How to Draw a Man-in-the-Maze Labyrinth / 11

Completion of the Seed Pattern

Two more steps are still needed in order to bring the Chartres-type labyrinth into the Man-in-the-Maze style. First, the seed pattern has to be completed.

We already have the seed pattern for the walls delimiting the pathway, but still without the pieces of the pathway that traverse the axes. These are still represented as pieces of the Ariadne’s Thread (fig. 1).

Figure 1. Seed Pattern and Pieces of Path Traversing the Axes


The labyrinth should be represented entirely by the walls delimiting the pathway. For this, the walls around the pieces of the path traversing the axes have to be completed (fig. 2).

Figure 2. Completion of the Walls Delimiting the Pathway – 1

We begin from the outside to the inside and first draw the walls around the outermost of these pieces of the pathway.

As a next step we add the walls delimiting the next inner pieces of the pathway (fig. 3).

Figure 3. Completion of the Walls Delimiting the Pathway – 2

As one can see, in each step, for each piece of the path, 2 or 4 for spokes have to be prolonged inwards, which are then connected with an arc of a circle.

And so we continue until all pieces of the path traversing the axes are enveloped by walls delimiting them (fig. 4).

Figure 4. The Final Seed Pattern for the Walls Delimiting the Pathway

This results in the complete seed pattern for the walls delimiting the pathway. In the center of the seed pattern and where the path traverses the axes there exist areas that are not accessible. This is quite analogue with the seed patterns in alternating labyrinths in the MiM-style, in which the center is not accessible either.

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Variants of the Cakra Vyuh Seed Pattern

In the last post I have introduced the eleven-circuit Cakra Vyuh Labyrinth. Even though the seed pattern has a central cross and also can be easily drawn freehand, it is not a labyrinth in the Classical style. In fig. 1 I show the seed pattern in different variants.


Figure 1. Variants of the Seed Pattern

Image a shows the original seed pattern, image b the seed pattern in the Classical style, image c in the Concentric style, and image d in the Man-in-the-Maze style.

This figure clearly shows that the original seed pattern deviates from the Classical style. It is true that this seed pattern has a central cross as for instance the Cretan labyrinth also. However in the Cakra Vyuh seed pattern, from this cross further junctions branch off.

This is different in the Classical style. The Classical style consists of verticals, horizontals, ankles and dots. For this, no central cross is required. This page illustrates well, what I mean (left figure of each pair). If a seed pattern includes ankles these lie between the cross arms and do not branch off from them.

The four images in fig. 1 in part look quite different one from each other. So how do I come to the assertion that they are four variants of the same seed pattern? Let us remember that these figures show seed patterns for the walls delimiting the pathway. Now let us inscribe the seed patterns for the Ariadne’s Thread into these figures (fig. 2).


Figure 2. With the Seed Pattern for the Ariadne’s Thread Inscribed

At first glance this looks even more complex. However, if we focus on the red figures, we will soon see what they have in common.


Figure 3. Seed Pattern for the Ariadne’s Thread

The seed pattern represents a section of the entire labyrinth. More exactly, it is the section along the axis of the labyrinth. The turning points of the pathway align to the axis. This can be better seen on the seed pattern for the Ariadne’s Thread compared with the seed pattern for the walls delimiting the pathway.

In all four seed patterns, turns of the pathway with single arcs interchange with turns made-up of two nested arcs. This constitutes the manner and sequence of the turns and is the basic information contained in the seed pattern. In the four seed patterns shown, the alignment of the turns may vary from circular (image a, image d) to longisch, vertical, slim (image b, image c). The shape of the arcs is adapted to the shape of the walls delimiting the pathway. However in all images it is a single turn in alternation with two nested turns.

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