Part V: Inner and Outer: the One and the Many

[This is Part V of The Chronicles of the Inner Chamber; readers of this series may first want to read the blog's 'Introduction' and the Matrimandir Action Committee's 'Manifesto',  Part I - Preface,  Part II, Part III, or Part IV before continuing.]

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The Mother was very clear: ‘I did not see the outside…only the inside…’ Further, she indicated that she was open to suggestions. In the Matrimandir Talks, 17 January 1970, there is even some discussion on the subject, and a sketch as well. What begins to emerge is the temple’s outer shape, the Vishnu Shalagrama, one of the most sacred forms in Vedic culture.
This was to be the collectivity’s contribution to the Mother’s temple. The cosmic/yogic principles involved are the One and the Many; or else, the Unity and the Multiplicity; or the Point and the Circle; or the Centre and the Periphery. These are different ways of expressing a key aspect of the Supermind. That is, when we have a ‘supramental manifestation’, we know that in some way these two seemingly opposing positions or principles must be reconciled.
India has grappled yogically with this conundrum for two thousand years - and has been seemingly unsuccessful. From the time of Gautam the Buddha to the present, we observe how slowly and steadily the issue has been entirely shelved; no such reconciliation was possible. The only ‘solution’ was to escape, to ignore the problem, to undermine its very existence by describing the components involved as ‘illusion’. The direction of the quest was changed and consequently the goal; Sri Aurobindo has elaborated on the matter in his Letters on Yoga.
This was the fate of the Vedic Divine Maya. UP THERE she was allowed her ‘space’. When a split in the yogic perceptive capacity arose ‘down here’, she was simply Maya, devoid of any divine attributes. The yogic spirit of India succumbed to the same disease which afflicted the entire globe at the end of the 8^th Manifestation of Sri Krishna when realms BEYOND became the goal of the quest, unlike pre-Buddhist Vedic India. Some described it as the onset of a Kaliyuga.

This split was indeed felt throughout the world. It is most clearly recognisable in the occident where orthodox religions finally made a dogma of the split and Spirit and Matter became forever stark opposites in the binary creation of the mental human being, whose sustenance is this pole of tension engendered by the split. The material world of time and space was not known as ‘illusion’ in the West but evil, and a downright Hell. It became a prison, a place where sinners could find a springboard to heaven after death if they were fortunate enough to recognise the one Saviour, and only that one, who could lead them out of their misery. However he managed it, the mental human being could not reconcile these opposites because of his binary affliction.
India somehow survived the devastation simply because nothing was organised, no orthodox religion, no pope, no Imam, and above all, no dogma. The yogic realiser was free to pursue his or her preference, even when the predominant influence was the way of Advaita and Mayavada. There was, however, a price to pay: India lost her hold over the material plane that, in the language of Number, is 9, and that, according to the Mother’s designation, is defined as creation in matter. Having abdicated, having opted for otherworldliness as the goal, all else was undermined. As a result, down the centuries with the corrosion that set in, from within, India suffered invasion upon invasion, conquests, colonisations, humiliations, desecration of her most sacred treasures; and finally, every illness we see around us today. At the root of it all was the loss of the Divine Measure several thousand years ago with all its repercussions thereafter.
This was what the Mother set about to rectify in her ‘act of measuring’. This she DID accomplish in spite of the recalcitrant ignorance and the bad will she encountered during that infamous 18-day struggle to establish that Measure at the heart of her temple. 

The supramental task at hand involving the temple can be described geometrically by the ancient symbol of the Sun, a circle with a central point, thus: . After the split, when science was divested of the sacred (as a correlation to the yogic split), that astrological symbol was incorporated by astronomy. To this day it remains in use.
The Sun is considered by Sri Aurobindo to be a symbol of the supramental Gnosis. We shall see in what way this particular symbolism takes shape in the inner chamber. These Chronicles will progressively demonstrate how this simple geometric form holds the key to the entire body of Knowledge captured in the Mother’s plan. But it is not enough to describe the elegant simplicity of the geometry involved. When the Supermind is made manifest all the Knowledge has to be applied today. In other words, it must be rendered dynamic.
The Sun’s astrological symbol indicates the One (Point) and the Many (Circle). It also offers the geometric understanding of the Mother’s mission as Divine Maya and the purpose of her ‘act of measuring’. For the inner chamber is the Point; the outer Shalagrama shape is the Circle. This simple correlation describes certain specific boundaries. Her sacrosanct domain was the Inner Chamber (‘I saw only the inside…’); the outer shape was to be the contribution of the collectivity. She did not impinge upon their domain, - but the collectivity had no respect for hers.
We must not lose sight of the fact that though the Shalagrama was the responsibility of the group (in this case represented by the architect), its measure was nonetheless established by the Divine Maya. Two key elements were given by her to grant legitimacy – or a Divine Sanction, if you will – to the outer shape.

More importantly, it could then be drawn into the integration process, thereby reconciling one of creation’s greatest paradoxes. It is the same conundrum quantum physics faces when it seeks to measure the position of point and/or wave: it is one or the other. This symbol, transposed to the respective duties of the Mother and the group, reconciles the paradox and expresses the simultaneous harmony of the two. Those two elements were, first and foremost, the 24m chamber floor diameter – no more, no less – and the placement of the chamber of 24m in a perfect circle with a consequent radius of 14.40m. They determined the correct dimensions of the Shalagrama whereby it became integrated into the whole. It was then elevated to the realm of sacred geometry.
In this simple manner, via sacred geometry applied to an architectural form, one of the deepest truths of the Supermind is made manifest and its goals are furthered.

 

Some basics
The classic Shalagrama is constructed on the basis of three interrelated circles. This in itself allows us to appreciate why in India it is one of the most sacred forms of geometry, revealing as it does the triune nature of reality, which Sri Aurobindo describes as Transcendent, Cosmic, and Individual; or else Sat-Chit-Ananda. Reproduced below is the construction of the three circles with their respective radii.     
              

From: The New Way, Vol. 2, Chapter 11, p. 425,
The Inner and Outer Harmony (© Aeon Books, 1981).

The inner chamber whose diameter is 24m is placed within the central circle (in a ‘perfect circle’, as the Mother mentioned). When the walls are extended upward they meet that circle at a height of 8.65m. This ‘perfect circle’ determines the proportions of the circumscribing Shalagrama. With the Mother’s chamber of the specified measurements at the centre, it will be 36m x 28.80m.
In the Auroville Matrimandir there is nothing touching those crucial points in space. There is no 24m and by consequence no 8.65m meeting that significant inner occult circle.

There is thus no harmony between inner and outer, irrespective of the fact that the architect seems to have maintained the correct measurements for the Shalagrama.
If the floor diameter is 23m, or thereabouts, as is presently the case in the Auroville Matrimandir, then the Shalagrama cannot have a total width of 36m as advertised. It must be less. A Shalagrama can be constructed on the basis of any radius; but whatever that is, the central circle will determine the proportions of the figure which are 5:4. Width and height will vary accordingly. While this is possible geometrically, the result in the Mother’s temple is that two important harmonies are lost, which we will describe in these Chronicles.

 

What was lost
The idols of a Hindu Temple must be fashioned according to set rules. These were laid down centuries ago based on the visions of sages. It is only when those exact proportions are reproduced that the idol is truly infused with a certain energy that is the cosmic essence of that particular deity. If, in the fashioning of the murthi, the sculptor introduces a variation without the inspired drishti, the connection is lost. The idol is then abandoned and certainly never installed in the temple. Thus, accurate proportions are crucial to the function of the idol.
In earlier times, before the decline, idols were not required for this function, only pure geometry was used. This was the Vedic Age several thousand years ago. The construction, known as vedi, was simply a particular geometric form made of bricks. These structures for the homam were often quite elaborate and the geometry involved was complex. The sacrifice could only be ‘pleasing’ to the Godhead (Agni, for example) if the geometry was executed with meticulous care. Then, and only then, was it elevated to the level of the sacred.
It is known that the Mother did not want photographs of herself and Sri Aurobindo in the temple, particularly in the Inner Chamber, ‘only the symbols’, - i.e., only the geometry. This injunction was the signal that she was resuscitating a very ancient Vedic tradition. It is similar to the difference between Carnatic and Hindustani music. The former is like the skeleton of the structure (music); the bare and pure essence; the latter is a step or more removed from the basic structure or pure essence. In certain periods of evolution the vedi is the way; in times when the Knowledge, pure and overt, has to be covered in veils in order to preserve it, then the skeleton/essence structure acquires outer sheaths – like Guha covered in veils.
Bearing the above in mind, we can analyse the geometry of the Mother’s Vision and reveal how it is sacred only when HER plan in its complete form is the blueprint. There may be geometry in the Shalagrama of the Auroville Matrimandir, but it has not been sanctified by the innermost essence which is provided by the 24m diameter of the Chamber, since that does not exist.
Within the ‘perfect circle’ of the Shalagrama (below), as the Mother specified, we have inserted the Inner Chamber. The element of crucial importance is the floor diameter of 24m. This is where the walls are set (‘…it is understood the 24m ends at the walls’) and then extend upward to join the occult circle at 8.65m. If not, if, as in the Auroville Matrimandir, the chamber measures 23m, nothing HOLDS. Those points in the temple’s inner spaces do not exist. Yes indeed, Ruud Lohman, everything ‘falls apart’.

For only when the geometry is faithful to this inner measure can the Shalagrama bear the correct proportions with a horizontal 36m and a vertical of 28.80m.

From The New Way, Vol. 2,
Chapter 11, p.433,
The Inner and Outer Harmony,
© Aeon Books, 1981

Added to the vertical are 30cm at the top and 30cm below to close the three Shalagrama circles and seal the form, indicated by the dotted lines in the diagram on page 3. We then have 29.40m, the sidereal ‘year’ of Saturn, ruler of India’s zodiacal sign Capricorn. In future Chronicles this will be explained in full when the chamber is given dynamism, like a carousel that is set in motion.
The true measure, the Divine Maya, moves from inner to outer, be this in the Rishis’ vision or in truly sacred temple architecture. But since the Matrimandir architects and builders refused to incorporate the correct room diameter, as the Mother so clearly specified, that divine Measure does not exist in what they have constructed. The harmony between inner and outer has been lost there forever.
Had the community respected the boundaries that Supermind determined, with specified tasks allotted to all the participants, the desired integration of inner and outer would have occurred. As things stand, though the correct measurements seem to have been adopted for the outer shell of the temple, they bear no relation to the inner chamber. It, in turn, cannot ‘support’ the outer since the ‘skeleton’ that the room must provide by its perfect measurements does not exist. The entire exercise has been a pathetic waste.
There is something else that has been lost of perhaps greater importance. It concerns the very nature of the geometric forms involved in both inner and outer structures. Regarding the latter, it is essential to note that true to the Divine Principle the Mother embodied, the Shalagrama is a feminine form, unlike the angular shapes, - i.e., pyramids, squares, rectangles, and so forth. This is fully in keeping with the Avataric mission of this 9^th Manifestation.

Indeed, with the number 9 itself – the ultimate Feminine. The round form reveals a key feature of the Age of Supermind that is upon us in that perception is spherical, not linear; above all, it is a vision from the core. 

But that core, that ‘centre that holds’, does not exist in the Auroville Matrimandir. Therefore the entire exercise is laid waste and with it the crores of rupees already invested in the colossus. Surely if the members of the community sought in their Matrimandir a field for their yoga and discovery of human unity, something less costly could have been devised.

         

The significance of this loss, this deliberate unwillingness to allow the Mother that sacrosanct inner space has had grave consequences for Auroville. Under the circumstances, any pretensions of being ‘the cradle of the Superman’ have to be seen for what they are: illusions, even arrogant illusions. In the language of sacred geometry such as the Mother has employed, this is easily explained. There must be a harmony, spherical and non-speculative, precise and not approximate, between inner and outer because only then can the dynamics of Supermind be organised for deployment on this third planet from the Sun. Indeed, this is the message contained in our luminary’s very symbol: , the Point in the Circle.
This harmony has never been achieved or even suggested in any extant example of sacred architecture across the globe. It was to be India’s contribution to the 9^th Manifestation of the Supermind. 

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Matrimandir Action Committee
31 March 2003

[Link to Part VI]

Part VI – The Transcendent: Sri Aurobindo in the Shalagrama

[This is Part VI of The Chronicles of the Inner Chamber; readers of this series may first want to read the blog's 'Introduction' and the Matrimandir Action Committee's 'Manifesto',  Part I - Preface,  Part II, Part III, Part IV or Part V before continuing.]

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‘Without him, I exist not,
without me, he is unmanifest.’
The Mother, 6 May 1957
                                                

While the Mother’s original plan of the Matrimandir’s inner chamber defines the size of the circumscribing Shalagrama by its perfect measure (see CIC 5, p.3), much more is needed from the subtle planes to grant solidity and imperishability to the structure. The chamber cannot remain suspended with ‘supports’ only at the upper reaches of the walls, as if hanging on a clothes line! A base must exist as well as other subtle points in space to define the Divine Maya unequivocally, and to integrate inner and outer. This greater definition is provided by Sri Aurobindo through his own special symbol consisting of two triangles, ascending and descending, and an inner square. In this Chronicle we will reveal the exquisite interaction between Sri Aurobindo and the Mother displayed through sacred geometry and architecture, and their allotted tasks in the Supramental Manifestation.
The magical properties of the Shalagrama allow us to insert Sri Aurobindo’s new symbol in the form, reproduced below. This diagram is taken from The New Way, Volume 2, published by Aeon Books, (1978)1981. The dates are important in order to bring to the attention of the public the continued campaign of deception Auroville engages in, involving this most sacred of symbols. For the prevailing consciousness in Auroville nothing is sacred. Knowledge is desecrated time and again by misusing it for personal ambition, or to deceive the public. To succeed in this campaign the diagrams we will reproduce in this Chronicle, all taken from the above-mentioned publication of Aeon Books, were lifted by Mona Doctor, an Auroville architect.

From The New Way, Vol.2, p. 445
Aeon Books, 1981

This has been abetted by the powers presently ruling Auroville insofar as the same material is now carried on the Auroville official website under the link to Sacred Geometry.
Discovery of this website link, with its misuse and desecration of the Knowledge, made it imperative to give a formal structure to the Matrimandir Action Committee. Concerned individuals throughout the world could no longer remain silent. Readers of these Chronicles may verify for themselves what MAC states by logging into http://www.auroville.org/thecity/matrimandir/mm_geometry.htm [This content has been removed since posting and the link is no longer active]. At that location the viewer will discover these same diagrams but reproduced in such a manner as to give the impression (again) that the measurements are the same as in the temple, following the Mother’s original plan. Our Chronicles have already proven that this is false.
But the deception goes a step further. Viewers will note that Mona Doctor has made the following acknowledgment at the end of the article: ‘Source of figures shown in the above article is Patricia (sic) Norelli-Bachelet’s book, The Gnostic Circle.’ She has done this though fully aware that it is a wrong reference. It too is part of the campaign to mislead the public by keeping the truth hidden.  

 

The history
By letter dated 6.10.1989, Mona Doctor wrote to the author of The New Way requesting permission to use the material in Volume 2 which is reproduced here. She claimed that she was writing a thesis on the relationship between the Matrimandir and the Great Pyramid at Giza. A two-page reply was sent to her, making all the above points absolutely clear; namely, that the Pyramid and other relationships she was to write about did not exist in the Auroville Matrimandir. She was warned that unless this fact was explicitly stated in her thesis and that the diagrams and text refer only to the Mother’s original plan, with due acknowledgements, permission could not be granted.

In true Auroville fashion, Mona Doctor paid no heed. Finally, in January 1991, extracts from her thesis were published in Auroville Today, issue No. 25. Again no mention was made of the fact that the diagrams pertained only to the Mother’s original and not the Auroville Matrimandir. But not only was no such clarification given to the public, so that there would be no misrepresentation, there was no reference at all to The New Way, source of all the material she presented as her own.
When this was brought to light Mona Doctor agreed to rectify the matter in issue No. 34 of Auroville Today. A letter from her was carried in that issue in which she simply listed The New Way among several other ‘sources’, nothing specific, nothing that could lead the reader to the truth, again compounding the falsehood.
And now, to compound that falsehood even further, Auroville’s official website reproduces the very same material with this leader: ‘Mona Doctor, one of Auroville’s architects, wrote a rather remarkable graduate research thesis: it is a study on the proportions of the Great Pyramid of Giza in Egypt, compared to the proportions of Matrimandir.’
This time Mona Doctor does indeed list a ‘source’ at the end of the article-cum-interview, a book in which nothing of the above material figures! The reason is obvious. To give the correct source would lead viewers of the website to the true state of affairs as expounded in The New Way, - i.e., that nothing of these geometric relationships exists in what has been built in the Mother’s name in Auroville. They exist only in The New Way. 

The ongoing deception
When Mona Doctor wrote her first letter in 1989 asking for permission to use the material, the theme of her research was the relationship between Matrimandir and the Great Pyramid at Giza. Yet she has been careful to exclude this most remarkable correspondence of all from the official website article; that there is an exact correlation between the entry to the Great Pyramid and the ascending 15-step entry to the Mother’s chamber, according to her original plan. We reproduce the comparative diagrams from The New Way, Volume 2, Chapter 12, p. 468.

 In a superb visionary feat the Mother located the ascending entry into the room in such a manner that when the author of The New Way discovered Sri Aurobindo’s symbol in the Shalagrama several years later (1976), and the occult relationships we have described in these pages, that now defunct stairway revealed an extraordinary correspondence to the entry to the Giza Pyramid. With Sri Aurobindo’s new symbol, since its proportions are the same as the Great Pyramid, the Mother’s yogic feat has drawn ancient Egypt into her chamber. This is easily verified in the above drawings which bear the precision the Mother required to allow for these correspondences. This exact correlation involving sacred architecture, separated by thousands of kilometres and thousands of years, is one more example of the magnitude of the Mother’s visionary greatness.
However, this greatness could not be carried on the Auroville website because the public would question why that remarkable connection with the Great Pyramid is not to be found in the Auroville Matrimandir. The powers-that-be are careful to misuse and desecrate only to the extent that the reader or viewer cannot detect the deception by comparison with what stands on the ground, where there is no ascending 15-step stairway. The above diagram would make the truth obvious. Instead, another diagram has been carried on the website, also from The New Way (Vol. 2, p.458), but again without acknowledgment. It describes a 110cm band at the intersection of Sri Aurobindo’s two triangles. The point of that diagram is to highlight a ‘sensitive’ area for the individual seated in the chamber. But this too is false because no such band of 110cm exists since Sri Aurobindo’s symbol does not ‘exist’ in the Shalagrama due to the changed measurements and the lack of the necessary precision.
Why have Mona Doctor and the Auroville Governing Board done this? Obviously correct references could not be provided because these two chapters of The New Way, 11 and 12 of Volume 2, expose the truth: that the original plan does not figure in the Auroville Matrimandir; hence, neither do the relationships of Mona Doctor’s thesis hold. Indeed, these were the very diagrams used in the book to provide the definitive proof of what was lost.
Even the Golden Section Mona Doctor makes so much of in the website article is not a new discovery regarding the Great Pyramid. It follows that if the proportions of the Pyramid and Sri Aurobindo’s symbol triangles are the same, that Golden Section pertains to both. The question to ask is, where is Sri Aurobindo’s symbol in the Auroville Matrimandir? More importantly, what relevance does the Golden Section have to the Mother’s Vision? To be frank, not much at all; and certainly nothing that can compare to the new revelations which are indeed of the utmost relevance. All are free to have their own experience and follow their own preferences, but why focus on the past when the present in the Mother’s Vision is of such greater beauty and importance for us today?
Lacking the yogic capacity to make these discoveries in the Mother’s Vision, for the past 14 years, Mona Doctor and her ilk have been left free to pass them on as their own, to hold themselves up as ‘authorities’ in sacred architecture, and to make devotees and disciples of the Mother and Sri Aurobindo believe that what has been built in Auroville conforms to this body of higher knowledge, the most sacred treasure of geometry the world has known to date. In the same way that the Mother’s Vision itself was treated during the infamous 18-day fruitless struggle, so too has the Knowledge content of her Vision, as preserved in these diagrams, been similarly desecrated.

The point is, why bother? If Auroville had already made its choice to throw out ‘mathematics’ and ‘astrology’ in 1974, why go to these lengths, why steal from the very person whose work in that field they themselves have trashed time and again, and continue to do so? It is a tactic of the Lord of Falsehood, whose reign continues throughout the world, to disfigure the true thing for unsuspecting seekers. Added to this is the question of donations. It is known that these arts are central to Indian culture. An unsuspecting public will surely be more apt to donate if it is led to believe that the sacred is alive and well in the Auroville Matrimandir. But with these Chronicles the deception is brought to an end.

 

What was lost
The first point to note is that the Mother redesigned Sri Aurobindo’s symbol in May of 1964. Without this no correspondences with the Pyramid – and much more – would have been possible. This was not arbitrary and whimsical, contrary to what Paulette of Auroville has suggested to MAC (letter dated 23.2.2003). The change was in utter and perfect synchronicity with Sri Aurobindo’s supramental process at that very time.
In its complete form according to the official design, which includes details of the inner square, the deepest secrets of the Supramental Manifestation are contained. Above all, there is the formula for Supermind’s organisation for Earth use. And these great mysteries form the core of the knowledge the Mother captured in her plan of the inner chamber. Not fanciful, whimsical, and purposeless, as Auroville would have us believe. Rather, we see the Mother as the architect of the Transcendent’s Will, impeccable in her transposition of that Will into material creation, the field of the number 9, the Transcendent’s own number in the new supramental Order.
We know that the Mother ‘did not see the outside’ and that this was to be the contribution of the collectivity, as explained in Chronicle 5. Ironically, it is that very contribution that exposes the shadow covering the Auroville Matrimandir. For Sri Aurobindo’s symbol inserted in the Shalagrama, as in our diagram, reveals how it must serve as the ‘support’ for the Chamber, just as Sri Aurobindo did in his own lifetime for his collaborator, the Mother.
But while his support is essential for the Chamber, it must be noted that without the inner chamber of the Mother’s Divine Measure, no symbol of Sri Aurobindo arises in the Shalagrama – as if to prove via sacred geometry, ‘Without him, I exist not, without me, he is unmanifest.’ Only the Supermind could ‘organise’ a display of sacred geometry and architecture that would so elegantly and exquisitely give FORM to the Mother’s words.
When the Chamber is superimposed on the Shalagrama, the same 24m floor diameter ending at the walls is seen to rest exactly on the base of Sri Aurobindo’s ascending triangle. The area is encircled in the diagram below (B). If the diameter is altered in any way, the room cannot find the required ‘support’ from Sri Aurobindo’s ascending triangle. Therefore, the Mother insisted that ‘the 24 metres end at the walls’. Not a whimsical and purposeless idea. This was an explicit command from the Divine Executor of the Transcendent’s Will. Similarly, the pillars enclose the square of his symbol and mark off the triangles’ sides (ascending sides and descending base) at the precise location specified by the Mother. This area is encircled in the diagram, below (A). Again, not whimsical and approximate but exact as only the Supramental Shakti can be.

It is the crucial point where pillars, square, sides and base join. The required precision then knits together the entire structure by these occult demarcations of the chamber’s inner space.
In this manner, with a room diameter of exactly 24m, the chamber is supported by Sri Aurobindo’s symbol at the base and sides; while the chamber’s inner circle defines the measurements of the Shalagrama. The point is, without the divine measure which the Mother’s Vision provides, with its remarkable new precision, none of this is possible. Again we must refer to Chronicle 5, page 4, and the discussion on Vedic tradition. The proportions for the idols of Hindu temples are sacrosanct because they are taken from the cosmic harmonies and only when executed faithfully can that particular cosmic energy occupy the form.

 From The New Way, Vol.2, p. 453,
Aeon Books, 1981

This is exactly the position regarding the Mother’s Vision: only when her divine Measure is respected do we find that Sri Aurobindo’s symbol and its power are occultly contained in the Shalagrama, Mona Doctor notwithstanding. We may be told that it is so, we may believe that it is so; but only the precision the Mother demanded can make it so. For Sri Aurobindo’s symbol to MANIFEST in the outer shape, certain points in the temple’s inner space have to be demarcated; and these depend entirely on the chamber’s 24m diameter. 

If instead we have 23m, everything ‘falls apart’, since the circle of pillars is also imperfectly rendered and does not demarcate the innermost square of the Avatar’s sacred lotus; nor does it intercept the sides and base of the triangles.

These are occult relationships, subtle forms that exist in the eternal plane of the Truth-Consciousness. To manifest here, to infuse material creation with their power and light – and none will dispute that this is the heart and soul of Sri Aurobindo’s mission – we must respect the laws that make this possible, that allow for the Bridge to come into being between subtle and material. There is no approximation possible; either the 24m diameter exists, or it does not. Since we know that the Auroville Matrimandir chamber does NOT have a diameter of 24m, we also know that no matter how perfect the Shalagrama outer shape may be, and no matter how carefully it has been designed on the basis of the relevant geometry, Sri Aurobindo’s symbol cannot manifest in that form, with all that this implies. 

The Mother’s Vision provides future generations with the history of the Supramental Manifestation. We will go deeper into these revelations in these Chronicles since for the first time in many thousands of years sacred architecture has been infused with the light of Mahasaraswati to a degree never before witnessed, not even in the best of Hindu temples. The signal that the time had come for this marvellous happening was the Supramental Manifestation of 29 February 1956. The Mother then entered a ‘new mode’, as it were. A review of her experiences and activities from that time onward reveal what this new role has been.
Through this special sacred architecture, based on the Mother’s Vision and her original plan, we SEE Sri Aurobindo in his transcendent form as the upholding and supporting power of the temple. In Savitri it would be Ashwapathy. We know that it is transcendence because it is not PHYSICALLY but SUBTLY present in the structure, yet all embracing, all encompassing, - and indispensable. Transcendent yes, but not oblivious or disregardful of the demanding laws of material creation where He is made manifest. And this very fact confirms the knowledge of the Supramental Manifestation that the Mother captured in her plan, in conjunction with her new role and the experiences she was having after 1956. Without this understanding we cannot appreciate the manner in which Sri Aurobindo serves to INTEGRATE inner and outer; how it is through him that this is achieved as a fundamental part of the Supramental Manifestation.
The next Chronicle will carry the reader deeper into this great Mystery, that of Transcendence and Immanence, - or, in the language of the epic, Ashwapathy and Satyavan.
 

Matrimandir Action Committee
9 April 2003

[Link to Part VII]