In three-dimensional space, a Platonic solid is a regular, convex polyhedron. (Definition – Hedron: : geometrical solids having a specified number of plane faces Poly: many) The five basic solids are: the tetrahedron (pyramid) – four sides, the hexahedron (cube) – six sides, the octahedron – eight sides, the dodecahedron – twelve sides and the icosahedron – twenty sides. The Mirror: reflects the work of the Supreme Geometrist, (Dionysus), which itself is the universal manifestation of Life and Consciousness of God towards Man and Man towards God.Įach of the five Platonic solids represent a planetary energy, that is connected by its form to a natural element. The Dice: represents the five Platonic solids symbolising the natural elements: ether – air – fire – water – earth. It was a Greek myth that inspired Pythagoras, about the child-god Dionysus’s toys: a basket, dice, top, ball and mirror. Plato, mentioned them to such a degree that they became known as the “Five Platonic Solids”. He created “Pythagorian Geometry” by using the golden ratio of 1.618 and applying it to the geometric forms of the five basic solids. It is believed that he brought back his knowledge, from travels to Egypt and India. Pythagoras the philosopher and mathematician, was said to have founded the system of Sacred Geometry at his school in Croton, Greece. Passed down through Graeco-Egyptian culture , to ancient Rome and then inspiring the medieval Roman and Gothic architecture of European cathedrals which incorporated this geometry of sacred symbolism. Sacred Geometry is fundamental to the construction of churches, synagogues, temples and mosques and to their interior design and proportions. Some consider it to be a universal facet of the human condition as for example when man discovered its system of values, in Megalithic and Neolithic cultures. It is commonly believed that sacred geometry is found in Music, Light and Cosmology. They are applied in projects of sacred architecture and sacred art, which always uses the “divine proportions”, in which Man reflects the Universe and the Universe reflects Man. By learning its laws, principles and the interrelationships of shapes, the “Universal Grand Project” ( Magnum Misterium), can be contemplated.įive universal shapes or forms known as the “Platonic Solids” (after Plato), are systematised in a geometric complex, in which each figure has its own mathematical and philosophical interpretation. Sacred geometry is a vision of the world, according to which the basic criteria for existence, are perceived to be sacred. These universal forms are systematically organised in a geometrical form in which each figure has its own mathematical and philosophical interpretation hence their use in religious architecture and art. Sacred geometry is the underlying and organising principle of Creation. Five in number, they were the model for all the forms found in the natural world. This golden ratio (or golden mean), is the essential property of the dodecahedron and other geometric forms described by Plato as “ celestial”. It is a three-dimensional representation of the symmetry of the pentagon and the “Golden Ratio”, that occurs naturally throughout the natural world. For Plato it symbolised “ Cosmic Harmony”. In traditional symbolism, the dodecahedron was the form that best represented the manifestation of God in Nature. Hence the importance of its presence at St Mark’s Basilica. The significance of this was that the pentagon (a five-sided figure with straight and equal sides), was to the wise men of Antiquity, symbolic of Venus the planet governing Venice. Hence, the starred dodecahedron is made up of twelve pentagons.
Each facet has five sides, so by extending the sides out to meet and form “pyramids” a star is formed. The dodecahedron is a twelve-sided or faceted figure. In 1509 in Venice, de Pacioli published “De Divina Proportione” primarily concerned with the “Golden Ratio” and its use in architecture and painting. It is thought that his main influence was Luca de Pacioli (1445-1517), a Franciscan monk and famous mathematician, considered the father of modern book-keeping. To the left of the main doorway on the floor, is a curious mosaic of a starred dodecahedron attributed to Paolo Uccello (1397-1475), the famous Florentine Renaissance artist. In what is a “labyrinth” of canals and walkways these high towers aided communication (by visual line of site and sound), movement around the city and maintenance of authority, security and defence. One good example is in the siting of groups of Bell-Towers (Campaniles), that contributed towards the development and success of this great city. Evidence suggests that the original layout of the early city was planned, using these ancient geometrical and mathematical considerations. Sacred Geometry, forms the underlying principles of its Religious Architecture, Art and Music in Venice.
0 kommentar(er)
