Thursday, 08. May 2008
Charles Gilchrist: Sacred Geometry

This Gilchrist Mandala combines geometric and representational symbolism. This is a classical Mandala in the sense that it emphasizes the four directions and the squared circle. The major geometric element is a Solar Cross with four rays at each of the cardinal directions. This form is an ancient icon appearing all over the world. The Solar Cross is a tremendously powerful meditational archetype.

Journey To The Sacred Mountain

In this Mandala we look through the Solar Cross. The outer corners the Mandala make abstracted reference to the four elements, Earth and Fire below, Water and Air above. These abstracted outer sections blend into a stylized landscape inspired by the Reo Grand gorge located in northern New Mexico.

This Mandala was created in 1992, requiring hundreds of hours of open-eyed meditation.


Through his own studies, spanning three decades, Gilchrist discovered the classical concepts of open-eyed meditation and began to create Mandalas as a path to self-discovery. This led him to create hundreds of fine art Mandalas over the past 25 years.

Charles Gilchrist: Sacred Geometry

This video is about 10 minutes long but worth the viewing.
Charles Gilchrist: Introduction to Sacred Geometry:

More clips at his YouTube Channel.
Category: Art & Visions | Symbols & Geometry |

Thursday, 01. May 2008
The Pasteboard Masquerade


The Tarot first appeared in northern Italy, during the birth of Europe’s cultural revolution. Those original decks were probably designed between 1420 and 1440, although the earliest extant cards date from later in the 1400s.

This Italian game eventually made its way throughout Europe, and countries such as France, Spain, and Germany soon became major cardmaking centers themselves. This spread and popularity resulted in a variety of different Tarot decks. But because there are few surviving early decks, and because the cards themselves were neither named nor numbered until several decades after their invention, it is uncertain which pattern represents the original sequence of allegories.

Exploring the Alphabetic Tarot


The Tarot has entertained card lovers for centuries. Yet while its symbolic content has been traced to a variety of influences—such as social hierarchy, the Virtues, Biblical and classical allusions, astrology and perhaps even alchemy—these do not explain why the Tarot’s designers settled upon these specific images, or why they arranged these images in a particular sequence. Could the trumps also have been influenced by the Hebrew alphabet, as esotericists have long claimed?

Essays on the Tarot


The Tarot Art Nouveau was painted by the Italian artist Antonella Castelli. It was published in 1998 by Lo Scarabeo, and is now distributed by U.S.Games Systems with a booklet translated into english. There is a separate deck called the Art Nouveau Tarot by Matt Myers, but it is less representative of art nouveau and shows the additional influence of stained glass design. In contrast, this deck by Castelli is deeply art nouveau, reminiscent of the work by Alphonse Mucha and Aubrey Beardsley. This style became immensely popular at the turn of the last century. In Italy it is known as Liberty, and in Germany as Jugendstil (young style).

Reviews of decks

An interpretation of the linguistic symbolism found in the Marseilles and Dellarocca Tarots. And a theory that at least some versions the of the Tarot may be a lexicon of the Hebrew alphabet: The Pasteboard Masquerade.
Amusements with a pack of tarot cards by Mark Filipas.
Very worthwhile site!
Category: Symbols & Geometry | Tarot & Oracles |

Thursday, 17. April 2008
Hans Kayser & Pythagorean Harmonics

Perhaps this is the real theory of everything!


"If there were nothing else in the world but the twelve well-tempered tones, we would still have to believe in a wise creator who had built the world on a great plan. And if there is something that lets us at least suspect this plan, it is the melody of these twelve tones." -- J.M. Hauer


The term "harmony of the spheres" comes from Plato, who as we know was influenced by the Pythagoreans, and who applies it in the great final narrative of his Republic. There he describes, in a mythological manner, the heavenly order of the planets (including the sun and moon) and adds that on each of the planetary circles, a siren sits, each one singing a tone, and "the eight together form one harmony." We have no details on this, since this section is an encrypted secret text that has so far only been partly interpreted.

The Man's Constitution and the World's Constitution. (Part 1)

In the 1920s Hans Kayser, a German scientist, developed a theory of world harmonics based upon the Lambdoma, also called 'The Pythagorean Table'. He found that the principles of harmonious structure in nature and the fundamentals of harmonics were essentially the same. Kayser called himself and others who adhered to this philosophy 'harmonicists'. He devoted much of his life to restoring to the sciences, knowledge of the importance of harmonics. He believed that through understanding the connection between music and mathematics, it would be possible to create an understanding of the relationship between tone and numbers. Thus qualities (tonal sensations) could be derived from quantities (numbers) and quantities could be derived through qualities. In his book Akroasis (from the Greek word for 'hearing'), he wrote:

"With the discovery of the relation between pitch and string length, which could be established numerically, western science was born. Qualities (tones) were derived from quantities (string or wave lengths) in an exact way."

Kayser believed that this knowledge of harmonics had become lost and had created a major schism between science and the spirit. He hoped that a true understanding of this relationship would create a bridge between the matter and soul.

An absolutely wonderful site: The Science of Harmonics: Hans Kayser
(1891 - 1964) - 20th Century Pythagorean Master.


See also:
Hans Kayser Translation Project - Textbook of Harmonics by Hans Kayser.
The Power of Harmonics by Thomas Váczy Hightower.
Category: Philosophy & Metaphysic | Symbols & Geometry |

Friday, 28. March 2008
The African Labyrinth



The labyrinth in its many shapes and forms has, throughout the ages, been recognized and used as an archetypal symbol of healing, rebirth, re-generation and transformation. The spider-web labyrinth design is based on the sand drawings of the Tchokwe people of northeast Angola. These drawings (sona) are linked through dots in the sand and show the skill of a visionary/sangoma.

According to Credo Mutwa, African labyrinths have existed for eons in Africa and are an integral part of every tribe in some shape or form. Apart from divination, the labyrinth is also used as an initiation tool into Umlando, the Great Knowledge.

The African Labyrinth

Every culture uses the path as an initiation; the sanusis and sangomas have to walk through several gates to reach the center where they perform certain procedures before they can exit. In some traditions one has to follow the path encountering seven dangers to find the green chief (representing the Earth God) without a leg in the center dome, receiving a gift for your journey forward. On the way out various people wearing different masks try to take the gift away, reminding one to take great care of the gifts of life bestowed on us. In the Zulu tradition kings were exposed to nine temptations (representing the nine months in a mother's womb) before they could finally enter the cave of rebirth, where they would find a young virgin sangoma that would usher them into this world giving them a blessing.



Category: Buildings & Places | Ethno & Shamanism | Symbols & Geometry |

Wednesday, 26. March 2008
Nature’s Word | Musings on Sacred Geometry

Since ancient times, various cultures across the globe have closely observed the ways in which nature uses number and proportion in the material forms which She creates. What those cultures have discovered is that nature uses a certain and exact set of numbers and proportions over and over. To ancient people it was clear that this set of numbers and proportions must have significance - possess a divine importance - and indeed who can deny that it seems to be a little bit more than just a coincidence that Mother Nature creates seemingly endless forms, all of which are based on a few fairly simple number relations?

The architecture of sacred buildings may have been the first human application of reflecting sacred geometry in its own creations. Perhaps the most familiar of these sacred buildings are the Egyptian pyramids at Giza. But by no means are these the only buildings whose proportions are based in sacred geometry. Temples across the globe have been constructed to conform with the laws of proportion which Mother Nature herself has laid down, including the Mayan temples and pyramids of Central America, the Buddhist temples of Cambodia, the Greek and Roman temples of the Mediterranean, and especially so the Gothic cathedrals of Roman Catholicism. All of these cultures, and others not mentioned, believed that if a building was to take on a sacred significance, it must fall in line with the natural proportions of sacred geometry. By doing so, it was felt that the buildings would become, in effect, an extension of the earth itself, and at the same time become representative of the entire cosmos.

Nature's Word | Musings on Sacred Geometry by Aidrian O'Connor.




Category: Symbols & Geometry |

Tuesday, 11. March 2008
Labyrinthe - Labyrinths

Labyrinthe - die Gebilde aus magischen Linien - haben eine lange Geschichte.

Vor Jahrtausenden heilige Orte für Initiationsriten, Fruchtbarkeitsfeste und kultische Tänze. Bis heute geht ein geheimnisvoller Zauber von ihnen aus. Was verbirgt sich hinter den rätselhaften Zeichen?

Labyrinthe vom ZDF.


100 Labyrinthe von Eichfelder (German)
Guter Vortrag, tolle Bilder und sehr schön gestaltet.

In einem Labyrinth kann man sich nicht verlaufen, wie im Irrgarten, weil der Weg keine Abzweigungen und Kreuzungen hat, sondern auf gewundene Weise zum Mittelpunkt führt. Der Weg ist verschlungen und lang, wechselt ständig die Richtung, führt oft am Ziel vorbei, ist aber eindeutig, führt sicher in die Mitte und wieder heraus ... Der Weg im Labyrinth kann Zeichen des Lebens sein.

Hier erfahren Sie, was ein Labyrinth ist, können virtuelle Labyrinthe gehen und wirkliche Labyrinthe sehen: mymaze = Geheimnis Labyrinth von Erwin Reissmann (German version)
Unten auf der Seite mit "Home" oder dem Zurück-Button kommen Sie wieder auf diese Übersicht

Diese Seite befasst sich mit begehbaren Labyrinthen: Labyrinthe in Deutschland von Silke Wolf und Werner Kaufmann (German)

Und hier sind sie in Oesterreich: Labyrinthe in Österreich von Ilse M. Seifried (German)
Schade. Die Seite für die Labyrinthe in der Schweiz finde ich dermassen schlecht, dass sie hier nicht aufgeführt wird.


The medieval labyrinth at Chartres Cathedral in France lies at the heart of a renaissance in the spiritual use of labyrinths, some 800 years after it was originally constructed.

Photo: Jeff Saward

Labyrinths are a potent symbol in many cultures, and have been for thousands of years. When Theseus killed the Minotaur he defeated the beast at the heart of darkness - and created a myth that is still vibrant and evolving. Roman mosaics often depicted labyrinths as fortified cities, while in medieval Europe they symbolised the one true path to Christian salvation. They have been used as ceremonial pathways, protective sigils, traps for unwelcome spirits and for games and dancing. Puzzle mazes have been exercising our feet and entertaining our minds for hundreds of years - and have become a symbol of confusion.

Labyrinthos - Labyrinth Resource Centre by Jeff & Kimberly Saward (English)
A highlight!

The Labyrinth Society is a gigantic website with very much content and pictures - also how to built one. (English)
Don't miss it.

mymaze = Mystery Labyrinth by Erwin Reissmann (English version)
Press "Home" below the site or the Back-Button in your browser to come back to the overall view.

Well the sad news is that the Labyrinth at Labyrinth Springs no longer exists as a physical creation. It does however still exist as an energy form and continues to enhance the area to this day.

The Labyrinth of Labyrinth Springs by Martin Rusholme (English)

It would certainly seem somewhat inappropriate to talk of "the Cretan Maze" or "the Hampton Court Labyrinth," but, generally speaking, we may use the words interchangeably, regarding "maze" as merely the northern equivalent of the classic "labyrinth." Both words have come to signify a complex path of some kind, but when we press for a closer definition we encounter difficulties. We cannot, for instance, say that it is "a tortuous branched path designed to baffle or deceive those who attempt to find the goal to which it leads," for, though that description holds good in some cases, it ignores the many cases in which there is only one path, without branches, and therefore no intent to baffle or mislead, and others again in which there is no definite "goal." We cannot say that it is a winding path "bounded by walls or hedges," for in many instances there are neither walls nor hedges.


One of the most famous labyrinths, for example, consisted chiefly of a vast and complicated series of rooms and columns. In fact, we shall find it convenient to leave the question of the definition of the words, and also that of their origin, until we have examined the various examples that exist or are known to have existed.

Mazes and Labyrinths by W.H. Matthews [1922] by Sacred Texts. (English)
Category: Buildings & Places | Symbols & Geometry |

Wednesday, 30. January 2008
Rose Window

These circular windows, often found in medieval churches and Gothic architecture, are generally ornamented with stained glass and stone tracery laid out in round, radiating, shaft patterns. Since the pattern often resembles a rose with radiating petals, the term 'rose window' is often misattributed to the flower; in fact, the 17th century name likely stems from the Old French word roué, meaning wheel. What role did the crusaders play in the spread of this decorative window style?

Colored window in the church "Himmelfahrtskirche" Dresden-Leuben, Germany (1901)

What is the meaning behind a rose window? Many contemporary authors wax on about Jungian psychology and the rose window as a mandala, which represents the "expression of human aspiration towards wholeness and coherence." [2, p.10] Mandalas have existed in Eastern religion and philosophy for centuries, and in modern thinking, the medieval rose window serves much the same purpose. The rose window operates on many levels: spiritual, meditative, and emotional. Abbot Suger's observations underscore how deep an emotional and spiritual chord is struck by the play of light that passes through the glass. The instructional aspect of rose windows is plainly visible by the subjects chosen for display in each petal--the medieval calendar year, the virtues and vices, the saints, etc.

In much the same way the center of Eastern mandalas depict the "godhead" or divine aspect of the world, so do rose windows. Typically Christ or the Virgin and Christ are found in the central rosette of most windows. In eastern philosophy, there are many paths to reach the divine, and these are represented by "gates" at the cardinal points of the mandala. By the same token, saints depicted in the petals of a rose window can be seen as intermediaries (or paths) to Christ.

Simply following the tracery with the eye and taking in the patterns found in a rose window can put one into a very calm or meditative mood. Meditation is very much like and is be very conducive to prayer. Although placing one into a meditative or prayerful state may not have been a direct intent of the rose window, it is certainly a benefit!

-- The Rose Window by THL Eldred lfwald

Wagon Wheel Rose Windows of the Medieval Norman Cathedrals of Puglia

The Rose Window
Painton Cowen's website, with many good images of rose windows.

Tips & Tricks to Gothic Geometry - How to design a rose window.

Geometry of the North Rose Window of Chartres Cathedral by Michael S. Schneider.
See also The West Rose Window of The Cathedral Of St. John The Divine in New York City and The Rose Window of Grace Cathedral San Francisco.

Wagon Wheel Rose Windows of the Medieval Norman Cathedrals of Puglia
Great photos by Adrian Fletcher.
See also The Cathedral of Notre Dame de Chartres.

More History, Style and Reginal Examples at Wiki.

North Rose Stained Glass Window at Chartres Cathedral, France

"Sacred architecture is not, as our time chooses to see it,
a 'free' art, developed from 'feelings' and 'sentiment',
but it is an art strictly tied by and developed from the laws of geometry."
-- Fredrik Macody Lund
Category: Buildings & Places | Symbols & Geometry |

Saturday, 05. January 2008
Dictionary of Occult, Hermetic and Alchemical Sigils


Alchemical, astrological, and medical-chemical (chemiatric) texts are notoriously difficult and often made completely inaccessible through interlarding with "occult" ciphers. These are "sigils" that are neither abbreviations nor hieroglyphic symbols, but belong to a category of their own. They were probably meant to exclude the profane reader or else to place on record an imagined discovery or new recipe for transmutation without giving the secret away. Some of the sigils are consistent and what they stand for has been known for a long time in a well-established tradition. However, there are innumerable variants and problems of deciphering that remain.

A historical and graphical basis of the sigils can be found in various archetypal alphabets, notably those related to ancient Hebrew scripts and the extant "secret" alphabets that are derived from them.

It falls into two main parts, first the Lexicon proper with its 1500 subject-entries and pictographs in alphabetical order, and second an index of sigils for their identification by counting strokes (1-5) and recognizing curvings and additional circles. (from the review by Walter Pagel)

Dictionary of Occult, Hermetic and Alchemical Sigils by Fred Gettings.
Viking Pr, 1981 | 410 pages | PDF | 29,7 MB
Category: Books & Magazines | Lexica & Overviews | Symbols & Geometry |

Sunday, 04. November 2007
Sex, The Secret Gate to Eden - Alchemy, Tantra, and Kabbalah

This 75-minute film is a rich tapestry of sacred sex symbolism from around the world, including the Kabbala, Western Europeans alchemy symbols, Tantra, Mayan carvings, Tibetan Buddhism, and various Christian gospels. It is inspiring to see the parallels between these traditions, even if they have been interpreted radically differently over the years.

The film is very hard to describe or summarize. A few technical qualms aside, I found that this documentary was very well done. The topic was treated with the utmost respect, the narration was accessible and tantalizing, and the logical use of so many excerpts, citations, and beautiful works of art from across the globe made every moment a pleasurable and highly informative learning experience.

One symbol traced throughout the film is the theme of the serpent, or double serpent. We learn that the double serpent represents the sexual energy or kundalini of male and female rising in synergistic exchange. The serpent, or sexual energy, can either be raised to reconnect us with the Divine, or used to pursue physical gratification.

The film also distinguishes between three types of tantra: black, gray and white. It explains that black tantra emphasizes orgasmic release, thus leading to cravings and suffering. Gray tantra teaches that some orgasms are appropriate, which puts one on a slippery slope toward black tantra. White tantra, on the other hand, teaches the value of consistently channeling the sexual energy upward where it facilitates union with the Divine. White tantra is the "secret gate to Eden".

'Sex, The Secret Gate to Eden - Alchemy, Tantra, and Kabbalah' was produced by Glorian Publishing (formerly known as Thelema Press) in 2006.

For those of you not familiar with Thelema Press, it is an organization devoted to sharing the teachings of Samael Aun Weor (see below).

Glorian is a non-profit organization translating and publishing the Gnostic books of Víctor Manuel Gómez Rodríguez (March 6, 1917 - December 24, 1977), born in Bogotá, Colombia. He took the spiritual name "Samael Aun Weor", and also referred to himself as "Kalki Avatar". From an early age, he was interested in the occult. He referred to his teachings as the synthesis of all religions, cultures and mysteries. Therefore his writings cite teachings contained within Buddhism, Hinduism, Rosicrucianism, Christianity, Islam (Sufi), Kabbalah, Theosophy, Aztec, Mayan and ancient Egyptian tradition constituting the base of his contemporary Gnosticism.

There are numerous websites in many languages devoted to Samael Aun Weor’s teachings. One is Gnostic Teachings by Glorian features lectures, online courses, discussion forums and more. Glorian has also Gnostic Radio, free audio lectures and podcasts.
Category: Movies & TV | Mystics & Alchemy | People & Organisations | Symbols & Geometry | Tantra & Kamasutra |

Thursday, 20. September 2007
The Symbolism Of The Tarot

This book is for anyone looking for a new view of the tarot. It deals with a very occultist point of view, and while there are literally an infinite number of ways to look at the tarot, this book shows you a whole new way. The book states it in a way that I never could, so I'll quote you a passage to let it speak for itself:

"As soon as I perceived the Sun, I understood that It, Itself, is the expression of the Fiery Word and the sign of the Emperor.


The great luminary shone with an intense heat upon the large golden heads of sun-flowers.
And I saw a naked boy, whose head was wreathed with roses, galloping on a white horse and waving a bright-red banner.
I shut my eyes for a moment and when I opened them again I saw that each ray of the Sun is the sceptre of the Emperor and bears life. And I saw how under the concentration of these rays the mystic flowers of the waters open and receive the rays into themselves and how all Nature is constantly born from the union of two principles."

P.D. Ouspensky was born in Russia in 1878, and was an enormously influential figure in early 20th Century Mysticism and Occultism. He was a student of Gurdjieff,and his experiments in Higher Consciousness influence his highly esoteric writings. This book on Tarot illuminates the symbolism of the tarot in the Light of a Mystic Journey.
Ouspensky's book on the Tarot has remained practically unknown since its initial publication in Russia in 1913.

22 cards from the Waite set, described by Ouspensky, have been reproduced in full color.

The Symbolism Of The Tarot by P.D. Ouspensky
PDF | Year 1913 | 60 pages | 1.67 MB

So there is always something hidden in symbolism, that can be interpreted one or another way around. It is up to interpreter, who has the knowledge and experience to understand this symbolism. Not for every mortal, but interesting to read.

See also:
Gurdjieff Studies: Ouspensky on Gurdjieff
The Ouspensky Foundation
Category: Books & Magazines | Symbols & Geometry | Tarot & Oracles |

Monday, 03. September 2007
The Mantra Om - Symbol of Primordial Vibration

The mantra Om (or Aum) has been handed down to us by the Himalayan sages. It is the most important mantra of Yoga. According to tradition, every 'thing' manifest comes from Primordial Vibration, which is symbolised by Om: all material objects, all living beings, including each of us, all spiritual teachings, including Yoga, all languages, including Sanskrit, all scriptures, including the Vedas, everything.
Everything has come out of Primordial Vibration, which is represented by Om.


The Mantra Om - Symbol of Primordial Vibration
by Swami Nishchalananda Saraswati.
Interesting presentation of interpretations about the significance of the OM chant in various cultures and religions.
Category: Meditation & Mind | Symbols & Geometry |

Wednesday, 16. May 2007
The Green Man

His face stares down at us from the roofs , pillars and doorways of our great cathedrals and churches, he appears on second century Roman columns in Turkey and in Jain temples in Rajasthan.

He is found all over England, some parts of Wales and Scotland and a few rare places in Ireland.

On the continent he has been seen and noted in Germany, France, Italy, Holland and is said to be found in Spain, Hungary and Poland. India and Malaysia have their own Green Man and though he doesn't seem to appear in Native American traditions he can be seen in his modern role as a bringer of fortune on the walls of banks in New York and Chicago.


The Mystery of the Green Man by Mike Harding.
Many good pictures, including Asian examples


‘The Green Man’, a name coined by Lady Raglan in 1939, is a mediaeval image usually found in churches. Carved in stone or wood, depicted on stained glass, illuminated manuscripts and where else, he can be recognised as a face, often grotesque, with foliage sprouting from his mouth, nose, eyes or ears. Alternatively, he may be a face composed entirely of leaves. Exterior or interior, he features on capitals, corbels, choir stalls, bench ends, fonts, screens, roof bosses - indeed, any surface open to ornamentation.

However, the mighty questions of who, what and why - the search for a meaning behind the symbol - have no answer yet.

The Green Man - Variations on a theme by Ruth Wylie.

In the older religions, trees were held sacred; forest groves were perceived as the dwelling place of gods, goddesses, and a wide variety of nature spirits. Some scholars now think modern May Day revels were once part of pagan spring fertility rites (complete with pole representing the phallus) since the pageants have overtly sexual elements — and yet we can never really know for certain, for the original meanings of the ceremonies have been lost through the centuries, and the Church was quick to assign lewd connotations to all pagan practices.

A staunchly animist outlook (with a strong reverence for trees and the holiness of nature) was particularly entrenched among the peoples in the far north of Europe and in the British Isles.

The Green Man and The Green Woman by Terri Windling.



The Green Man is one of the commonest decorative motifs which we can put a name to, yet there is very little indication of its meaning. We know what an angel is; we know what a mermaid and a dragon are but we know almost nothing about the face made out of leaves.

The Search for the Green Man
by Nigel Rushbrook.

Many pictures from the Green Man in Canterbury, Kent, Devon and Green Man Curiosities.

For me the Green Man is a symbol of our connection with nature, with the earth, a reminder that we are a part of the cycle of life and death of all living things on earth. He is for me a reminder of our humility and weakness against nature.

Green Men in Germany
by Maddy Aldis-Evans.
Many pictures from the Green Man in Bremen, Köln, Dessau, Erfurt, Frabkfurt and more.


A sequence of medieval Heads-with-Leaves (aka Green Men, Foliate Heads etc.) from Chester Cathedral, UK; filmed by Sabrina Eden with music by Sedayne.

For more see:
Heads with Leaves

Many pictures and 6 clips at the bottom of the page.

Category: Myths & Sagas | Symbols & Geometry |

Tuesday, 08. May 2007
About Sacred Geometry



Sacred Geometry is the blueprint of Creation and the genesis of all form. It is an ancient science that explores and explains the energy patterns that create and unify all things and reveals the precise way that the energy of Creation organizes itself. On every scale, every natural pattern of growth or movement conforms inevitably to one or more geometric shapes.

As you enter the world of Sacred Geometry you begin to see as never before the wonderfully patterned beauty of Creation. The molecules of our DNA, the cornea of our eye, snow flakes, pine cones, flower petals, diamond crystals, the branching of trees, a nautilus shell, the star we spin around, the galaxy we spiral within, the air we breathe, and all life forms as we know them emerge out of timeless geometric codes. Viewing and contemplating these codes allow us to gaze directly at the lines on the face of deep wisdom and offers up a glimpse into the inner workings of the Universal Mind and the Universe itself.

The ancients believed that the experience of Sacred Geometry was essential to the education of the soul. They knew that these patterns and codes were symbolic of our own inner realm and the subtle structure of awareness.

You are the unexpected magical element –the creative alchemist, mixing geometries, palettes and sound with the surprising and ever revealing artistry of your own consciousness. By trusting the “hidden reserves” of your own mind, emotions and soul to creatively guide your experience here, you will receive that which is uniquely appropriate for you at any given time.

About Sacred Geometry


Category: Symbols & Geometry |

Wednesday, 25. April 2007
The Pointer of the Aztec Calendar


At the center of the pointer of the Aztec Calendar there appears the face of Tonatiuh, the Sun. For this reason, the commonly-know Aztec Calendar has been identified as La piedra del sol, or the Sun Stone. We shall refer to the Aztec Calendar by its common name.

The Aztec Calendar's design is based on a set of concentric rings, divided into eight segments. The concentric ring around the fase of Tonatiuh consists of the Nahui Ollin, signifying 4 movement.

The four square-like spaces contain the glyphs for a) Nahui Ocelot (4 Tiger); b) Nahui Ehecatl (4 Wind); c) Nahui Quiahuitl (4 Rain); and d) Nahui Atl or Atonatiuh (4 Water). Above Tonatiuh is a double lunar-solar ray (e).

Below Tonatiuh, we may also observe the breastplate with two quinounx (f) and five featherlike (g) figures, respectively representing the quantities of 52 and 104 (as well as other designated sums). The claw-like figures (h) on either side of the face are said to represent those of an eagle, clutching human hearts, possibly representing a sacrifice to the Sun. The reader should also note the five coordinate circles (i), which have also been identified as representing specific numerical quantities.


There is much debate about the significance of the elements in the pointer of the Aztec Calendar, as there is regarding almost all of the elements of the calendar itself. This brief essay is not concerned, however, with the specific interpretation of the elements within the pointer of the calendar; a subject which will be discussed in subsequent essays. Rather, we shall examine the design of the pointer and its possible relationship to the concentric ring that contains the day glyphs.


The Pointer of the Aztec Calendar by Charles William Johnson.

Very interesting!

See also this animation, just simply fascinating. I had read of the conjecture on this theory but the animation brings it up to a new level: Paleoanimation of the Pakal Ancient Astronaut Sculpture of the Maya at Palenque.
More animations at Paleoanimation.

And: The Aztec Calendar - A Study of the Five Central Points.
Category: Buildings & Places | Symbols & Geometry |

Wednesday, 18. April 2007
Mayan Mystery

This video presents theories about the meaning of a symbol on a Mayan temple at Tulum near Cancun. I believe this symbol and temple relate to Mayan observations of the stars, others have suggested the temple is an ancient lighthouse, or a sacrificial center, even that the symbol is related to Dan Brown's story the DaVinci Code!

Images and story available at the website: Mayan Mystery.

Runtime 11 minutes.

Category: Buildings & Places | Movies & TV | Symbols & Geometry |

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