The meeting between the feminine and masculine means the six angles (forward-back-down-left-right-below). The meeting between the triangles happens in space (square). The movement between the four elements occurs in time (circle). The cycle time happens between no time (birth-life-death-essence).


 Mandala (Sanskrit: मण्डल Maṇḍala, ‘circle’) is a spiritual and ritual symbol in Hinduism and Buddhism, representing the Universe.  The basic form of most mandalas is a square with four gates containing a circle with a center point. Each gate is in the general shape of a T. Mandalas often exhibit radial balance.

The term is of Sanskrit origin. It appears in the Rig Veda as the name of the sections of the work, but is also used in other religions and philosophies, particularly Buddhism.

In various spiritual traditions, mandalas may be employed for focusing attention of practitioners and adepts, as a spiritual guidance tool, for establishing a sacred space, and as an aid to meditation and trance induction.

In common use, mandala has become a generic term for any diagram, chart or geometric pattern that represents the cosmos metaphysically or symbolically; a microcosm of the universe.

Forms which are evocative of mandalas are prevalent in Christianity: the celtic cross; the rosary; the halo; the aureole; oculi; the Crown of Thorns; rose windows; the Rosy Cross; and the dromenon on the floor of Chartres Cathedral. The dromenon represents a journey from the outer world to the inner sacred centre where the Divine is found.


“The harmony of the world is made manifest in form and number, and the heart and soul and all the poetry of natural philosophy are embodied in the concept of mathematical beauty.” – Sir D’Arcy Wentworth Thompson


 Balance Mandala.

With 7 levels implied, all principles in this Mandala are infused with the Power of Magic. Wrapped in 4 final rings it triggers an Awareness in the observer of the Principle of Measurement or Evaluation. This Mandala Resonates the Principle of 8 fold Geometry with 2 Radiations. In addition to the salient center it has 16 centers each containing 2 sets of 4 rings. The inner 4 hold the Frequencies of Green Red Yellow and Green and imply Compassion Grounding Power in Compassion. The outer 4 hold the frequencies of Gold Red Yellow Green and imply a Spiritualised man grounds his Power in Compassion. This invites the question, “What’s the difference between the Spiritualised man and Compassion itself?”. The contrast between inner and outer Power invites our Awareness to the principle of Balance.

 Consciousness Mandala

With 12 Points and 12 rings in each point this Sacred Geometry Mandala has a foundation of 144 rings. The division into 3 sections represents the symbolism of the trinity, strength and equilibrium. The 12 represents, complex stability, 12 houses, 12 disciples, 12 tribes, etc. The 144 represents a fractal of the number of children in the house of the rising Sun, of the tribe of light (144,000). The contrast of black and white represents the total polarity from manifest Creation to the source of un-manifest potential. Creating a Flower of Life on top of an Flower of Life rotated 30 degrees gives a 12 pointed geometric map to a dodecahedron within a dodecahedron which is defined as a map to self reference. 

The Rational Mandala 


Astrological Wheel, or Mandala, is a map of the space surrounding us at the time of our birth. The wheel is divided into twelve sections called houses – six houses in the sky above, six beneath the Earth below. These houses are numbered counterclockwise, starting with the 1st house and the direction east. Planets in the heavens are placed on the chart wheel in the houses that correspond to where they actually are in the sky. Of the 12 houses, astrologers find the four most important are the one directly above our heads (10th), the one under our feet (4th), the one on the left and to the east (1st), and the one on the right and to the west (7th). These four are called angular, because they mark the corners of the chart: south, north, east, and west.

In the chart wheel, the planets are placed in their zodiac positions. The zodiac stretches in a circle through all 360 degrees of the surrounding sky, and this circle is divided into sections of 30 degrees – the familiar 12 signs. Planet positions are measured within signs by degrees, minutes, and seconds of circular arc. 

The wheel is also seen as two hemispheres – a top and a bottom. The upper part of the chart (houses 7-12) represents that part of the sky that was overhead and above the horizon at the time of our birth. It has to do with the world of thoughts, ideas, ideals, and planning. The lower hemisphere (houses 1-6) marks that part of the heavens that we have under us – and cannot see – below the horizon and on the other side of the Earth from us. It has to do with experiences, embodiments, incarnation, and so forth. In other word, the sky above and the Earth below.

A. T. Mann – Mandala based on major religious, philosophical and cosmological systems created and organised using the square and the circle, relating to the astrological sign of Sagittarius by its quality, numerology and symbolism, 1976.
A. T. Mann – Mandala based on major religious, philosophical and cosmological systems created and organized using the square and the circle, relating to the astrological sign of Capricorn by its quality, numerology and symbolism, 1976.
A. T. Mann – Mandala based on major religious, philosophical and cosmological systems created and organized using the square and the circle, relating to the astrological sign of Aquarius by its quality, numerology and symbolism, 1976.

Tibetan Mandala’s 

C. G. Jung – Systema Munditotius (The System of all Worlds), “Septem Sermones ad Mortuos”, 1916.
 This diagram portrays the antinomies of the microcosm within the macrocosmic world and its antinomies. At the very top, the figure of the young boy in the winged egg, called Erikapaios or Phanes and thus reminiscent as a spiritual figure of the Orphic Gods. His dark antithesis in the depths is here designated as Abraxas. He represents the dominus mundi, the lord of the physical world, and is a world-creator of an ambivalent nature. 
Sprouting from him we see the tree of life, labeled vita (“life”) while its upper counterpart is a light-tree in the form of a seven-branched candelabra labeled ignis (“fire”) and Eros (“love”). Its light points to the spiritual world of the divine child. Art and science also belong to this spiritual realm, the first represented as a winged serpent and the second as a winged mouse. 

The candelabra is based on the principle of the spiritual number three (twice-three flames with one large flame in the middle), while the lower world of Abraxas is characterised by five, the number of natural man (the twice-five rays of his star). The accompanying animals of the natural world are a devilish monster and a larva. This signifies death and rebirth. 

A further division of the mandala is horizontal. To the left we see a circle indicating the body or the blood, and from it rears the serpent, which winds itself around the phallus, as the generative principle. The serpent is dark and light, signifying the dark realm of the earth, the moon, and the void (therefore called Satanus). The light realm of rich fulness lies to the right, where from the bright circle frigus sive amor dei (cold, or the love of God) the dove of the Holy Ghost takes wing, and wisdom (Sophia) pours from a double beaker to left and right. This feminine sphere is that of heaven. 

The large sphere characterised by zigzag lines or rays represents an inner sun; within this sphere the macrocosm is repeated, but with the upper and lower regions reversed as in a mirror. These repetitions should be conceived of as endless in number, growing even smaller until the innermost core, the actual microcosm, is reached 
 Sri Yantra – Ultimate of All Mystical Diagrams. 

Sri Yantra, the most powerful of all yantras. The number of yantras, each of which has a distinct form and mystic bearing of its own, is estimated to be around nine hundred sixty. 

An energy pattern and power diagram, a yantra is broadly a diagrammatic transform of the deity, Shakti and Shiva in particular; this representation of the yantra, however, has a correspondingly large body of text, rendered perhaps in pursuance to the practices of early medieval days that advocated inclusion of such mantras and deity-invocations in the body of the yantra itself so that one who could not read and recite such mantras correctly could endorse them as inscribed on the yantra and be blessed with their mystic power. To a modern populace, not well-versed in ancient Sanskrit nd hardly able to correctly recite a mantra, a yantra drawn pursuing such medieval pattern is the most useful tool of achieving ‘the desired’ for it may bless the practiser with its mystic power by its mere presence in the house. 

Sri Yantra consists of a square ground plan technically known as ‘bhoopura’. This ground plan is a square with four gates on four sides. A lotus-seated four-armed line-drawn icon of goddess Lakshmi anked by ‘swastikas’ enshrines the gate on the west. The entrance on the east has an inscription acclaiming that the instrument – the yantra, is the Maha-mantra of Mahalakshmi who the inscription hails as the supreme beauty in three worlds. The entrances on north and south have been defined by the fragments of the mantra-text. This outer periphery and two circles within it, which constitute the Sri Yantra’s ‘mekhala’ or girdle, are symbolic of three worlds which Maya – Cosmic Illusion, infests. 

These two circles, inside the square bhoopura, are two concentric rings, the outer one consisting of sixteen lotus petals, and the inner one, of eight. The outer circle is known as ‘Sarva-shaparipuraka chakra’, and the inner one, ‘Sarva-shankshobhana chakra’. In this yantra format the inner ring has been identified as ‘Samprana chakra’. These two chakras are the principal instrument of accomplishing the ‘desired’. The true diagrammatic expanse of Sri Yantra is drawn in the circular space inside these rings in the form of fourteen triangles which create the fourth ring having hexagonal form. This hexagonal ‘chakra’, which bestows all bliss, is known as ‘Sarva-saubhagyadayaka chakra’. This chakra effects spiritual elevation. 

There are the fifth and the sixth chakra consisting of ten triangles each. The fifth is known as Sarvartha-sadhaka chakra, that is, all-accomplishing, and the sixth, as Sarvartha-rakshakara chakra, that is, all-protecting. These two chakras define the stage, when the inner realisation begins to unfold. 

The sixth chakra is followed by the seventh, a chakra consisting of eight triangles. It has been identified as the Sarva-roga-hara chakra. It redeems not only of the maladies of physique but also of all desires and infatuations, the maladies of the mind. This denotes the stage of freedom from all earthly bonds. Now the sadhaka – practiser, arrives at the threshold of ultimate realisation. Beyond the Sarva-roga-hara chakra is the eighth, the Sarva-siddhiprada chakra, the stage where nothing remains to be accomplished and the realisation is only to be consummated. The ninth and the last of the chakras is the bindu – the dot, which is the sanctum sanctorum known in the tradition as the Sarva-anandamaya chakra. This is the stage of the ultimate union of the practicing self with the Supreme Self, the sadhaka being one with the cosmos and himself becoming the cosmos : the stage of absolute joy. 

The Fifteen Nityas.

The Nityas or Eternities of Lalita represent the fifteen Lunar days or Tithis of the Waxing Moon. The full circle of the Nityas also represents the 21,600 Breaths a Human Being takes in a full day and night. The 15 Nityas are modifications of Lalita as Red Goddess with her three Gunas and her five Elements of Ether, Air, Fire, Water and Earth. Each Nitya has her own Mantra, Yantra and group of Energies (Shaktis). 

The Upanishad says that the Human Body is to be conceived as the Sri Chakra, being the Expression of one’s own Self. The Body is to be regarded as not different from the Atma, the Entire Cosmic System associated with the Body is also the same. This Manifestation rests on Time, Space and a combination of the two. The 15 lunar Tithis are to be regarded as Identical with the 15 Nityas. The sixteenth Kala called Sadakhya should be viewed as one with Lalita or the Supreme Deity Herself, being the 16th day or Full Moon.