Mini Session
By learning, growing and spreading classical seed patterns, labyrinths have emerged around the world. Understanding their variations yields insight into how this archetype evolved over time. Seed patterns provide pathways of insight into understanding what defines a labyrinth. This presentation reflects on the basic nature of labyrinths and can further our understanding of honoring history and tradition of the form.
Abstract
While the origin of labyrinths is shrouded in mystery, how they spread across continents is evident. By ‘connecting the dots’ of a seed pattern anyone can ‘grow’ their own labyrinth. The seven-circuit classical was most widely sewn, but the design was also commonly altered to 11 or 15 circuits.
The seed pattern has also been recently distilled to create three and five-circuit patterns. Drawing these patterns, something didn’t sit right with me… either lines are left ‘dangling’ on the outside and/or in the center. Looking at the three-circuit, I noticed that by walking the design, it simply progressed from the outside in. It lacks the rhythm of entering close to the center, moving farther away, then swinging back again.
Looking for historical examples, I realized these designs are not found in manuscripts or rock carvings. This led to a startling conclusion: the three-circuit pattern is neither classical nor (dare I say) a labyrinth. Looking at Cretan coins, however, I realized there are ‘true’ three and five-circuit patterns, but they are drawn differently, with only two line ends. Studying the work of Robert Ferre and Erwin Reismann, I had an epiphany. The secret to drawing a smaller labyrinth is to draw only the top half of the seed pattern!
By using a seed pattern with only two dots, the line ends are nested within the turns. Also these classical labyrinths offer a similar ebb/flow as the seven-circuit classical. Understanding this seed pattern variation offers insight into both the history and definition of classical labyrinths.