These are the preliminary architecture and design plans for a "Rainbow Dream Temple" being collaboratively produced by a group of creatives for the Maui Source event in early 2012 ( http://sourcemaui.com ).
The temple space is intended to inspire sacred space, will host a wedding ceremony during the weekend event, as well as perhaps several workshops on dreams and rainbow physics. It will be constrcuted mostly of bamboo poles painted white, and will overlook one of the most gorgeous ocean views on the island of Maiu.
The 42º vertical angle is inspired by a fact of optical physics: that rainbows are perceptible at a 40º - 42º angle of observation in relation to the light of the sun (when proper percipitation is also present).
http://www.facebook.com/photo.php?fbid=202775239788251&set=a.202767226455719.52435.202689673130141
The structure uses bamboo poles set onto golden rectangle (phi) arch ways, all radially distributed at 51.42º... for heptagonal form.
See more images and information here:
http://www.michaelgaio.com/lab/rainbow_dream_temple
To see a rainbow in your dream, represents hope, success and good fortune in the form of money, prestige, or fame. The rainbow is also seen as a bridge between your earthly, grounded self and the higher, spiritual self. It refers to joy and happiness in your relationship. Alternatively, the rainbow is a symbol for gay pride in the western culture.
To see an all white rainbow in your dream, signifies heightened spirituality and purity.
To see a rainbow in a dream, is prognostic of unusual happenings. Affairs will assume a more promising countenance, and crops will give promise of a plentiful yield.
For lovers to see the rainbow, is an omen of much happiness from their union.
To see the rainbow hanging low over green trees, signifies unconditional success in any undertaking.
Seeing a rainbow in your dream means much hope, success and good fortune in the form of money, prestige, or fame. The rainbow is a bridge between your earthly, grounded self and the higher, spiritual self. For lovers to see a rainbow, symbolizes overwhelming happiness from their union.
Rainbows are colourful bridges that fall across the sky, but we can not walk across them. Currently you may experience great joy and have extraordinary or even magical ideas, but remember that you can not walk across the rainbow bridge, so stay well-grounded. Usually a rainbow follows a rainstorm. If so, you have weathered a difficult time that is coming to closure, this dream symbol may represent your optimism. Generally, rainbows make people smile and feel happy. Thus, some may consider this dream a sign of your good luck.
The word ‘temple’ derives from the root tem—’to divide’. Etruscan
soothsayers made a division of the heavens by means of two straight lines intersecting at a point directly above the head, the point of intersection being a projection of the notion of the ‘Centre’, and the lines representing the two ‘directions’
of the plane; the north-south line was called cardo and the east-west decumanus.
Phenomena were interpreted according to their situation within this division of
space. Hence, the earthly temple is seen as an image of the celestial temple and its
basic structure is determined by considerations of order and orientation (7). The
temple affords a particular and additional meaning to the generic symbolism of architectonic structures. Broadly speaking, it is the mystic significance of the
‘Centre’ which prevails; the temple and, in particular, the altar, being identified
with the symbol of the mountain-top as the focal point of the intersection of the
two worlds of heaven and earth. Solomon’s temple, according to Philo and Flavius
Josephus, was a figurative representation of the cosmos, and its interior was
disposed accordingly: the incense table signified thanksgiving; the seven-branched
candelabra stood for the seven planetary heavens; the holy table represented the
terrestrial order. In addition to this, the twelve loaves of bread corresponded to
the twelve months of the year. The Ark of the Covenant symbolizes the intelligibles
(14). Romanesque, Gothic and Renaissance architects, each in their own way,
sought to imitate this superior archetype. For example, between 1596 and 1604,
imaginary reconstructions of the Temple of Solomon appeared in various works
published in Rome and based upon holy writ, and the illustrations they contained
deeply influenced the architects of the period. Another fundamental significance
of the temple derives from its being a synthesis of the various symbols for the
world-axis, such as the hollow mountain, steps and the sacrificial mountain-peak
mentioned above. In certain astrobiological cultures the temple or altar is in fact
built upon an artificial mountain—the teocalli of Mexico is an example. A more
advanced concept can be seen in the architectural portrayal of those essential
elements of the inner pattern of the universe founded upon the numbers three,
seven, ten and twelve in particular. Seven is basic to the representation of the
planets and their derived symbolisms, and hence the Mesopotamian templemountains—or ziggurats—were constructed after the fashion of a seven-terraced
pyramid. Each of the terraces was dedicate to a particular planet. The Babylonian
ziggurat known as Etemenanki (‘the house of the seven directions of heaven and
earth’) was built of crude bricks overlaid with others that had been fired. A tablet
in the Louvre records that in plan it measured 2,200 feet long by 1,200 wide. The
first level was black in colour and dedicated to Saturn, the second orange-coloured
and sacred to Jupiter, the third red and consecrated to Mars, the fourth golden and
sacred to the Sun, the fifth yellow (to Venus), the sixth blue (to Mercury), the
seventh silver (to the Moon) (39). This order is not always observed, for sometimes the Moon is situated in the sixth heaven and the Sun in the seventh (17).
Berthelot, however, suggests that the ziggurat not only embraces the mystic
aspects of the Mountain and the Centre (by virtue of its mass and situation) and
of Steps (because of its shape), but also constitutes an image of paradise, since
vegetation appears to flourish on its terraces (7). The origins of this type of
structure are Sumerian (7), and examples are to be found in Egypt, India, China
and pre-Columbian America. Eliade, in confirming this, adds that the climb to the top of the Mesopotamian or of the Hindu temple-mountain was equivalent to an
ecstatic journey to the ‘Centre’ of the world; once the traveller has reached the
topmost terrace, he breaks free from the laws of level, transcends profane space
and enters a region of purity (18). It is hardly necessary to observe that climbing
mountains implies ultimately the same mystic tendency, as can be seen in the fact
that mountain heights are the chosen abode of the recluse. And the favourable
symbolic significance of the goat derives solely from his predilection for heights.
Another important example of the temple-mountain, a product of Hindu culture,
comes from Indo-China—the temple of Borobudur built in the centre of the
island of Java in the 8th century of our era. Basically it consists of four levels of
square-shaped galleries, with four more circular platforms on top surmounted by
an enclosed belvedere. In form, then, it is similar to the Egyptian ziggurat, or, in
the Khmer language, a Phnom, signifying a temple-mountain comparable with
Meru, the Hindu Olympus. Four flights of steps up the centre of each pyramid
face lead directly from the base to the top. It would appear that the profoundest
meaning attached to this temple is of a supernatural character. Its name—
Borobudur—signifies ‘the seat of secret revelation’. All graduated edifices such
as steps concern the symbolism of discontinuous spiritual evolution, that is, the
separate but progressive stages of evolution (6). At the same time, the groundplan of the Borobudur temple is diagrammatically a true yantra, and its various
square and round-shaped levels constitute a mandala related to the symbolism of
‘squaring the circle’ (6). The symbolic structure of the Greek temple is fundamentally the same as that of the lake-dwelling: that is, it symbolizes the intercommunication between the Three Worlds—the Lower (represented by the water and
the piles on the one hand and earth and the subterranean part on the other), the
Terrestrial (the base and columns) and the Upper (suggested by the pediment).
Christian cathedrals are related less to the macrocosm than to the microcosm, the
human figure being depicted in terms of the apse (representing the head), the
cross and transepts (the arms), the nave and side aisles (the body) and the altar
(the heart). In the Gothic temple, the upward sweep, the vital rôle of the vertical
axis—and indeed the structure as a whole—embrace the idea of the templemountain with its implied synthesis of the symbolism of both macrocosm and
microcosm. According to Schneider, the two towers usually placed at the western
face correspond to the twin-peaked ‘mountain of Mars’ in primitive megalithic
cultures (and linked with the Gemini myth), while the cimborrio over the transept
is expressive of a higher synthesis, an image of heaven. Both the synthesis and the
crux of the matter are established by Gershom G. Scholem, in Les Origines de la
Kabbale (Paris, 1966). He recalls that God lives in his reason or that God is the absolute Reason and logos of the world, and that the temple ‘is the house’ or
abode of God, and thus identifies temple with reason.
To see a temple in your dream, represents inspiration, spiritual thinking, meditation and growth. It is also symbolic of your physical body and the attention you give it. Perhaps you need to pamper yourself. Alternatively, the dream suggests that you are looking for a place of refuge and a place to keep things that are dear to you.
Seeing a temple in your dream, represents your spiritual thinking, meditation and growth. It is also symbolic of your physical body and the attention you give it.
To see bamboo in your dream, symbolizes trustworthiness, strength and resilience. You are able to easily bounce back from setbacks and disappointments in your life. Alternatively, it refers to strong ties/bonds and fair dealings.
To dream that the bamboo is soft or rotting, suggests that there is imbalance in your waking life.
Dreaming of bamboo, symbolizes trustworthiness, strength and resilience. You easily bounce back from setbacks and disappointments in your life. Alternatively, it refers to strong ties/bonds and fair dealings.
Dreaming that you are dreaming means your emotional state. You are excessively worried and fearful about a situation or circumstance that you are going through.
The symbolism of architecture is, of course, complex and
wide-ranging. It is founded upon ‘correspondences’ between various patterns of
spatial organization, consequent upon the relationships, on the abstract plane,
between architectural structures and the organized pattern of space. While the
basic pattern of architectural relationships provides the primary symbolism,
secondary symbolic meanings are derived from the appropriate selection of individual forms, colours and materials, and by the relative importance given to the
various elements forming the architectural whole (function, height, etc.). The
most profound and fundamental architectural symbol is the ‘mountain-temple’ (the Babylonian ziggurat, Egyptian pyramid, American teocalli or stepped pyramid, Buddhist stupa). It is based on a complex geometrical symbolism including
both the pyramid and the ladder or staircase, as well as the mountain itself. Some
of this symbolism can also be found in Western religious building, particularly
Gothic cathedrals. Such temples often include essential elements from the mandala
symbolism (that is, the squaring of the circle, through a geometrical diagram
combining the square and the circle, usually linked through the octagon as an
intermediate step) and from the symbolism of numbers (the significant figure
standing for the number of essential factors: for example, 7 is very common in
stepped pyramids; and, in the Temple of Heaven in Peking, 3—the number of
floors—is the basic number, multiplied by itself because of the 3 platforms and
the 3 roofs) (6). The figure 8, as we have seen, is of great importance as the link
between 4 (or the square) and the circle. The Tower of the Winds, in Athens, was
octagonal in plan. The eight pillars of the Temple of Heaven in Peking are another
instance (6). As the cave inside the mountain is an essential element in mountain
symbolism, it follows that the ‘mountain-temple’ would not be complete without some form of cave. In this sense, Indian rock-cut temples are a literal expression of the mountain-cave symbol: the temple actually is the cave cut into the side
of the mountain. The cave stands for the spiritual Centre, the heart or the hearth
(cf. the cave in Ithaca, or the Cave of the Nymphs in Porphyry). This symbolism
implies a displacement of the symbolic centre, that is, the mountain peak of the
world ‘outside’ is transferred to the ‘inside’ (of the mountain, and so of the world
and of Man). The primary belief in the fundamental significance of an external
form (such as the menhir, omphalos or pillar) is replaced by an interest in the
space at the centre of things’, identified as the ancient symbol of the ‘world egg’.
One of the specific symbols of this is the dome, symbolizing also the vault of
heaven (which is why domes in ancient Persia were always painted blue or black).
In this connexion, it is important to note that, in the geometrical symbolism of the
cosmos, all circular forms relate to the sky or heaven, all squares to the earth, and
all triangles (with the apex at the top) to fire and to the urge towards ascension
inherent in human nature. Hence, the triangle also symbolizes the communication
between earth (the material world) and heaven (the spiritual world). The square
corresponds to the cross formed by the four Cardinal Points (6). And, of course,
the pyramid is square in plan and triangular in section. This general symbolism,
however, can be profoundly modified in certain directions by the addition of
powerful secondary meanings or associations. Thus, whereas Christianity comes
to stress the importance of the human individual rather than the cosmos, templesymbolism emphasizes the transcendence of the human figure rather than the contrast between heaven and earth—though the primary meaning can by no
means be ignored. Already in Greek, Etruscan and Roman temple-building, this
symbolic contrast, as well as the symbolism of gradual ascent (as in Babylonian
ziggurats) had become subservient to the concept of a temple mirroring on earth
the division of the heavens into an ordered pattern, and resting on supports
(pillars, columns) which—since they originate from primitive lake-dwelling structures—relate the earth’s surface to the ‘primordial waters’ of the ocean. The
typical Romanesque church combines the symbolisms of the dome, and of the
circle and the square, with two new elements of the greatest importance: the
subdivision of the main body of the building into nave and two aisles (symbolic
of the Trinity) and the cross-shaped plan, derived from the image of a man lying
prostrate with his arms outstretched whereby the centre becomes not man’s
navel (a merely symmetrical division) but his heart (at the intersection of nave
and transept), while the main apse represents the head. As indicated above, each
architectural element contributes to the general symbolism. Thus, in Gothic architecture, the symbol of the Trinity occurs repeatedly in triple doors, trefoiled,
scalloped and pointed arches. The ogive in itself is nothing but a triangle with
curved sides, with all the specific implications of triangle-symbolism outlined
above (14, 46). The flammigerous arch, as the name indicates, is a symbol of fire,
and it would be possible to see in the formal evolution of 15th-century Gothic a
return to the apocalyptic meanings which were so important in Romanesque
iconography (46). Jambs, pillars and side columns can be interpreted as ‘guardians’ of the doorway. Porches are the external counterpart of the altar-piece
which, in its turn, is—as it were—the ‘programme’ set up in the heart of the
temple. Cloisters also possess cosmic and spiritual implications. On the cosmic
plane, and regarded as a spatial expression of a period of time, they stand for the
cycle of the year, and by analogy, for the life-span of Man. The correlation is as
follows: North-East side of the cloister—October December; North-West—January/March; South-West—April/June; South-East—July/September. The four
divisions of the year (or of the human life-span of which it is an analogical image)
are further correlated to the four phases of a ritual cycle of healing (or salvation):
the first phase—death, danger and suffering; second phase—purifying fire; third—
cure; fourth—convalescence (51). According to Pinedo, the South side, whence
the warm winds blow, pertains to the Holy Spirit, inspiring the soul with the fire
of charity and divine love; the North side, exposed to the cold winds, pertains to
the devil and his insinuations that freeze the soul (46). As regards one of the most
characteristic features of Gothic cathedrals—the twin frontal towers—Schneider
points out that they are related to the two peaks of the Mountain of Mars (with its related symbols of the Gemini, Janus and the number 2), while the dome over
the intersection of the nave and transepts stands for the Mountain of Jupiter (or
unity). Paradise is above the platform and Hell (represented by the gargoyles)
beneath. The four supports, pillars or piers which subdivide the façade and
determine the location of the three doorways are the four rivers of Paradise. The
three doors stand for faith, hope and charity. The central rosette is, the Lake of
Life, where heaven and earth meet (sometimes it also stands for heaven, towards
which the apex of the triangular ogive points) (50). Attempts have also been made
to define the probable allegorical significance of other parts of the architectural
fabric of the cathedral. Thus, according to Lampérez, the church walls stand for
humanity redeemed; the counterforts and flying buttresses for uplifting, moral
strength; the roof for charity and shelter; the pillars, for the dogmas of the faith;
the ribbing of the vaults, for the paths of salvation; the spires, for God’s finger
pointing to the ultimate goal of mankind. It will be seen that the special symbolic
meanings here are obviously related to the appearance and functions of the various architectural elements. Two further facts should also be mentioned: the ‘degraded’ interpretation suggested by psychoanalysts whereby every building is
seen as a human body (doors and windows— openings; pillars—forces) or spirit
(cellars—subconscious; attics— mind, imagination)—an interpretation arrived at
on an experimental basis; and the possibility of elaborating increasingly complex
systems by combining a number of symbolic principles. Kubler, in his Baroque
Architecture, analyses the case of Fr. Giovanni Ricci who, following the example
of his mannerist forerunners Giacomo Soldati and Vincenzo Scamozzi, endeavoured to develop a new ‘harmonic’—or ideal—architectural order, by integrating
the existing systems (Tuscan, Doric, Ionic, etc.) into a scheme whereby each
different mode was related to a specific temperament or to a certain degree of
holiness (Plate III).
To dream that something is sacred, symbolizes the things that you hold close and value. You have invested time and energy into its development and it is paying off.
Colors in dreams represent energy, emotions, and vibes. First consider what that single color in your dream means to you and your own personal associations and relationship with that color. In general, pale pastel colors indicate weakness or subtlety. Dark colors represent passion and intensity. Bright colors mean awareness.
To dream in color and then dream in black and white, suggests that you are starting to look at a situation from a more objective perspective instead of from an emotional standpoint. You are subconsciously reacting to events in the dream.
Colors in dreams represent energy, emotions, and vibes. First consider what that single color in your dream means to you and your own personal associations and relationship with that color. Dreaming in color and then dream in black and white, suggests that you are starting to look at a situation from a more objective perspective instead of from an emotional standpoint. You are subconsciously reacting to events in the dream.
Most people dream in colors, but at times some stand out more than others. Colors are symbolic and their symbolism is part of culture. We communicate with color and relate ideas with them. For example, a bride wears white and black is worn at funerals. Colors also represent energy. The meaning that you give to the colors in your dreams depends on the meaning that you give to those colors in daily life. If you "see red" when you are angry, then red symbolizes anger and not passion for you.
In a manner of speaking, space is an intermediate zone between the
cosmos and chaos. Taken as the realm of all that is possible, it is chaotic; regarded
as the region in which all forms and structures have their existence, it is cosmic.
Space soon came to be associated with time, and this association proved one of
the ways of coming to grips with the recalcitrant nature of space. Another—and
the most important—was the concept of space as a three-part organization based
upon its three dimensions. Each dimension has two possible directions of movement, implying the possibility of two poles or two contexts. To the six points
achieved in this way, there was added a seventh: the centre; and space thus
became a logical structure. The symbolisms of level and of orientation were
finally brought to bear in order to complete the exegesis. The three dimensions of
space are illustrated by means of a three-dimensional cross, whose arms are oriented along these six spatial directions, made up of the four points of the
compass plus the two points of the zenith and the nadir. According to René
Guénon, this symbolism—because of its structural character—is identical with
that of the Sacred Palace (or the inner palace) of the Cabala, located at the centrepoint from which the six directions radiate. In the three-dimensional cross, the
zenith and the nadir correspond to the top and the bottom, the front and back to
East and West, the right and left to the South and North. The upright axis is the
polar axis, the North-South axis is the solstitial line, the East-West the equinoctial. The significance of the vertical or level-symbolism concerns the analogy
between the high and the good, the low and the inferior. The Hindu doctrine of the
three gunas—sattva (height, superiority), rajas (intermediate zone of the world
of appearances, or ambivalence) and tamas (inferiority, or darkness)—is in itself
sufficient to explain the meaning of the symbolism of level up and down the
vertical axis. It is, in consequence, the intermediate plane of the four-directional
cross (that which incorporates the cardinal points and which implies the square)
which represents the world of appearances. Taking next the East-West axis,
traditional orientation-symbolism associates the East—being the point of sunrise—with spiritual illumination; and the West—the point where the sun sets—
with death and darkness. Passing next to the North-South axis, there is no one
definite interpretation. In many oriental cultures, the zenith coincides with the
mystic ‘Hole’ through which transition and transcendence are effected, that is,
the path from the world of manifestation (spatial and temporal) to that of eternity. But it has also been identified with the centre of the three-dimensional cross,
taken as the heart of space. Reduced to two dimensions—those of the contrasting
horizontal and vertical arms—the cross comes to represent harmony between
extension (associated with width) and exaltation (with height). The horizontal
arm concerns the implications of a given gradation or moment in an individual’s
existence, and the vertical pertains to moral elevation (25). William of SaintThierry, describing the seven gradations of the soul, observes that it ascends these
steps in order to reach the celestial life (14). If we seek an interpretation which
will justify the four points of the horizontal plane’s being reduced to two (the left
and right), we can find a basis for it in Jung’s assertion that the rear part coincides
with the unconscious and the front with the manifest or consciousness; and since
the left also can be equated with the unconscious and the right with consciousness, the rear then becomes equivalent to the left and the front to the right (32).
Other equivalents are: left side with the past, the sinister, the repressed, involution, the abnormal and the illegitimate; the right side with the future, the felicitous, openness, evolution, the normal and the legitimate (42). In all this, there is an apparent contradiction with the corresponding number-symbolisms: Paneth
observes that, in most cultures, the uneven numbers are considered to be masculine and the even numbers to be feminine. Since the left side is the zone of origin
and the right that of the outcome, the corresponding number-symbolisms would
seem to be one (the uneven or masculine number) for the left side (that is, the
past) and two (the even or feminine number) for the right side (the subsequent or
outcome). The solution is to be found in the fact that the number one (unity)
never corresponds to the plane of the manifest world or to spatial reality: it is the
symbol of the centre, but not in the sense of occupying any situation in space
which might imply a sequel. Hence we must conclude that two is the number
corresponding to the left side and three is that related to the right. Guénon
explains the way in which the cosmic order conforms with all this in a lucid
exposition of the relevant Hindu doctrines to the effect that the right hand zone is
the solar region; the left-hand the lunar. ‘In the aspect of this symbolism which
refers to the temporal condition, the Sun and the right eye correspond to the
future, the Moon and the left eye to the past; the frontal eye corresponds to the
present which, from the point of view of the manifested, is but an imperceptible
moment, comparable to the geometrical point without dimensions in the spatial
order; that is why a single look from the third eye destroys all manifestation
(which is expressed symbolically by saying that it reduces everything to ashes),
and that is also why it is not represented by any bodily organ; but when one rises
above this contingent point of view, the present is seen to contain all reality (just
as the point carries within itself all the possibilities of space), and when succession is transmuted into simultaneity, all things abide in the “eternal present”, so
that the apparent destruction is truly a “transformation” ‘ (26). Now, the seven
aspects that define space have been regarded as the origin of all septenary groups,
and in particular of the seven planets, the seven colours and the seven kinds of
landscape (50). Hence Luc Benoist can assert that the Christian Church, by
building on earth a mighty, three-dimensional cross of stone, has created for the
entire world the co-ordinate lines of a supernatural geometry. Benoist then quotes
Clement of Alexandria as saying that the six directions of space symbolize—or
are equivalent to—the simultaneous and eternal presence of the six days of the
Creation, and that the seventh day (of rest) signifies the return to the centre and
the beginning (6). Once the cosmic sense of spatial symbolism has been demonstrated, it is simple to deduce its psychological applications. And once the static
laws have been determined, it is easy to grasp the dynamic-implications, always
bearing in mind the symbolism of orientation. Here, we must point out that the
swastika—a solar and polar symbol—implies a movement from right to left, like the apparent movement of the sun; and that Clotho—one of the Parcae—spins
her ‘wheel of destiny’ in the same direction, that is, the opposite way to existence, so destroying it. Right-handedness is characteristic of all symbols of natural
life (28); hence, in the Egyptian system of hieroglyphs, to enter is to go towards
the right and to go out is to go towards the left (19); orienting these hieroglyphs,
we have the right corresponding with the rise and the left with the setting of the
sun. Similarly, the right side takes on an extra implication of birth and life, while
the left side acquires an association with death (17). Another consequence, apparent in allegories and emblems, is that the right side corresponds to the higher
virtues—if one may put it that way—such as compassion, and the left side to
justice. All of the above conclusions are logical deductions drawn from the study
of oriental tradition, supported by the findings of experimental psychology. But
they are conclusions which have also been verified by anthropologists and sociologists in their studies of the habits of diverse peoples. Ania Teillard, for example, has collated a mass of facts; she quotes J. J. Bachofen as asserting (in his
Mutterrecht und Urreligion und Grabersymbolik der Alten) that, in the important
and very common equation ‘right hand=masculinity’, the left hand harbours
magic powers and the right hand the force of reason, and also that in matriarchal
societies one always finds the idea of superiority attributed to the left side, and
conversely. To turn to the left is to look back upon the past, the unconscious,
implying introversion; to turn to the right is to look upon the outside world,
implying action and extraversion. At the same time, ethnologists are agreed that
during the first stage of any period of sun-worship, the right side becomes preeminent, whereas in lunar cults it is the left side which prevails (56). In paintings,
reliefs and other artistic creations of man, the left side is characterized by a more
vivid projection of the self (that is, by identification) and the right side is more
extravert.
Seeing or dreaming that you are in space, represents exploration. You are an independent thinker.