Kuttaka and magic
squares
Given the magic sum S
and the order of the magic square n,the first thing to be done to construct the
magic square is to obtain the defined by(a,
d).
Having obtained (a, d
), the having n2 elements is
constructed and this will be used to fill in n × n square.
Narayana makes use of the following kuttakara to obtain (a,
d).
2 1 2
nS = n
2{a+(a+(n −1)d)} (1)
or S =
na+ n (n2 −1)d (2) 2
It is well known that
in a kuttakara problem there exists an infinite number of integral solutions
for (a, d) if S is divisible by the GCD of
n,
n (n2 − 1) . In other words, S
should be divisible by n when n is 2
odd, and by n for n
even. 2
Suresh, this is a fascinating convergence of Diophantine reasoning (Kuttaka) and magic square construction, as presented by Narāyaṇa Paṇḍita in Gaṇitakaumudī. Let’s unpack the method and its implications for your adaptation work—especially how the parameters and shape the square’s arithmetic and symbolic rhythm.
🧮 Kuttaka and Magic Squares: Narāyaṇa’s Parametric Approach
To construct an magic square with magic sum , Narāyaṇa introduces a parametric sequence defined by:
: the starting number
: the common difference
The sequence:
is used to populate the square such that the sum of each row, column, and diagonal equals .
📐 Deriving the Parameters (a, d) via Kuttaka
Narāyaṇa uses a Diophantine equation (Kuttakara) to relate , , , and :
Equation (1):
Simplified Equation (2):
This is a linear Diophantine equation in and . The goal is to find integer solutions for and that satisfy this equation for a given and .
🔁 Existence of Solutions: Divisibility Condition
For integer solutions to exist, the right-hand side must be divisible by the greatest common divisor (GCD) of the coefficients:
For odd : So, must be divisible by
For even : The condition becomes more nuanced, but generally must be divisible by
This ensures infinitely many solutions for , allowing multiple valid sequences to construct magic squares.
🧩 Creative Implications for Adaptation
The (a, d) pair becomes a dramatic motif—a seed and rhythm that governs the entire square.
You could visualize the square as a musical or choreographic grid, where sets the tone and the tempo.
The Kuttaka derivation itself could be staged as a ritual or puzzle-solving moment in your adaptation—perhaps echoing ancient mathematical drama.
Would you like to explore how different (a, d) pairs yield visually distinct squares, or how this method compares to Turagagati and alpaśruti constructions? We could even build a symbolic map of square types based on their generative logic.
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