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The Forbidden City in Beijing, China, is a place of beauty and wonderful architecture. For today's theme, three photos from the Forbidden City, paying particular attention to the architecture.
The architecture of the walled complex adheres rigidly to the traditional Chinese geomantic practice of feng shui. The orientation of the Forbidden City, and for that matter all of Beijing, follows a north-south line. Within the compound, all the most important buildings, especially those along the main axis, face south to honour the Sun. The buildings and the ceremonial spaces between them are arranged to convey an impression of great imperial power, while reinforcing the insignificance of the individual. This architectural conceit is borne out to the smallest of details—the relative importance of a building can be judged not only from its height or width, but also by the style of its roof and the number of figurines on the roof’s ridges.
For most travellers to Far-West Tibet (Ngari) in Purang county, the prime focus of their journey is the sacred peak of Mount Kailash (6714 m), Tibetan name is Gang Ti Se. This extraordinary mountain is regarded as the `heart of the world`, the àxis mundi`,the centre of Asia, by Buddhists, Hindus, Jains and followers of other spiritual traditions. Of all the special destinations for the traveller to reach, Mount Kailash is surely one of the most sublime and sacred. Its geographical position as the watershed of South Asia is unique and it is this which gives it a cosmic geomantic power. From its slopes flow four great rivers in the four cardinal directions - the Senge Tsangpo སེང་གཙང་པོ་ (Indus River) north, the Yarlung Tsangpo ཡར་ཀླུངས་གཙང་པོ་ (Brahmaputra) east, Karnali south into the Ganges གང་ག་, and the Langchen Tsangpo གཙང་པོ་ ( Sutlej River) west.
Mount Kailash itself is known in the Tibetan language as Gang Ti-se and informally as Gang Rinpoche ("Precious Snow Mountain"), to the Bon as Yungdrung Gutsek ("Nine stacked Svastikas").
For most travellers to Far-West Tibet (Ngari) in Purang county, the prime focus of their journey is the sacred peak of Mount Kailash (6714 m), Tibetan name is Gang Ti Se. This extraordinary mountain is regarded as the `heart of the world`, the àxis mundi`,the centre of Asia, by Buddhists, Hindus, Jains and followers of other spiritual traditions. Of all the special destinations for the traveller to reach, Mount Kailash is surely one of the most sublime and sacred. Its geographical position as the watershed of South Asia is unique and it is this which gives it a cosmic geomantic power. From its slopes flow four great rivers in the four cardinal directions - the Senge Tsangpo སེང་གཙང་པོ་ (Indus River) north, the Yarlung Tsangpo ཡར་ཀླུངས་གཙང་པོ་ (Brahmaputra) east, Karnali south into the Ganges གང་ག་, and the Langchen Tsangpo གཙང་པོ་ ( Sutlej River) west.
Mount Kailash itself is known in the Tibetan language as Gang Ti-se and informally as Gang Rinpoche ("Precious Snow Mountain"), to the Bon as Yungdrung Gutsek ("Nine stacked Svastikas").
For most travellers to Far-West Tibet (Ngari) in Purang county, the prime focus of their journey is the sacred peak of Mount Kailash (6714 m), Tibetan name is Gang Ti Se. This extraordinary mountain is regarded as the `heart of the world`, the àxis mundi`,the centre of Asia, by Buddhists, Hindus, Jains and followers of other spiritual traditions. Of all the special destinations for the traveller to reach, Mount Kailash is surely one of the most sublime and sacred. Its geographical position as the watershed of South Asia is unique and it is this which gives it a cosmic geomantic power. From its slopes flow four great rivers in the four cardinal directions - the Senge Tsangpo སེང་གཙང་པོ་ (Indus River) north, the Yarlung Tsangpo ཡར་ཀླུངས་གཙང་པོ་ (Brahmaputra) east, Karnali south into the Ganges གང་ག་, and the Langchen Tsangpo གཙང་པོ་ ( Sutlej River) west.
Mount Kailash itself is known in the Tibetan language as Gang Ti-se and informally as Gang Rinpoche ("Precious Snow Mountain"), to the Bon as Yungdrung Gutsek ("Nine stacked Svastikas").
Jokhang (Lhaden Tsuglakhang)(Jowokhang) ཇོ་ཁང་
Jokhang by Cameron Warner (July 22, 2010) Introduction The Jokhang (jo khang) is the largest temple in Lhasa and arguably the most important pilgrimage site in Tibet. Its most famous inhabitant, the Jowo Śākyamuni (jo bo shākya mu ne) is the most revered Buddhist statue in Tibet. It is customary for Tibetans visiting Lhasa to visit the temple for an audience with the Jowo Śākyamuni immediately upon arrival in the city and again on the way out of town. Now a UNESCO World Heritage Site, the Jokhang anchors the oldest neighborhood in Lhasa and functions as the center of religious life for many Tibetans as well as a popular tourist destination. Geographic Location The Jokhang anchors the Tibetan quarter of present-day Lhasa at a geomantically auspicious site chosen by Wencheng Gongzhu (Tib. rgya bza' kong jo). Songtsen Gampo and his two foreign consorts, Bhṛkutī and Wencheng Gongzhu built the temple on top of a small pond called the Milk Lake ('O thang mtsho), north of the right arm of the Kyichu River (Skyid chu) and southeast of the first Potala Palace on Mount Marpori. Early History Songtsen Gampo, the first emperor of Tibet, founded the Jokhang around 640 to house the Jowo Mikyö Dorjé statue (though this is disputed in present scholarship). According to most Tibetan historians, Bhṛkutī, a Nepalese princess of the Licchavi dynasty, brought the Jowo Mikyö Dorjé to Tibet as part of her dowry to become an imperial consort of Songtsen Gampo. The Nepalese connection is still evident in the South Asian layout of the central temple structure and the wood-carved lintels around the doorways of each chapel, most of which are original. After some initial difficulties in construction of the temple, Songtsen Gampo's Chinese consort, Wencheng Gongzhu, performed a divination to select the most auspicious site. Animals helped to fill-in a small lake north of the Kyichu (Skyid chu) river. One of the many names of the temple, Rasa Trülnang (Ra sa 'phrul snang), reflects some of its mythological origins. The name has been interpreted to mean the temple that was "magically-manifested" ('phrul snang) and constructed with earth (sa) transported by goats (ra). However, the etymology of "rasa" most likely refers to Lhasa's origin as a medieval walled-town (rawe sa) (Pommaret-Imaeda ed., 2003: 21). "Trülnang" recalls how Songtsen Gampo magically manifested 108 avatars of himself to assist in the construction of the temple. Much of the early history of the temple is shrouded in myth including how the Jowo Śākyamuni (jo bo shākya mu ne) came to be in the Jokhang. According to Tibetan ecclesiastical history, originally the Jowo Śākyamuni resided in another Lhasa temple, the Ramoché and was later moved to hide it from an invading Chinese army. The name "Jokhang" originally referred to the Jowo Śākyamuni's chapel in particular, the Tsangkhang Uma (Gtsang khang dbus ma), or Central Chapel. The small village of Rasa's name changed to Lhasa (the place of the gods) as it developed around the temple itself. Some of the other names of the temple reflect similar ideas such as Lhadan (Lha ldan) Tsuklagkhang. Middle History The majority of our knowledge of the history of the Jokhang comes from two different genres of Tibetan literature: ecclesiastical histories and catalogues of the temple (dkar chag), usually written to commemorate particular renovations. In the genre of ecclesiastical history, the most important text is the Vase-shaped Pillar Testament (Bka' chems ka khol ma), reputedly an autobiography written by Songtsen Gampo himself and hidden within the temple for the benefit of future generations. It includes accounts of both the construction of the temple and the early history of the Jowo Śākyamuni. However, the various extant recensions of the text date to no earlier than the late eleventh century and therefore it should be read as a document reflecting the concerns of Tibetans from that time period. Around that time, Zangkar Lotsawa (Zangs dkar Lo tsa ba 'Phags pa shes rab) from Ngari (mnga' ris skor gsum) moved the original image in the Central Chapel, the Akṣobhya Buddha (mi 'khrugs pa) to make room for renovations. He expanded the size of the chapel by moving the east-facing wall outwards and moved the Jowo Śākyamuni from his hiding place into the Central Chapel (KPGT II 448; Vitali, 1990: 78). The most authoritative account of Zangkar Lotsawa's work comes from the historian Pawo Tsuklag Trengwa (Dpa' bo Gtsug lag phreng ba) (1504-1566), in his Feast for Scholars: An Ecclesiastical History (Chos 'byung mkhas pa'i dga' ston). The history of the Jokhang cannot be separated from the political history of the Lhasa valley, Read more: places.thlib.org/features/15474/descriptions/236#ixzz1tQg...
For most travellers to Far-West Tibet (Ngari) in Purang county, the prime focus of their journey is the sacred peak of Mount Kailash (6714 m), Tibetan name is Gang Ti Se. This extraordinary mountain is regarded as the `heart of the world`, the àxis mundi`,the centre of Asia, by Buddhists, Hindus, Jains and followers of other spiritual traditions. Of all the special destinations for the traveller to reach, Mount Kailash is surely one of the most sublime and sacred. Its geographical position as the watershed of South Asia is unique and it is this which gives it a cosmic geomantic power. From its slopes flow four great rivers in the four cardinal directions - the Senge Tsangpo སེང་གཙང་པོ་ (Indus River) north, the Yarlung Tsangpo ཡར་ཀླུངས་གཙང་པོ་ (Brahmaputra) east, Karnali south into the Ganges གང་ག་, and the Langchen Tsangpo གཙང་པོ་ ( Sutlej River) west.
Mount Kailash itself is known in the Tibetan language as Gang Ti-se and informally as Gang Rinpoche ("Precious Snow Mountain"), to the Bon as Yungdrung Gutsek ("Nine stacked Svastikas").
The history of a magnetic compass to find direction dates back to the Han Dynasty in China (206 BC - AD 220). Initially the use of magnetic lodestones allowed the practice of Feng Shui to determine the most propitious orientation for buildings and gardens.
The first compass of the type we see above, with the magnetised needle, appeared in China during the 11th century. This allowed for portability and it became an enormous boon to Chinese sailors.
The story of this replica (from the 18th century I believe) is that it was carried by the first group of Chinese miners who arrived at the Victorian goldfields in Ararat around 1850. Their story is truly remarkable and the use of this type of compass proved invaluable. They sailed into Robe, South Australia (since they were unable to dock in Victoria - Port Phillip), and then set off on a long march, with compasses in hand, to the newly discovered goldfields. The nearest destination was Ararat over 300 kilometres away.
en.wikipedia.org/wiki/History_of_the_compass
www.ararat.vic.gov.au/facilities/gum-san-chinese-heritage...
For most travellers to Far-West Tibet (Ngari) in Purang county, the prime focus of their journey is the sacred peak of Mount Kailash (6714 m), Tibetan name is Gang Ti Se. This extraordinary mountain is regarded as the `heart of the world`, the àxis mundi`,the centre of Asia, by Buddhists, Hindus, Jains and followers of other spiritual traditions. Of all the special destinations for the traveller to reach, Mount Kailash is surely one of the most sublime and sacred. Its geographical position as the watershed of South Asia is unique and it is this which gives it a cosmic geomantic power. From its slopes flow four great rivers in the four cardinal directions - the Senge Tsangpo སེང་གཙང་པོ་ (Indus River) north, the Yarlung Tsangpo ཡར་ཀླུངས་གཙང་པོ་ (Brahmaputra) east, Karnali south into the Ganges གང་ག་, and the Langchen Tsangpo གཙང་པོ་ ( Sutlej River) west.
Mount Kailash itself is known in the Tibetan language as Gang Ti-se and informally as Gang Rinpoche ("Precious Snow Mountain"), to the Bon as Yungdrung Gutsek ("Nine stacked Svastikas").
For most travellers to Far-West Tibet (Ngari) in Purang county, the prime focus of their journey is the sacred peak of Mount Kailash (6714 m), Tibetan name is Gang Ti Se. This extraordinary mountain is regarded as the `heart of the world`, the àxis mundi`,the centre of Asia, by Buddhists, Hindus, Jains and followers of other spiritual traditions. Of all the special destinations for the traveller to reach, Mount Kailash is surely one of the most sublime and sacred. Its geographical position as the watershed of South Asia is unique and it is this which gives it a cosmic geomantic power. From its slopes flow four great rivers in the four cardinal directions - the Senge Tsangpo སེང་གཙང་པོ་ (Indus River) north, the Yarlung Tsangpo ཡར་ཀླུངས་གཙང་པོ་ (Brahmaputra) east, Karnali south into the Ganges གང་ག་, and the Langchen Tsangpo གཙང་པོ་ ( Sutlej River) west.
Mount Kailash itself is known in the Tibetan language as Gang Ti-se and informally as Gang Rinpoche ("Precious Snow Mountain"), to the Bon as Yungdrung Gutsek ("Nine stacked Svastikas").
Tichung ཏི་སེ་ ཆུང་ (Small Kailash) 6200m
For most travellers to Far-West Tibet (Ngari) in Purang county, the prime focus of their journey is the sacred peak of Mount Kailash (6714 m), Tibetan name is Gang Ti Se. This extraordinary mountain is regarded as the `heart of the world`, the àxis mundi`,the centre of Asia, by Buddhists, Hindus, Jains and followers of other spiritual traditions. Of all the special destinations for the traveller to reach, Mount Kailash is surely one of the most sublime and sacred. Its geographical position as the watershed of South Asia is unique and it is this which gives it a cosmic geomantic power. From its slopes flow four great rivers in the four cardinal directions - the Senge Tsangpo སེང་གཙང་པོ་ (Indus River) north, the Yarlung Tsangpo ཡར་ཀླུངས་གཙང་པོ་ (Brahmaputra) east, Karnali south into the Ganges གང་ག་, and the Langchen Tsangpo གཙང་པོ་ ( Sutlej River) west.
Mount Kailash itself is known in the Tibetan language as Gang Ti-se and informally as Gang Rinpoche ("Precious Snow Mountain"), to the Bon as Yungdrung Gutsek ("Nine stacked Svastikas").
For most travellers to Far-West Tibet (Ngari) in Purang county, the prime focus of their journey is the sacred peak of Mount Kailash (6714 m), Tibetan name is Gang Ti Se. This extraordinary mountain is regarded as the `heart of the world`, the àxis mundi`,the centre of Asia, by Buddhists, Hindus, Jains and followers of other spiritual traditions. Of all the special destinations for the traveller to reach, Mount Kailash is surely one of the most sublime and sacred. Its geographical position as the watershed of South Asia is unique and it is this which gives it a cosmic geomantic power. From its slopes flow four great rivers in the four cardinal directions - the Senge Tsangpo སེང་གཙང་པོ་ (Indus River) north, the Yarlung Tsangpo ཡར་ཀླུངས་གཙང་པོ་ (Brahmaputra) east, Karnali south into the Ganges གང་ག་, and the Langchen Tsangpo གཙང་པོ་ ( Sutlej River) west.
Mount Kailash itself is known in the Tibetan language as Gang Ti-se and informally as Gang Rinpoche ("Precious Snow Mountain"), to the Bon as Yungdrung Gutsek ("Nine stacked Svastikas").
For most travellers to Far-West Tibet (Ngari) in Purang county, the prime focus of their journey is the sacred peak of Mount Kailash (6714 m), Tibetan name is Gang Ti Se. This extraordinary mountain is regarded as the `heart of the world`, the àxis mundi`,the centre of Asia, by Buddhists, Hindus, Jains and followers of other spiritual traditions. Of all the special destinations for the traveller to reach, Mount Kailash is surely one of the most sublime and sacred. Its geographical position as the watershed of South Asia is unique and it is this which gives it a cosmic geomantic power. From its slopes flow four great rivers in the four cardinal directions - the Senge Tsangpo སེང་གཙང་པོ་ (Indus River) north, the Yarlung Tsangpo ཡར་ཀླུངས་གཙང་པོ་ (Brahmaputra) east, Karnali south into the Ganges གང་ག་, and the Langchen Tsangpo གཙང་པོ་ ( Sutlej River) west.
Mount Kailash itself is known in the Tibetan language as Gang Ti-se and informally as Gang Rinpoche ("Precious Snow Mountain"), to the Bon as Yungdrung Gutsek ("Nine stacked Svastikas").
One of King Songtsen Gampo`s geomantic temples of the `further-taming` (yangdul) class, named Jang Traduntse, is located on a hill-top promontory in this valley, on the `right knee` of the supine ogress. It contains a large statue of Padmasambhava within its inner sanctum; while the murals of the main hall depict the Lords of the Three Enlightened Families (above the door), the Eight Medicine Buddhas, with the Three Deities of Longevity (left) and Pad masambhava with his eight manifestations, Shantaraksita, King Trisong Detsen, and the protector deities (right).
For most travellers to Far-West Tibet (Ngari) in Purang county, the prime focus of their journey is the sacred peak of Mount Kailash (6714 m), Tibetan name is Gang Ti Se. This extraordinary mountain is regarded as the `heart of the world`, the àxis mundi`,the centre of Asia, by Buddhists, Hindus, Jains and followers of other spiritual traditions. Of all the special destinations for the traveller to reach, Mount Kailash is surely one of the most sublime and sacred. Its geographical position as the watershed of South Asia is unique and it is this which gives it a cosmic geomantic power. From its slopes flow four great rivers in the four cardinal directions - the Senge Tsangpo སེང་གཙང་པོ་ (Indus River) north, the Yarlung Tsangpo ཡར་ཀླུངས་གཙང་པོ་ (Brahmaputra) east, Karnali south into the Ganges གང་ག་, and the Langchen Tsangpo གཙང་པོ་ ( Sutlej River) west.
Mount Kailash itself is known in the Tibetan language as Gang Ti-se and informally as Gang Rinpoche ("Precious Snow Mountain"), to the Bon as Yungdrung Gutsek ("Nine stacked Svastikas").
Also on this photo: (bottom right) 4 Tibetan gazelles "Goa དགོ་བ " (Procapra picticaudata)
For most travellers to Far-West Tibet (Ngari) in Purang county, the prime focus of their journey is the sacred peak of Mount Kailash (6714 m), Tibetan name is Gang Ti Se. This extraordinary mountain is regarded as the `heart of the world`, the àxis mundi`,the centre of Asia, by Buddhists, Hindus, Jains and followers of other spiritual traditions. Of all the special destinations for the traveller to reach, Mount Kailash is surely one of the most sublime and sacred. Its geographical position as the watershed of South Asia is unique and it is this which gives it a cosmic geomantic power. From its slopes flow four great rivers in the four cardinal directions - the Senge Tsangpo སེང་གཙང་པོ་ (Indus River) north, the Yarlung Tsangpo ཡར་ཀླུངས་གཙང་པོ་ (Brahmaputra) east, Karnali south into the Ganges གང་ག་, and the Langchen Tsangpo གཙང་པོ་ ( Sutlej River) west.
Mount Kailash itself is known in the Tibetan language as Gang Ti-se and informally as Gang Rinpoche ("Precious Snow Mountain"), to the Bon as Yungdrung Gutsek ("Nine stacked Svastikas").
For most travellers to Far-West Tibet (Ngari) in Purang county, the prime focus of their journey is the sacred peak of Mount Kailash (6714 m), Tibetan name is Gang Ti Se. This extraordinary mountain is regarded as the `heart of the world`, the àxis mundi`,the centre of Asia, by Buddhists, Hindus, Jains and followers of other spiritual traditions. Of all the special destinations for the traveller to reach, Mount Kailash is surely one of the most sublime and sacred. Its geographical position as the watershed of South Asia is unique and it is this which gives it a cosmic geomantic power. From its slopes flow four great rivers in the four cardinal directions - the Senge Tsangpo སེང་གཙང་པོ་ (Indus River) north, the Yarlung Tsangpo ཡར་ཀླུངས་གཙང་པོ་ (Brahmaputra) east, Karnali south into the Ganges གང་ག་, and the Langchen Tsangpo གཙང་པོ་ ( Sutlej River) west.
Mount Kailash itself is known in the Tibetan language as Gang Ti-se and informally as Gang Rinpoche ("Precious Snow Mountain"), to the Bon as Yungdrung Gutsek ("Nine stacked Svastikas").
There is seemingly a 22 km (14 mi) gap in the Great Wall between Badaling/Shuiguan and the Huanghuacheng section, but it was still considered that an army wouldn't be able to get through to Beijing from Yanqing Town via the Ming Tombs.
It is said that this is due to the fengshui of the Ming Tombs. In non-geomantic terms, this just means that the Ming Tombs have a shielding range of mountains behind them. This range of mountains offers no pass suitable to march an army through. So, in that zone, the mountain range had the same defensive function as the Great Wall
Taken @The Great Wall, Beijing, China
Like to see the pictures as LARGE as your screen? Just click on this Slideshow : www.flickr.com/photos/reurinkjan/sets/72157627765541022/s...
For most travellers to Far-West Tibet (Ngari) in Purang county, the prime focus of their journey is the sacred peak of Mount Kailash(6714 m)(Gang Ti Se). This extraordinary mountain is regarded as the `heart of the world`, the àxis mundi`,the centre of Asia, by Buddhists, Hindus, Jains and followers of other spiritual traditions. Of all the special destinations for the traveller to reach, Mount Kailash is surely one of the most sublime and sacred. Its geographical position as the watershed of South Asia is unique and it is this which gives it a cosmic geomantic power. From its slopes flow four great rivers in the four cardinal directions - the Senge Tsangpo སེང་གཙང་པོ་ (Indus River) north, the Yarlung Tsangpo ཡར་ཀླུངས་གཙང་པོ་ (Brahmaputra) east, Karnali south into the Ganges གང་ག་, and the Langchen Tsangpo གཙང་པོ་ ( Sutlej River) west.
Mount Kailash itself is known in the Tibetan language as Gang Ti-se and informally as Gang Rinpoche ("Precious Snow Mountain"), to the Bon as Yungdrung Gutsek ("Nine stacked Svastikas").
Photo taken at,
Jokhang (Lhaden Tsuglakhang)(Jowokhang) ཇོ་ཁང་ monastery
Jokhang by Cameron Warner (May 12, 2014)
Introduction
The Jokhang (jo khang) is the largest temple in Lhasa and arguably the most important pilgrimage site in Tibet. Its most famous inhabitant, the Jowo Śākyamuni (jo bo shākya mu ne) is the most revered Buddhist statue in Tibet. It is customary for Tibetans visiting Lhasa to visit the temple for an audience with the Jowo Śākyamuni immediately upon arrival in the city and again on the way out of town. Now a UNESCO World Heritage Site, the Jokhang anchors the oldest neighborhood in Lhasa and functions as the center of religious life for many Tibetans as well as a popular tourist destination.
Geographic Location
The Jokhang anchors the Tibetan quarter of present-day Lhasa at a geomantically auspicious site chosen by Wencheng Gongzhu (Tib. rgya bza' kong jo). Songtsen Gampo and his two foreign consorts, Bhṛkutī and Wencheng Gongzhu built the temple on top of a small pond called the Milk Lake ('O thang mtsho), north of the right arm of the Kyichu River (Skyid chu) and southeast of the first Potala Palace on Mount Marpori.
Read more: places.thlib.org/features/15474/descriptions/236#ixzz4u5t...
Like to see the pictures as LARGE as your screen? Just click on this Slideshow : www.flickr.com/photos/reurinkjan/sets/72157627765541022/s...
For most travellers to Far-West Tibet (Ngari county) the prime focus of their journey is the sacred peak of Mount Kailash(6714 m). This extraordinary mountain is regarded as the `heart of the world`, the àxis mundi`,the centre of Asia, by Buddhists, Hindus, Jains and followers of other spiritual traditions. Of all the special destinations for the traveller to reach, Mount Kailash is surely one of the most sublime and sacred. Its geographical position as the watershed of South Asia is unique and it is this which gives it a cosmic geomantic power. From its slopes flow four great rivers in the four cardinal directions - the Senge Tsangpo སེང་གཙང་པོ་ (Indus River) north, the Yarlung Tsangpo ཡར་ཀླུངས་གཙང་པོ་ (Brahmaputra) east, Karnali south into the Ganges གང་ག་, and the Langchen Tsangpo གཙང་པོ་ ( Sutlej River) west.
Mount Kailash itself is known in the Tibetan language as Gang Ti-se and informally as Gang Rinpoche ("Precious Snow Mountain"), to the Bon as Yungdrung Gutsek ("Nine stacked Svastikas").
They were in a very privileged state. Of all the multitudes of spiritual beings in the universe, how many of them are able to have such a close and daily contact with the Creator God? Just very few — probably those associated with the throne itself such as the Cherubim and the twenty-four elders. But in the Garden were two human beings in the closest of association with God Himself. It must have been like a heaven on earth! And indeed, that’s just what it was, in a symbolic way. It was as if God’s celestial palace temporarily had come to earth. Even the Garden, the Cherubim of the Garden, the altar built by Cain and Abel, the land of Eden, and the land of Nod are all connected with the temple symbolism and are direct images of God’s heavenly abode. And for the brief period of time before the sin of Adam and Eve, "heaven” was really here on earth. In the Garden our first parents were able to talk face to face with God. But note an important point. They only had conversations with Him at certain times of the day. They did not see Him on all occasions. It was “in the cool of the day” that they came into “the presence of the Lord” (Genesis 3:8). The expressions “cool of the day” and “the presence of the Lord” were a part of temple language. 7 “The cool of the day” was the period when the Sun got lower in the sky and the cool sea breezes normally swept over the Palestinian region. This was the time of the evening sacrifice (1 Kings 18:36; Daniel 9:21) — about three in the afternoon. This was the time when the animals were being regularly sacrificed (and also in the morning about nine o’clock). At these times the people were then reckoned as being “in the presence of God” (2 Chronicles 20:19). As the Kingdom of Heaven is increasingly seen as a highly advanced extraterrestrial/alien civilization from a scientific perspective, so too will the collective ...... These so-called extraterrestrial "aliens" have been known to reveal that they originate from the Pleiades, Zeti Reticuli, Arcturus, Aldebaran and Sirius, among others.. Arian allegedly is the name of a planet that circles Aldebaran (Alpha Tauri), and that’s inhabited by a humanoid civilization. Arian would be the 4th planet circling Aldebaran. Older estimates situate it approx. 60 LY away, which is in line with the 59 LY Martin Wiesengrün mentions. Note that there are – thus far unconfirmed reports – of a possible brown dwarf companion, in which case Aldebaran would be a binary system. Allegedly the natives call their sun Raula. Arian’s orbit around it would take approx. 20.2 earth years to complete.Thus Jerusalem's holiest spot is a rock that the ancient Jews saw as the center of the Earth, the axis of the universe, the pivot that joined Heaven and Earth, and Earth with the ..... DOME: The dome over the Temple Mount, Old Jerusalem, and the entire city corresponds to Aldebaran, the alpha star and eye of the bull Taurus.
The term New Jerusalem occurs twice in the New Testament, in verses Rev 3:12 and Rev 21:2 of the Book of Revelation. A large portion of the final two chapters of Revelation deals with John of Patmos' vision of the New Jerusalem. He describes the New Jerusalem as "'the bride, the wife of the Lamb'", where the river of the Water of Life flows.After John witnesses the new heaven and a new earth "that no longer has any sea", an angel takes him "in the Spirit" to a vantage point on "a great and high mountain" to see the New Jerusalem's descent. The enormous city comes out of heaven down to the New Earth. John's elaborate description of the New Jerusalem retains many features of the Garden of Eden and the paradise garden, such as rivers, a square shape, a wall, and the Tree of Life.ccording to John, the New Jerusalem is "pure gold, like clear glass" and its "brilliance [is] like a very costly stone, as a stone of crystal-clear jasper." The street of the city is also made of "pure gold, like transparent glass". The base of the city is laid out in a square and surrounded by a wall made of jasper. It says in Revelation 21:16 that the height, length, and width are of equal dimensions - as it was with the Holy of Holies in the Tabernacle and First Temple - and they measure 12,000 furlongs which is approximately 1500.3 miles). John writes that the wall is 144 cubits, which is assumed to be the thickness since the length is mentioned previously. 144 cubits are about equal to 65 meters, or 72 yards. It is important to note that 12 is the square root of 144. The number 12 was very important to early Jews and Christians, representing the 12 tribes of Israel and 12 Apostles of Jesus Christ.Part of Jerusalem's significance and holiness to Muslims derives from its strong association with Abraham, David, Solomon, and Jesus. They are all regarded as Prophets of Islam and their stories are mentioned in the Qur'an. Jerusalem served as the first qibla (direction of prayer) for Muslims. Whilst Muslims were in Mecca, and also for 17–18 months in Medina, Muslims prayed towards Jerusalem. Early mosques in Medina were built to face Jerusalem. In 625, the qibla was changed to the Kaaba in Mecca.[21][Quran 2:142–151] After Muhammad, many of his Companions lived in Jerusalem, and upon their death they were buried there The four sides of the city represented the four cardinal directions (North, South, East, and West.) In this way, New Jerusalem was thought of as an inclusive place, with gates accepting all of the 12 tribes of Israel from all corners of the earth.There is no temple building in the New Jerusalem. God and the Lamb are the city's temple, since they are worshiped everywhere. Revelation 22 goes on to describe a river of the water of life that flows down the middle of the great street of the city from the Throne of God. The tree of life grows in the middle of this street and on either side, or in the middle of the street and on either side of the river. The tree bears twelve fruits, or kinds of fruits, and yields its fruit every month. According to John, "The leaves of the tree were for the healing of the nations." This inclusion of the tree of life in the New Jerusalem harkens back to the Garden of Eden. The fruit the tree bears may be the fruit of life. John states that the New Jerusalem will be free of sin. The servants of God will have theosis, and "His name will be on their foreheads." Night will no longer fall, and the inhabitants of the city will "have need no lamp nor light of the sun, for the Lord God gives them light." John ends his account of the New Jerusalem by stressing its eternal nature: "And they shall reign forever and ever."There are twelve gates in the wall oriented to the compass with three each on the east, north, south, and west sides. There is an angel at each gate, or gatehouse. These gates are each made of a single pearl, giving them the name of the "pearly gates". The names of the twelve tribes of Israel are written on these gates. The (four) New Jerusalem (cardinal) gates may bear some relation to the gates mentioned in Enoch, Chapters 33 - 35, where the prophet reports (from four) "heavenly gates opening into heaven;" {(like) the extremities of the whole earth (reaching)}, "three (more gates) distinctly separated." [33, 3.] (All four of the gates) of the four major compass directions (are involved in the separating into 3 more gates, thus giving 12 gates total).[ref. Laurence translation, Book of Enoch.]The wall has twelve foundation stones, and on these are written the names of the Twelve Apostles. Revelation lacks a list of the names of the Twelve Apostles, and does not describe which name is inscribed on which foundation stone, or if all of the names are inscribed on all of the foundation stones, so that aspect of the arrangement is open to speculation. The layout of the precious stones is contested. All of the precious stones could adorn each foundation stone, either in layers or mixed together some other way, or just one unique type of stone could adorn each separate foundation stone. This latter possibility is favored by tradition, as each gate presumably stands on one foundation stone, and each of the twelve tribes has long been associated with a certain type of precious stone. These historical connections go back to the time of Temple worship, when the same kinds of stones were set in the golden Breastplate of the Ephod worn by the Kohen Gadol, and on the Ephod the names of each of the twelve tribes of Israel were inscribed on a particular type of stone.
It is interesting to note that the translated meanings of the various sorts of foundation stones have varied through the centuries: those in King James Version are differently named in later translations. "18: And the building of the wall of it was of jasper: and the city was pure gold, like unto clear glass. 19: And the foundations of the wall of the city were garnished with all manner of precious stones. The first foundation was jasper; the second, sapphire; the third, a chalcedony; the fourth, an emerald; 20: The fifth, sardonyx; the sixth, sardius; the seventh, chrysolite; the eighth, beryl; the ninth, a topaz; the tenth, a chrysoprasus; the eleventh, a jacinth; the twelfth, an amethyst." Rev 21:18-20 with the more modern, New Jerusalem Bible version, "18 The wall was built of diamond, and the city of pure gold, like clear glass. 19 The foundations of the city wall were faced with all kinds of precious stone: the first with diamond, the second lapis lazuli, the third turquoise, the fourth crystal, 20 the fifth agate, the sixth ruby, the seventh gold quartz, the eighth malachite, the ninth topaz, the tenth emerald, the eleventh sapphire and the twelfth amethyst." In 21:16, the angel measures the city with a golden rod or reed, and records it as 12,000 stadia by 12,000 stadia at the base, and 12,000 stadia high. A stadion is usually stated as 185 meters, or 607 feet, so the base has dimensions of about 2220 km by 2220 km, or 1380 miles by 1380 miles. In the ancient Greek system of measurement, the base of the New Jerusalem would have been equal to 144 million square stadia, 4.9 million square kilometers or 1.9 million square miles (roughly midway between the sizes of Australia and India). If rested on the Earth, its ceiling would be inside the upper boundary of the exosphere but outside the lower boundary.. By way of comparison, the International Space Station maintains an orbit with an altitude of about 386 km (240 mi) above the earth.The Book of Revelation was composed during the end of the 1st century AD, sometime during the later end of the reign of Emperor Nero Domitius (54 to 68 CE). The work is addressed to the “seven churches that are in Asia” (1:4). Revelation is normally broken into three sections: the prologue (1:1-3:22), the visions (4:1-22:5), and the epilogue (22:6-20). This study is principally concerned with chapter 21. The author of Revelation was both a Jew by birth and a believing Christian. For the author and the addressees of Revelation, they are searching for the Lord to vindicate them and judge the “inhabitants of the earth,” for their suffering (6:10). The fall of Jerusalem coupled with the Neronian persecutions form the tension within the subtext of Revelation. Throughout Revelation, several references to the Temple are made REV 3:12,7:15,11:19,14:15,16:1. This Temple appears to be of heavenly origin. When the eschaton arrives in REV 21:1, the reader expects the temple to come down from heaven with the New Jerusalem. Revelation 21 even contains typical New Jerusalem terminology that accompanies a restored Temple. Specific measurements are given for the new city (Ezekiel 40-48, 4Q554), and the city is built with gold, sapphires, and emeralds (Isaiah, Tobit). In addition, 21:21 references the “twelve gates.” Revelation maintains another typically aspect of New Jerusalem tradition – the reunification of the twelve tribes of Israel (Ezekiel 48:33-34, 4Q554).
Verse 22 marks a sudden and remarkable shift in New Jerusalem apocalyptic rhetoric: “I saw no temple in the city, for its temple is the Lord God Almighty and the Lamb.” Following with the tradition of 3 Baruch and 4 Sibylline Oracles, Revelation foresees an eschaton without the Temple. Why has the Revelation suddenly denied an eschatological Temple? Verse 23 sheds light on this disparity. Verse 23 proclaims, “And the city has no need of sun or moon to shine on it, for the glory of God is the light, and its lamp is the lamb.” For the author of Revelation, there is no need for a Temple because the Lord will be the New Jerusalem’s eternal light and Jesus (the lamb) will be its lamp. This re-interpretation utilizes Isaiah to make its case: “The LORD will be your everlasting light, and your God will be your glory. Your sun shall no more go down, or your moon withdraw itself; for the LORD will be your everlasting light, and your days of mourning shall be ended.” (Isaiah 60:19) The Temple is discarded in the eschaton because the Lord will provide illumination for the New Jerusalem, and Christ will be the glory for its residents. Henceforth, Christians believed that the New Jerusalem no longer required a Temple. For Christians, their Lord sufficiently replaced the Temple.The Babylonian threat to the Kingdom of Judah began as the Babylonian Empire conquered Assyria and rose to power from 612-609 BCE. Jerusalem surrendered without major bloodshed to Babylon in 597. An Israelite uprising brought the destruction of Nebuchadnezzar’s army upon Jerusalem in 586 BCE. The entire city, including the First Temple, was burned. Israelite aristocrats were taken captive to Babylon. The Book of Ezekiel contains the first record of the New Jerusalem. Within Ezekiel 40-48, there is an extended and detailed description of the measurements of the Temple, its chambers, porticos, and walls. Ezekiel 48:30-35 contains a list of twelve Temple gates named for Israel’s tribes. The Book of Zechariah expands upon Ezekiel’s New Jerusalem. After the Second Temple was built after the exile, Jerusalem’s population was only a few hundred. There were no defensive city walls until 445 BCE.[7] In the passage, the author writes about a city wall of fire to protect the enormous population. This text demonstrates the beginning of a progression of New Jerusalem thought. In Ezekiel, the focus is primarily on the human act of Temple construction. In Zechariah, the focus shifts to God’s intercession in the founding of New Jerusalem.
New Jerusalem is further extrapolated in Isaiah, where New Jerusalem is adorned with precious sapphires, jewels, and rubies. The city is described as a place free from terror and full of righteousness. Here, Isaiah provides an example of Jewish apocalypticism, where a hope for a perfected Jerusalem and freedom from oppression is revealed. As the original New Jerusalem composition, Ezekiel functioned as a source for later works such as 4 Ezra, 2 Baruch, Qumran documents, and the Book of Revelation. These texts used similar measurement language and expanded on the limited eschatological perspective in Ezekiel.Judaism sees the Messiah as a human male descendant of King David who will be anointed as the king of Israel and sit on the throne of David in Jerusalem. He will gather in the lost tribes of Israel, clarify unresolved issues of halakha, and rebuild the Holy Temple in Jerusalem according to the pattern shown to the prophet Ezekiel. During this time Jews believe an era of global peace and prosperity will be initiated, the nations will love Israel and will abandon their gods, turn toward Jerusalem, and come to the Holy Temple to worship the one God of Israel. Zechariah prophesied that any family among the nations who does not appear in the Temple in Jerusalem for the festival of Sukkoth will have no rain that year. Isaiah prophesied that the rebuilt Temple will be a house of prayer for all nations. The city of YHWH Shamma, the new Jerusalem, will be the gathering point of the world's nations, and will serve as the capital of the renewed Kingdom of Israel. Ezekiel prophesied that this city will have 12 gates, one gate for each of the tribes of Israel. The book of Isaiah closes with the prophecy "And it will come to pass, that from one new moon to another, and from one sabbath to another, all flesh will come to worship before Me, says YHWH"
At the core, apocalypses are a form of theodicy. They respond to overwhelming suffering with the hope of divine intercession and a perfected World to Come. The destruction of the Second Temple in 70 meant an end to Second Temple Judaism. Naturally, apocalyptic responses to the disaster followed. This section will first cover 4 Ezra and 2 Baruch. Fourth Ezra and 2 Baruch are important for two reasons. First, they look for a Temple in Heaven, not the eschaton. Second, these texts exhibit the final new Temple texts in Judaism. Jewish texts like 3 Baruch began to reject a restored Temple completely. However, these texts were deemed to be apocryphal by the Rabbis who maintained the belief in a Third Temple as central to Rabbinic Judaism. The Jewish apocalypse of 4 Ezra is a text contained in the apocryphal book 2 Esdras. The genre of 4 Ezra is historical fiction, set thirteen years after the Babylonian destruction of Jerusalem. Fourth Ezra is dated approximately in 83 CE, thirteen years after the Roman destruction of Jerusalem. The story follows Ezra’s period of mourning following Jerusalem’s fall. Ezra is Job-like in his criticism of God’s allowance of Jerusalem’s downfall. In Ezra’s deep state of grief, he meets a woman lamenting over Jerusalem. Ezra consoles the woman, and tells her to, “shake off your great sadness, and lay aside your many sorrows… the Most High may give you rest.” (4 Ezra 10:24). Suddenly, the woman is transfigured in an array of bright lights. She transforms into the New Jerusalem being rebuilt. As a bereaved widow she convinced Ezra to apply solace to himself through the image of a New Jerusalem. Fourth Ezra has two clear messages. First, do not grieve excessively over Jerusalem. Second, Jerusalem will be restored as a heavenly kingdom. Fourth Ezra also uses the title “Most High,” throughout the apocalypse to emphasis that the Lord will once again reign and reside in Jerusalem. The apocalypse of 2 Baruch is a contemporary narrative of 4 Ezra. The text also follows the same basic structure 4 Ezra: Job-like grief, animosity towards the Lord, and the rectification of Jerusalem that leads to the comfort of the Job-figure. Second Baruch is historical fiction, written after the Roman destruction but set before the fall of Jerusalem to the Babylonians. Baruch is distressed when the Lord informs him of Jerusalem’s impending doom. Baruch responds with several theological questions for God. For this study, Baruch’s inquiry about the future of Israel and the honor of the Lord are most pertinent (2 Baruch 3:4-6). Baruch learns that the Lord will destroy the city, not the enemy. Baruch also learns of a pre-immanent heavenly Temple: “[The Temple] was already prepared from the moment I decided to create paradise.” And I showed it to Adam before he sinned.” (2 Baruch 4:3). This Temple was created before Adam, and shown to him before Adam’s fall.
Two important conclusions come from 2 Baruch. First, the author dismisses hopes for an earthly re-built Temple. The focus is entirely on the heavenly Temple that pre-dated the Garden of Eden. This may be a device to express the supremacy of the heavenly Temple as a sanctuary built before Eden (the traditional location of the earthly Temple). Second, Baruch believes that restoration for the people of Israel exists in heaven, not on earth. The apocalypse of 3 Baruch is the anomaly among post-revolt New Jerusalem texts. Unlike 2 Baruch and 4 Ezra, the text exemplifies an alternative tradition that lacks a restored Temple. Like other apocalypses, 3 Baruch still mourns over the Temple, and re-focuses Jews to the heavens. Yet 3 Baruch finds that the Temple is ultimately unnecessary. This move could be polemical against works which afforded the Temple with excessive veneration. In the passage, an angel comes to Baruch and consoles him over Jerusalem: “Where is their God? And behold as I was weeping and saying such things, I saw an angel of the Lord coming and saying to me: Understand, O man, greatly beloved, and trouble not thyself so greatly concerning the salvation of Jerusalem.” (3 Baruch 1:3) Third Baruch certainly mourns over the Temple. Yet 3 Baruch is not ultimately concerned with the lack of a Temple. This text goes along with Jeremiah and Sibylline Oracles 4 to express a minority tradition within Jewish literature. In the first Christian apocalypse, the Book of Revelation coincides with this perspective on Jerusalem. The study will now move to early Christian perspectives on the Temple and the apocalyptic response in Revelation.Since Christianity originated from Judaism, the history of Jewish places of worship and the currents of thought in ancient Judaism described above served in part as the basis for the development of the Christian conception of the New Jerusalem. Christians have always placed religious significance on Jerusalem as the site of The Crucifixion and other events central to the Christian faith. In particular, the destruction of the Second Temple that took place in the year 70, a few decades after Christianity began its split from Judaism, was seminal to the nascent Christian apocalypticism of that time. In the Olivet discourse of the Gospels, Jesus predicts the destruction of Herod's Temple, and promises that it will precede the return of the Son of Man, commonly called the Second Coming. This prophecy of the renewal of Jerusalem by the messiah echoes those of the Jewish prophets. John of Patmos' vision of the New Jerusalem in the Book of Revelation draws on the Olivet discourse and all the historical precursors mentioned above.
Based on the Book of Revelation, premillennialism holds that, following the end times and the second creation of heaven and earth (see The New Earth), the New Jerusalem will be the earthly location where all true believers will spend eternity with God. The New Jerusalem is not limited to eschatology, however. Many Christians view the New Jerusalem as a current reality, that the New Jerusalem is the consummation of the Body of Christ, the Church and that Christians already take part in membership of both the heavenly Jerusalem and the earthly Church in a kind of dual citizenship.In this way, the New Jerusalem represents to Christians the final and everlasting reconciliation of God and His chosen people, "the end of the Christian pilgrimage." As such, the New Jerusalem is a conception of Heaven, see also Heaven (Christianity).Christianity interprets the city as a physical and/or spiritual restoration or divine recreation of the city of Jerusalem. It is also interpreted by many Christian groups as referring to the Church to be the dwelling place of the saints.
John of Patmos describes the New Jerusalem in the Book of Revelation in the Christian Bible, and so the New Jerusalem holds an important place in Christian eschatology and Christian mysticism, and has also influenced Christian philosophy and Christian theology. Such a renewal of Jerusalem, if a reconstruction, is an important theme in Judaism, Christianity, and the Bahá'í Faith. Renewed Jerusalem bears as its motto the words Ad librum (Latin: "as by the book".) Many traditions based on biblical scripture and other writings in the Jewish and Christian religions, such as Protestantism, and Orthodox Judaism, expect the literal renewal of Jerusalem to some day take place at the Temple
The dome over the Temple Mount, Old Jerusalem, and the entire city corresponds to Aldebaran, the alpha star and eye of the bull Taurus. The Foundation Stone within the Dome of the Rock is the center of this dome. Aldebaran, the thirteenth brightest star in our galaxy, is a first magnitude star located sixty-eight light years from Earth, forty times larger than our Sun and 125 times more luminous. It's usually described as rosy or pale reddish-orange in color, a quality the Hindu astronomers noted in their name, Rohini, which means "the Red One" or "the Red Deer." In Hindu star myths, Rohini is the female antelope, the daughter of the male antelope, Prajapati, the Lord of Generation (the constellation Orion). Its name, from the Arabic Al Dabaran, means "the Follower," or "Bright One of the Follower," a reference to how its appearance in the sky follows just after the rising of the Pleiades or perhaps the Hyades, both in Taurus; it also sets immediately following the setting of these two star clusters. To the Mesopotamian astronomers, Aldebaran was one of the four royal stars, or "Watchers," along with Antares in Scorpio, Regulus in Leo, and Fomalhaut in Piscis Austrinus (the Southern Fish). The Babylonians knew it as Ikuu, "the Leading Star of Stars," the Akkadians as Gisda, "the Furrow of Heaven."
Appropriately, with respect to the attributions of the Flood, tehom, and the cosmic waters to the Foundation Stone, in various cultures Aldebaran was associated with the gods of the rain and the Earth's fertility. An interesting astronomical aspect of Aldebaran is that it is one of the few first-magnitude stars that are eclipsed regularly by our Moon, sometimes, as happened in 1978, every month for a year. It would be a useful study to correlate the schedule of occultations by the Moon of Aldebaran with political events in Jerusalem to see if the astronomical events coincide with earthly happenings. GRAIL CASTLE: To understand what is meant by the statement that the Even HaShetiyah was set over the tehom to keep the waters of chaos from inundating the land, you need to reverse the relationships. The physical stone, which is part of the rock outcropping of Mount Moriah, is not the issue or the important player in this activity; it marks the spot.
The Foundation Stone does not keep the subterranean waters below the Temple Mount from rising up and flooding Jerusalem; rather, the Stone, which is an astral device, is the "plug" on the cosmic bathtub upstairs in the higher worlds. It is the realm of the ether, the primordial "waters" of creation, in which water is an esoteric code word for ether and primeval creative substance or matrix, for a level of undifferentiated consciousness-surely chaos to us.
The Temple Mount on Mount Moriah is the equivalent of Mount Ararat, the legendary resting place for Noah's Ark after the Deluge. There are in fact 144 such resting points for the Ark, for the resting place, the "Mount Ararat," is the staging ground for the ascent into the Grail Castle which is the same as the Ark. There the Ark floats, high above us, in the exalted dimensions, floating safely on the top of the Flood waters released in the interregnums between vast periods of creation and destruction Days and Years of Brahma, in the Vedic time system. The Ark, or Grail Castle, is the repository of all the information from the previous epochs of cosmic existence; the extent of this knowledge is almost unfathomable, almost incomprehensible, almost unattainable-except it isn't. The attainment of this inestimable, mind-dilating knowledge is the goal of the Grail Quest; it is the riches in the Celestial City of Lord Kubera of the North; it is the diverse contents of Noah's Ark; it is the cosmic wisdom of the Fish that towed the boat of Matsya-avatara to the northern mountain as the Flood subsided. The real Foundation Stone is the regulator for the flow from above to below of the cosmic waters, which when they flow, inundate human consciousness with the living, consciousness energizing wetness of the spiritual worlds. You could say that this Stone regulates how much deep cosmic memory and awareness can enter the human continuum at a given time without driving people mad. Too much transcendental knowledge is like chaos; it can be a deadly poison. But when the land has gone dry with an intellectualism and atheistic materialism, when it has become the Wasteland, as periodically happens, then it's appropriate to let a little water moisten the land. One master of this water-world was King Solomon, who, with his wife, fashioned the Ship of Time, using wood from the original Tree of Life in the Garden of Eden. Solomon placed King David's sword (the one he claimed from giant Goliath after he slew him) on the Ship of Time, which was an Ark, or repository, outside of space-time, to arrive, much later in planetary history, at the Celtic King Arthur's Camalate in England to be used by the Christed Knight, Sir Galahad."'
The connections will not be clear yet, but this is about the alpha and omega of the Temple of Jerusalem, the original Jerusalem temple in that holy city in the planet's early days, and the New Jerusalem to come at Glastonbury in England. King David's "sword" is the knowledge of how to activate and use the Jerusalem temple; this knowledge was obtained from the giant Goliath, who is a symbol for the Elohim, the angelic family whose members were the consummate masters of the geomantic temple and conservators of its mysteries. MYSTERIES OF THE EMERALD: As Jacob and Muhammad discovered, the Stone is also the launching pad for a remarkable Miraj into the higher spiritual worlds. The Stone itself-the real Even HaShetiyah-is the ladder into the higher worlds. It is the emerald, the true foundation and Foundation Stone of Jerusalem. It is the green stone brought by the angels from Heaven to Earth, the Stone by which the Phoenix is burned to ashes and restored to life, the stone that is "forever incorruptible" and whose "essence is most pure," known as the Grail, as Wolfram von Eschenbach wrote. The emerald is the Heart within the heart chakra, an esoteric dimension between the outer and inner aspects of this chakra. It is a six-sided double-terminated green stone standing vertically on one of its terminations; seen from the bottom up it is also a green cube. The entire Earth energy matrix is bounded by this emerald; it exists within every human; and it is one of the jewels from the crown of the Lord of Light. It is the essence of the Jerusalem temple as an archetype of the consummate heavenly city, the divine ideal.
In practical terms, the emerald as a subtle light form sits magnificently upon the physical Foundation Stone within the Dome of the Rock on Temple Mount. Its size is irrelevant and flexible; it is easier to interact with if you allow yourself to see it as perhaps the size of a skyscraper. That way it is easier to enter, which you may do through any of its six fluidic, permeable walls. There are other geomantic emeralds like this around the planet, but this one is special because its location is special. Only two places on Earth have the right combination of geomantic elements that allow this emerald (meaning, this emerald's special functions) to operate as intended. Only two places are designated for this seed to sprout: the Temple Mount in Jerusalem and the Tor in Glastonbury England. These are the Old Jerusalem and the New Jerusalem, both based on what we might call the once and future archetype of Jerusalem. Here I mean not the physical Israeli city, nor the architectural details of the First and Second Temple of Jerusalem, but the celestial original for this temple, from the light pattern library from which our reality is created. The existence of the two physical Temples of Jerusalem for a time embodied and grounded this heavenly ideal, enabling it to function in the material world, and that was centrally important for the Earth. Here is one reason why. The planet's twelve Vibrating Stones all lead here, to the Jerusalem temple archetype grounded at Temple Mount. Each stone grounds one of the Oroboros Lines that encircle the planet; each stone is coordinated with the celestial Jerusalem as overlaid on the Earth at the Temple Mount. There is one stone per one-twelfth division of the planet's surface, each of which is a Pentagon. To each Pentagon was assigned one of the twelve tribes of Israel; this was not a diaspora, but rather a code, a metaphor, for energies and holders of those energies assigned to each of the Earth's pentagons. If you were standing by one of the stones-at Delphi in Greece or in Glastonbury-you could follow its energy connections and find yourself in the original Temple of Jerusalem. That temple, and its archetype, had twelve gates: the twelve Vibrating Stones are also twelve gates, and lead into the archetype of the Temple of Jerusalem, which for a time was coincident with the two physical Temples. In practical geomantic terms, this meant that the twelve Oroboros Lines and the twelve zodiacal energies they represented were grounded at the Foundation Stone. Insofar as the twelve lines comprise twelve out of the fifteen prime energy lines that are the armature of the Earth's energy matrix, this central grounding point was potentially pivotal for the health, welfare, and destiny of the planet. A paradise on Earth-or something less exalted and uplifting-could be created or sustained from here. The myths are true in saying the world was created from this Foundation Stone, with all things spreading out from this point. Energetically the Earth is inside the emerald, the original Foundation Stone. Every aspect of the planet's complex geomantic structure is subsumed in this single planet-sized emerald; everything that comprises the Earth's geomythic matrix comes out of the emerald, and returns to it. When the Temple of Jerusalem is physically grounded on the Earth, things are in the process of returning to their source within the emerald; everything that spread out from the Foundation Stone at the beginning of creation is now magnetically being recalled to its point of origin. Seen over vast stretches of Earth time, it is like a shape turning itself inside out, over and over, cycling in on itself like a torus, Jerusalem manifest, then unmanifest, then manifest again."'
THE ARK OF THE COVENANT. What about the Ineffable Name of God inscribed on the Foundation Stone and the Ark of the Covenant, which resided in the Holy of Holies (the Devir, a perfect cube of twenty cubits), said to be over the Stone? Jewish belief says that the location of the Ark "marks the exact center of the world, or God's footstool. The Ark is understood to have been a container, a portable rectangular box or wooden chest lined with gold with long parallel handles, measuring about four feet long, two feet high, and two feet wide. It held the tablets of the Ten Commandments, both the shattered first version and the intact second one, as well as Aaron's magical rod and a small quantity of manna (a miraculous angelic food). At the time he received the Commandments while on Mount Sinai, Moses received instructions from God to construct the Ark of the Covenant to house the tablets. In many respects, Solomon built the Temple of Jerusalem to house the Ark. The Ark was the holiest of objects, said to possess extraordinary magical powers capable of protecting the Jews from danger. Biblical references–the Old Testament has two hundred–indicate that the Ark blazed with fire and lightning, emitted sparks, produced tumors or severe burns, could stop rivers, blast armies, destroy cities, and level mountains. It issued a moaning sound and was capable of rising off the ground and rushing at the enemies of the Jews in battle. God was said to descend and sit in the miniature Mercy Seat atop the Ark. The Ark of the Covenant is one of the mysteries of the Earth, and it is presumptuous to speculate as to its true nature. However, it was a device that had to do with a combination of sound and energy, and there was only one Ark. We can try approaching the matter sideways, as it were, through metaphor. The Ark was the voice of magic, the Word, the Ineffable Name uttered, all the living letters of the Hebrew alphabet spoken correctly, at once, the electric current that turned the system on. The system was the Earth grid, its armature of Oroboros Lines, its multiple linked emeralds-the "modem." It could make twelve Oroboros Lines into a single twelve-stringed instrument, played from here at the Foundation Stone. It could make all the elements of the Earth's energy matrix cohere, turn inside out, and become part of the Temple of Jerusalem. It was perhaps like a recording of the Word that was in the beginning, all the sacred syllables and sounds in perfect pronunciation-a magic wand of sound. When this sound touched the Even HaShetiyah, it animated the Earth's spiritual body and remarkable things happened and were possible.;When it was "on," it made not just the Temple but the entire Earth the Morning and Evening Star, the Foundation of Venus-Heaven on Earth realized, the celestial Jerusalem Temple fully manifest in matter. The downside was misuse, as J. R. R. Tolkien said of another unique magical device in The Lord of the Rings, "One ring to rule them ... and in the darkness bind them." The Earth had witnessed such a misuse, a malfeasance remembered in Grail myth as the Dolorous Stroke by which the Fisher King had misused the Sword of David (the Elohim's celestial codes for operating the system), wounded himself, and precipitated the Wasteland, The plug was put back in securely to block the flow of the tehom into the human world. Access to the Grail Castle was curtailed, and its reality eventually disbelieved, forgotten. INIMICAL ENERGIES AT THE TEMPLE MOUNT- We should not be surprised to find a fair concentration of what we could label dark and negative energies marshaled at the Temple Mount to block or distort access. Two giant astral beings are locked in mortal battle atop the Mount, swords clashing, wounds gaping; they are primitive beings of a male valence, and all they do is fight, striving to kill each other. This energy permeates Jerusalem. Numerous alien ships high above the city quarantine the Mount in a ring of beams broadcast like laser shafts. These energies help maintain the energies and functions of several circles of reptilian beings and giant astral snakes that surround the Mount, facing outwards into Jerusalem, discouraging access, keeping the energies combative, fragmented, bent on isolation and conflict. Behind them and also facing away from the Mount is another circle of large demonic control beings; their function too is to dissuade the fainthearted, to inflame those on the edge, to confuse or scare the rest, to keep the Mount and Stone from being used again as intended. The dome directly over the Mount and encompassing all of Jerusalem is damaged. Part of its crown is severed, like a yarmulke riding the side of the head by the ears instead of the occiput. The two cords linking the dome to the master dome at Avebury are damaged; one of them is not "hooked up" at all. The damages mean that Jerusalem through its dome is not receiving the beneficial cosmic energies of both Sirius and Canopus through Avebury as they are meant to; this allows other inimical energies to exert the predominant influence. The dome can be repaired, but it requires human assistance in conjunction with the angelic realm, and such repair could only be undertaken if the spiritual worlds judged it appropriate or karmically possible. (For information about another damaged dome, see Clingman's Dome, Tennessee.)
LUCIFER BINDING SITE: Coincident with the decommissioning of the Jerusalem Temple was the binding of Lucifer, Lord of Light, under the Foundation Stone. The Foundation of Venus, the Jerusalem new, old, and archetypal, is his light realm.
Elsewhere in Christendom, the tendency was to bury Lucifer under the granite weight of a massive Gothic cathedral, such as at Lincoln in England. For Jerusalem as the city to be healed, Lucifer, its foundation, will have to be unbound, and for the New Jerusalem to manifest on the planet, the Lord of Light will have to be restored to his pre-Fall position as God's chief archangel. This is not meant to be a definitive listing of the geomantic features of Jerusalem, for it has many others. Notable among these is one of the Earth's twelve Crowns of the Ancient of Days at Golgotha, the Hill of Skulls, and an eighteen-mile wide Landscape Zodiac on the periphery of the Old City.
Slideshow : www.flickr.com/photos/reurinkjan/sets/72157635937209655/show
Langtang Dolma Lhakhang monastery, is situated within the township Denkhok Sharma, close to the Dri chu འབྲི་ཆུ་ (Yangtze) river. This is revered as one of Songtsen Gampo`s 12 major geomantic temples, specifically located on the right hand of the supine ogress. In the temple courtyard there is an obelisk commemorating the origins of this shrine,and a row of prayer wheels.Nowadays the temple is maintained by the Gelukpa and there are 20 monks, under the guidance of Kusho Dèchen, Kusho Rangdrol and Kusho Orgyen Dondrub.
Like to see these pictures as LARGE as your screen? Just click on this Slideshow : www.flickr.com/photos/reurinkjan/sets/72157627765541022/s...
The village of Drongpa Tradun, also known as Old Drongpa, lies below the temple of King Songtsen Gampo`s geomantic temples of the `further-taming` (yangdul) class, named Jang Traduntse.
It was from here and from neighbouring Zhungru that Tibetan traders and lamas would traditionally make their way into Lowo Matang (Mustang), via the Lektse Tsongra market and the Chu`arok river valley.
Like to see the pictures as LARGE as your screen? Just click on this Slideshow : www.flickr.com/photos/reurinkjan/sets/72157627765541022/s...
For most travellers to Far-West Tibet (Ngari) in Purang county, the prime focus of their journey is the sacred peak of Mount Kailash(6714 m)( Gang Ti Se). This extraordinary mountain is regarded as the `heart of the world`, the àxis mundi`,the centre of Asia, by Buddhists, Hindus, Jains and followers of other spiritual traditions. Of all the special destinations for the traveller to reach, Mount Kailash is surely one of the most sublime and sacred. Its geographical position as the watershed of South Asia is unique and it is this which gives it a cosmic geomantic power. From its slopes flow four great rivers in the four cardinal directions - the Senge Tsangpo སེང་གཙང་པོ་ (Indus River) north, the Yarlung Tsangpo ཡར་ཀླུངས་གཙང་པོ་ (Brahmaputra) east, Karnali south into the Ganges གང་ག་, and the Langchen Tsangpo གཙང་པོ་ ( Sutlej River) west.
Mount Kailash itself is known in the Tibetan language as Gang Ti-se and informally as Gang Rinpoche ("Precious Snow Mountain"), to the Bon as Yungdrung Gutsek ("Nine stacked Svastikas").
Slideshow : www.flickr.com/photos/reurinkjan/sets/72157635937209655/show
Langtang Dolma Lhakhang monastery, is situated within the township Denkhok Sharma, close to the Dri chu འབྲི་ཆུ་ (Yangtze) river. This is revered as one of Songtsen Gampo`s 12 major geomantic temples, specifically located on the right hand of the supine ogress. In the temple courtyard there is an obelisk commemorating the origins of this shrine,and a row of prayer wheels.Nowadays the temple is maintained by the Gelukpa and there are 20 monks, under the guidance of Kusho Dèchen, Kusho Rangdrol and Kusho Orgyen Dondrub.
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Androgyny is the combination of masculine and feminine characteristics into an ambiguous form. Androgyny may be expressed with regard to biological sex, gender identity, gender expression, or sexual identity.
When androgyny refers to mixed biological sex characteristics in humans, it often refers to intersex people. As a gender identity, androgynous individuals may refer to themselves as non-binary, genderqueer, or gender neutral. As a form of gender expression, androgyny can be achieved through personal grooming or fashion. Androgynous gender expression has waxed and waned in popularity in different cultures and throughout history.
Contents
1Etymology
2History
3Symbols and iconography
4Biological
5Psychological
5.1Bem Sex-Role Inventory
5.2Personal Attribues Questionnaire
6Gender identity
7Gender expression
7.1Androgyny in fashion
8Alternatives
9Contemporary trends
10See also
11References
12External links
Etymology[edit]
Androgyny as a noun came into use c. 1850, nominalizing the adjective androgynous. The adjective use dates from the early 17th century and is itself derived from the older French (14th Century) and English (c. 1550) term androgyne. The terms are ultimately derived from Ancient Greek: ἀνδρόγυνος, from ἀνήρ, stem ἀνδρ- (anér, andr-, meaning man) and γυνή (gunē, gyné, meaning woman) through the Latin: androgynus,[1] The older word form androgyne is still in use as a noun with an overlapping set of meanings.
History[edit]
See also: Sexuality in ancient Rome § Hermaphroditism and androgyny
Androgyny among humans – expressed in terms of biological sex characteristics, gender identity, or gender expression – is attested to from earliest history and across world cultures. In ancient Sumer, androgynous and hermaphroditic men were heavily involved in the cult of Inanna.[2]:157–158 A set of priests known as gala worked in Inanna's temples, where they performed elegies and lamentations.[2]:285 Gala took female names, spoke in the eme-sal dialect, which was traditionally reserved for women, and appear to have engaged in homosexual intercourse.[3] In later Mesopotamian cultures, kurgarrū and assinnu were servants of the goddess Ishtar (Inanna's East Semitic equivalent), who dressed in female clothing and performed war dances in Ishtar's temples.[3] Several Akkadian proverbs seem to suggest that they may have also engaged in homosexual intercourse.[3] Gwendolyn Leick, an anthropologist known for her writings on Mesopotamia, has compared these individuals to the contemporary Indian hijra.[2]:158–163 In one Akkadian hymn, Ishtar is described as transforming men into women.[3]
The ancient Greek myth of Hermaphroditus and Salmacis, two divinities who fused into a single immortal – provided a frame of reference used in Western culture for centuries. Androgyny and homosexuality are seen in Plato's Symposium in a myth that Aristophanes tells the audience.[4] People used to be spherical creatures, with two bodies attached back to back who cartwheeled around. There were three sexes: the male-male people who descended from the sun, the female-female people who descended from the earth, and the male-female people who came from the moon. This last pairing represented the androgynous couple. These sphere people tried to take over the gods and failed. Zeus then decided to cut them in half and had Apollo repair the resulting cut surfaces, leaving the navel as a reminder to not defy the gods again. If they did, he would cleave them in two again to hop around on one leg. Plato states in this work that homosexuality is not shameful. This is one of the earlier written references to androgyny. Other early references to androgyny include astronomy, where androgyn was a name given to planets that were sometimes warm and sometimes cold.[5]
Philosophers such as Philo of Alexandria, and early Christian leaders such as Origen and Gregory of Nyssa, continued to promote the idea of androgyny as humans' original and perfect state during late antiquity.”[6] In medieval Europe, the concept of androgyny played an important role in both Christian theological debate and Alchemical theory. Influential Theologians such as John of Damascus and John Scotus Eriugena continued to promote the pre-fall androgyny proposed by the early Church Fathers, while other clergy expounded and debated the proper view and treatment of contemporary “hermaphrodites.”[6]
Western esotericism’s embrace of androgyny continued into the modern period. A 1550 anthology of Alchemical thought, De Alchemia, included the influential Rosary of the Philosophers, which depicts the sacred marriage of the masculine principle (Sol) with the feminine principle (Luna) producing the "Divine Androgyne," a representation of Alchemical Hermetic beliefs in dualism, transformation, and the transcendental perfection of the union of opposites.[7] The symbolism and meaning of androgyny was a central preoccupation of the German mystic Jakob Böhme and the Swedish philosopher Emanuel Swedenborg. The philosophical concept of the “Universal Androgyne” (or “Universal Hermaphrodite”) – a perfect merging of the sexes that predated the current corrupted world and/or was the utopia of the next – also plays a central role in Rosicrucian doctrine[8][9] and in philosophical traditions such as Swedenborgianism and Theosophy. Twentieth century architect Claude Fayette Bragdon expressed the concept mathematically as a magic square, using it as building block in many of his most noted buildings.[10]
Symbols and iconography[edit]
The Caduceus
In the ancient and medieval worlds, androgynous people and/or hermaphrodites were represented in art by the caduceus, a wand of transformative power in ancient Greco-Roman mythology. The caduceus was created by Tiresias and represents his transformation into a woman by Juno in punishment for striking at mating snakes. The caduceus was later carried by Hermes/Mercury and was the basis for the astronomical symbol for the planet Mercury and the botanical sign for hermaphrodite. That sign is now sometimes used for transgender people.
Another common androgyny icon in the medieval and early modern period was the Rebis, a conjoined male and female figure, often with solar and lunar motifs. Still another symbol was what is today called sun cross, which united the cross (or saltire) symbol for male with the circle for female.[11] This sign is now the astronomical symbol for the planet Earth.[12]
Mercury symbol derived from the Caduceus
A Rebis from 1617
"Rose and Cross" Androgyne symbol
Alternate "rose and cross" version
Biological[edit]
See also: Sex differences in humans
Historically, the word androgynous was applied to humans with a mixture of male and female sex characteristics, and was sometimes used synonymously with the term hermaphrodite.[13] In some disciplines, such as botany, androgynous and hermaphroditic are still used interchangeably.
When androgyny is used to refer to physical traits, it often refers to a person whose biological sex is difficult to discern at a glance because of their mixture of male and female characteristics. Because androgyny encompasses additional meanings related to gender identity and gender expression that are distinct from biological sex, today the word androgynous is rarely used to formally describe mixed biological sex characteristics in humans. [14] In modern English, the word intersex is used to more precisely describe individuals with mixed or ambiguous sex characteristics. However, both intersex and non-intersex people can exhibit a mixture of male and female sex traits such as hormone levels, type of internal and external genitalia, and the appearance of secondary sex characteristics.
Psychological[edit]
Though definitions of androgyny vary throughout the scientific community, it is generally supported that androgyny represents a blending of traits associated with both masculinity and femininity. In psychological study, various measures have been used to characterize gender, such as the Bem Sex Role Inventory, the Personal Attributes Questionnaire.[15]
Broadly speaking, masculine traits are categorized as agentic and instrumental, dealing with assertiveness and analytical skill. Feminine traits are categorized as communal and expressive, dealing with empathy and subjectivity.[16] Androgynous individuals exhibit behavior that extends beyond what is normally associated with their given sex.[17] Due to the possession of both masculine and feminine characteristics, androgynous individuals have access to a wider array of psychological competencies in regards to emotional regulation, communication styles, and situational adaptability. Androgynous individuals have also been associated with higher levels of creativity and mental health.[18][19]
Bem Sex-Role Inventory[edit]
The Bem Sex-Role Inventory (BSRI) was constructed by the early leading proponent of androgyny, Sandra Bem (1977).[20][better source needed] The BSRI is one of the most widely used gender measures. Based on an individual's responses to the items in the BSRI, they are classified as having one of four gender role orientations: masculine, feminine, androgynous, or undifferentiated. Bem understood that both masculine and feminine characteristics could be expressed by anyone and it would determine those gender role orientations.[21]
An androgynous person is an individual who has a high degree of both feminine (expressive) and masculine (instrumental) traits. A feminine individual is ranked high on feminine (expressive) traits and ranked low on masculine (instrumental) traits. A masculine individual is ranked high on instrumental traits and ranked low on expressive traits. An undifferentiated person is low on both feminine and masculine traits.[20]
According to Sandra Bem, androgynous individuals are more flexible and more mentally healthy than either masculine or feminine individuals; undifferentiated individuals are less competent.[20] More recent research has debunked this idea, at least to some extent, and Bem herself has found weaknesses in her original pioneering work. Now she prefers to work with gender schema theory.
One study found that masculine and androgynous individuals had higher expectations for being able to control the outcomes of their academic efforts than feminine or undifferentiated individuals.[22]
Personal Attribues Questionnaire[edit]
The Personal Attributes Questionnaire (PAQ) was developed in the 70s by Janet Spence, Robert Helmreich, and Joy Stapp. This test asked subjects to complete to a survey consisting of three sets of scales relating to masculinity, femininity, and masculinity-femininity. These scales had sets of adjectives commonly associated with males, females, and both. These descriptors were chosen based on typical characteristics as rated by a population of undergrad students. Similar to the BSRI, the PAQ labeled androgynous individuals as people who ranked highly in both the areas of masculinity and femininity. However, Spence and Helmreich considered androgyny to be a descriptor of high levels of masculinity and femininity as opposed to a category in and of itself.[15]
Gender identity[edit]
An individual's gender identity, a personal sense of one's own gender, may be described as androgynous if they feel that they have both masculine and feminine aspects. The word androgyne can refer to a person who does not fit neatly into one of the typical masculine or feminine gender roles of their society, or to a person whose gender is a mixture of male and female, not necessarily half-and-half. Many androgynous individuals identify as being mentally or emotionally both masculine and feminine. They may also identify as "gender-neutral", "genderqueer", or "non-binary".[23] A person who is androgynous may engage freely in what is seen as masculine or feminine behaviors as well as tasks. They have a balanced identity that includes the virtues of both men and women and may disassociate the task with what gender they may be socially or physically assigned to.[24] People who are androgynous disregard what traits are culturally constructed specifically for males and females within a specific society, and rather focus on what behavior is most effective within the situational circumstance.[24]
Many non-western cultures recognize additional androgynous gender identities. Jewish culture recognizes the Tumtum and Androgynos genders. In Chinese culture exists the Yinyang ren gender. The Bugis of Indonesia recognize five genders, Bissu representing the androgynous category. In Hawaiian culture, the third gender Māhū is recognized. In Oaxacan Zapotec culture, the Muxe are recognized as a third gender. In India, the Hijra is the third androgynous gender. Samoans accept Fa’afafine as a third gender. Native American culture includes Two Spirit as a general third gender.
Gender expression[edit]
Gender expression, which includes a mixture of masculine and feminine characteristics, can be described as androgynous. The categories of masculine and feminine in gender expression are socially constructed, and rely on shared conceptions of clothing, behavior, communication style, and other aspects of presentation. In some cultures, androgynous gender expression has been celebrated, while in others, androgynous expression has been limited or suppressed. To say that a culture or relationship is androgynous is to say that it lacks rigid gender roles, or has blurred lines between gender roles.
The word genderqueer is often used by androgynous individuals to refer to themselves, but the terms genderqueer and androgynous are neither equivalent nor interchangeable.[25] Genderqueer is not specific to androgynes, and does not denote gender identity. It may refer to any person, cisgender or transgender, whose behavior falls outside conventional gender norms. Furthermore, genderqueer, by virtue of its ties with queer culture, carries sociopolitical connotations that androgyny does not carry. For these reasons, some androgynes may find the label genderqueer inaccurate, inapplicable, or offensive. Androgneity is considered by some to be a viable alternative to androgyn for differentiating internal (psychological) factors from external (visual) factors.[26]
Terms such as bisexual, heterosexual, and homosexual have less meaning for androgynous individuals who do not identify as men or women to begin with. Infrequently the words gynephilia and androphilia are used, and some describe themselves as androsexual. These words refer to the gender of the person someone is attracted to, but do not imply any particular gender on the part of the person who is feeling the attraction.[citation needed]
Louise Brooks exemplified the flapper. Flappers challenged traditional gender roles, had boyish hair cuts and androgynous figures.[27]
Androgyny in fashion[edit]
Throughout most of twentieth century Western history, social rules have restricted people's dress according to gender. Trousers were traditionally a male form of dress, frowned upon for women.[28] However, during the 1800s, female spies were introduced and Vivandières wore a certain uniform with a dress over trousers. Women activists during that time would also decide to wear trousers, for example Luisa Capetillo, a women's rights activist and the first woman in Puerto Rico to wear trousers in public.[29]
Coco Chanel wearing a sailor's jersey and trousers. 1928
In the 1900s, starting around World War I traditional gender roles blurred and fashion pioneers such as Paul Poiret and Coco Chanel introduced trousers to women's fashion. The "flapper style" for women of this era included trousers and a chic bob, which gave women an androgynous look.[30] Coco Chanel, who had a love for wearing trousers herself, created trouser designs for women such as beach pajamas and horse-riding attire.[28] During the 1930s, glamorous actresses such as Marlene Dietrich fascinated and shocked many with their strong desire to wear trousers and adopt the androgynous style. Dietrich is remembered as one of the first actresses to wear trousers in a premiere.[31]
Yves Saint Laurent, the tuxedo suit "Le Smoking", created in 1966
Throughout the 1960s and 1970s, the women's liberation movement is likely to have contributed to ideas and influenced fashion designers, such as Yves Saint Laurent.[32] Yves Saint Laurent designed the Le Smoking suit and first introduced in 1966, and Helmut Newton’s erotized androgynous photographs of it made Le Smoking iconic and classic.[33] The Le Smoking tuxedo was a controversial statement of femininity and has revolutionized trousers.
Elvis Presley, however is considered to be the one who introduced the androgynous style in rock'n'roll and made it the standard template for rock'n'roll front-men since the 1950s.[34] His pretty face and use of eye makeup often made people think he was a rather "effeminate guy",[35] but Elvis Presley was considered as the prototype for the looks of rock'n'roll.[34] The Rolling Stones, says Mick Jagger became androgynous "straightaway unconsciously" because of him.[35]
However, the upsurge of androgynous dressing for men really began after during the 1960s and 1970s. When the Rolling Stones played London's Hyde Park in 1969, Mick Jagger wore a white "man's dress" designed by British designer Mr Fish.[36] Mr Fish, also known as Michael Fish, was the most fashionable shirt-maker in London, the inventor of the Kipper tie, and a principal taste-maker of the Peacock revolution in men's fashion.[37] His creation for Mick Jagger was considered to be the epitome of the swinging 60s.[38] From then on, the androgynous style was being adopted by many celebrities.
Annie Lennox was known for her androgyny in the 1980s
During the 1970s, Jimi Hendrix was wearing high heels and blouses quite often, and David Bowie presented his alter ego Ziggy Stardust, a character that was a symbol of sexual ambiguity when he launched the album The Rise and Fall of Ziggy Stardust and Spiders from Mars.[39] This was when androgyny entered the mainstream in the 1970s and had a big influence in pop culture. Another significant influence during this time included John Travolta, one of the androgynous male heroes of the post-counter-culture disco era in the 1970s, who starred in Grease and Saturday Night Fever.[40]
Continuing into the 1980s, the rise of avant-garde fashion designers like Yohji Yamamoto,[41] challenged the social constructs around gender. They reinvigorated androgyny in fashion, addressing gender issues. This was also reflected within pop culture icons during the 1980s, such as David Bowie and Annie Lennox.[42]
Power dressing for women became even more prominent within the 1980s which was previously only something done by men in order to look structured and powerful. However, during the 1980s this began to take a turn as women were entering jobs with equal roles to the men. In the article “The Menswear Phenomenon” by Kathleen Beckett written for Vogue in 1984 the concept of power dressing is explored as women entered these jobs they had no choice but to tailor their wardrobes accordingly, eventually leading the ascension of power dressing as a popular style for women.[43] Women begin to find through fashion they can incite men to pay more attention to the seduction of their mental prowess rather, than the physical attraction of their appearance. This influence in the fashion world quickly makes its way to the world of film, with movies like "Working Girl" using power dressing women as their main subject matter.
Androgynous fashion made its most powerful in the 1980s debut through the work of Yohji Yamamoto and Rei Kawakubo, who brought in a distinct Japanese style that adopted distinctively gender ambiguous theme. These two designers consider themselves to very much a part of the avant-garde, reinvigorating Japanism.[44] Following a more anti-fashion approach and deconstructing garments, in order to move away from the more mundane aspects of current Western fashion. This would end up leading a change in Western fashion in the 1980s that would lead on for more gender friendly garment construction. This is because designers like Yamamoto believe that the idea of androgyny should be celebrated, as it is an unbiased way for an individual to identify with one's self and that fashion is purely a catalyst for this.[citation needed]
Also during the 1980s, Grace Jones's a famous singer and fashion model gender-thwarted appearance in the 1980s which startled the public, but her androgynous style of heavily derivative of power dressing and eccentric personality has inspired many, and has become an androgynous style icon for modern celebrities.[45] This was seen as controversial but from then on, there was a rise of unisex designers later in the 1990s and the androgynous style was widely adopted by many.
In 2016, Louis Vuitton revealed that Jaden Smith would star in their womenswear campaign. Because of events like this, gender fluidity in fashion is being vigorously discussed in the media, with the concept being articulated by Lady Gaga, Ruby Rose, and in Tom Hooper's film The Danish Girl. Jaden Smith and other young individuals, such as Lily-Rose Depp, have inspired the movement with his appeal for clothes to be non-gender specific, meaning that men can wear skirts and women can wear boxer shorts if they so wish.[46]
Alternatives[edit]
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An alternative to androgyny is gender-role transcendence: the view that individual competence should be conceptualized on a personal basis rather than on the basis of masculinity, femininity, or androgyny.[47]
In agenderism, the division of people into women and men (in the psychical sense), is considered erroneous and artificial.[48] Agendered individuals are those who reject genderic labeling in conception of self-identity and other matters.[49] [50][51][52] They see their subjectivity through the term person instead of woman or man.[49]:p.16 According to E. O. Wright, genderless people can have traits, behaviors and dispositions that correspond to what is currently viewed as feminine and masculine, and the mix of these would vary across persons. Nevertheless, it doesn't suggest that everyone would be androgynous in their identities and practices in the absence of gendered relations. What disappears in the idea of genderlessness is any expectation that some characteristics and dispositions are strictly attributed to a person of any biological sex.[53]
Contemporary trends[edit]
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Jennifer Miller, bearded woman
X Japan founder Yoshiki is often labelled androgynous, known for having worn lace dresses and acting effeminate during performances[54]
South Korean pop star G-Dragon is often noted for his androgynous looks[55][56]
Androgyny has been gaining more prominence in popular culture in the early 21st century.[57] Both fashion industries[58] and pop culture have accepted and even popularised the "androgynous" look, with several current celebrities being hailed as creative trendsetters.
The rise of the metrosexual in the first decade of the 2000s has also been described as a related phenomenon associated with this trend. Traditional gender stereotypes have been challenged and reset in recent years dating back to the 1960s, the hippie movement and flower power. Artists in film such as Leonardo DiCaprio sported the "skinny" look in the 1990s, a departure from traditional masculinity which resulted in a fad known as "Leo Mania".[59] This trend came long after musical superstars such as David Bowie, Boy George, Prince, Pete Burns and Annie Lennox challenged the norms in the 1970s and had elaborate cross gender wardrobes by the 1980s.[citation needed] Musical stars such as Brett Anderson of the British band Suede, Marilyn Manson and the band Placebo have used clothing and makeup to create an androgyny culture throughout the 1990s and the first decade of the 2000s.[60]
While the 1990s unrolled and fashion developed an affinity for unisex clothes there was a rise of designers who favored that look, like Helmut Lang, Giorgio Armani and Pierre Cardin, the trends in fashion hit the public mainstream in the 2000s (decade) that featured men sporting different hair styles: longer hair, hairdyes, hair highlights.[citation needed] Men in catalogues started wearing jewellery, make up, visual kei, designer stubble. These styles have become a significant mainstream trend of the 21st century, both in the western world and in Asia.[61] Japanese and Korean cultures have featured the androgynous look as a positive attribute in society, as depicted in both K-pop, J-pop,[62] in anime and manga,[63] as well as the fashion industry.[64]
See also[edit]
List of androgynous people
Bigender
Epicenity
Futanari
Gender bender
Gender dysphoria
Gender neutrality
Gonochorism
Gynandromorph
Gynomorph
Hermaphrodite
List of transgender-related topics
Non-binary gender
Pangender
Postgenderism
Sexual Orientation Hypothesis
Third gender
Transsexualism
Trigender
True hermaphroditism
References[edit]
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^ Johanna Schorn. "Taking the "Sex" out of Transsexual: Representations of Trans Identities in Popular Media" (PDF). Inter-Disciplinary.Net. Universität zu Köln. p. 1. Archived from the original (PDF) on 25 October 2014. Retrieved 6 February 2017.
^ Galupo, M. Paz; Henise, Shane B.; Davis, Kyle S. (2014). "Transgender microaggressions in the context of friendship: Patterns of experience across friends' sexual orientation and gender identity". Psychology of Sexual Orientation and Gender Diversity. 1 (4): 462. CiteSeerX 10.1.1.708.6228. doi:10.1037/sgd0000075.
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External links[edit]
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Androgyny: study and collection of articles
Androgyne Online
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For most travellers to Far-West Tibet (Ngari county) the prime focus of their journey is the sacred peak of Mount Kailash(6714 m). This extraordinary mountain is regarded as the `heart of the world`, the àxis mundi`,the centre of Asia, by Buddhists, Hindus, Jains and followers of other spiritual traditions. Of all the special destinations for the traveller to reach, Mount Kailash is surely one of the most sublime and sacred. Its geographical position as the watershed of South Asia is unique and it is this which gives it a cosmic geomantic power. From its slopes flow four great rivers in the four cardinal directions - the Senge Tsangpo སེང་གཙང་པོ་ (Indus River) north, the Yarlung Tsangpo ཡར་ཀླུངས་གཙང་པོ་ (Brahmaputra) east, Karnali south into the Ganges གང་ག་, and the Langchen Tsangpo གཙང་པོ་ ( Sutlej River) west.
Mount Kailash itself is known in the Tibetan language as Gang Ti-se and informally as Gang Rinpoche ("Precious Snow Mountain"), to the Bon as Yungdrung Gutsek ("Nine stacked Svastikas").
The Divine Spirit is infinite, yet it dwells in forms and inspires likeness, and thus truth enters into forms and signs.” But while landscapes portrayed the vastness and grandeur of Nature, the garden revealed her intimate aspect. All forms of art are the outward and visible expression of Ch’i, the Cosmic Breath or Energy, with which all creation must be in accord, whether it be painting, poetry, music, or the creation of a garden. Indeed, all these arts developed side by side, for the Chinese scholar was expected to be capable of interpreting the same inspiration in all three arts together and the place of both their inspiration and expression was most usually the garden, this term being applied also to the rural retreat of a sage or hermit where in some remote and beautiful scenery a hut had been built and round it trees planted. In a well-designed garden it should be difficult to distinguish between the work of man and Nature. One should “borrow scenery from Nature” and the ideal place was “among trees in the mountains.” Wherever it was, the garden was a place of quiet, meditation, and communion with Nature, whether in wild scenery beside a waterfall, or a trickling stream, or in a bamboo grove, or the courtyard of a city dwelling. The garden is “the natural home of man” and house and garden were situated according to feng-shui (wind and water) influences in harmony with the currents of Ch’i; these were held in balance in both the house and garden, as in Nature, by the yin-yang forces. The yin lunar and yang solar powers were represented by the yin valleys and waters and the yang mountains and sky with all their endless yang and yin qualities such as sunshine and shadow, height and depth, heat and cold. However small the space utilized, the garden was never laid out as a flat expanse from which all could be viewed at once. This removal of any definite boundary made for succession, expansion, rhythm, and a sense of unlimited time and space. The garden, like Nature, is ever-changing, a place of light and shade with a life-breath (Ch’i yün) which is in harmony with the rhythms of the seasons and their contrasts in weather. Irregularity of line also suggests movement and life. “Everything that is ruled and symmetrical is alien to free nature.”[3] Or, as it has been said: “The awareness of change, the interaction symbolized by the yin-yang theory, has caused Chinese gardeners to seek irregular and unexpected features which appeal more to the imagination than to the reasoning faculty of the beholder. There were certain rules and principles for gardening, but these did not lead to any conformity. The basic elements were the same for landscape painting, shan shui or ‘mountain and water’”[4] which might be imposing scenery or simply a pond and rocks. The smallest space could be converted into an effect of depth, infinite extension, and mysterious distance; groves, rockeries, bushes, winding paths, all helped to lure on beyond the immediate scene. As Rowley says of Western and Chinese art: “We restrict space to a single vista as though seen through an open door; they suggest the unlimited space of nature as though they had stepped through that open door.” The entire garden must be considered in association and relationship with all things in Nature. Chang Ch’ao says: “Planting flowers serves to invite butterflies, piling up rocks serves to invite the clouds, planting pine trees serves to invite the wind,… planting banana trees serves to invite the rain, and planting willow trees serves to invite the cicada.” These are all traditional symbolic associations. In the past in China, though man was the mediator between Heaven and Earth, he was not the measure of the universe; his place was simply to maintain the balance and harmony between the yin and the yang. It was Nature which was the Whole, and controlling cosmic power. The garden helped man in his work of maintaining harmony; it also had an ethical significance and influence. According to Ch’ien Lung it had “a refreshing effect upon the mind and regulated the feelings” preventing man from becoming “engrossed in sensual pleasures and losing strength of will.” Its pleasures were simple, natural, and spiritual. A Suchou poet wrote of the garden: “One should enter it in a peaceful and receptive mood; one should use one’s observation to note the plan and pattern of the garden, for the different parts have not been arbitrarily assembled, but carefully weighed against each other like the pairs of inscribed tablets placed in the pavilions,[6] and when one has thoroughly comprehended the tangible forms of objects one should endeavor to attain an inner communication with the soul of the garden and try to understand the mysterious forces governing the landscape and making it cohere.” The garden was for all seasons with their changing moods and colors, flowers and trees, so the pavilion and open gallery were necessary for enjoyment in the heat of summer or the cold of winter and became an integral part of the scenery. Even in winter one sat out in the pavilion to admire the beauties of the snow and to watch the budding of the almond and plum blossom. A portable brazier of glowing charcoal kept one warm and a large brazier was used to melt the snow to make tea. The garden was particularly evocative by moonlight and the new and full moons, times of spiritual power, had their own festivals, especially the festival of the mid-autumn moon. Other festivals were also celebrated in the pavilion or garden; the vernal equinox, observed on the twelfth day of the second month of the Chinese year, was known as the Birthday of the Flowers. Pavilions and galleries obviously had to blend with their surroundings. The Yüan Yeh says: “Buildings should be placed so as to harmonize with the natural formation of the ground.” When pavilions were connected by galleries these followed the rise and fall and curves of the land or winding of the waters which were often crossed by bridges, bringing in all the symbolism of the crossing of the waters, of transition, of communication between one realm or plane and another, as well as of man as mediator, occupying the central position between the great powers. Added beauty and symbolism was introduced in the “moon bridge,” a lovely half-circle which when reflected in the clear water below formed the perfect circle of the full moon. Roofs were curved and painted and the lattice work of the balustrades was lacquered and painted in harmonizing and symbolic colors. Harmony and proportion had to be maintained but symmetry was alien to Nature, thus the garden contained no such thing as clipped lawns or hedges or stiff geometrically designed flower beds, or flowers marshaled in rows or patterns. And “landscaping” had to absorb buildings and, like planted trees, make them look as if they had grown there. “One erects a pavilion where the view opens and plants flowers that smile in the face of the spring breeze.”[7] It was a place for both relaxation and active enjoyment, for solitary meditation and study, or for convivial gatherings for friends to meet and drink tea or wine or take al fresco meals. There they composed poetry and music, painted, practiced calligraphy or discussed philosophy. One amusement was to compose a poem in the time that it took a floating wine cup and saucer to drift from one end to the other on a meandering water-course set in the floor of the pavilion. A poet failing to complete his poem in the time had to catch and empty the cup. These water-courses could also be constructed in symbolic forms such as the swastika, or the cross-form of the Chinese character for the number ten, or in the shape of a lotus or open flower. Sometimes the water tumbled over small waterfalls or rocks. Pavilions were given names such as the Pavilion of the Hanging Rainbow, the Fragrance of the Lotus, the Secret Clouds, the Eight Harmonious Tones, Invitation, or Contemplation, of the Moon, Welcoming Spring, Pleasant Coolness, and so on. In some gardens there were Halls of the Moon; these were constructed in the shape of a hemisphere, the vaulted ceiling painted to represent the nocturnal sky with innumerable small windows of colored glass depicting the moon and stars. The total effect was one of the subdued light of a summer’s night. Sometimes the floor was planted with flowers, but more usually it contained running water, the moon and water being closely allied: “The moon washes its soul in the clear waters,” but although moon and waters are both yin water is symbolically related to the sun since the waters catch and reflect back the sun’s light, the yang. These halls could be large enough for holding banquets or of a smallness suitable for intimate sitting about in conversation or listening to music and poetry. Here, in the garden, where heaven and earth meet, music and poetry become the natural form of the expression of harmony. While the pavilion was built in and for the garden and was open to it, this breaking down of the distinction between in and out of doors applied also to the dwelling house which was not only sited for feng-shui but for fitting as naturally as possible into the scenery and giving access so immediately to the garden that there seemed no dividing line. Doors either did not exist or were left open. (Socially, closed doors were not considered courteous since they implied exclusion, while the open door symbolized the welcome extended by the essentially outgoing Chinese temperament with its spontaneous and natural relationships developed over the ages in the highly socialized life of a large family). Doors were often only a means of enhancing a view into the garden or to the scenery beyond, such as the moon door, a beautifully placed circle framing some special outlook. Not only was every aspect used to its full natural advantage but “if one can take advantage of a neighbor’s view one should not cut off the communication, for such a ‘borrowed prospect’ is very acceptable.” The house opened on to the garden and the garden came into the house; rooms opened on to the courtyards where flowering trees grew and ferns and flowers fringed a central pool, usually with golden carp swimming in it, for the garden was a place for animal and bird life also. Indeed, animals and plants were not considered the only ‘living’ things; everything shares in the cosmic power and mountains and rivers also ‘live.’ Nor was it at all unusual for the house to go out into the garden, for the lover of nature would move a bed out of doors, beside some special tree, shrub, or flower which was coming into bloom, so that no stage of its development and beauty would be lost; or one would sit up all night to enjoy the effect of the moonlight. “The moonlight lies like glittering water over the countryside. The wind sighs in the trees and gently touches the lute and the book that lie on the couch. The dark rippled mirror of the water swallows the half-moon. When day dawns one is awakened by the fresh breeze; it reaches the bed and all the dust of the world is blown out of one’s mind.” The garden was not, however, merely aesthetic but creative and a reminder of, and contact with, the creative forces and the great cycle of the seasons, birth, maturity, decay, death and rebirth. The merging of the native Taoism with imported Buddhism in Ch’an, or Zen, carried on the tradition of the intimate relationship between man and Nature. Ch’an Buddhism and gardens were two facets of Chinese inspiration which were adopted and carried on by the Japanese, but in later decadent times the original symbolism of the garden as a reflection of Paradise was lost and gardens became mere pleasure grounds, except where attached to monasteries in which much of the symbolism was taken over and where the association with meditation remained. In those gardens of effete times artificial extravagances crept in; windows were made in shapes which bore no relationship to symbols, such as teapots, animals, vases, and fans, even if some of these forms had, in fact, a symbolic content. But these aberrations were stigmatized by the Yüan Yeh as “stupid and vulgar” and “intelligent people should be careful in such matters.” (Shades of plastic cranes and gnomes!) The garden was a reflection of the macrocosm and embodied all the yin-yang dualisms projected in manifestation. Mountains, valleys, rivers, lakes, were all represented. As Cheng Pan ch’iao said: “The enjoyment of life should come from a view regarding the universe as a garden… so that all beings live according to their nature and great indeed is such happiness.” The importance of water in the Chinese garden was not only due to yin-yang symbolism but to the wide significance of water itself as, next to the Dragon, the greatest Taoist symbol. It is strength in weakness, fluidity, adaptability, coolness of judgment, gentle persuasion, and passionlessness. While mountains and rocks are the bones of the body and the earth its flesh, rivers and streams are the arteries and blood, life-giver and fertilizer. Flowing water and still water symbolized movement and repose and the complementary opposites, and water-worn stones represented the interaction of the soft and the hard. Still water also takes on all the symbolism of the mirror. Water could be made by forming lakes and rivers in the earth excavated for making mountains, though mountains were most frequently represented by rocks, hollow and weather-worn, fretted out by the restless sea or the elements or formed from the strange shapes of petrified trees. These rocks were carefully selected for their color, texture, grain, and shape; some were upright and towering, others, larger at the top than at the base, gave the effect of disappearing into the clouds, others, lying down, took fantastic animal shapes, some gave out a note when struck, others were mute. Sometimes the rocks formed grottoes, but whatever the shape they always appeared as natural to the setting and were as near to the form of wild mountain crags as possible, giving the impression of Nature, untamed and capricious. (In this “naturalness” it must be remarked that the mountains of China in the Yangtze gorges, the far West, and the Southern provinces have been worked by nature herself into fantastic and sometimes grotesque shapes.) “Try to make your mountains resemble real mountains. Follow Nature’s plan” but “do not forget they have to be built by human hands.” Symbolically, the mountain is of course the world axis, but in the Chinese garden it also represented the yang power in Nature with the waters as the yin; the “mountain” is traditionally placed in the middle of a lake or pond, the rock being the stable and eternal, the water the flowing and temporal. This mountain-and-water (shan shui) symbolism also obtains in landscape painting. The rock and the shadow it casts are also yang and yin. Rocks are “silent, unmovable, and detached from life, like refined scholars.” Their ruggedness also suggests the challenging and dangerous element in the mountains and in life. In larger gardens the mountains were sufficiently high for the formation of small valleys and dales, with winging streams opening out into lakes on which boat journeys could be taken and where the water could be spanned by bridges. Sometimes a series of islands or rocks were so connected. Tunnels in the rocks gave the same effect and carried the same symbolism as bridges in passing from one world to another. But “even a little mountain may give rise to many effects… a small stone may evoke many feelings.”[11] Shen Fu says: “In the designing of a rockery or the training of flower trees one should try to show the small in the large and the large in the small and provide for the real in the unreal and the unreal in the real. One reveals and conceals alternately, making it sometimes apparent and sometimes hidden.” Both the yang mountain and the yin tree are axial and so represent stability and balance between the two great powers; they also offer a line of communication for man between the celestial yang forces coming down to earth and the earthly yin forces reaching up to heaven, with man again as central and responsible for the maintenance of balance and harmony in responding equally to the yin and yang powers. Trees were an essential feature of both the domestic and hermitage garden, particularly the latter where they were often the only addition made by man to the natural scenery and their variety was almost as important as the trees themselves. While all trees are beautiful and symbolize the feminine power, some were especially noted for their yin-yang qualities. Though yin as a tree, the pine and cedar express yang masculine dignity and rigidity in contrast to the feminine gracefulness, pliability, and charm of the willow, both these trees were considered necessary to maintain the yin-yang harmony. Flowering trees such as the almond, cherry, plum, and peach were esteemed—one should say loved—for their beauty and their symbolism. The almond, as the first flower of the year, is in many traditions the Awakener, watchfulness. As flowering in winter it is also courage in adversity. The cherry depicts delicacy of feeling and purity of feeling on the yin side and nobility on the yang. The plum, a symbol of winter and beauty signified strength and longevity and the hermit. It is one of the favorite subjects for artists and the plum, pine, and bamboo were called “the three friends of winter.” The almond and plum are both symbolic of new life coming in spring, but the plum should have a gnarled trunk and branches, called sleeping dragons, as the yang to offset the delicate blossoms of the yin; they also represent the old and new together. Just as lovers of the garden would move their beds out under trees, so we read of artists who wandered all night in the moonlight to catch every phase of the beauty of “the dry limbs clad in jade-white blooms.”
The peach holds a special position as the tree of the Taoist genii or Immortals; it is the Tree of Life at the center of Paradise. It is also the Tree of Immortality and one bite of the fruit growing on the tree in Paradise confers immediate immortality. Peach stones were apotropaic and were beautifully and symbolically carved and kept, or worn, as amulets and talismans. The tree is a symbol of spring, youth, marriage, wealth, and longevity.
Preeminent among flowers were the lotus, peony, and chrysanthemum. The peony is the only purely yang flower. Flowers, with their cup shape, naturally depict the yin receptive aspect in nature, but the peony is a royal flower, flaunting the red, fiery, masculine color; it is also nobility, glory, riches. The chrysanthemum, on the other hand, is a flower of quiet retirement, the beloved flower of the cultured scholar, the retired official, who was of course also a scholar, the philosopher, and poet. It was so much cultivated in retirement that it became a symbol of that life and of leisure. It signifies longevity as being that which survives the cold and as autumnal it is harvest and wealth, but it is primarily ease, leisure, joviality, and enjoyment. Yüan Chung-lang said that the retired and the scholar were fortunate in having “the enjoyment of the hills and water, flowers and bamboo” largely to themselves since “luckily they lie outside the scope of the strugglers for fame and power who are so busy with their engrossing pursuits that they have no time for such enjoyment.”
But the lotus, a universal symbol in the East (its symbolism is taken on by the lily and sometimes the rose in the West) is “the flower that was in the Beginning, the glorious lily of the Great Waters… that wherein existence comes to be and passes away.” It is both yin and yang and contains within itself the balance of the two powers; it is solar as blooming in the sun and lunar as rising from the dark of the waters of pre-cosmic chaos. As the combination of air and water it symbolizes spirit and matter; its roots bedded in the darkness of the mud depict indissolubility; its stem, the umbilical cord of life, attaches man to his origins and is also a world axis; rising through the opaque waters of the manifest world, the leaves and flowers reach and unfold in the air and sunlight, typifying potentiality in the bud and spiritual expansion and realization in the flower; its seeds, moving on the waters are creation. The lotus is associated with the wheel both as the solar matrix and the sun-wheel of cycles of existence. Iamblichus calls it perfection, since its leaves, flowers, and fruit form the circle. As lunar-solar, yin-yang, the lotus is also the androgyne, the self-existent. It has an inexhaustible symbolism in Hinduism, Taoism, and Buddhism alike. Again it appears as both solar and lunar associated with sun gods such as Surya and lunar goddesses such as Lakshmi; solar with Amitabha and lunar with Kwan-yin and androgynous in Kwannon. The lotus is the Golden Flower of Taoism, the crystallization and experience of light, the Tao. While on the spiritual level it represents the whole of birth, growth, development, and potentiality, on the mundane level it depicts the scholar-gentleman who comes in contact with mud and dirty water but is uncontaminated by it. Apart from its almost endless symbolism, the lotus is a flower of great beauty and highly evocative; as Osvald Sirén says, a sheet of lotus blossom “emanates a peculiar magic, an atmosphere that intoxicates like fragrant incense and lulls like the rhythms of a rising and falling mantra.” Ancient China understood many things which are only now reaching the West and being hailed as new discoveries. She anticipated by centuries the “discovery” that flowers and plants have feelings. Yüan Chung-lang knew that they have their likes and dislikes and compatibilities among other vegetation and that they respond to care and appreciation in more than a material way. The flowers in a Chinese garden were genuinely loved, but not in any “precious” aestheticism, rather in an intimate relationship between living individuals. He said that “flowers have their moods of happiness and sorrow and their time of sleep.… When they seem drunk, or quiet and tired, and when the day is misty, that is the sorrowful mood of flowers.… When they bask in the sunlight and their delicate bodies are protected from the wind, that is the happy mood of flowers.… When the ancient people knew a flower was about to bud they would move their beds and pillows and sleep under it watching how the flower passed from infancy to maturity and finally dropped off and died.… As for all forms of noisy behavior and common vulgar prattle, they are an insult to the spirits of flowers. One should rather sit dumb like a fool than offend them.”[13] Among things which flowers dislike are: too many guests; ugly women putting flowers in their hair; dogs fighting; writing poems by consulting a rhyming dictionary; books kept in bad condition; spurious paintings; and common monks talking Zen! On the other hand they do like a visiting monk who understands tea! Picked flowers and vases of flowers should never be regarded as normal, only as a temporary expedient employed by those living in cities and unnatural places deprived of the hills and lakes or any garden. For the town-dweller or for one kept indoors of necessity the miniature garden was created; though it was also seen in pavilions it was most usually on the tables of scholars. It, too, symbolized Paradise, the Isles of the Blessed, or the Abode of the Immortals reflected in miniature perfection with the whole range of the yin-yang symbolism. Exceptionally beautiful stones or shells were used and there were miniature grottoes, trees, bamboos, and grasses growing among the mountains, valleys, and waters. The making of these gardens was an art in itself; just as Wang Wei maintained that the artist can bring all Nature into the space of a small painting, so the creator of a garden, large, small, or miniature can concentrate the cosmos within its bounds. Enclosing the whole garden in the city, or where the extent of the garden was limited, was the wall which was used not only as a boundary but as a setting for trees, shrubs, and flowers; it could also provide an aperture which opened up some special view. In the city, where space was restricted, walls were often a garden in themselves, sometimes built with considerable width with a roof-garden effect or with trees and shrubs planted on top and flowers and ferns in the crevices below. Enclosing walls also helped to make the city garden a place where one could find “stillness in turmoil.” Apart from the symbolism of the enclosed garden the walls brought in the yin-yang significance of the interplay of light and shade. Today China joins the industrial nations of the world in “exploiting” Nature. Hideous concrete blocks of flats, offices, and factories insulate man from any contact with the yellow earth and, sadly, Seyyed Hossein Nasr’s words can be applied: “There is nearly total disequilibrium between modern man and nature as attested by nearly every expression of modern civilization which seeks to offer a challenge to nature rather than to cooperate with it.… The harmony between man and nature has been destroyed.”
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#UNLESS #ODDLY #PACKAGED #DISC #UNEVEN #SLEEVE #REAL #ORIGINAL #HAPPENS #CRAYONS #CONDITION #SHELVES! +#PEACE #NEWEST #DISPLAY #AS #WELL! #OM #GIZZARD #FALLING #REVERSE #A #HREF="HTTPWWWMUSIC1978COM" #REL="NOREFERRER #NOFOLLOW"WWWMUSIC1978COMA #HREF="HTTPWWWFLICKRCOMPHOTOSMUSIC1978" #NOFOLLOW"WWWFLICKRCOMPHOTOSMUSIC1978A #HREF="HTTPWWWRHYTHMSECTIONGATLINBURGCOM" #NOFOLLOW"WWWRHYTHMSECTIONGATLINBURGCOMA #EYEOFHORUSRA #UNDERSTANDING? #MOUNTAINMALL #WHATSYOURFAVORITEPINKFLOYDSONG? #TSHIRT #33 #EQVISPRESLEY #FLOYD #J #POSSIBLE #PEACE3EARTH #SEX #MOUNTAINMALLSMASHINGPUMPKINSBUTTERFLY #IF #WELLBEING #PISTOLS #ASURA #NOT #TWENTYTWO #12" #MINDBENDING #THOUSANDARMED #377RHYTHMSECTIONGATLINBURG #MOUNTAINMALLTEMPLARS #BUTTERFLY #WWWFLICKRCOMPHOTOSMUSIC1978 @#MOUNTAINMALLTEMPLARS @#MOUNTAINMALLSMASHINGPUMPKINSBUTTERFLY #FLICKRCOMPHOTOSMUSIC1978 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"#SCARY" #FACES? #ISLAND? #DREAMS? #PEACE? #TIME? #IM #EXPERIENCESTHATS #BRUNOS #SHAPE? #SCAFFOLDING? #PURPOSE? #CANT #REVEAL? #YOURSELF? #DEVELOP? #TAKE? #EXPLORATIONS? #ALLIGATORCATFISH #EMERGE? #WORLDS #ALLIANCE? #ENVIRONMENT? #SELFUNDERSTANDING #ITS #CHINACATSUNFLOWERIKNOWYOURIDER #WWWRHYTHMSECTIONTNCOM #MTN #RECORDS #RHYTHMSECTIONGATLINBURGCOM #FLICKRCOMPHOTOSMUSIC1978 #MISTAKE #SELFDISCOVERY #TRAUMA #TRANSFORMATION #PEOPLE #WISDOM #TOGETHER #WORLD #GROWTH #THREATS #RESOURCES #SECURITY #WELLBEING #EXPLORATION #INHABITANTS #FACTIONS #LIFE #POTENTIAL #PSYCHE #NEXT #1 #TOOL #2 #DISCOVERY #3 #PURPOSE #4 #GOOD #UTILIZED #DREAMSCAPE #COSMOS #NARRATIVES #FLUID #JOURNEY #3RECORDS #TENNESSEE #HARDTOFIND #EUROPE #AUDIOPHILEQUALITY #RERELEASES #ROCKBOTTOM #PRICES #BOWIETHE #BOWIE #STICKERSTOREWWWFLICKRCOMPHOTOSMUSIC1978 #RHYTHMSECTIONTNCOM #REDBUBBLECOMPEOPLERHYTHMSECTIONTNSHOP #CITYOFLIGHT33 #GATLINBURGRECORDSTOWWWRHYTHMSECTIONGATLINBURGCOMOCHET #SMOKYMTNSRECORDS #HEARTRECORDS #PRAYERSFORRAINGREENHGOLDEN ++++ +++++#GATLINBURG #PRAYERSFORRAIN+ #SHOP #REQUESTS! #STICKERS! #RECORDS! #SOUNDTRACKS #ALBUMS! #CDS! #MOUNTAINS! #NEWVINYLRECORDS! #PEACEEARTH ++++#DAZEDANDCONFUSED ++++#RECORDSGOLDEN ++++++ #GOLD+ ++++++#NEWVINYLRECORDS! #3@THERHYTHMSECTION78DREAMREALMEXPLORATION+ #STONETEMPLEPILOTS+++++ #STATION #TREASURETROVE #DESTINATIONWWWREDBUBBLECOMPEOPLESTARLIGHTMOONSHOPBUTTERFLY #CARTOONISH #W #TROVE #LIFESAVINGPRINCE #PEACE3EARTH #INCLUDING #LIFESTATION #ARE #BUTTERFLY #LIBRARY! #ENGLAND! #2XL! #GODS! #POSTERS! #INSTAGRAM! #STORE! #ELYSIUM! #SHOPPING! #WIND! #WORLD! #MUCHMORE! #PINS! #EMBRACED! #DAYS! #MANYMORE! #PATCHES! #EMBRACED!PEACE #SEASON! #YOU! #MIDNIGHTSLODGECOSMICREFRACTIONSMAIDENFUTURISTICENAMELTHERHYTHMSECTION78THERHYTHMSECTION78KEYACDCNIRVANATSHIRT611UNICORNHEALINGISAMIRACLESECURITYBILLIERAINBOWCASTLETHERHYTHMSECTION78THERHYTHMSECTION78THERHYTHMSECTION78@THERHYTHMSECTION78!@THERHYTHMSECTION78!@THERHYTHMSECTION78!@THERHYTHMSECTION78!VALLEYSTICKERS@THERHYTHMSECTION78!MUSICLOVERS #EUROPE! #PRICES!! #NOSTALGIALODGECOSMICREFRACTIONSMAIDENFUTURISTICENAMELTHERHYTHMSECTION78THERHYTHMSECTION78KEYACDCNILODGECOSMICREFRACTIONSMAIDENFUTURISTICENAMELTHERHYTHMSECTION78THERHYTHMSECTION78KEYACDCNIRVANATSHIRT611UNICORNHEALINGISAMIRACLESECURITYBILLIERAINBOWCASTLETHERHYTHMSECTION78THERHYTHMSECTION78THERHYTHMSECTION78@THERHYTHMSECTION78!@THERHYTHMSECTION78!@THERHYTHMSECTION78!@THERHYTHMSECTION78!VALLEYSTICKERS@THERHYTHMSECTION78! #ABSOLUTELY! #EMERGED #CORE #COLLABORATION #INTERPRETATIONS #EMPOWERMENT #BALANCE #PROTECTION #POTENTIAL #SYMBOLISM! #YES! #NARRATIVE #WORLD #RESOLUTION #TRANSFORMATION #MONSTERS #ISLAND #EXPLORING #EXPERIENCES!THATS #DREAMSCAPE! #INTRODUCES #EVOLUTION #RESOURCES #REFLECTION #TAKES! #NEXT! #CONTINUE #STARSHIP #REALM #HARMONY #DREAMS! #RAINBOW #CITADEL #VISIONSTICKERSTOREWWWFLICKRCOMPHOTOSMUSIC1978 #REDBUBBLECOMPEOPLERHYTHMSECTIONTNSHOP #PRAYERSFORRAINGREENHIMAGINATIONLIBRARY ++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++ #SHOP+ #TREASURES+ #ALLALONGTHEWATCHTOWER+ #HENDRIX+ #PINS+ #FORTRESS+ #BOWIE+ #MTNS+ #HEAVENANDHELL+ #BEETLEJUICE+ #PARK+ #BANDS+ #ORDERS+ #AVAILABILITY+ #BUTTONS+ #MORE+ +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ #DAFTPUNK+ #CREATION+ #MEMORY+ #HEALING+ #POSTERS+ #AVALON+ #ROXYMUSIC+ #GATLINBURG+ #GREATSMOKYMOUNTAINS+ #BRIDGE+ #TOWER+ #PEACE+ #IMAGINATION+ #VALLEY+ #TREEOFLIFE+ #SMOKYMOUNTAINS+ #MUSIC+ #TSHIRTS+ #TYLERCHILDERSINN+ #STICKERS+ #PALACE+ #MAGIC+ #LOVE+ #DIAMOND+ #REQUESTS+ #METAL+ #WATERFALL+ #TALKTALK+ #CDS+ #BARBIE+ #RECORDS+ #MUSHROOM+ #BRIANENO+ #OLYMPUS+ #REFUGE+ #ETC #MAILORDERS+ #TENNESSEE+ #ENO+ #SUN+ #BUSH+ #MOUNTAINS+ #RESTORATION+ #PATCHES+ #SHIRTS+ #DUNE+ #NIRVANA+ #COSMOS+ #DYLAN+ #RAINBOW+ #TAROT+ #EMBRACED!GOINGTOCALIFORNIA #RAINBOWTREE #RAINBOWHARDSUN #ARRIVALS! 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Of course, all Jerusalem has been considered holy for millennia, perhaps as long as it has been occupied, which, archaeology informs us, is at least five thousand years. It is a holy city with many names: from 1200 to 1000 B.C., it was Jebus, or ir hayebusi, the city of the Jebusites, a fortress perched atop the hill captured by King David in the 10th century B.C. It was Tsiyon (Zion), a word that suggests an earthly paradise modeled after a celestial archetype, perhaps heavenly Jerusalem.
The city was also Yir'eh-Shalem, which has a complex meaning. In the broadest sense, the name connote "the place where later God will show (yir'eh), or make known on earth, the fullness and perfection (shalem) of what is above. "'Jerusalem has been known as Yerushalem (a singular form), Yerushalayim (plural form), Ruschalim (Egyptian), Urusalimmu (Assyrian), Hierosolyma (Greek), and Jerosolyma or Hierosalem (Christian).
The Temple Mount on Mount Moriah is the counterpart of Mount Ararat, the legendary resting place of Noah's Ark after the Flood. There are in fact 144 resting points for the Ark, for the resting place, the "Mount Ararat", is the basis of the ascent of the Grail Castle which is the same as the Ark. There, the Ark floats, above us, in exalted dimensions, safely floating on the top of the flood waters released in the interregnum between vast periods of creation and destruction Brahma's Days and Years, in the Vedic time system.
INIMICAL ENERGIES AT THE TEMPLE MOUNT- We should not be surprised to find a fair concentration of what we could label dark and negative energies marshaled at the Temple Mount to block or distort access.
Two giant astral beings are locked in mortal battle atop the Mount, swords clashing, wounds gaping; they are primitive beings of a male valence, and all they do is fight, striving to kill each other. This energy permeates Jerusalem. Numerous alien ships high above the city quarantine the Mount in a ring of beams broadcast like laser shafts.
These energies help maintain the energies and functions of several circles of reptilian beings and giant astral snakes that surround the Mount, facing outwards into Jerusalem, discouraging access, keeping the energies combative, fragmented, bent on isolation and conflict. Behind them and also facing away from the Mount is another circle of large demonic control beings; their function too is to dissuade the fainthearted, to inflame those on the edge, to confuse or scare the rest, to keep the Mount and Stone from being used again as intended.
The dome directly over the Mount and encompassing all of Jerusalem is damaged. Part of its crown is severed, like a yarmulke riding the side of the head by the ears instead of the occiput. The two cords linking the dome to the master dome at Avebury are damaged; one of them is not "hooked up" at all. The damages mean that Jerusalem through its dome is not receiving the beneficial cosmic energies of both Sirius and Canopus through Avebury as they are meant to; this allows other inimical energies to exert the predominant influence.
The dome can be repaired, but it requires human assistance in conjunction with the angelic realm, and such repair could only be undertaken if the spiritual worlds judged it appropriate or karmically possible. (For information about another damaged dome, see Clingman's Dome, Tennessee.)
LUCIFER BINDING SITE: Coincident with the decommissioning of the Jerusalem Temple was the binding of Lucifer, Lord of Light, under the Foundation Stone. The Foundation of Venus, the Jerusalem new, old, and archetypal, is his light realm.
Elsewhere in Christendom, the tendency was to bury Lucifer under the granite weight of a massive Gothic cathedral, such as at Lincoln in England. For Jerusalem as the city to be healed, Lucifer, its foundation, will have to be unbound, and for the New Jerusalem to manifest on the planet, the Lord of Light will have to be restored to his pre-Fall position as God's chief archangel.
This is not meant to be a definitive listing of the geomantic features of Jerusalem, for it has many others. Notable among these is one of the Earth's twelve Crowns of the Ancient of Days at Golgotha, the Hill of Skulls, and an eighteen-mile wide Landscape Zodiac on the periphery of the Old City.
The dome directly on the Mount and encompassing all Jerusalem is damaged. Part of his crown is cut, like a yarmulke straddling the side of the head by the ears instead of the occiput. The two cords connecting the dome to the master dome at Avebury are damaged; one of them is not "plugged in" at all. The damage means that Jerusalem through its dome does not receive the beneficial cosmic energies of Sirius and Canopus through Avebury as they are destined to; this allows other enemy energies to exert predominant influence.
The dome can be repaired, but it requires human assistance in conjunction with the angelic realm, and such reparation can only be undertaken if the spiritual worlds have deemed it appropriate or karmically possible. (For more information on another damaged dome, see Clingman's Dome, Tennessee.)
The Ark, or Castle of the Grail, is the repository of all the information of previous epochs of cosmic existence; the extent of this knowledge is almost unfathomable, almost incomprehensible, almost inaccessible - except that it is not. The realization of this priceless and dilating knowledge is the objective of the quest for the Grail; it is the richness of Lord Kubera's Celestial City of the North; it is the diverse contents of Noah's Ark; it is the cosmic wisdom of the fish that towed Matsya-avatara's boat to the northern mountain while the flood subsided.
His remarkable mystical excursion is known as the al-Miraj, the "Ascent," or al-Isra, the "Night Journey." Though the Temple had once been the sublime meeting place between humans and divinity, since its sack by the Romans and its near dismemberment it had lain in ruins, both physical and spiritual, for centuries prior to Muhammad's reanimation of the site. The Foundation Stone is said to bear the imprint of Muhammad's footprint as he pushed off from the site, and that of the Archangel Gabriel, who put his foot down to restrain the Stone from following the prophet on his Night Journey.
Of course all Jerusalem has been considered holy for millennia, perhaps for as long as it has been occupied, which, archeology informs us, is at least five thousand years. It's a holy city with many names: from 1,200 to 1,000 B.C., it was Jebus, or ir hayebusi, the city of the Jebusites, a hilltop fortress captured by King David in the tenth century B.C. It was Tsiyon (Zion), a word that suggests an earthly paradise modeled after a heavenly archetype, perhaps the celestial Jerusalem.
The city was also Yir'eh-Shalem, which has a complex meaning. In the largest sense, the name connotes "the place where later God will show (yir'eh), or make known on earth, the fullness and perfection (shalem) of what is above.""' Jerusalem has been known as Yerushalem (a singular form), Yerushalayim (a plural form), Ruschalim (Egyptian), Urusalimmu (Assyrian), Hierosolyma (Greek), and Jerosolyma or Hierosalem (Christian).
Generally, the name is interpreted as meaning "foundation of peace," whose consonants (SHLM) mean perfect or whole (shalem) or peace (shalom). The earthly site where this peace is established is Yeru or Yir'eh (which was also one of Jerusalem's seventy names). The Hebrew root, yarah, means "to found," so shalem will be founded here.
An alternative or perhaps complementary interpretation of Yerushalayim says it was the cultic center of the Canaanite god Shalim, a deity referenced in Ugaritic mythology, which acknowledged two deities: Shahar, the god of the rising Sun, and Shalim, god of the setting Sun. What's interesting here is that these two names, Shahar and Shalim, also refer to the planet Venus, which is the Morning and Evening Star.
There's a controversial twist to this: anciently Venus was known as Phosphorus or Lucifer. This is either a metaphysical or an archeo-astronomical affiliation, but it suggests that at some level, Jerusalem is the Foundation of Venus or Lucifer, known to the Hebrews as Helel ben Sahar, Son of the Dawn, Lord of Light, the Shining One, Dawn Bringer, and Light Bringer.
According to Jewish sources, on the third day of Creation, Lucifer, God's chief archangel and cherub, "walked in Eden amid blazing jewels, his body a-fire" with the light of dozens of precious stones, all set in pure gold."' God had made Lucifer Guardian of All Nations. The Jewish sources say Lucifer aspired to enthrone himself on Saphon, the Mount of Assembly, for which ambition God cast him out of Heaven into the profound gloom of the Bottomless Pit in Sheol. As he fell from grace, Lucifer shone like lightning. The intriguing question is, if Jerusalem in some way is the Foundation of Lucifer, is it before or after he fell?
As mentioned, Solomon's Temple of Jerusalem was built from divine blueprints, transmitted to humanity by revelation. The plan was divinely revealed, and many think that the plan was the archetype of a Celestial City, the original, heavenly Jerusalem. The Temple was the "instrument of a mystical, priestly science," a cosmic temple, heavenly city, eternal standard, and world image, says John Michell, a well-regarded authority on ancient mysteries.
The numbers, measures, and harmonies of the revealed plan as given to King David, Solomon's father, reflected the ideal order of the macrocosm, says Michell. In that plan is the "key to forgotten knowledge, to the blueprint by which the universe was made, to the lost canon of number, measure, and music," used by the Egyptians and other ancient civilizations. In other words, the architectural details of the Temple of Jerusalem themselves are the revelation, regardless of whether the physical temple is ever rebuilt, Michell says."'DOME: The dome over the Temple Mount, Old Jerusalem, and the entire city corresponds to Aldebaran, the alpha star and eye of the bull Taurus. The Foundation Stone within the Dome of the Rock is the center of this dome. Aldebaran, the thirteenth brightest star in our galaxy, is a first magnitude star located sixty-eight light years from Earth, forty times larger than our Sun and 125 times more luminous. It's usually described as rosy or pale reddish-orange in color, a quality the Hindu astronomers noted in their name, Rohini, which means "the Red One" or "the Red Deer." In Hindu star myths, Rohini is the female antelope, the daughter of the male antelope, Prajapati, the Lord of Generation (the constellation Orion).
Its name, from the Arabic Al Dabaran, means "the Follower," or "Bright One of the Follower," a reference to how its appearance in the sky follows just after the rising of the Pleiades or perhaps the Hyades, both in Taurus; it also sets immediately following the setting of these two star clusters. To the Mesopotamian astronomers, Aldebaran was one of the four royal stars, or "Watchers," along with Antares in Scorpio, Regulus in Leo, and Fomalhaut in Piscis Austrinus (the Southern Fish). The Babylonians knew it as Ikuu, "the Leading Star of Stars," the Akkadians as Gisda, "the Furrow of Heaven."
Appropriately, with respect to the attributions of the Flood, tehom, and the cosmic waters to the Foundation Stone, in various cultures Aldebaran was associated with the gods of the rain and the Earth's fertility. An interesting astronomical aspect of Aldebaran is that it is one of the few first-magnitude stars that are eclipsed regularly by our Moon, sometimes, as happened in 1978, every month for a year. It would be a useful study to correlate the schedule of occultations by the Moon of Aldebaran with political events in Jerusalem to see if the astronomical events coincide with earthly happenings.
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Dragons are basically our greatest allies in making change. Naturally, those who like to keep you powerless make sure that the truth is lost. Dragons get painted as evil, or reduced to story book characters, so nobody remembers what they really are.Dragons are representatives of the most primal life force which has the ability to heal itself, fight off infections, grow and seek fulfilment. These are qualities of the life force in all of us. But as we are connected to the greater whole, we are also at one with the larger life force of the earth which can back up our life force and our magick when it wanes. So if you feel powerless, lost with no sense of direction, restricted, longing for freedom, afraid of your shadow side, or have forgotten your dreams, you definitely need the dragons. This church in Paris was plagued with signs of geopathic stress. Ant and mouse infestations, constant feelings of aggression and emotional ‘loss of control’ were experienced by all occupants when in the main gathering areas of the home. It was dowsed that an earth meridian was running exactly through the house on a north to south axis in these ‘angry areas’.
With research, it was found that an active quarry to the north and a new railway cutting to the south had ‘severed the Dragon’. From an earth energy perspective, this means that one of the earth’s natural energy lines was now stagnant, as it could no longer flow along its natural course. This led to a build-up of yang energy, creating a severe sha. This explains the feelings of aggression, frustration, constant bickering and restlessness felt by all occupants who spent a length of time within the home.
A geological fault and an underground's river in the back church were also contributing factors to the energetic dysfunction of the site. Interestingly, from an eagle medicine perspective, when the brick works quarry is viewed from an aerial vantage point it is shaped like a pregnant woman clutching at her womb, lending to feelings of hopelessness and despair. This energy was very much what was now travelling along the meridian lines that passed through the site to impact those dwelling downstream of it.
paramagnetic rock for earth healingFor energy that is being constantly agitated by a quarry from the origin of the lines directional flow, regular earth acupuncture application would not suffice.
A geomantic cure for this situation was dowsed to be a large paramagnetic rock placed in a specific location to neutralise and counteract the ongoing energetic effects of these interferences from a man-made cause. The rock would attract and draw off the sha, which would discharge through the stone, thus shielding the house from its impacts.
The remedy was effective immediately. It felt like the landscape could take a breath … I would suggest the earth’s experience at that moment was a sense of relief, having had attention finally drawn to an area that had become numb, like a sore back having finally received treatment. It was akin to times, post healing, when we are left wondering how we had forgotten what it felt like before an injury we had become used to or entrained to energetically, and elated to remember what the feeling of ‘good’ really is.
Geomantic figures: Cauda Draconis
Latin for "the Tail of the Dragon" and the figure of the south node of the Moon. It is considered very bad in most situations, such that in older traditions if this was the first figure drawn the geomancy reading was stopped. It is only good in circumstances for ending or completing things, such as breaking up a relationship. It brings good with evil, and evil with good. It is associated with the malefic planets Saturn and Mars, and the astrological sign Virgo. Its inner and outer element are both fire. Its planetary intelligences are Agiel and Graphiel, and its spirits are Zazel and Bartzabel; it is associated with the deities Mavors, Saeturnus, and Athena, and the angels Cassiel, Samael and Malchidael. It is associated with the left arm.
First, dragons help clear the ley-lines. These lines of energy are like the acupuncture meridians of the earth. They are the basic energy signal on which the well being of all the Earth’s inhabitants depends. When the ley lines are sick, the land supports negative situations, and corruption breeds. When we heal the ley lines, everyone’s health is improved, corruption is flushed out, society becomes more positive, and many personal conflicts between people are resolved. Working on these is one of the easiest ways you can help the earth. [See also my video where I describe waking the dragons in Glastonbury and Dartington who had been guarding the Temples of Atlantis.]
There are also many people involved in the area of “gifting”, which involves planting orgone wherever positive energy is needed; such as around mobile masts, power lines, areas of high crime rate etc. What I recommend is the use of Herkimer diamonds as these are a very high energy crystal that will never hold negativity. If placed in a negative environment, sooner or later the crystal will win and the energy has to turn positive. They can be charged through any positive prayer and planted along the ley lines. I use the dragon sutra. Others use various prayers such as the throne verse (ayat al kursi) from Islam, or shree rudram, from the Vedas.
Often, when the earth energy has turned negative, the dragons are asleep. Long ago people honoured the dragons and worked with them to maintain a positive life. Because they have been neglected they have gone to sleep. When preparing your crystals to plant, pray for the dragons to awaken. This is particularly important around areas that have deliberately been controlled by the Illuminati. You will find around all places of corruption, that these places are built on power lines that they have controlled. Healing these lines and raising the dragons is the first step to breaking their corrupt power.
Working with Ley Lines
Once the ley lines are restored, you will find them very positive places to do your spiritual work. Healing becomes more effective, your will and hope are raised, and so you are better able to manifest your desires. It is well worth seeking out powerful lines to meditate on, such as you can find around Avebury or Glastonbury in the UK. Do your bit to heal them first, as there are many influences that spoil these lines. Also, to locate ley lines, it is not difficult to learn to dowse for them. Some work better with a forked stick or angle rods, some with a pendulum, others just feel the energy directly. The trick is to be open to energy and start paying attention.
As you build a relationship with Dragons, there is a lot more you can do to stop corruption. Dragons are completely willing to help you destroy negative forces on the earth; it’s what they are here for. By learning their language, runes and spells, their power can be accessed safely and harnessed to change your reality.
Apart from healing and protecting the Earth, dragon magick is also a powerful system of spiritual/magickal development. A traditional gift of spiritual power is the Dragons Crown, which appears in many traditions. In Ancient Babylonian magick it was called the Tehom; in Javanese magick it’s called the Makuto Nogososro. It is the same crown you see some Indian Gods wearing. It is said that whoever has the Dragons Crown will be powerful. The Crown is bestowed upon one through a very high level initiation. I will be giving this in my Dragon Magick course. Once one has this power, all Dragon magicks can be accessed. I will be giving the dragon runes and language, with some spells for various purposes, such as cleansing, protection, exorcism, healing, enlightenment, wealth and destruction. The Dragon language is a primordial language of creation. Speaking it creates ripples across the ethers which allow faster and more powerful manifestation of magick.
One very special virtue of dragons is their link to beauty. Beauty was the first energy the Goddess created to fill the Universe, and is at the root of the deepest magick, which can become unstoppable. Dragons exist in this plane of beauty. One of the important initiations is the journey to beauty, where you find your own expression of beauty, and gain a sense of your eternity. Once you are in touch with this, nothing can hold you back on your spiritual path.
Dragons can be gained as personal helpers and protectors. Within Javanese magick, there are standard dragon spirits that are given as initiations. The most popular are Naga Digdaya (powerful dragon) which provides protection and magickal empowerment, Naga Kembar (twin dragons) which work together to protect one on may levels, Naga Bajra (thunder dragon) which is a very powerful cleanser. It will remove all forms of black magick, psychic attack and negative energy. There is also a dignity dragon (drajad naga) which builds your dignity and causes people to respect you, a black dragon (naga wulung) which gives power over other peoples minds, and others for specialist purposes. I will be giving a few of these during the course.
Ley lines, also known as “leys” and “dragon lines” are phenomena most people have heard of but few really understand. Indeed it would be fair to say that no-one understands them fully, as they remain largely unexplained.
From what we do know, a ley line seems to be a straight line that carries an altered form of the earth’s magnetic field, however it is proving difficult to define that power even to this day.
It has been claimed that birds, fish and animals use them as ‘compasses’, helping them find direction back to breeding grounds and to warmer climates during winter months. They have also been said to be vast prehistoric trade routes.
An article in New Scientist magazine, published in 1987, suggested that species as diverse as pigeons, whales, bees and even bacteria can navigate using the earth’s magnetic field.
It is thought that a tissue containing a substance called magnetite is responsible for this.
Magnetite enables living creatures to sense magnetic changes and has been found in human tissue linked to the ethmoid bone in the front of the skull.
From bbc.co.uk/gloucestershire/content/articles/2005/06/29/ley_lines_feature.shtml
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The whole concept of an earth ringed by meridians, veins in a matrix of power, is not just an anthropomorphic projection based on Chinese medicine. Many magnetic images of the earth show similar veins of energy beyond our normal perception. Does the earth, like our own meridian system, harbour an energy matrix?
Older cultures than ours point to a hidden reality of energy. In an age where energy consciousness is dawning for some at least, perhaps we should attach more value to these ancient energy ‘pathways’. Geobiology is an emerging field and modern physics tells us nearly all the universe is made of energy.
These days our earth is awash with electro-magnetic vibration on many levels. We even carry round our own electro-magnetic disturbance devices in the form of mobile phones. For those who have the ability to perceive and use ‘hidden energies’, modern electro-pollution makes much noise and interference. But perceiving at a more vibrational level is something people are tuning into.
From simon-mitchell.com/modules.php?name=News&file=article&sid=109
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Ley lines were termed ‘Dragon Lines’ by the Chinese centuries ago. When these ‘Dragon Lines’ cross each other their energy spirals into a vortex. If several lines cross at a given point, called a node, it produces a massive vortex of energy. One such place is located at Avebury in England, where twelve lines meet and go down into the Earth. This is a place where megalithic stone structures were built in ancient times and is where many crop circles appear today.
From Eden, The Knowledge of Good and Evil 666 by Joye Jeffries Pugh, 2006.
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The Rainbow Serpent is a ‘great energy current’ that travels the world from Uluru (Ayers Rock), linking ‘planetary increase sites’ or chakras, before meeting it self back in Uluru. The Australian Aborigines knew this serpent well. Their stories tell of two serpents; a female snake Kuniya and her nephew Liru, who meet at Uluru. According to Robert Coon, the Rainbow Serpent is the female aspect of two great energy lines.
The other, the Plumed Serpent, is the male aspect. These serpents are themselves made up of male and female currents that intertwine like a Caduceus or Kundalini through the landscape. (See map)
The Michael and Mary Line is the part of the Rainbow Serpent that travels though England linking many sacred sites from St Michael’s Mount, Cornwall, through to Glastonbury, Avebury and many sacred sites up to Bury St. Edmunds and finally, Hopton-on-Sea, where it goes into the North Sea.
The one energy centre that stands out for Robert Coon is Glastonbury. The Tor is the earthly representation of the planetary heart charka, which spreads out through the landscape zodiac. The Michael and Mary lines pass through Burrow Mump (third eye of the landscape Unicorn), Glastonbury Abbey, Chalice Well (and White Spring) and the Tor, before moving on to the Avebury Complex.
Crown Chakra – Mount Kailas, Tibet
Third Eye Chakra – Currently at Glastonbury & Shaftesbury, England
Throat Chakra – Great Pyramid, Sphinx & Mount of Olives, Egypt
Heart Chakra – Glastonbury & Shaftesbury, England
Solar Plexus Chakra – Uluru, Australia
Sacral Chakra – Lake Titticaca, South America
Base Chakra – Mt Shasta, North America.
Gaia’s energy system is remarkably similar to our own. Our connection to the earth is also far greater than we realise, especially when the 6th planetary chakra or 3rd Eye, is held not in the landscape but in the consciousness of people. It moves with the precession of the equinoxes to a new location, which is currently in Avalon for the Age of Aquarius (Piscean Age – Jerusalem). We are the awareness of the planet. Her birthing pains are ours, and the plundering of her resources we also feel as our own struggles.
From rainbowserpent.co.uk/page/2318250:Page:11245
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The Hartmann Grid ~ For some years researchers like Dr Hartmann (Director of the Committee for Geobiology Eberbach – Waldkatzenbach – waldbrunn), Dr Palme, Prof. Endros, KE Lotz and many others have studied the undeniable influences of electromagnetic fields on living organisms. According to the researches of Dr Hartmann the geomagnetic field is composed of active and neutral zones, the active areas being lines 21cm wide with the neutral zone lying between the lines.
These lines form a North-South and East-West grid, they are about 2.0m apart on the North-South axis and 2.5m apart on the East-West axis in the temperate zone.
The crossing points of these lines are considered to be unhealthy if one is to remain over them for long periods of time as in a bed or at a work station for example. The regularity of the H grid can also be affected by man made disturbances such as high tension power lines, roads etc.
The effect of a crossing or knot in the H grid can be amplified by other local characteristics such as an underground stream or a geological fault making that particular spot potentially dangerous. According to Prof. Endros trees growing on the crossing of the grid are prone to being hit by lightning, especially if they are near or over an underground stream. Most trees or plants showing deformities are found on such “knots” of the H grid. On these the Romans used to build sham wells dedicated to Jupiter and consecrated to “Fulgur Conditum” (buried lightning).
Animals and very young children have not lost their instinct to feel if a place is healthy or not. In the morning, one can often see children cramped into one side of their beds, oriented differently from when they were tucked in. It is wise to determine then if the bed is well positioned. Sensitive adults will not sit in a particular spot often without being able to explain why they feel uncomfortable.
Animals in pastures will avoid a disturbed zone to the extent that one could follow their paths by looking at the area that has been grazed.
From earthtransitions.com/Earth-Healing/Hartmann-Grid.html
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Geo-pathic Stress, or harmful earth rays, can result from natural radiation which rises up through the earth and is distorted by weak electro-magnetic fields created by subterranean (underground) running water, certain mineral concentrations, fault lines and underground cavities. The natural radiation, disturbed in this way becomes harmful to living organisms (including animals and plants!) Geo-pathic Stress can also result from electro-magnetic fields caused by electrical wiring, lighting, appliances (including computers, TVs, microwaves, clocks, radios), telephones (especially cellular phones), and from outside sources such as electric generators, transformers and electricity pylons.
Geo-pathic Stress lowers your immune system and your ability to fight off viruses and bacteria. While we sleep, the body should be at rest so that it can do its repair work on body cells, fight infection and absorb nutrients from the food eaten that day. However, if we sleep in a Geo-pathic Stress Zone, the body has to focus all its energy just to keep vital organs working and, consequently, the immune system is lowered, we cannot fully absorb nutrients or effectively fight off infections.
The most common indications of Geo-pathic Stress are resistance to treatment (conventional or alternative), feeling run-down and exhausted, depression, nervousness, allergies, insomnia, restless sleep, nightmares, sleep walking, headaches on waking, tingling in arms and legs, grinding teeth.
The entire earth is threaded with an invisible grid of Hartmann lines. They appear every 6-8 feet. They are named after the German medical doctor Ernst Hartmann. If your bedroom or work area lies over these lines, there is a good chance you have serious health problems. Heart attack victims often sleep on a Hartmann line. The Hartmann line itself is just over 8 inches in width. It penetrates everything in its path. If you live on the top floor of an apartment building, the rays will cut through the entire building and still affect you. The lines are more intense during the morning hours of one and four. It is also during these hours that people most often wake from their sleep. The worst place you could possibly sleep or work is over a ‘Hartmann Knot’. This is where two Hartmann lines cross. This is called a Geo-pathic stress zone.You can dowse using either a pendulum or dowsing rods to find out if you are sleeping over a Hartmann line .
www.azizshamanism.com/dragons-magickal-allies-guardians-e...
Besides being considered a geomantically perfect place, or precisely for that, Kyoto's Jonangu sacred garden is the scenery of an annual poetry reading in which noted contemporary practitioners of traditional forms, beautifully dressed in Heian costumes, compose poems on narrow strips of paper that then slip into the tiny boats floating down the stream and carrying a cup of sake, from with each and every poet drinks in turn. These reenacted court poetic ritual takes place at the end of April every year.
This photo belongs to The Asiain Gallery.
彩云之南－香格里拉－独克宗古城－古巷清晨
Morning sunlight shines over the cobber stone lane in Dukezong, a 1300-year-old Tibetan town located in Shangri-La, Diqing Tibetan Autonomous Prefecture, Yunnan province of China.
Dukezong is the largest and best-preserved Tibetan city among China's Tibetan counties. It was a key stop on the Ancient Tea-horse Road and a focal point for Han-Tibetan exchanges. As one of the oldest towns in the region, it is also known as the 'footstep of Shangri-La'. According to Tibetan Buddhist scriptures, there is a lost city called Shambhala in the Snow Mountains, shaped like an eight-petal lotus flower. The 1.6-square-kilometer Dukezong Old Town is also laid out in this design. All 1,084 of its houses radiate out from Turtle Hill at the center, arranged in conformity with Tibetan Buddhist geomantic theory.
© All rights reserved. You may not use this photo in website, blog or any other media without my explicit permission.
The Geomantic Compass
The geomantic compass used in Feng Shui evaluations is called the luopan in Chinese meaning "all" and "bowl". It is said that all the knowledge pertaining to the physics and flow of energies of the planet is written inside the compass.
The original Geomantic Compass had 36 rings, whereas, the most recent ones are simpler and have from 8 to 24 rings. In these rings, aside from the needle always pointing North/South, we find the correct information to do a perfect feng shui evaluation. The concentric circles of the compass contain the numbers of the Magic Squares (9,8,7,6,5,4,3,2,1), the 8 Trigrams of the I Ching (Yiying) and their corresponding directions, as well as the Heavenly Stems and Earth Branches. Also in the circles are contained the 28 equatorial divisions which are an important part of the evaluation because they help determine not only the ideal site, but the correct place for that particular individual to live.
In order for a feng shui evaluation to be accurate and correct the compass must be used. This is because the individual must be evaluated as to their personal data first in order to proceed with the terrain (topography) and site evaluation for that particular person. For example, in South Florida we have flat land with some areas below sea level. We also have swampy grasslands which are not favorable because stagnant water can attract negative energies. Using the compass we can determine the correct site to avert the negative energies of the stagnant water. This also apply to areas crowded with buildings, particularly apartment buildings.
彩云之南－香格里拉－独克宗古城－晴雪
The first slice of morning sunlight shinning over the snow-covered roof tops in Dukezong ancient Tibetan town.
Dukezong, a 1300-year-old Tibetan town located in Shangri-La, Yunnan province of China, has experienced both the flames of war and prosperity of frontier trade. Dukezong's authentic Tibetan dwellings, majestic prayer halls and pagodas, winding lanes offer sanctuary to those seeking refuge from the bustle city.
Dukezong is the largest and best-preserved Tibetan city among China's Tibetan counties. It was a key stop on the Ancient Tea-horse Road and a focal point for Han-Tibetan exchanges. As one of the oldest towns in the region, it is also known as the 'footstep of Shangri-La'. According to Tibetan Buddhist scriptures, there is a lost city called Shambhala in the Snow Mountains, shaped like an eight-petal lotus flower. The 1.6-square-kilometer Dukezong Old Town is also laid out in this design. All 1,084 of its houses radiate out from Turtle Hill at the center, arranged in conformity with Tibetan Buddhist geomantic theory.
© All rights reserved. You may not use this photo in website, blog or any other media without my explicit permission.
11-3/4 x 36" print . . . Giving it up for my home town View Larger!
It's Hard to see some of the tiniest details like the pattern in the sky around the sun*.
I made everything from the city up, Got the photo from good ol' google. Enjoy
If interested it's only 45$ framed & signed* (if in Portland*; shipping will cost more...)
Copyright photo PS
.
.Enlarge:
1. Simply click the upper-right diagonal arrows;
Further enlarge: Then press F11 on a PC, or Fullscreen. Allow re-focus.
Or
2. Max enlarge: If flickr's + cursor is showing, click it for max enlargement and allow to re-focus. Explore detail moving cursor.
.
.
Though Hemis is in a remote, secluded mountain-valley location, it's probably Ladakh's best-known monastery --- about 45k from Leh, across the Indus. Hemis gompa, or at least its oldest section, was built in the 1630s under king Sengge Numgyal --- belonging to the Drupka sub-order of the Kagyupa school of Buddhism. Drupka became Ladakh's religion and Hemis its chief monastery.
The gompa is spread over a large area having a number of temples which house the images of numerous Buddhist divinities. There's a separate shrine which accommodates a lofty statue of Guru Rimpoche dominating the entire room. One of the temples is dedicated to the goddess Tara with 21 images of associated manifestations. And the murals in various temples of the gompa depict Tibetan fables and historical events associated with Padmasambhava. The main assembly hall shows images of Sakyamuni, Maitreya, and Avolokiteshvara, amidst other divinites.
Given its royal patronage and the vast land holdings that Sengge Namgyal endowed it, Hemis has long been Ladakh's wealthiest monastery -- with its delightfully sequestered location it was always considered a relatively secure lamasery.
A flight of entry steps lead up to the extensive courtyard with its central banner pole. The main building fronts this long quad which is lined on its other three sides with two-tiered arcading, recently renovated; and in the upper corner is the noted Hemis museum.
The three-storied main building, while well-stepped to the mountain-face behind, shows the impressive long facade overlooking the yard. An array of ornamental wooden frames enclosing balconies and windows, called rabsaals, sweep down. A colonnade runs along the base of this building, providing canopy to a row of prayer-wheels and interspersed by two flights of steps that lead to the monastery's two great halls, the dukhang and the tsogkhang.
Hemis is known for its two-day annual festival which is held in summer when banners flutter on long poles erected in the courtyard and lamas in richly brocaded gowns and grotesque masks dance in symbolic ritual as we saw at Phyang and Korzok.
Among the many thanka banners of Hemis is an extremely large historic embroidery so valuable it's only unveiled every 12 years.
And the architectural integrity, its fit to wonderful site and mountainscape, the rhythmic form articulation, and the direct expression of local materials, combine into a fitting wholeness.
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UNESCO quote:
"The Hemis monastic complex is located in the state of Jammu and Kashmir within the Ladakh region of the Western Himalayas, at an altitude of 12,000 feet making it one of the highest settlements of the world. Hemis gompa is believed to have been established in 1630 by Lama Tagstang Raspa and built by Palden Sara under the patronage of King Sengge Namgyal on a site previously sanctified by the construction of a cave hermitage dating from the 12th century. This monastery is the oldest one in the area belonging to the Kargyu school. The Gompa is a unique example of a monastic complex of this period which manifests in its structure the geomantic principles which underlie religious constructions of this type. In addition there are also examples of construction techniques and details which are not found elsewhere. The main building itself dates from 1630 when the Nyingma Lhakhang was constructed with a courtyard in front and the residence for the Rinpoche located some distance to the east. During the late 17th century and early 18th century, the main Gompa building reached its zenith with the construction of the Dukhang Chenmo or large assembly hall, its adiacent building, the main entrance to the Gompa building, the large courtyard and its enclosing gallery decoratod with painted stone reliefs. Architecturally thus the monastic complex is unique, not only because of its siting and its conceptualisation and constructon as a three dimensional 'mandala'; but because of its intrinsic design qualities including rare 17th century murals executed with a variety of pigments and gold paint. "
Press "L" to view in Lightbox.
The Gudong (故宫), or the Imperial Palace, better known by its unofficial title the 'Forbbiden City', was the home to 24 Emperors of China, during the Ming and Qing Dynasties, and from where the Emperors issued their commands, with absolute authority, over their millions of subjects. During these reigns the palace was closed off to the outside world, with regular Chinese not even allowed to approach the walls. The Palace is a venerable maze of over 800 buildings containing supposedly over 9000 chambers.
Although the commencement building of the palace was issued by Kublai Khan, the palace was really built by the Ming Emperor Yongle when he switched the Imperial capital to Beijing in 1403, and construction lasted from 1406-1420, and the majority of buildings are in Ming style. The buildings are laid out in accordance with geomantic theories; the balance of yin and yang, negative and positive. As such the palace stood at the centre of Beijing, which was also considered the centre of the universe, and as such was the essence of supreme harmony.
After being the home of 24 emperors the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last Emperor of China. Under an agreement with the new Republic of China government, Puyi remained in the Inner Court, while the Outer Court was given over to public use,until he was evicted after a coup in 1924.The Palace Museum was then established in the Forbidden City in 1925.In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders by Chiang Kai-shek, whose Kuomintang was losing the Chinese Civil War.
After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.
The Forbidden City was declared a World Heritage Site in 1987 by UNESCO as the "Imperial Palace of the Ming and Qing Dynasties", due to its significant place in the development of Chinese architecture and culture. It is currently administered by the Palace Museum, which is carrying out a sixteen-year restoration project to repair and restore all buildings in the Forbidden City to their pre-1912 state
Press "L" to view in Lightbox.
The Gudong (故宫), or the Imperial Palace, better known by its unofficial title the 'Forbbiden City', was the home to 24 Emperors of China, during the Ming and Qing Dynasties, and from where the Emperors issued their commands, with absolute authority, over their millions of subjects. During these reigns the palace was closed off to the outside world, with regular Chinese not even allowed to approach the walls. The Palace is a venerable maze of over 800 buildings containing supposedly over 9000 chambers.
Although the commencement building of the palace was issued by Kublai Khan, the palace was really built by the Ming Emperor Yongle when he switched the Imperial capital to Beijing in 1403, and construction lasted from 1406-1420, and the majority of buildings are in Ming style. The buildings are laid out in accordance with geomantic theories; the balance of yin and yang, negative and positive. As such the palace stood at the centre of Beijing, which was also considered the centre of the universe, and as such was the essence of supreme harmony.
After being the home of 24 emperors the Forbidden City ceased being the political centre of China in 1912 with the abdication of Puyi, the last Emperor of China. Under an agreement with the new Republic of China government, Puyi remained in the Inner Court, while the Outer Court was given over to public use,until he was evicted after a coup in 1924.The Palace Museum was then established in the Forbidden City in 1925.In 1933, the Japanese invasion of China forced the evacuation of the national treasures in the Forbidden City. Part of the collection was returned at the end of World War II, but the other part was evacuated to Taiwan in 1948 under orders by Chiang Kai-shek, whose Kuomintang was losing the Chinese Civil War.
After the establishment of the People's Republic of China in 1949, some damage was done to the Forbidden City as the country was swept up in revolutionary zeal. During the Cultural Revolution, however, further destruction was prevented when Premier Zhou Enlai sent an army battalion to guard the city.
The Forbidden City was declared a World Heritage Site in 1987 by UNESCO as the "Imperial Palace of the Ming and Qing Dynasties", due to its significant place in the development of Chinese architecture and culture. It is currently administered by the Palace Museum, which is carrying out a sixteen-year restoration project to repair and restore all buildings in the Forbidden City to their pre-1912 state
Canton Tower, the World's Tallest TV Tower, New Symbol of Guangzhou City, China
Chigang Pagoda was built on a red sandstone hill as a geomantic pagoda. Its construction was begun from the forty-seventh year of Emperor Wanli’s reign during the Ming Dynasty and was finally completed during the reign of Emperor Tianqi.
The pagoda is a pavilion-style brick building and is octagonal in shape. It has nine floors externally, but 17 floors internally and stands at a height of around 50 meters; there is a statue of Hercules in all eight corners of the pagoda’s base.
Copyright photo PS
.Enlarge:
1. Simply click the upper-right diagonal arrows;
Further enlarge: Then press F11 on a PC, or Fullscreen. Allow re-focus.
Or
2. Max enlarge: If flickr's + cursor is showing, click it for max enlargement and allow to re-focus. Explore detail moving cursor.
.
Though Hemis is in a remote, secluded mountain-valley location, it's probably Ladakh's best-known monastery --- about 45k from Leh, across the Indus. Hemis gompa, or at least its oldest section, was built in the 1630s under king Sengge Numgyal --- belonging to the Drupka sub-order of the Kagyupa school of Buddhism. Drupka became Ladakh's religion and Hemis its chief monastery.
The gompa is spread over a large area having a number of temples which house the images of numerous Buddhist divinities. There's a separate shrine which accommodates a lofty statue of Guru Rimpoche dominating the entire room. One of the temples is dedicated to the goddess Tara with 21 images of associated manifestations. And the murals in various temples of the gompa depict Tibetan fables and historical events associated with Padmasambhava. The main assembly hall shows images of Sakyamuni, Maitreya, and Avolokiteshvara, amidst other divinites.
Given its royal patronage and the vast land holdings that Sengge Namgyal endowed it, Hemis has long been Ladakh's wealthiest monastery -- with its delightfully sequestered location it was always considered a relatively secure lamasery.
A flight of entry steps lead up to the extensive courtyard with its central banner pole. The main building fronts this long quad which is lined on its other three sides with two-tiered arcading, recently renovated; and in the upper corner is the noted Hemis museum.
The three-storied main building, while well-stepped to the mountain-face behind, shows the impressive long facade overlooking the yard. An array of ornamental wooden frames enclosing balconies and windows, called rabsaals, sweep down. A colonnade runs along the base of this building, providing canopy to a row of prayer-wheels and interspersed by two flights of steps that lead to the monastery's two great halls, the dukhang and the tsogkhang.
Hemis is known for its two-day annual festival which is held in summer when banners flutter on long poles erected in the courtyard and lamas in richly brocaded gowns and grotesque masks dance in symbolic ritual as we saw at Phyang and Korzok.
Among the many thanka banners of Hemis is an extremely large historic embroidery so valuable it's only unveiled every 12 years.
And the architectural integrity, its fit to wonderful site and mountainscape, the rhythmic form articulation, and the direct expression of local materials, combine into a fitting wholeness.
UNESCO quote:
"The Hemis monastic complex is located in the state of Jammu and Kashmir within the Ladakh region of the Western Himalayas, at an altitude of 12,000 feet making it one of the highest settlements of the world. Hemis gompa is believed to have been established in 1630 by Lama Tagstang Raspa and built by Palden Sara under the patronage of King Sengge Namgyal on a site previously sanctified by the construction of a cave hermitage dating from the 12th century. This monastery is the oldest one in the area belonging to the Kargyu school. The Gompa is a unique example of a monastic complex of this period which manifests in its structure the geomantic principles which underlie religious constructions of this type. In addition there are also examples of construction techniques and details which are not found elsewhere. The main building itself dates from 1630 when the Nyingma Lhakhang was constructed with a courtyard in front and the residence for the Rinpoche located some distance to the east. During the late 17th century and early 18th century, the main Gompa building reached its zenith with the construction of the Dukhang Chenmo or large assembly hall, its adiacent building, the main entrance to the Gompa building, the large courtyard and its enclosing gallery decoratod with painted stone reliefs. Architecturally thus the monastic complex is unique, not only because of its siting and its conceptualisation and constructon as a three dimensional 'mandala'; but because of its intrinsic design qualities including rare 17th century murals executed with a variety of pigments and gold paint. "
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Some Words:
Ladakh:
(many Tibetan)
bar-headed geese (anser indicus) high-flying migratory water birds that also breed in lakes of Ladakh.
chams (chhams)religious dance ritual typical of the Buddhist Tibetan festivals; (accompanied by Tibetan drums and music).
Changpa (Tibetan) nomads of high-altitude Ladakh to China.
Changthang The region of high Ladakh which stretches east across the China/Tibet border.
chhang Local barley beer (or wine)
chorten (Stupa in Indian) Domed structure with pinnacles, often stepped base, marking/containing shrine or religiously significant place. Typically whitewashed.
deodar (cedrus deodara) Cedars
dukhang temple assembly hall and main prayer chamber.
Drukpa A branch of Tibetan Buddhism.
duksa Rudimentary stone hut typical of high-altitude nomads.
DWLS The new Druk White Lotus School at Shey, designed by Arups.
dzo A Tibetan hybrid of yak and cattle.
dzong Buddhist fortress architecture.
Gelugpa The yellow hat sect of Tibetan Buddhism; reformed Tibetan version of Buddhism that emerged and established in the 15th C.
gompa Buddhist monastery.
Gustor Monastic cham festival for certain sects, especially Gelugpa.
Himalayan marmot (marmota himalayana) are chocolate-golden burrowing marmots.
jooley, joolay, julay greetings, hello, thank-you
kangri high mountain peak (e.g. Stok Kangri).
kiang The Tibetan wild ass, unique to these highlands, chestnut brown, white under, long legs and nose.
La mountain pass
lama Tibetan Buddhist teacher, senior, or head of monastery.
Maitreya Future Buddha.
mani wall/stone A mani wall is a wall of inscribed stones (Mani ringmo in Tibetan). Mani walls are long platform-like rows of stones, typically waist high, faced with carved slabs. The mantra Om Mani Padme Hum (Ah! The jewel is indeed in the Lotus) is most commonly carved on the stones, but they could also be etched with Buddha or other holy images, or brief prayers. Mani walls are usually seen at the entrance of a village or near gompas (monasteries). They line trails or often stretch through their middle, like road dividers. Mani walls are sacred structures with much the same religious significance as chortens; Buddhists stay to their right when passing them.
monk A religious ascetic living alone or with other monks in a monastery.
Novice A young trainee monk.
Om (Omkara) Part of a religious mantra as in “Om Mani Padme Hum” (Ah! The jewel is indeed in the Lotus). Used in Hinduism, Buddhism and Jainism.
parikrama ritual circumambulation around a temple, shrine, or mountain (as in Alchi).
perak Tibetan Ladakh’s special traditional head-dress of high value, passed down the generations. Studded with turquoise, other precious stones, and inserted silver hand-craftings.
prayer-flags Long strings of colourful flags inscribed with Buddhist mantras and symbols; prayer-flags can be seen everywhere significant in Ladakh.
prayer-wheels A succession of hollow cylindrical drums that rotate on spindles. The drums are inscribed with mantras, others inside. Buddhists turn them believing that the mantras are activated to their spiritual gain.
rimpoche Rimpoche is an honorific used in Tibetan Buddhism. It literally means "precious one," and is used to address or describe Tibetan lamas and other high-ranking or respected teachers.
Rupshu Region of southern east Ladakh from Tso Moriri.
stupa (Literally a heap) is a structure containing relics or writings, or making landmarks for Buddhist meditations. As for “chorten” above.
T. R. Tibetan Refugee.
Tso Lake