and Aboriginal and thus the Ancient Musical Systems in the World that also follows the Music and the Martial Art as it “Taking Snap by Eyes or the Movement, the Natural Camera!” We all sing it when we make audio, video, take snap, take any action of martial art, and thus we all are phonetically musical!

The reason that the Sacred Structure of Music differs from the Prose Grammar is that we have the In-built Structure of Poetry and thus the Poems. For example, in the Gurbani, the Sacred Poetry in Punjabi, the Gurmukhi, we have the following verses written by Shri Guru Arjan Dev Ji:

“Taati Vaao Na Lagyi Parbrahm Sharnayi, Chaogird Hamarai Ram Karu, Dukh Lag Na Bhayi”, (Hot air does not touch when we are at refuge of God, Around us all is the sacred boundary of God’s Kara, we thus face no pains my brother!” and

it has the structure:

“Adjective Noun Verb, Adjective Noun, Adjective Pronoun Noun Verb/Adverb, Noun Pronoun”, and thus, we have

“SOV” Structure, and “SVO”, and also as:

“SVO” and “SOV”

“OSV” and “OVS”

“VSO” and “VOS”, and thus, we have:

“SA RE” (Subject) “GA” (Propositions, and Tenses) “MA PA” (Verb) “DHA NI” (Object) with the “SAHA”, the Case or the Karaka in the world languages, and notice that there are always the 8 Cases of Languages and the Grammars as shown below:

“OORA AARA ERRI give energy as breathe of “SASA”, which we manage and release with “HAHA”, and by saying the “YAYA”, the doubling of breathe, we utter the “RARA”, the “RE”, and naturally follow the “LALA”, “VAVA”, and then the “RARA”, and while using each column in this way, we end up at the “KA”, “KHA” to say the “GA” of “GANG”, the “GONG”, which is the only Sound that makes mind blank to create something new, and thus the “GA”, the “GAGA” of Punjabi, the Gurmukhi Script is the same as the Impurity of Semiconductors that runs it, and we end up at the “MA”, the “MAMA” with sound energy generated by the “”PA”, “PHA”, “BA”, “BHA” in the same way as we have discussed the “OORA AARA EERI”, and then the “SASA”, which here is the “BHA”, the “BHABHA”, and ends up in the “MA”, and as we discuss it as the “MANA” and the “NAMA” Theories, we have the “MA”, and the “NA” as the “NI”, and we have the “SA RE GA MA PA DHA NI” in which after “MA”, we have the “P”, the lower energy of the “PA, PHA, BA, BHA, MA”, and then the lower energies of the “NA” as it has the “TA THA DA DHA NA”, the 6th Energy Level in the Punjabi, the Gurmukhi Language. We end up all in the “SAHA”.

Thus, we have the “SA RE” “GA” “MA PA” “DHA NI” “SAH”, which can have many structures of the “SVO”:

“SOV” Structure, and “SVO”, and also as:

“SVO” and “SOV”

“OSV” and “OVS”

“VSO” and “VOS”, and thus, we have:

“SA RE” (Subject) “GA” (Propositions, and Tenses) “MA PA” (Verb) “DHA NI” (Object), and now with the “SAHA” (The Punctuation in the Punjabi, the Gurmukhi), and by varying these structures and assigning the “Sacred 16 Vowels as two pairs to each sentence with the Laghu, the a, e, o, and the Guru, the aa, ee, oo, (double weight or stress to a, e, o as its also the sacred math of and through music as we say “… Nanak Likhiya Math!”, thus Shri Guru Nanak Dev Ji wrote the Math, the Mythasa, the Mythology, the Cosmic Math) and its family pairs as also in the pairs that completes the scale full to sacred total of 16 weights of the 16 sacred vowels when summed up in the one, two or more sentences or even a stanza, and thus how and why we write the poetry in the Indian Classical Raga’s. Thus, we end up with the following:

“SA “RE” “GA” “MA” “PA” “DHA” “NI” “SAHA!”, which constitute the 8 Grammatical Cases, and follow the “SVO” variations as follows:

“S V O SAHA”:

“S V SAHA O”

“S SAHA V O”

“SAHA S V O”

“SAHA S O V”

“SAHA V O S”

“SAHA V S O”, and so on, and thus we can say:

“OH! I have eaten rotten apple!” (SAHA S V O)

“OH I! Have eaten rotten apple!” or

“OH! Have I eaten rotten apple!” (SAHA S V O)

And with time, place and other additions, we can write poems, epics and convert prose into poetry, and say:

“An apple I have eaten” (O S V)

“Eaten I have an apple” (V S O), and in it the grammatical cases make great impact with the “SAHA”, the Punctuation, say:

“Wow! An apple I have eaten” (SAHA O S V)

“Wow! Eaten I have an apple” (SAHA V S O)

The Indian and other world grammars may keep the “Saha”, the Punctuation of Exclamation be hidden say:

“Eat eat an apple!” (SAHA Verb Object), and even the subject is hidden as follows for the above:

“You eat eat an apple!” (with “SAHA=You”)

“I eat eat an apple!” (with “SAHA=I”), which can be as follows:

“I eat an apple, you eat and apple!” (the “SAHA=”,”, which stands for “and” that unites the “I eat and apple” and “You eat an apple”, the “Saha”, the punctuation of “,” stands for “we” and the “and” with “Saha” having many sons and the daughters, which are called the Family and the Children of Bharon also written as the Bhairva, which is the Weight Carrier Scales in the Music and Grammars. The Punjabi, the Gurmukhi makes it so easy that anyone can write poetry and prose in any world language and that too is the “original content”!

(Image 3.1: The Indian Classical Music Audio, Video or Music and Movie Track Creations and Editing either Manual or with Computer systems as with OORA, AARA, EERI, SASA and HAHA, the Punjabi Language with the Gurmukhi Script as the SA RE GA MA PA DHA NI SAHA, and the SAHA is the Bhairva, the Music Deva or the God of Raga Families)

The Rainbow or the Spectrum that the Alphabet of Punjabi, the Gurmukhi creates is based on its vowels as the Creator Sound Spectrum:

“OORA AARA EERI”, the Triangle of Sound Energies with “SASA” as the “SAHA”, the “SANJOGA” of “SA” and “HA” as the “SA” for crossing of light, the saha, the breathe, the prana, and “HA” as its longitudinal waves and their pressure as that is what we all do while saying it, the “SA” and the “HA” as the “SAHA”, which creates spectrum of sound energies, the secret of the universal energies

“HAHA, with OORA AARA ERRI and SASA=5

RARAH, with the next 4 vowels added=10

EANYIAN, with vowels and consonants=15

YANIAN, with vowels and consonants=20

YANANA, with vowels and consonants=25

NANA, with vowels and consonants=30

MAMA with vowels and consonants=35″,

and thus we have the Prism formed with 35 Sacred Sounds of Punjabi, the Gurmukhi, and the “OORA” as the Apex, and “AARA” as the ranges, the sides of the Prism, and the “EERI” is “Distance, the Radius from the Center to the Apex, and the “SASA” always goes for the opaqueness of glass for how light passes and crosses through the given medium as breathe through the lungs and we say the “SASA”, the “SAHA”. So, we always have many prisms created by the sound energies of “Sacred Punjabi, the Gurmukhi”!

In the Punjabi, the Gurmukhi Script, we have the following Chinese and Japanese Sound Systems always present, and thus while speaking Sacred Vowels of Punjabi, we all speak the Chinese, Japanese, and the similar languages as they too speak the Punjab, the Gurmukhi Script the Language:

EANYIAN, which has the sound Yin’gYan’g means Yin and Yan spoken together

YANIAN, which has the sound Yan’gYan’g means Yan and Yan spoken together

YANANA, which has the sound Yon’gYon’g means Yon and Yon spoken together

NANA, (Nuna) which has the sound Yon’gYen’g means Yon and Yen spoken together

MAMA, (Muma) which has the sound Yon’gYan’g means Yon and Yan spoken together, (the ending words are say the “On”g+”An”g=Moma, Muma the Mama that has the Chinese “Ng” as the “Ng” or “Mg” is thus one of the most prominent part, and these sacred vowels are always spoken very fast in the Punjabi Language and in the same way as if the Chinese Speaking Punjabi, the Gurmukhi or the Punjabi person speaking the Chinese Languages! All it, the sacred vowels in all world languages end up in the “Gong” Sound as the 35th Sound of Absorption in the Nama theory for the Mana, the “M, the Mama Sounds in the Punjabi and the Hindi”

Please make all accent and spoken variations to speak it all in your native languages or the mother tongue! The point in it is the same as in the Sacred Book of I-Ching that we have to say “Yin and Yang, the Gong, which is same as the “AM” and also the “ING” as we have it in say the “AIMING” in English and other European languages” with the ratios that gives us health, wellness and happiness with “M” as the focus and we have it as the “AMMA” in the Arabian Civilizations and “MAA” in the Indian Civilizations:

Thus accordingly, we have the pronunciations based on the time rhythms as we give weight to “Yin and Yang” say “Yin….. .Yang” or the “Yin.. Yang…..”, which clearly seem visible in the Punjabi, the Gurmukhi Script as the 4 Sacred Vowels:

EANYIAN, which has the sound Yin’gYan’g means Yin and Yan spoken together

YANIAN, which has the sound Yan’gYan’g means Yan and Yan spoken together

YANANA, which has the sound Yon’gYon’g means Yon and Yon spoken together

NANA, (Nuna) which has the sound Yon’gYen’g means Yon and Yen spoken together, and that the “MAMA, the Muma”, and the sound energy absorbent is the “Gong” sound of Punjabi, the Gurmukhi, and thus the following chart, the image of the “I-Ching” as the Picture of “Gong, the M… Sound”:

The Yin, Yang and Yong sounds as the “Gong Sounds” are well studied in the Indian Civilizations as the “Cow Sounds” as we say the “Gong”, the cow says it as say, “Gopal”, “Gopin” and so on, and that is why the Indians study and learn everything from the Sacred Cows as if the Living Gong of the Universe, and thus the names of cow as the Gau, the Gaun, and thus the Gong:

Without reading, listening, the hearing and speaking these sounds of Punjabi, the Gurmukhi, one can not learn any world language properly, and I regret to say that most Punjabi’s may not speak the EANYIAN, which has the sound Yin’gYan’g means Yin and Yan spoken together and the sound of
YANIAN, which has the sound Yan’gYan’g means Yan and Yan spoken together, and thus we now lack these sacred vowels and sounds in the Punjabi Literature, Music and Speeches. So, I have simplified it so that one finds the Chinese and Japanese Languages as easy as sounds on the tips, toes and tongue! Its as easy as the Lip Movement and Union and Joining of Yin, Yan, Yon and Yen together to say it and just follow the lip movements as a good tip for dubbing works!

At the same time according to the pronunciations, we may have the variations of sounds in Yin, Yan, Yon, Yen ending with “Ing, Ang, Ong and Eng”, and other sounds spoken as Sacred Variations of Sounds of (Yin+Yan+Yon+Yen)+Variations of (Ing+Ang+Ong+Eng), which we have as the Combinations of Same or Different Vowels in any or all world languages.

Thus, the above is the simplest technical approach for teaching any world language, and verbally as without books, its the self-learning as we all speak out these 35 sounds with a blink of eye while taking a photo or a snap, and thus is the easiest way to teach and learn say Hindi and Punjabi languages to anyone in the world and almost to all age groups. It needs no prerequisite knowledge and experience as even the illiterate people can learn it, and the native, aboriginal and the rural people can learn it with great ease for its action and sound activity that we all follow in every action we take that has a start, middle and end. If we learn this Sacred Skill, we can learn Hindi, Punjabi and Sanskrit along with any language that we speak, write or read. This is also the language of all martial arts in the world as its same to take an image with the camera or give a martial action an execution. For every action of martial art, we complete the 35 sacred sounds of Hindi, Punjabi, and Sanskrit, and in this context it goes same as the Chinese, Japanese, Korean, Indonesian and other Asian Languages in the world, and no doubt the aboriginals and the native people speak the same orally.

The following steps of martial art as the Art of War, the Path of Warrior has the 4 Steps, the “OORA AARA EERI SASA” of Punjabi, the Gurmukhi, the Brahmi Languages, which end up in the 5th Step of “HAHA” as follows:

1. Stance: “OO”, the “OORA”

2. Key – Hip Power: “AA”, the “AARA”

3. Torque Action, the Use of Energy: “EE”, the “EERI”

4. Thou Target: “SA”, the “SASA”

5. Back to Stance: “HA”, the “HAHA”

and thus the “OORA AARA EERI SASA HAHA” of Punjabi, the Gurmukhi, and the Chinese languages together in action as shown below:

Thus, any martial art in the world cannot be more than the Sacred Repetitions, the Chanting of 35 Sacred Vowels and Consonants of Punjabi and other world languages, martial arts and the music with the “beats doing the chanting of 35 sounds”.

All subjects of human knowledge and wisdom from the Tomb to Womb follow the same Patterson in which we have “35 Sounds as the Practical Source of Omniscience” no mater if we need pure, applied or the action knowledge, and the wisdom from this 35 Sacred Alphabet Sounds of Punjabi, the Gurmukhi following the “I” as the “Sah”:

So, 7*4+7=35+Sah (Sacred Atomic and Nuclear Fission Theory Operating in all of the Atoms, Molecules of the Universe)

The “Sah” Theory is the Essene of Life as the “Sah” means the “Breathe”, the Art of Winning the Death as the Mahamritynajaya Japa is the “Sah” Japa: “OM Jooun Sah!“, which is the Excellence of the Central and the Right Brain, and in India and many other Civilizations, its the Breathe Control Games as the Popular Game of Kabbadi:

.

Thus, these are as the 7 Sacred Divisions of Vowels that we add to the Punjabi and the Hindi Alphabet of 35 Sacred Consonants and the Vowels. These are in other words, the “Namah” Sounds that direct the sound energies to any target and we know these as the 7 Colors of Rainbow as shown in any camera, image and color selection and management that has a deep link with all Media and Music World as the Musicology that can heal the natural world when used properly. It is the Essential of All World Languages, Grammars and thus the Linguistics.

So, 7*4+7=35 (Sacred Atomic and Nuclear Fission Theory Operating in all of the Atoms, Molecules of the Universe)

In all the 7 Shakti Dimensions and the Divisions, the Light Enters into Shapes, the Akara, which are the “Prisms, the Para quality of the Universe”, and thus the Kara, the Sound Energy having “wave, the video and particle, the audio qualities of light” goes into any given “Shape, the Akara, something that is physical and does not do the biological activity as the “Ka, Chi, Qi, Yin, and other forms of energy are when biological have shapes and structures that are biological chemicals, the “Rasa, Ojasa and the Shapes, the Akara from say the Single Cell to Compound Cells, the Living Organism”, and its the “Kinetic System as the Kara, and Akara as in the Physical Environment, and so on,” and while following the various pathways in the Prism Theory, it gives “All in One, the Omniscience Theory of the Bindu”, and we have the velocity of light in all of these as with “Gati (velocity), Miti, Tama, (quality, quantity as the quality is the Miti and the Quantity is the Tama, and thus the Quality, the White Light, the Bindu into the Quantity as the Tama, the Matter as the 7 Colors in the Rainbow or the Spectrum. It gives the Natural Law of Light into Matter and the Sound, and thus in any Chakra of Shakti, Force, the Energy Converters:

Light (Bindu, the “I”)=Matter (Spectrum)+Energy (Sound, the Mantra)

The Indians have studied it as the “Third Eye Theory”, and it has “electron (-), proton (+), and neutron (0), and as the Third of Shiva, Brahma and the Vishnu, in which charges travel with static energy of the nucleus (earth, the tamo, vata, psora), kinetic energy of electrons (moon, the rajo, kapha, sycosis), and the dynamic energy of the atom (sun, sato, pita, syphilis), and the electromagnetic system in which it exists as the Ojasa, and thus gives the Omniscience, the Wisdom of Prism, and the very word Prism is the “Para+S’m”, the “Paras Theory”, the Pursa, the P’rasa, and it in other word means “P’, the Para rays as the Para’ Rasa, Risma”, and a Homeopath asks: “What you see in the Prism Theory, the Dreams”, the Dreams in the Homeopathy and thus its always the Key to Cure:

The Indian and Other Sacred Civilizations have always used the Philosophy of 8 Sacred Dimensions of Shakti in various forms, and the most important remains the Theory of 8+2 Dimensions, in it the Shakti is the 8 Dimensional and the Power is the 2 Dimensional, with the Prism Theory of 7 Colors and the Light of Bindu passing through it has the 2 Special Extensions that is occurring of the Prism Activity inside the Prism and its the 2 Dimensional Power, and therefore, the Indian Philosophy gives the 8+2 Dimensions a very special and due respect and says that One Set of 8+2 Sacred Dimensions is for the Shakti, and the other one is the Purusha, and in our modern world, the Hands are the 8+2 Sacred Dimensions of Female Energies and Powers and the Feet are of the Purusha, and the people touch the Sacred Feet as these are the 8 Sacred Dimensions of Shakti as through fingers and the 2 Dimensions of Purusha as the Two Thumbs, which are the Joining of the Left and Right Brains. Indians worship feet as the Charna Kamala, the 8 Dimensional Shakti, the Laxmi worshiping the Thumbs, the Purusha, the Vishnu, and its a Symbol of Energy and Power Dimensions, which same for all humans no matter men or women:

Thus, the Indian Philosophy of Darshana has the Concept of “Parsana”, the Knowledge and Wisdom of Sacred 8+2 Dimensions of the Feet, and the very reason that people worship feet all over the world, and there is a custom worldwide; “Touching Feet”, and this system is far advanced neural network system that generates the neural energies as when two or more people, congregations, and even the mobs do the single or one “Prismic, the Parmatamic Activity”, and all of it is saved and deposited in the religious places, the reason people remove their shoes before joining this activity, and the modern people seem to know while wearing the “shoes” how brain neural networking can save but change human brains into robots, the computer machines, which further need neural caring lest they face the brain deaths all over the world and space, and that is why the “Bare Feet Indians Touch Feet, which are the Purusa (the Para by name Pair, Para, the feet are essence of all therapies dealing with the “Nama and the Mana Theories as it has the maximum energy and power conversions going in it, the foot-feet systems, and thus are the most sacred and its abuse is the Rapa, Rape, Roopa without any respect for it as its the most ancient baptizing system as by feet which Reiki Systems do, and thus as the Science of Natural Neural Networking, and Worldwide Systems of Reiki are examples of it”:

The most Sacred Indian Etymological Words for it are the “Gati, Miti, Kara, Akara, and so on”, which Sikh and Other Indian Gurus have always taught as the Sacred Math as what many people may call simply the “Myth”, and due to wrong notations, etymology, and popularity of words, we seem to lack the most of the sacred and divine knowledge and wisdom almost untouched as we seem to misinterpret it all. For example, in the Sukhmani Sahib, the Gurbani says:

“Mythya Raaj Joban Dhan Maal…

Bin Boojhe Mithya Sab Bhaye

Safal Deh Nanak Hari Hari Naam Laye…”

Which means that Kingdoms, Politics, Youth, Properties and Possessions, and all that we know are the Sacred Math (Miathaya, Math, Matha, Matho, Maith, Myth), and without learning the Sacred and Natural Laws, Principles, and Morals and the Ethics, which we call the “Nema, Niyama, Nama, Nyama, and opposite of it as the Mana, Mona, Myana (self-assessments and judgement based results)”, and thus the Family of Two Pairs as the “M’ana and the N’ama”, the Mana and Nama Theories, which are collectively known as the “Nama, the Name Theories”, which always run by the Sacred Maths as the most popularly written the “Mith” in the Punjabi, Hindi and Sanskrit Languages, and that as its against the “Mana Theory” or “Name Theories at places, it may be rebuked or approved, and thus “Math can be Myth! for one, who does not understand the “Sacred Myth as the Math, the Theory of the Mata, Matha, Mada, Madha (Madhu) and thus the Mana against the Mana, and thus the Nama” Thus, the Gurbani says:

“Safal Deh Nanak Hari Naam Laye…!”

“Human is with Wonderful Flows, the Fala, the Electromagnetic Systems, who follow the Nama, the Natural Laws and the Principles, which are same as the “Hari”, the Breathe inhaling and exhaling in a balance, and thus the “H:+Ri”, the “Hari says Guru Nanak without even understanding it all of living and nonliving ones like it: Bin Boojhe (without understanding it) Mithya (Sacred Math) Sab Bhaye (All Like it, the bhaya, bhaaye, bhao, bhai, the bhaiya…)”

The Sacred Math, the Mith of World Religions and Faiths as the Sikhism, it is the Sacred Discussions and the Discourses on the 7 Dimensional Theory of the Shakti, All World Education, the Siksha or the Sikhaya, the Shabada Conversions into the Light, the “Scientific or Sacred “Sa, the Shabada” Flows, the “Dhara”, the Prana Education, and thus the Sacred Dharma as the Education Systems with the Focus on the Universe as with its Rhythm, Light, Sounds, Energy and Power Conversions, and thus what we know as the Sacred Semiconducting Physical-Biological and Chemical Process in the Space (the Brahma and thus all education systems as the Brahma Vidaya’s, and India has been named as the Brahma+vrata, the Country of Divine Educations during times of Lord Manu and his grandson the Dharuva named after the North Polaris, the Dhruva), the “Sacred Yin and the Ying Scriptures” of Sacred Maths, Geometry, Musics, the Maya as the Math of Mana, the Visible World, and thus the Mith, the Math. However, as when we read, study and research in the Power Dimensions, which deal with the “Theories of Light, the Nama”, we say the Particle, Matter, and thus the Mana Theories are wrong, fake, false, jhootha, apvitra, and all that may be said against as we simply put “+” or “-” before any number, the very “-” is the “Shakti, the Maya, which we at the same time assume the “I’m”, the “Virtual Main, the Maya”, and we all have one “Real I”, the Main of the Atama and Parmatama, the Male and Female Brains together as the “ONE”, but one can never say anything about it but give what we know as the “Lachhana, the Signs” related to it!

The above Manthan always keeps going in the human abdomen, and its the Digestive System in which the ropes are the small and large intestines, and the process is carried by the Oxygen, the Sura, and the Carbon Dioxide as the Asura, and at the Meru, we have the Backbone as the thing that works in it, and we have the first thing as the Kulaxmi, the products that go downwards towards the excretory system, and the green world represented by the Peepal takes, receives and uses it, and the other products that go upward are the Laxmi, and at the end comes the Rasa, the Ojasa Fluids, which we all search here and there, but ultimately, the Ojasa, as the Precious Life Juices are the Amrita, the Life Giving Water, the Juices, the Ojasa. These split and get divided in the activity of the lungs, and that is where the Sura and the Asura can either use or abuse it, and when work together get the balance as the Rahu-Ketu, which means the Moon, Peace of Mind.

Its based on what we know as the Theory of Swastika, and its the Rotational Energies and Powers as the Torque is and the Resonance in Music, the Kundalini Systems, the Sacred Kundalini Systems, and works equally well in any possible knowledge and wisdom on the earth systems, and other things that use the Rotational Energies and the Powers, and thus the Law and Principles of Rotation. In it the Swastika is the Symbol of Ojasa, and the Female, the Yin Energy is the Kinetic Energy, the Male, the Yan Energy is the Static Energy, and the 4 Dots that are shown on every Swastika Sign and Symbol is the Yong, the Dynamic Energy, and is thus the Sacred Secret Key to the Sacred and Divine Treasures of Knowledge and Wisdom, but we need not to be educated, learned and experienced in it as even the kids can learn it as simple as the Polaris and the Sachkhanda, the Center of the Universe Systems, and I happen to learn from the Swastika Charts as the Philselfology, the Swaadhaya!

The “Math has been derived from the “Manthana”, Mana at Heart to say as the “Mana+thana”, and what Gopies say the “Math+Matko”, the Manthana for the Butter, which gives all Indians almost full knowledge Sacred Mith, the Math, the Arithmetic, and the Atharvaveda, the Veda of Sacred Math and Arithmeticians, which all Indians know by and from birth!” (With thanks from the source: http://en.wikipedia.org/wiki/Mathematics )

Meanwhile, we will edit and add!

Thanks for your time, and Be Happy Philselfologically, while doing the Swaadhaya, the Self-study and Learning as the Personal Researching!