“But to receive the sun, one must first have dwelt for a long while in its thrice-blessed courts. One must have gone to meet it for a while, must have long been its student. As to bad monuments, the sun has nothing to say to bad artists whom the open air of the work yards has not prepared with understanding.
Is it possible that everyone is oblivious to, or mistakes, the sun’s gifts? Does it not present the universe with majesty, making everything perceptible and living? Does it not inspire the poet, whether famous or obscure? The sun is responsible for the prosperity of the farmers, the joy of animals, the fertility of the land; and man’s thoughts perhaps have their hearth in its light and warmth. For a long time man believed he saw God’s truth blazing in its fires, and God wishes us to adore the sun. When it shines, the earth is modelled according to its divine flame.
Thus it is allowed, and, by patience and diligence, it is possible, to understand and feel the geometry of light. In this spirit tastes response in silence, drawing forth from it a new energy and generosity.”
9 minutes long, the Secret of the Light, Chartres Cathedral , France.
You’re here to be light, bringing out the God-colors in the world. (Matthew 5:14, The Message)”
Lamp Of Love
– by Rabindranath Tagore
Light, oh where is the light?
Kindle it with the burning fire of desire!
There is the lamp but never a flicker of a flame—-is such thy fate, my heart?
Ah, death were better by far for thee!
Misery knocks at thy door,
and her message is that thy lord is wakeful,
and he calls thee to the love-tryst through the darkness of night.
The sky is overcast with clouds and the rain is ceaseless.
I know not what this is that stirs in me—-I know not its meaning.
A moment’s flash of lightning drags down a deeper gloom on my sight,
and my heart gropes for the path to where the music of the night calls me.
Light, oh where is the light!
Kindle it with the burning fire of desire!
It thunders and the wind rushes screaming through the void.
The night is black as a black stone.
Let not the hours pass by in the dark.
Kindle the lamp of love with thy life.
Photograph Source: Chartres FB. Page. with thanks…
zoom 10 – 341th power and the interations approx.one million six eight six,000 = 1,686,000 – just simple amazing.
Happy Fibonacci Day! – (now that was a few days ago.)
Today is a pretty good day for the mathematically inclined! All of the numbers in today’s date (8/5/13) are in the Fibonacci sequence. If you use the American ordering of dates, the numbers are in order.
The Fibonacci sequence is 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144 etc. Each number is the sum of the previous two numbers, and it continues on to infinity. The ratio between these numbers approximates 1.618034, the golden ratio, and both the Fibonacci sequence and the golden ratio are expressed throughout nature.
Nature, never ceases to amaze me in setting the Golden/Phi relationship in such perfection of form and beauty..
Sacred Geometry in Moziacs & Architecture of Temples
Wikipedia says a fractal is “a rough or fragmented geometric shape that can be split into parts, each of which is (at least approximately) a reduced-size copy of the whole”.
Fractal architecture is generated by the application of fractal geometric principles to the design of facades and building forms. Here are some examples of fractal architectural facades. Yannick Joyce, from Belgium’s Ghent University, argues that this type of geometry has been used in architecture for two main reasons:
1. Fractal rhythms, created by midpoint displacement, are used as a creative tool to generate a variety of architectural components, such as planning grids, strip windows, noise abatements etc. Examples can be found throughout architectural history, from Doric entablatures to modern facades.
2. The typical measurement techniques of fractal geometry are used to analyse the structure of buildings. The box counting dimension, for example, is a measure for the recursivity of detail on ever smaller scales. An extract from Joye’s Fractal Architecture Could Be Good for You:
Pythagoras described geometry as visual music. Music is created by applying laws of frequency and sound in certain ways. States of harmonic resonance are produced when frequencies are combined in ways that are in unison with universal law.
These same laws can be applied to produce visual harmony. Instead of frequency and sound it is angle and shape that are combined to produce visual symphonies that show the harmonic unification of diversity.
In sacred geometry, an Archangel known as Metratron oversees the flow of energy in a mystical cube known as Metatron’s Cube, which contains all of the geometric shapes in God’s creation and represents the patterns that make up everything God has made. These duties tie in with Metatron’s work overseeing the Tree of Life in Kabbalah, where Metatron sends creative energy down from the top (the crown) of the tree toward all the parts of creation.
Metatron’s Cube Explained by Charles Gilchrist, Artist, Sacred Geometrist and Mathematician
Metatron is numerically 314 as in Pi (3.14), that relates to the circle and holds secrets of the endless. (Pi has endless number of digits after the decimal point). Here, the Zohar reveals direct connection between Metatron, the circle and the Endless.
Metatron serves as a body for the light of the creator to continue the light to the lower levels. When the Light is not with Metatron then he is ‘mute’, meaning unable to transfer light.
The Zohar refers to the Light as sound and speech is the manifestation. The connection between the Light and the Shechina has the same aspect of sound and speech. God is the life force of everything, he carries the entire existence and without him there is no manifestation or any form of life/existence.
The city of Allahabad ( City of God in Persian ) in India’s northern Uttar Pradesh state prepares for the Hindu festival of Maha Kumbh Mela, 2013. The ancient name of this city is Prayag and is believed to be the spot where Brahma offered his first sacrifice after creating the world. It is one of four sites of the mass Hindu pilgrimage Kumbh Mela. The Prayag (Allahabad) Kumbh Mela is the largest and holiest of all melas and is believed to be the most auspicious, though the exact origin of the Kumbh Mela is very hard to pinpoint.
The Purna (complete) Kumbh or Maha Kumbh, the biggest and the most auspicious fair, falls once every 12 years, and is always held in Allahabad. The most recent Kumbh Mela was in 2001 in Allahabad and millions of pilgrims took a holy dip in Sangam on the auspicious Mauni Amavasya on the 24th January 2001.
Kumbh Mela derives its name from the immortal – Pot of Nectar – described in ancient Vedic scriptures known as the Puranas. Kumbha in Sanskrit language means ‘pot or pitcher’. Mela means ‘festival’. So ‘Kumbh Mela’ literally means ‘festival of the pot’. Though the festival is a primitive one, it’s origins can be traced back to the ancient event of ‘Sagar Manthan’.
Tens of millions of pilgrims are expected to visit Allahabad to bathe at the Sangam – the merger point of the Ganges, Yamuna and the mythical Saraswati rivers. The main bathing date for the 2013 Allahabad Kumbhmela is 10th Feb.2013.
The Cathedral du Notre Dame, du Paris
For centuries it has witnessed the greatest events in French history: 80 kings, two emperors, five republics – and two world wars.
With her original 13th-Century rose window, the cathedral was pillaged and nearly demolished in revolutionary France. Now her famous gargoyles stand guard against evil spirits.
This great Paris cathedral has seen crusaders and kings praying before battle and She survived. This month sees the start of a year of special events celebrating the landmark 850th anniversary of “Our Lady of Paris”.
The first stone was laid in 1163, though it took a further 180 years to complete. The principles of sacred geometry used in the Cathedral of Chartres took root here too. Yet, as the magnificent structure took form, history was already playing out in her shadow. Crusaders prayed beneath the world’s first flying buttresses as they set off on holy wars.
Within these walls, in 1431, a sickly boy of ten, King Henry VI of England, was crowned King of France.
And in 1804, to the sound of the 8,000 pipes of the cathedral’s Grand Organ, Napoleon was crowned emperor.
Music is integral to the life of this cathedral – in the archives, medieval manuscripts reveal it always has been. Recently discovered manuscripts of centuries-old music and chants have been made ready.
Fittingly, then, the great sounds of Notre Dame will be at the heart of the anniversary celebrations.
Throughout 2013, three choirs will bring to life some of the earliest sounds of Christianity.
Choir director Sylvain Dieudonne has said that, “in 1163, when they started building the cathedral, Paris became a centre of great intellectual, spiritual and musical development.
“The musical school was hugely influential,” he said. “We know from the manuscripts we have recovered that it influenced music across Europe – in Spain, Italy, Germany and in England.”
The year-long festival would not be complete without a celebration of the architecture. And to mark 850 years, they will be improving the lighting.
The building was not originally designed to include the flying buttresses around the choir and nave, but after the construction began, the thinner walls grew ever higher and stress fractures began to appear as the walls pushed outward. In response, the cathedral’s architects built supports around the outside walls, and later additions continued the pattern.
Today the cathedral stands as a gothic masterpiece.
As this Christmas marks the 850th anniversary of this venerable church, it heralds the start of a year-long celebration of her influence and history in France. For western visitors, this home of Christian traditions will come alive with their performances.
The most amazing fact about the Cathédrale Notre-Dame de Chartres is that it unites contradictions at one and the same space. Ancient pagan sanctuary with traces of labyrinthine maps to worship the solar cycle similar to Stonehenge transformed into one of the gems of Christian cathedral culture, it is the incarnation of the Sacred, par excellence, whatever the form. Located in the Loire Valley, Chartres Cathedral has been a Christian religious and architectural icon since the eleventh century. This Gothic cathedral has survived wars, revolutions and even fire. Towering church spires, stained multi-coloured glass and the labyrinth will be offered to visitors’ admiration.
The linguistic difference between mazes and labyrinths can be discussed. Most people consider them to be synonyms, but unlike mazes, labyrinths have a single path, no dead ends, and one way in and out. In many world’s religions it symbolizes the journey of the spiritual seeker, the path one must walk in order to grow towards clarity and wisdom.
I spent two days in the splendor of this amazing cathedral, trying to capture with my camera what is simply not possible to capture. Chartres is more about light and vibration than the beauty of its architecture. The Cathedral is huge, its grand pillars and stained glass windows, leaves one in such awe that taking photos is a chore anyway. Chartes is undergoing restoration and cleaning, therefore it is quite impossible to see the entire structure as some areas are hidden from view. The Cathedral is located in the middle of the charming town of Chartres, which in itself is of significant historic value. There is also a school of Sacred Geometry in Chartres, and I have been told that the Cathedral is of special interest to Keith Crithlow, who created some of the sacred geometry designs for the SS Hospital in Puttaparthi.
We’ve already mentioned Keith Critchlow on our Sacred Geometry posts. Here is his own Sai story. The story can be found on other websites and from other sources. We have added it here to complete our sacred geometry series of posts.
“I am the principal of the Royal College of Arts in London and this is where I first met Isaac Tigrett. He came to my office one day and introduced himself. I did not know who he was. My colleague beckoned to me and said that he was an entrepreneur and a Sai devotee. Tigrett understood my predicament and said, “I am the owner of Hard Rock café.” I was further confused with this statement. I’d never heard of The Hard Rock Cafe. I did not know how to answer him. Mr. Tigrett seemed to understand my confusion and came straight to the point. “There is a saintly person in India. He needs an architect to help him with his new hospital. Would you like to help design the hospital?” I was glad to accept the offer. I’d always had an interest in seeing parts of India, also in meeting the saints whom I’d read about. I confirmed my willingness to help him and said, “I am willing to come to India as long as my wife can travel.” After a positive reply, Tigrett organized tickets for both of us to go to India.
First of all, we went to Bangalore and from there we travelled to Prasanthi Nilayam. Later we visited the Poornachandra Auditorium which is a huge building, rather like an aeroplane hanger. Swami was there with a huge gathering of devotees. I felt embarrassed to be the only person wearing street clothes, as all the others were wearing white ashram clothes. The only other person wearing a coloured garment was Swami. He came over to me and asked, “So, you are the architect!” For the rest of the meeting, I sat on the floor with the other devotees.
The next day Swami called me for an interview. “Swami, I asked, can my wife join me?” On hearing an affirmative, I beckoned my wife to join me on the verandah. In the interview room, all the men sit on the right side and women sit on the left side. We did not know the protocol so my wife sat next to me. Swami looked at us and in a low voice directed us to where to sit. “You are now in India.” he said. Then Swami turned to me and said. “Come here.” I stood and went over to sit next to him. Swami then asked me quietly “What do you want?” I was confused by that remark. I answered, “Swami, do you want me to be your architect for the Hospital?”
Swami stared at me. Then he repeated the same question again. I was overcome with the love that I felt flowing from him and said, “I want to serve you as an architect.” Until this day, I did not know why I said that! In his presence, I felt moved to say yes – that is how it is with Swami. Although I am a scholar, my usual ego-self humbled while in his presence. I politely told him that I would be his servant for life.
Then Swami waved his hand in thin air and created a ring. I had not expected to see him manifest a ring. It took me by surprise. Swami brought the ring close for me to see and then said, “What is there on the ring?” I could not see without my glasses, so I said, “I don’t know what’s on the ring.” He laughed at my embarrassment, then said, “What is the use of an architect when you are unable to read ?” I felt a little embarrassed by that remark. I learned that the letters A U M were encrypted on the ring. Swami circulated the ring for everyone to observe. Then He took the ring and blew on top of it. The ring disappeared and another ring appeared. This time it was a silver ring with a cross on top. I recognized the cross without too much ado. Swami took the ring again and blew on the top of it. This time another ring appeared with a star and crescent moon on top. Then I realized that this holy man could do anything if he so desired. Then he took myself and my wife inside the small room for a personal interview.
Before I left the interview room, Swami put the ring on my finger. The symbol now had changed again to the AUM. I realised the meaning right away. I work for the Royal College of Arts which is a centre for Sacred Art. The college is instrumental in teaching religious and sacred geometry from all cultures.
(This story has been retold several times and therefore the wording might be slightly different from the exact words of Mr.Critchlow.)
source:– Keith Critchlow
The K.C. story has been retold by this writer due to errors in the internet version.
The mandala above is from my small collection of Tibetan Art. I bought it some years ago from a Tibetan shop in Puttaparthi. This Mandala took three months to paint. Although it is Tibetan the painting itself comes from Nepal.
This particular mandala hung on the walls of my room in Puttaparthi for years, I have bought it home to keep it from fading. It is a very precious item and holds sentimental value.
In Buddhism, mandalas are rich with symbolism that evokes various aspects of Buddhist teaching and tradition. This is part of what makes the creation of a mandala a sacred act, for as they work, the monks are imparting the Buddha’s teachings.
Outside the square temple are several concentric circles. The outermost circle is usually decorated with stylized scrollwork resembling a ring of fire. This ring of fire symbolizes the process of transformation humans must undergo before being able to enter the sacred territory within. It both bars the unitiated and symbolizes the burning of ignorance.
The next circle inward is a ring of thunderbolt or diamond scepters, which stands for indestructibility and illumination. This is followed by a circle of eight graveyards, representing the eight aspects of human consciousness that bind a person to the cycle of rebirth. Finally, the innermost ring is made of lotus leaves, signifying religious rebirth.
The square structure in the middle of a mandala is a palace for the resident deities and a temple containing the essence of the Buddha. The square temple’s four elaborate gates symbolize a variety of ideas, including:
The four boundless thoughts: loving-kindness, compassion, sympathy and equanimity
The four directions: south, north, east and west
Within the square palace or temple are images of deities, which are usually the Five Dyani Buddhas (the Great Buddhas of Wisdom). The iconography of these deities is rich in symbolism in itself. Each of the Dyani Buddhas represents a direction (center, south, north, east and west), cosmic element (like form and consciousness), earthly element (ether, air, water, earth and fire), and a particular type of wisdom. Each Buddha is empowered to overcome a particular evil, such as ignorance, envy or hatred. The Five Dyani Buddhas are generally identical in appearance, but are each represented iconographically with a particular color, mudra (hand gesture), and animal. See the article on the Five Dyani Buddhas for more information.
In the center of the mandala is an image of the chief deity, who is placed over the center dot described above. Because it has no dimensions, the center dot represents the seed or center of the universe.