Sacred Geometry Text Image

Gallery #13: Metatron's Cube



Fig. 1


Metatron's Cube in Nature's First Pattern (Projective)
An Acrylic Mandala by Charles Gilchrist © 2005

A beautiful print, on fine watercolor paper, is now available of this Gilchrist Mandala based on the ancient icon of Sacred Geometry known as Metatron's Cube. Charles personally creates and signs these prints. The image size is 11" by 11". The paper size is 13" by aprox. 15". The price is $59.95, plus $14.00 insurance, shipping, and handling anywhere in the continental USA.

The low wholesale price is:
One print - only $59.95 - plus $14.00 I/S/H
This print is shipped flat
See (Order Form)



Authors Note: In January 2005, Charles received a major commission for this large acrylic Mandala based on Metatron's Cube (Fig. 1 - above). That project led to the creation this web page and the interview below.

Interview with the artist number 13:
by Leslie Page

Metatron's Cube

C.G. “Leslie, I want to begin this interview with a dedication.

L.P. “That's fine.”

Dedication

C.G. “This page of our web site (Gallery #13) is dedicated to my new friend and the patron of my latest Mandala (Figs. 1 & 2). I withhold his name out of respect for his privacy, but he is the CEO of an old and very successful manufacturing company located in the North East. I find him to be an extraordinary human being. On one hand, he is the leader of a company manufacturing a very high quality product and facing the extremely material and worldly decisions any modern CEO faces. At the same time, he is a very spiritual and sensitive being with a deep interest in the most esoteric subjects. He is a serious student of Sacred Geometry and is especially interested in Metatron's Cube. He sees Metatron's Cube as an organizational archetype, which he successfully uses in his business. If there is an example of the new, Twenty First Century MAN, this is the guy.”

L.P. “I know YOUR definition, Charles. That would be a man or woman who is successfully integrating both left and right brain thinking.”

C.G. “Exactly, embracing his or her natural intuitive and transcendental abilities, and partnering those energies with his rational intellect.”

L.P. “But Charles, you are doing the same thing, and I am attempting the same. In fact I am beginning to see that many people are awaking to the advantages of this kind of thinking. Why is he so unusual?”

C.G. “I have found that most people who come to these ideas are eather involved in the Spiritual Arts or in Quantum Physics, but this man is deeply entrenched in very material considerations, manufacturing, marketing, governmental agencies and regulations, tax games, etc. It is very unusual to find this kind of enlightenment in a serious businessman. He is a man of the world who is intrinsically meditative and transcendental, which is very encouraging. This is the kind of leadership we need on all fronts”

Universal Language

L.P. “But you've been saying this for years, Charles; that a major change of thinking is in the air, and that sacred Geometry, THE universal language, was beginning to speak to thousands of people all over the world.”

C.G. “Yes, that's true, and Metatron's cube is speaking to my friend and patron with such a powerful voice it has caused him to seek me out and commission me to create this newest Mandala, a substantial piece measuring 42 inches by 42 inches by 2.75 inches."

L.P. “OK, Let's talk about Metatron's Cube. By the way Charles, this new Mandala is just extraordinary.”

The Roots of Metatron's Cube

C.G. “Thank you Leslie. When I run across a new person interested in understanding the basics of Sacred Geometry I always dig into my pockets to find seven pennies (Fig. 3). I arrange them and point, and say. “That's Sacred Geometry, the whole thing is right there.”

L.P. “Yes, I agree, Charles. This illustration of Sacred Geometry is a very compelling, a very simple and direct manifestation of archetypal Sacred Geometric Relationship. And, of course, it's not much of a stretch to add six more circles on the outside, the basis of Metatron's Cube (Fig. 4).”

C.G. “Yes, the thirteen circles of Metatron's Cube is one of the very important geometric possibilities held and hidden within Nature's First Pattern (Fig.5).”

L.P. “And connecting the center of those thirteen circles with straight lines is the key to Metatron's Cube
(Figs. 6 & 6b).”

C.G. “Correct.”

L.P. “OK, we have the basic archetype. Why is Metatron's Cube so important?”

The Pythagorean/Platonic Solids

C.G. “Metatron's Cube (Figs. 6 & 6b) is the conceptual two dimensional grid which anticipates and blueprints the three dimensional crystalline archetypes known as the Pythagorean/Platonic Solids (Figs 7 thru 11). The sphere and these five crystalline forms (the Pythagorean/Platonic Solids) are THE root archetypes of three dimensional Sacred Geometry.”

L.P. “Yes, I find this to be truly amazing, Charles. By using some parts of those straight lines connecting the centers of the thirteen circles, you can actually discover all five of the Pythagorean/Platonic Solids. Metatron's Cube is like the construction blue print (two dimensional) of a three dimensional building.”

C.G. “That's exactly my point, and as you know Leslie, in this three dimensional plane, all the Pythagorean/Platonic Solids are convex forms and each of the Pythagorean Solids can be perfectly enclosed within a sphere (all of the sharp points just touching the inside surface of the sphere). At the same time, each Pythagorean/Platonic Solid can perfectly enclose a smaller sphere (the surface of the small sphere just touching the inside center of each flat surface of the two Tetrahedrons. Let's look at each of these root crystalline archetypes one at a time.

The Tetrahedron (Fig. 7) is the first and most simple of the Pythagorean/Platonic Solids being composed of four flat surfaces which are identical equilateral triangles. The Tetrahedron is a perfect convex form, a Pythagorean/Platonic Solid. The Star Tetrahedron, or Double Tetrahedron (Fig. 7b) is composed of two interlocking Tetrahedrons and, although it acts the part, is not a true Pythagorean/Platonic Solid because it contains both concave and convex forms.

The Cube (Figs. 8 & 8b) is composed of six flat surfaces which are identical squares. The Cube is a perfect convex form, a Pythagorean/Platonic Solid. Here's an interesting side note, Leslie. A Star Tetrahedron fits perfectly inside a Cube, corners just touching corners."

The Octahedron (Figs. 9 & 9b) is constructed with eight identical equilateral triangles, eight flat surfaces. The Octahedron is a perfect convex form, a Pythagorean/Platonic Solid.

The Dodecahedron (Figs. 10 & 10b) is composed of twelve flat surfaces in the form of identical Pentagons. The Dodecahedron is a perfect convex form, a Pythagorean/Platonic Solid.

The Icosahedron
(Figs. 11 & 11b) is composed of twenty identical equilateral Triangles. The Icosahedron is a perfect convex form, a Pythagorean Solid.”

L.P. "You've stated that the Icosahedron has unique qualities as compared with the other Pythagorean/Platonic Solids."

C.G. "That's true. Leslie. Metatron's Cube holds accurate templates (dimensional drawings) of the first four Pythagorean/Platonic Solids but when we get to the Icosahedron, we have to make a little adjustment. In order to create a true template of the Icosahedron, we are forced to use the transcendental nature of Metatron's Cube. Compare the differences between our two images of the Icosahedron (Figs. 11 & 11b). Look at them closely, Leslie, you'll see it."

Authors Note: At this point in our conversation I most assuredly did not see IT, as Charles assured me I would. But of course, when I finally did see his point, it was obvious.

L.P. "Finally Charles, I believe I have it. In Fig 11b, you moved some of the interior lines and centers out a bit which changes the perspective. And the smaller circles are also at play."

C.G. "Good eye Leslie. The central point within the six interior circles is moved out by one half the original radius, an empirical relationship."

L.P. "I understand what you did and why. Let's start with an empirical fact. Nature's First Pattern is a transcendental pattern, naturally evolving into the Glyph Maker
(Figs 5 & 5b). And this is another empirical fact, Nature's First Pattern and Metatron's Cube are empirically linked which means Metatron's Cube is also a transcendental pattern (Figs. 1 & 12)."

C.G. "Exactly, couldn't have put it better. At first this transcendental quality may seem like a relatively unimportant detail but I find it truly significant. Of course Metatron's Cube is mostly known as the blue print to the Pythagorean/Platonic Solids but I find the transcendental nature of the pattern be the deeper and richer reality. It shows the conceptual reality of layers hidden within the second dimension which suggest the third dimension."

L.P. "Cyber space would be a good example of that kind of conceptual layer idea, where a single layer of data only exists mathematically above another. In cyber space, there are no physical planes lying atop one another."

C.G. “Yes, and It (MC) shows a direct empirical relationship between that kind of conceptual two dimensional universe and the three dimensional universe of manifest form we all live and breath in. I can see conceptual, two dimensional God mind, evolving into three dimensional God Mind, the plane in which we live and breath and experience our being. For me, this points directly to the "Mental Nature" of the manifest universe. Any single point in the cosmos has the potential to evolve and precipitate directly into any possible three dimensional reality.”

L.P. “Many beings we call wise, Charles, including the Buddha, tell us the universe is a mental construct, a dream held in the mind of God. And they say we humans each create our own personal universe in our minds."

C.G. "And who am I to argue with the Buddha. Yes, The Mental Nature of the Universe is the meditative thought at the root of this Mandala."

L.P. "All right Charles, let's talk about this Mandala. What about process? How did it begin?"

C.G. "I had a number of beautiful square painting panels wrap-stretched with fine linen canvass which were in storage and I wanted to paint. My patron managed to jump start me by supplying me with the resources required to devote a full time effort. I had been thinking about painting for months and he made it happen. He wanted a Mandala based on Metatron's Cube and that felt perfect to me. I consulted him about the palette because I wanted his Mandala to compliment its new home. By the time we came to the color decisions, which took about a week, I was totally inspired. The thing just blossomed as if it were growing on its own."

L.P. "But Charles, it still took several months to complete. Describe the first marks. How did you actually begin?"

C.G. "I hung the white canvas on the hall an began to visualize the icon, which I eventually struck on the canvas in red watercolor pencil
(Fig.13)."

L.P. "And then?"

C.G. "At this point in my process of creating Mandalas, I usually attempt some kind of open-eyed meditational space, quietly watching and listening. The Mandala will eventually begin to tell me what to do next. Sometimes this on and off open-eyed meditation will last for weeks but in this case ideas immediately began to pour into my mind from all directions and I had to restrain myself to keep from throwing paint at the thing. I had already spent hundreds of hours meditating on Metatron's Cube, drawing and painting it multiple times. I knew I was definitely ready and eager on the physical level but didn't feel mentally comfortable."

L.P. "How long did that last?"

C.G. "I held out for a couple of days before I began to add the frenetic background texture. When I finally began to paint, I was lost in the thing for a month, almost non stop. I lost track at about 200 hours
(Figs.14 thru 19)."

L.P. "So you finally came up for air?"

C.G. "Yes, it was time to rest and contemplate. The Mandala was almost out of control but it had a lot of energy and numerous layers, which I liked. There was the chaotic, organic pattern of textures, and Nature's First Pattern was hiding in there, and of course Metatron's Cube with a hint of its transcendental qualities. But there where hundreds of little problems which, in combination, formed a substantial challenge. The goal: to pull them all together into a cohesive unit, to find the order in chaos. It was just a matter of bringing all the layers together, finding the bridges."

L.P. "You make it sound easy, Charles. How did you actual do that?"

C.G. "Basically, I made thousands of small decisions, one at a time. But I did have several major breakthroughs. I began to de-localize the color in the various sections. I pulled the warm tones of the background into the cool tones of the background and the cool into the warm. And then I added the golden tones of the central circles into both back ground tones
(Figs. 20 & 21). That was a really important discovery. But the real breakthrough happened when I began to break the edge of the outer circles of Metatron's Cube (Figs. 21 & 22). That really did it. Metatron's Cube became a part of the textural, organic background, simultaneously dissolving and crystallizing. The remaining work was really just a refinement of those two ideas."

L.P. "It is just magnificent Charles, really."

C.G. "Thank you Leslie. I would just like to add one more thought, if I might?"

L.P. "Of course."

"This Mandala is actually two Mandalas. In fact it is signed twice, once for the Dynamic or Projective position, and once for the Static or Receptive position. Each Mandala has its own energy, its own voice. This is why we are offering prints in both positions. These two prints were created to hang alone or as a diptych."


Two beautiful prints, on fine watercolor paper, are now available of this newest Gilchrist Mandala based on an ancient icon of Sacred Geometry known as Metatron's Cube. Charles personally creates and signs these prints. The image size is 11" by 11". The paper size is 13" by aprox. 15". The price is $59.95, plus $14.00 insurance, shipping, and handling anywhere in the continental USA.

Fig. 1:
Dynamic or Projective position
Fig. 1b:
Static or Receptive position


The low wholesale price is:
One print - only $59.95 - plus $14.00 I/S/H
This print is shipped flat
See (Order Form)



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