CREATION OF THE FLOWER OF LIFE
In the earliest traditions, the supreme being was represented by a sphere, the symbol of a being with no beginning and no end, continually existing, perfectly formed and profoundly symmetrical. The addition of a second sphere represented the expansion of unity into the duality of male and female, god and goddess. By overlapping, the two spheres, the god and goddess created a divine offspring. The Vesica Pisces motif (and its derivatives, the Flower of Life, Tree of Life, and fundamentals of geometry) has a history of thousands of years and easily predates virtually all major religions of the current era.
The goddess of any and all religions which recognize her power and significance invariably use the Vesica Pisces to identify her. From the overlapping pools of water and the chalice well cover in the goddess’s garden in Glastonbury (aka Avalon) to any number of representations of the Tree of Life, the goddess and her ability to create and birth life are celebrated.
The Seed of Life represents the seven stages, steps, or days of creation. The creation of a vibrating pattern of space (electromagnetic radiation) is the actual process of creation itself which otherwise is symbolized by various concepts such as “days of creation” to make something otherwise almost impossible to explain, much easier to handle.
The creation of the Octahedron is the first step or “day of creation.” The next stage involves the revolution of the Octahedron on its axes, forming a sphere. At this point, all of reality, including the Cosmic Designer’s awareness, exists as the Sphere itself. All that really exists is the sheath of the sphere itself.
The next stage is “the spirit of the Creator floating upon the face of the waters” which was mentioned in the Old Testament. In other words, the Cosmic Designer’s next spontaneous realization or expansion in self-awareness was to venture outside the edge of the sphere and project another sphere using the previous step of materializing an octahedron and spinning it into a sphere.
In the second sphere that was created by the Cosmic Designer, a photon or particle of light was sent out. In transmitting a second spinning octahedron into a sphere on the membrane of the first sphere, the image appears of two circles crossing each other in their centers, a design recognized as the Vesica Pisces.
This configuration is a geometrical formula which symbolizes the electromagnetic spectrum. In Drunvalo Melchizedek’s book The Ancient Secret of The Flower of Life, Vol. 2 can be found much more information regarding this whole process. “Let there be light” and light was the primary (first cause) phenomenon that God intended.
In the ongoing process to replicate the spheres and form more Vesica Pisces, multiple forms of creation can be seen emanating from the endless cascade (reproduction) of further geometrical patterns.
The continuation of the “seven-day” creation process looks like the successive division of cells illustrated here in a fertilized egg until there are seven cells or circles overlaping one another creating the perfect flower-shaped “Seed of Life” pattern.
On the seventh day, the process ends. On the “SHABBAT,” or day of rest, the Seed of Life is completed. The whole form of the primary vortex which contains the blue print of the cosmos is finally completed.
The Seed of Life is a primary building block of the Flower of Life, from which comes forth the Fruit of Life. Another blueprint for everything, the Fruit of Life creates all elements, molecules, organisms, and even everything else in the universe. In other words, everything that abides in reality comes from the form of the Seed of Life.
SEED OF LIFE
The Seed of Life Is the Symbol of Creation and the
Blue Print of the Universe
Radiating the Most Spirtual Geometry Pattern Throughout the Universe: The Flower of Life is a sacred symbol found within all major faiths of the world and even in the first vibratory patterns of the universe itself.
The components of the Flower of Life may even be found in the very first impressions of energy from the “Great Void” during the first stages of creation. All things materialize from the perfectly organized quantum energy patterns of the Supreme Being; all matter, all creation is the emanation of God.
The Flower of Life, forever radiating a pattern of profound elegance and meaningful beauty, is considered to be the most sacred of all geometry symbols.
The Construction of the Flower of life
Several stages occurred in the creation of the Flower of Life, one of which was the Seed of Life, which through the same kind of “vortex movement” became the Egg of Life In three (3) dimensions, as all the lengths between the spheres are the same as the lengths between the notes and half notes in the application of music, this design provides the foundation of all melodies.
The configuration of the third stage of cell division in the embryo is that of the Egg of Life. Each time a cell divides, it becomes two cells, which then divide into four, and then eight, etc. until a complete human organism emerges along with all the energy patterns, chakras, and spiritual bodies such as the Merkaba. When more and more spheres are added, one arrives at the design known as the Flower of Life.
The Flower of Life Contains a Secret Symbol
Within the Flower of Life, one can discover a secret design by selecting thirteen (13) spheres from the Flower of Life. By drawing out these thirteen (13) circles, one finds the origin of everything, this sacred geometric symbol is known as the Fruit of Life. These thirteen (13) circles provide thirteen (13) systems of knowledge with each one illuminating a different facet of existence.
All information regarding the human being to the island universes throughout the cosmos is available through these systems.
In the first system, for example, it’s possible to create any molecular structure and any living cellular structure that exists in the universe. Any thriving cellular organism or molecular configuration in existence, for instance, could be constructed using information from the first system. In other words, all thriving beings.
The Tree of Life in its various forms is recognized in all cultures as a symbol of immortality and eternal life. From ancient Chinese and Egyptian culture to Germanic paganism and Mesoamerica, it has been sought after throughout the ages. And, while depicted in many different contexts, the imagery across all cultures is essentially the same. Not to be confused with the Tree of Knowledge of Good and Evil, the tree of Life is the tree whose fruit gives eternal life to all who might obtain it. In addition to its religious references, it is a reminder of our past (roots - ancestry), present (tree body - knots included) and future (fruit – labor and posterity).
The concept of a tree of life has been used in science, religion, philosophy, and mythology. A tree of life is a common motif in various world theologies, mythologies, and philosophies. It alludes to the interconnection of all life on our planet and serves as a metaphor for common descent in the evolutionary sense. The term tree of life may also be used as a synonym for sacred tree.
The tree of knowledge, connecting to heaven and the underworld, and the tree of life, connecting all forms of creation, are both forms of the world tree or cosmic tree, and are portrayed in various religions and philosophies as the same tree.
Drunvalo Melchizedek, in his Flower of Life symbolism, uses the Vesica Pisces as the geometric image through which light was created.
Geometry is a vast field of study and Sacred Geometry is a term used to indicate a particular field where the qualitative as well as quantitative
elements are addressed.
Other terms for this study include:
• ancient geometry: many ancient traditions used this form of geometry
• organic geometry or bio-harmonic geometry: the geometry of nature
• archetypal geometry: illustrates the self-organizing forces of creation
• classical geometry: all can be reduced to divisions of circle and sphere
• philosophical / theosophical geometry: the nature of creation
• universal geometry: because it pervades the universe
• inter-dimensional geometry: functions on all levels of creation
Sacred geometry is a universal language that describes the inner workings of nature and the intrinsic order of the universe. It is the natural sanction that unites all forms of life… from microbes, plants, animals and humans to the motions of the planets and stars. Sacred geometry shows the quality of relatedness between unique and individual differences and demonstrates how diverse elements can be organized into a whole, while still preserving their individual uniqueness. Everything has an underlying geometric template which links it into the cosmos. Geometric cosmology provides a tangible means of examining the intrinsic order of the Universe. It shows how the microcosm reflects the macrocosm. It is both exoteric and esoteric, providing an interface between the seen and unseen, the quantitative and qualitative, the finite and infinite. It symbolizes the relationship of form, movement, space and time. Everything that appears solid in the world is actually in a state of vibration. Nature is abuzz with pulses, oscillations, wave motions, rhythms and cycles in a vast spectrum of universal energies—all of which can be defined as vibration and frequency. Frequency can be expressed through number and number through shape and form—which is geometry. Everything in the world is energy in a continual state of change. The sum total of energy in the universe does not increase or diminish but is continually transformed from one state to another. There is no end, only change. The end of one cycle marks the beginning of another.
From the dance of atoms to spiraling galaxies, every type of growth and motion is governed by the same set of mathematical laws. These laws are contained in the primary shapes and patterns that develop from uniform divisions of the circle and sphere. They are graphical representations of the mathematical principles upon which nature operates. They describe the self-organizing forces that manifest in infinite diversity. The patterns are reflected in nature as natural forms, but with an important distinction. While natural forms are geometrically organized, every form is unique and can only approximate the mathematical principle upon which it is based. Although governed by mathematical rule, natural form always gives way to physical constraints. Natural forms are determined by the interaction of intrinsic and extrinsic forces. In the case of a plant, for example, the intrinsic forces are governed by the genetic coding that geometrically organizes the molecular arrangements to shape the vegetal characteristics of that particular plant. The extrinsic forces are those influences that are external to the plant’s biological form. They are largely environmental such as soil content, temperature, humidity, wind, rain and sunshine. They influence the options and create limitations affecting the plant’s existence. Nature, as a response to the action of force, creates an infinite diversity of forms from a basic inventory of archetypal mathematical principles. The archetypes are the basic pattern-forming processes that, operating within strict limits, create limitless varieties. Natural forms are diagrams of the forces that created them. Every natural form is a blend of beauty and function, demonstrating how nature develops the most refined, regenerative technology based on a geometric system that combines economy of energy with optimal performance.
As well as the world being geometrically organized, it is also geometry that determines how we perceive it. We experience the world through our senses, which respond to energy fluctuations in our field of awareness. Each sense is tuned to a different range of frequencies. On the most fundamental level, our senses react according to the geometrical and proportional differences of the stimulus involved. If we smell a rose, it is not actually the chemical substance of its perfume that we respond to but rather the geometric nature of the chemical’s molecular structure. If blindfolded, many of us would not be able to distinguish the aroma of a garden rose from a perfume that had been produced in a laboratory. This is because the molecules of the chemicals were bonded similarly to those of the rose—in other words they shared the same geometry.Our sense of sight differs from our sense of touch because the nerves of the retina are tuned to a different range of frequencies than are the tactile nerves. The same applies to the nerves involved in the senses of taste, smell, or hearing—it is the geometric distinctions among the frequencies that we respond to.
Geometry is the constant amidst a continual process of change. Our physical bodies are in a constant state of change—every atom of every molecule is continually changed and replaced. The DNA molecule is generally considered to be the vehicle of continuity. However, the information to replicate is not encoded in the physical DNA molecule; or the carbon, oxygen, hydrogen and nitrogen elements that compose DNA—because they too are continually changed and replaced. The vehicle of continuity is a geometric spiral (helix) which provides an invisible blueprint upon which DNA is structured. The spiral is based upon archetypal geometric proportions that exist prior to the physical state. It is these invisible geometric proportions of the spiral that are responsible for the replicating power of the DNA.Similarly, the process of photosynthesis in plants occurs because the geometry of the carbon, hydrogen, magnesium and nitrogen elements of the chlorophyll molecule is organized into a harmonic twelve-fold arrangement. These same elements in any other arrangement will not transform radiant energy into life substance.
The 5 Platonic solids (Tetrahedron, Hexahedron, Octahedron, Dodecahedron and Icosahedron) are ideal, primal models of crystal patterns that occur throughout the world of minerals in countless variations. These are the only five regular polyhedra, that is, the only five solids made from the same equilateral, equiangular polygons. To the Greeks, these solids symbolized fire, earth, air, spirit (or ether) and water respectively. The cube and octahedron are duals, meaning that one can be created by connecting the midpoints of the faces of the other. The icosahedron and dodecahedron are also duals of each other, and three mutually perpendicular, mutually bisecting golden rectangles can be drawn connecting their vertices and midpoints, respectively. The tetrahedron is a dual to itself.
Metatron’s Cube is a Sacred Geometrical symbol that forms a map of Creation, and it is this ‘map’ that the mystics, sages and ancient civilizations have revered throughout the ages of time.
Over 13 billion years ago, during what is referred to on Earth as the ‘big bang’, Source (God, Infinite Intelligence) gave birth to the Universe/s… and it is this symbol of Metatron’s Cube that explains this ‘birth’ and the infinite expanding field of Creation in all directions of time and space.
Source energy, through the field of Metatron’s Cube, creates the potential field of creation – a field of high vibrational frequencies that ripple out through creation eventually creating colour, then sound and finally at their lower levels of vibration – physical matter.
Thus the field of Source energy (represented by Metatron’s Cube) permeates through every level, through every aspect of Creation. As that original spark of LOVE of Source expands in all directions of time and space, God is the energy waves, God is the colour, God is the sound and God is the physical matter and God is the entire field of LOVE – Live One Vibrational Energy.
God’s light expands infinitely through Metatron’s cube via one or more of the elements of creation – Earth, Fire, Air, Water coming together through Spirit. Galaxy’s, solar systems, planets, humans, plants, animals, DNA, the atom, sub-atomic particles and hence the energy / space between all matter is made up of one or more of these elements.
Metatron’s Cube is composed of 13 spheres held together by lines from the midpoint of each sphere.
The spheres of Metatron’s Cube represent the ‘Feminine’ whilst the straight lines represent the ‘Masculine’. Thus Metatron’s Cube represents the weaving together of the Male & Female polarities to create the ONENESS field of the infinite ALL.
GOLDEN MEAN AND FIBONACCI SEQUENCE
PHI – The Geometric Blueprint for Life
Because the digits utterly go on forever without reoccurring, there is no mathematical solution to Phi. The unique thing about this number is that it can be found incorporated in all known organic structures. The universal design of the golden mean seems to be a geometrical blueprint for life itself. Phi can be seen in all biological configurations such as the seed pattern of a sunflower, the spiral pattern of a sea shell, the proportions of human and animal skeletons, and in the patterns of certain types of cactus plants. This value was known by Plato as being “the key to the physics of the cosmos.” Phi is approximately 1.6180339+…, yet it’s entire sequence cannot be worked out arithmetically, Phi can be easily obtained with a compass and straight edge.
How to Determine the Golden Mean
The Golden Section can be found in two fairly straightforward ways:
Method one: If you take two equal squares, side by side, (a 1×2 rectangle), divide one of the squares in half, and with a compass, swing the diagonal down to the base of the other square, the point where the diagonal touches the base will be phi, or 1.6180339+, in relation to the side of the square, which is 1 (This formula also describes exactly the rectangular floor of the King’s Chamber).
Method two: The other method of determining the Golden Section is by dividing a line segment, AB, at a point C, in such a way that the whole line is longer than the first part in the same proportion as the first part being longer than the remainder. AB/AC=AC/CB=1.6180339 (notice the fractal and holographic nature of this ratio…).
How the Fibonacci Sequence Relates to Phi,
the Proportion of the Golden Spiral
Fibonacci sequence is a progression of numbers that have a highly relevant correlation with Phi. Leonardo Fibonacci (1170-1250), an Italian mathematician from the Middle Ages, first discovered this progression while trying to understand the growth patterns of plants. This progression is: 1,1,2,3,5,8,13,21,34,55,89,144,233, etc., which is created by combining the previous two figures of the progression to get the succeeding number, for example: 1+1=2, 1+2=3, 2+3=5, 3+5=8, 5+8=13, etc.
How does this progression of numbers relate to Phi? By dividing the next number with the previous number, and the further down along the succession one gets, one arrives closer and closer to the hypothetical number of Phi which is best described as: “1.6180339+…” For example: 1/1=1 2\1=2 3\2=1.5 5\3=1.66 13/8=1.625 21/13=1.615 34\21=1.619 55\34=1.617 89\55=1.6181 … Phi, or “1.6180339+…” can never be arrived at exactly, because it cannot be solved mathematically, instead it only approaches closer and closer to an infinite sequence of numbers
The Fibonacci Spiral is a graph of the Fibonacci procession of numbers in the shape of a spiral. This spiral is nearly the same as the diagram of the logarithmic spiral of the Phi ratio, or the Golden Mean Spiral. The Fibonacci spiral is based on a whole number equivalent of the arithmetically impossible Golden Mean spiral, which has no start or finish, while the the Fibonacci spiral has an obvious beginning.