Form implied by the Kaaba’s Walls

The Kaaba appears to express a geometrical progression of adjacent odd numbers starting with one and three. This differs from the super-particular ratios found within the right triangles of astronomical time periods formed by the Megalithic, in which the ratio pairs separated by only one rather than by two, between only odd numbers. However, the multiple-square rectangles used by the megalithic to approximation celestial ratios, made use of the three-square rectangle. In one of the smallest of these rectangles, it simultaneously approximates two pairs of ratios: The eclipse year (346.62 days) to the solar year (365.2422 days) and the solar year to the thirteen lunar month year (384 days).


Figure 1 The three-square approximations in a triple series of astronomical periods. Note that the diagonals relative to the base are the result of having three squares in a rectangle then one high and three along – and two different. Two such rectangles geometrically sum (their angles) to give that of the (First Pythagorean) 3-4-5 triangle, 36.8 degrees.
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Kaaba’s Numerical Picture of Harmonic Origins

A recent plan of the Kaaba[1] indicates that its walls, by their odd-number proportionality, symbolised the numerical origins of musical harmony through the first six numbers, 1, 2, 3, 4, 5 & 6, sometimes called the Senarius meaning “existence out of six”.

According to Plato, the world was created using the rules of musical harmony in a scheme involving perfect fifths of 3/2, fourths of 4/3 and tones of 9/8, leaving “leftover” semitones of 256/243: a rudimentary musical scale. This only used prime numbers 2 and 3 and multiplications with themselves and each other; a system called Pythagorean tuning. The Kaaba incorporates another prime number 5, called the human number, this enabling two more large intervals called thirds, the major third of 5/4 and minor third of 6/5. Using 5 enables more and better scales to be formed and fills in the gap between 4 and 6 to show all the large intervals in the first six numbers, 1:2:3:4:5:6. This fuller tuning system has been found in the ancient Near East as long ago as the Sumerians, in their tuning texts on cuneiform (c. 3000 BC onwards).

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Three Keys to the Kaaba

first published 2016

The prophet Mohammad declared himself the last prophet of Allah, a name resembling the El Shaddai (trans. Lord God, KJV) of Abraham in the Bible. Mohammad galvanised the Arabs and nearby nations with an original religion, branching off from the start of the Patriarchs found in the Bible’s first book, Genesis. His story follows Ishmael, the first son of Abraham, from whom the Arabs believe themselves descended.

The Kaaba’s of Abraham (left) and Mohammad

Mohammad’s religion of Islam (“salvation”) started in Mecca where he received visions of angels and spontaneously recited suras (verses) which became the Quran and associated texts. An unknown history of Abraham and Ishmael emerged, intimate with Mecca, long a spiritual centre for the Arabs. Mecca’s principle monument, the Kaaba or “cube”, has taken a number of forms. Adam located it as a dolmen created by God when Adam was formed; Ishmael built the next design for his father, “open to the sky”, using surface stones from nearby mountains; and Mohammad’s dispensation adds ancient stories about cubic arks and located these as a renewed Kaaba, the prime centre, or Pole of redemption for the world.

The three keys will be the Kaaba as Ark, Pole (Qutub) and model of Great Time.

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