Consciousness Studies
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A symposium
on
Sacred Geometry and Design in Nature: An Interplay of Art, Science, & Philosophy
25-26 October, 2017
Central University of Buddhist Studies, Sarnath
Collaboration & Venue: Sarnath
Co-chairs
Prof. Sisir Roy, Prof. Geshe Ngawang Samten Prof. Madhu Khanna
T.V.Raman Pai Visiting Vice-Chancellor, Central University Tagore National Fellow
Chair Professor, National of Buddhist Studies, Sarnath
Institute of Advanced
Studies, Bangalore
Kalachakra Mandala
Concept Note
The symposium proposes to bring together ideas governing the aesthetic structure of the cosmos as seen through the lens of science and the wisdom oriented religious traditions of the world. Sacred geometry is concerned with the primal root forms of the envisioned cosmos, “the form that lies beneath the divine order of creation and the Reality”. Modern sciences have also begun to confirm that geometric order, harmony and proportionate structures form the matrix of creation. We have only to look at the intertwining threads of our DNA composition, the circular perfection of the cornea of our eyes, the shape of flower petals, the branching of trees, the rhythms of the atom, rhytmicity in the brain and the formation of the galaxies as examples of this.
This symposium attempts to explore the underlying interplay of cosmological art, science and philosophy and ground breaking insights from research in quantum physics, cosmology and theories of the creation of the universe. The advancement of quantum theory and modern cosmology indicate the existence of a substratum called “Quantum vacuum” where the fluctuation produces enormous energy so that the physical universe emerges. Essentially the universe is supposed to be produced from a point or “bindu” due to fluctuation of quantum vacuum. This fluctuation is due to the ubiquous presence of quantum principle. The geometric patterns are created in this process of creation of the physical universe. The field functions of quantum fields in this vacuum have some geometric forms or patterns as the primordial forms or “seed forms” which give rise to the various forms or symmetries in the physical universe. In the biological domain the various geometric patterns are formed from the community of tiny organisms like bacteria at the primitive level of evolution. The form and functions are two important aspects of any biological system. The formation of various patterns in the biological domain or morphogenesis is one of the fascinating areas in modern science.
Interdisciplinary and cross-cultural, the symposium proposes to bring together philosophers, scientists, art-historians, practitioners and students of all faiths, to reflect upon the parallels that can be drawn between the grand designs of nature and the ways in which human creativity has represented the same from the deepest layers of human consciousness in their creative representations in art, science and philosophical theories.
In the world’s ancient civilizations-China, Egypt, India and Greece and pre-modern Europe-all forms of creativity was based on the axiom that primal shapes such as the, bindu, or the dimensionless point, circle, square and triangle have a symbolic or spiritual meaning. These symbols have a mystical meaning and are the building blocks of creation itself.
Sacred geometry in all the world’s religions has been concerned as a study of special order governed by number, ratio, succession of proportional relationships of formal elements. These ideas were greatly strengthened in the west by the theory of the Golden Ratio, Fibonacci sequences and Fractals in Mathematics. In India the theoretical and mathematical formulations formed a part of Vastu Vidya the knowledge, system of texts in India.
The ancient Silpa-sastra, in India developed its own indigenous methods of measures and proportions, called Talamana, a system based on the palm of hand from the tip of the middle finger to the wrist. This method which appears to be simple, is complex in its application, and played a major role in the creation of the magnificent Hindu temples and Buddhist stupas, throughout the subcontinent. The symmetry design of the archetypal temple with its countless variations spread to Aisa and to South-east Asia. Splendid embodiments of the principles of sacred geometry are found in the sacred art and architecture of the world’s religions, Hindu, Buddhist, Islam and Christianity; where the principles of scared geometry are applied in monumental architecture, sculptures, in form icons of the gods and goddesses and in all forms of sacred geometrical abstract mandalas and yantras.
The most universal and admired ritual image of Buddhism is the sacred mandala (literally, the container of Essence of the World). Based on the mathematical perfection of the square and circle, the mandala for worship are traced by monks who have undergone a long period of technical artistic training and memorization of tracing iconic symbols of the pantheon of the gods, alongwith their colour codes and related metaphysical concepts.
The cognate of the Buddhist mandala is the Hindu Sri cakra composed of nine interlacing triangles. A masterpiece of abstraction, of Hindu Shakta Tantras, the symbol of goddess Tripurasundari, its construction is based on strict laws of sacred geometry. So is the case of hundreds of sacred ritual diagrams used in Vedic rituals, Agamic and Tantric meditative practices in Hindu Tantra, Mahayana and Vajrayana Buddhism. These sacred icons have survived because of their inherent perfection of beauty and symmetry.
Similarly, interlaced circles, and square, multisided polygons, the ubiquitous star patterns form the basis of the quintessential buildings of Islam - the mosque, masjid, a place of prayer, study and reflection. The perfection of Islamic dome have emerged from the perfection of the subdivision of the circular grids, are simplicity inspired from the unity of the one God, and the centre, the sacred site of Mecca, toward which all muslims orient their prayer. Whether in Abrahmic monotheistic religions or in polytheistic Hindu and Buddhist religions, mathematics, and sacred geometry featured greatly in all forms of their artistic manifestations. The inspiration for sacred geometry came from the notion that the incomprehensible unity of the macrocosm needs to be embodied in visual representations, and perfection of formal elements, that resonate the highest ideals of aesthetic beauty.
The representations of sacred art increasingly support the dynamic interplay of energy forces and interconnection of all elements including humans, whose physical and psychic make up is analogically homologised with the whole of creation. The works of sacred art are pictorial representations of transcendent reality, as web of energy templates within which humans form but one system.
This symposium is based on the conviction that all nature and its various forms of human creativity at its most refined level speak the same language – one that is governed by order, symmetry and beauty.
Main Topics:
1. Geometry and Forces of Nature
2. Vibration and Pattern
3. Morphogenesis
4. Biological Form
5. Geometry in Sacred Arts (architecture; Iconography; Icronometry of Yantras and Mandalas; Rituals and Performances).
6. Cosmology Genesis and Evolution.
7. Natural Ecology and the Ecocosm.
8. Form and Emptiness.
9. Parallels between Art, Science and Philosophy.
Prof. Sisir Roy, NIAS