The Chaitanya Jyoti Museum Construction Mr. Goh Say Tong.

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“Component sections were unpacked and dimensions matched to the location base”. The main and specialist contractors immediately prepared reinforcement bars for the column structure. Unfortunately, we could not obtain a crane, which was crucial for lifting, positioning and maintaining the verticality of the heavy upper sections of the Stupa. We managed by lifting the first and second sections of the mold into place. Baba’s Vibhuti was applied at each section. Thereafter, we somehow got a crane that was originally used for lifting the stone balustrades. Using this crane, we manipulated the third, fourth, and fifth sections into place. However, the crane could not go higher for the final two sections, which needed to be lifted up and positioned together as a single piece. No other crane was available and the nearest suitable one had to be ordered from Bangalore;
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Time was running out.
When the ordered crane finally arrived, another crisis occurred; the extension arm was not the type! This was when things got a little frantic; the arm had to be extended, and extended first. By then, it was the late afternoon of the 17 November.
Somehow, the modification was made possible by combing the booms of both of the cranes on the site, using welding equipment belonging to the fencing contractor, who was also coincidentally on the site. Apparently, all the tools we needed were on site to make the miraculous happen! The final placement of the lotus hand and the sphere took place at 9.45 pm, with concreting work still to be done. By the time the entire structure was assembled, it was just a few minutes before midnight.
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The concreting had only 8 hours to set fully before the inauguration took place at 8 am on 18 November 2000. Baba’s Grace completed the Stupa just in the nick of time.”
Coming into the precincts of the Museum, one first delights at the entrancing masterpiece of the Stupa; it leads the eye to His Divine hand supporting the Universe. The Stupa is not only a work of art, but also a work form the Heart as it conveys deep spiritual lessons for the onlooker to imbibe and treasure. The five swans portray discrimination as the swan chooses milk over water. So they remind us to seek the Lord’s Grace, rather than the tinsel of the world.
The lotus stem rises from the mud untouched and resplendent in its inherent nature and reaches upward towards the Creator. It teaches one to be detached from the world (the mud) and to be attracted by the spiritual path alone, so as to shine in our Divine Atmic nature.
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The 108 petals portray the creator Brahma, upon which the hand of Sathya is to be seen, holding the Universe aloft with His forefinger.
Originally the artisans had shown the World atop but Bhagavan had explicitly redirected them by saying “Not World, Universe”. It is a reassuring reminder for the devotee that the Lord whom they worship as the Embodiment of Truth has all the powers of the Universe at His fingertips.
Thence, the visitor is captivated by the Koi fish, now 200 in number, who glisten in the dark water, giving joy to all who see them. Fish are renowned for their relaxing effect on their viewer and everyone likes to wait awhile at this point and admire them. The fish ever dart here and there, reflecting the sun’s rays in myriad colours. They have been well tended and some are rather large, up to 4 feet in length.
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