The Lost Symbol, Real

The Real Lost Symbol is a Chinese icon, a math symbol that represents the 3x3 Luo Shu Magic Square and was revered as a model of the universe.

YA - THE REAL LOST SYMBOL

 
OTHER CHINESE CHARACTERS RELATED TO MATH AND THE LUO SHU 

 

                                        

What Makes a Symbol Significant? 

In order for a symbol to have a resonating significance that can survive for milleniums, it must have function and usefulness.  The most relevant symbols are symbols that provide information about Time and Space.  The Lo Shu and the resultant Ya shape, carpenter's square (gnomon), and quincunx all contain a formula for Space and the numbers for the calendar and thus were a perfect model for a sacred symbol.   The early Chinese used this model in architecture for their sacred temples such as the Ming Tang.  The early Byzantine Christians did the same with the quincunx church design.  The math symbols are prolific in art:  on sacred book covers, early Byzantine church mosaics, Chinese Bronze mirrors and jade bi discs, as well as art by da Vinci, Durer, and Canaletto.

The Lo Shu is a simple symbol yet contains two mathematical formulas:

1.  The Pythagorean Theorem, and
2.  A formula to construct higher order magic squares.

A symbol that is incorporated in all aspects of society: agricultural rituals, art, city layout, and temple design for thousands of years across several cultures is a symbol that can outlast the pressures of survival, be it political, religious, or ignorance.  The Lo Shu is a symbol that has survived and has a fascination seperate from its original function: that is, a great teaching tool of algebra and the geometry of the square, circle, and right angle triangle.  On a deeper esoteric level, the set of higher order magic squares were most likely used in conjunction with the Yi Jing for prognostication, or divining the future.  

The Lost Symbol - The Ya Character

The Ya character is derived from the cruciform shape of odd numbers of the 3x3 Magic Square, also known as the Luo Shu.  This cruciform shape of odd numbers symbolized Heaven, yang and male forces.  The resulting four quadrates that corresponded to the even numbers represented earth, yin and female forces.  The ya shape symbolized the universe in microcosm (Heaven, earth, humankind) and was a mathematical model for Time and Space.  The Ya character also is a symbol for centrality or the center of the Universe. 

It was at the spiritual center of the Ya shape, the axis mundi, where the emperor and his empire resided.  This is where illuminated Man exists.  This concept was used in the ground plan design of places of political or religious importance such as the royal tombs (Anyang, 1700 - 1100BC) or the Ming Tang palace.  A 3x3 grid like the Lo Shu also posseses a Ya shape creating a spirtiual center and is the basis of the mandala, TLV Bronze mirror,  and the Jade Bi disc.

THE YA SHAPE COMES FROM THIS CROSS OF ODD NUMBERS                    

As a math symbol, the Lo Shu helps to explain the concept of space, as in the Pythagorean Theorem, which exists in all Luo Shu Magic Squares in the form of a Pythagorean triad of numbers always in the same relative location regardless of the size of the magic square.  The Lo Shu also served as a model for Time, as in the numbers of the calendar which reveal themselves in the 27x27 Luo Shu Magic Square.

Hence, the ya shape was symbolic of the Luo Shu and is a mathematical symbol, one whose original meaning has been lost over time due to book burning and the supression  of information.

The reverence for the Ya shape and Luo Shu has been demonstrated by the early Chinese for thousands of years by incorporating these symbols in places of social, political, and religious importance   The Ya shape was the basis for the ground plan of royal tombs and temple design.  

The ya shape has been incorporated, with mathematical precision, into the TLV Bronze Mirrors and Jade Bi discs of the Han dynasty, the Tibetan mandala, as well as the Aztec calendar, suggesting these civilizations may have had contact with one another. 

       Chinese Bi Disc                       TLV Bronze Mirror                       Aztec Calendar

    

THE YA SHAPE, THE SQUARE, AND THE CIRCLE IN A PRECISE MATHEMATICAL RELATIONSHIP

In summary, the ya shape and the Luo Shu incorporate the math of the square, circle, and right angle triangle and in so doing incorporate all the important cosmological concepts of the universe in one model.  The Ya shape was used for humankind to orient themselves in such a way as to be in complete harmony and balance with earth and the universe by using mathematics to establish order over chaos.

A model such as the Luo Shu that equips humankind to better understand Time and Space helped civilizations evolve and prosper.  The concept of establishing order over chaos through the use of math that was presented to humankind from Heaven provided the early Chinese with an ideology that was also based on tradition and a moral standard of living.   This cosmology was incorporated into the Chinese culture by the lay out of their cities, the characters of their language, temple design, symbols used in art, religious ceremonies and agriculture.

The Ya symbol (as well as the Lo Shu) had been one of the most powerful cosmological symbols in the history of humankind and, in fact, greatly influenced early Christian art and architecture. 

The Ya symbol had long been supressed to the point that its meaning has changed, and is presently translated to mean "to be inferior", "secondary", or "ugly".  Nothing could be further from the original meaning: "royal temple chamber". 

THE YA SHAPE IN THE 3X3 MAGIC SQUARE  


FORMULA FOR NINE CONSECUTIVE NUMBERS IN A 3X3 MAGIC SQUARE
X = THE CENTER NUMBER

These 3x3 Magic Squares demonstrate that any nine consecutive numbers may be arranged in a magic square with these properties:

1.  The central of the nine numbers is placed in the center cell of the square.

2.  The product of the center number and 3 equals the constant of the square.

3.  The product of the constant and 3 equals the sum total of all the numbers in the square.

4.  There will exist either a cruciform shape of odd numbers or even numbers.

5.  Note the complimentary nature of each pair of odd (yang) and even (yin) magic squares.

ODD CRUCIFORM OR YA SHAPED 3X3 MAGIC SQUARES

 

 

EVEN CRUCIFORM OR YA SHAPED 3X3 MAGIC SQUARES

 

A 3x3 Magic Square with consecutive numbers 77 thru 85

 

81 or 9²  in the center cell  =  3⁴
The constant of the square is 3*81 =  243  = 3⁵
The sum total of the square is 3*243 = 729 =  3⁶
The sum total of the even numbers equal 324 =  4*3⁴
The sum total of the odd numbers equal 405 =  5*3⁴ 

All these numbers:  81, 243, 324, 405, and 729 reduce to 9  

all of these numbers occur in the same diagonal as 27 in the 27x27 Luo Shu Magic Square.

 

 

  THE USE OF THE YA SHAPE IN EARLY CHRISTIAN ART AND ARCHITECTURE

BOOK OF KELLS WITH CRUCIFORM OR YA SHAPE AND CARPENTER'S SQUARE

(JOHN THE EVNAGELIST - from Folio 291v)

This book cover demonstrates the common use of the carpenter's square and the cruciform in a mandala like design that is based on the Lo  Shu. 

The carpenter's square occupies each of the four quadrates, which represent Earth as well as the even numbers of the Lo Shu.  The carpenter's square can also be identified with the gnomon or the Pythagroean Theorem.  The carpenter's square appears on the garments of the apostles of Christ in early Christian art between the Fourth and Seventh centuries from the mosaics of Italian churches (Miilan, Rome, and Ravenna) ; it's purpose signifies a higher initate.   Book covers with the carpenter's square iconography designate sacred or illuminated manuscripts.

The cruciform or Ya shape, which is Chinese in origin, is used in the areas of the book cover that would correspond to the odd numbers of the Lo Shu and symbolize Heaven or illuminated Man/Woman, if one can imagine a 3x3 Lo Shu grid overlaid on to the book cover design.

These symbols, the carpenter's square, the cruciform, and the Lo Shu are Chinese symbols based on the math that helped to explain Time and Space and establish order over the Universe.  These symbols became archetypes in the early Chinese cosmology scheme with a tradition that dates to the Book of Changes (the Yi Jing) and the Arithmetical Classic of the Gnomon and the Circular Paths of the Heavens (Zhou bi suan jing).

This cover from the Book of Kells, like several other illuminated manuscripts from the early Byzantine era, all show a similar pattern of the cruciform in the square,  a design analagous  to the groud plan of churches during this time, also known as the cross in square design or quincunx design.  The center of this nine bay church represents Heaven, or illuminated Man/Woman, and is domed in the form of a cupola on a square foundation. 

The same relationship and function of the square, circle,  ya shape, and the Lo Shu can be observed in the Chinese Bi disc and TLV Bronze Mirrors which predate the Christian usage by over seven hundred to nine hundred years.  

THEODORIC'S MAUSOLEUM WITH THE YA SHAPE AND CARPENTER'S SQUARE 
526 AD

The following ground plan design of Theodoric's Mausoleum illustrates the use of the carpenter's square and ya shape in early Christian architecture.   

YA ROYAL TOMB 
(1800 - 1100 BC)

 

Popular tomb design for the royal emperor, Shang Dynasty

The Ya Shape concept can be considered the architectural representation of the "cosmic center of the world" where the "exalted one" lay.  The Ya Shape was considered the architectural basis for temple design and the Hall of Light, i.e. the Ming Tang or residence of the Emperor - the Son of Heaven.  The Ya Shape is also the basis of the Calendar Chart and the Ming Tang is often referred to as the House of the Calendar.  The Luo Shu pattern of nine was also the basis for city planning and temple design.  Symbols relating to the Ya Shape and the Luo Shu, such as the carpenter's square, quincunx pattern and mandala design, were used by many cultures for thousands of years.   

Antonio Canaletto  -   Campo di Rialto 
(1725-26)


 "

San Giacomo di Rialto
(1601 - 1606)

Architect:  Vicenzo Scamozzi

Note the Ya shape and the carpenter's square in the courtyard.

 

The Villa Capra also known as La Rotonda
Other names: Villa Almerico-Capra, Villa Rotunda, Villa La Rotonda, and Villa Almerico
1566 - 1585 AD

Architects:  Andrea Palladio and Vincenzo Scamozzi

The ground plan for Villa Capra, also known as Villa Rotunda

This architecture incorporates the 3x3 Lo Shu grid and Ya Shape into the ground plan design.
This is identical to the ground plan design of the Ming Tang, also known as the House of the Calendar.
[see Alfred Schinz, The Magic Square (1996) p. 129, 331]

 

 

  

 

THE LUO SHU, THE QUINCUNX, AND SACRED GEOMETRY 

The architect for this magnificent design is Andrea Palladio, one of the greatest and most influential architects known to western architecture.  It is clear that the design is based on the Lo Shu 3x3 grid as the center square is perfectly positioned within the circle and the corners correspond with the four intermediate directions and the four apses.  The resulting Ya shape, which corresponds to the odd numbers of the Lo Shu and represents Heaven, also correponds to the four cardinal directions.  

Magic Squares were quite the rage in Renaissance Italy, as the Lo Shu Time Line demonstrates.  Leonardo da Vinci, Albrect Durer, Andrea Palladio, and Vincenzo Scamozzi incorportated the cosmology of Magic Squares into their work.  As Magic Squares and the Lo Shu had quite an influence on China for the previous three thousand years, the Lo Shu was now making its impression on the major Renaissance artists and architects of the day. 

Pacioli, who was a major influence on da Vinci and Durer, was a collector of magic squares and wrote the book, The Divine Proportion.  Leonardo da Vinci was the illustrator.  Pacioli undoubtedly was aware of the Chinese fascination of the Luo Shu and realized its importance in Chinese art and temple design; however, there is no documentation to support this theory.  Pacioli's fascination for magic squares and his influence on the major artists and architechts for hundreds of years to follow combined with the fact that Pacioli was a true scholar indicates that he thought outside the box and probably was well aware of the secret math that the Chinese so revered. 

Symbols such as the quincunx, ya shape and Luo Shu were incorporated into the art of da Vinci and Canaletto.  Durer explicitly used the 4x4 Magic Square in his Melancholia II.   Andrea Palladio incorporated the Luo Shu into his architectural masterpiece, La Rotonda.  All four were greatly influenced by Pacioli. 

The Lo Shu had all the cosmo-magical components to lend itself to be the perfect model for sacred geometry.   The meeting of the three sacred geometric shapes: the square, the circle, and the right angle triangle in perfect balance and harmony would provide the ideal mathematical model that humankind could utilize in order to mark the axis mundi, and thus bring humankind closer to Heaven.  Proper orientation can be acheived by acknowledging the four cardinal directions, as well as the four intermediate directions.  The quincunx pattern also symbolized these concepts and was used in early Byzantine church design. 

But most important was the secret Math that lay behind the Lo Shu.  Ultimately, the Lo Shu is a model for Time and Space and was presented to humankind from the Heaven.  This is the model that would establish order over chaos and bring prosperity to humankind. 

The Lo Shu is The Real Lost Symbol.