Design of the Taj Mahal: its Façade

The Taj Mahal is one of the most recognizable buildings on earth. It was built by a Moghul king as a memorial for his dead queen and for love itself. The Mughals became famous for their architecture and the Persian notion of the sacred garden though their roots were in Central Asia just north of Persia.

I had been working on Angkor Wat, for my soon to be released book: Sacred Geometry in Ancient Goddess Cultures, where the dominant form of its three inner boundary walls (surrounding the inner sanctum) were in the rectangular ratio of outer walls of six to five. A little later I came across a BBC program about the Mughals and construction of the Taj by a late Moghul ruler, indicating how this style almost certainly arose due the Central Asian influences and amongst these the Samanids and the Kwajaghan (meaning “Masters of Wisdom”). I had also been working on the facades of two major Gothic Cathedrals (see post), and when the dimensions of the façade of the Taj Mahal was established, it too had dimensions six to five. An online pdf document decoding the Taj Mahal, established the likely unit of measure as the Gaz of 8/3 feet (a step of 2.5 feet of 16/15 English feet; the Persepolitan root foot *(see below: John Neal. 2017. 81-82 ). Here, the façade is 84 by 70 gaz.

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The Moon is Key to our Survival

With the advent of many orbital missions, the Moon is threatened with orbital and other changes due to space travel.

The modern theory of relativity has joined the worlds of space and time, now called spacetime. As beings we live in space while moving through time, and both these are assumed to be neutral dimensions having mere extension. However, spacetime is distorted by the massive gravitational objects found in solar systems, these exerting an attractive force on all objects including ourselves. As humans, we are therefore locked onto the surface of the earth by gravity, viewing a solar system of eight orbiting planets seen in the sky from the surface of the third planet from the sun. The earth has an unusually large moon which has fallen into resonance with the planets, a resonance then belonging to time.

The Moon was formed 4 to 5 billion years ago and this affected the Earth’s geology, stabilized its tilt (giving stability to the seasons) and providing tidal reaches on coasts. But apart from such direct physical changes to the earth, the moon has now developed resonances with the solar system, especially its outer giant planets, and this has given time on earth a highly specific resonant environment, based upon the lunar month and year of 12 lunar months. This resonant network appears to be numerical when counting days, months and years, in between significant events in the sky.

The structure of time is numerical because of these resonances between the moon, the sun and the planets. This resonance came to be known by previous civilizations and was thought meaningful in explaining how the world was created. Time was deemed spiritual because its organisation allowed human beings to understand the purpose of life and of the earth through the structure of time. In particular, the moon was a key to unlocking the time world as a link to a higher or spiritual world, a literal sky heaven organised according to numbers.

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Numbers, Constants and Phenomenology

  1. Preface
  2. Primacy of low whole numbers
  3. Why numbers manifest living planets
  4. Numbers, Constants and Phenomenology
  5. Phenomenology as an Act of Will

Please enjoy the text below which is ©2023 Richard Heath: all rights reserved.

We have seen that the early numbers define the world of musical harmony but other important patterns arise within the ordinal numbers such as,

  • the Fibonacci approximations to the Golden Mean (phi = 1.618),
  • the Exponential constant (e = 2.718, the megalithic yard), from which trigonometry of the circle arises naturally,
  • the radial geometrical constant, (pi = 3.1416) as approximated by rational fractions {π = 22/7 25/8 63/20 864/275} and
  • the triangular progressions of square roots, as another development of the early numbers (in space) as geometry, also approximated by rational* numbers (rational meaning “integer numbers that can form mundane ratios”).

The transcendent (or irrational) ratio constants * (first mentioned in the Preface) are the visible after-effects of the creation of time and space. They must be part of the framework conditions for Existence, these also creating harmonic phenomenon that are not transcendent; these relying instead (as stated) on the distance functions of ordinal numbers: their distance from one and their relative distance from each other, lying beneath the surface of the ordinal numbers. Ordinality, to modern thought a universal algorithm for such distances, explains or defines what is harmonious in the physical world and in what way. Significant distance relations, such as those found in the early ordinal numbers, must then be repeated at ever greater doubling, tripling and so on {1 2 3 4 5 6} => {45 90 135 180 225 270}, where units can be scaled up by any number to become the larger structures, within any greater micro-cosmos. This is especially seen within ancient number science and its primary context of octave doubling, where what lies within octaves vis-à-vis scales and octaves within octaves, requires the right amount of up-scaling, as in the cosmology of Will (and not of Being), presented by G.I. Gurdjieff from 1917 onwards.

The illusion of number is that one can never penetrate the ubiquitous unitary distance of 1, the unity which becomes the ordinals which are so many exact assemblies of one; and of their ratios, so that one is not a number nor a transcendent ratio but rather is Number is the primordial Thing: a transcendent wholeness, found in every unit that causes relatedness through intermediate distance, or proximity. One is like Leibnitz’s Monads applied to the cosmic enterprise of universe building, as a fully quantified Whole and its Parts.

“The Absolute, that is, the state of things when the All constitutes one Whole, is, as it were, the primordial state of things, out of which, by division and differentiation, arises the diversity of the phenomena observed by us.”

Gurdjieff. In Search of the Miraculous page 76.
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Why numbers manifest living planets

above: The human essence class related to four other classes in J.G. Bennett’s Gurdjieff: Making a New World. Appendix II. page 290. This systematics presents the human essence class which eats the germinal essence of Life, but is “eaten” by cosmic individuality, the purpose of the universe. The range of human potential is from living like an animal to living like an angel or demiurge, then helping the cosmic process.

  1. Preface
  2. Primacy of low whole numbers
  3. Why numbers manifest living planets
  4. Numbers, Constants and Phenomenology
  5. Phenomenology as an Act of Will

Please enjoy the text below which is ©2023 Richard Heath: all rights reserved.

The human essence class is a new type of participation within the universe where the creation can form its own creative Will, in harmony with the will that creates the universe. The higher intelligences have a different relationship to the creation than human intelligence. It is based upon this Universal Will (to create the universe) which has manifested a world we can only experience from outside of it. And the creative tip of creation* is the universal life principle that led to the human world where it is possible to participate in the intelligence behind the world, through a  transformation into an Individuality, creative according their own pattern while harmonious with the universal will.

*creative tip: The evolving part of organic life is humanity. Humanity also has its evolving part but we will speak of this later; in the meantime we will take humanity as a whole. If humanity does not evolve it means that the evolution of organic life will stop and this in its turn will cause the growth of the ray of creation to stop. At the same time if humanity ceases to evolve it becomes useless from the point of view of the aims for which it was created and as such it may be destroyed. In this way the cessation of evolution may mean the destruction of humanity.

In Search of the Miraculous. P.D. Ouspensky. 306.
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Counting the Moon: 32 in 945 days

One could ask “if I make a times table of 29.53059 days, what numbers of lunar months give a nearly whole number of days?”. In practice, the near anniversary of 37 lunar months and three solar years contains the number 32 which gives 945 days on a metrological photo study I made of Le Manio’s southern curb (kerb in UK) stones, where 32 lunar months in day-inches could be seen to be 944.97888 inches from the center of the sun gate. This finding would have allowed the lunar month to be approximated to high accuracy in the megalithic of 4000 BC as being 945/32 = 29.53125 days.

Silhouette of day-inch photo survey after 2010 Spring Equinox Quantification of the Quadrilateral.

One can see above that the stone numbered 32 from the Sun Gate is exactly 32/36 of the three lunar years of day-inch counting found indexed in the southern curb to the east (point X). The flat top of stone 36 hosts the end of 36 lunar months (point Q) while the end of stone 37 locates the end of three solar years (point Q’). If that point is the end of a rope fixed at point P, then arcing that point Q’ to the north will strike the dressed edge of point R, thus forming Robin Heath’s proposed Lunation Triangle within the quadrilateral as,

points P – Q – R !

In this way, the numerical signage of the Southern Curb matches the use of day-inch counting over three years while providing the geometrical form of the lunation triangle which is itself half of the simpler geometry of a 4 by 1 rectangle.

The key additional result shows that 32 lunar months were found to be, by the builders (and then myself), equal to 945 days (try searching this site for 945 and 32 to find more about this key discovery). Many important numerical results flow from this.

A House that is your Home

This graphic demonstrates how the inner geometry within numbers can point to significant aspects of Celestial Time or here Space regarding the relative sizes of the Earth and the Moon, namely 11 to 3 according to pi as 22/7.

In some ways one cannot understand numbers without giving them some kind of concrete form as with seeing them as a number of identical units. Sixteen units can make a square of side 4 since the square root of 16 is 4 and 6 is factorial 3 (3! = 1 x 2 x 3 and 1 + 2 + 3) which is triangular, so together they make 22, and if the triangle to placed on top of the square, like a house and its roof, then the house is 7 tall. If you want an accurate approximation to pi of 3.14159 … (pi is transcendental), the 22/7 is good and the house defines it.

This adds another mystery to this form of pi often used in the ancient world where numbers were best handled as whole numbers and ratios of these. This pi allows a circle of diameter 11 to be set within a square of side 11, whose perimeter is then 44. This can be seen in the diagram as made up of 16 yellow squares and 6 blue ones, centered on the circle and making 22 squares in all.

If one looks to the end of the 7th square, as a radius, then 22/7 will deliver the dashed circle (red) of circumference 22 and hence equal to the house number (16 +6 = 22) just 1.5 units beyond the first circle (green). This is called the equal perimeter geometry and a small circle radius 1.5, diameter 3, will “orbit” the inner green circle and the ratio between the circles is obviously 11 to 3, and this is exactly the ratio between the mean Earth and the Moon.

It was thought, by John Michell, that the model was well known in the megalithic since simple experiments in geometry, as above, delivers the relationship between a circle’s diameter and its circumference with very small whole numbers. My own work finds it is indeed prevalent within the design of later buildings, for example in domes, circular windows, and sacred pavements. If so, such buildings became sacred spaces as models of the Earth and moon. Many examples are explored and interpreted in my Sacred Geometry: Language of the Angels.