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The secret meeting of East and West – Understanding divisional and/or harmonic charts – Part 5
Jan 11, 2019 Astrological Theory 0 comments
NAVAMSHA – THE 9th DIVISION
Of all the vargas used in Indian astrology the navamsha is the most important and most commonly used one.
If one should use only one varga, the navamsha would be the one. There is no classical text of Indian
astrology that doesn’t emphasize the navamshas. In many cases they are treated almost as equally
important as the signs themselves. As we’ve seen in the previous articles from this series, the instructions for
using the vargas are scarce, but the greatest amount of information we have on this subject pertains to
the navamsha. Since the total amount of navamshas in a circle is 108 it is no wonder that Indians give it such
an importance, since 108 is an extremely important number in the Vedas.
A navamsha is a 3 degrees 20 minutes large portion of a sign and there are nine of them in one sign, thus the
name navamsha (nava = nine, amsha = part). In the same way like the saptamsha which we’ve examined in
the previous article, the navamsha is a meshadi parivritti varga or a harmonic division. If we simply want to
know which navamsha a planet falls in we can determine this in two ways:
1. Look at a navamsha table with all navamsha degrees listed (Google “navamsha table”)
2. Calculate it to the degree in the same way as we did for the samptamsha, but multiplying by 9 instead of 7.
The navamshas in a circle look like this:
Picture no. 1: Navamshas
We can see a nonagon being formed when we connect the same navamshas. The nonagon is a geometrical
shape of Ketu, whose number is 9, thus the navamsha has to do with the inner and the final.
There is a lot to pay attention to:
1. Every sign starts with a movable navamsha.
2. All the movable signs start with their own navamshas.
3. All fire signs start with Aries navamsha.
4. All earth signs start with Capricorn navamsha.
5. All air signs start with Libra navamsha
6. All water signs start with Cancer navamsha
Cardinality or movable quality is very much emphasized in the navamsha, more than in any other varga. If
we combine Ketu’s symbolism with action and forward movement of cardinal quality it means that we’re
looking at how a person is internally linked to the path they are walking on, what are their inner inspirations
and what is the underlying inner nature. It is no wonder that Jaimini in his Upadesha Sutra gives so much
importance to the position of atmakaraka in navamsha, takes this position as a very important alternative
ascendant and introduces many yogas that have this ascendant as a basis. Jaimini’s Upadesha Sutra is one of
the best if not the best source of navamsha techniques when it comes to interpretation of the navamshas in
a separate chart. To my knowledge it is also the only text that suggests the construction of a
separate navamshachart.