Quadrant Model of Reality

http://www.wow.com/wiki/Magic_square

Magic squares were known to Chinese mathematicians as early as 650 BC, and explicitly given since 570 AD,[10] and to Islamic mathematicians possibly as early as the seventh century AD. The first magic squares of order 5 and 6 appear in an encyclopedia from Baghdad circa 983, the Encyclopedia of the Brethren of Purity (Rasa'il Ihkwan al-Safa); simpler magic squares were known to several earlier Arab mathematicians.[10] Some of these squares were later used in conjunction with magic letters, as in Shams Al-ma'arif, to assist Arab illusionists and magicians.[11]

 

China (Lo Shu square, 3×3 magic square)

Main article: Lo Shu Square

Ancient references to the pattern of even and odd numbers in the Lo Shu appear in the I Ching; however, the earliest unequivocal appearance of the Lo Shu in the form of a magic square dates to the early 12th century.[12] Legends dating from as early as 650 BC tell the story of the Lo Shu (洛書) or "scroll of the river Lo".[10] According to the legend, there was at one time in ancient China a huge flood. While the great king Yu was trying to channel the water out to sea, a turtle emerged from it with a curious pattern on its shell: a 3×3 grid in which circular dots of numbers were arranged, such that the sum of the numbers in each row, column and diagonal was the same: 15. According to the legend, thereafter people were able to use this pattern in a certain way to control the river and protect themselves from floods.

 

4 9 2

3 5 7

8 1 6

The Lo Shu Square, as the magic square on the turtle shell is called, is the unique normal magic square of order three in which 1 is at the bottom and 2 is in the upper right corner. Every normal magic square of order three is obtained from the Lo Shu by rotation or reflection.

 

Persia

 

Original script from the Shams al-Ma'arif.

 

Printed version of the previous manuscript. Eastern Arabic numerals were used.

Although the early history of magic squares in Persia is not known, it has been suggested that they were known in pre-Islamic times.[13] It is clear, however, that the study of magic squares was common in medieval Islam in Persia, and it was thought to have begun after the introduction of chess into the region.[14] The 10th-century Persian mathematician Buzjani, for example, left a manuscript that on page 33 contains a series of magic squares, filled by numbers in arithmetical progression, in such a way that the sums of each row, column and diagonal are equal.[15]

 

Arabia

Magic squares were known to Islamic mathematicians in Arabia as early as the seventh century. They may have learned about them when the Arabs came into contact with Indian culture and learned Indian astronomy and mathematics – including other aspects of combinatorial mathematics. Alternatively, the idea may have come to them from China. The first magic squares of order 5 and 6 known to have been devised by Arab mathematicians appear in an encyclopedia from Baghdad circa 983, the Rasa'il Ikhwan al-Safa (the Encyclopedia of the Brethren of Purity); simpler magic squares were known to several earlier Arab mathematicians.[10]

 

The magic square of order three was described as a child-bearing charm[16] since its first literary appearances in the works of Jābir ibn Hayyān (fl. c. 721– c. 815)[17] and al-Ghazālī (1058–1111)[18] and it was preserved in the tradition of the planetary tables, known from H.C.Agrippa's work,[19] too.

 

The Arab mathematician Ahmad al-Buni, who worked on magic squares around 1250, attributed mystical properties to them, although no details of these supposed properties are known. There are also references to the use of magic squares in astrological calculations, a practice that seems to have originated with the Arabs.[10]

 

India

 

Magic Square at the Parshvanatha temple, in Khajuraho India

The 3×3 magic square has been a part of rituals in India since Vedic times, and still is today. The Ganesh yantra is a 3×3 magic square. There is a well-known 10th-century 4×4 magic square on display in the Parshvanath temple in Khajuraho, India.[20]

 

7 12 1 14

2 13 8 11

16 3 10 5

9 6 15 4

This is known as the Chautisa Yantra. Each row, column, and diagonal, as well as each 2×2 sub-square, the corners of each 3×3 and 4×4 square, the corners of each 2×4 and 4×2 rectangle, and the offset diagonals (12+8+5+9, 1+11+16+6, 14+2+3+15 and 7+11+10+6, 12+2+5+15, 1+13+16+4) sum to 34.

 

In this square, every second diagonal number adds to 17 (the same applies to offset diagonals). In addition to squares and rectangles, there are eight trapeziums – two in one direction, and the others at a rotation of 90 degrees, such as (12, 1, 16, 5) and (13, 8, 9, 4).

 

These characteristics (which identify it as one of the three 4×4 pandiagonal magic squares and as a most-perfect magic square) mean that the rows or columns can be rotated and maintain the same characteristics - for example:

 

12 1 14 7

13 8 11 2

3 10 5 16

6 15 4 9

The Kubera-Kolam, a magic square of order three, is commonly painted on floors in India. It is essentially the same as the Lo Shu Square, but with 19 added to each number, giving a magic constant of 72.

 

23 28 21

22 24 26

27 20 25

Europe

 

This page from Athanasius Kircher's Oedipus Aegyptiacus (1653) belongs to a treatise on magic squares and shows the Sigillum Iovis associated with Jupiter

In 1300, building on the work of the Arab Al-Buni, Greek Byzantine scholar Manuel Moschopoulos wrote a mathematical treatise on the subject of magic squares, leaving out the mysticism of his predecessors.[21] Moschopoulos was essentially unknown to the Latin west. He was not, either, the first Westerner to have written on magic squares. They appear in a Spanish manuscript written in the 1280s, presently in the Biblioteca Vaticana (cod. Reg. Lat. 1283a) due to Alfonso X of Castille.[22] In that text, each magic square is assigned to the respective planet, as in the Islamic literature.[23] Magic squares surface again in Italy in the 14th century, and specifically in Florence. In fact, a 6×6 and a 9×9 square are exhibited in a manuscript of the Trattato d'Abbaco (Treatise of the Abacus) by Paolo dell'Abbaco, aka Paolo Dagomari, a mathematician, astronomer and astrologer who was, among other things, in close contact with Jacopo Alighieri, a son of Dante. The squares can be seen on folios 20 and 21 of MS. 2433, at the Biblioteca Universitaria of Bologna. They also appear on folio 69rv of Plimpton 167, a manuscript copy of the Trattato dell'Abbaco from the 15th century in the Library of Columbia University.[24] It is interesting to observe that Paolo Dagomari, like Pacioli after him, refers to the squares as a useful basis for inventing mathematical questions and games, and does not mention any magical use. Incidentally, though, he also refers to them as being respectively the Sun's and the Moon's squares, and mentions that they enter astrological calculations that are not better specified. As said, the same point of view seems to motivate the fellow Florentine Luca Pacioli, who describes 3×3 to 9×9 squares in his work De Viribus Quantitatis.[25] Pacioli states: A lastronomia summamente hanno mostrato li supremi di quella commo Ptolomeo, al bumasar ali, al fragano, Geber et gli altri tutti La forza et virtu de numeri eserli necessaria (Masters of astronomy, such as Ptolemy, Albumasar, Alfraganus, Jabir and all the others, have shown that the force and the virtue of numbers are necessary to that science) and then goes on to describe the seven planetary squares, with no mention of magical applications.

 

Magic squares of order 3 through 9, assigned to the seven planets, and described as means to attract the influence of planets and their angels (or demons) during magical practices, can be found in several manuscripts all around Europe starting at least since the 15th century. Among the best known, the Liber de Angelis, a magical handbook written around 1440, is included in Cambridge Univ. Lib. MS Dd.xi.45.[26] The text of the Liber de Angelis is very close to that of De septem quadraturis planetarum seu quadrati magici, another handbook of planetary image magic contained in the Codex 793 of the Biblioteka Jagiellońska (Ms BJ 793).[27] The magical operations involve engraving the appropriate square on a plate made with the metal assigned to the corresponding planet,[28] as well as performing a variety of rituals. For instance, the 3×3 square, that belongs to Saturn, has to be inscribed on a lead plate. It will, in particular, help women during a difficult childbirth.

 

In 1514 Albrecht Dürer immortalized a 4×4 square, of order four, in his famous engraving Melencolia I. It is described in more detail below.

 

In about 1510 Heinrich Cornelius Agrippa wrote De Occulta Philosophia, drawing on the Hermetic and magical works of Marsilio Ficino and Pico della Mirandola. In its 1531 edition, he expounded on the magical virtues of the seven magical squares of orders 3 to 9, each associated with one of the astrological planets, much in the same way as the older texts did. This book was very influential throughout Europe until the counter-reformation, and Agrippa's magic squares, sometimes called kameas, continue to be used within modern ceremonial magic in much the same way as he first prescribed.[10][29]

 

Saturn=15

4 9 2

3 5 7

8 1 6

Jupiter=34

4 14 15 1

9 7 6 12

5 11 10 8

16 2 3 13

Mars=65

11 24 7 20 3

4 12 25 8 16

17 5 13 21 9

10 18 1 14 22

23 6 19 2 15

Sol=111

6 32 3 34 35 1

7 11 27 28 8 30

19 14 16 15 23 24

18 20 22 21 17 13

25 29 10 9 26 12

36 5 33 4 2 31

Venus=175

22 47 16 41 10 35 4

5 23 48 17 42 11 29

30 6 24 49 18 36 12

13 31 7 25 43 19 37

38 14 32 1 26 44 20

21 39 8 33 2 27 45

46 15 40 9 34 3 28

Mercury=260

8 58 59 5 4 62 63 1

49 15 14 52 53 11 10 56

41 23 22 44 45 19 18 48

32 34 35 29 28 38 39 25

40 26 27 37 36 30 31 33

17 47 46 20 21 43 42 24

9 55 54 12 13 51 50 16

64 2 3 61 60 6 7 57

Luna=369

37 78 29 70 21 62 13 54 5

6 38 79 30 71 22 63 14 46

47 7 39 80 31 72 23 55 15

16 48 8 40 81 32 64 24 56

57 17 49 9 41 73 33 65 25

26 58 18 50 1 42 74 34 66

67 27 59 10 51 2 43 75 35

36 68 19 60 11 52 3 44 76

77 28 69 20 61 12 53 4 45

 

The derivation of the sigil of Hagiel, the planetary intelligence of Venus, drawn on the magic square of Venus. Each Hebrew letter provides a numerical value, giving the vertices of the sigil.

The most common use for these kameas is to provide a pattern upon which to construct the sigils of spirits, angels or demons; the letters of the entity's name are converted into numbers, and lines are traced through the pattern that these successive numbers make on the kamea. In a magical context, the term magic square is also applied to a variety of word squares or number squares found in magical grimoires, including some that do not follow any obvious pattern, and even those with differing numbers of rows and columns. They are generally intended for use as talismans. For instance the following squares are: The Sator square, one of the most famous magic squares found in a number of grimoires including the Key of Solomon; a square "to overcome envy", from The Book of Power;[30] and two squares from The Book of the Sacred Magic of Abramelin the Mage, the first to cause the illusion of a superb palace to appear, and the second to be worn on the head of a child during an angelic invocation:

 

S A T O R

A R E P O

T E N E T

O P E R A

R O T A S

6 66 848 938

8 11 544 839

1 11 383 839

2 73 774 447

H E S E B

E Q A L

S

E G

B

A D A M

D A R A

A R A D

M A D A

Albrecht Dürer's magic square

 

Detail of Melencolia I

The order-4 magic square Albrecht Dürer immortalized in his 1514 engraving Melencolia I, referred to above, is believed to be the first seen in European art. It is very similar to Yang Hui's square, which was created in China about 250 years before Dürer's time. The sum 34 can be found in the rows, columns, diagonals, each of the quadrants, the center four squares, and the corner squares (of the 4×4 as well as the four contained 3×3 grids). This sum can also be found in the four outer numbers clockwise from the corners (3+8+14+9) and likewise the four counter-clockwise (the locations of four queens in the two solutions of the 4 queens puzzle[31]), the two sets of four symmetrical numbers (2+8+9+15 and 3+5+12+14), the sum of the middle two entries of the two outer columns and rows (5+9+8+12 and 3+2+15+14), and in four kite or cross shaped quartets (3+5+11+15, 2+10+8+14, 3+9+7+15, and 2+6+12+14). The two numbers in the middle of the bottom row give the date of the engraving: 1514. The numbers 1 and 4 at either side of the date correspond respectively to the letters "A" and "D," which are the initials of the artist.

 

16 3 2 13

5 10 11 8

9 6 7 12

4 15 14 1

Dürer's magic square can also be extended to a magic cube.[32]

 

Dürer's magic square and his Melencolia I both also played large roles in Dan Brown's 2009 novel, The Lost Symbol.

 

Sagrada Família magic square

 

A magic square on the Sagrada Família church façade

The Passion façade of the Sagrada Família church in Barcelona, conceptualized by Antoni Gaudí and designed by sculptor Josep Subirachs, features a 4×4 magic square:

 

The magic constant of the square is 33, the age of Jesus at the time of the Passion. Structurally, it is very similar to the Melancholia magic square, but it has had the numbers in four of the cells reduced by 1.

 

1 14 14 4

11 7 6 9

8 10 10 5

13 2 3 15

While having the same pattern of summation, this is not a normal magic square as above, as two numbers (10 and 14) are duplicated and two (12 and 16) are absent, failing the 1→n2 rule.

 

Similarly to Dürer's magic square, the Sagrada Familia's magic square can also be extended to a magic cube.[33]

 

 

This magic square has 24 groups of four fields with the sum of 139 and in the first row - shown at bottom-right - Ramanujan's date of birth.

Srinivasa Ramanujan's magic square

The Indian mathematician Srinivasa Ramanujan created a square where - in addition to several groups of four squares - the first row shows his date of birth, 22nd Dec. 1887.