ವಿಮಾನ ಶಾಸ್ತ್ರ- Ancient Indian-Aeronautics

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ವಿಮಾನ ಶಾಸ್ತ್ರ- Ancient Indian-Aeronautics

The First Fleet - Shivkar Bapuji Talpade; Was an Indian the first man to fly ?

           The 18th and 19th centuries were the period of inventions and two attempts got recorded into the annals of aviation history. One was Alberto Santos-Dumont of Brazil, who flew the first dirigible on a controlled flight around the Eiffel Tower in Paris on October 19, 1901, and the other the Wright Brothers os USA who flew the world's first aeroplane on December 17, 1903. They are recorded as the pioneers of manned, controlled flight.

          But the first, but unsuccessful, flight of an aeroplane built by an Indian Shivkar Bapuji Talpade, (ಶಿವ್ಕರ ಬಾಪೂಜಿ ತಲ್ಪಡೆ) is yet to be recognized. 

ಶಿವ್ಕರ ಬಾಪೂಜಿ ತಲ್ಪಡೆ-Shivkar Bapuji Talpade

         

         

Shivkar Bapuji Talpade, the Maharashtrian (Indian) Pathare prabhu community member who purportedly flew an unmanned airplane, named Marutsakhā, in the year 1895 

Born:           1864, Mumbai

Died:           1916

 

Wikipedia Page:    http://en.wikipedia.org/wiki/Shivkar_Bapuji_Talpade

 

Age at Death:         52 years old

 

Rare Terms:          "talpade"

          Orville Wright (Wright Bro's) demonstrated on December 17th 1903 that it was possible for a manned heavier than air machine to fly. But, in 1895, eight years earlier, the Sanskrit scholar Shivkar Bapuji Talpade had designed a basic aircraft called Marutsakthi (meaning Power of Air) based on Vedic technology and had it take off unmanned before a large audience in the Chowpathy beach of Bombay. The importance of the Wright brothers lies in the fact, that it was a manned flight for a distance of 120 feet and Orville Wright became the first man to fly. But Talpade’s unmanned aircraft flew to a height of 1500 feet before crashing down and the historian Evan Koshtka, has described Talpade as the ‘first creator of an aircraft’.

          As the world observes the one hundredth anniversary of the first manned flight, it is interesting to consider the saga of India’s 19th century first aircraft inventor for his design was entirely based on the rich treasury of India’s Vedas. Shivkar Bapuji Talpade was born in 1864 in the locality of Chirabazar at Dukkarwadi in Bombay.

He was a scholar of Sanskrit and from his young age was attracted by the Vaimanika Sastra (Aeronautical Science) expounded by the great Indian sage Maharishi Bhardwaja. One western scholar of Indology Stephen-Knapp has put in simple words or rather has tried to explain what Talpade did and succeeded!

        According to Knapp, the Vaimanika Shastra describes in detail, the construction of what is called, the mercury vortex engine the forerunner of the ion engines being made today by NASA. Knapp adds that additional information on the mercury engines can be found in the ancient Vedic text called Samaranga Sutradhara. This text also devotes 230 verses, to the use of these machines in peace and war. The Indologist William Clarendon, who has written down a detailed description of the mercury vortex engine in his translation of Samaranga Sutradhara quotes thus ‘Inside the circular air frame, place the mercury-engine with its solar mercury boiler at the aircraft center. By means of the power latent in the heated mercury which sets the driving whirlwind in motion a man sitting inside may travel a great distance in a most marvellous manner. Four strong mercury containers must be built into the interior structure. When these have been heated by fire through solar or other sources the vimana (aircraft) develops thunder-power through the mercury.

        NASA (National Aeronau-tical and Space Administra-tion) world’s richest/ most powerful scientific organisation is trying to create an ion engine that is a device that uses a stream of high velocity electrified particles instead of a blast of hot gases like in present day modern jet engines. Surprisingly according to the bi-monthly Ancient Skies published in USA, the aircraft engines being developed for future use by NASA by some strange coincidence also uses mercury bombardment units powered by Solar cells! Interestingly, the impulse is generated in seven stages. The mercury propellant is first vapourised fed into the thruster discharge chamber ionised converted into plasma by a combination with electrons broke down electrically and then accelerated through small openings in a screen to pass out of the engine at velocities between 1200 to 3000 kilometres per minute! But so far NASA has been able to produce an experimental basis only a one pound of thrust by its scientists a power derivation virtually useless. But 108 years ago Talpade was able to use his knowledge of Vaimanika Shastra to produce sufficient thrust to lift his aircraft 1500 feet into the air!

          According to Indian scholar Acharya, ‘Vaimanika Shastra deals about aeronautics including the design of aircraft the way they can be used for transportation and other applications in detail. The knowledge of aeronautics is described in Sanskrit in 100 sections, eight chapters, 500 principles and 3000 slokas including 32 techniques to fly an aircraft. In fact, depending on the classifications of eras or Yugas in modern Kaliyuga aircraft used are called Krithakavimana flown by the power of engines by absorbing solar energies!’ It is feared that only portions of Bharadwaja’s masterpiece Vaimanika Shas-tra survive today.

          The question that comes to one’s mind is, what happened to this wonderful encyclopaedia of aeronautical knowledge accumulated by the Indian savants of yore, and why was it not used? But in those days, such knowledge was the preserve of sages, who would not allow it to be misused, just like the knowledge of atomic bombs is being used by terrorists today!

          According to scholar Ratnakar Mahajan who wrote a brochure on Talpade. ‘Being a Sanskrit scholar interested in aeronautics, Talpade studied and consulted a number of Vedic treatises like Brihad Vaimanika Shastra of Maharishi Bharadwaja Vimanachandrika of Acharya Narayan Muni Viman yantra of Maharish Shownik Yantra Kalp by Maharishi Garg Muni Viman Bindu of Acharya Vachaspati and Vimana Gyanarka Prakashika of Maharishi Dhundiraj’. This gave him confidence that he can build an aircraft with mercury engines. One essential factor in the creation of these Vedic aircraft was the timing of the Suns Rays or Solar energy (as being now utilised by NASA) when they were most effective to activate the mercury ions of the engine. Happily for Talpade Maharaja Sayaji Rao Gaekwad of Baroda a great supporter of the Sciences in India, was willing to help him and Talpade went ahead with his aircraft construction with mercury engines. One day in 1895 (unfortunately the actual date is not mentioned in the Kesari newspaper of Pune which covered the event) before an curious scholarly audience headed by the famous Indian judge/ nationalist/ Mahadeva Govin-da Ranade and H H Sayaji Rao Gaekwad Talpade had the good fortune to see his un manned aircraft named as ‘Marutsakthi’ take off, fly to a height of 1500 feet and then fall down to earth.

         But this success of an Indian scientist was not liked by the Imperial rulers. Warned by the British Government the Maharaja of Baroda stopped helping Talpade. It is said that the remains of the Marutsakthi were sold to ‘foreign parties’ by the relatives of Talpade in order to salvage whatever they can out of their loans to him. Talpade’s wife died at this critical juncture and he was not in a mental frame to continue with his researches.

        But his efforts to make known the greatness of Vedic Shastras was recognised by Indian scholars, who gave him the title of Vidya Prakash Pra-deep. Talpade passed away in 1916 un-honoured, in his own country.As the world rightly honours the Wright Brothers for their achievements, we should think of Talpade, who utilised the ancient knowledge of Sanskrit texts, to fly an aircraft, eight years before his foreign counterparts.

 So you want become a Physicist?

 

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The standard four year curriculum:

a) First year physics, including mechanics and electricity and magnetism (caution: many universities make this course unnecessarily difficult, to weed out weaker engineers and physicists, so don’t be discouraged if you don’t ace this course! Many future physicists do poorly in this first year course because it is made deliberately difficult.). Also, take first (or second) year calculus.

b) Second year physics – intermediate mechanics and EM theory.

 so, second year calculus, including differential equations and surface and volume integrals.

c) Third year physics – a selection from: optics, thermodynamics, statistical mechanics, beginning      atomic and nuclear theory.

d) Four year physics – elementary quantum mechanics

Within physics, there are many sub-disciplines you can choose from. For example, there is solid state, condensed matter, low temperature, and laser physics, which have immediate applications in electronics and optics. My own field embraces elementary particle physics as well as general relativity. Other branches include nuclear physics, astrophysics, geophysics, biophysics, etc.

Often you can apply for industrial jobs right after college. But for the higher paying jobs, it’s good to get a higher degree.

3) So then there is graduate school. If your goal is to teach physics at the high school or junior college level, then obtaining a Masters degree usually involves two years of advanced course work but no original research. There is a shortage of physics teachers at the junior college and high school level.

If you want to become a research physicist or professor, you must get a Ph.D., which usually involves 4 to 5 years (sometimes more), and involves publishing original research. (This is not as daunting as it may seem, since usually this means finding a thesis advisor, who will simply assign you a research problem or include you in their experimental work.) Funding a Ph.D. is also not as hard as it seems, since a professor will usually have a grant or funding from the department to support you at a rate of about $12,000 per year or more. Compared to English or history graduate students, physics graduate students have a very cushy life.

After a Ph.D: Three sources of jobs

A) Government

B) Industry

C) The University

                   Government work may involve setting standards at the National Institute for Standards and Technology (the old National Bureau of Standards), which is important for all physics research. Government jobs pay well, but you will never become wealthy being a government physicist. But government work may also involve working in the weapons industry, which I highly discourage. (Not only for ethical reasons, but because that area is being downsized rapidly.)

                Industrial work has its ebbs and flows. But lasers and semi-conductor and computer research will be the engines of the 21st century, and there will be jobs in these fields. One rewarding feature of this work is the realization that you are building the scientific architecture that will enrich all our lives. There is no job security at this level, but the pay can be quite good (especially for those in management positions – it’s easier for a scientist to become a business manager than for a business major to learn science.) In fact, some of the wealthiest billionaires in the electronics industry and Silicon Valley came from physics/engineering backgrounds and then switched to management or set up their own corporation.

                     But I personally think a university position is the best, because then you can work on any problem you want. But jobs at the university are scarce; this may mean taking several two-year “post-doctorate” positions at various colleges before landing a teaching position as an assistant professor without tenure (tenure means you have a permanent position). Then you have 5-7 more years in which to establish a name for yourself as an assistant professor.

                     If you get tenure, then you have a permanent position and are promoted to associate professor and eventually full professor. The pay may average between $40,000 to $100,000, but there are also severe obstacles to this path.

                        In the 1960s, because of Sputnik, a tremendous number of university jobs opened up. The number of professors soared exponentially. But this could not last forever. By the mid 1970s, job expansion began inevitably to slow down, forcing many of my friends out of work. So the number of faculty positions leveled off in the 1980s.

                          Then, many people predicted that, with the retirement of the Sputnik-generation, new jobs at the universities would open up in the 90s. Exactly the opposite took place. First, Congress passed legislation against age-discrimination, so professors could stay on as long as they like. Many physicists in their seventies decided to stay on, making it difficult to find jobs for young people. Second, after the cancellation of the SSC and the end of the Cold War, universities and government began to slowly downsize the funding for physics. As a result, the average age of a physicist increases 8 months per year, meaning that there is very little new hiring.

                     As I said, physicists do not become scientists for the money, so I don’t want to downplay the financial problems that you may face. In fact, many superstring theorists who could not get faculty jobs went to Wall Street (where they were incorrectly called “rocket scientists”). This may mean leaving the field. However, for the diehards who wish to do physics in spite of a bad job market, you may plan to have a “fall-back” job to pay the bills (e.g. programming) while you conduct research on your own time.

                      But this dismal situation cannot last. Within ten years, the Sputnik-generation will finally retire, hopefully opening up new jobs for young, talented physicists. The funding for physics may never rival that of the Cold War, but physics will remain an indispensable part of creating the wealth of the 21st century. There are not many of us (about 30,000 or so are members of the American Physical Society) but we form the vanguard of the future. It also helps to join the APS and receive Physics Today magazine, which has an excellent back page which lists the various job openings around the country.

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Teachers From History

Tagore and Einstein 

Rabindranath Tagore was born in Calcutta, India into a wealthy Brahmin family. After a brief stay in England (1878) to attempt to study law, he returned to India, and instead pursued a career as a writer, playwright, songwriter, poet, philosopher and educator. During the first 51 years of his life he achieved some success in the Calcutta area of India where he was born and raised with his many stories, songs and plays. His short stories were published monthly in a friend's magazine and he even played the lead role in a few of the public performances of his plays. Otherwise, he was little known outside of the Calcutta area, and not known at all outside of India.

Albert Einstein Though he described himself as a "mathematical ignoramus," Albert Einstein's thinking was so complex that accomplished members of the scientific community still struggle to wrap their minds around the meaning and implications of his theories. Born in Germany in 1879, the frizzy-haired physicist conducted some of his most important research in Princeton, New Jersey, where he spent the later years of his life. Perhaps best known for his Theory of Relativity and his equation E=mc2, Einstein's work revolutionized the field of theoretical physics and made him a celebrity throughout the globe. 

                     Tagore and Einstein met through a common friend, Dr. Mendel. Tagore visited Einstein at his residence at Kaputh in the suburbs of Berlin on July 14, 1930, and Einstein returned the call and visited Tagore at the Mendel home. Both conversations were recorded and the above photograph was taken. The July 14 conversation is reproduced here, and was originally published in The Religion of Man (George, Allen & Unwin, Ltd., London).

TAGORE: I was discussing with Dr. Mendel today the new mathematical discoveries which tell us that in the realm of infinitesimal atoms chance has its play; the drama of existence is not absolutely predestined in character.
EINSTEIN: The facts that make science tend toward this view do not say good-bye to causality.
EINSTEIN: One tries to understand in the higher plane how the order is. The order is there, where the big elements combine and guide existence, but in the minute elements this order is not perceptible.
TAGORE: Thus duality is in the depths of existence, the contradiction of free impulse and the directive will which works upon it and evolves an orderly scheme of things.
EINSTEIN: Modern physics would not say they are contradictory. Clouds look as one from a distance, but if you see them nearby, they show themselves as disorderly drops of water.
TAGORE: I find a parallel in human psychology. Our passions and desires are unruly, but our character subdues these elements into a harmonious whole. Does something similar to this happen in the physical world? Are the elements rebellious, dynamic with individual impulse? And is there a principle in the physical world which dominates them and puts them into an orderly organization?
EINSTEIN: Even the elements are not without statistical order; elements of radium will always maintain their specific order, now and ever onward, just as they have done all along. There is, then, a statistical order in the elements.
TAGORE: Otherwise, the drama of existence would be too desultory. It is the constant harmony of chance and determination which makes it eternally new and living.
EINSTEIN: I believe that whatever we do or live for has its causality; it is good, however, that we cannot see through to it.
TAGORE: There is in human affairs an element of elasticity also, some freedom within a small range which is for the expression of our personality. It is like the musical system in India, which is not so rigidly fixed as western music. Our composers give a certain definite outline, a system of melody and rhythmic arrangement, and within a certain limit the player can improvise upon it. He must be one with the law of that particular melody, and then he can give spontaneous expression to his musical feeling within the prescribed regulation. We praise the composer for his genius in creating a foundation along with a superstructure of melodies, but we expect from the player his own skill in the creation of variations of melodic flourish and ornamentation. In creation we follow the central law of existence, but if we do not cut ourselves adrift from it, we can have sufficient freedom within the limits of our personality for the fullest self-expression.
EINSTEIN: That is possible only when there is a strong artistic tradition in music to guide the people's mind. In Europe, music has come too far away from popular art and popular feeling and has become something like a secret art with conventions and traditions of its own.
TAGORE: You have to be absolutely obedient to this too complicated music. In India, the measure of a singer's freedom is in his own creative personality. He can sing the composer's song as his own, if he has the power creatively to assert himself in his interpretation of the general law of the melody which he is given to interpret.
EINSTEIN: It requires a very high standard of art to realize fully the great idea in the original music, so that one can make variations upon it. In our country, the variations are often prescribed.
TAGORE: If in our conduct we can follow the law of goodness, we can have real liberty of self-expression. The principle of conduct is there, but the character which makes it true and individual is our own creation. In our music there is a duality of freedom and prescribed order.
EINSTEIN: Are the words of a song also free? I mean to say, is the singer at liberty to add his own words to the song which he is singing?
TAGORE: Yes. In Bengal we have a kind of song-kirtan, we call it-which gives freedom to the singer to introduce parenthetical comments, phrases not in the original song. This occasions great enthusiasm, since the audience is constantly thrilled by some beautiful, spontaneous sentiment added by the singer.
EINSTEIN: Is the metrical form quite severe?
TAGORE: Yes, quite. You cannot exceed the limits of versification; the singer in all his variations must keep the rhythm and the time, which is fixed. In European music you have a comparative liberty with time, but not with melody.
EINSTEIN: Can the Indian music be sung without words? Can one understand a song without words?
TAGORE: Yes, we have songs with unmeaning words, sounds which just help to act as carriers of the notes. In North India, music is an independent art, not the interpretation of words and thoughts, as in Bengal. The music is very intricate and subtle and is a complete world of melody by itself.
EINSTEIN: Is it not polyphonic?
TAGORE: Instruments are used, not for harmony, but for keeping time and adding to the volume and depth. Has melody suffered in your music by the imposition of harmony?
EINSTEIN: Sometimes it does suffer very much. Sometimes the harmony swallows up the melody altogether.
TAGORE: Melody and harmony are like lines and colors in pictures. A simple linear picture may be completely beautiful; the introduction of color may make it vague and insignificant. Yet color may, by combination with lines, create great pictures, so long as it does not smother and destroy their value.
EINSTEIN: It is a beautiful comparison; line is also much older than color. It seems that your melody is much richer in structure than ours. Japanese music also seems to be so.
TAGORE: It is difficult to analyze the effect of eastern and western music on our minds. I am deeply moved by the western music; I feel that it is great, that it is vast in its structure and grand in its composition. Our own music touches me more deeply by its fundamental lyrical appeal. European music is epic in character; it has a broad background and is Gothic in its structure.
EINSTEIN: This is a question we Europeans cannot properly answer, we are so used to our own music. We want to know whether our own music is a conventional or a fundamental human feeling, whether to feel consonance and dissonance is natural, or a convention which we accept.
TAGORE: Somehow the piano confounds me. The violin pleases me much more.
EINSTEIN: It would be interesting to study the effects of European music on an Indian who had never heard it when he was young.
TAGORE: Once I asked an English musician to analyze for me some classical music, and explain to me what elements make for the beauty of the piece.
EINSTEIN: The difficulty is that the really good music, whether of the East or of the West, cannot be analyzed.
TAGORE: Yes, and what deeply affects the hearer is beyond himself.
EINSTEIN: The same uncertainty will always be there about everything fundamental in our experience, in our reaction to art, whether in Europe or in Asia. Even the red flower I see before me on your table may not be the same to you and me.
TAGORE: And yet there is always going on the process of reconciliation between them, the individual taste conforming to the universal standard.

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