The Soul and Sacred Geometry — The Bridge Between Architecture and Mysticism
“The straight lines and angles of geometry symbolise the limitations of our physical world, while the curves and circles symbolise the infinite possibilities of the spiritual realm.” — Hasidic teaching.
Introduction
Geometry is a branch of mathematics concerned with properties of space, such as the distance, shape, size, and relative position of figures. Its etymology is from the Greek meaning “land” or “Earth” measurement. It is an ancient subject, studied as much by philosophers and mystics as by abstract mathematicians and scientists.
Geometry as a Language
“Geometry will draw the soul toward truth and create the spirit of philosophy.” — Plato
This is because geometry can also be seen as a language and can offer a unique and profound way to explore religious and spiritual concepts. It does this by combining concepts of number, space, shape, pattern, and proportion. It can describe simple concepts, such as with a straight line or circle on a plane piece of paper, to the more complex ideas found embedded in patterns and topology, like the beautiful images found in Islamic art.
This exploration is not just a modern phenomenon but also has roots embedded in ancient civilisations and their practices. The use of geometry in religious and spiritual contexts can be seen as a bridge between the tangible and intangible, the physical and metaphysical, and the scientific and the mystical.
Geometry as a Symbolic Language
“Geometry existed before the creation. It is co-eternal with the mind of God… Geometry provided God with a model for the Creation…” — Johannes Kepler
In religious and spiritual contexts, geometry is often used as a symbolic language. Shapes, patterns, and ratios are imbued with meaning. Symbolism as a language is different from the spoken word in that it presents meaning to the “reader” that requires their own interpretation, imagination, and intuition. This accesses different brain cognition areas than those used when reading text and written prose.
For example, the circle, with no beginning and no end, is often used to symbolise eternity, the divine, or the universe. With its four equal sides, the square can represent stability, earthiness, and the material world. When these two shapes are combined, as in the case of the mandala, they can represent the union of the earthly and the divine.
The Golden Ratio, approximately 1.618, found throughout nature, has been used in religious artworks and architecture, symbolising beauty and harmony inherent in creation. This ratio and the related Fibonacci sequence are often seen as evidence of a divine order in the natural world. They describe a “growth from within as a reflection of itself”.
The Architecture of Places of Worship
“Let no man who is not a Mathematician read the elements of my work.” — Leonardo da Vinci
This natural self-generating growth in geometry is often used as the basic template for the design, aesthetic and spirituality of a religious building. Whole schools of thought and institutions have been developed to explore this idea of building spiritual ideas into architecture. It is found in Europe in the mediaeval Mason's lodges and in the Vastu Shastra of India. Let’s explore some of these disciplines in more detail. The basis of such schools was to provide a building with the utility and practicality to be used as a place of communal worship, a building that is aesthetically pleasing but also one that contains principles that initiate the worshippers' soul with a sense of deeper spiritual awareness.
Ancient Egypt
The ancient Egyptians, for instance, believed in the sacred nature of geometry. They used geometrical principles to construct their pyramids and temples, aligning them with celestial bodies, which they believed were the homes of gods.
Ancient Greece
Similarly, the ancient Greeks viewed geometry as a form of eternal truth, with Plato famously inscribing above the entrance to his academy, “Let no one ignorant of geometry enter here.”
Vastu Shastra (India)
An ancient Indian system of architecture and design, Vastu Shastra integrates principles of design, layout, measurements, ground preparation, space arrangement, and spatial geometry. It is based on traditional Hindu and, in some cases, Buddhist beliefs. The designs aim to integrate architecture with nature, the relative functions of various parts of the structure, and ancient beliefs utilising geometric patterns (yantra), symmetry, and directional alignments.
Sthapatya Veda Architecture (India)
Similar to Vastu Shastra but distinct in its approach, Sthapatya Veda is an ancient Indian system of architecture and construction. It is based on specific measurements and orientations believed to be auspicious and harmonious, aiming to ensure the inhabitants’ spiritual well-being and prosperity.
Feng Shui (China)
Often mistakenly attributed to Japan, Feng Shui is actually a Chinese philosophical system of harmonising everyone with the surrounding environment. It is an ancient art and science formulated over 3,000 years ago in China. Feng Shui is rooted in Taoist principles, and the concept of ‘qi’ or energy flow plays a significant role. It involves the positioning of buildings, the arrangement of rooms, and the placement of furniture in a way that is believed to bring balance and harmony.
Japanese Zen Philosophy (Japan)
While not as systematised as Vastu Shastra or Feng Shui, Japanese Zen philosophy greatly influences traditional Japanese architecture. This influence is evident in the simplicity, harmony with nature, and natural materials used in Japanese design. The concept of ‘Ma’ (negative space), the appreciation of the integrity of natural objects and processes, and the emphasis on minimalism are all reflective of Zen principles.
Islamic Geometric Patterns (Middle East and Beyond)
Islamic architecture often features intricate geometric patterns which are believed to reflect the language of the universe and the concept of infinity. These patterns are not only decorative but are imbued with deep spiritual meaning and are a form of expression in Islamic art, which avoids the depiction of sentient beings.
Bauhaus (Germany and International)
Although not inherently spiritual, the Bauhaus school of design combined crafts and the fine arts, and its approach to design was revolutionary for its time. It aimed to create a total work of art in which all arts, including architecture, would eventually be brought together. The Bauhaus style became one of the most influential currents in Modernist architecture, with an emphasis on functionality and simplicity that indirectly touches on spiritual aspects of minimalism and utility.
Christian Liturgical Architecture
This approach to architecture is centred around designing and constructing Christian worship spaces, such as churches and cathedrals. Christian liturgy and symbolism deeply influence the layout, orientation, and decoration of these spaces. For instance, the eastward orientation of many churches, the use of stained glass to narrate biblical stories, and the cruciform shape of many cathedrals are all deeply imbued with spiritual significance.
Buddhist Architecture
In Buddhist architecture, structures like stupas, pagodas, and temples are designed with a deep sense of spiritual symbolism. The stupa, for example, represents the enlightened mind of the Buddha and the path to enlightenment. The design of Buddhist temples often reflects aspects of Buddhist cosmology, and the architecture is intended to aid in meditation and spiritual practice.
Indigenous Architecture
Various indigenous cultures around the world incorporate spiritual beliefs into their architectural practices. For example, Native American teepees, igloos of the Inuit, and the traditional huts of many African tribes are constructed with practical considerations and spiritual and symbolic meanings, often reflecting a deep connection with the land and natural environment.
Neo-Futurism
“The sun never knew how great it was until it hit the side of a building.” — Louis Kahn
While not explicitly spiritual, neo-futurism in architecture, exemplified by architects like Zaha Hadid and Santiago Calatrava, often evokes a sense of awe and wonder that can border on the spiritual. This architectural style is characterised by dynamic, futuristic designs that challenge traditional aesthetics and often seek to reflect the cutting edge of technology and progress.
Organic Architecture
“Geometry is the language of man.” — Frank Lloyd Wright
Pioneered by Frank Lloyd Wright, this architectural philosophy emphasises harmony between human habitation and the natural world. Wright’s designs sought to integrate buildings with their environments, creating a sense of unity and spiritual connection with nature. This approach often results in buildings uniquely adapted to their surroundings and promoting a sense of coexistence with the natural world.
Gothic Revival Architecture
“When I am working on a problem, I never think about beauty. I think only how to solve the problem. But when I have finished, if the solution is not beautiful, I know it is wrong.” — Buckminster Fuller
This style, popular in the 19th century, was an effort to revive medieval Gothic architecture, which was often associated with Christian values and spirituality. Gothic Revival buildings, including churches and cathedrals, feature elements like pointed arches, ribbed vaults, and flying buttresses and are imbued with a sense of the sublime and the divine.
Biophilic Design (International)
“Life is architecture and architecture is the mirror of life.” — I.M. Pei:
This modern concept in architecture seeks to connect building occupants more closely to nature. Biophilic-designed buildings incorporate things like natural lighting and ventilation, natural landscape features, and other elements for creating a more productive and healthy built environment for people. Its principles are rooted in the human need for a connection to nature, which can be seen as a spiritual pursuit.
Sacred Geometry
“There is geometry in the humming of the strings, there is music in the spacing of the spheres.” — Pythagoras
Sacred geometry is a term used to describe the geometrical laws that create everything in existence. Various traditions, including Hinduism, Buddhism, Christianity, and various esoteric and occult traditions have revered it.
In Hinduism and Buddhism, mandalas are geometric designs that represent the cosmos metaphysically or symbolically. In Christianity, the use of geometric proportions and iconography can be seen in the design of churches and cathedrals.
The concept of sacred geometry also extends to the idea that by contemplating and understanding these geometric patterns, one can gain insight into the mysteries and laws of the universe. This contemplation can be a form of meditation, leading to spiritual enlightenment or a deeper understanding of the divine.
Geometry in Modern Spirituality
In contemporary spirituality, interest in sacred geometry is resurgent, often linked with the New Age movement. This includes an exploration of crop circles, fractals, and the geometry of DNA. These modern interpretations link ancient wisdom with current scientific understanding, suggesting that geometry serves as a universal language bridging different realms of knowledge and experience.
Summary
In conclusion, geometry as a language to explore religious and spiritual concepts offers a rich and multifaceted perspective. It provides a means to understand and represent the divine, the universe, and the relationship between the macrocosm and microcosm. Geometry, in its purest form, transcends cultural and temporal boundaries, suggesting a universal truth underlying all spiritual and religious traditions. This exploration is not only intellectually stimulating but also offers a path towards spiritual enlightenment, connecting the physical world with the realm of the divine. The study of geometry, therefore, is not just a pursuit of mathematical or architectural interest, but a profound journey into the heart of spirituality and religion.
