All over the world, we find mythologies in which creation begins when solid land first emerges from primordial waters, marking the moment order separates from chaos. This “first land” often becomes the dwelling place of a creator deity or the site where creation unfolds.
Probably the most famous and oldest concept of the Primordial Mound of Creation was the Vedic Mount Meru, the Harmonic Matrix of Creation, with which everything in the Universe resonated. The earliest literary mention of Meru is found in the Sanskrit texts (Vedas) of the Vedic culture, which flourished in what is now India between 1500 and 500 BC, according to historians. These same historians believe that the roots of this culture lie in the Indo-European traditions that thrived across Eurasia.
The Vedic people had reached an advanced level of knowledge in botany, mathematics, medicine, geology, astronomy, martial arts, and more. Much of this knowledge was eventually written down in the Vedas, though many researchers acknowledge that for thousands of years prior to these writings, it was transmitted orally.
Their entire science was based on the harmonic relationship between two primordial forces in the Universe: potential energy and kinetic energy. When these two forces meet, life is created. These two forces are associated with the Moon and with the Sun and have been given many different names in different cultures. In the Meru Civilization, it was Soma or Ida (Moon, water, feminine power) and Agni or Pingala (Sun, fire, masculine power). These two forces spiralling around the central channel Sushumna formed the Kundalini Current. For the Taoists, this was expressed as Yin (feminine, magnetic) and Yang (masculine, electric), currents balanced through sacred techniques to activate the pineal gland, or Third Eye in the center of the brain. Whatever names these forces have been given, they share a common origin in the Indo-European Meru civilization and point to a profound comprehension of the essential laws of Nature and Consciousness. All later civilizations adopted this principle as a central pillar, called Mount Meru.
In Vedic cosmology, Mount Meru is not just a mountain, it is the axis mundi, the vertical pillar around which the cosmos is structured. It stands at the center of the world, surrounded by four great continents, and anchors the heavens, earth, and underworld. Mount Meru was the primordial mound rising from undifferentiated chaos, establishing the first stable point of creation, just like the Benben Stone of Heliopolis, Meru is the cosmic template from which the rest of the universe is organized.
"Maat-Ra-Meru": the Unifying Key
In a 5th‑century BC text, the Chandah‑Shastra (The Art of Intonation), written by Sanskrit grammarian Pingala we find a most interesting description of Mount Meru. One which sheds light on the essential signification of the Primordial Mound of Creation and which connects all the previously named civilizations through this common concept. In the Chandra Shastra, Mount Meru is documented as a “mountain of harmonic cadence,” which he names Maatrameru. Interestingly, in this name we find the Egyptian terms Maat (order), Ra (Light) and Meru (matter). Pingala portrays Mount Meru as a pyramidal representation of whole numbers formed by repeatedly summing the two numbers directly above each entry, starting with the number 1 at the top. This numerical triangle is known today as the Triangle of Pascal.
Two Spirals
Interestingly, when you count up the diagonals in the Triangle, they form the Fibonacci number sequence (1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144,...). This number series is formed by adding up the last two numbers in the sequence (1 + 1 = 2, 2 + 1 = 3, 3 + 2 = 5, 5 + 3 = 8,…) and has a very special property: the further you move on in the sequence, the more the ratio of the last two numbers (for example 8/5 = 1,6 but 144/89 = 1,6179…) approach the Golden Number Phi (1,618…) without ever reaching the Number Phi exactly. In other words, the Fibonacci sequence forms a harmonic way (expressible in whole numbers) to express the most inharmonic ratio in the Universe (not expressible in whole numbers). This is the reason why it is the Fibonacci-numbers which we find most easily in Nature, in the pine cones, sunflowers, biometrics, DNA,…
Now, Fibonacci-progression (1, 1, 2, 3, 5, 8, 13, 21, 34,…) on itself is actually an entropic or parasitic progression because each number in its sequence is the sum of ONLY the TWO previous numbers (0+1=1, 1+1=2, 2+1=3, 3+2=5, 5+3=8 and so forth.). This way, the Fibonacci Spiral loses its connection with its starting point or Source. Instead the sequence “eats” the previous number to add into itself to get to the next higher number of the sequence. The Fibonacci Spiral illustrates the math used to perpetuate the war over energy or, in other words, entropy. The larger it gets, the more it progressively moves out and away from Source. For this reason, a second counter-rotating Fibonacci-spiral is needed to make the system “negentropic”. This is the reason why, in Nature, we often find the Fibonacci-spiral in counter-rotating pairs and why there are two directions in the Meru Triangle in which we can count up the diagonals. In short, The Meru Triangle is the simplest way to numerically represent the harmonic balance between the two converging Fibonacci spirals.
One Axis
When we count up the numbers in the Triangle horizontally per row, we see another number sequence appearing: 1, 2, 4, 8, 16, 32, 64,... This is of course, the doubling octave sequence which, in turn, remains connected to its source eternally because each number is formed by the sum of ALL previous numbers + 1 thus maintaining its connection to source. This “+1” means that each subsequent number in the sequence remains a part of the Original One or the Source. This way, the Octave keeps its connection with Source and forms the negentropic Harmonic Axis around which the two entropic Fibonacci spirals balance in equilibrium.
In the Meru Triangle, we have thus two (Fibonacci) Spirals which are intertwined around a central (Octave) axis.
The All-Seeing 'I'