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Sacred Geometry
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Sacred geometry involves sacred universal patterns used in
the design of everything in our reality, most often seen in
sacred architecture and sacred art. The basic belief is that
geometry and mathematical ratios, harmonics and
proportion are also found in music, light, cosmology. This
value system is seen as widespread even in prehistory, a
cultural universal of the human condition.
It is considered foundational to building sacred structures
such as temples, mosques, megaliths, monuments and
churches sacred spaces such as altars, temenoi and
tabernacles meeting places such as sacred groves, village
greens and holy wells and the creation of religious art,
iconography and using !divine! proportions. Alternatively,
sacred geometry based arts may be ephemeral, such as
visuali"ation, sand painting and medicine wheels.
Sacred geometry may be understood as a worldview of
pattern recognition, a comple# system of religious symbols
and structures involving space, time and form. According to
this view the basic patterns of e#istence are perceived as
sacred. $y connecting with these, a believer contemplates the
%reat &ysteries, and the %reat 'esign. $y studying the
nature of these patterns, forms and relationships and their
connections, insight may be gained into the mysteries ( the
laws and lore of the )niverse.
Music
The discovery of the relationship of geometry and mathematics to music within the
Classical Period is attributed to Pythagoras, who found that a string stopped halfway
along its length produced an octave, while a ratio of 3/2 produced a fifth interval and
4/3 produced a fourth. Pythagoreans believed that this gave music powers of healing,
as it could harmoni!e the out"of"balance body, and this belief has been revived in
modern times. #ans $enny, a physician who pioneered the study of geometric figures
formed by wave interactions and named that study cymatics, is often cited in this
conte%t. #owever, &r. $enny did not ma'e healing claims for his wor'.
(ven though #ans $enny did pioneer cymatics in modern times, the study of
geometric relationships to wave interaction )sound* obviously has much older roots
)Pythagoras*. + wor' that shows ancient peoples understanding of sacred geometry
can be found in ,cotland. -n the .osslyn Chapel, Thomas $. /itchell, and his son, my
friend ,tuart /itchell, have has found what he calls fro!en music. +pparently, there
are 203 cubes with different symbols that are believed to have musical significance.
+fter 21 years of study and research, /itchell has found the correct pitches and
tonality that matches each symbol on each cube, revealing harmonic and melodic
progressions. #e has fully discovered the fro!en music, which he has named the
.osslyn /otet, and is set to have it performed in the chapel on /ay 02, 2331, and
$une 0, 2331.
Cosmology
+t least as late as $ohannes 4epler )0510"0633*, a belief in the geometric
underpinnings of the cosmos persisted among scientists. 4epler e%plored the ratios of
the planetary orbits, at first in two dimensions )having spotted that the ratio of the
orbits of $upiter and ,aturn appro%imate to the in"circle and out"circle of an
e7uilateral triangle*. 8hen this did not give him a neat enough outcome, he tried
using the Platonic solids. -n fact, planetary orbits can be related using two"
dimensional geometric figures, but the figures do not occur in a particularly neat
order. (ven in his own lifetime )with less accurate data than we now possess* 4epler
could see that the fit of the Platonic solids was imperfect. #owever, other geometric
configurations are possible.
Natural Forms
/any forms observed in nature can be related to geometry )for sound reasons of
resource optimi!ation*. 9or e%ample, the chambered nautilus grows at a constant rate
and so its shell forms a logarithmic spiral to accommodate that growth without
changing shape. +lso, honeybees construct he%agonal cells to hold their honey. These
and other correspondences are seen by believers in sacred geometry to be further
proof of the cosmic significance of geometric forms. :ut some scientists see such
phenomena as the logical outcome of natural principles.
Art and Architecture
The golden ratio, geometric ratios, and geometric figures were often employed in the
design of (gyptian, ancient -ndian, ;ree' and .oman architecture. /edieval
(uropean cathedrals also incorporated symbolic geometry. -ndian and #imalayan
spiritual communities often constructed temples and fortifications on design plans of
mandala and yantra. 9or e%amples of sacred geometry in art and architecture refer<
Labyrinth an !"lerian path# as distinct $rom a ma%e&
'andala
(arthenon
)ai*it" +in,+ang&
)ree o$ Li$e
-ose .indow
Celtic art s"ch as the /ook o$ 0ells
+antra
Swastika
1harmacakra
'.C. !scher 2rt
Charles ;ilchrist=s +rt
,acred ;eometry of Crop Circles
;eometry of the ;reat Pyramid
,acred ;eometry " >ibrary of #ale%andria
Contemporary Usage
+ contemporary usage of the term sacred geometry describes ?ew +ge and occult
assertions of a mathematical order to the intrinsic nature of the universe. ,cientists see
the same geometric and mathematical patterns as arising directly from natural
principles. ,ome of the most prevalent traditional geometric forms ascribed to sacred
geometry include the sine wave, the sphere, the vesica pisces, the 5 platonic solids,
the torus )donut*, the tesseract )4"dimensional cube*, and the mer'aba )2 oppositely
oriented and interpenetrating tetrahedrons*, and the golden spiral/ratio. ,ome
believers of sacred geometry also see patterns in crop circles and in ancient
architecture.
Golden Spiral
:loc's " ;rids
The golden ratio, also 'nown as the god ratio, golden proportion, golden mean, golden
section, golden number, divine proportion or sectio divina, is an irrational number,
appro%imately 0.602 333 @22 14@ 2@4 242, that possesses many interesting properties.
,hapes proportioned according to the golden ratio have long been considered
aesthetically pleasing in 8estern cultures, and the golden ratio is still used fre7uently
in art and design, suggesting a natural balance between symmetry and asymmetry.
The ancient Pythagoreans, who defined numbers as e%pressions of ratios )and not as
units as is common today*, believed that reality is numerical and that the golden ratio
e%pressed an underlying truth about e%istence.
In the News ...
;olden .atio &iscovered in the Auantum 8orld (poch Times " $anuary 23, 2303
.esearcher e%plains mystery of golden ratio PhysBrg " &ecember 20, 233@
-t is the golden ratio, a geometric proportion that has been theori!ed to be the most
aesthetically pleasing to the eye and has been the root of countless mysteries over the
centuries. ?ow, a &u'e Cniversity engineer has found it to be a compelling
springboard to unify vision, thought and movement under a single law of nature=s
design.
Sacred Geometry
by (llie Crystal
Bur reality is a geometric consciousness hologram. -t is a science e%periement in
linear time to e%perience, Dournal, film, and record emotions. The term sacred
geometry is often used by archaeologists, anthropologists, geometricians, and
metaphysicians to encompass the religious, philosophical, and spiritual beliefs that
have sprung up around this geometry in various cultures during the course of the
human biogenetic e%periment.
32 Spiraling Cones 2ro"nd 3 , Creation
,acred ;eometry is abbreviated ,; referencing ,targate, the 8heel of Time or
4arma through which we e%perience and evolve. 8e are soul spar's of light having a
physical e%perience, our consciousness spiral down through the patterns of the golden
ratio the about to reverse the spiral )spin* and return to source consciousness and light.
To understand reality is to focus on the patterns that have repeated throughout time, as
if on a higher octave with each programmed e%perience for the souls.
,cience and science fiction are merging in the twenty first century when all becomes
clear and the nature of reality, as based on a sacred geometric design, is e%plained and
understood. -t=s really not that complicated.
Christ Grid )he 4lower o$ Li$e )he 'erkaba
Spiritual *ewelry
/y the 2rtist , 1avid .eit%man