Nonetheless, the in-depth analysis of the whole issue on my part, and the consequent progress matured for nine years now, has been based on the following processes:
– once I acquired the true revelation of the triangular relationships between concentric circles in Golden Proportion, I probed its presence in the core of the yantra, ascertaining that:
- they expand from the central triangle in golden ratio Φ, from circle to circle up to circumscribe the major triangles, distinguishing with sufficient evidence the concentric triangular levels /rings;
– such a sequence could not but extend to seven, precisely delimiting the expanding field containing the two crowns of Petals (perhaps with thicknesses in a golden ratio between them), and lastly that of the four Portals that complete and contain the entire progression.
Virtual plan of the Celestial Seal
It would not make much sense to conceive the symbol differently, leaving to suffocate so much implicit harmony in equally significant areas, which wrap the nine profiles like a corolla of petals, between the four sepals of the chalice of a mystical rose... reducing it to arbitrary and occasional measurements, of just decorative nature (assuming it is), not to say whatsoever.
Basically a certain tolerance stands to reason though , given that the maximum challenge, deriving from the arduous construct of the nine triangles, catched all the attention to the inside, leaving little 'space' for the rest.
The apposite structure of the petals of the Sri yantra
The first factor to be observed from scratch is that the circles of the petals should not be treated as ornamental frames, but as the constructs of a precise geometric formation, corresponding and synergistic to the planimetry of 9 (4+1+4) opposing internal triangles, obeying their circular arrangement: the first (8 vertices) to the base of a double cross-square (45°), and the second (16 vertices) to a cross-square four times (at 45°÷2), leaving to said geometry the task of setting the correct internal thickness of each ring.
A reciprocity which, after careful design and optimization of the virtual circular tangentiality and the points of contact of the vertices, tends to satisfy a golden ratio between the breadth of the internal (8) and external (16) circles, and therefore with the overall one of the double band, already in itself a golden stage of the whole expansion.
That premised, my contribution to the final project has developed over time on three progressive levels:
The symbolic paths contained in the two outer rings may be subject to variations depending on the stylization criteria predisposed: as for the cross represented by the Portals, and/or the tangentiality or contact parameters between the Petals' profiles, which in turn depend on the application or not of three containment circumferences intended for those. As they constitute only a belt and not an autonomous space, these could act as a demarcation threshold between the ‘otherworldly’ vibratory dimensions and the denser and slower ones, ie aimed at the tangible and material reality of the external perimeter.
- the geometric solution of the nine intersecting triangles without reproducible intersection errors.
- the overall geometric and then architectural solution of the petals, according to an unexplored but powerful dynamic harmony, external and internal to the yantra.
- the overall geometric application of the containment rings, up to 7 in golden progression, that is according to "Divine Proportion", to all distinct areas, discernible in that they are significant.
By directly touching the internal base corners of the cruciform frame, they would also separate the external adjacent areas, bipartite from the diagonals of the global square.
In this case, the circumferences will be external to the amplitude of the golden circle delimiting the Petals, and I have updated page 18 of the PDF THEORY, among the various already exposed; but in the Oregon layout this canon is not; while in the other THEORY models the tangentiality of that golden circle is applied symbolically to the virtual perimeter of the internal square.
The four 'doors' defined by three cross frames on each side instead distinguish specific areas of their own, equivalent in my vision to the four triangular faces of a tetrahedron – DNA base – which not only embrace with the continuity of circular rotation the whole Zodiac, but pivoting [the tetrahedron] on four of its sides according to an orderly progression, they convey on each of the four vertices the three Signs oriented to the same Element: namely Earth, Air, Fire, Water.
All this is also illustrated on the rich brochure THEORY-SriYantra.pdf in very high resolution [7143pt×7143pt actual size, to fit into window or zoom, on desktop with a powerful pdf-reader], which is proving itself in all ambits that welcome its regenerating drive; but the purpose of this site, as I have specified, is to present the 3D animation work, developed on the previous and most popular model, also corresponding in the THEORY application to the diagram impressed from the sky in that dry lake in the Oregon mountains.
I had already represented this principle and its modality in a 2014 article of mine: Zodiac on Tetrahedron and the 4 Triplicities.