Sacred Geometry

One of the things that fascinates me is the ever-lasting effects that art pieces have on people's perceptions.  Canvases can mask genuine genius, manic madness and foolish folly from perception, while pictures attempt to capture the clicks of time, ticks of sound and colours defined by darkness and light from the ever-changing landscapes of our spinning ball of tax and thunder.   But down under the layers of subtleties and blatant messages, art breaks down into the very basic perception of our senses - all in the attempt to capture an image of our brief dance with our realities and imagination.  

Flowers of Life

The Mona Lisa is depicted as a great masterpiece displaying a portrait of a perplexing woman.  It is explained that "we are attracted to this mysterious woman but have to stay at a distance as if she were a divine creature", as the contrast of a white, pale face and enigmatic smile provide frontage to a backdrop of dark hair, veil and landscape - all blended together to capture some type of mystical power.  

Art frustrates me at times - the things that people see and interpret just don't quite match up with my viewpoints.  In these cases, I think: to each his own, smile, nod my head once or twice and provide the humoring  'Uh-huh'.  When I began to study and comprehend the Mona Lisa years ago - my first reaction was - "this is a masterpiece?".  But as soon as my brow would raise, I would be whispered some explanation of it's importance, ranging from 'Artistic Masterpiece' to a 'legacy for genius'.  It could have very well been that Da Vinci created a simple portrait of a fair lady, with the same enigmatic smile as the multitude of his other portraits.  By no means is my skeptical nature of the label 'masterpiece' implying that Da Vinci was a fraud in respect to his artistic legacy, but rather that often as a collection of organized minds, we label things as masterpieces simply because we are told to do so - these pieces of art are external to us, not like others that are more innate and structural to us - art often only tickles the right hemisphere alone.  

DS9'ed

A label similarly locked in a code of genius was Da Vinci's other 'masterpiece' - the Vitruvian Man.  Reaching the proportionate measures of fractals and fragments, Da Vinci utilized the principles of Pythagoras' Circles to simulate the beauty of nature.  As Vitruvian reaches the fingertips to the universe, the perpetuated pull programs our bodies in a coded fashion, fractioning fingers with faces, palms with feet and ears with eyebrows. 

However, in the label of masterpieces and as my interpretations follow me, art has tickled a curious nerve of naivety and wonder - images of space and time.  I every so often browse online (nasaimages.org) gazing into the captured time, watching the spirals and waves float in genuine balance with logarithmic destinies.   My interpretation of art is the one capture in these images - the most sacred images of the stars, and those that are generated in most unique geometric forms, the pieces of geometric art that can be labelled as Vitruvian, or as sacred.

Polished Slice of Petrified Wood - Michael Gäbler

Sacred geometry is transcending our understanding of the ticks and tocks the seconds of our pre-defined universe has sculpted before our eyes - the keys that unlock the doors to wondrous wiggles of waves.   The structure of our molecules owe their conductive capacitance to the locked bonds that they share while octahedrons and tetrahairadrons pluck their pieces of fabric into their pre-disposed purpose of expansion.  The geometric spheres being defined and dissolved into mystic shapes of mesmerizing vortices and contracting crevices answer multitudes of curious questions to ponder the present-day perplexities of our world.  Sacred geometry is designing the code of conduct that defines the voids and values of formulaic expressions of life.  

As purpose and purse-strings battle their wits to each end, they are all bound to the balloon of meaning we associate to them - purpose, being a cause for what one's beliefs are, and purse-strings being the fractals of imaginary tension we tie them to - numbers and meaning can be defined hand in hand, but it still doesn't answer the perplexing question if numbers and meaning are only the product of our imaginary neurons, existing only in our pre-defined notion of what our senses and calculating brains come up with.  But as deep as the perplexity may go, the geometric forms of life are being told under sacred methods - telling mirroring images of how the mimicking pre-disposed innate notions of growth under the sea of the universe.  The geometric forms of these creations are within the realms of their own religions, and their own rights - they have become sacred, in the definition of labeled masterpieces, tickleboth left and right in equal proportionate manners.