Update 7,  -  5 March 2005

eaders of these Chronicles and Updates, prepared and circulated by MAC, will now reap the benefits of their efforts at digesting this perhaps unfamiliar and arcane material: a subtle shift has to have occurred in the reader’s consciousness. Prior to this study a visit to the room in Auroville may not have caused a jarring effect in one’s consciousness. But after the Chronicles, no one can now claim that the crystal and stand of the Auroville version should remain in place and continue to be advertised as the Mother’s creation. To the newly enhanced eye, it is, if nothing else, cacophony.
            To prove the point, we present here two photographs of the centrepiece of the Chamber. The first version has been done with meticulous care so as to reproduce the Mother’s vision as faithfully as possible. The model was made by an Auroville interior designer in 1977. His view was that ‘a picture speaks louder than words’. He believed that if a model were made of the Mother’s Vision, certainly the executing architect would be convinced by the sheer impact of its beauty and he would agree to return to her original plan. Of course by 1977 there was no hope of retrieving anything of that original since the floor diameter and 15-step entrance had been eliminated. But those of us who were involved at the time supported his efforts nonetheless. The result, when faithfully reproduced in every detail, was the stunning image that has since come to be known as ‘Agni in the Core’. It reached the world on the cover and centrepiece of The New Way, published in 1981 by Aeon Books.
           The reader must note one of the Core’s distinctive attributes: It casts no shadows. Even its reflection is luminous. Indeed, luminosity, effulgence, a glowing emanation of Light is the impact Agni in the Core makes on the viewer. And hence it is a representation in sacred art of the creative FULLNESS, the descent of the Light of Gnosis.
            The next feature to note is its perfect balance. This occurs because each element that constitutes this composite form is in perfect relation to every other element: the proportions are exquisite, the harmony is unmistakable. The Pedestal, above all, is solid, powerful, purposeful.

            On the other hand, we have the Auroville product reproduced below the Mother’s. The visual impact leaves no doubt in the viewer’s mind that this version is simply the exact opposite of the Mother’s original – its ‘shadow’, as it were. There is no light, no effulgence, no FULLNESS. There is only emptiness and darkness where there should be nothing but light. Its sophisticated veneer cannot mask its dark purpose; the discerning eye is not fooled.

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