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Gallery #8:

Star Tetrahedron in Metatron's Cube
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Diary Of A Mandala (Star Tetrahedron in Metatron's Cube):
The Process
by Charles Gilchrist

Commission begun on September 5, 2005
Commiion finished on January 17, 2006
page updated May 19, 2012


Entry #1: September 5, 2005

My latest commission begins. I don't really know much about my newest patron Philip (not his real name) but he trusts me enough to send me a substantial deposit for a 42" x 42" Mandala to be based on a combination of two sacred geometric archetypes: Metatron's Cube (Fig. #1) and The Star Tetrahedron, also known as The Double Tetrahedron (Fig. #2). This opportunity to paint and meditate is especially encouraging because Philip lives in a far away country halfway around the world. What a powerful demonstration of faith.

Philip told me his story in halting English (not his first language). He began to have dreams in which he received visits from a mysterious being calling himself Metatron. Philip had no idea who this being was, if he truly lived or had ever lived. It was a powerful series of experiences which deeply aroused Philip's curiosity. He began to ask questions and began to find answers.

Note#1: The Archangel Metatron was considered to be a "Scribe OF God and was associated with, among other things, Sacred Geometry.

Note #2: While studying Sacred Geometry, Leonardo Pisano (a brilliant Italian mathematician) perceived fantastic three dimensional geometric relationships held within a two dimensional sacred geometric archetype which he titled "Metatron's Cube" (Figs. #! & #2).

Philip went to the web for more details and discovered this web site. He studied my work relating to Metatron's Cube and contacted me. We corresponded for several months and now we begin . . . For REAL. . . Kismet.

The Goal: To create a beautiful and powerful Mandala which does equal justice to both archetypes. This is a substantial challenge because Metatron's Cube is a two dimensional archetype and The Star Tetrahedron is a three dimensional archetype. The question: How do I blend and balance these two different dimensions on one flat painting panel? That is the problem I intend to solve.


Diary Entry #2: September 10, 2005

I have managed to strike a very precise Metatron's Cube on Philip's Mandala (Fig. #3). Now I am gazing at red lines on a white painting panel, waiting for the Mandala to tell me what to do next.


Fig. #3: Work In Progress


Diary Entry #3: September 15, 2005

I have seen a vision of swirling organic forms moving through both geometries. My guidance has begun and the thin ground colors are applied. I used coarse brushes which created lots of rich textures . . . something to feed on. The colors selected are grey green, muted terra-cotta, muted purple and a warm grey.


Diary Entry #4: October 1, 2005

Weeks have passed. I am working from the center out and the geometric forms are just beginning to emerge, especially the three dimensional illusion of the Star Tetrahedron (Fig. #4).


Fig. #4: Work In Progress


Diary Entry #5: October 5, 2005

The Mandala is continuing to develop. Connecting the textural patterns is the primary concern (Fig. #5).


Fig. #5: Work In Progress (detail)



Diary Entry #6: October 15, 2005

Still working. (Figs. #6 & #7). My mind is quieting. What a Joy. Thank you Philip.


Fig. #6: Work In Progress (center detail)



Fig. #7: Work In Progress (center detail #2)



Diary Entry #7: October 20, 2005

At last this Mandala is starting to resolve itself (Figs. #8 & #9). It's beginning to look like a real painting. Philip will definitely get his moneys worth. This is a powerful piece.

I am currently working on the outside textures, pulling them all together and deepening the tones. There are still hundreds of small problems which I intend to solve . . . one at a time. When the outside edges are semi resolved, I will return to the center and work out again. If Philip's Mandala continues to develop at the present rate, I anticipate it will be completed toward the end of December.


Fig. #8: Work In Progress


Fig. #9: Work In Progress (center detail)

Note: These latest digital images (created in soft daylight) are, so far, the most accurate color interpretations.



Diary Entry #8: November 5, 2005

Two months have passed since the first marks were struck on Philip's Mandala. I have just experienced a tremendous spurt of creative energy, night and day for fifteen straight days (Figs. 10 &11). At last I can see the end of this piece but I'm physically exhausted. I am still very excited and totally dedicated but must take a break and recharge my batteries.

But Philip's Mandala is still calling me, so seductive, so needy. And so, in self defense, I have turned it to the wall. Maybe if I can't see it for a few days I can get a little rest.


Fig. #10: Work In Progress (detail)


Fig. #11: Work In Progress (upper left detail)


Diary Entry #9: November 7, 2005

Turning Philip's Mandala to the wall was exactly what I needed. My mind has quieted, becoming much more receptive. . . and my body is at rest. . . healing.

Making Mandalas

This diary page was originally designed to share my personal process of creating a specific Mandala, but it is also turning out to be a wonderful method of self discovery. I am being forced to think about my own very personal creative process in a new, more articulate way.

Projective and Receptive Energies

My process of creating Mandalas has always involved an awareness of the natural polar realities of acting and listening. My very first attempt at creating a true, spiritual Mandala began in this projective and receptive way.

The Projective Pole: At that time (1981) I was intellectually interested in the esoteric qualities of the numbers One through Nine. My first Mandala was to be a contemplation of the number Nine. I took action (projective energy) by stretching a blank piece of watercolor paper on a wooden drawing board and striking a perfect circle in the middle of the page. I finished the first projective aspect of that first Mandala by asking the "always happy to guide" Universe, to teach me about the nature of the number we call, "Nine." It was a heart felt prayer (projected through the white circle) which I held in my mind for as long as possible. This prayer lasted, off and on, for days.

The Receptive Pole: I then made a conscious choice to polarize my energies by practicing a form of open-eyed meditation I had already perfected. I began by releasing the prayer. . . giving it up to spirit. I was, and still am, absolutely convinced of the wisdom of truly releasing our prayers. I deepened my meditation by contemplating the simplicity of that empty circle on that white paper. It took many days of practice but my mind eventually became very still. And my receptivity was rewarded with a beautiful revelation. In that stillness I saw a nine pointed star floating in the white page . . . at an unusual angle. I had allowed myself to become very receptive and had, in fact, received a very specific vision. I didn't really understand, but I was absolutely convinced there was a hidden message held within the axial and angular qualities of the vision.

I polarized again and copied the exact position of that nine pointed star inside the white circle (action). I let go to the receptive possibilities again, quieted, and waited for the next level of reception. The experimental spiritual process had begun and, through this discipline, my first Mandala was realized (Fig. #11).


Fig. #11: 1981: Gilchrist's First True Mandala (center detail)

Polarizing between the projective and receptive qualities of consciousness is THE root concept of my creative, Mandala making process. This time tested and totally trusted discipline is still working, and even though Philip's Mandala is currently facing the wall, I know it is still growing.


Diary Entry #10: November 11, 2005

Philip's Mandala faced the wall for two days. And now, after three more days of intense work, It is almost completed. I am moving into the last stages of contemplation and refinement (Fig. #12).


(Fig. #12) Work In Progress

From the moment of my original vision, this project has been like a chess game. In that vision, I saw the two sacred geometric archetypes materializing in an swirling organic texture . . . an energetic, ethereal like texture. But In order to manifest my multi layered vision within this Mandala, I had to think ten moves ahead. There are several important aspects to these two sacred geometric icons which I intended, from the beginning, to illustrate. Some of the primary esoteric qualities of Metatron's Cube and The Double Tetrahedron are listed below:

#1: The most celebrated aspect of Metatron's Cube is the fact that all five Platonic Solids (three dimensional realities) can be discovered within this two dimensional, conceptual reality called Metatron's Cube (see
Mandala Templates) (and/or see Gallery 13: Metatron's Cube). This reality points to the mental nature of the universe i.e., God Mind manifesting the universe including all the various dimensional planes. For me, this concept completely interfaces with the root concepts of quantum physics.

#2: The thirteen circles of Metatron's Cube are directly connected to THE root pattern of Sacred Geometry (Nature's First Pattern). NFP is the infinite natural grid of overlapping circles (see
Sacred Geometry an Introduction). From the beginning I wanted Philip's Mandala to include subtle references to Nature's First Pattern. In this Mandala, NFP is hinted at in the additional circles to be found outside the original 13 circles of Metatron's Cube.

#3: Both Nature's First Pattern, and Metatron's Cube, are transcendental patterns; they both naturally expand and contract into microcosmic and macrocosmic infinity (see
Your Sacred Geometry Coloring Book). In this Mandala, the transcendental quality of Metatron's Cube is suggested by the addition of numerous smaller circles to be found throughout the piece (Figs. #13 & #14). The diameters of these smaller circles are exactly four times smaller than the diameters of the thirteen circles of Metatron's Cube. This is an empirical relationship. These smaller sized circles create another Metatron's Cube inside each of the original sized circles. If completed, this sacred geometric possibility would actually form a smaller circular grid, perfectly interlocking within the larger grid.


(Fig. #13) Work In Progress upper left detail


(Fig. #14) Work In Progress upper right detail

#4: In addition, this mandala holds a large circle enclosing the principle Metatron's Cube. This enclosing circle is part of another, even larger circular grid. And this brings us to another principle aspect of Sacred Geometry: Concentric Circles. A infinite number of Concentric Circles naturally evolve from any two points in space. The fourth concentric circle (of any size) is generally called "The Fruit Of Life." Metatron's Cube is directly related to The Fruit Of Life, hence the inclusion of Concentric Circles (Fig. #12) For more details about Concentric Circles (see Your Sacred Geometry Coloring Book) (and/or see Gallery 5: Squared Concentric Circles).

#5: The Star Tetrahedron or Double Tetrahedron is a fabulous form, and the architectural design of this three dimensional sacred geometric archetype is found within Metatron's Cube, a two dimensional sacred geometric archetype. One of the most challenging aspects of this project has been a balancing act in which I am attempting to create a visual dance between the two dimensional and three dimensional planes. I am still refining this dance (Figs. #12, #13, #14 & #15).


Fig. #15: Work in progress (Center Detail)

God's language called Sacred Geometry, holds a beautiful visual poetry, a poetry which (in Metatron's Cube) speaks of bridges linking worlds apart. Metatron's Cube proves a direct empirical relationship between the three dimensional world in which we live and breath and have our being, and the two dimensional realm which only exists on a conceptual, mental plane. And from the two dimensional realm of Metatron's Cube, a bridge can also be found into the one dimensional realm of Unity Consciousness . . . Oneness . . . THE ALL.

I see God, THE ALL, clearly manifest as The Single Point, omnipresent and omnipotent; both creating and transcending all planes of consciousness and all possible dimensions.

I quote the ancient Hermetic axiom taken from – The Kybalion, originally published in 1912, by the Yogi Publication Society: "While All is in THE ALL, it is equally true that THE ALL is in All. To him who truly understands this truth hath come great knowledge."

The Mantra:
All is in THE ALL: THE ALL is in All.


Diary Entry #11: January 17, 2005

After numerous small adjustments, the commission is finally competed and the Mandala is on its way to its new home in Florence, Italy. I truely believe this piece to one of my finest works. I am so excited, knowing this Mandala will have its new home in Florence, with its rich history of fine art patronage. And the location is also significant because Leonardo Pisano (the discoverer of Metatron's Cube) was a brilliant Italian.


Fig. #11: Charles with the Completed Mandala


A beautiful print, on Fine Art 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 as Artist's Proofs. 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.



#SG801: Star Tetrahedron in Metatron's Cube

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




Related Videos

Sacred Geometry 101E: Metatron's Cube

Sacred Geometry 101D: Concentric Circles


More Info On Sacred Geometry And Metatron's Cube

Sacred Geometry an Introduction

Your Sacred Geometry Coloring Book

Mandala Templates

Gallery 5: Squared Concentric Circles

Gallery 6: Sacred Geometry Mandalas

Gallery 13: Metatron's Cube





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