Man, the Microcosm; Part 1

nullify its miscreations. Such a principle of the mind, the function of reason of which imbued by Buddhi–intuition, love, and the higher intellect–the “intelligence of the heart” of the hierophants of ancient Egypt, would reveal to Man his “Naked Face,” his “Natural State,” his true nature, the foundation of his existence, and the unreality of phenomena–the impermanence of form and aggregates.

Initiates of the hoary past, such as to be found among the secret societies of the Compagnons, Knights Templer, Dionysiac Artificers, and the Operative Masons, designed and built their temples, cathedrals, lodges, and places of worship after the geometric design and anatomy of Man’s body. King Solomon’s Temple and the Great Pyramid are just two examples of sacred edifices constructed after the harmonic proportion embodied within Man. In one sense, Man is the source of all measures, and is himself, the measurer of all things. Within archetypal Man, lies a tome of cosmic measurements, harmonics, and balance. Ancient Greeks produced art-forms–sculptures of the human physical form that stimulated the aesthetic sense and subtly aroused and awakened in the onlooker the memory of his divinity, spiritual nature, and origin. Symmetry in an artist’s soul results in the symmetry of created forms, the harmony and beauty of which triggers in the witnessing soul through impressions impinging upon the consciousness, an alignment with the spiritual SELF. By gazing at spiritual beauty one instinctively feel the presence of the Divine.

Various symbols in the past have been used by esotericists to represent Man. Among the well-known emblems are the pentagram, the five-pointed star, numerologically the pentad; and the hexagram, the

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