The Structure of Sri Chakra yantraTo this regard, it will be worthwhile to report in full – not without enriching their understanding – an in-depth passage from the first page of the eye-of-revelation.org website , which due to its special consistency could find the long-awaited translation here.
ndoubtedly the most important and demanding of all the symbologies, it represents with an unimaginable geometric essentiality the modality in grace of which the U.C. (read Undifferentiated Creative Unit, or One Creator, the "without Name", Be of Being) manifests itself in a chain of projections that will take on in fields of consciousness, belonging and action such as to relate celestial Intelligences, or vibrational levels, distinct and differentiated in coordinated hierarchies in the most total agreement.
All this to give space, time and life to each individual being, guaranteeing its evolutionary purpose within the cosmic lattice.This modest attempt at exposure, difficult to configure as to assimilate (not to say to translate), only vaguely underlies the idea of the immense complexity in enclosing and representing its completeness in a single emblem.
Emblem structurally made up of 4 concentric parts, easily recognizable at powers of 2 such as:
Scheme intended to highlight
the four differentiated areas
- central: 2 raised to 1 or the counterpoint of the two principles originating from the U. C.. The so-called ‘Trinity’ is manifested in the juxtaposition of 4 triplicity of positive valence to 4 of opposite valence, in identical symmetric progression of containment (and therefore not of 5 to 4, as is customary to argue). Given that in our plane vision, the notion of the vertices at the top (yang, masculine principle) and bottom (yin, feminine essence) applies from theV-orientation of the central triangle, the ninth central triangle is made up by 4 other two of which, masculine (sand) and feminine (blue), intersecting define the line of its base; this then extends to the sides of the male third (red), while the base of the male major (white) defines its height. It is therefore autonomous, in that its vertices do not derive from any intersection, as well as the other two that surround it and together contain it.
As the needle of a balance with two opposite plates (Yang ÷ Yin) in equilibrium, it incorporates the point of Origin (the One – 20– and Triune), the Eye of the system and not necessarily its vertical center (since this does not change whatever the running model), but it is indissoluble from it and does not pertain to any other finite triangle, although internal to each of the other eight.
The ninth triangle appears to be the fulcrum and pillar at the same time of the overall apparatus, resulting in 43 triangular fields(*, of which three are internally cut at its vertices by two Yang triangles among those that configure it, whereas it itself cuts out a central Yin triangle from the upper triangle (which does not need to be equilateral): and since it performs the function of ensuring the dynamic equilibrium of a structurally asymmetrical figure, excepting its three vertices for such distinction it would also bring back the number of external derivative triangles to the parity of 20 (Yin) + 20 (Yang), of which it is the copulating function.
If you could imagine a temple, or a cathedral with triangular naves designed upon this magical pattern, it would undoubtedly constitute its main altar. “Verum, sine Mendacio, certum et verissimum:Quod est Inferius est sicut quod est Superius,
et quod est Superius est sicut quod est Inferius,
ad perpetranda Miracula Rei Unius”
«Smaragdina Hermetis Tabula» by Hermes Trismegistus
from the lat. vers. of H. KunrathThe colors used in the Tibetan tradition indicate respectively: white=Water, blue=Air, red=Fire, sand=Earth. For more effective visibility, from way back on the first back cover of my essay [described on page. 7], I adopted white = air and blue = water, a very frequent alternative use by the way; even if in fact it is the sky to appear blue, while the water does nothing but reflect it in total transparency. Maybe today I wouldn't do it again, but my vision of the elements / triangles relationships remains intact.
In the figure at next ¶.2 the symbols follow the zodiacal rotation, but in the esoteric representation of Sri yantra the colors of the Elements at the four Portals, such as Earth and Air, are quite opposed to Water and Fire: a cross relationship in appearance not sequential, but which proves to be suitable for a flat view, following the order of the seasons in their location on the tetrahedron (read DNA), where each of the 12 Signs (4×3) crystallizes at the vertex of its own Element (better highlighted at page 5, with a link to be soon translated as well).
In the model adopted besides, the way in which the golden expansion circles collide in tangentiality with the 40 triangles is relevant, especially in the respective upper (Feminine) and lower (Masculine) areas of greater density.
It should also be noted that of the 43 triangular fields only the 4 + 1 + 4 arranged on the vertical axis have a certain basis, if not north/south orientation; while to the others can only be attributed a relative direction, being not isosceles and therefore not defined by any fixed base but a support base (as we view it). And these too are 9, the 8 + 1 vertices of each to support the whole arrangement as a backbone, while the x axis sees eight crossings, including hovers only the base line of the 9th triangle.
There are eight X intersections in the horizontal band, i.e. crosses of only two segments and therefore four vertices, diverging in the nature of the square or of 4, whereas in the vertical column they converge toV, obviously triangular species or of 3.
Concurrently, the vertical triangles are oriented to the expansion, the horizontal ones to contraction. So even the intersection of the two axis reflects a magical and powerful analogy, though it goes mostly unnoticed.
The same 43 is 4 and 3, combines the two principles of 4 and 3, matter and spirit, the horizontal of the four cardinal points and the vertical of the ascent through the three physical, astral, mental levels; or more deeply integration of consciousness, self and freedom; perhaps space and time; but reflexively it is also 40 and 3, to underline the distinction sustained by me. Even the expression "Big Bang" occurs in two 4 and 3 letter words, not lacking in a certain semantic affinity.
- peripheral: 22, which represents the interface with the external infinity, consisting of the 4 doors or directions of space, the four cardinal points [as starting moments] of each cyclical or seasonal event, which are configured in the four Elements intended to build physical reality; and since we are on the subject, even in the four elementary arithmetic operations.
The triple wall which with its 4 doors delimits the whole, therefore constitutes the basis of tangible reality.
The same numerical sequence indicates with the powers 1 and 2 the inner and outer extremes: potential and implementation, interspersed with 3 and 4 which index two intermediate compensation stages.
- medium: 23, consisting of a circle of 8 fields or areas, called petals;
- intermediate: 24, with a circle of 16 petals, which surrounds the first two.As I noted at the writing of the essay on the 5 Tibetan Rites (page 122 – readable from here), “the sequence: 4, 4+4, 4×4 is the only case of numerical cohesion in which n, n*2, n^2 generates three values in doubling”.
Of course all four components gravitate around the Creative Unit, that Factor at the center of the entire system, immediately representable by 2 raised to 0 that is 1, the unit precisely, in the total absence of duality.“Et sicut res omnes fuerunt ab Uno, meditatione unius:The potential of the rings that lastly surround the heart of the whole Manifestation, reverberates and takes place further in the differentiated seasonal cadence, proper of matter and well represented by the in square (cruciform) and static planimetry – where the triangle expresses vertical dynamic movement, made of high and low (vertex and base) – giving rise to a spatiality in which everything exists and from which it must go back to the Source, that is to the center, which is the Being.
sic Omnes Res natae fuerunt ab hac Una Re adaptatione.”
It is difficult to establish the relationship between this center and that of the circle, since they may not correspond.
I believe that the dynamic center, that is the center (which can be calculated in various ways) of the innermost minor triangle reflects the First Manifestation, where the center absolute is upstream of Creation itself and therefore of the chakra yantra.
To learn moreIf the so-called Big Bang has crystallized in order to a cosmic texture, capable of allocating and connecting every single part of the existent, this could be the first and most probable sense of the symbol.
We could relate the scheme, for each individuality both micro and macro cosmic, to the fundamental description of the "Structural apparatus of the spirit", given in the report contained in «Il Cono dell´Errore» (§ 1.1), as regards its components of Consciousness, Memory, I and finally Freedom, whose absolute unattainable balance is contained in the central part of the Yantra, where it rests on the two pillars (of the 4 + 4 triangles) with the complementary valences of Will and Intelligence.
This characteristic of the central apparatus is well symbolized by the ideogram of the transcendent Pi Greek: Π, an infinite and non-periodic number which is not by chance considered the key to the reading of the Universe, whose presence multiplied by the Radius, as is known, defines the circle circumference if multiplied by 2, the area contained in it if raised to 2, that is, when the value multiplies by itself. All surrounded by four neighboring circles, which separate it from the offset of the material dimension – the Big Bang stage? – represented by the walls of a square frame, also quadruple with the four doors stretched out like a cross as the last possible reality; from the timeless continuity of the abstract to the circumscribed spatiality of the present.
The map reproduces and expresses, though on a two-dimensional plane, the entire transition process from the Spirit First to the Matter, from the top to the bottom or from the center to the 4 doors, providing a sort of scheme of the creation certainly less abstract than it might seem. The explosion of the initial power that is projected instantly in every direction in the perfect weave of its threads, i.e. a potential ineffable frame of logical, energetic and functional interconnections.
The production of three-dimensional icons of the Yantra has little to add, in my opinion, to the intrinsic and potential meaning of the diagram, as its integral representation would require more dimensions than we can conceive of it and it has nothing to do with any scheme of a merely physical type. It can only serve the purpose of proposing an object instead of a simple design, perhaps easier to be interpreted but, of course, definitively neglecting any need for genuine precision.Each area of the figure - but also some uncamped parts - pertains to an Intelligence with its own identity and attributes, which is not the task of this work to examine; that we prefer definitions such as those of the ranks of Serafini, Cherubini, Thrones, Dominations, Virtues, Powers, Principalities, Archangels, Angels (which recall the nine main triangles) or those described in the Olympus of Eastern Tantrism by the various Schools (not always homogeneous, according to Gérard Huet – "Sri Yantra geometry" ebook, page 12), what matters in this context is to highlight the inevitable and essential perfection and correlation of the various sectors and concentric levels, expressing dynamic symmetry and harmony overall much more than pyramidal (term referring in this case to the usual concept of hierarchy) where One is All.
It should be clear thatin the best of such cases, the manufactured object could have no other energy charge but that imprinted by the operator, depending on his individual abilities (how many will be able to evoke all the Empyrean Forces?); thanks to its analogical meaning, let's say a little more than what could be attributed to any different talisman; certainly not the brilliant and self-contained purity of the integral and perfect THEORY S.Y. symbol.
In establishing a sort of map consequent to the initial explosion, the S.Y. it is not only a symbol or an icon like many others, as it contains in its mathematical construct - or in the multidimensional section profile that it reflects - the perfection of the uppermost manifestation and therefore it should not embed the slightest negligence, but only complete correspondence among all the topics that compose it and that are combined there, individually or in sets, visible or not. As drastic the sentence it may appear, no one is forced to draw it!
At the same time, this presupposes an ideal form/substance which, as such, can never be expressed in its entirety, and even less in a two-dimensional representation, suitable only for the outer cross.
After all, the same well-known circumference can never be defined in an absolute way, but only examined from point to point, with a degree of precision gradually increasing, but still approximate.
However, whereas the tracing of a circle is relatively simple to theorize, here we are dealing with quite another problem, starting from its very conceivability. Polygons with their own boundaries must confine themselves, cross and overlap from one end to the other of the circle that hosts them (but will it really be a circle and not an ellipse?), matching exactly in the intersections with the others in multiples of three, thence with a modality whose geometric symmetry is horizontally mirror, but does not exist vertically since it insists on a ternary structure.
It is therefore important to understand that only the whole guarantees the balance of the Energies that are assigned over there, as each party can only obey this principle (see: Costruzione dello Shri Yantra).