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          This interplay of forms, subtle and dense, manifest and implied, is perhaps the most exquisite display of sacred geometry that has ever been revealed. Is it therefore any wonder that the Mother did not want mere photographs in the chamber? This geometry of pure forms carries the seeker far beyond the physical and into the highest reaches of planes above mind. It is as if the transformation of matter takes place before our eyes in the chamber, as all things are made new in this most elegant of all geometric revelations.
          And as for the Veda, the Mother as the Divine Maya truly legitimises material creation by this interplay, by recording that the Transcendence we adore in the beyond is itself within the boundaries of creation and becomes its very heart and soul. All of this is recorded in her original plan.
          A definition of material creation is ‘putting boundaries on the Boundless’. These are the limits the Transcendent accepts as he ‘materialises’ – here depicted as the ‘boundaries’ of the Shalagrama. Hence the Shalagrama is a geometric form greatly revered in India because it displays this great secret: the materialisation of the Transcendent, from subtle to stone, the most material substance on our planet. Essentially, this is the function of the Divine Maya: to legitimise material creation by ‘giving form to the Formless’ through this miracle of transposition from above to below flawlessly. What is ‘above’ is impeccably transcribed ‘below’ so that this planet Earth can indeed evolve to be the home of a life divine.
          The effulgent Globe and solid stone Pedestal of the Mother’s chamber are heart and soul respectively: the Transcendent brought to Earth by this ever-recurring sacred alchemy that makes a mockery of all the theories of the illusory and impermanent nature of material creation. There is nothing BEYOND that is not found here, at the heart of material creation, whose number is 9 by virtue of the 9 pulsations of the Sun. And this is the great secret of the vertical shaft of the Mother’s inner chamber according to her original plan. This is the secret of the Divine Maya, that supreme architect of the Transcendent, she who makes him manifest, who buries him ‘in a mother’s breast’. Thus is the Immanent born among us, equal in every way to the Transcendent who precedes him. He is ‘born’ by a compelling compression to a point. And this too we find located in the temple’s core, at its most potent location.

The pedestalís dimensions 
The precise dimensions of the pedestal, as supplied by the Vesica Piscis, are 50 cm height x 60 cm width. When we enter into a detailed discussion of the descending Ray, we will see how the circle is squared, so to speak, when the circular Ray, whose diameter should also be 60cm, passes through the Globe and then into the solid 60cm square of the pedestal. Hidden and in the secret recesses of the rectangular stone base, that circle is squared in a magical alchemy for the transformation of matter, or the conversion of lead to gold. This is akin to the unknown and mystifying process that transpired in the King’s chamber of the Great Pyramid. So important was precision in the fashioning of the rectangular box, known commonly as the sarcophagus, that precision tools of the highest calibre were used in its construction. Needless to say, this fact does not receive any publicity in archaeological or historical research circles because none can explain the existence of such tools thousands of years ago. This ancient structure displays such a high degree of precision that we cannot equal the task today even with our best equipment.
          The Egyptians were not dealing with Time (contraction), only Space (expansion). The horizontal plane and the linear form was their domain. India is destined to deal with Time and the precision of the vertical and the spherical. For this the measurement/placement of the pedestal is crucial.

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