A gestural meaning of svastica

svastica

We have recently analyzed the gesture of dervish, which performs its ritual by whirling with the arms open to outside, the palm of the right hand facing up, the palm of the left below. By performing this gesture, the dervish works in such a way as to receive the energy of the Cosmos with the right hand and make it available to the human through the left hand.

On this premise, years ago I proposed a gestural interpretation of the svastica, a symbol that has its roots in prehistory, whose mystery to date has not yet been completely unvealed. The svastica is a cross formed by two perpendicular lines of equal length, ending in a right-angled line. If we analyze this symbol starting from its graphic structure, it is possible to recognize in it a gestural mechanism that – obviously in my interpretation – has the function of drawing energy from the whole universe and making it available to man. In fact, the horizontal element of the svastica corresponds to the position of the arms that the dervish holds while dancing.

dervisci da Gurdjieff

If we duplicate this horizontal element and rotate it 90 degrees on the center, we have drawn the svastica and obtained two results: first, the same power to catalyze the cosmic energy used by the dervish is addressed to the four regions of space, in order to produce a universal cosmic result; secondly, by virtue of the sacred value that archaic man attributes to the support (see our “The sacred nature of support” published in this blog), which is considered an axis mundi, the gesture transformed into a sacred image will produce its effects forever.

In this way, one of the four most recurrent gestures in archaic iconography, thanks to a graphic procedure of duplication, is transformed into a sort of engine capable of accumulating energy from the cosmos and making it available to the human community.

Autore: Gaudenzio Ragazzi

(English). My name is Gaudenzio Ragazzi, a long time ago I graduated in Philosophy with a master in History of Theater. To realize my thesis on the "origins of dance", a theme that still today boasts only two or three specialized researchers in the world, I became a scholar of Prehistoric Iconography. In the last thirty years I have not been able to escape the responsibilities of life. So, after the death of my father, I led the family artisan company that produces tailored shirts. A few years ago I decided that it was time to resume my studies and complete the research I had started as a young man (that nobody else had yet completed). Good luck Gaudenzio! Mi chiamo Gaudenzio Ragazzi, molto tempo fa ho conseguito la laurea in Filosofia con specializzazione in Storia del Teatro. Sono diventato uno studioso di Iconografia Preistorica per realizzare la mia tesi di laurea sulle "origini della danza", argomento che ancora oggi vanta nel mondo solo due o tre studiosi di una certa levatura. Negli ultimi trent'anni non ho potuto sottrarmi alle responsabilità della vita. Così, dopo la morte di mio padre, ho guidato l'azienda artigiana di famiglia che produce camicie su misura. Alcuni anni fa ho deciso che era arrivato il momento di riprendere i miei studi e di fare da vecchio quello che non ho potuto fare da giovane (e che nessun altro nel frattempo aveva completato). Buon lavoro Gaudenzio !

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