Do the architectural dimensions of Auroville’s Matri Mandir reveal profound truths about the cosmic order that we little comprehend? A five-day exhibition at the Indira Gandhi National Centre for the Arts starting January 1 would display the superlative vision of the Mother of Puducherry (Pondicherry) about a sacred architectural form in an easily understandable manner.
“The Future Realisation,” presented by the Aeon Centre of Cosmology, would showcase 100 exhibits to highlight the importance of symbolism in the Mother’s plan for the Matri Mandir and the significance of numbers and precise measurements that she mandated for the sacred structure. The exhibition would answer why she wanted these particular dimensions and what they mean – this aspect of the Mother’s philosophy and thought has never been revealed before.
In January 1970, the Mother made the most significant breakthrough of the age. She entered the solar world and saw there a chamber which in sacred architecture encapsulated the entire process of supramentalisation for both individual and collectivity. The Mother drew up a plan of the chamber with very precise measurements for its construction in the physical world. This most extraordinary accomplishment ever recorded in the sacred sciences has remained unknown to the world for 44 years.
Said Patrizia Norelli-Bachelet, Director, Aeon Centre of Cosmology, who has conducted research for decades on the Mother’s original plans for Matri Mandir: “Everything in this exhibition comes from a vision the Mother had in 1970. The Matri Mandir was her attempt to translate what she saw in the occult plane into the measures of our physical world. She was the greatest geometrician of the sacred and gave very precise measurements for the structure. Unfortunately, the builders did not take much interest in the nuances of the dimensions while constructing the Mandir. Not all details in the original plan were adhered to and not all measurements were precisely replicated. The final outcome is only a shadow of the real thing, not its exact manifestation.”
Patrizia Norelli-Bachelet added: “The Future Realisation exhibition tries to bring the sacred sciences to the masses in a format that they can understand. It displays the knowledge content of the Mother’s original vision and plan for Matri Mandir, and relies on a precise fidelity to her instructions. Before the Mother left this world, she personally gave me several keys of knowledge with which I could decipher her plan. I discovered an entirely new, Indo-centric cosmology. The objective of this exhibition is to make people aware about this precious knowledge that would otherwise pass into oblivion.”
The exhibition is focused on sacred geometry. Since the exhibits may appear too abstract for some, they would be placed side by side with images from the Puranic Age that encapsulate the same principles. The viewers would be offered an integral package – number, geometry, architecture – all grounded in Indian mythology. Such an integral approach to the sacred has not been attempted before.
Explained Patrizia Norelli-Bachelet: “The exhibition brings together all the sacred sciences – number power, geometry, architecture, cosmology, geo-cosmology – captured in many myths but never conveyed as the science that they rightfully are. It updates the ancient knowledge and brings it alive for the 21st Century.”
The second volume of Patrizia Norelli-Bachelet’s autobiographical book, The Tenth Day of Victory, would be launched on January 4 (Sunday) at the exhibition. It describes the unique journey that she set upon in 1971. Intimate details are revealed of how discoveries were made that opened the New Way, her unique contribution to the world to higher knowledge. The Volume 1 of her book describes her astonishing breakthroughs into the heart of sacred number, geometry and cosmology. The book is unique as it is the only documentation of the manner in which higher knowledge is transmitted and applied in the 21st century. The exhibition, The Future Realisation, displays the results of the breakthroughs Patrizia Norelli-Bachelet made in Sacred Architecture during this period of time.