Geometric Symbolism and Sacred Geometry - Spiritual Orientation Principles

In general, it would be preferable to use geometric compositions that are stretched along the vertical axis, rather than expanding in the horizontal direction. The wise use of such geometric forms facilitates interior gathering and concentration on what is above, but one must never forget the purpose and context of a meditation. In the case of a convex or stellate polygon, it is important to distinguish the orientation of the figure, generally indicated by the central point. When present, the central point determines the vertical orientation of the figure, as well as the orientation of its action. If the point is oriented upward: it indicates an ascending action; downward: it indicates a descending action. It is not through mechanical or bookish learning that one can refine that spiritual taste, which alone permits discerning the appropriate figure that condenses in itself the orientation corresponding to the action of the power to be evoked; for example: the triangle turned downward can indicate the descent of the Word, while the triangle upward, the corresponding elevation of Man. The union of the two triangles arranged to form the seal of Solomon, in this context, symbolizes the double nature of the Messiah and the immanence of God in Man. Interior - Exterior. Sometimes different figures are arranged one inside the other, often through the mediation of circles within which the geometric figures are inscribed and circumscribed. Normally, if the circle is external to the figure, it means that the force expressed by the figure is interiorized, invoked or impressed, if, instead, the figure is external to the circle, the force expressed by it is exteriorized, evoked or expressed. In many geometric symbols, generally, the interior vivifies the exterior and the exterior protects the interior. The interior figure makes itself known through the exterior one, and the exterior one is the manifestation of the interior one. Therefore, in general terms, the interior is the true metaphysical person, while the exterior is its outward manifestation. A reader minimally attentive in pursuing the initiatic path will have no difficulty in bringing to surface in his mind, and living in his heart, the symbol constituted by a triangle within a square, which, for hermetic symbolism, symbolizes the fire hidden within matter, the occult fire. In general, the more a figure is interior to the composition, the more its action is intimate and occult, the more it is exterior, the more its action is visible and manifest. High - Low. In the arrangement along the vertical line one must take into account that what is above is hierarchically superior to what is below. Therefore when a figure appears below another, the latter is generally to be considered the more important. The figure above determines the entire composition and indicates the initiatic influence that we can make spring from it. These remain however general notions and particularly valid in the case of rectangular compositions. In the case of figures with circular symmetry, in fact, the greatest importance is to be attributed to the center of the design. Right - Left. In the case of rectangular compositions there is often a qualitative affinity that unites the figures arranged along the same vertical line. In particular it often happens that the figures along the right vertical line (in the figure and not with respect to the observer) symbolize an active force, which projects, or must project, also in view, sometimes, of an action of multiplication or mercy. Vice versa, the figures arranged on the left, often symbolize a receptive faculty, or a force necessary for control, having, sometimes, as purpose an action of division or justice in rigor. The central line in some contexts is the balancing place; in particular, the figures arranged along the central line can be considered as manifestations of the same force acting on different planes. Repetitions. The repetition of a symbol produces a reinforcement of the symbolic power of the symbol in question. Naturally the number of times it is repeated, symbolizes in turn different things depending on whether the symbol is repeated two, three or four times. The triple repetition of a symbol, in general, indicates the maximum of its unfolding that manifestation can accommodate. The three, in this case, does not so much indicate a specific number, as an idea of completeness, that is the idea of a complete plural, of a plenitude in manifestation. This because the three has in itself an idea of completeness, autonomy and perfection. In the same way the repetition of three circles external to an inscribed figure have the purpose of multiplying its effect. Geometric operations. The traditional correspondences between numbers and symbols...