|Drunvalo has always maintained the importance of actually drawing or in some other way personally creating the forms of Sacred Geometry as a pathway to becoming one with the Dance of Creation. He himself drew and redrew all of the forms, over an over again for years.
The artist Aya has made of this recreation his own sacred path. Perhaps his lyrical and impassioned experiences, shared in this article, will inspire you to get out that compass and join the dance.
On Christmas day preceding New Year 1985, I was at a crossroads in my life and ready for some potent life purpose to unfold. I had traveled the five continents and visited many teachings, both academic and esoteric. It was time to come "home." There was this urge to push away the crutches, to let go of all the learnings, however noble or enticing, and to finally walk my own personal destiny. On that holy day, a Vision Quest prayer arose from my heart:
O Great Spirit, I'd love to play directly with you. I feel ready. Please show me my life purpose. Show me my own concrete way to celebrate, within myself and with others, the Joy of Life.
Those indeed were the two job requirements: It had to be tangible — something I could create with my own hands and experience with my physical senses. And yet it also had to carry the unique Joy of Transcendence.
Divine magic was present and a higher-dimensional energy overlighted my being. There flashed into my human consciousness the holographic codes for one hundred and forty-four mandala templates. They were to be called the "StarWheels."
This inspiration did not feel like an intrusion by some alien energy. Rather, it was like integration into a much larger Presence who switched on a very specific remembrance channel. A gently "organic" encounter, yet infinitely powerful. It felt as though I were suddenly sliding into the only possible "right" position, and realizing: "Oh, yes, of course! How did I miss That before?"
The vision received was of a hyper-dodecahedron: 12 series of 12; 144 StarWheels, or "higher-dimensional faces of Self," to be shared with the world as "living holograms," thus helping to synergize colors, sounds, sacred geometries, and ceremonial dances into the Celebration of Who We Are.
"Now, you alone can do this," said the vision. "And it is very needed. But there will be a lot of work and hardship before the time comes for these matrices to be even barely understood. Do you really want to do it?"
How can one possibly hesitate, on a Christmas day, especially when backed up by the boundless enthusiasm of youth?
And so I Ianded myself the destiny of becoming a StarWheel mandala artist. More, I entered into a mystical wedding with my Self.
Along with the vision came the root-vibration "AYA" as the frequency signature overseeing this work. AYA is a celebrative affirmation sound as well as a sacred geometry logo-glyph: two upward-pointing yang pyramids ("A") supporting and guarding the grail-cup of a downward-pointing yin pyramid ("Y").
"You also need to know," continued the vision, "that the StarWheels are not to be sold left and right, even if you are starving. They are entrusted to your guard until the time arrives for the creation of a healing and celebration temple, the 'StarDome.' At some point in your future, the StarWheels will be used as software discs for holographic computers to issue forth vibrational fields of pulsating colors-sounds-textures-fragrances. These holo-fields will be large enough for individuals and groups to enter and experience, from inside out, the healing frequencies of their appropriate auric field re-configurations."
As I learned how to airbrush, stretch a canvas, and cut a stencil, the first StarWheels landed and started to teach me many lessons that can now be somehow formulated outwardly. But — and I want to emphasize it very loudly — these realizations all came from hands-on daily practice with colors, x-acto knives, graph paper, compressors, etc., as well as a continued and full commitment to my chosen path. In that space, a sense and power of dedicated Trust eventually took care of all seeming obstacles.
Indeed, all traditions using Sacred Geometry — Pythagorean, Gnostic, Yogic, Tibetan — teach that here is a spirit education technology into which one one must be completely immersed, without any possibility of looking backward, without any strings left attached, without backup. You must enter and spin the Star Tetrahedron, jump into the doorway of the Vesica Piscis, become the Mandala at which you are gazing.
Fundamentlly, Sacred Geometry is not merely a teaching. It has to be practiced, hands-on, as a compass-and-ruler, geometric discipline... eyes-on, as an awareness yoga of re-perception and re-creation of Reality... and hearts-on, as a meditative contemplation on Oneness, Love, and Beauty.
Hands-on Sacred Geometry
When my mind gets bogged down, the remedy is simple: Walk to the art studio, the place of creative birth. My sacred temple. There, I can refresh myself by "laboring" on the current StarWheel mandala.
There is a healing grace and magic in hands-on work, because our overused minds get to quiet down, and we are given access to the many other channels of information, communication, and intelligence that we are.
Hands-on (or feet-on) work truly is a meditation. Whether we compost the garden, play with compasses and straightedge or french curve, or delicately hold a piece of sunshine, the body's innate wisdom will turn on and offer us priceless gifts.
A tremendous current flows when the fingertips are touching the material world... without any rhyme or reason.
The most essential tool of Sacred Geometry — the pair of compasses — exist in the body in at least three locations: using the thumb as the hub, any one of the fingers can serve as the span to draw a circle. Using one's shoulder as the center point, the entire arm can inscribe a wheel shape on the wall. Or, like the whirling dervishes, we can use one toe as the point side and the other as the scribe side.
Using our body as the compass, we become the universe. We stretch from the unmovable Origin point to the myriad manifestations of the Periphery, the suburbs of the universe and of ourselves.
In between stands the Radius, the direct journey to and from, the Gaze. The Radius is the conscious awareness that Center and Periphery are One and the Same. Thus, we embody universal Creation, and the human becomes the anthropocosm.
Think about it: Every time we walk and take a step, we duplicate universal creation as mini divine compasses. We repeatedly plant the Axis of the World and stretch a new radius, while expanding as an omni-directional sphere of energy. As the medieval wisdom says:
God is a circle whose center is everywhere and periphery nowhere.
I would suggest keeping Sacred Geometry very "hands-on." Just let the body play with compasses, straightedge, and protractor to create the geometric building blocks: squares and cubes, triangles and tetras, pentagons and penta-stars, circles, semi-circles, and vesicas, spheres and cups, polygon stars and flowers ... in all shapes, colors and textures... in all sizes ... alone and in groups... with paper and glue, markers or sticks... on the ground, on a napkin, in your imagination... spontaneously improvising... just to feel again, in your very bones, the joy of playing...
Maybe then we'll get some glimpse into the language of Creation. Not as something to lecture about, but as a familiar environment that fills our souls with Joy.
Whether we are in a male or female body, young or old, I believe life's culmination is to give birth. And there is no end to it. I experience the creation of the StarWheels as a bodily birth process: A seed-being is maturing within my creative womb, and I make myself as receptive as possible to the incarnation of this new player coming to co-create evolution.
Sacred Geometry, by resonant symmetry and analogy, teaches me that the human body is the body of the Universe.
Eyes-on Sacred Geometry:
In the Hindu and Tibetan Buddhist traditions, the monks or nuns entering an ashram are given a personal mandala to meditate on, along with a mantra and a set of practices. They will gaze on that mandala perhaps for years, until their perception evolves and allows them to enter the design, navigate it, and emerge out of it into another level of consciousness.
The Sri Yantra is the classical homework, whereas the 2D triangles have to be pulled into a complex 3D pyramid. Then the student will graduate to his or her next mandala.
This is typical of the Yoga of Perception made available by Sacred Geometry designs. Whether we need simple diagrams or sophisticated matrices, most people require some "activator" keys tuning them to certain types of inner doorways.
Yogic perception is like the hi-tech vision shift activated by the "stereogram" computer images. They look like very ordinary, visual scenes — until you find the right proportional gazing distance and the correct angle of cross vision. And then, suddenly and shockingly, a completely different scene pops up in 3D. You cannot really merge your spirit with the stereogram or the Virtual Reality scene, because they are only technological extensions of the mind. But the experience can give us a tantalizing glimpse of how we might perceive reality in different ways.
In counterpoint, Sacred Geometry designs function as Third Eye training technology. They engage the inner knowledge of inter-dimensional vision. They are holographic light-codes, teaching us how to unplug from the trance-perception of "material reality" and start seeing what is, on this side, yes, but also beyond the thin layer of physical appearances.
Likewise, the StarWheel mandalas can be "looked at" by "observers." But they much prefer to interact with our inner vision. Viewers of the StarWheels are encouraged to shift perception, become seers, and allow the seemingly flat circles to become full 3D spheres pulsating with various depths of telepathic sounds and colors and meanings.
Like quantum science, Sacred Geometry does not accept passive "observers" looking from outside, as if in some museum. Sacred Geometry pulls you in like a spinning vortex. And the more mandalic the design, the stronger the vortex effect.
When encountering a Sacred Geometry design, the player is called to provide the missing parts in order to establish a live interaction — a give-and-take, loving exchange process with the Spirit Self — until the flat or fixed geometry becomes animated into a 3D, live, surround field.
By dancing into this field a motional spin at certain personal frequencies, the psychonaut locks into the inner core of an animated soul merkaba. It is my understanding that this is also what happens in doing the Flower of Life merkaba meditation.
In other words, we are holographic, multi-dimensional beings remembering the inner arts of visualization and projection. And Sacred Geometry is the partner inviting us to Celebrate the dance of vision.
Hearts-on Sacred Geometry
One of my early experiences on this Mandala Path was understanding that the very creative act of incarnating a mandala on the canvas radiates, instantly, a resonance of harmony that pervades the whole universe. It is as though, from the moment of "conception" on, a new presence is woven into the collective grid.
Somehow, even during its material creation, the mandala is already complete, and its essence goes off to the universe contributing its fragrance to the Garden.
Maybe nothing is really "born" but All is always Here.
Yes, eventually, the painting is done and exists in 3D, in a material body-canvas that starts a life on its own as it gets named, exhibited, and so on. But I always feel that the completed painting is already a bit "ancient," and that the true celebrative glory was the burst of creativity at its conception.
Each of these bursts is like the beginning of an entire universe connected with the Earth's saga. Just think of all these sparks that we generate in our birthing moments! They don't just fizzle and get snuffed. I feel that they go around the cosmos, making many friends, and then come back to settle as the soul-heart of the project: the baby or the mandala.
A mandala — an archetypal vortex-tool for focusing on the Center-Source — is, like all Sacred Geometry designs, a meta-grid constantly wave-forming awareness back to the core of Self. Not just bridging from the physical to the spiritual perception but also leading to the final disappearance of perception itself.
In its pure essence, Sacred Geometry has no form and no geometries. It is the source of all forms, the Cosmo-genesis itself.
For instance, in meditation, a mandala will eventually disappear into the Bindu — the zen-dot, the hole made by the point of the compasses. As you embrace it, the "sacred form" is re-absorbed onto itself/Yourself. But Sacred Geometry is only fulfilling this function of being the ulti-mate if the pilgrim becomes a lover. We must surrender to and completely enter the harmonic alignment of body-mind / universe / self as One.
A mandala will thoroughly test the degree of Trust within the seeker. Then the mandala-within-you will offer a training pool for cosmic swimming.
At this "hearts-on" level, Love becomes Peace and Beauty. Having opened the gates of Sacred Geometry and perceived other infinities, we learn how to release all seeking and all perceiving. There are no more objects because there are no sides Inside Who We Are.
As an artist with twenty years of parenting mandalas, I can vouch for the spiritual power of the Mandala Path of Sacred Geometry. It gifted me with the dear company of a living, playful, intelligent and lovingly benevolent universe.
In times of doubt, it gave me new vision and hope that indeed we, as embodied humans, are conscious co-creators seeded with a divine fractal of infinity. It taught me how to live by the Golden Ratio rule of Spirit, the Golden Relationship: "Give to others the same Love, Beauty, and Harmony that you and others are receiving from the Whole."
I think Sacred Geometry is making a sudden come-back in the collective consciousness because it embodies a wisdom whose time has come: a contemplative meditation upon Oneness.
It is the collective re-appearance of our deepest inner knowledge, merging with the all-encompassing Unity of Life and giving ourselves permission to dance again the Cosmic Mandala.
We are the Canvas, the Circle and the Artist. We are the Tool, the Mandala and the Creator.
May we all be the Dance.
| Born in France, Aya grew up on the island of Madagascar. He says his "first and last career job" was as Cultural Attache at the French embassy in Singapore, where he explored his destiny as an artist and achieved placement in an exhibit at the French Cultural Center.
He then traveled the world, from India to Nepal to Afghanistan and back to France, then to Soho in New York, and finally to California, feeling himself drawn closer and closer to his eventual life as an artist of the spiritual.
It was in 1985, in Santa Monica Canyon, that Aya's mandala vision, shared in this article, came to him and set his course.
Today, Aya lives in Sedona, Arizona, where he continues his mandala art and pursues his dream of building the "StarDome": an educational Art Center and creative community (see the StarDome page on Aya's website).
For more about Aya and his work, please visit his website at StarWheels.com, or contact him at firstname.lastname@example.org.