Articole in Engleza Geometrie Sacra

7/25/2019 Articole in Engleza Geometrie Sacra

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+eometry as a Woman

#awlor here expresses a crucial idea in the definition of acred +eometryit has both acontemplative side and a practical side, and an intuitive and intellectual side, it is an activityboth right brained and left brained.

-urther differentiating acred +eometry from the ordinary geometry of our school days is itsrelation to number and symbol. /his difference, I think, is succinctly expressed by MirandaLundyin her superb little book entitled simply Sacred Geometry%)00&*

"acred Geometry charts the unfolding of number in space. #t differs from mundanegeometry purely in the sense that the moves and concepts involved are regarded as

having symbolic value, and thus, li$e good music, facilitate the evolution of the soul.!

acred +eometry, then, charts the unfolding of number in space and has symbolic value andthereby has conferred upon it a 1ualitative status absent from common geometry. 2nd here Imust add that magnifying the inherent power of acred +eometry is the fact that it alsocharts the unfolding of number in time. /his is an idea of such compelling ramifications that Imust return to it in detail in another article.

2t the very earliest appearance of human civili!ation we observe the presence andimportance of geometry. It is clearly evident that geometry was comprehended and utili!edby the ancient Master 3uilders, who, laboring at the dawn of civili!ation some four and onehalf millennia ago, bestowed upon the world such masterworks as the megalithic structuresof ancient 4urope, the Pyramids and temples of Pharaonic 4gypt and the stepped 5igguratsof umeria. /hat geometry continued to be employed throughout the centuries from thoseearliest times until times historically recent is also clearly evident. /hat it was made use of bycultures far6flung about the globe is evident as well, finding expression in 7hina, 7entral andouth 2merica, in pre67olumbian 8orth 2merica amongst 8ative 2mericans, in 2frica, 42sia and Indonesia, "ome and of course in classical +reece and in 4urope, from theMegalithic era some 9000 years ago, as stated, and again some :000 years later,magnificently expressed during the +othic era of cathedral building.

1 2 3 4 ! " #+eometry is especially associated with 7lassical +reece and such illustrious figuresasPythagoras,PlatoandEuclid, who wrote the first actual textbook on the subject, theaforementioned 4lements. +eometry has also been held in particular reverence and highesteem by the ancient order of -reemasons, which, of course, hearkens back to the
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great $athedral %uilding eraof the &)th through the &9th centuries, from whom modernMasons derive their pedigree.

-rom the foregoing is should be obvious that geometry was, and is, closely associated with2rchitecture, that great manuscript of the human race, which provided the first and primaryvehicle for the human employment of geometry. /hat it is closely associated with 2rt, Musicand ;andicraft is obvious as well to the student of the history of these subjects.


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=>emiurge by William 3lake

We are here introduced to a another fundamental idea lying at the heart of acred +eometry, that it provided the means by which +od, as the +reat 2rchitect of the


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at the same time providing a path to a deepened spiritual awareness of the fundamentalprinciples of creation.

It could be said of acred +eometry that it provides one of the most, if not the mostimportant key to unlocking the great Mysteries of the 2ges. 2ccording to the famous &Ccentury 2lchemical tract +talanta )ugiensthe great ;ermetic ecret lies concealed behindthe =Wall of Mystery which can only be penetrated through an astute employment ofgeometry.

/he great ;ermetic ecret lies concealed behind the =Wall of Mystery which can only be penetrated through anastute employment of geometry.

In the lodges of old, as in schools of Plato and 4uclid the tools of +eometry were simply anunmarked strait edge and a pair of compasses. /hats all. With those two tools it waspossible to draw straight lines and circles, or arcs of circles. Dut of the combination ofstraight lines and arcs the entire edifice of 4uclidian geometry could be generated. In thearchaic conception, +od was seen as working only with lines and arcs, or circles, to createthe entire manifested universe. In modern language we might think of vector forces and

scalar forces. /hrough a simple act of geometric construction using these two tools two linescould be drawn that intersect at an angle of '0 degrees. /he same act of geometry can yieldan intersection forming an angle of B0 degrees. /hese two angles lie at the base of the twogreat systems of Masonic geometry,Ad QuadratumandAd Triangulum, that is =of the s1uareand =of the triangle, respectively, and, through their marriage emerges an infinity of form.

In a small handbook fre1uently given to newly initiated -reemasons we find a valuableelucidation on the meaning of +eometry$

Geometry is an /exact0 science. #t leaves nothing to chance. 1xcept for its axioms, itcan prove everything it teaches. #t is precise. #t is definite. By it we buy and sell ourland, navigate our ships upon the pathless ocean, foretell eclipses, and measure time.(ll science rests upon mathematics, and mathematics is first and last, geometry,whether we call its extension /trigonometry0 or /differential calculus0 or any other
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name. Geometry is the ultimate fact we have won out of a puzzling universe&.+hereare no ultimate facts of which the human mind can ta$e cognizance which are morecertain, more fundamental, than the facts of geometry.!

2oreign Countries(1925) Carl 3. Claudy

2 study of acred +eometry begins with the hands6on experience, the commission of ageometric act of creation, utili!ing only the straight6edge for drawing lines and thecompasses for the drawing of arcs. -ollowing from engagement of the hand and eye, themost basic of geometric axioms can be easily and intuitively grasped by the mind. -amiliaritywith the simpler exercises is soon followed by an ever increasing mastery of the morecomplex principles. 2 comprehensive program of study would re1uire both deepcontemplation of the forms, patterns and proportions of +eometry and their meanings, aswell as the ability to apply the knowledge of +eometry in practical applications of problemsolving and creative work.

2s we trace the manifestations of acred +eometry throughout history and around the world,

we see that it is infinitely adaptable and constantly evolving. 2s we continue to recover fromthe wreckage of ages past and civili!ations lost new knowledge and new understanding ofour extraordinary cultural heritage, we begin to appreciate that +eometry played a profoundrole in opening up the mysteries and secrets of 8ature to humankind, inspiring ourpredecessors on this planet to achieve glorious heights of creativity by mimicking thefundamental processes and harmonies of 7reation. 2s modern science becomes ever moreproficient at penetrating the finest recesses of 8atures Drder, we will have the opportunity todevelop new and original applications of this ancient 7raft.

It is difficult to convey the power of acred +eometry through the written word. It is bestexperienced first6hand through the process of geometric construction. ,n my classes and-or.shopsover the years I have endeavored to provide students with the experience of

acred +eometry by guiding them to a place where they can perceive for themselves thepatterns and forms as they emerge beneath straightedge and compasses. 2nd, I haveattempted to show them examples of the myriad ways in which acred +eometry bothconceals and reveals itself throughout the kingdoms of 8ature, 2rt, 2rchitecture and #ife, andfinally, to suggest the possibility of a revitali!ation of acred +eometry, that it might onceagain become a force for manifesting greater harmony in the world.
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The Meaning of Sacred Geometry part 2.

Whats the Point?byRandall Carlson

(nte omnia 4unctum exstitit&!Before all things were, there was a 4oint.!2nonymous, &(th century =#e Mystere de la 7roix

Sacred Geometry, to be fully appreciated and experienced, must be undertaken as acontemplative, or meditative exercise. -rom the initial act of putting pencil or compass pointto paper each act of geometry is charged with meaning. /he process of producing the forms,patterns and symbols of acred +eometry should be undertaken as a ritual act, where eachline, curve, shape, gesture or operation takes on a significance far beyond the mere act itself,and reveals fundamental processes of creativity on a vast scale and range of phenomenon,from the geometry of atomic and molecular organi!ation, through the forms and patterns ofbiological systems, to the scale of the cosmos itself and the very structure of pace and/ime. Indeed, the emergence of the


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-ragment of /he chool of 2thens E fresco by "affaello an!io da


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+od as +eometrician

/his concept of +od as geometrician is also depicted in a number of medieval bibles. 2s anexample, the frontispiece of the 3ible MoralisHe, ca. &)F0, shows +od about to impart orderto the disordered primeval chaos within the circle by a rotation of the compass.

2ll geometric constructions begin with a single point, represented by the moment that thepoint of the compass or the point of the pencil contacts paper. /he construction cancommence with either a straight line or the arc of a circle. /hrough the combination ofstraight lines and arcs the entire edifice of geometry can be produced. /o begin an exercisein acred +eometry four tools are re1uired$ 2 clean sheet of paper, a straight6edge of somekind, a pair of drawing compasses and a good sharp pencil. With these tools, and anappropriate state of mind, the geometrician can imitate the primordial process by which the


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God7 This' -e are told' -as accomplished 6y a contraction in +6solute +ll' so as toma.e a place -herein the mirror of E8istence might manifest7The place that -as9acated -as finite in that it -as limited in relation to +6solute +ll that held it7 This actof contraction' or 7imzum' as it -as called' 6rought a6out the 9oid of nmanifestE8istence e9en though it -as' -e are told' the si:e of a dimensionless dot in the midstof the +6solute7; 1

In Aabbalah the point, or dimensionless dot in the midst of the 2bsolute, is understood to bethe condensation, or distillation of +ods essence. It first appears against the background ofnegative existence, but this background is separated from the =2bsolute. It is this separationthat forms initial act of manifestation. /he 2bsolute from which the infinitesimal point iscontracted is beyond all words and definitions, it is beyond space and time, it is beyond4ternity, it is beyond Infinity. /o speak of it is utterly futile it is both everything and nothingsimultaneously. 3etween this indescribable, unimaginable and incomprehensible state andthe


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lies beyond this, the veil called simply, 2in. 3eyond 2in is the 2bsolute. ;alevi describes thenature and 1uality of the three veils$

/These three stages constitute a condensing' a crystalli:ing out of the %eing -hopermeates the -hole of +ll= of a point in the centre of a circumferenceless sphere7This distillation' this point' is -ithout dimension either in time or space' yet it containsall the -orlds from the uppermost realm do-n through the ladder of creation to thelo-est end0This all inclusi9e dot is called the )irst $ro-n' the first indication of the+6solute' perhaps 6etter .no-n as , +M' the first of many God names7; 3

Sursa: http://sacredgeometryinternational.com/the-meaning-of-sacred-geometry-

ii-whats-the-point

The Meaning of Sacred Geometry part 37

The 5om6 of Sacred Geometryby Randall Carlson

*This is the 3rd part of the eaning of !a"red #eometry series$ A""ess the pre%ious arti"lesat the follo&ing lin's$

The Meaning of Sacred Geometry

The Meaning of Sacred Geometry part 27 5hat(s The Point>
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2s described in depth in &5hat(s the Point( the second article' or lesson, in this series onthe meaning of acred +eometry, it was explained that the entire process of acred+eometry begins with a mere point. -rom that initial point either a straight line or a circle maybe generated. /his initial generating point was likened to a seed. It was proposed that thiswas the basis for the 8ew /estament parable of the +rain of Mustard eed, an analog for themass singularityin which the potential of the entire universe of pace and /ime wascontained at the first moment of 7reation.

3indu

/he 3indu?ingularity?3lackhole

uper Massive 3lackhole at 7enter of +alaxy

;ourglass 8ebula
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Jou are acred +eometry

"ecapitulation of 7reative -oundation of #ife /hrough acred +eometrical Meditation and 2ctivation

#inking of F and B the Micro and Macrocosms

It was also proposed that corresponding to this ultimate infinitesimal point of infinite potentialwhich preceded all of manifest reality, there exists scale invariant analogs in the form of masssingularities at the core of =black holes scattered throughout the universe, serving as nucleifor the formation of galactic systems. 2nd, it was also proposed that corresponding to theseexternal singularities there exists an inner, spiritual nucleus of infinite potential, in the form ofthe 3indu, the gateway to uperconsciousness. /he idea was presented that the operationsof acred +eometry recapitulate and symboli!e the primordial process of cosmicmanifestation, both internal and external.

2s discussed in that article a brief examination of various ancient or sacred traditions revealsthat there exist surprising parallels between archaic and contemporary models of7reation./he early )0th century author, kabbalist and ceremonial magician,

7harles tansfield @ones, writing under his magical nom de plume-rater 2chad, gave asuccinct and effective description of the occult model of Primordial 7reation that echoes thevaried traditions briefly surveyed in #esson /wo.


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Aabbalistic /ree of #ife. /he tree represents a map of 7reation, unfolding from the primordial


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To begin at the beginning $ $ $ the Qabalists postulated the A or +,T-# as the.ero /rom &hi"h0 in a mysterious manner0 the ni%erse arose$ et0 they say0 the A!-0 or 4imitless !pa"e0 be"ame the ature of the A0 and this "on"eption &asfollo&ed by that of A !- A or the 4imitless 4ight of 6haos$ t &as not until this4imitless 4ight had "on"entrated tself to a 6entre that the /irst ositi%e dea arose0 and

this &as "alled7ether and attributed to the umber +ne $ $ $8

4et us a""ept the term A as representing That of &hi"h othing is 'no&n0 nor "an be'no&n0 e"ept through the positi%e manifestations &hi"h arise from it$ hen &e attemptto imagine A !-4imitless !pa"eour minds tend to rush on and on0 only to fallba"' before the rofundity of the #reat ;eep< yet &e ha%e to admit the possibility ofnfinite etension in spa"e $ $ $ hen the A !- A be"ame "on"entrated upon a!ingle 6entre0 it "ompressed the 4ight into !ubstan"e of 4ight0 &hi"h is 4ife$ +r0 in other&ords0 the 6on"entrated 4ight be"ame an in"on"ei%ably po&erful /or"e or =nergy in the"entre of 7ether$ This ure >eing0 or 4i%ing !ubstan"e0 o&ing to its rea"tion from then%isible 6entre0 tends to epand to&ards nfinity$ This gi%es us the idea ofthe !ubstan"e of the ni%erse e%er epanding0 e%er o""upying more and more of the4imitless !pa"e of A !-0 &hile the rimal 6entrali?ing rge still "ontinues to"ontra"t upon the nfinitely !mall0 or the A $ $ $ 7ether is then the @un"tion of these T&onfinites0 but parti"ularly represents the "on"entration of the 4ight to a oint on its &ay tothe nfinitely !mall $ $ $81

/he study of acred +eometry teaches us that the %iving "ubstance, ever expandinginto %imitless "pace,!proceeds according to the principles of +eometry and Proportion.@ohannes Aepler articulated this understanding when he saidGeometry existed beforethe creation. #t is co-eternal with the mind of God&Geometry provided God with amodel for the Creation&!Aether is the highest emanation of the Aabbalistic /ree of #ife,

which itself is a manifestation of the geometry of 7reation through its structure of &0emanations and )) paths of elemental force linking them into a pattern of /ime, pace and4nergy.

/he tree represents a map of 7reation, unfolding from the primordial


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/he geometric construction of the kabbalistic /ree of #ife begins with the Gesica Piscis. If youhave not read the t-o articlespreceding this one I would strongly urge you to do so beforeproceeding. #et us establish some preliminaries. 2s with all areas of human activity that

evolve and grow through time, the practice of geometry has its own vocabulary.

Many of the terms used in +eometry are also used in everyday language but without theprecision of meaning that is necessary for the effective practice of the geometric art. If youare a sincere student of the Mysteries, but you are not already familiar with the fundamentalideas of geometry please make the effort to begin learning the basic terminology now. If youare mathematically learned please bear with us as we cover some preliminaries.

o let us define a few terms.

2 circlecan be thought of as the set %or locus* of points e1uidistant from a fixed point calledthe center. /he set of points so designated is called the circumferenceof the circle. 2ny line

connecting the center of the circle to its circumference is called a radiusof the circle %plural$radii*. 3y the definition of a circle, all radii of any circle must be e1ual in length. 2 circle canhave an infinite number of radii. 2ny line passing through the center of a circle that isterminated on both ends by the circumference is termed a diameterof the circle. 2 diameterof a circle must necessarily be twice the length of its radius. 2 circle can have an infinitenumber of diameters.

2 triangleis a figure composed of three straight lines. If all three lines are the same lengththe triangle is said to bee?uilateral. If two sides are the same length and the third sidedifferent the triangle is called isosceles. If all three sides are of different length the triangle issaid to be scalene. 2 triangle with one right angle is called a righttriangle. 2 right trianglecan be either isosceles or scalene.
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/wo different ways of designating a given side, either by the single lower case letter "ide aabove, or by the useof the two capital letters naming the end points of that side. -or example ide a in the above triangle could also

be called "ide BC, "ide bcould also be named "ide (Cand so on.

/he triangle above demonstrates the standard labeling for any triangle. /he vertices, or

corners, which are mere points without dimension, are indicated by the use of capital lettersas shown. /he sides of a triangle are labeled with small case letters with the usual practicebeing to name any side by the same letter name of the vertex opposite. /his gives us twodifferent ways of designating a given side, either by the single lower case letter such as "ideaabove, or by the use of the two capital letters naming the end points of that side. -orexample "ide ain the above triangle could also be called "ide BC, "ide bcould also benamed "ide (C, and so on.


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2n altitude of a triangle is a line drawn from any vertex perpendicular to the opposite side.

It is common practice to draw a triangle with one side hori!ontal, as side 23 in the triangleabove. /his side, which is below the rest of the triangle, is called its 6ase. /he vertex%corner* opposite the base is called the ape8of the triangle. 2lso in the above triangle thedashed line 7>, drawn perpendicular to the base up to the apex, is called thealtitudeof thetriangle. /he length of this line is fre1uently thought of as the height of the triangle. Df courseany side of the triangle can serve as the base

. /hat being the case a triangle can have three possible altitudes. 2 general definition foraltitude would then be$(n altitude of a triangle is a line drawn from any vertexperpendicular to the opposite side.

8ow let us state the very first proposition of 4uclidean geometry$

+ll radii of the same circle are e?ual7

Pretty simple, thats all there is to it. 3ut thats where geometry starts, with the most basicexpression of obvious relationships, things that all of us who are reasonably sane can agreeupon once we have established the meaning of our terms.

#et us now state one of the fundamental axioms of mathematical reasoning$

T-o things 6oth e?ual to a third thing are e?ual to each other7

/his turns out to be one of the most useful of axioms and we call upon it fre1uently in theprocess of geometric reasoning. Mathematically we would say$ If a @ 6 and 6 @ c' then a @c.

3oth the fundamental axiom and the -irst Proposition are employed in understandingtheGesica Piscis and are necessary to initiate the process of geometric construction. ;avingnow disposed of some basic definitions and axioms, let us proceed.


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2 Gesica emerges out of the intersection of two circles of e1ual radius, placed so that thecircumference of each lies on the center of the other. -irst we draw a single circle. Weperceive that the first act is the placing of compass point to paperthe emergence of theprimordial ingularity. We then draw, or construct, our circumference. We next draw asecond circle by placing our compass point anywhere on the circumference of the first circle,making sure that the second circle is exactly the same si!e %radius* as the first circle, thusly$

/he progression of the creation of theAesica Piscesor Piscis

/he resultant area of overlap, or intersection, is the Gesica. In the third image above the =lineof centers has been inserted, defining the width of the Gesica. /he Gesica is endowed withimportant and uni1ue properties. 2gain 1uoting -rater 2chad regarding the occult propertiesof the Gesica$

+he curious and marvelous properties of the 9esica 4iscis and of the Rectangleformed on its length and breadth, have been sub:ects of profound speculation&!;

In his researches @ones discovered the relevance of the Gesica Piscis to the design of thekabbalistic /ree of #ife, as mentioned above, recogni!ing that it provided a powerfulgeometric key for unlocking the cryptic meaning within that most potent of occult symbols./hrough simple geometric reasoning we come to understand that the length to width ratio ofthe Gesica is expressed as the 1uare "oot of /hree to Dne, orB3 C 1.

In other words, if the width of the Gesica is &, then the length can be expressed as the1uare "oot of /hree, which, rounded off to three decimal places isapproximately17"320/he dots mean that the decimal value of the 1uare "oot of /hree isan irrational number that continues forever, without terminating or repeating, exactly like themore well known value of Pi.

/he Gesica with axes of length and width shown.


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/he Aesicawith axes of length and width shown

7ontemporary scholar and geometrician "achel -letcher who regularly contributes a columnto the e8us et-or. Dournalexpounds upon the fundamental symbolic meaning of theGesica$

The %esi"a pis"is signifies the mediation of t&o distin"t entities< the "omplementarinessof polar opposites0 as &hen t&o etremes "omplete and depend upon one another toeist$ +ne "ir"le may signify the breath of spirit0 &hi"h is eternal< the other may signifythe body physi"al0 &hi"h is fore%er "hanging and adapting$ The %esi"a pis"is itselfsymboli?es that &hi"h mediates spirit< or the psy"he or soul$83

tansfield @ones mentions the "ectangle formed on the length and breadth of the Gesica assharing in the =curious and marvelous properties that make the Gesica the subject of=profound speculation.

/he Gesica with superimposed rectangle


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/he Gesica with superimposed rectangle. 8ote the ratio of the s1uare root of : to &

/his particular rectangle has come to be known as the root : rectangle, for obvious reasons,

in that the ratio of its long side to its short side expresses the 1uare "oot of : to &. /hisparticular rectangle exemplifies a very special property of self6reproducibility that wascalled *ynamic Symmetry by artist and author @ay ;ambidge, who in the early )0th century,rediscovered the proportioning system utili!ed by the ancient +reeks %among others* in theirarts, crafts and architectural design.

/his rectangle was also extensively employed by -reemasons of the Middle 2ges in theerection of their architectural masterpieces. /he uni1ue and powerful properties of >ynamicymmetry are explored extensively in our classes and seminars on Sacred Geometry7Inreference to the use of the Gesica as a proportioning figure by medieval builders and to itssymbolic significance, the early )0th century architect, mystic and -reemason,

William tirling wrote$

t is 'no&n both to freemasons and ar"hite"ts that the mysti"al figure "alled the esi"ais"is0 so popular in the iddle Ages0 and generally pla"ed as the first proposition of=u"lid0 &as a symbol applied by the masons in planning their temples$ Albre"t ;Brer0!erlio0 and other ar"hite"tural &riters depi"t the esi"a in their &or's0 but presumablybe"ause an unspea'able mystery atta"hed to it these authors ma'e no referen"e to it$Thomas 7erri"h0 a freemason and prin"ipal librarian of the ni%ersity of 6ambridge0 reada paper upon this mysti"al figure before the !o"iety of AntiCuaries on Danuary2Eth0 1F2E$ -e illustrated his remar's &ith many diagrams0 illustrating its use by thean"ient masons0 and piously "on"ludes by saying0 G &ould by no means indulge in

"on@e"tures as to the referen"e these figures might possibly ha%e to the most sa"redmysteries of religion$8
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>r. Dliver, speaking of the Gesica, says, =/his mysterious figure Gesica Piscis possessed anunbounded influence on the details of sacred architecture and it constituted the great andenduring secret of our ancient brethren. /he plans of religious buildings were determined byits use and the proportions of length and height were dependent on it . . . Mr. 7larkson . . .considered that the elementary letters of the primitive language were derived from the samemystical symbol. ;e says that it was known to Plato and =his masters in the 4gyptiancolleges, and was to the old builders /an archetype of ideal beauty0 . . . #n 3eraldry the9esica was used as the feminine shield . . . and was also figured as a lozenge orrhombus. #n the 1ast the 9esica was used as a symbol of the womb, and was :oined tothe cross by the 1gyptians forming the handle of the Crux ansata.!ut in &hat a&eand re%eren"e must they ha%e held #eometry &hen they further found that the=Cuilateral Triangle &as itself generated0 as in the first problem of =u"lid0 upon &hi"h the&hole !"ien"e of #eometry &as therefore based0 by the interse"tion of t&o "ir"les$8I

2nti1uarian, esotericist and author @ohn Michell studied and wrote extensively on themeaning of the Gesica from the standpoint of archaic science, its relation to the canon ofcosmic number and its use as a basis upon which to erect sacred temples. ;e wrote$

The re"on"iliation of si and fi%e and many of the other ob@e"ts of sa"red geometry maybe a"hie%ed by means of the figure 'no&n as the %esi"a pis"is$ The G%essel of the fishH is


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the simplest and most informati%e geometri"al symbol0 being the orifi"e formed of t&ointerpenetrating "ir"les0 the "entre of ea"h lying on the "ir"umferen"e of the other: this isthe &omb from &hi"h are generated all the numbers and ratios of the Temple$ +&ing toits high reputation among the masoni" builders of medie%al "athedrals and to theis"ean asso"iations of its name0 the %esi"a has often been thought espe"ially

"hara"teristi" of the 6hristian mysteries$ t re"urs throughout the e& Testament as theesoteri" symbol on &hi"h the holy myths are "onstru"ted $ $ $ and its influen"e onar"hite"ts and s"holars at the enaissan"e &as "onsiderable$8 J

/he reconciliation of six and five and many of the other objects of acred +eometry may be achieved by meansof the figure known as the Gesica Piscis

/he reconciliation of six and five refers to the potential to develop, from the Gesica as astarting point, polygons of six and five sides, as well as many of the other polygons, with allof their symbolic connotations and uni1ue properties. /he =vessel of the fish refers to theutili!ation of the Gesica as a symbol of the Piscean age, signified by the passage of the

Gernal 41uinox into the !odiacal sign of Pisces, the sign of the fishes, approximately )000years ago, coinciding with the birth of 7hristianity. Michell expounds further upon themeaning of the Gesica$

Although the esi"a &as parti"ularly influential at the beginning of 6hristianity as it is atall su"h periods in history0 it has been respe"ted from the earliest times as a symbol ofthe sa"red marriage0 &ith the spiritual &orld of essen"es as the "ir"le on the rightpenetrating the &orld of material phenomena on the left$ Again0 the length and &idth ofthe %esi"a0 its longer and shorter aes0 are "onsidered respe"ti%ely positi%e and negati%e$ $ $ The shape that is most "hara"teristi" of the %esi"a pis"is is the rhombus of t&oeCuilateral triangles0 again representing a duality0 the upper triangle positi%e0 the lo&ernegati%e0 as flo&er and root$8


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/he -ish, though living in the in the salt sea, is not penetrated by saltness. 4ven so, @esus, incarnate in a worldfull of sin, is ;imself free from sin, and ;is followers are also made free, those who are caught up in ;is net being

saved from the salt waters.

Writing back in &'&), author @. W. 8orwood discusses various symbolic meanings associated

with the Icthus symbol and describes its relation to the creation of heaven and 4arth.

This symbol had a mysti"al meaning to theologians as &ell as guild masons as it formedthe omb of the 4ogos08 in that &ith t&o stro'es of the "ompass0 a figure appearedma'ing possible the "onstru"tion of the eCuilateral triangle of perfe"tion0 representing thesa"red delta or ord$8 n iltonHs aradise 4ost0 this idea is brought out &hen #od issaid to ha%e "ut out the &orld &ith one stro'e of the "ompasses and the hea%ens &ithanother stro'e$ After "reation only0 "ame the appearan"e of man0 his fall0 andsubseCuently0 as in aradise egained0 his redemption by -im that &as "alled the4ogos$811

Jou may notice that by a slight manipulation of the arcs forming the Gesica, shifting them

along the line of centers, the result is the figure representing Pisces, the twelfth and last signof the 5odiac. ;ere we see the two arcs representing heaven and 4arth bound together by ahori!ontal line, or cable, recalling the 4gyptian depiction of Pisces in the >enderah !odiac oftwo fishes bound together by a cord in the shape of a G. 2 number of variations on thissymbol were utili!ed by guild masons as a mark, or sign, to designate their work, signifyingthe nature and purpose of their labors as the uniting of heaven and 4arth.

;ere we see the two arcs representing heaven and 4arth bound together by a hori!ontal line, or cable. Dn theright side we have the 4gyptian symbol for pisces as found at the temple of >enderah.


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: ? :(


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AesicaFe8agonPentagon


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o, in the Gesica we have a powerful composite symbol, representing in a general sense awomb, or gateway between orders of 3eing, in a more specific sense as the womb of theGirgin from which the transcendent 7hrist emerges into physical form in his role as redeemerof the World. In the depiction of 7hrist within the Gesica we have the basic idea of duality,with a unity emerging from the integration or marriage of two circles each endowed withcontrasting meaning.

We have the symbolism of the -ish and all that it connotes, including that of the Piscean 2geas one of the cosmic hours in the immense wheel of time known by the title The Greatear and an implication regarding the existence of an early 7hristian gnosticism. We havethe function of the Gesica as the generatrix of all geometric form, with its attendantsymbolism according to the tenets of acred +eometry. We have its use by buildersthroughout the ages as a matrix upon which to develop their plans and elevations for allmanner of sacred structures, vessels of transmutation, instruments for the uniting of theheavens and the 4arth. 2nd, we have a key to compositional harmony in the ratio of thelength to the width of the Gesica.

-inally, as the Gesica is a doorway between worlds, so it represents a doorway between2ges of the World, this being the compelling message of the great medieval Masonicbuilders, who enshrined the Gesica and its symbolism over the doorways of magnificent+othic cathedrals, those textbooks in stone of ancient ;ermetic wisdom, and, by this meansbestowing on future generations a powerful and profound key to unlocking the Mysteries of/ime and pace, Matter and 4nergy, and the ability to read the blueprints of the +reat2rchitect, while revealing to the sincere and in1uiring mind the nature and purpose of the+reat Work and the means to the fulfillment of Mans destiny on 4arth.o mote it be.

* f you are interested in pursuing instru"tion in the di%ine s"ien"e of !a"red #eometry0andall 6arlson &ill be offering online "ourses for aspiring students$ lease see the

follo&ing lin' for more information$
http://sacredgeometryinternational.com/the-great-year-of-the-world-sacred-geometry-cosmic-cycles-and-catastrophehttp://sacredgeometryinternational.com/the-great-year-of-the-world-sacred-geometry-cosmic-cycles-and-catastrophehttp://sacredgeometryinternational.com/the-great-year-of-the-world-sacred-geometry-cosmic-cycles-and-catastrophehttp://sacredgeometryinternational.com/the-great-year-of-the-world-sacred-geometry-cosmic-cycles-and-catastrophe


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Sacred Geometry ,nternationalC Sacred Geometry $lassesC Le9els 1avid Mckay 7ompany Inc. "epublished in &'C:by

3allantine 3ooks pp. CF E CB
http://sacredgeometryinternational.com/sacred-geometry-classeslevels-1-3http://sacredgeometryinternational.com/contact-sgihttp://sacredgeometryinternational.com/contact-sgihttp://sacredgeometryinternational.com/sacred-geometry-classeslevels-1-3http://sacredgeometryinternational.com/contact-sgi


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Articole in Engleza Geometrie Sacra

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