Mysticism and Symbolism PDF

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SACRED SHAPES An inquiry into the mysticism of religious and occult geometric figures URMI CHANDA-VAZ PG Diploma in Mysticism, 2014-15 Department of Sanskrit, University of Mumbai e: [email protected] 1 INDEX 1. Introduction ….........................................................................

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Mysticism and Symbolism Urmi Chanda

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SACRED SHAPES An inquiry into the mysticism of religious and occult geometric figures

URMI CHANDA-VAZ PG Diploma in Mysticism, 2014-15 Department of Sanskrit, University of Mumbai e: [email protected] 1

INDEX 1. Introduction …....................................................................................................... 3 2. Symmetry in nature and the beginnings of geometry ….......................................... 6 3. Geometrical concepts in the Vedas …...................................................................... 9 4. Sacred geometry …................................................................................................ 11 • Temples • Churches • Mosques 5. Mystical shapes in Hinduism and Tantric Buddhism …............................................. 15 • Yantras • Mandalas • Chakras • Cosmograms • Astronomical symbols • The Swastika 6. Sacred shapes of the Far East …............................................................................. 27 • Confucianism • Taoism • Feng Shui • Reiki 7. Geometric symbolism in Pagan traditions …......................….................................. 34 • Shamanism • Wicca • Native Americans • Aborigines of Australia • Miscellaneous 8. The symbols of Judaism and Christianity …............................................................. 39 9. Symbols of secret societies ….................................................................................. 41 • Rosicrucians • Free Masons 10. Conclusion …......................................................................................................... 45

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1. INTRODUCTION

Imagine the wonder of the prehistoric man when he first observed symmetries in nature. Nature was as beautiful as it was big, and rightfully inspired awe. From the hexagonal cell of a beehive to the aligned movement of celestial bodies, nature offered wondrous examples of perfect geometry. Science has long established that symmetry has a biological significance and that it affects humans' perception of health and beauty1. It therefore stands to reason that when man began to worship nature, it included the veneration and imitation of its geometrical aspects. This is evident from the earliest engravings on seals2 and cave paintings3 in different parts of the world how geometrical shapes have been a part of man's artistic and eventually, religious journey. Coleman asserts that “... art and religion... – though not interchangeable or identical – frequently parallel each other or converge4.”

With a crossover of precepts from art to religion, geometry gains a special place in religious art and symbolism. Nearly all religions and cults of the world have some form of symbolism that is geometric. Simple points, circles and triangles become more than just shapes. They become aids of ritual and then of meditation within a religious framework. Now, where there is a question of religion, there is a question of faith; and where there is a question of faith, there is an element of mysticism. Before we probe into the mystical aspects of sacred shapes, let us consider a few definitions of mysticism so as to define the scope of this paper.

Definitions of Mysticism Such is the nature of a mystical event, that it evades definition. While the history of mystics and their experiences has long been recorded, an academic inquiry into the subject of mysticism started not very long ago. Since then, scholars have offered varying explanations of the subject, trying to define the indefinable.

1 A.C. Sparavigna, The Symmetries of the Icons on Ancient Seals, (International Journal of Sciences, 2013, vol.2, Issue 8), p. 2 2 Ibid., pp. 14-20 3 David S. Whitley, Handbook of Rock Art Research, (Rowman & Littlefield, 2001), p. 720 4 Earle Jerome Coleman, Creativity and Spirituality: Bonds between Art and Religion, (SUNY Press, 1998), p. 1 3

At a very fundamental level, mysticism can be understood as an ineffable process of man's union with God. We take a look at some definitions as offered by stalwarts in this field of study.

The Oxford English Dictionary offers the two following definitions: - Belief that union with or absorption into the Deity or the absolute, or the spiritual apprehension of knowledge inaccessible to the intellect, may be attained through contemplation and self-surrender. - Vague or ill-defined religious or spiritual belief, especially as associated with a belief in the occult.

Evelyn Underhill, one of mysticism's foremost scholars disagrees vehemently, especially with the OED's second definition. In her famous book, Mysticism, she says: Mysticism is not an opinion: It is not a philosophy. It has nothing in common with the pursuit of occult knowledge. . . . It is the name of that organic process which involves the perfect consummation of the Love of God: the achievement here and now of the immortal heritage of man. Or, if you like it better— for this means exactly the same thing—it is the art of establishing his conscious relation with the Absolute.

In his book, Hindu Mysticism, S N Dasgupta offers a multidimensional view of Mysticism: Mysticism means a spiritual grasp of the aims and problems of life in a much more real and ultimate manner than is possible to mere reason. A developing life of mysticism means a gradual ascent in the scale of spiritual values, experience and spiritual ideals. As such, it is many-sided in its development, and as rich and complete as life itself.

William James, in an attempt to reign in loose use of the terms 'mystical' and 'mysticism', tried to define it on the basis of four parameters viz. Ineffability, Noetic Quality, Transiency and Passivity.

There are numerous other definitions by numerous other writers, but there is no clear consensus on what mysticism really is. However, for the purpose of this paper, we may zero in on a few of characteristics of mysticism, borrowing from Underhill's list5. 5 Evelyn Underhill, Mysticism, (One World, 2nd edition, 1999), p. 51 4

1. Mysticism as an active and practical principle: Some mystics and scholars have described mysticism as something that is begotten by the grace of God. However, some others agree that the mystic way of life needs a practitioner to be active. In the context of this paper, the creator and/or user of a sacred geometrical shape is actively using an element to help further his spiritual cause.

2.

Transcendental and spiritual aims of the mystic: Whether he draws Zen-like lines on sand or creates elaborate temples based on mandalas, the aim of the mystic is always spiritual and transcendental.

3. Association with the occult: Even if ill-conceived, mysticism continues to be associated with occult practices. While geometrical shapes by themselves may not be directly responsible for mystical experiences, this paper shall explore them as tools used as part of ritual and spiritual practices in the cultic context.

Further, this paper will explore and review the various forms of sacred geometry and geometrical patterns in religious and occult art used as a means of spiritual progression. The inspirations and myths behind these figures, the supposed powers accorded by them and other such mystical aspects will be examined. The idea is to understand the universal mystical ideas associated with geometrical figures within multiple religious frameworks.

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2. SYMMETRY IN NATURE AND THE BEGINNINGS OF GEOMETRY

Once chaos gave way to creation, life and matter aligned themselves into grand patterns. Everywhere you look in nature, symmetry makes itself evident. From the smallest crystals to the largest trees, from delicate snowflakes to massive animals, the ordering principle of nature is manifest. Simple repetitions and consistent spaces give rise to symmetrical designs. While there are cases of seeming randomness in nature too, these are exceptions rather than rules. The larger picture is always methodical and hence awe-inspiring. In its simplest forms, symmetry can be classified in terms of rotation and reflection6. These are called point symmetries, where a simple element rotated around a point forms a symmetrical design. Many flowers display this kind of symmetry. Yet another element, when duplicated and placed as its reflection forms the second kind of symmetry. A butterfly's wings are a perfect example in this case. Radial symmetry is another kind of point symmetry, and the structures are finite. Replications may occur in two or three dimensions, as in the case of snowflakes or dandelions. Another kind of symmetry is that of self similarity. In this kind, the basic structure remains the same despite regular amounts Petals of flowers and wings of butterflies are some of the commonest examples of natural symmetry. [Image source: flowerskid.com]

and periods of growth. Tree rings, shells and horns are examples of this kind of spiral symmetries.

In the animal world, the dominant type of symmetry is dorsiventral. Mobile creatures are usually created in a left-right mirror image of themselves. Most insects, birds, mammals and even humans are created in such symmetries. Fractals and helixes are some more natural examples of symmetry. 6 David Wade, Symmetry: The Ordering Principle, (Wooden Books, 2006), p 4

A snowflake's perfect symmetry has long intrigued man. [Image source: clipartpanda.com] 6

Another common symmetrical manifestation in nature is that of the sphere. A sphere is one of nature's primary ordering mediums. From the smallest droplet of water to fruits and eggs to galactic bodies, a sphere is seen everywhere. While the smallest spherical bodies assume this shape due to surface tension, the larger bodies owe their shape to the power of gravity 7. In fact, the sphere was considered so sacred in the ancient times that the Greek philosopher Xenophanes 8 replaced the whole pantheon on Greek gods with 'the sphere' and declared it a divine entity. With man coming across such instances in nature all the time, it was natural that he would study and revere the principles of symmetry and consequently, geometry.

The observation of symmetry gave birth to the discipline of geometry and its first reflections were religious rather than scientific. How some of the earliest cultures were inspired by and adopted these shapes in their religious practices will be dealt with in the following sections. For now, we turn our attention to the earliest references to geometry, particularly sacred geometry.

Blombos cave rock art in sub-Saharan Africa [Image source: www.ancienthistorylists.com]

The earliest instances of geometrical reflection occur in cave paintings or etchings. Simple geometrical patterns have been found depicted in the cave art of cultures across the world, right back to the Palaeolothic age. Holme9 says that these paintings 'may very likely have served as a magic vehicle for gaining control over nature, for casting a spell on the game thus ensuring a successful hunt. But a purpose of recording events, enumerating items, describe motion and spatial relationships may also 7 Ibid. p 12 8 Jonathan Barne, The Presocratic Philosophers, (Routledge, 2002), p 76 9 Audun Holme, Geometry: Our Cultural Heritage, (Springer Science & Business Media, 2010), p 4 7

have been present. One could say that such documents contain elements of protogeometry.' Later prehistoric ages such as the Neolithic and Chalcolithic ages also showed man's awareness and use of geometrical patterns in ceramic art and terracotta artifacts.

Cut to civilization in ancient Egypt, Indus Valley, Mesopotamia and Greece. Egypt's massive pyramids and the sophisticated town plans of Harappa are known to all. Also known are the very geometrical cuneiform, Sumerian and the yet undeciphered Harappan scripts. However, it is to the Greeks that geometry owes its special status to. Indeed, geometry was considered among the four sacred ancient arts and the sign over Plato's academy declared: 'Let none ignorant of geometry enter here 10'!

10 Miranda Lundy, Sacred Geometry, (Wooden Books, 2012), p 1 8

3. GEOMETRICAL CONCEPTS IN THE VEDIC CONTEXT

Like all glorious things, India's geometric legacy starts with the Vedas. While rudimentary geometrical shapes were found in prehistoric caves all over the country, it is only in Vedic literature that a concretisation of concepts take place.

Diagram of a falcon-shaped Vedic fire altar. Jain, Western India. 18th century. Gouache on paper. © Peter Blohm [Image source: indianminiaturepaintings.co.uk]

According to Mookerjee11, “In its search for fundamentals, Indian art has always tried to integrate forms into geometrical

and architectural patterns, the archetypes. … A wide variety of geometrical shapes dominates the whole range of Indian symbolism, particularly in Vedic and Tantric diagrams and formulae, in which the motifs have reached the goal of absolute 'geometrical purity'.” Very interestingly, he further notes how even the most sacred syllable Om (split into the syllables a-u-m) presupposes geometrical patterns corresponding to a straight line, a semi-circle and a point.

In the Shulba Sutras culminated the whole of geometrical knowledge – especially constructional geometry – of the time. The Sanskrit root word 'shulb' means 'to measure' and 'shulba' refers to the measuring cord. However, the term used for measuring in the text itself is rajju and not shulb12. The Shulba Sutras – composed roughly between the 8h and 5th centuries BCE13 – are part of a larger compendium of texts called the Srauta Sutras, which are considered appendices to the Vedas . The four major Shulba Sutras were named Baudhayana, Apastambha, Manava and Katyayana presumably after their respective authors14.

11 Ajit Mookerjee, 'Tradition in Indian Art', Art, Culture and Spirituality – ed. By Swami Atmaramananda & Dr. M Sivaramakrishna, (Advaita Ashrama Publicaitons, 1997), p 211 12 I S Bhanu Murthy, A Modern Introduction to Ancient Indian Mathematics, (New Age International', 1993), p 155 13 T A Saraswati Amma, Geometry in Ancient and Medieval India, (Motilal Banarsidass Pub., 1979), p 14 14 John F Price, Applied Geometry of the Sulba Sutras – an essay in Geometry at Work, ed. by Catherine A Gorini, (Cambridge University Press, 2000), p 46 9

These Shulba Sutras deal mainly with the measurements and construction of the fire altar – the central precept of the Vedic system. It instructs on how to create squares, rectangles, parallelograms and trapeziums. A number of theorems pertaining to the construction of squares is also given in the Sutras and are comparable to Pythagoras' ideas.

While these points of precision geometry are awe-inspiring indeed from the mathematical point of view, it was the origin and inclusion of these ideas in the sacrificial context that is truly mystical. Price 15 notes the versatile ways in which Sanskrit words can be interpreted; hence geometrical terms take on religio-mystical connotations. He cites the A design of a Vedic sacrificial altar shows clear geometrical shapes like circles, squares and arcs in use. [Image source: dam.brown.edu]

example of the word citi, which means a raised platform in literal terms, but is also closely connected to the word cit. Further, the word vedi translates to the area on which the citi is built, but the word could also stand for one who knows the Vedas. Another word purusa, according to

Price, can be seen either as a unit of measurement or as “the uninvolved witnessing quality of intelligence, the unified self-referral state of intelligence at the basis of all creativity.” These and many other words in the Shulba Sutras imply a deeper, more mystical meaning behind these constructions.

Other mystical aspects of geometry in Vedic sacrifices are not so covert. The falcon-shaped altar, for example, is defined in the Sutras as one that would help transport man's soul to heaven 16, and the circular altar is meant to destroy one's enemies17. Other shapes mentioned in the Shatapatha Brahmana are that of a bucket and a heron18. Kramrisch points out how most of these structures were based of the basic square and circle and how they had ritual significance and seeming mystical properties. She says: “The circle and curve belong to life in its growth and movement. The square is the mark of order, of finality to the expanding life, its form; and of perfection beyond life and death 19.” 15 Price, Op Cit. p 47 16 George Gheverghese Joseph, The Crest of the Peacock: Non-European Roots of Mathematics, (Princeton University Press, 2011), p 337 17 Albert Borgmann, Holding On to Reality: The Nature of Information at the Turn of the Millennium, (University of Chicago Press, 2007), p 65 18 Herman Wayne Tull, The Vedic Origins of Karma: Cosmos as Man in Ancient Indian Myth and Ritual, (SUNY Press, 1989), p 96 19 Stella Kramrisch, The Hindu Temple: Volume 1, (Motilal Banarsidass Publ., 1976), p 22 10

4. SACRED GEOMETRY

Sacred geometry is the ancient belief that shapes and mathematical designs lie behind all creation. The concept is common to most religions, including Hinduism, Islam, Buddhism, and Christianity, as also other pagan faiths and cults. One of the earliest and most famous examples of geometrical structures of seemingly ritual significance is the Stonehenge in England. The Pyramids of Egypt have also been objects of awe for the modern onlooker. The principles of sacred geometry were also observed in primitive societies which built sacred groves effusing divinity.

From Pythagoras, Plato and Plutarch to Jung and modern day researchers, the sacredness of geometry has been repeatedly asserted. Once man recognised the importance of geometry in the outer and inner realms, he started applying its principles in the objects and structures he created. The fundamental shapes of a circle, a square and a triangle became the bases for architecture, especially religious architecture. It is in this context that the concept of sacred geometry formally emerged.

In the Eastern architectural traditions, sacred geometry is manifest in the idea of mandalas. Generally speaking, a mandala “refers to something that is round or circular, such as a ring or circle, further a region, terrestrial division, domain, assembly or a group20.” However, in the context of architecture and vāstu, the

vāstupuruṣa

mandala

is of

importance and it has been defined by Kramrisch

(1976)

as:

The

Vāstupuruṣa

mandala, the diagram of the temple is a Yantra (upon which the temple is built). It has Illustration 1: Vastupurusa mandala [Image source: boloji.com]

been explained as:

20 Gudrun Bühnemann et al., Maṇḍalas and Yantras in the Hindu Tradition, (DK Printworld (P) Ltd, Delhi, 2003), p 13 11

The site is represented as a human being or ‘vastu purusha’ with his face down and his body occupied by various deities with different qualities21.

This figure forms the plan of many South East Asian

religious structures. The Jagannath temple at Puri, Odisha is one of the several hundred examples of sacred monuments built on the vāstupuruṣa mandala, in accordance with Vāstu Shastra. Vāstu Shastra elaborates upon the science & art of architecture and is part of the corpus of Śilpa texts of ancient India, which describe in detail various arts and crafts. Ancient temples and pagodas in Cambodia are also built on these pri...