This issue was
first printed in April 1983 on a photocopy machine on letter-size pages, both
sides, collated, folded and bound, then hand-sewn into single signatures. I had a lot of
help from Susan Yee, who also contributed the cover design.
I am indebted to P.B. Bairi, whose introduction to
Indian rangavalli patterns is reprinted in this issue. I was struck by his approach to the traditional art of India,
which includes many knotwork patterns, although the technique is slightly different. The
Indian knots are more like meanders, still, so similar as to suggest a common origin.
I have redrawn as many knot patterns from P.B. Bairi's collection as I
could find, specifically, so my selection is not representative of the
wide range of designs that are represented by rangavalli. Also, I have
only selected those types of knots that are based on the dot-grid meander,
because these show the greatest similarity to Celtic knots. The difference
being that the Indian knots consist of the midline of the knot only,
whereas in Celtic knot design, a parallel pair of lines is used to define
a bar, or path rather than a simple line. And. of course, this path is
then woven, which is not usually the case in rangavalli.
Further on this theme, I have included some reflections on a verse from the Rig Veda,
relating to the symbolism of the path or Ray of Glory. Here
I support the idea that patterns such as rangavalli and Celtic knots refer ultimately to a
view of the universe as governed by number and geometry.
The cover design for this issue was contributed by Susan
Yee, one of nine celtic spiral designs first published in the previous issue
(see page 7 above).