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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.

Cen­ter ­/Ma­trix

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
Sri
Chak­ra
Full
Gold­en
-Ra­tio
Struc­ture

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:

  1. the geo­met­ric so­lu­tion of the nine in­ter­sect­ing tri­an­gles with­out re­pro­duc­i­ble in­ter­sec­tion er­rors.
  2. the over­all geo­met­ric and then ar­chi­tec­tur­al so­lu­tion of the pet­als, ac­cord­ing to an un­ex­plo­red but pow­er­ful dy­nam­ic har­mo­ny, ex­ter­nal and in­ter­nal to the yan­tra.
  3. 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.
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.
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.
I had al­ready rep­re­sent­ed this prin­ci­ple and its mo­dal­ity in a 2014 ar­ti­cle of mine: Zo­di­ac on Tetrahedron and the 4 Triplicities.

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.