Human Form From Sacred Geometry
by charlse
henry
http://saturn.vcu.edu/~chenry/
©
1995-2001 Charles R. Henry All Rights Reserved
In the early 1970s, I first became interested in the Great Pyramid while reading
Peter Tompkin's Secrets of The Great Pyramid and Patrick Flannagan's Pyramid
Power. But what struck me was the derivation of the angle of the sides to
the base (about 52 degrees) as a manifestation of the Vesica Pisces shown
below based on a drawing in John Michell's View Over Atlantis. That great
monument was the result of the offset of a unit circle by its radius and then
combined with itself enlarged three times.
Figure 1 Vesica Piscis in 2 Dimensions
The sculptor in me saw this as four intersecting spheres.
Figure 2 Vesica Piscis in 3 Dimensions
Thinking in terms of spheres and pyramids, I began to experiment with stacking
reflective spheres (Christmas tree balls) in glass pyramids and photographing
the multiple reflection patterns that naturally occurred on the inner surfaces.
Figure 3 Christmas Tree Balls
I saw what looked to me like anthropomorphic images that could be modified
by changing the position and color of the light sources that were arranged
around the outside of the glass pyramid. With Bill Robinson and Steve Roberts,
I formed a corporation that produced many photographs similar to the above
image. The images in these photographs showed some face-like structures but
they were not convincing due to the course texture created by the stacking
arrangement and the positions of the lights. The images did provoke many discussions
regarding the images of the gods of antiquity. We produced a movie that demonstrated
the changing images in response to the moving lights. But we did not discover
any convincing human forms as we had hoped. The corporation soon dissolved
and I continued the search for the face in the spheres in many configurations
with many different lighting arrangements.
Then on January 1, 1977, I discovered one arrangement that convinced me that
I was on the right track in my pursuit of the human form in this sacred geometry.
This structure shown below was formed by two pyramids of spheres which were
set base-to-base and rotated with respect to each other on the center axis
to fit bump-to-cusp. This structure was lit from below and it had a mirrored
glass pyramid on top.
Figure 4 10 Sphere Structure
With a telephoto lens, I was able to photograph the inner surface of one sphere
which had a pretty convincing image of a human face with teeth, eyes, nose,
and upper torso as shown below.
Figure 5 Crude Human Image
Inside 10 Spheres
I built many configurations of the 10 sphere cluster enclosed in mirrored
pyramids. The face images in those photographs were still incomplete and distorted
by the reflections in the flat mirrors that made the enclosures. I realized
that the way that nature would enclose a 10 sphere cluster is with another
10 sphere cluster. I found that for 10 spheres to enclose 10 spheres the smaller
cluster must be enlarged by a factor of Pi and rotated 45 degrees about the
central axis then they will close-pack as shown below-left (with one sphere
removed.)
Figure 6 10 Spheres Within
10 Spheres Structure
Figure 7 10 Within 10 for
Photography
The photograph above shows a configuration of 10 - 19" diameter polished
aluminum hemispheres enclosing 10 - 6" diameter aluminum spheres which
produced the image below.
Figure 8 Image Inside Structure
Shown in Figure 7
Although the face image was improved by the 10 within 10 structure, it was
still incomplete with distortions and unresolved surface anomalies. The limitations
of photography became obvious. I found that I needed yet another set of spheres.
These spheres would have to be 59.7" in diameter and they would cost
$1500 each. Not only was this price prohibitive but the control of the light
source color and positioning as well as the control of the camera position
was too restrictive for the range of options that I wanted to study. So, in
1992, I decided to purchase a computer and software to simulate these structures
accurately and conveniently. It took me a while to learn the the simulation
software Real 3D by Realsoft but the program gave me the opportunity to study
many structures without having to build them in the real world. With it, I
was able to position the camera and lights and make animations by recording
the changing camera position and lighting conditions. This led to many discoveries
about the conditions necessary to create the image of the human face and torso.
I soon realized that it takes at least 40 spheres (4 shells of 10 spheres
each) to enclose the structure sufficiently to make the surfaces in the face
image continuous. I also found that the lights were most effective when they
were placed at the points of contact in this close-packed cluster of 40 spheres.
I also realized that the sizes and positions of the spheres in the inner shells
must be modified in size and position and that a specific position of the
camera was crucial to the construction of the face image. The image below-left
shows the concentric shells of 10 spheres each with some removed to view the
interior of the cluster.
Figure 9 Camera Position and Sphere
Modifications Inside Cluster
The image above shows the camera position, its viewing angle, and the modifications
of the sizes and positions of the spheres in the lower portion of the inner
shell of 10 spheres. The variations in the sizes and positions of the spheres,
the movement of the camera and the variations in the intensity and color of
the light sources is the subject of the animations that I have made in this
study. A more complete description of this work which includes animations
and more still images is presented on my website:
http://saturn.vcu.edu/~chenry/
The next image is perhaps the most convincing image of the human form made
from this sacred geometry to date. It was made with 40 spheres and approximately
112 light points most of which are located at the points of contact between
the close-packed reflective spheres.
Figure 10 Image Inside 40 Spheres
The Tree of Life which is a graphic representation of the interaction between
cosmic forces is shown below-left. These 10 Sephirot, the 10 transformers
of energy and the 22 connecting lines (letters) are found in many ancient
texts of the Kabbalah. Most of these ancient Hebrew texts are commentaries
on The Sepher Yetsira (Spheres of Formation), Genesis and The Song of Songs
and the very nature of the gematria (the numerical/alphabetical equivalence)
expands the possible interpretations and meanings of the texts.
I found many of these interpretations confusing. I realized that this Tree
of Life diagram can also represent the 10 sphere cluster made with 2 5-ball
pyramids shown below-right and it may well be worth the "thousands of
words" used to describe its meaning. Making a cluster of metal reflective
spheres (offering bowls) is well within the capability of many ancient cultures
and by adding a few glass lenses, the images that I have found could be projected
onto walls or into smoke. Perhaps there is some truth behind the mystical
smoke and mirrors of Ancient Religion ... perhaps that Truth is geometry ...
Sacred Geometry.
Figure 11 - Tree of Life
Figure 12 - 10 Sphere Cluster
There are numerous references to the construction of the prototypical human
in ancient texts. The body of Adam, the Golem, Osiris and others are the main
characters in the ancient religious mythology that we know today. The multiplicity
of idealized beings in this reflective cluster geometry suggests the The Company
of the Gods as described in many ancient Egyptian texts. There seem to be
faces facing faces and faces within faces throughout this reflective environment.
This construction of reflective spheres may embody the technology that produced
the animated images of the deities in the temples of antiquity. My guess is
that the sacred part of what I have discovered is a result of the way God
put physical life-forms in three dimensions and time. According to the contemporary
Superstring Theory in which the forces of nature are defined in ten dimensions
mathematically, the other six dimensions are hidden from our normal senses.
There are obviously more than three dimensions and time in the universe and
that is what drives my curiosities about the worlds beyond the physical.
I feel that I have rediscovered some of what was a highly developed understanding
of mankind's relationship to the Multidimensional Universe and this knowledge
was utilized and documented in the geometry of ancient structures. Sacred
Geometry, the study of the unity of the cosmos, demonstrates relationships
between Number, Time, Space and the Human Form and other natural forms. It
was used in the construction of ancient glyphs and monuments thereby preserving
the knowledge of these principles of Natural Law for future generations. It
describes the way nature limits groups of units in three dimensional space
and it defines the numerical, temporal and geometrical relationships between
these units. The Platonic Solids are manifestations of groupings of unit size
spheres in three dimensions. This 10 sphere within 10 sphere concentric shell
close-packing structure is organized to permit movement and therefore it includes
Time in its range of ordered interactions and the reflection patterns record
forms in Space that can also exist in dimensions beyond the physical three
dimensions.
I'm not quite sure how the physical human form fits into the hierarchy of
multidimensions except that it does seem to be a natural result of the resonant
extra-dimensional patterns generated by a space-filling, spherical, close-packing
geometric system and it is indeed governed by Sacred Geometry by virtue of
the definition God gave to three dimensions. The human form seems to embody
a region that integrates aspects of the physical world with forces that operate
beyond the physical space-time that we normally experience.
I don't think this 10 sphere within 10 sphere concentric shell close-packing
geometric system is the matrix for all living systems but I do think it can
serve as a model for the interactions between the various dimensional realities
in which we are immersed. It may also guide us in our attempt to develop new
sciences and technologies that utilize the forces that operate in the regions
that we now call call paranormal.
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Biography
Charles (Chuck) Henry began his undergraduate studies in Physics at the University
of Pennsylvania. He then changed direction and transferred to the Cleveland
Institute of Art and received his BFA in Sculpture and continued studying
at Cranbrook Academy of Art in Bloomfield Hills, Michigan where he received
his MFA also in Sculpture. He is a Professor in the Sculpture Department at
Virginia Commonwealth University in Richmond, Virginia where he has been teaching
since 1968.
His work in holography and computer imaging has been shown extensively on
the east coast including The Virginia Museum of Fine Arts in Richmond, Broadway
Windows in New York City '90, and the New York International Independent Film
and Video Festival '97 (NYC). He was commissioned to construct the permanent
centerpiece installation at the Children's Museum of Memphis, Tennessee '90.
Numerous grants have enabled his research in the field of 3-D visualization,
photoresist hologram making and processing for hologram mosaics. Chuck's computer
animation videos which document his discoveries linking the human form to
sacred geometry won acclaim in many film festivals including honorable mention
from the Philadelphia International Film Festival '96 and a gold award from
the International Film Festival: WorldFest Charleston '96 and a silver award
from WorldFest Houston '97. In 1998, his website http://saturn.vcu.edu/~chenry/
which describes his work with sacred geometry won the Pride of the Snow Lion
Award for Excellence.
Curriculum Vitae: http://saturn.vcu.edu/~chenry/Resume.htm
End of article