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.
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.
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.
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
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.
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.