One day I’ll learn to trust my intuition. The color wasn’t bad early but it faded off about 10 minutes before sunrise. That’s not really unusual. It’s just that my intuition told me that was it until the Sun appeared over the horizon and I’d want the big lens for when that happened. But I just sat there and let the chance to change slip away.

 

Oh well, I shot it with my regular landscape lens and cropped it. Jimmy told me a long time ago I should learn to trust my intuition. I should have listened. You should too.

 

youtu.be/SV87lkJFWAs?si=MnZfPuZRhhuWeDvC

 

Nikon D7200 — Nikon 18-300mm F6.3 ED VR

300mm

F8@1/500th

ISO 400

Cropped

 

ROD_3393.JPG

©Don Brown 2023

This is NOT the painting I thought I was going to make tonight. I was following an “Intuitive Painting” tutorial on YouTube and my intuition went a whole other way from the tutorial. Fun.

 

Digital painting with ProCreate, IPad Pro, and Apple Pencil.

The theme for a 11/2 lifetime is bringing life into a sense of balance through the analyzing and synthesizing of ideas. Learning to trust in yourself, your intuition, and your psychic abilities.

Justice and the High Priestess (Papess) represent form the gateway into an 11/2 lifetime. Justice (ruled by the planet Libra) places focus on harmony, understanding others, and finding a sense of balance in life. Libra is by nature active and social, with the need to balance between nurturing self and helping others. The High Priestess (Papess) is ruled by the Moon, which places focus on our inner selves, our inner needs, intuition, unconscious, and psychic abilities. Here we are looking at reacting, rather than taking action. The nature here is a passive one. Personal empowerment is the ability to focus our personal and spiritual energy in a manner that enhances how we experience our life. As we define our true power, we actualize out potential and begin to live life from a core of inner confidence.

 

theworldoftarot.wordpress.com/2014/03/15/birth-card-pairs...

 

The occult has moved from secrecy to mainstream acceptance, and tarot card reading stands as a testament to this shift. The Rider-Waite deck, named after the mystic A.E. Waite and publisher William Rider and Son, is considered the definitive tarot deck. However, the captivating imagery and symbolism that define this deck come from the artistic genius of Pamela Colman Smith, a woman often forgotten in the history of the occult.

Smith, an artist with possible Jamaican roots, led a bohemian lifestyle and was introduced to the Hermetic Order of the Golden Dawn by the renowned poet William Butler Yeats. She joined the secret society, which explored occult and paranormal aspects, as well as philosophy and magic. There, she met A.E. Waite, who would later request her artistic talents in creating a new deck of divination cards. Despite the immense popularity of the Rider-Waite deck, Smith’s role in its creation was largely forgotten.

However, many tarot enthusiasts today have started acknowledging her contributions by calling it the “Smith-Waite” deck or using decks that feature her name prominently.

 

culture.org/the-unseen-mothers-of-the-occult-pamela-colma...

 

"Gospel according to "Myriam" and this Mary is generally identified, without certainty, as being Mary of Magdala....In Christian tradition, the Three Marys also refers to three daughters – all three called Mary – whom Anne, the maternal grandmother of Jesus would have had with three successive husbands. According to Fernando Lanzi and Gioia Lanzi, this tradition would have been condemned by the Council of Trent (16th century), but it is still very much alive, particularly in German-speaking countries16 and in the Netherlands. then retired to the cave of Sainte-Baume where she lived for 30 years as a hermitage, with her only clothing, the fleece of her hair, and as her only food, the song of the angels who daily raised her to the heavens, seven times a day, it is said. She left Sainte Baume to die with Saint Maximin, one of the 72 disciples, in the small town where he had built his oratory and which today bears his name. He buried the saint in an alabaster sarcophagus.The name Magdala comes from Magdal in Aramaic or Migdal in Hebrew and designates a construction in the shape of a tower, representing faith, very similar to the House of God (The Tower) in Marseille's Tarot !

 

The Tarot de Marseille would then be a testimony to the teaching of Mary Magdalene. In Spanish-speaking countries, the Orion Belt Asterism is called “Las Tres Marias” (The Three Marys). In other Western countries, it is sometimes called "The Three Kings", a reference to the "Magi who came from the East" of the childhood narrative added to the Gospel according to Matthew and to the tradition of the three Magi, bearers of gifts for the child Jesus, whose oldest witnesses are found in Tertullian and Origen (early 3rd century). My "Mary Magdalene theory" is fortunately supported by thousands of codes that all come interconnected. "You will progress on a healthier basis with someone you know. Be authentic. Make sure you reserve moments of relaxation and do not pull too much on the rope, you tend to exceed your physical limits. Mary (mother of Jesus) Mary Magdalene Mary of Clopas. These three women are very often represented in art, as for example in this picture. The Three Marys (also spelled Maries) are women mentioned in the canonical gospels' narratives of the crucifixion and resurrection of Jesus. Mary was the most common name for Jewish women of the period. Mary speaks of strange encounters with Creator Beings. Read about her experiences with them, and how their decree changed her life with Jesus. In this final volume of the trilogy, Magdalene appears to the author by the river in Rennes les Bains, France. There she reveals an ancient healing technique called The True Baptism. Mary illustrates how to organize the life force from the matrix of The All and allow it to trigger our genetic code. Mary then answers more of your questions, this time about the hidden properties of gold, the evolution of her bloodline with Jesus, free will, inner earth, the star knowledge, and much more. The Tarot, in both its origin as a card game and in its transformation into an occult divinatory tool, functions as an iconographic mirror of a particular culture's time and place. By the examining the evolution of the World card, from the 14th century Italian decks to contemporary ones, we will see a shift from male Christ imagery to female anima mundi imagery. Parallel to this iconographic shift is the figure of Mary Magdalene, who in Renaissance painting began to be portrayed less as a sinner and more of a penitent saint. The assumption of Mary Magdalene in art correlates with the finalized form of the World card. The alterations of Christian iconography and symbolism in Tarot cards are the result of occultists’ reappropiation of the Tarot in the late 1700s. The fear/distrust/disbelief of God and Christianity that began at this time funneled into an interest in the occult; in the Tarot, we see a preservation of the luminous but a problematic relationality with Christianity. The World card, as it has been handed down to us today, is a synthesis of the assumption of Mary Magdalene, the Christus Victor, and the anima mundi. A sacred priestess of the ancient Womb Rites, Mary Magdalene was at the center of a great and enduring Mystery tradition. Unveiling the lost left-hand path of the Magdalene, the authors offer rituals and practices to initiate you into the Womb magic of the ancient priestesses and access deeper dimensions of sexuality and feminine power.

 

www.innertraditions.com/books/magdalene-mysteries

 

Tarot historians are in agreement that the appropriation of the cards by occultists occurred in the late 18th century. The first known interpretation of the Tarot through an esoteric lens was penned by the French occultist Court de Gebelin. He believed the deck was the lost Egyptian Book of Thoth, containing the secret mysteries of Egyptian wisdom and magic; following Gebelin, occultists began syncretizing the Tarot with the systems of Kabbalah, Hermeticism, and alchemy. I believe we can locate the apex of this appropriation in the Waite-Smith deck from 1909 – the most familiar and popular deck to the contemporary reader. Later we will consider the effect this had on the Tarot symbolism and its relationship to the shifts in religious understanding in France and other European countries.Although there is a clear historical distinction between Tarot as “playing cards” and as occult divination tools, this is not to say that the imagery of the early decks are absent of symbolism or meaning. Rather than esoteric, the early cards are exoteric in their imagery; the symbols are clear referents to religion, culture, and mythology. While they seem esoteric today, as much of Christian iconography is to the contemporary viewer, these cards were probably not hard to decipher by their audiences. While much is admittedly conjecture, (as is a lot of Tarot historical studies), there is still much we can tease out of the visual evolution of the cards over time. It is surprising that there has been so little work done on the correlations and similarities between Tarot and Christian symbolism and iconography. My research hit a lot of dead-end roads in terms of proof, but I believe it is important to reveal my initial observations to show that, while perhaps not conscious, there is a great deal of Christian symbolism in Tarot, even in decks from the post-occult turn of the 18 and 19 centuries and from today as well.In the Waite-Smith deck, the most obvious Christian card is the 20 Major Arcana, Judgment, in which an angel blows a trumpet and the souls of dead bodies rise from coffins. Another obvious example is the Tower card, clearly a depiction of the fall of the Tower of Babel. Less obvious, perhaps, is the Fool card. It depicts a young man walking up to a cliff precipice, as though he does not see it; he carries a bag of money and is followed by a dog. Does this not recall the story of blind Tobias, who also carries money and is followed by a dog? Although in painting he is normally portrayed being guided by the angel Raphael, the similarities are astounding. How did this come to be?

  

The Hanged Man card is surprisingly consistent from the early Italian decks to the contemporary post-occult decks, and is one of the most mysterious within esoteric interpretation. In the Waite-Smith deck, it depicts a man hanging from a Tau cross by one leg; his other leg is crossed underneath the other to form another cross, and a nimbus glows around the head. Most occult interpretations of this card go along the lines that it is a symbol of self-sacrifice for spiritual gain. Robert Place argues that this can be understood as Christ, in that Christ was executed as a traitor by the state.3 Furthermore, a numerical reading of the card offers insight – being card 12, it might refer also to the self-sacrifice and martyrdom of the twelve disciples. By employing basic gematria, we can add the digits one and two to reach three, which could be the Trinity.

 

www.academia.edu/8851376/Tarot_and_Christian_Iconography_...

  

The Gospels refer to several women named Mary. At various points of Christian history, some of these women have been identified with one another..look at this picture from the Waite-Rider-Smth tarot:from left to right 1 Mary Magdalene 2 Mary of Jacob (mother of James the Less) 3 Mary, mother of Jesus (Matthew 27:56; Mark 15:40; Luke 24:10) Mary of Clopas (John 19:25), sometimes identified with Mary of Jacob. Mary of Bethany (Luke 10:38–42, John 12:1–3), not mentioned in any Crucifixion or Resurrection narratives but identified with Mary Magdalene in some traditions. Another woman who appears in the Crucifixion and Resurrection narratives is Salome, who, in some traditions, is referred to as Mary Salome and identified as being one of the Marys. Other women mentioned in the narratives are Joanna and the mother of the sons of Zebedee.Marie-Madeleine, Marie Salomé and Marie de Clopas are the 3 Maries of Saintes-Maries-de-la-Mer, a French town, capital of the Camargue, in the department of Bouches-du-Rhône. The designation "of-the-sea" derives from the fact that after the death of Jesus, the three Marys crossed the sea by boat to there and then lived there, thus helping to bring Christianity to France and Europe. These 3 Marys were present during the execution of Jesus and, they were the first witnesses of the empty tomb at the resurrection of Jesus... After the death of Jesus, around 42 J.C. the Christians were persecuted, and the three Marys were arrested and expelled from Palestine. They therefore embarked, with many other Christians, on a ship named "The Ship of Peter" devoid of oars and sails which, led by Providence, managed to reach the shores of Provence, in the south of France in a place which now bears their names.This is where the three Marys were welcomed by Sara, according to some texts, according to others, Sara, herself would be the Holy Grail, the direct descent of Mary Magdalene and Jesus. Only Marie Salomé, Marie Jacobé and Sarah will remain; Marie Madeleine, will retire to a hermitage in a cave...This is a historically attested fact, because Christianity began to spread in Europe precisely from Gaul, which thus became the gateway to the new religion in Europe. Mary Magdalene occupies a privileged place for Christ, at the head of a group of women who accompany him. She will be the first witness to the Resurrection of Christ, the first to whom the Lord appears on Easter morning, a sign, whether we believe in it or not, of an exceptional position. She is Jewish like Christ, like him from the North of Palestine (Israel), from Galilee, probably from Magdala, near Nazareth and Cana. It is believed that she was an aristocrat born in the year 3 AD, who after attending the court of the king of the Jews Herod, was converted by Christ, changed her life and decided to follow him and put her fortune at the disposal of the group. Arrived in the Camargue, with the two other Maries, she evangelized the Marseillais, then withdrew to the cave of Sainte-Baume where she lived 30 years in hermitage, with as only clothing, the fleece of her hair, and as only food, the song of the angels who raised her daily in the heavens, seven times a day, it is said.

 

www.calistabellini.com/post/les-saintes-maries-de-la-mer-...

 

Different sets of three women have been referred to as the Three Marys: Three Marys present at the crucifixion of Jesus;

Three Marys at the tomb of Jesus on Easter Sunday; Three daughters of Saint Anne, all named Mary. The three Marys at the

 

The presence of a group of female disciples of Jesus at the crucifixion of Jesus is found in all four Gospels of the New Testament. Differences in the parallel accounts have led to different interpretations of how many and which women were present. In some traditions, as exemplified in the Irish song Caoineadh na dTrí Muire, the Three Marys are the three whom the Gospel of John mentions as present at the crucifixion of Jesus: However, Jesus was not crucified upside-down. Looking at the Visconti-Sforza deck, we have an almost identical depiction of the Hanged Man. Helen Farley points out that in Renaissance society, there was an art form called pittura infamante – ‘shame painting’ – “in which a person was depicted as a traitor, particularly when beyond the reach of legitimate legal. recourse.”4 By depicting someone hanging upside-down, this could alternately mean the person had turned away from God. It also was used for the execution of Jews, witches, and Christians who had committed perfidy. I immediately thought of Peter, who is said to have asked to be crucified upside-down because he was unworthy to die as Christ died. In Christian iconography, he is the only individual portrayed in this manner. Peter could be said to be a traitor, in that he denied Christ three times, but the negative associations of shame paintings don’t seem to correlate with Peter’s sainthood. Judas is also said to have hung himself, and is traitor par excellance, but I remained convinced that this card was based upon Peter. While the usual understanding of Peter’s request for an upside-down crucifixion is his humility in relation to Christ’s death, there is a different explanation in apocryphal accounts. In the Acts of Peter, Peter speaks from the cross, saying that, “when the first man [Adam] came into the world, he came headfirst. That means that Adam’s perspective, as the one who brought sin into the world, was entirely reversed and upside down. That is why people seem to think that what is true is false and what is false true....All of this is because humans have reverse vision, due to the actions of Adam.”6 Thus, hanging upside-down is a model for Christians to live by, to see the world correctly. This is nearly identical to how Tarot esotericists interpret the Hanged Man; it is both Christ in its self-sacrifice, and also an inversion of corporeal ‘reality’ and perspective through which one gets a better understanding of how to reach God. While one cannot veritably locate a thread between the Acts of Peter and the Hanged Man, this connection exemplifies the latent Christian symbolism that flows through the Tarot, from 14th century Italy to now.

 

Mary Magdalene, Mary of Clopas and Mary (mother of Jesus). These three women are very often represented in art, as for example in these Flickr's picture.

 

Women at the tarot like a passkey to heaven; The Three Marys as passkey. What may be the earliest known representation of three women visiting the tomb of Jesus is a fairly large fresco in the Dura-Europos church in the ancient city of Dura Europos on the Euphrates. The fresco was painted before the city's conquest and abandonment in AD 256, but it is from the 5th century that representations of either two or three women approaching a tomb guarded by an angel appear with regularity, and become the standard depiction of the Resurrection. They have continued in use even after 1100, when images of the Resurrection of Jesus in Christian art began to show the risen Christ himself. Examples are the Melisende Psalter and Peter von Cornelius's The Three Marys at the tarot. Eastern icons continue to show either the Myrrhbearers or the Harrowing of Hell. The fifteenth-century Easter hymn "O filii et filiae" refers to three women going to the tomb on Easter morning to anoint the body of Jesus. The original Latin version of the hymn identifies the women as Mary Magdalene (Maria Magdalene), Mary of Joseph (et Iacobi), and Salome (et Salome).

 

en.wikipedia.org/wiki/The_Three_Marys

 

The World (XXI) is the 21st trump or Major Arcana card in the tarot deck. It can be incorporated as the final card of the Major Arcana or tarot trump sequence (the first or last optioned as being "The Fool" (0). It is associated with the 21st letter of the Hebrew alphabet, 'Shin' also spelled 'Sin'. The oval shape of the wreath is also used by the Golden Dawn in their Tattva cards. These colorful cards were designed to aid the development of clairvoyance through visual meditation, and one of the symbols in the cards is an oval. The oval corresponds to the Akasha, ether or spiritual realm (see Akashic Records).

 

Description

 

Christ in Majesty is surrounded by the animal emblems representing the four evangelists in a German manuscript.

In the traditional Tarot of Marseilles, as well as the later Rider–Waite tarot deck, a naked woman hovers or dances above the Earth holding a staff in each hand, surrounded by a wreath, being watched by the four living creatures (or hayyoth) of Jewish mythology: a man, a lion, an ox, and an eagle. This depiction parallels the tetramorph used in Christian art, where the four creatures are used as symbols of the four Evangelists. Some astrological sources explain these observers as representatives of the natural world or the kingdom of beasts. According to astrological tradition the Lion is Leo—a fire sign, the Bull or calf is Taurus—an earth sign, the Man is Aquarius—an air sign, and the Eagle is Scorpio—a water sign. These signs are the four fixed signs and represent the classical four elements. In some decks the wreath is an ouroboros biting its own tail. In the Thoth Tarot designed by Aleister Crowley, this card is called "The Universe." The World card, the highest ranked Major Arcana card, exists in the early Visconti-Sforza, Marseilles, and contemporary decks. It will serve as our loci in considering the relationship between Tarot and Christian iconography, the evolution of Mary Magdalene in Christian depiction/understanding, and the rise of the female anima mundi in occult and esoteric movements. To recall, the Visconti-Sforza is one of our earliest known decks. Helen Farley notes that the deck’s symbolism reflects concerns and themes of the Italian Renaissance: The proximity of death, the fickle hand of fortune, the desirability of living a life

of virtue, the importance of spirituality but also the contempt with which corporeal concerns were held, namely the corruption of the Church...[it] portrayed the lives and history of the Viscontis...as a game: a potent allegory of Visconti life. These themselves more as we follow the orbit of the World card around the sun of time.reveal themes, particularly the tension between spirituality and Catholicism, will. In the Visconti-Sforza deck, the world is shown as a globe, within which is surrounded by turbulent waters (fig. I). The globe is held aloft by two putti. The blue wings indicate they are Seraphim, the highest rank of angels. In other versions from this time, there is usually a figure of a woman or angel upon the globe and city usually represents Jerusalem, the city of God; “the microcosm of the city symbolically linked the earthly (human) body with the heavenly (cosmic) ‘body’”, observes Farley. This derives, of course, from St. Augustine’s The City of God, wherein the Christian empire is located around the Church of Rome, which links humankind with God. The earthly city reflects the heavenly city, and this card connects the actual city of Milan with the celestial city of heaven. Duke Sforza’s domination of Milan is enforced and made holy through its pictorial self-portrayal as the Augustinian city. This pride in the city-state enforces the power, wealth, and status of Milan; interestingly, as the World card follows the Resurrection/Judgment card, Milan is portrayed as the city Augustine believes will contain the saved souls. One also may observe that the city is separated from the rest of the ‘world’ by the edge of the globe; it is strongly fortified and separated by waters, illuminated by the stars of heaven.

 

What does 3 stars in the sky mean? many meanings...Each culture gives the Três Marias a different meaning. In Christian tradition, the stars are associated with the three women who visited the tomb of Jesus at the resurrection. They also represent the Three Wise Men -Gaspar, Melchior and Baltasar-, who would be on their way to Bethlehem at the birth of the messiah. What are the three Marias? Mark 16:1 indicates that "Mary Magdalene", "Mary the mother of James" and "Salome" went to the tomb to anoint Jesus....How many stars do the 3 Marias have?

The Belt or Belt of Orion, popularly known as the Three Marys or Three Kings, is an asterism of three stars that form the belt of the constellation of Orion, the hunter. The stars, easily identifiable in the sky by their brightness and alignment, are known as Mintaka, Alnilam, and Alnitak. Where are the three Marias?

To identify it we must locate 3 stars close to each other, of the same brightness, and aligned. They are called Tres Marías and they form the belt of the constellation of Orion, the hunter. Their names are Mintaka, Alnilan and Alnitaka, from the Arabic Al-Mintakah, the belt, An-Nidham, the pearl, and An-Nitak, the rope.

What are the stars we see in the sky? Stars are large spheres formed by plasma heated to thousands of degrees. Its shape is due to its gravity, which points towards the core of the star. Stars are large spheres of plasma that are powered by nuclear fusion. Stars are large spheres of plasma, held together by their own gravity. > Constellation of ORION: Why are the three Marias called Três Marias? Origin and meanings of Três Marias.Each culture gives the Três Marias a different meaning. In Christian tradition, the stars are associated with the three women who visited the tomb of Jesus at the resurrection. They also represent the Three Wise Men -Gaspar, Melchior and Baltasar-, who would be on their way to Bethlehem at the birth of the messiah. What are the three Marias? Mark 16:1 indicates that "Mary Magdalene", "Mary the mother of James" and "Salome" went to the tomb to anoint Jesus....How many stars do the 3 Marias have? The Belt or Belt of Orion, popularly known as the Three Marys or Three Kings, is an asterism of three stars that form the belt of the constellation of Orion, the hunter. The stars, easily identifiable in the sky by their brightness and alignment, are known as Mintaka, Alnilam, and Alnitak.Where are the three Marias? To identify it we must locate 3 stars close to each other, of the same brightness, and aligned. They are called Tres Marías and they form the belt of the constellation of Orion, the hunter. Their names are Mintaka, Alnilan and Alnitaka, from the Arabic Al-Mintakah, the belt, An-Nidham, the pearl, and An-Nitak, the rope.The most curious thing of all is that, in reality, their names are Mintaka, Alnilan and Alnitak, Arabic names that mean, respectively, the "Belt", the "Pearl/Precious Stone" and the "Rope". Another is knowing that they are actually very close together in the sky, approximately 1,500 light-years from Earth.There are three enormous stars visible in the winter sky and in the center of the constellation Orion, the celestial cathedral. These three stars form a nearly perfect tilted alignment, separated by seemingly nearly equidistant distances. They are known as the three Marys, the three wise men or the belt of Orion -a giant hunter from mythology-, but these names are not enough to understand the mysteries that such colossal stars contain. We must look towards the south, at half height; between the horizon and the zenith. It has no loss, it is a brilliant stellar alignment, which is unique in the firmament. Three blue stars, three giants: Mintaka, Altinak and Alnilam.

 

Источник: planetariodevitoria.org/estrelas/qual-e-o-nome-das-estrel...

 

An engineer born in Alexandria in 1948, Robert Bauval, with a background in astronomy and an interest in Egyptology, discovered that the three Marys are positioned exactly like the three great pyramids of Giza in Egypt. The star Mintaka, in the upper part of the alignment of the three Marys, is somewhat deviated with respect to the previous two, the same imperfect alignment has the three great pyramids. But also, the pyramid deviated from the straight line that joins the other two, is the smallest of the three (Micerino), like Mintaka, which is the star that shines the least of the three Marias. Also, the pyramid that is highest on the plateau of the three and that stands out the most (Kefren) is the central one, as is the central star of Las tres Marías, which is the brightest. Did the Egyptians also know that these stars are visible from all over the world? And more specifically Mintaka, which is right on the celestial equator. Everything can be the product of chance, but many coincidences bear the truth. Curiously, the Egyptians believed that after their death, the gates of heaven opened in the place occupied by Orion's belt, but they never understood the greatness of those three spectacular stars. The three Marys were the place where the soul of Osiris, the Egyptian god of resurrection, rested and presides over the court of the judgment of the deceased, among other powers.Alnitak, an Arabic name meaning "belt", is the lowest of the three stars. A new star 6 million years old, while the Sun is about 5,000 million. This blue giant, 16 times the diameter of the Sun, with a visual magnitude of 1.79, located 700 light years from the Sun, of spectral type O9, shines with an intensity 100,000 times greater than that of our Sun, which next to it is a tiny star with a mass 20 times less than Alnitak. It ranks 35th among the most luminous stars we know of, including stars from other galaxies. Alnitak is a peculiar star, whose surface temperature reaches 29,000 degrees. The Sun only reaches 6,500. But it is also a very intense source of X-rays, due to the strong stellar winds that are projected from the surface in the form of particles, essentially hydrogen and helium, sweeping the surrounding space at speeds of 2,000 km/s. These types of giant stars have their days numbered. The bigger the stars are, the less time they live, so that Alnitak, in a short time will become a red supergiant, it will explode in the form of a supernova, which can be seen even during the day from Earth, to end up as a tiny star about 10 km in diameter, called a neutron star, a star so dense that a teaspoon of its surface would weigh as much as a mountain. Also Alnitak is a triple star. Alnilam. Located in the center of the stellar trio that make up Las tres Marías, it is a true celestial spectacle. It shines with a magnitude of 1.70, being the fourth brightest star in Orion and the brightest of the three Marys, in addition to being the furthest at 1,340 light years, but that is nothing compared to the luminosity of the star, equal to 380,000 times greater than the Sun, ranking 27th of all known stars. It is a blue supergiant star, 31 times the diameter of the Sun and 40 solar masses. Extraordinarily young, only 4 million years old, somewhat colder than the previous one, with about 25,000ºC on the surface. It also has a powerful stellar wind with speeds of 2,000 km/s, 20 million times more than the solar wind. The temperature and radiation are so high in this star that it lights up a nebula of gas and dust called NGC 1990 by reflection. Alnilam is so young that it is not yet a stable star, but variable in its brightness (pulsating variable), due to its continuous expansion and contraction. The Sun is a stable star, it does not pulse, expand, or contract. The force of gravity pulling in on the Sun has been offset by the expansive force of thermonuclear reactions by converting hydrogen to helium, but in Alnilam, both forces continue without agreeing. If it is possible to have planets, life there as we know it would be impossible, due to the instability of the star. Alnilam will end its days as Alnitak, becoming a premature red supergiant, exposing its superdense core; a neutron star. Meanwhile, it is moving away from us at a speed of 26 km/s. Mintaka: Arabic word meaning "for belt." Another blue giant star, although the faintest in brightness of the three Marias reaching 2.5 magnitude. It contains 20 solar masses and a luminosity 90,000 times greater than that of the Sun. Located at a distance of 915 light years, it is surprising that it shines with such intensity, not in vain its surface temperature is 31,000ºC. Mintaka is one of the most complex multiple systems known. The main star, that is to say Mintaka, has a companion of magnitude 6.8 at a real distance of more than 2.3 trillion km, or what is the same, ¼ of a light year. But in turn, this star that appears to be 1' of arc distant from Mintaka, is a spectroscopic binary, that is, it has another companion so close to it that it is impossible to take it off with telescopes, but it can be done using spectroscopy; the only thing we can detect is the spectrum of the companion, but we can't see it. Between the spectroscopic binary and Mintaka, there is a faint 14th magnitude star that may belong to the system. But in addition, Mintaka has an extraordinarily close companion to her, which is why she is a spectroscopic binary. Curiously, the companion star has almost the same characteristics as Mintaka, the same mass, temperature and luminosity and must be the same size. A complex 5-star star system. Almost all stars are double or multiple, the rarity is our Sun, which is a solitary star. However, many researchers look for dwarf stars that may be trapped by the Sun's gravity.

 

www.abc.es/ciencia/20140122/abci-tres-marias-estrellas-co...

  

The two putti slowly disappeared in other decks, to be replaced by either a male or female figure. In this example from the Museo Civico, we see a woman holding a wand and a globe as she stands upon the globe (fig. II). Another early example of a female World card is the Cary-Yale Visconti deck (fig. III), depicting a royally-clothed woman wielding a scepter and a crown. It was not uncommon to portray the earth as a feminine figure, but these early examples seem to be stressing not so much a personification of the earth but rather the domination of earth by something/someone. Consider figure IV and figure V. Here we have a male figure, one clothed and the other nude, ruling over the world. Consider also the nude male in the Jacques Vieville deck and the Bologna deck (fig. VI). In Christian art, when Jesus is portrayed as the Christus Victor, he looms over the world holding a globe with a cross fixed to it. He is often surrounded by the four evangelists as he stands upon God’s throne. When he is surrounded by the four evangelists, Christ is enclosed within a mandorla, and the four evangelists are often in the four corners. Should we understand these male figures as Christ? The examples we’ve looked at that have a clothed male figure can clearly be an iconographic Christus Victor; the World card, being the last Major Arcana, is Christ victorious over the entire world after the Resurrection. But what of the nude figures? The only instance of Christ nude in Christian art, that I know of, is Michelangelo’s altar wall in the Sistine Chapel; there, Christ is nude and beardless, as with these particular cards. But there is a shift from the Christ standing upon the world to the Christ on God’s throne. As we see with the Jacques Vieville card (fig. VI), the nude Christ holds his standard iconographic scepter with attached globe, is enclosed by a mandorla (a laurel wreath), and surrounded by the four evangelists. Again, following the tradition of Christian art, Matthew is a human with wings, Mark is a lion, Luke is an ox, and John is an eagle. There is no essential difference between this Tarot card and an atypical Christus Victor. It should be noted that this visual structure was also used in alchemy through the 16 to the 18 century. The four

evangelists are correlated with the four elements of the world, the four seasons, and the four directions. Consider figure VII; note the chalice with the serpent, the attribute of John the Evangelist, unusually associated with the anima mundi. But something happened. Recall that the Marseilles deck, circa blueprint structure and pattern for most subsequent decks created in France, Italy, and Belgium, and also for the decks created by occultists in the 19th century deck is unusual considering its forerunners. We have the same iconography of the four evangelists and the mandorla, but instead of the Christus Victor or royally-clothed woman, there is a nude woman (figure VIII). There are many versions of this, of course, but we can say that she is often portrayed with long hair, with a loose banner rippling around her nude body. She sometimes holds a bottle and a scepter; more often, two equal wands (that is, wands with a knob on both ends). She is always enclosed within a laurel wreath, and the four evangelists remain in the four corners of the card. Suddenly, a nude woman is dancing, or floating, on God’s throne instead of Christ; perhaps, she is being assumed up into heaven. This card serves as the bridge between the City of God and the Christus Victor depictions to most of the subsequent World cards: the rather curious and baffling conflagration of Christian iconography and feminine/Goddess imagery. What does this shift mean, and how can we situate it within Christian art? Let us turn our attention, now, to the portrayal of Mary Magdalene in Christian art. Mary Magdalene underwent quite a transformation through Renaissance art. The sinner Magdalene ultimately becomes the penitent, holy reformer to which many upheld as an exemplary and relatable model. Mrs. Jameson locates the rising popularity of Magdalene as penitent in the 16th and 17th into heaven. Magdalene became “still more endeared to the popular imagination by more affecting and attractive associations, and even more eminently picturesque...We have Magdalenes who look as if they never could have sinned, and others who look as if they never could have repented.”11 Magdalene became more sexualized just as she became more penitent. Rachel Geschwind observes that in the 16th century, paintings like Rossiglio’s Conversion of the Magdalene began to give Venus-like characteristics to Magdalene; she is both divine and corporeal. and art, and sometimes one might even mistake a Venus for a Magdalene. Courtesans at this time would write of divine love and the desire to enter the ‘paradise of Venus’, which was a metaphor where she is praying for forgiveness or being reconciled and/or assumed up for the city. (Recall the City of God from the Visconti deck). Magdalene seemed to serve as a perfect model for passion and romance that was acceptable religiously, and as a locus for the world of divine love. The dichotomy between the corporeal and the divine is also inherent in Correggio’s Noli Me Tangere; Margaret A. Morse writes that “Correggio evoked a natural style, while maintain a beauty and sanctity for which his subjects called, whereby the beholder...would be able to recognize the divine in the physical.”14 She is a bridge between the viewer and Christ, between the body and the spirit. Given that Neo-Platonism was on the rise during the Renaissance, it makes sense that this balance between two kinds of love, “sacred and profane, formulated by Plato in the Symposium”15, found Mary Magdalene as the perfect template and model. In addition to Venus-like characteristics, Magdalene was also beginning to assume the role as a “new Eve” from the Virgin.The relationship between the images of the Tarot de Marseille and the medieval heresy of the Holy Grail. The followers of this heresy claimed that Jesus of Nazareth had married Mary Magdalene. In this work are presented all the symbols of the Tarot in relation to this heresy and, for the first time, it is revealed that these images constitute the secret heritage of Mary Magdalene. that the game was the lost Egyptian book of Thoth, containing the secret mysteries of Egyptian wisdom and magic; following Gebelin, occultists

2 began to syncretize the Tarot with the systems of Kabbalah, Hermeticism and Alchemy. We believe we can place the pinnacle of this appropriation in the Waite-Smith game of 1909 - the most familiar and popular game for the contemporary reader. Later we will look at the effect this has had on Tarot symbolism and its relationship to changes in religious understanding in France and other European countries.

 

Mary Magdalene (Mary of Magdala), the woman with jars in Christian symbolism, could very well in this case be represented in the star map. But their assumptions stopped there. No one had ever imagined that the Tarot itself represents in its entirety the teaching and life of Marie-Madeleine on the one hand and even less that the Tarot was created by Marie-Madeleine herself in the 1st century. This is the entirely new Tarot theory that I have been expounding since the beginning of the second millennium. If my theory of the Tarot turns out to be correct, it completely changes the vision and the understanding that one could have of the Tarot. It changes the dating of the Tarot which goes from the 14th century to the 1st century AD with Mary Magdalene, the Tarot de Marseille thus becoming the ancestor of all Western tarots, that is to say "the Tarot". Historians and experts said that the Tarot originated in Italy during the Renaissance era around the end of the 14th century the beginning of the 15th century. On the other hand, no one thought that the Tarot de Marseille itself originated from Marseille. When I started to propose the theory of a Marseille origin of the Tarot de Marseille, Tarot historians and Tarot experts thought that I was an eccentric or that I wanted to make a publicity stunt. In 1999, I explained publicly that in my opinion the Tarot had been transmitted to Europe around 415 by the monk Jean Cassien who was entirely dedicated to Marie-Madeleine and who founded the order of the Abbey of Saint-Victor in Marseille. My Tarot theory is based on thousands of secret codes that can be found in the new Tarot de Marseille Camoin that I drew in the 90s. The Mandorla that surrounds the naked woman indicates that it is a saint who has reached the beatific state. The most significant secret Tarot code in "The Mary Magdalene Theory" that I have discovered resides in the last two cards of the Tarot Major Arcana, Judgment and the World. Indeed, by their number, these two cards are naturally placed next to each other. I revealed that the two cards put together give the key to the mystery of the Tarot character that is found in the World card. Because the identity of this character had remained a mystery for centuries. Almost all Tarot researchers claimed that it was the androgynous Christ, so much so that it had become a real dogma in the Tarot world. Historians could not imagine that it was a woman because of the presence of the four living beings who are attributed to Christ in Christian sacred art. Some had interpreted this mysterious young woman as being the soul of the World, "Anima Mundi".

But the Tarot is coded in another way. Tarot codes are embedded in other Tarot codes and so on. Also, if we disregard the four living beings in the World map, we obtain a naked woman surrounded by an almond-shaped oval. This oval called mandorla symbolizes the state of beatific vision. We find the mandorla around some saints. This means that in the Tarot de Marseille, the woman on the World Map is a saint. My "Mary Magdalene theory" continues like this. In the pantheon of Western saints, there is only one saint who is depicted naked, and that is Saint Mary Magdalene. However, Marie de Magdala lived in the vicinity of Marseilles for 30 years. My theory, which is unique in the history of the Tarot, states that it is Mary Magdalene who is represented in the map of the World and that the Tarot de Marseille is therefore dedicated to this saint.

 

The two cards form a new symbol. Mary of Magdala is the Saint who sees the Resurrection of Christ (in blue. Furthermore, we can locate similar attributes to Magdalene from apocryphal sources as well as the writings of Origen. In the apocryphal Pistis Sophia, Magdalene is the sole recipient of Christ’s gnosis, rather than Peter and the other disciples. Christ says, “Well done, Mary. You are more blessed than all women on earth, because you will be the fullness of fullnesses and the completion of completions.”17Although this apocryphal account could not have been known to people during the Renaissance, it reveals that even within the early Christian communities there was a holiness attributed to Magdalene that transcended all others. Yet the Gnostic contempt for materiality seems to clash with the embrace of dualism during the Renaissance. This dualism can be found in Origen’s writings, however. In his commentary on the Song of Songs, he allegorically reads the bride as the Christian church. The bride anoints her lover with an ointment; Origen connects this with the scriptural account of Mary Magdalene anointing Christ. He interprets the line spoken by the bride, “I am dark but comely, O daughters of Jerusalem” (Song 1:5), as follows: “She has repented of her sins...beauty is the gift conversion has bestowed; that is the reason she is hymned as beautiful. She is called black, however, because she has not yet purged of every stain of sin, she has not yet been washed unto salvation, nevertheless she does not stay dark-hued, she is becoming white.”18 The dualism of black/evil and white/good is unfortunate, but the connection between the Bride of the Song of Songs and Magdalene reinforces her movement away from sin into penitence, and her positive association with the Church and Christ. The sexual language employed in the Song of Songs has always been difficult for commentators; however we see that when Magdalene is associated with the Bride, the sexuality is compounded with Magdalene’s penitence, in the same way we’ve seen in Renaissance painting. The portrayals of Magdalene’s assumption into heaven connect us back to the Tarot. Mrs. Jameson observes, dryly, that Italian paintings of Magdalene’s assumption began “to recall the idea of a Venus Meretrix.”19 Let us consider Giovanni Lanfranco’s La maddalenan portata in cielo, (fig. IX) and Sandro Botticelli’s Birth of Venus (fig. X). Jameson is quite correct in her observation, despite her negativity towards this shift. In the Lanfranco, Magdalene’s hair barely covers her nude body as she is borne aloft by three putti. She holds out her hands at an angle, and below her is the world’s expanse of mountains, lakes, and forests. It is sexual and chaste, physical and divine. Her figure is very much the Platonic divine love, the ideal Venus. In some of the Assumptions, she is almost dwarfed by the sublime immensity of the landscape. The fact that the very earth is prominent in these paintings underscores Magdalene’s dualistic characteristics of corporeality and divinity; the world gapes below her as she rises above it into the sky. Although she is always borne by putti in her assumption, she seems to float and dance in ecstasy as she rises. We observed the replacement of the Christus Victor with a female nude in the Marseilles World card. That card is remarkably similar to the Lanfranco, Durer’s Assumption of the Magdalene, and others. One gets the same sense of elevation and completion (recall Christ’s words in the Pistis Sophia) in the rise of Magdalene as one gets in the World card. I argue for a parallel between Magdalene’s evolution and the World card’s evolution; just as painting was infusing Magdalene with traits of divine love and worldliness, Tarot decks began to see the post- Resurrection world not in light of Christ but in a neo-Platonic Venus, a Magdalene/New Eve that encompasses the new World. We saw that some World cards have the woman holding a bottle of some sort, which is an attribute of Magdalene. Also, the instances of the two equal wands supports the dualism of divinity and corporeality, dark and light, sinner and penitent, in the portrayals of Magdalene. Robert Place agrees, writing that “She takes her position in the sacred center, which identifies her as the Anima Mundi and the Quinta Essentia...she has mastered or transcended duality...the World Soul is depicted as both Christ, or Sophia his female counterpart....divine wisdom.”20 She is the completion, the alchemical Great Work, the culmination of all earthly phases into the elevation of the world into heaven. This is, of course, an esoteric alchemical interpretation, which as we noted did not apply to Tarot until the late 1700s. I hold that Magdalene’s iconographic transition in the Renaissance parallels the exoteric symbolism of the World; but what to make of the occultists’ appropriation of this image in the late 1700s? Farley argues that, “With tarot removed from its original environment, its symbolism lost its previous relevance and context, rendering its imagery mysterious.”21 Institutionalized religion was being questioned at this time; indeed, the first publications by occultists on the Tarot coincide with the French Revolution. While we cannot delve deeply into the Revolution here, suffice it to say that it was characterized by a rejection of Christianity but a preservation of Christian structure. “It had its creeds, liturgies and sacred texts, its own vocabulary of virtues and vices...and the ambition of regenerating mankind itself, even if it denied divine intervention or the afterlife. The result was a series of deified abstractions worshipped through the denatured language and liturgy of Christianity.”22 Much of the Revolution’s tactics was the replacing of old symbols with new ones, but maintaining the same essential religious structure. Similarly, I argue that the occult appropriation of the Tarot was also an appropriation of Christian iconography, in a general sense; esoteric interpretations and the revisions of Tarot symbolism was an attempt to escape Christian doctrine through fabricated ancient lore (Egyptian roots, e.g.) and synthesized connections between the Tarot and old esoteric traditions such as Kabbalah.

 

Interpretation

According to A.E. Waite's 1910 book The Pictorial Key to the Tarot, the World card carries several divinatory associations:

 

Mary Magdalene (Mary of Magdala), the woman with jars in Christian symbolism, could very well in this case be represented in the star map. But their assumptions stopped there. No one had ever imagined that the Tarot itself represents in its entirety the teaching and life of Marie-Madeleine on the one hand and even less that the Tarot was created by Marie-Madeleine herself in the 1st century. This is the entirely new Tarot theory that I have been expounding since the beginning of the second millennium.

If my theory of the Tarot turns out to be correct, it completely changes the vision and the understanding that one could have of the Tarot. It changes the dating of the Tarot which goes from the 14th century to the 1st century AD with Mary Magdalene, the Tarot de Marseille thus becoming the ancestor of all Western tarots, that is to say "the Tarot". Historians and experts said that the Tarot originated in Italy during the Renaissance period around the end of the 14th century the beginning of the 15th century. On the other hand, no one thought that the Tarot de Marseille itself originated from Marseille.

 

21.THE WORLD—Assured success, recompense, voyage, route, emigration, flight, change of place. Reversed: Inertia, fixity, stagnation, permanence.

The World represents an ending to a cycle of life, a pause in life before the next big cycle beginning with the fool.[3] The figure is male and female, above and below, suspended between the heavens and the earth. It is completeness. It is also said to represent cosmic consciousness; the potential of perfect union with the One Power of the universe.[4] It tells us full happiness is to also give back to the world: sharing what we have learned or gained. As described in the book The New Mythic Tarot by Juliet Sharman-Burke and Liz Greene (p. 82), the image of the woman (Hermaphroditus in Greek Mythology) is to show wholeness unrelated to sexual identification but rather of combined male and female energy on an inner level, which integrates opposites traits that arise in the personality charged by both energies. Opposite qualities between male and female that create turmoil in our life are joined in this card, and the image of becoming whole is an ideal goal, not something that can be possessed rather than achieved.

 

According to Robert M. Place in his book The Tarot, the four beasts on the World card represent the fourfold structure of the physical world—which frames the sacred center of the world, a place where the divine can manifest. Sophia, meaning Prudence or Wisdom (the dancing woman in the center), is spirit or the sacred center, the fifth element. Prudence is the fourth of the Cardinal virtues in the tarot. The lady in the center is a symbol of the goal of mystical seekers. In some older decks, this central figure is Christ, whereas in others it is Hermes. Whenever it comes up, this card represents what is truly desired.

 

In other media

In the manga JoJo's Bizarre Adventure: Stardust Crusaders, tarot cards are used to name the character's powers, named 'Stands'. The overarching antagonist of Stardust Crusaders, DIO, has a Stand named The World, named after The World card. This stand has the power to stop time whenever DIO commands it to, and he can move during frozen time. In Steel Ball Run, an alternate version of DIO, Diego Brando, later gains this Stand after being summoned by Funny Valentine.

 

In the film Cryptozoo, a tarot reading is done with the Waite-Smith Deck that reveals The World card as part of the protagonist's journey.

 

en.wikipedia.org/wiki/The_World_(tarot_card)

 

The relationship between the images of the Tarot de Marseille and the medieval heresy of the Holy Grail. The followers of this heresy claimed that Jesus of Nazareth had married Mary Magdalene. In this work are presented all the symbols of the Tarot in relation to this heresy and, for the first time, it is revealed that these images constitute the secret heritage of Mary Magdalene. that the game was the lost Egyptian book of Thoth, containing the secret mysteries of Egyptian wisdom and magic; following Gebelin, occultists began to syncretize the Tarot with the systems of Kabbalah, Hermeticism and Alchemy. We believe we can place the pinnacle of this appropriation in the Waite-Smith game of 1909 - the most familiar and popular game for the contemporary reader. Later we will look at the effect this has had on Tarot symbolism and its relationship to changes in religious understanding in France and other European countries.The Mandorla that surrounds the naked woman indicates that it is a saint who has reached the beatific state.

The most significant secret Tarot code in "The Mary Magdalene Theory" that I have discovered resides in the last two cards of the Tarot Major Arcana, Judgment and the World. Indeed, by their number, these two cards are naturally placed next to each other. I revealed that the two cards put together give the key to the mystery of the Tarot character that is found in the World card.

Because the identity of this character had remained a mystery for centuries. Almost all Tarot researchers claimed that it was the androgynous Christ, so much so that it had become a real dogma in the Tarot world. Historians could not imagine that it was a woman because of the presence of the four living beings who are attributed to Christ in Christian sacred art. Some had interpreted this mysterious young woman as being the soul of the World, "Anima Mundi". But the Tarot is coded in another way. Tarot codes are embedded in other Tarot codes and so on. Also, if we disregard the four living beings in the World map, we obtain a naked woman surrounded by an almond-shaped oval. This oval called mandorla symbolizes the state of beatific vision. We find the mandorla around some saints. This means that in the Tarot de Marseille, the woman on the World Map is a saint. My "Mary Magdalene theory" continues like this. In the pantheon of Western saints, there is only one saint who is depicted naked, and that is Saint Mary Magdalene. However, Marie de Magdala lived in the vicinity of Marseilles for 30 years. My theory which is unique in the history of the Tarot stipulates that it is Mary Magdalene who is represented in the map of the World and that the Tarot of Marseilles is therefore dedicated to this saint.

 

fr.camoin.com/tarot/Tarot-Marie-Madeleine-Magdala.html

  

What is the name of the brightest star?

Sirius, also called Sirius, α Canis Majoris is the brightest star in the night sky visible to the naked eye, with an apparent magnitude of −1.46. In Greek mythology, Orion's hunting dogs are said to have ascended to heaven at the hands of Zeus, taking the form of the star Sirius.,What are the stars called?

they are called bright stars. How the stars are classified? Astronomers classify stars by size and surface temperature. Based on their size, stars can be called supergiants, bright giants, giants, subgiants, dwarfs or normals, and subdwarfs.

 

Источник: planetariodevitoria.org/estrelas/qual-e-o-nome-das-estrel...

 

Hebrew Letter: Tave

In this article The World Symbols, I refer to The World card from the Rider Waite Tarot deck, also known as the Waite-Smith, or Rider-Waite-Smith, or Rider tarot deck. The symbolism found on this trump card is primarily drawn from mythology, Christianity, alchemy, astrology. Contents

The World: Key Symbol. Compare The World Tarot Card Symbols with Historical Decks

What Does The Dancer Symbolize in The World Tarot Card? Dancer Purple Sash Red Hairband

Two Wands Crossed Legs Symbolism What is The Meaning of The Laurel Wreath in The World Card?Laurel Wreath Two Red Ribbons Who Are The Four Figures in The World Card and What do They Symbolize? Man Lion Eagle Bull What is The Meaning of The Blue Background? The Rider Waite World card borrows heavily from the Marseille Tarot. Waite himself says, “this final message of the Major Trumps is unchanged – and indeed unchangeable – in respect of its design”. In both instances the naked World dancer moves encased within a victory wreath. The four corners of the card contain tetramorphs, mystical creatures of antiquity and mythology depicting a bull, lion, bird and human face.

The dancer holds dual magical wands, as opposed to The Magician who only holds one. What Does The Dancer Symbolize in The World Tarot Card? Dancer. The dancer symbolizes the fetus waiting to be born again, as the Fool prepares to start over through the procession of the Major Arcana. However, this is no babe starting from scratch, we are presented with a woman at her height of beauty and youth. She signifies the next stage of evolution. Some occultists claim that the figure is a hermaphrodite, because her sexual gender is hidden by the scarf. They say she is the union of male and female, and that sexual identity is no longer relevant or defining. The dancer perfectly integrates aspects of the male and female. Wouldn’t this card be a suitable iconographic image for gender fluidity in todays times! The dancer is both the bride and bridegroom. Purple Sash. The purple sash is the color of divinity and wisdom. It evokes the images of a Catholic priest who puts on a purple stole when offering the sacrament during mass. The sash curves in the figure of eight, suggestive of the cosmic lemniscate or infinity sign.

Red Hairband. The dancer wears a red hairband, which draws fire energy to her head area. It symbolizes that her mind and conscious is active. This is not someone who exists only in the spiritual realm.

Two Wands. The dancer holds two double-sided wands, which represent the polarity powers of involution and evolution. Involution is the decent of God into the soul or consciousness, and evolution is the assent of the soul back to God or the creator. ⭐Wands also appear here: The Magician Symbols

Crossed Legs Symbolism. The dancer crosses her legs in a similar manner to the Hanged Man. However, the triangle he represents is under the cross of the tree, symbolizing he is still bound by earthly things. The dancer is reversed, she forms a triangle pointing upwards, from the tip of her head to her two outstretched hands. Thus the triangle of Spirit now overturns the cross of the material earthly plane. What is The Meaning of The Laurel Wreath in The World Card? Laurel Wreath. The woman is surrounded by a large laurel wreath, traditionally a symbol of success and victory. The implication here, on the Fools Journey, is that there is cause for celebration. This is the end of the road before a new era begins. The wreath forms the shape of a zero, which is the number of The Fool card. The wreath also symbolizes the womb, signaling that the woman is like an embryo waiting to be reborn. The oval shape of the wreath is also used by the Golden Dawn in their Tattva cards. These colorful cards were designed to aid the development of clairvoyance through visual meditation, and one of the symbols in the cards is an oval. The oval corresponds to the Akasha, ether or spiritual realm (see Akashic Records). See Shamanism for more information on Tattva cards. ⭐A laurel wreath also appears here: The Chariot Symbols, Ace of Swords Symbols, Seven of Cups Symbols, Six of Wands Symbols Two Red Ribbons. The red ribbon bindings at the top and bottom of the wreath indicate completion, the circle has been made complete.

It also reminds one of the ancient quote, “as above, so below”. Who Are The Four Figures in The World Card and What do They Symbolize? The four beasts represent the four living figures or hayyot, which are a class of heavenly beings in Jewish mythology. According to both Jewish and Christian tradition, the creatures vary by description. In this card we see the four tetramorph, a lion, man, eagle and bull.

These creatures represent the four seasons, as well as the four elements of Fire, Air, Water and Earth. Their presence implies that they are the cornerstones of a balanced life. Man. The blond-haired man represents the astrological sign of Aquarius, winter season and the element Air. Lion. The Lion represents Leo, summer and fire. Eagle. The Eagle represents Scorpio, autumn and water.

Bull. The Bull represents Taurus, spring and earth. What is The Meaning of The Blue Background?

The blue background is the cosmic mind or ‘Universe’ as it has come to be known in the New Age. The dancer is able to manipulate this realm easily with her two wands.

 

karinastarot.com/world-symbols/

 

Furthermore, we can locate similar attributes to Magdalene from apocryphal sources as well as the writings of Origen. In the apocryphal Pistis Sophia, Magdalene is the sole recipient of Christ’s gnosis, rather than Peter and the other disciples. Christ says, “Well done, Mary. You are more blessed than all women on earth, because you will be the fullness of fullnesses and the completion of completions.”17Although this apocryphal account could not have been known to people during the Renaissance, it reveals that even within the early Christian communities there was a holiness attributed to Magdalene that transcended all others. Yet the Gnostic contempt for materiality seems to clash with the embrace of dualism during the Renaissance. This dualism can be found in Origen’s writings, however. In his commentary on the Song of Songs, he allegorically reads the bride as the Christian church. The bride anoints her lover with an ointment; Origen connects this with the scriptural account of Mary Magdalene anointing Christ. He interprets the line spoken by the bride, “I am dark but comely, O daughters of Jerusalem” (Song 1:5), as follows: “She has repented of her sins...beauty is the gift conversion has bestowed; that is the reason she is hymned as beautiful. She is called black, however, because she has not yet purged of every stain of sin, she has not yet been washed unto salvation, nevertheless she does not stay dark-hued, she is becoming white.” The dualism of black/evil and white/good is unfortunate, but the connection between the Bride of the Song of Songs and Magdalene reinforces her movement away from sin into penitence, and her positive association with the Church and Christ. The sexual language employed in the Song of Songs has always been difficult for commentators; however we see that when Magdalene is associated with the Bride, the sexuality is compounded with Magdalene’s penitence, in the same way we’ve seen in Renaissance painting.

The portrayals of Magdalene’s assumption into heaven connect us back to the Tarot. Mrs. Jameson observes, dryly, that Italian paintings of Magdalene’s assumption began “to recall the idea of a Venus Meretrix.”19 Let us consider Giovanni Lanfranco’s La maddalenan portata in cielo, (fig. IX) and Sandro Botticelli’s Birth of Venus (fig. X). Jameson is quite correct in her observation, despite her negativity towards this shift. In the Lanfranco, Magdalene’s hair barely covers her nude body as she is borne aloft by three putti. She holds out her hands at an angle, and below her is the world’s expanse of mountains, lakes, and forests. It is sexual and chaste, physical and divine. Her figure is very much the Platonic divine love, the ideal Venus. In some of the Assumptions, she is al

Intuition materials

Existing in space

Subject affected

 

*Hüterin des Waldes*

 

Model with thanks to Faestock

   

A selection of mixed media works by Diane Kramer

aka She wolf

Works are based in intuition.

 

If interested please see my profile page for more information.

 

To see all the calendars click

www.redbubble.com/people/studiokramer/collections/111541-...

 

...

Travelling with "Teddyline"

 

I found my Teddy

Now the Journey is easy

 

HKD

  

Kinderspiel

 

Mein inneres Kind trägt mich

Die Krähe führt mich

Das Leben ist wieder ein Kinderspiel

 

HKD

  

Symbolik:

Teddy – Kindheit – das sind wieder offen gewordene Gefühle.

Der Teddy ist ein Symbol für die Wiedergeburt der kindlichen Sinne, der Intuition, der Phantasie, der herzlichen Gefühle.

 

Viele Menschen halten ihre Gefühle unter Verschluss – haben sie vergessen – verloren.

Für manche unter ihnen beginnt die Suche nach der verlorenen Kindheit. Es geht um die Wiedererweckung der Emotionen – auch der dunklen. Das kann ein Jahre andauernder Prozess sein.

Dann folgt die größte Herausforderung: Die Kunst, mit den Gefühlen Tag für Tag zu leben.

Hat man diesen Punkt erreicht, ist die weitere Lebensreise im wahrsten Sinn des Wortes ein Kinderspiel!

  

HKD

 

Copyright © 2019 Elizabeth Root Blackmer. All rights reserved.

Intuitions - by Jacqueline Damon.

  

artist's brief: Lighthouses have guided many past hazards. Our intuitions guide us past life's dangers and wrong turns. This transparent lighthouse is here but not obvious. How do we learn to honour and listen to our own intuitive warning system? Do we have the courage needed to pay attention to what we can't see.

  

Swell Sculpture Festival

This quote is from Henri Poincare, who was a French mathematician, theoretical physicist, engineer, and a philosopher of science.

 

StacyYoungArt.com

"Intuition will tell the thinking mind where to look next." – Jonas Salk

 

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withart x TAOP　The Act of Painting "INTUITION" (Works on Paper)

Moerenuma Park, Sapporo, Hokkaido

2022.09.07-16

 

withart x TAOP　The Act of Painting "直感" (紙の作品)

モエレ沼公園 札幌 北海道

2022.09.07-16

 

moerenumapark.jp/english/

the Exhibit will be a continuation of my mixed media work- rooted in intuition.

I will be including some of the work from the first series as part of its exhibit history. I feel it is important to include past and new work as it all stems from same source of inspiration and mediums.

All in the family-

 

Please, if any of you are in the area or can come....

please do!

Mark it on your calendars.

 

thank you for your visits and for your friendships!

 

Enochian is an angelic language used by angels in Heaven. They communicate over angel radio using this language, though in more recent years, they began communicating in English predominately. The angels, the Knights of Hell, and the Men of Letters are also familiar with an archaic dialect of the angelic language called "Pre-Enochian" or "Old Enochian". Castiel used sigils from this Enochian dialect to bind Alastair in a devil's trap he made. The Knights of Hell like Abaddon used the old Enochian sigil associated with them as their crest, leaving it behind in areas where they strike. Belphegor reveals that very few demons like Lilith, Crowley, and Abaddon have been known to understand Enochian. Enochian sigils are powerful glyphs that can be used against angels and demons and protect an area from angelic and demonic interference. Throughout Season 5, Castiel uses one to conceal Sam, Dean, and Adam from every angel in creation by carving it into their ribs.

www.supernaturalwiki.com/Enochian

 

Enochian has also been used in reciting various spells that can be used against some of the most dangerous creatures in all creation. Lily Sunder became a practitioner of Enochian Magic after Ishim taught her all their secrets, using spells that burn off pieces of her soul in exchange for longevity and access to angelic powers until it's completely burned away. The Whore of Babylon uses what appears to be an Enochian spell to harm Castiel. Lucifer's Cage can be opened and closed with the rings of the Four Horsemen of the Apocalypse and an Enochian phrase. When angels are reverted to their "factory settings", they relay any information hidden in their minds encrypted in Enochian.

  

The Two of Swords shows a blindfolded woman, Pamela Smith has become an impetrant, she begins her initiation into Enochian magic, the artist is dressed in a white dress, holding two crossed swords. The blindfold tells us that Pamela is confused about her inner light and cannot clearly see either the problem or the solution. She may also be missing relevant information that would make her decision much clearer if she were to get it. The swords she holds are in perfect balance, suggesting that she is weighing her thoughts and addressing both sides of the situation to find the best resolution.

Behind the woman is a body of water dotted with rocky islets. Water represents emotions, and while the costume of swords is traditionally associated with the mind and intellect, its presence shows that Pamela must use both her head and her heart to weigh her options. The islands represent obstacles in his path and suggest that his decision is not as clear cut as it seems. It will have to consider the situation as a whole. The crescent moon to her right is a sign that Pamela should trust her intuition to make her choice. Pamela is also alone on the beach. His eyes are blindfolded, his arms are tied. Eight swords planted in the ground form a prison around her. However, the circle is not completely closed. So there is an exit that the blindfold prevents you from seeing. The Two of Swords indicates that you are faced with a difficult decision, but you do not know which option to take. Both possibilities may seem equally good – or equally bad – and you don't know which will lead you to the better result. You need to be able to weigh the pros and cons of each choice and then make a conscious judgment. Use both your head (your mind and intellect) and your heart (your feelings and intuition) to choose the path that is most in alignment with your Higher Self.

 

Pamela Smith represented in this card wears a blindfold, indicating that she cannot see the entirety of her circumstance. You may lack the information you need to make the right decisions. You may be missing something, such as the threats or potential risks, alternative solutions or critical pieces of information that would help guide you in a particular direction. Once you remove the blindfold and see the situation for what it really is, you will be in a much better position to find your best path forward. Research your options more, seek outside opinions and feedback and ask yourself what you might be missing.`` Alone, far from the city and its ramparts, this woman seems very isolated. The sky is gray, the landscape is bleak. There emerges from the Card a feeling of uncertainty and absence of hope. The Eight of Swords symbolizes the feeling of helplessness of the Consultant. Lost, disoriented, the Consultant does not know what to do to overcome the obstacles or challenges of his environment. The Consultant experiences the very unpleasant feeling of being “stuck”, trapped. However – and this is important to stress – the Eight of Swords is not a fatalistic card. On the Map, the young woman could free herself from her fabric ties and remove the blindfold covering her eyes. She could regain the comfort and safety of the city behind her. The blockage, the "prison" of these Swords planted in a circle therefore symbolize first of all a situation created by the Consultant himself. Quite logically, he or she could get rid of it and get by on his own. The blockage is notably due to limiting beliefs on the part of the Consultant. These limiting beliefs go on and on: “You are not capable of…”; “A man like that, caring about you!? Do not even think about it ! » ; "Returning to training at your age to change paths will never work..." These limiting thoughts end up defining our possibilities and therefore we are no longer able to do otherwise, innovate or find solutions. It also happens that the feeling of helplessness is generated by external circumstances. The Consultant “wakes up”, dissatisfied with his environment and his life and wonders how he or she could have come to this.The Eight of Swords reveals that you feel trapped and restricted by your circumstances. You believe your options are limited with no clear path out. You might be in an unfulfilling job, an abusive relationship, a significant amount of debt or a situation way out of alignment with your inner being. You are now trapped between a rock and a hard place, with no resolution available. However, take note that the woman in the card is not entirely imprisoned by the eight swords around her, and if she wanted to escape, she could. She merely needs to remove the blindfold and free herself from the self-imposed bindings that hold her back. When the Eight of Swords appears in a Tarot reading, it comes as a warning that your thoughts and beliefs are no longer serving you. You may be over-thinking things, creating negative patterns or limiting yourself by only considering the worst-case scenario. The more you think about the situation, the more you feel stuck and without any options. It is time to get out of your head and let go of those thoughts and beliefs holding you back. As you change your thoughts, you change your reality. Replace negative thoughts with positive ones, and you will start to create a more favourable situation for yourself. The Eight of Swords assures you there is a way out of your current predicament – you just need a new perspective. You already have the resources you need, but it is up to you to use those resources in a way that serves you. Others may be offering you help, or there may be an alternative solution you haven’t yet fully explored. Be open to finding the answer rather than getting stuck on the problem. The Eight of Swords is often associated with a victim mentality. You surrendered your power to an external entity, allowing yourself to become trapped and limited in some way. You may feel that it isn’t your fault – you have been placed here against your will. You may feel like the victim, waiting to be rescued, but is this energy serving you? If not, it is imperative you take back your power and personal accountability and open your eyes to the options in front of you. The fact is you do have choices, even if you do not like them. You are not powerless. At times, the Eight of Swords indicates that you are confused about whether you should stay or go, particularly if you are in a challenging situation. It is not as clear-cut as you would like, making the decision very difficult. You have one foot in, hoping things can work out, but your other foot is out the door, ready to leave. The trouble is that you worry either option could lead to negative consequences, and so you remain stuck where you are. Again, this card is asking you to get out of your head and drop down into your gut and your intuition so you can hear your inner guidance. Your thoughts are not serving you right now, but your intuition is. Trust yourself. In any case, it is necessary to "take back control" of the circumstances and to remember that in life, we always have a choice. The possibilities in front of you may not be ideal, easy or desired… but they exist! You have to be able to look them in the face, and choose the best… or the least bad.

 

www.biddytarot.com/tarot-card-meanings/minor-arcana/suit-...

 

www.biddytarot.com/tarot-card-meanings/minor-arcana/suit-...

 

In 1903 Waite succeeded Yeats as Grand Master of the Golden Dawn. His first act under his new status was a reform of the fundamental principles of the Order: he proclaimed the primacy of spiritual achievement (emphasis on esoteric knowledge and the search for Truth) over material fulfillment (which occultism in general, and magic in particular, presupposes). Seeing in this act of negating the very foundation of the Golden Dawn (namely the practice of the occult sciences) the outright annihilation of the Order, former Grand Master Yeats strongly opposed Waite.

Two camps were then formed: one bringing together the supporters of the reform and represented by William Alexander Ayton, (relatively fearful in terms of operability), Waite's right-hand man, and the other bringing together, alongside the former Grand Mr. Yeats, the curators. The feud lasted two years, after which the Yeats camp ended up going on to found its own order (La Stella Matutina, the "Morning Star")—a perfect transposition of the Golden Dawn before Waite's reform, seceding from what took then the name of Holy Order of the Golden Dawn ("Holy Order of the Golden Dawn"; the expression "holy order" illustrating more the new mystical tendencies instilled by Waite) and which continued to be shaken by internal strife until disbanded in 1915, following Waite's departure.

 

After this "schism of 1905", which was the real coup de grace for the Hermetic Order of the Golden Dawn, certain initiates who had remained neutral in the struggle between Camp Yeats and Camp Ayton preferred to go and found, alone or in groups, their own brotherhood.

 

Arthur Edward Waite (1857-1942), wanted to be a true scholar in occultism. He wrote, among other things, "The Holy Kaballah" and "The Key to the Tarot", published in London in 1910. For Waite, symbolism is the key to the Tarot. In "The Key to the Tarot" he says, "True tarot is symbolic; it uses no other languages or other signs". One of the unique characteristics of the Arthur Edwart Waite tarot and one of the main reasons for its popularity is that all the cards, including those of the Minor Arcana, depict scenes complete with figures and symbols. The images of all Pamela Coman-Smith's cards lend themselves to an interpretation based on the conscious and unconscious reading of the scene, without the need to consult explanatory texts.

What is striking in the Tarot Rider-Waite, therefore, is above all the Minor Arcana, which are difficult to translate with the Tarot of Marseilles for most of those interested, but have suddenly become emblematic with the Tarot that Waite offers us. Therefore, these mysteries illustrated with scenes are easier to interpret.The Tarots of Wirth and Knapp Hall are to be considered to be Tarots based on "hermetic science". A science which will be strongly included in the broad fields of esoteric exploration to which the golden dawn will give access...The first decks that can be designated as decks born from the ideologies of the Golden Dawn and created according to their cosmogony is undoubtedly the Tarot Rider-Waite... It is the result of a long and meticulous research on esoteric symbols and their correspondence.

 

But the first member of the Hermetic Order of the Golden Dawn to have designed a Tarot is obviously doctor Gérard Encausse, Papus, who joined the members of the Hermetic Order of the Golden Dawn in 1895. The Papus tarot would have been designed around 1899... At the beginning, it was certainly reserved for a few insider circles only... It was seen for the first time in illustration in the works of Papus, among others in "Le Tarot des Bohémiens , absolute key to the occult sciences" (1889), but the book will only be really known and accessible to the general public from its 3rd edition published in 1926. Then will follow the work "The divinatory tarot. Key to card printing and fates" (1909), reissued in large circulation also the same year of 1926. From then on, the Tarot of Papus will gain much popularity and the public will seek to obtain it... The Tarot of Papus will be diffused little by little print from the 1930s.

 

While the tarots of Papus, Wirth and the Knapp Hall were appearing almost simultaneously, the renowned house of Grimaud, for its part, was preparing to publish the Tarot which would become the reference for the general public, it was this famous modified reproduction of the Conver, proposed by Paul Marteau. It will appear in 1930 and will become the most fashionable tarot... Despite the modifications made to this Tarot, it has no affiliation with occult groups and is intended to be a Tarot in the tradition of the Tarot de Marseille.

 

That said, the Tarot which will set the tone and which will be the reference for the members of the Golden Dawn is undoubtedly the Tarot developed by Rider and Waite.

 

There are already a hundred decks that derive directly from the tarot originally designed by Rider-Waite. Not to mention pirated copies, clones, etc... This tarot has long been a reference for budding occultists and kabbalists... It still is...

 

So, in fact, there are many tarots that were designed in the ideology of the Golden Dawn!!!

 

It will first be the Tarot of Aleister Crowley which, following the Rider-Waite, will stand out and bring modifications to the "esoteric" Tarot, always with reference to the Golden Dawn, to the Kabbalah, to ancient Egypt initiates, etc... With in addition, references to sexual magic...The members of the Golden Dawn mainly used the Tarot of Waite, but during the 1950s, 1960s, they put a lot of effort into creating a Tarot that could finally be directly linked to the precepts and esoteric teachings of the Golden Dawn... A Tarot which originally wanted to be, once again, a Tarot exclusively reserved for members of the Order. This is the famous "Tarot of the Golden Dawn", so the Tarot which wants to be "officially" attested by the order...

 

But beware !! This name known as "Tarot of the Golden Dawn" is confusing... Several Tarots are decked out with the label "of the Golden Dawn"...

 

In truth, of all these tarot cards there is only one that is truly recognized by the Hermetic Order of the Golden Dawn and as such, and that is the one developed by Israel Regardie and Robert Wang from esoteric works of Samuel Liddel Matthers.

 

Robert Wang will also create the "Jungian Tarot", very appreciated also by the followers of the Golden Dawn; and perhaps even more by those interested in "modern theosophy" and in the principles elaborated by Jung.

 

The "Jungian Tarot" is quite similar to the so-called "Golden Dawn" Tarot, but is intended more for "personal evolution" than for the initiatory journey of the Order, strictly speaking... In truth these two tarots are the results of extensive research in matters of esotericism, research that has been carried out by the study centers of the Hermetic Order of the Golden Dawn. Its construction, on the basis of the four elements, the celestial phenomena, the Holy Kabbalah, and a highly evolved psychology, can apparently lead its followers into the inner recesses of psychic and intuitive awareness.

 

Above all, this tarot can be used as a basis for occult study, in order to learn to possess all the aspects of the traditional "center-wisdom", and "high-science" kabbalistic... (There are many Rosicrucian references , and also references to Freemasonry and alchemy).

 

Originally, the Golden Dawn Tarot was only reserved for members of the official Order. It began to be broadcast from 1975.

 

Despite the claim of these creators, it should still be known that the vast majority of members of the Hermetic Order of the Golden Dawn, will study the Tarot from the "Tarot B.O.T.A.", or the original Rider-Waite. What is striking in the Tarot Rider-Waite, therefore, is above all the Minor Arcana, which are difficult to translate with the Tarot of Marseilles for most of those interested, but have suddenly become emblematic with the Tarot that Waite offers us. Therefore, these mysteries illustrated with scenes are easier to interpret.

THE TAROT B.O.T.A.

 

It is actually a very special version of the Rider-Waite Tarot presented in a "black and white" version, and the members were invited to color their own tarots... The study of symbolism esoteric was first done using this Tarot Rider-Waite in its original version (in black and bench). Indeed, the Waite-Rider Tarot in its black and white version is the most used by Golden Dawn followers and should be considered the official Golden Dawn Tarot.

 

A nearly similar version is still used by members of the B.O.T.A. and followers of hermetic schools. (The initials B.O.T.A. mean "Builders of the Adytum", it is a traditional and fraternal association founded by Paul Foster Case, continued and extended by Ann Davies...

 

A popular theory is that author William Walker Atkinson co-wrote the legendary "Kybalion" tome with Paul Foster Case. This theory is often defended by members of the "Builders of the Adytum". B.O.T.A. offers courses and techniques based on the study of the mystical teachings of the Holy Qabalah and TAROT. In fact, this confusing story about the Tarot B.O.T.A. and writing the "Kybalion", seems to have started with a breakaway group from the B.O.T.A., "The Brotherhood of Hidden Light" (which emphasizes the "secret (or lost) knowledge of the sages of Atlantis") .

 

The members of the Golden Dawn like the members of the B.O.T.A., consider that the Rider-Waite tarot is the ultimate "reference"...

secretsdutarot.blogspot.com/2013/01/les-tarots-dits-de-la...

This dissertation seeks to define the importance of Waite’s interpretation of mediaeval and Renaissance esoterica regarding the contacting of daemons and its evolution into a body of astrological and terrestrial correspondences and intelligences that included a Biblical primordial language, or a lingua adamica. The intention and transmission of John Dee’s angel magic is linked to the philosophy outlined in his earlier works, most notably the Monas Hieroglyphica, and so this dissertation also provides a philosophical background to Dee’s angel magic. The aim of this dissertation is to establish Dee’s conversations with angels as a magic system that is a direct descendant of Solomonic and Ficinian magic with unique Kabbalistic elements. It is primarily by the Neoplatonic, Hermetic, Kabbalistic, and alchemical philosophy presented in the Monas Hieroglyphica that interest in Dee’s angel magic was transmitted through the Rosicrucian movement. Through Johann Valentin Andreae’s Chymische Hochzeit Christiani Rosencreutz anno 1459, the emphasis on a spiritual, inner alchemy became attached to Dee’s philosophy. Figures such as Elias Ashmole, Ebenezer Sibley, Francis Barret, and Frederick Hockley were crucial in the transmission of interest in Dee’s practical angel magic and Hermetic philosophy to the founders of the Hermetic Order of the Golden Dawn.

Enochian Angel Magic: From John Dee to the Hermetic Order of the Golden Dawn www.academia.edu/921740/Enochian_Angel_Magic_From_John_De...

 

The rituals of the Golden Dawn utilized Dee’s angel magic, in addition to creative Kabbalistic elements, to form a singular practice that has influenced Western esoterica of the modern age. This study utilizes a careful analysis of primary sources including the original manuscripts of the Sloane archives, the most recent scholarly editions of Dee’s works, authoritative editions of original documents linked to Rosicrucianism, and Israel Regardie’s texts on Golden Dawn practices."In Whose hands the Sun is as a sword, and the Moon as a through- thrusting fire." An elegant equation, defining the parameters of the. creation. The god declares dominion over planetary forces (Sun-Moon) and elemental forces (fire-air). He also declares control over the two types of dualities: those in which one pole is projective and the other responsive (Sun-Moon) and over those in which two forces of similar polarity are balanced (fire-air). Within the area of creation, the positive pole is attributed to the element of swords, Air, and the anti-positive pole is attributed to the element of Fire. This is reflected in the precedence followed by the elements throughout the Tablets and Calls: Air first, then Water, Earth, and Fire. "Which measure your garments in the midst of my vestures..." The word translated here as "garments" is used uniformly to mean "creation" or "being" elsewhere in the Keys. Another word is used for

"garments" in the next sentence of this same Key. Another word is also used for "midst" further on in this Key. So the translation here is questionable. A magickal image given to define this phrase shows the scene through the god's eyes as he pulls endless threads of living light out of a lamen on his chest.

Enochian magic is a system of ceremonial magic based on the 16th-century writings of John Dee and Edward Kelley, who wrote that their information, including the revealed Enochian language, was delivered to them directly by various angels. Dee's journals contain the record of these workings, the Enochian script, and the tables of correspondences used in Enochian magic. Dee and Kelley believed their visions gave them access to secrets contained within Liber Logaeth, which Dee and Kelley referred to as the "Book of Enoch".In the early 1580s, John Dee had become discontented with his progress in learning the secrets of nature. Dee wrote: I have from my youth up, desired and prayed unto God for pure and sound wisdom and understanding of truths natural and artificial, so that God's wisdom, goodness, and power bestowed in the frame of the world might be brought in some bountiful measure under the talent of my capacity... So for many years and in many places, far and near, I have sought and studied many books in sundry languages, and have conferred with sundry men, and have laboured with my own reasonable discourse, to find some inkling, gleam, or beam of those radical truths. But after all my endeavours I could find no other way to attain such wisdom but by the Extraordinary Gift, and not by any vulgar school, doctrine, or human invention. Enochian magic involves the evocation and commanding of various spirits.He subsequently began to turn energetically towards the supernatural as a means to acquire knowledge. He sought to contact spirits through the use of a scryer or crystal-gazer, which he thought would act as an intermediary between himself and the angels. Dee's first attempts with several scryers were unsatisfactory, but in 1582 he met Edward Kelley (1555–1597/8), then calling himself Edward Talbot to disguise his conviction for "coining" or forgery, who impressed him greatly with his abilities.Dee took Kelley into his service and began to devote all his energies to his supernatural pursuits. These "spiritual conferences" or "actions" were conducted with intense Christian piety, always after periods of purification, prayer and fasting. Dee was convinced of the benefits they could bring to mankind. The character of Kelley is harder to assess: some conclude that he acted with cynicism, but delusion or self-deception cannot be ruled out. Kelley's "output" is remarkable for its volume, intricacy and vividness. Through Kelley, the angels laboriously dictated several books in this way, some in a previously unknown language which Dee called Angelical — now more commonly known as Enochian.The two pillars of modern Enochian magic, as outlined in Liber Chanokh, are the Elemental Tablets (including the "Tablet of Union") and the Keys of the 30 Aethyrs. The Enochian model of the universe is depicted by Dee as a square called "The Great Table" (made up of the 4 Elemental Tablets and incorporating the Tablet of Union), surrounded by 30 concentric circles representing the 30 Aethyrs or Aires. The Angelical Keys:

The essence of Enochian magic involves the recitation of one or more of nineteen Angelical Keys, which are also referred to as Calls. These keys are a series of rhetorical exhortations which function as evocations when read in the Enochian language. They are used to effect the "opening of 'gates' into various mystical realms." The first eighteen keys are used to 'open' the realms of the elements and sub-elements, which are mapped onto the quadrants and sub-quadrants of the Great Tablet.[clarification needed][citation needed]. The nineteenth key is used to 'open' the Thirty Aethyrs. The Aethyrs are conceived of as forming a map of the entire universe in the form of concentric rings which expand outward from the innermost to the outermost Aethyr. The Great Table: The angels of the four quarters are symbolized by the Elemental Tablets — four large magical word-square Tables (collectively called "The Great Table"). Most of the well-known Enochian angels are drawn from the Elemenal Tablets of the Great Table. Each of the four tablets (representing the Elements of Earth, Air, Fire and Water), is collectively "governed" by a hierarchy of spiritual entities which runs (as explained in Crowley's Liber Chanokh) as the Three Holy Names, the Great Elemental King, the Six Seniors (aka Elders) (these make a total of 24 Elders as seen in the Revelation of St. John), the Two Divine Names of the Calvary Cross, the Kerubim, and the Sixteen Lesser Angels. Each tablet is further divided into four sub-quadrants (sometimes referred to as 'sub-angles') where we find the names of various Archangels and Angels who govern the quarters of the world. In this way, the entire universe, visible and invisible, is depicted as teeming with living intelligences. Each of the Elemental tablets is also divided into four sections by a figure known as the Great Central Cross. The Great Central cross consists of the two central vertical columns of the Elemental Tablet (the Linea Patris and Linea Filii) and the central horizontal line (known as the Linea Spiritus Sancti). In addition to the four Elemental Tablets, a twenty-square cell known as the Tablet of Union (aka The Black Cross, representing Spirit) completes the representation of the five traditional elemental attributes used in magic - Earth, Air, Water, Fire and Spirit. The Tablet of Union is derived from within the Great Central Cross of the Great Table. The Thirty Æthyrs : The 30 Aethyrs are numbered from 30 (TEX, the lowest and consequently the closest to the Great Table) to 1 (LIL, the highest, representing the Supreme Attainment. Magicians working the Enochian system record their impressions and visions within each of the successive Enochian Aethyrs. Each of the 30 Aethyrs is populated by "Governors" (3 for each Aethyr, except TEX which has four, thus a total of 91 Governors). Each of the governors has a sigil which can be traced onto the Great Tablet of Earth.

The Holy Table: a table with a top engraved with a Hexagram, a surrounding border of Enochian letters, and in the middle a Twelvefold table (cell) engraved with individual Enochian letters. According to Duquette and Hyatt, the Holy Table "does not directly concern Elemental or Aethyrical workings. Angels found on the Holy Table are not called forth in these operations."

The Seven Planetary Talismans: The names on these talismans (which are engraved on tin and placed on the surface of the Holy Table) are those of the Goetia. According to Duquette and Hyatt, "this indicates (or at least implies) Dee's familiarity with the Lemegeton and his attempt, at least early in his workings, to incorporate it in the Enochian system."] As with the Holy Table, Spirits found on these talismans are not called forth in these operations. The Sigillum dei Aemeth, Holy Sevenfold Table, or 'Seal of God's Truth': The symbol derives from Liber Juratus (aka The Sworn Book of Honorius or Grimoire of Honorius, of which Dee owned a copy). Five versions of this complex diagram are made from bee's wax, and engraved with the various lineal figures, letters and numbers. The four smaller ones are placed under the feet of the Holy Table. The fifth and larger one (about nine inches in diameter) is covered with a red cloth, placed on the Holy Table, and is used to support the "Shew-Stone" or "Speculum" (crystal or other device used for scrying). Scrying is an essential element of the magical system. Dee and Kelly's technique was to gaze into a concave obsidian mirror. Crowley habitually held a large topaz mounted upon a wooden cross to his forehead. Other methods include gazing into crystals, ink, fire or even a blank TV screen.Little else became of Dee's work until late in the nineteenth century,[citation needed] when it was incorporated by a brotherhood of adepts in England. The rediscovery of Dee and Kelley's material by Samuel Liddell MacGregor Mathers of the Hermetic Order of the Golden Dawn in the 1880s led to Mathers developing the material into a comprehensive system of ceremonial magic. Magicians invoked the Enochian deities whose names were written on the tablets. They also traveled in their bodies of light into these subtle regions and recorded their psychic experiences. The two major branches of the system were then grafted on to the Adeptus Minor curriculum of the Golden Dawn.

 

According to Aleister Crowley, the magician starts with the 30th aethyr and works up to the first, exploring only so far as his level of initiation will permit. According to Chris Zalewski's 1994 book, the Golden Dawn also invented the game of Enochian chess, in which aspects of the Enochian Tablets were used for divination. They used four chessboards without symbols on them, just sets of colored squares, and each board is associated with one of the four elements of magic. Florence Farr founded the Sphere Group which also experimented with Enochian magic.Aleister Crowley's work with Enochian magick generally follows the Golden Dawn system. He is known primarily for his explorations of the 30 Aethyrs, published in "The Vision and the Voice". This work established the idea that Aethyr might represent a means of initiation, and set a standard for methodical exploration, which few have equaled. It also fixed Crowley's particular perspective on the process of transcendence in the minds of many students of the occult. Crowley envisioned the Aethyr as being related to the sephiroth of the tree of life in groups of three. He also mentions that each Aethyr "bends" into the next Aethyr above it, in a way, so that in progressing through the Aethyrs from the last to the first, one also withdraws one's being from the lower levels and already experienced (this is parallel to the technique he describes in the Liber Yod, in which the magician achieves union with the deity by gradually banishing all other levels and powers.Under this conception the Aethyrs ZAX, whose parts have names formed from the cross of union, is the highest of the three attributed to Chesed. Thus, it is the last Aethyr encountered before entering the Supernal Triad and achieving transcendence. Crowley envisioned this movement as crossing an "abyss" or space, during which the magician encounters an Enochian devil named Choronzon dwelling therein. Crowley's other contribution to Enochian magick was adapting the pyramid system of the GD for use with the sex magick of the O.T.O. In this technique, physical representations of the pyramids are made for an angel's name, but inverted to form the square "cups". These serve as talismans, which are charged using the end product of the sex magick operation.

 

Paul Foster Case (1884–1954), an occultist who began his magical career with the Alpha et Omega, was critical of the Enochian system. According to Case, the system of Dee and Kelley was partial from the start, an incomplete system derived from an earlier and complete Qabalistic system, and lacked sufficient protection methods. Case believed he had witnessed the physical breakdown of a number of practitioners of Enochian magic, due to the lack of protective methods. When Case founded his own magical order, the Builders of the Adytum (B.O.T.A.), he removed the Enochian system and substituted elemental tablets based on Qabalistic formulae communicated to him by Master R.The first Enochian Key or Call is a recapitulation of the steps by which the creator of the system brought it into being. The Key follows the same macrocosmic-to-microcosmic progression used in the example consecration ritual, but then supplements this with a response from the microcosm directed at the macrocosm. Note that the description of the downward current contains seven significant phrases, suggesting the planets and sun, the macrocosm, while the description of the response contains five significant phrases, suggesting the four elements and elemental spirit, the microcosm."...and trussed you together as the palms of my hands." The magickal image continues by showing the god gathering the fibers of light into a bundle or cable. The god concentrates the energies within the area of work in preparation for shaping."Whose seats I garnished with the fire of gathering, which beautified your garments with admiration." Having generated the positive or spiritual pole of the creation, the god now looks to the anti-positive or material pole. The "seats" are the squares of the tablets in their two-dimensional form. The god embodies a part of his will in the Tablets, defining the order and place to which the spiritual energies will be attracted and attached. When the energies are attached to the Tablets, the pattern of will embodied in the Tablets extends back along their path to the positive pole, conditioning all the perceptible expressions (the "garments") of the energies.. The usual assumption of later magicians (which is not universally accepted) is that the remaining Calls refer to the "Minor Angles" within the Tablets.

 

The Golden Dawn method of associating the Callings with the tablets and Lesser Angles has become the accepted "standard". Donald Tyson recently proposed an alternative method which has received some attention

en.wikipedia.org/wiki/Enochian_magic

 

SUMMARY OF PATH POSITIONS IN ACHAD'S TREE OF LIFE

Path Trump Connects with:

Aleph The Fool Malkuth Yesod

Beth The Magician Malkuth Hod

Gimel The Priestess Yesod Hod

Daleth The Empress Malkuth Netzach

Heh The Emperor Tiphereth Geburah

Vav The Hierophant Hod Netzach

Zain The Lovers Hod Tiphereth

Cheth The Chariot Yesod Netzach

Teth Strength Netzach Tiphereth

YodT he Hermit Hod Geburah

Kaph The Wheel of Fortune Kether Chokmah

Lamed Justice Netzach Chesed

Mem The Hanged Man Yesod Tiphereth

Nun Death Geburah Chesed

Samek Temperance Chesed Chokmah

AyinThe DevilTiphereth Binah

PehThe Tower Geburah Binah

Tzaddi The Star Binah Chokmah

Qoph The Moon Tiphereth Chesed

Resh The Sun Tiphereth Chokmah

Shin Judgement Kether Tiphereth

TauT he Universe Kether Binah

"To whom I made a law to govern the holy ones," The word translated as "holy ones" appears to derive from the same root as the enochian words for "fire", suggesting that the holy ones are those who possess the spiritual will. The god specifies the manner in which his creation will respond to the mages and adepts."Moreover, you lifted up your voices and sware obedience and faith..."The connection between the two poles having been made, and the conditions of their interaction being set, the angels of the creation voice their response to the god, swearing to continue to follow the god's will. "...to him that liveth and triumpheth," The spirits of the Tablets affirm the existence of their creator by saying that he lives, and affirm the success of the act of creation by saying that he triumphs. The echoing of the god's statements by the spirits of the tablets also suggests that the conditions the god laid on the creation as a whole

are reflected in miniature within the creation. It shall be shown that this is the case with the Tablets as we proceed.In the remainder of the Key, the magician using it calls upon the

spirits to respond to him fully and openly. The word translated here as "servant" might be better rendered as "minister" or "representative". The magician asserts that he has a right to demand a response from the spirits because his acts are in accord with the will of their creator.

www.sacred-texts.com/eso/enoch/1stkey.txt

 

Angelic chatter, but very little solid information. Additionally, the reader must deal with forays into apocalyptic religion, Elizabethan politics, Dee's and Kelly's personal issues, and the various irrelevant issues Dee insisted on inserting into the work. Chronologically, Dee and Kelly's work falls into three highly productive periods separated by months when nothing of particular value was received. The material received in each period generally stands on its own, and is only loosely related to that of the other periods. but the term is often applied to all work. First Period: The Heptarchia Mystica. Equipment: Ring, Lamen, and Holy Table The angels claimed that the ring they designed for Dee was the same one used by Solomon to control demons. The ring had a full band, to which was attached a rectangular plate. The letters PELE (coming from Latin for "he will do miracles") were inscribed in the four corners. In the center was a circle crossed by a horizontal line, with the letter "V" inscribed above and the letter "L" below. Two different lamens were given to Dee. The first bears a generic resemblance to various sigils of goetia being an assortment of free-form lines and oddly placed letters. The giving being indicated that it was to be made of gold and worn every time and place for the purpose of protection. given by an evil spirit. During the spring session of 1583, the angels indicated that a session had been scheduled in which detailed instructions would be given for the use of Heptarchic magick. If this session took place, it is not in the records that have survived; but some idea of the general technique can be gathered from the comments in other parts of the recording. The magician would be seated at the Holy Table, wearing the ring and lamen. table in front of him. He would hold an appropriate Heptarchic king's talisman in one hand, with a talisman of the names of the king's ministers placed beneath his feet. The magician would then invite the king with petition and prayer, followed by petitions to his prince, and invocations of the six chief ministers. They would appear in the stone of clairvoyance, whereupon the magician would instruct them to accomplish the task he desired.The Liber Loagaeth is the most mysterious part of Dee and Kelly's work. It is also known by different names like

book of Enoch and the Liber Mysteriorum Sextus et Sanctus. So far no one has seriously attempted to use it, or to understand its nature, beyond what is found in the diaries. According to the angels, "loagaeth" means "speech of God", this book is supposed to be, literally, the words by which God created all things. It is supposed to be the language in which the "true names" of all things are known, giving power over them. As described in the Liber Mysteriorum Quintis, the book was to consist of 48 "leaves", of which each contains a 49x49 grid. Infact, the book actually presented to Kelly is somewhat different. It contains 49 "invocations" in an unknown language, 95 square tables filled with letters and numbers, 2 similar tables not filled, and 4 drawn tables twice the width of the others. 2 "leaves" are recorded, but these are not included in the final book, and apparently serve as an introduction or prologue to the work. this term. There is no translation by which this could be judged in detail, but the text lacks the logical repetitions and word placements which are characteristic of the 48 Enochian invocations given in later years. There is no apparent grammar in the text. Donald Laycock remarks that the language is strongly alliterative and repetitively rhyming, while Robert Turner calls it "glossolalic". many "languages", all being spoken immediately. The purpose of the Loagaeth has been said to be the unleashing/introduction of a new age on earth, the last age before the end of all things. Instructions for use for this purpose were never given; the angels continually put it off, saying that only God could decide when the time has come. During the presentation of the two leaves of the Liber Mysteriorum Quintis, in the stone of clairvoyance an angel moved successively towards letters, and Kelly pronounced the names of the angelic character. Dee transcribed a version using the Roman alphabet, apparently with the intention of redoing it in angelic characters at a later date. of Kelly; this light was seen by both of them. Once the light entered Kelly's head, his consciousness was transformed so that he could understand the text as he read it. He was strongly commanded not to provide a translation, explaining that God would choose the time for it to be revealed. He provided the translation of a few of the words, but it was insufficient to capture the meaning of the text as a whole. When the light withdrew from Kelly's head, he immediately ceased to understand the text, and could no longer see it in the stone. On a few occasions, the light continued to work within him for a short time after the session ended, and at those times Dee noticed that Kelly said many wonderful (and unrecorded) things about the nature of the texts. But the moment the light went out, Kelly couldn't understand it anymore, nor remember what he had said during the previous moment. The record indicates that the 23rd line of the first leaf was a preface to the creation and distinction of the angels, and the 24th line a pleasant invitation to the good angels. Nothing else is recorded concerning the purpose of this book.

Enochian Magic and the Apocalypse

There are 2 major threads of thought in Christian millennialism. One thread, called postmillennialism, is largely utopian in nature. He sees the millennium as the beginning of a period of progressive perfection of conditions on Earth; the basic principle is that the world must be perfected and the city of God built on earth before Christ returns, and only after Christ returns will the world end. Two decades after Dee, this form of millennialism was the driving force behind the religious groups shoeing the English colonization of America. Dee's own thought contains many post-millennial ideals in the search for Enochian magick, one of his goals was to gain means to bring earthly governments and societies to God's design, thereby bringing the return of Christ closer. quickly. The other thread, called premillennialism, is the more catastrophic variety. In this version, the typical scenario is the return of Christ, and then mankind's current "evil" societies will be destroyed in worldwide disasters, while the elect are preserved from evil. After the world is destroyed, Christ will join the faithful in a city built by God to rule over the earth for a thousand years. While there is a strong millennial flavor to the angel's statements, they are almost uniformly of the postmillennial variety. The angels divided the world into four ages. The first of these ages began with the creation and ended with the flood; the second ended with the appearance of Christ. The revelation of Liber Loagaeth ended the third age and triggered the final age, in which the world would be brought to perfection before Christ's return. . A particular passage makes this clear.

The Enochian Magical System of Golden Dawn

Regardie, Israel, The Golden Dawn, Llewellyn Publications, 1971, St Paul, MN. Reprinted at regular intervals. Contains detailed descriptions of the Enochian Magical System developed from GD. Zalewski, Pat. Golden Dawn Enochian Magic, Llewellyn Certainly there are influences of the Qabalah (the Sigillum Dei Aemeth, the communications of Uriel, Michael...) but this is not the originality and the strength of the system. Some practitioners of Enochian magic said that it was a Qabala (when I hear a Qabala I tend to write Kabbalah, like in the theater) that put into action the world of Atziluth, the highest of the four Qabalah classic. It's quite difficult to verify...even ! (See the introduction to the Necrono-micon at Belfond Editions).

 

But back to Enochian magick proper. The successors of the G.. D.. today reorganize its system and Schueler in his Enochian Magic) gives the material and the rituals "step by step" ("step by step"). Americans (and us too) like to practice if it is simple and impressive... The investigation by Enochian magic generally gives results, we cannot really say that they are controllable since they do not correspond to any standard of experiences already lived by the inventors of this practice.

 

Be that as it may, the Enochian, this language with its grammar and its syntax, this magical system and its original Theogony, remains a mystery that should not be taken for a simple variant of this or that traditional system already known. It is therefore useful when approaching it to master the fundamental elements which are used for its use without being subservient to the rituals of the pentagrams and hexagrams, to their signs, to the notions of Qabala of the G., D.., etc. This will make it possible to know what is original or what is borrowed in the Enochian, and what one can think of such or such contemporary development. A culture that will provide some points of reference in our consumer society where the practice of magic has much in common with video games or the daily television session.

 

In this, the most honorable goal (if it can be a question of honour) is the success of the experience known as the "Knowledge and Conversation of the Holy Guardian Angel", i.e. contact with one's true will, devoid of intention, in other words his heart. But it also applies to solving the various problems of life. After all, a magic is white or black only according to the use that is made of it... Let's say that we are still far from the religious John Dee. In fact not, for if Dee's conscious aims and methods were very far from those of our contemporaries, would ultimately the adventures and misadventures of his life, the problem of his relationship with Kelly evidently culminating in the ritually ordered exchange what they did with their wives would not be indications that this practice was beginning to ferment the elements of their consciences into a quintessential non-conformist?

 

MATTHEW LEON.

 

This text constitutes the introduction to the "Book of the gathering of forces" Editions RAMUEL 1994

 

Today we can no longer answer, lacking the benchmarks of a conventional morality no longer existing in the heart of the modern magician. But what is left? On what do we base ourselves if our practice has not yet allowed us an unambiguous contact with our heart, if our magical training lets us wander in the imagination that we have shaped? Publications 1990, St Paul, MN.

 

Synesthesia (American English) or synaesthesia (British English) is a perceptual phenomenon in which stimulation of one sensory or cognitive pathway leads to involuntary experiences in a second sensory or cognitive pathway. People who report a lifelong history of such experiences are known as synesthetes. Awareness of synesthetic perceptions varies from person to person. In one common form of synesthesia, known as grapheme–color synesthesia or color–graphemic synesthesia, letters or numbers are perceived as inherently colored.In spatial-sequence, or number form synesthesia, numbers, months of the year, or days of the week elicit precise locations in space (e.g., 1980 may be "farther away" than 1990), or may appear as a three-dimensional map (clockwise or counterclockwise). Synesthetic associations can occur in any combination and any number of senses or cognitive pathways. Little is known about how synesthesia develops. It has been suggested that synesthesia develops during childhood when children are intensively engaged with abstract concepts for the first time. This hypothesis—referred to as semantic vacuum hypothesis—could explain why the most common forms of synesthesia are grapheme-color, spatial sequence, and number form. These are usually the first abstract concepts that educational systems require children to learn. The earliest recorded case of synesthesia is attributed to the Oxford University academic and philosopher John Locke, who, in 1690, made a report about a blind man who said he experienced the color scarlet when he heard the sound of a trumpet. However, there is disagreement as to whether Locke described an actual instance of synesthesia or was using a metaphor. The first medical account came from German physician Georg Tobias Ludwig Sachs in 1812. The term is from the Ancient Greek σύν syn, 'together', and αἴσθησις aisthēsis, 'sensation'.

en.wikipedia.org/wiki/Synesthesia

When Pamela Coleman Smith was attending the Pratt Institute of Art, she realized that she possessed a high degree of sound-color synesthesia, i.e., she was able to visualize colors and forms while listening to music and could transmit those visualizations into tangible works of art. Modern psychologists define synesthesia as a crossing-over of sensory input. Depending upon the type of synesthesia, individuals are able to hear colors, see music, smell words, etc. Many people, particularly artists, possess this phenomenon to some extent; however, Pamela possessed sound-color synesthesia to an exceptionally high degree. She was able to create sound paintings just by unconsciously drawing while listening to passages of music. She embodied the Symbolist ideal in this area. Many examples of her work in this area have survived, including three watercolors in the possession of the Stieglitz/Georgia O'Keeffe Archive. In July 1908, an article appeared in The Strand Magazine entitled "Pictures in Music." The article included six black and white images of her music paintings (see below) and provided a long quotation by her which described how her art was created. A pertinent excerpt from that article is as follows: Do you see pictures in music? When you hear a Beethoven symphony or a sonata by Schumann, do mystic human figures and landscapes float before your eyes ? It is by no means new or uncommon for a composer to have a distinct picture in his mind when he sets himself to create a work. Schumann saw children at play in an embowered wood, dancing merrily until, lo ! the sudden advent of a satyr sent them shrieking to their homes. Few, however, have been able to delineate their hallucinations born of music.

Mendelssohn, who was no mean draughtsman, was often asked to do so, but always refused. "It is like asking a sculptor to paint a portrait of his statue," he once said. " All art is one, just as the human body is one, but each of the members has its functions. It is the function of music to hear, not to see." Nevertheless, it is highly interesting to see music translated in the terms of a sister art, and this is what a clever artist, Miss Pamela Colman Smith, has done, in pictures which are published now for the first time in The Strand Magazine. Many of the compositions selected by the artist will instantly be recognized as conveying, in quite a surprising way, a vivid idea of the music as a whole. Every reader can ascertain for himself whether he possesses this peculiar psychic gift—this power of conjuring up music pictures. When you next hear a famous sonata, close your eyes and see what, if any, "pictures" pass before the eye of your brain. Under the magical influence of music the soul has glimpses of wondrous shapes, lit by the light that never was on sea or land. "You ask me how these pictures are evolved," said Miss Colman Smith. "They are not pictures of the music theme — pictures of the flying notes—not conscious illustrations of the name given to a piece of music, but just what I see when I hear music—thoughts loosened and set free by the spell of sound. "When I take a brush in hand and the music begins, it is like unlocking the door into a beautiful country. There, stretched far away, are plains and mountains and the billowy sea, and as the music forms a net of sound the people who dwell there enter the scene; tall, slow-moving, stately queens, with jewelled crowns and garments gay or sad, who walk on mountain - tops or stand beside the shore, watching the water - people. These water-folk are passionless, and sway or fall with little heed of time; they toss the spray and, bending down, dive headlong through the deep. "There are the dwellers, too, of the great plain, who sit and brood, made of stone and motionless; the trees, which slumber till some elf goes by with magic spear and wakes the green to life ; towers, white and tall, standing against the darkening sky— Those tall white towers that one sees afar, Topping the mountain crests like crowns of snow. Their silence hangs so heavy in the air That thoughts are stifled. "Then huddling crowds, who carry spears, hasten across the changing scene. Sunsets fade from rose to grey, and clouds scud across the sky. "For a long time the land I saw when hearing Beethoven was unpeopled; hills, plains, ruined towers, churches by the sea. After a time I saw far off a little company of spearmen ride away across the plain. But now the clanging sea is strong with the salt of the lashing spray and full of elemental life; the riders of the waves, the Queen of Tides, who carries in her hand the pearl-like moon, and bubbles gleaming on the inky wave. "Often when hearing Bach I hear bells ringing in the sky, rung by whirling cords held in the hands of maidens dressed in brown. There is a rare freshness in the air, like morning on a mountain-top, with opal-coloured mists that chase each other fast across the scene. "Chopin brings night ; gardens where mystery and dread lurk under every bush, but joy and passion throb within the air, and the cold moon bewitches all the scene. There is a garden that I often see, with moonlight glistening on the vine-leaves, and drooping roses with pale petals fluttering down, tall, misty trees and purple sky, and lovers wandering there. A drawing of that garden I have shown to several people and asked them if they could play the music that I heard when I drew it. They have all, without any hesitation, played the same. I do not know the name, but— well, I know the music of that place."

 

pcs2051.tripod.com/synesthesia.htm

  

beinecke.library.yale.edu/digitallibrary/asgo.html

withart x TAOP　The Act of Painting "INTUITION" (Works on Paper)

Moerenuma Park, Sapporo, Hokkaido

2022.09.07-16

 

withart x TAOP　The Act of Painting "直感" (紙の作品)

モエレ沼公園 札幌 北海道

2022.09.07-16

 

moerenumapark.jp/english/

Jay Maisel talked a lot about having fun with photography. If we are not enjoying it why are we doing it? He also encouraged creativity and invention, seeing the same old thing in a completely new way. He said "focus on not being focused, let go!" He suggested that we daydream, doodle, and play. It was quite fun and invigorating to go out shooting with this mindset.

 

View Large

 

View the Entire - Jay Maisel Workshop Set

View my - Most Interesting according to Flickr

 

This is my second attempt on this theme.

I have turned the second dog around so he is looking with the majority of the group and made him larger in the frame. I have also put space between the photographer and the edge of the frame.

I have called it, "Intuition" as the woman is looking in the opposite direction, as if to say, "Its behind you"?

I have also added a texture.

The people and the dogs have been squeezed to elongate them to give a, "Lowry" effect.

thewantonwardrobe.wordpress.com/2020/01/30/trust-your-int...

Physical reality is a consciousness program created by digital codes. Numbers, numeric codes, define our existence. Human DNA, our genetic memory, is encoded to be triggered by digital codes at specific times and frequencies. Those codes awaken the mind to the change and evolution of consciousness.

 

11:11 is one of those codes, meaning activation of DNA.

You will note that seeing 11 11 frequently creates synchronicities in your life.

 

Master or Power Number. In Numerology 11 represents impractical idealism, visionary, refinement of ideals, intuition, revelation, artistic and inventive genius, avant-garde, androgynous, film, fame, refinement fulfilled when working with a practical partner.

 

Eleven is a higher octave of the number two . It carries psychic vibrations and has an equal balance of masculine and feminine properties.

 

Because eleven contains many gifts such as psychic awareness and a keen sense of sensitivity, it also has negative effects such as treachery and betrayal from secret enemies.

All About 11:11

 

11:11 Synchronicity- Repetitive Numbers and Their Meaning

Number Sequences from Our Spirit Guides

 

11:11 And Other Repetitive, Synchronistic Numbers

 

Many associate 11:11 with a wake-up code/alarm as they see it on digit clocks and watches. It can Many associate 11:11 with a wake-up code/alarm as they see it on digit clocks and watches. It can also be seen as a key to unlock the subconscious mind, our genetic encoded memories, that we are spirits having a physical experience, not physical beings embarking on a spiritual experience. also be seen as a key to unlock the subconscious mind, our genetic encoded memories, that we are spirits having a physical experience, not physical beings embarking on a spiritual experience.

 

11:11 or derivatives of these numbers, 111 and 11, are digits that repeat in time thus a metaphor for reality as patterns that repeat in time for us to experience. This can refer to the rise and fall of civilizations, our personal experiences and lessons, loops in time. They are cycles of time that create and recreate following the blueprint.

Ellie Crystal and 11:11

 

In 1991, when I was hosting the talk show “The Metaphysical Experience”, a woman named Solara was my guest. Her topic was Activation of the 11:11 Doorway. It was all about ascension and the beginning of awareness of the 11:11 code. In 1995, a Crystalinks’ reader named Joe emailed about his experiences with the numbers 111:111, hence the file you are reading was first created and in so doing I took a long hard look at this phenomena experienced by those around me. Each time Joe was about to go through another major spiritual awakening, an epiphany of some kind, those numbers would appear in his physical experience to signal the upcoming change. The numbers say, “Pay attention!”

 

SPIRITUAL PSYCHOLOGY: Carl Jung, the father of analytical psychology, was fascinated by numerology. Not only did he study various numbers and their meanings, but he also looked at how (and why) our culture was (and still is) fascinated with numbers.

 

11 represents spiraling twin strands of human DNA moving into higher frequency of consciousness.

 

11 represents balance.

 

11+11=22=4=Time. 22 is a Master or Alchemic Number.

 

Some souls see a Golden Age emerging, as told by the ancient prophets. Gold refers to Alchemy , the alchemical changes that are taking place in our bodies in the evolution of consciousness.

 

Reality as a geometric design is based on numbers (universal language) that repeat in cycles to create the linear time experiment. In Pythagorean Numerolgy, a cycle is based on 9. 9 = End. 9/11 = end of the DNA biogen(et)ic program running at the moment.

 

We all have one or more numeric codes that follow the blueprint of Sacred Geometry. It is about the spirals of consciousness, Fibonacci Numbers, the Golden Spiral, also found in perfection, in the exact proportions in the Great Pyramid . We all have one or more numeric codes that follow the blueprint of Sacred Geometry. It is about the spirals of consciousness, Fibonacci Numbers, the Golden Spiral, also found in perfection, in the exact proportions in the Great Pyramid .

 

Most digital codes that evoke memory are double digits or countdowns such as 1, 2, 3, 4 ,5 or 5, 4, 3, 2, 1, 0, which goes to Zero Point Merge

You will experience a sudden awakening after which reality is never the same. You are going to create clarity, healing and balance for yourself. Do not expect others in your life to be on this journey with you. It is yours alone as it is for most souls. You will have to seek new friends of like mind who are also being triggered by the digits. Once you open the Digital Door, there is no going back. Your soul will automatically and quickly move you from level to level of experience until you ‘get it’. Your consciousness is expanding and therefore you will, manifest faster and with greater comprehension, becoming more aware of the meaning of synchronicities that will become more and more frequent. They are created by your soul creates to help you remember that you are a soul spark in a physical program that is about to end, evolve back to higher consciousness.

 

Once you see your numeric codes, you have activated something in your DNA codes and they will continue to appear until you ‘get the message’ … it is ‘time’ to move on.

 

Upon seeing your digit encoded numbers, you may feel a sense of urgency or related emotions. Chill out! For NOW there is TIME!

 

The numbers usually signal changes in the patterns of your life.

 

They may confirm something that you are experiencing whenever the numbers appear to you.

 

You may dream also about the numbers, linked with things you do not as yet understand, or wake up at the same time every night with those numbers on your digital clock, ie. 11:11

Paranormailist Uri Geller on 11:11

 

The Doorway, The 11: 11

 

This can presently be perceived as a crack between two worlds.

 

As we unite together as One, bringing together our fragments of the key, we not only create the key, but we make visible the Doorway.It is like a bridge which has the inherent potential of linking together two very different spirals of energy.

 

As we unite together as One, bringing together our fragments of the key, we not only create the key, but we make visible the Doorway.

 

Thus this bridge functions as an invisible door or a doorway into the Invisible realm.

 

The 11:11 is the bridge to an entirely different spiral of evolution.

 

The symbol of 11:11 was pre-encoded into our cellular memory banks long ago.

The 11:11 is the bridge to an entirely different spiral of evolution.

 

The symbol of 11:11 was pre-encoded into our cellular memory banks long ago.

 

Returning our cycle of incarnations upon the Earth. The 11.11 has rested dormantly within us since that faraway position under time-release mechanization, combined with sealed orders which would only open when the 11.11 was fully activated. It has been gently sleeping, awaiting the moment of triggering. And now the 11:11 is finally activated…

 

11:11 is the pre-encoded trigger and the key to the mysteries of the universe and beyond.

 

Some of you have recognized this symbol as something of significance, yet have been unaware of its true meaning. With the advent of digital clocks many years ago, the significance of 11:11 began to make itself felt, often appearing on clocks at times of accelerated awareness. For those of you who have know that 11:11 was something special, we now need you to come forth into positions of leadership. For you are important parts of the key.

 

11 isn’t just a precursor to danger etc – it’s the whole point! 1+1 = 2 – unity, togetherness, peace. September 11 was a tragic event – no-one would question that – but if it leads to people realizing that the only way for this race to survive is togetherness and peace, maybe those deaths will not be in vain.

Number Sequences From The Angels

 

by Doreen Virtue, Ph.D.

The angels do their best to get our attention and to communicate with us. In this way, they help us heal our own lives. However, we often discount the signs they give us, writing them off as mere The angels do their best to get our attention and to communicate with us. In this way, they help us heal our own lives. However, we often discount the signs they give us, writing them off as mere coincidences or our imagination. The angels say: “We can’t write our messages to you in the sky. You’ve got to pay attention and believe when you see any patterns forming in your life — especially in response to any questions or prayers you’ve posed. When you hear the same song repeatedly or see the same number sequence, who do you think is behind this?coincidences or our imagination. The angels say: “We can’t write our messages to you in the sky. You’ve got to pay attention and believe when you see any patterns forming in your life — especially in response to any questions or prayers you’ve posed. When you hear the same song repeatedly or see the same number sequence, who do you think is behind this? Your angels, of course!”

Your angels often communicate messages to you by showing you sequences of numbers. They do this in two ways. First, they subtly whisper in your ear so you’ll look up in time to notice the clock’s time or a phone number on a billboard. The angels hope you’ll be aware that you’re seeing this same number sequence repeatedly. For instance, you may frequently see the number sequence 111, and it seems every time you look at a clock the time reads 1:11 or 11:11.

 

The second way in which angels show you meaningful number sequences is by physically arranging for, say, a car to drive in front of you that has a specific license plate number they want you to see. Those who are aware of this phenomenon become adept at reading the meaning of various license plates. In this way, the angels will actually give you detailed messages. Here are the basic meanings of various number sequences. However, your own angels will tell you if your situation holds a different meaning for you. Ask your angels, “What are you trying to tell me?” and they’ll happily give you additional information to help decode their numeric meanings.

 

111 — Monitor your thoughts carefully, and be sure to only think about what you want, not what you don’t want. This sequence is a sign that there is a gate of opportunity opening up, and your thoughts are manifesting into form at record speeds. The 111 is like the bright light of a flash bulb. It means the universe has just taken a snapshot of your thoughts and is manifesting them into form. Are you pleased with what thoughts the universe has captured? If not, correct your thoughts (ask your angels to help you with this if you have difficulty controlling or monitoring your thoughts).

 

222 — Our newly planted ideas are beginning to grow into reality. Keep watering and nurturing them, and soon they will push through the soil so you can see evidence of your manifestation. In other words, don’t quit five minutes before the miracle. Your manifestation is soon going to be evident to you, so keep up the good work! Keep holding positive thoughts, keep affirming, and continue visualizing.

 

333 — The Ascended Masters are near you, desiring you to know that you have their help, love, and companionship. Call upon the Ascended Masters often, especially when you see the number 3 patterns around you. Some of the more famous Ascended Masters include: Jesus, Moses, Mary, Quan Yin, and Yogananda.

 

444 — The angels are surrounding you now, reassuring you of their love and help. Don’t worry because the angels’ help is nearby.

 

555 — Buckle your seatbelts. A major life change is upon you. This change should not be viewed as being “positive” or “negative,” since all change is but a natural part of life’s flow. Perhaps this change is an answer to your prayers, so continue seeing and feeling yourself being at peace.

 

666 — Your thoughts are out of balance right now, focused too much on the material world. This number sequence asks you to balance your thoughts between heaven and earth. Like the famous “Sermon on the Mount,” the angels ask you to focus on spirit and service, and know your material and emotional needs will automatically be met as a result.

 

777 — The angels applaud you…congratulations, you’re on a roll! Keep up the good work and know your wish is coming true. This is an extremely positive sign and means you should also expect more miracles to occur.

 

888 — A phase of your life is about to end, and this is a sign to give you forewarning to prepare. This number sequence may mean you are winding up an emotional career, or relationship phase. It also means there is light at the end of the tunnel. In addition, it means, “The crops are ripe. Don’t wait to pick and enjoy them.” In other words, don’t procrastinate making your move or enjoying 999 — Completion. This is the end of a big phase in your personal or global life. Also, it is a message to lightworkers involved in Earth healing and means, "Get to work because Mother Earth needs you right now."fruits of your labor.

 

999 — Completion. This is the end of a big phase in your personal or global life. Also, it is a message to lightworkers involved in Earth healing and means, “Get to work because Mother Earth needs you right now.”

 

000 — A reminder you are one with God, and to feel the presence of your Creator’s love within you. Also, it is a sign that a situation has gone full circle.

 

source

 

George Barnard’s 11:11 Theory

 

Essentially, George Barnard explains that 11:11 is the calling card for brings that are half angels and half humans. 1,111 were the ones left faithful the the Divine after rebellion and throughout the centuries their numbers have increased. They bring a message to humanity. When these beings are around, try to watch for them messing up electricity at the same time you see the numbers. They come in and out to this dimension very fast. The book that first identified these beings is the Urantia book.

 

In his decades of research, these beings have identified themselves with their individual names. Why do they contact you?

 

George’s theory:

 

Well we only have theories on this. They have not yet explained who they pick. It could be as simple as:

 

because they can prompt you, and others are not receptive. It does seem that most contactees have excellent latent psychic abilities. This follows – if they can trigger your brain to look somewhere, or at a clock at the right time, then they can impress a wider range of thoughts into your mind too.

or because you have unique skills or abilities that they would like to utilize

or because you are either already in an important role, or will be in an important role. We are not suggesting you are running the country, but you might be a teacher, or a painter, or a musician – someone who will influence many people. The Correcting Time will be a time when orthodoxy fails, and folks will be looking for answers. And they will be fearful. They will need reassurance. You may thus be the leading edge – the early adopters of new paradigms.

Their courtesy call is an invitation to raise awareness that spirit need to progress.

 

source

 

The Nature of Synchronicity

 

by Scott Rabalais

 

Patience is good. Synchronicity is better. Patience can be defined as bearing or enduring without complaint. It is the act of “giving time” to that which will come to fruition. It is the hope of things to come.

 

Note that patience implies the waiting game, that is, “I don’t have it now, but with time it will come to me.” For example, suppose I have plans to work in my garden this morning. However, a storm has appeared and the weather prohibits me from tending to the garden. I can say to myself, “I will be patient and in due time I will be able to work in my garden.” And wait I will. And I can easily become anxious, as I sit and watch the weather pass by, waiting, waiting and waiting furthermore.

 

On the other hand, synchronicity is that which knows no waiting or enduring. It recognizes that all is complete in the moment. It provides all in this very moment. It knows there is a perfect time and place for all, and one who experiences synchronicity knows of the harmony between the person and the completeness of the moment. One in synchronicity is not waiting for the rain to stop so that the garden may be tilled, but instead appreciates the rain in all its splendor, along with the situation that it creates in the moment.

 

Instead of tending to the garden, the fall of the rain may give me reason to sit down a write a letter to an old friend. So rather than focusing on what could be done, I instead focus on that which is in the moment and what is given to me irrespective of my plans or wishes.

 

From a separation consciousness point of view, patience is that which fills the chasm of time. From the position of now, I project that I want something to occur that is currently in the position of later. There is a chasm — between the present and the future. That is the “reality” of time that we create in our heads, and yet time is not real. Or, it is real only so far as we construct it out of our separation consciousness.

 

Synchronicity works in the now and only in the now. It is the result of full acceptance and allowance of life and its quality of flow. It is born from the stillness of the mind, in listening to that which is brought to us by the universe. It is the natural flow of life, irrespective of our conditioning, our wants and our plans. When we drop the thinking, that which is beyond thought is allowed to manifest itself in our experience. And the quality of such manifestation is Perfection, is synchronistic and is divine. It's getting out of the way for The Way.Synchronicity works in the now and only in the now. It is the result of full acceptance and allowance of life and its quality of flow. It is born from the stillness of the mind, in listening to that which is brought to us by the universe. It is the natural flow of life, irrespective of our conditioning, our wants and our plans. When we drop the thinking, that which is beyond thought is allowed to manifest itself in our experience. And the quality of such manifestation is Perfection, is synchronistic and is divine. It’s getting out of the way for The Way.

 

Synchronicity is the essence of unity consciousness, a quality of the natural flow of life. The flower blooms in perfect synchronicity with the natural elements of the sun, the water, the wind and the soil. It does hope to bloom in the winter, nor does does it have plans or wishes to bloom during the cold months. Instead, it lives in a synchronistic relationship with all elements in its experience and grows when it is best for it to be supported by the elements, and vice versa. It blooms at its perfect time, in harmony with that which surrounds it and interrelates with it.

 

Patience is waiting. How can one be complete if one is waiting for that which is not yet evident? Even patient waiting is waiting. Like the passenger in the train station awaiting the arrival of his train, he may be on the constant outlook for the appearance of the train down the tracks. In his constant glances down the track, he is anxious and in desire of that which is not yet in his experiential field. Instead, he may have a seat on a station bench, taking pleasure in watching lilies sway in the field across the tracks. And as he does so, lo and behold, the train will come into his awareness in its own time. And it is in that moment he can bring his awareness to the arrival of the train. It is in the moment.

 

Synchronicity is a gift of the universe, available to use in every moment. It is the subtle and sweet music of existence that we can hear if we only listen. If we attend only to the clamoring of our minds, we will be unable to manifest the harmonious flow of synchronicity from unity consciousness. Our dance to this synchronistic flow is experiential ecstasy. It is the effortless dance of the of the self with the universe.

 

in5d.com/1111-synchronicity-repetitive-numbers-and-their-...

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Spiral & Net

 

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[...] The shamanism is much older than all the world religions, he is as old as mankind. Many cave paintings from the Stone Age shamanic rituals are dar. We deal with our own roots as it were, if we now turn our attention to shamanic dreams. Many people today have a great yearning for the lost connection with these roots.

 

We have lost the one-sided by the full development of the intellect. We have said somewhat simplified, only used our left side of the face and put all the right areas out of service. This unused storage spaces of our options would be responsible for feelings, intuition, imagination, visual, symbolic way of thinking, intuition for the irrational.

 

Moreover, use our intellect, and I will not demonize the way, only the directed way of thinking, so we fixed a certain point that you want to see as sharp. It's the same principle as a telescope:

 

The price, however, you pay for this focus is a very narrow field of view. [...]____________________________________________

 

Source: Susanne Elsensohn - "Schamanismus und Traum"

Translated by Mr. Google!

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When you've understood, start to sense:

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Purple color ( yellow compensating ) saturated , cold, heavy , calm, mysterious . It symbolizes wisdom , maturity, higher intelligence . Purple color is easily suppressed by other colors , but in itself a deep purple color and expressive . He gives clothes a solemn and luxurious look. In a lot of purple color is melancholy. Corresponds to the planet Uranus .

 

Associated with artistry , great ideas , intuition and mysticism . It promotes inspiration , compassion , and sensitivity.

 

Sublime color, always present in the clothes of kings and clergy. It is the color of inspiration , which is peculiar to the healers and creative individuals . He will learn to accept everything that happens to you with a calm mind , soothe the soul and nourish its energy inspiration. Purple combines body and thinking, material requirements with the needs of the soul. Of people with a predominance of purple color in the aura obtained skilled healers , and if they are engaged in creative work , their works are distinguished by naturalness and language that is clear to everyone . Purple balances the two ends of the spectrum , and also balances the male and female energy in the human body.

Although you probably know that the third eye is associated with wisdom and intuition, you may not be aware of the side effects that can come with opening your third eye. For example, it can induce uncomfortable physical sensations. Similarly, it can make it hard to regulate your own behavior, and it can lead to confusing experiences during your sleep. So, does this mean that it is better to keep your third eye closed? Alternatively, do the benefits outweigh the potential costs?

 

We’ll explore how to open your third eye and explain how to tell if your third eye is open already, along with considering the dangers of opening third eye chakras. As it turns out, all of these dangers can be mitigated by careful foresight. To that end, we'll suggest a range of techniques that will help you ensure that your third eye is a source of empowerment rather than fear.

     

What Is Your ‘Third Eye’?

The third eye is located in your pineal gland, which ancient philosophers believed was the seat of the soul. It is the third eye that allows us to intuit possible futures and make sense of our own potential, and it evolved to help us identify underlying patterns in our lives.

   

Everyone has a third eye, and everyone gains access to it. However, some use it more than others, and with greater intensity.

 

Any time that you have a gut feeling, you're drawing from the perception of your third eye. For example, just think about the times when you simply knew you should go to a particular place or seek contact with a particular person, even though you couldn't justify this choice with articulable logic.

 

It's helpful to think of the third eye as a unique sense organ; one that can be honed and sharpened with work.

 

In addition to helping you read your environment and access intuitions about the path you should follow in life, it can help you tune into particular vibrations in other people. This means that strengthening your use of the third eye not only enhances your perception but also assists you in connecting with people whose energy fits with yours.

 

Further Reading

 

Third Eye Chakra Healing For Beginners: How To Open Your Third Eye

7 Chakras: What Is A Chakra? How To Balance Chakras For Beginners

Third Eye Awakening: How To Know If Your Third Eye Is Open

Many people mistakenly think that they need to work on causing a third eye awakening when in fact it is already open. This is largely because fear and uncertainty can prompt us to ignore what we take in with the third eye; we are often raised to discount our “hunches”.

 

So, how do you know if your own third eye is open? The easiest way to answer this question is to pay attention to whether you have gut feelings, even one that you suppress. The more seemingly baseless intuitions you have, the more likely it is that your third eye is currently open, whether you want it to be or not.

 

Third Eye Opening Side Effects

In addition to causing strong gut feelings, having an open third eye can induce a wide range of other side effects.

 

In particular, look out for the following third eye opening side effects:

 

A light feeling of pressure between your eyebrows. This could be similar to the sensation of someone gently pressing a finger to the skin in that area. This needn't happen when you're feeling particularly spiritual, but it is often a reminder that the spiritual dimension of life is currently relevant.

Starting to picture things in your mind (or even starting to dream about particular things) before they happen.

A sense that colors are brighter and that your environment is sharper. An open third eye allows you to take in light and details that you would otherwise miss, and this can be intense or overwhelming at first.

Feeling like you are changing on a fundamental level, even if you struggle to put it into words. It's common for the third eye to open because of transformative experiences, or to occur just before a period of great growth.

More frequent tension headaches (i.e., headaches that feel like pressure on your temples or like a band around your head). This is sometimes explained as being a result of your mind working harder than usual.

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What Causes Third Eye Chakra Blockages Or Imbalances?

It's important to be aware that you may struggle to open or utilize your third eye. In particular, blockages or imbalances can develop in the location of the third eye chakra, and it is only by dislodging these blockages that you'll be able to access the full power of your intuition. Common causes of this sort of imbalance include exhaustion, resistance to the power of your third eye, high levels of consistent stress, and repeated emotional conflict in your life.

 

Remember, your third eye can be underactive or overactive, so be aware of different cues. If it is underactive, you may struggle to concentrate, feel anxious, find it difficult to self-reflect, and feel somehow disconnected from the people around you.

 

Meanwhile, if you're dealing with an overactive third eye, you may be trapped in over-analyzing your current situation, feel mentally “fogged up”, and repeatedly escape into daydreams rather than engaging with real life.

 

7 ‘Dangers’ Of Opening Your Third Eye

As you’re now aware, there are many reasons why you might want to open your third eye and lots of ways in which you can benefit from doing so.

 

Of course, however, opening one’s third eye is not without risks.

 

If the process is improperly managed, you can end up feeling overwhelmed and may struggle to deal with your new sense of power. Third eye opening side effects include the following, all of which can be effectively managed with careful planning.

 

1. Vivid Dreams And Nightmares

If your third eye opens at a time that you don't expect and you're ill-equipped to manage it, your sleep can be severely disrupted.

 

In particular, you may experience especially intense dreams and nightmares, some of which can be frightening. You may also wake up feeling tired, and find the images from your dreams keep returning throughout the day in a way that makes it hard to concentrate or relax.

 

Meditating before going to bed can help you to counteract this possible side effect of third eye experiences, encouraging your mind to enter into a calm and balanced state that facilitates less erratic input from the third eye.

 

In addition, keeping a dream journal can help you understand the underlying themes from dreams and nightmares, and your third eye will typically stop overloading you with repeatedly intense imagery if you process the lesson or message that is being represented during your sleep.

 

2. Scary Accurate Intuition

When your third eye first opens, your finely honed faculty of intuition may feel like more of a burden than a gift. You may become so good at predicting what will happen in your life (or how others behave) that you feel truly unnerved by it and find it daunting rather than useful.

 

In time, you will become used to the improved accuracy of your gut feelings. The lesson here is not to try and repress your gut feelings. Instead of reducing their frequency, pushing them away tends to make them come back with a greater level of intensity. This includes in the form of dreams, as mentioned above.

 

To deal with the scarily accurate predictions involved in opening your third eye, try to remind yourself that these intuitions will help you make good choices. While it can seem bizarre at first, it is also the key to a happier, more informed future.

 

3. You May Become Fearless

Sometimes, people report a fearlessness associated with opening your third eye chakra, as they have a sense of being invincible or super-human. The opening of the third eye can be deeply empowering, and with this empowerment often comes a dramatic increase in self-confidence.

 

So, what should you do to ensure that this new fearlessness is healthy?

 

Firstly, it's important to note that an open third eye doesn't make you omniscient So, it's still important to think carefully about everything you choose to do in life.

 

Secondly, it's helpful to deliberately engage the rational parts of your mind in order to make sure you get some logical input to balance the raw intuition few to you by the third eye. For example, it can be helpful to write a pros and cons list about something you're thinking about doing. In addition, write down all the feelings and intuitions that strike you.

 

4. Astral Projection

When you astrally project, part of you leaves your body and travels elsewhere. This typically happens in bed at night, when your soul or essence may raise up above your physical body and leave you feeling frightened and confused. As you become more spiritually powerful by opening your third eye, this power can emerge at unpredictable times and this can be difficult to get used to at first.

 

The trick here is to realize that there is nothing inherently dangerous about astral projection. You can not get “stuck” outside of your body. Plus, nothing bad will happen to your body during the period in which you temporarily detach from it. Try to view experiences of astral projection as signals that your intuitive faculties are sharpening and that you are becoming more and more in tune with the universe. Once this type of experience becomes more normal, you may even find it pleasurable or profound.

 

5. Your Eye Chakra Could Become Overactive

When your third eye becomes oversensitive, you may experience some of the physical side effects that we discussed above. Most notably, you may develop a sensitivity to light, with bright sun and vivid colors becoming almost offensive to look at.

 

In addition, you might start to get uncomfortable headaches that your doctor considers to be unexplained. It's unpleasant to deal with these signs of having an oversensitive third eye. Therefore, it's important to work on balancing your third eye charka (more on that below).

 

In addition to this balancing, you may find it helpfully to temporarily limit your exposure to, especially stimulating environments. By gradually increasing the time you spend outside, for example, you can slowly allow your third eye to become acclimatized to the intense sights and sounds that flood it. Meanwhile, relaxing your body will help to reduce the tension in your head muscles, potentially dulling your headaches.

 

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6. Third Eye Awakening Can Be Confusing And Scary

The mere opening of the third eye can itself lead to feeling confused and frightened. In this way, you may even start to ask how to close your third eye as the new flood of information can leave you destabilized. In some cases, you may even wonder if there's a way to go back to how things were before.

 

However, it's vital to remember that you are merely gaining access to information that already existed all around you.

 

You're not changing the future or reading the thoughts of others; you're just tuning in to cues that you didn't use to know how to interpret.

 

When you attempt to view the opening of the third eye as just an increase in a previous capacity, it can seem much less frightening. Further, try to remind yourself that your spiritual awakening can really only be good for you in the long term. It will help you understand your life's true purpose.

 

7. Chaotic Behavior

Finally, as well as feeling frightened, you might notice you start to behave in inconsistent ways. This is similar to the way in which any major change can lead to erratic behavior. You may want time to adjust to the opening of your third eye, and time to figure out what your newly sharpened intuition should mean for how you behave.

 

Be patient with yourself, and don't expect yourself to immediately know exactly how to manage everything you're learning and feeling.

 

As well as simply waiting out this adjustment period, it can be helpful to exercise a little more restraint than usual. In other words, question the urges you feel before simply acting on them. Plus, quickly check that you can stand by your behavior before you choose to put it into practice.

 

Meanwhile, let those you are close to knowing that you're going through a period of growth and adjustment so that they can offer support and compassion.

  

“I Opened My Third Eye And I Regret It!” – How To Balance Your Third Eye

If you're worried about opening your third eye and want to ensure that you don't regret it, make a consistent effort to keep your third eye chakra balanced in a healthy way.

 

The following techniques are especially effective in balancing your third eye:

 

Practice meditation on a daily basis. This can be a simple 10-minute exercise during which you focus on your breathing or scan your body for sensations. Or, it can be a more complex meditative journey if you're already experienced.

Put lavender or neroli essential oils on the pulse points of your wrists, or light scented candles that include these oils.

Ensure you get approximately eight hours of sleep per night. Practice good sleep hygiene! For example, remove electronic devices from your bedroom and do something relaxing for at least an hour before bed.

Eat foods to nourish the third eye (including red onion, blueberries, blackberries, eggplant, red grapes, and raspberries). In general, any red and purple foods are said to be connected to a balanced third eye chakra.

Recite daily affirmations that relate to the third eye, such as “I acknowledge the wisdom that comes from within me” and “I am open to the inner guidance of my third eye.”

 

www.thelawofattraction.com/dangers-opening-third-eye/

 

Since ancient times, the third eye had been revered by all kinds of cultures. Today, we know it as the pineal gland, but it is still called the third eye in the spiritual realm. The third eye is viewed as a spiritual sign representing our capability to conquer all kinds of challenges in daily life by tapping into our inner wisdom.

 

But there is much more to the third eye than that. In most Eastern traditions, the third eye is undoubtedly real; a thing that anybody can perceive and obviously feel if they have a strong sense of self and mindfulness. It is what is often referred to as the connection between our body and our spirit.

 

When we meditate with any consistency, the third eye opens and your inner guide becomes stronger and a more present guiding force in your life.

 

HERE ARE FIVE SIGNS YOUR THIRD EYE IS OPENING:

 

1. A DULL SENSATION OF PRESSURE BETWEEN THE EYEBROWS.

 

Generally when the third eye starts to manifest on a much deeper level, there’s a related consciousness of sensation between eyebrows. It could seem like somebody is lightly touching us at that moment, or you might feel a spreading of warmth.

 

Sometimes this sensation could appear from nowhere; whether we have spiritual feelings or not. It’s as if it’s a signal to pull us back in that spiritual state of mind.

    

2. INCREASED FORESIGHT.

 

Among the most obvious signals of third eye opening is an increase in foresight or intuition we start to experience – if we are paying attention.

 

Intuition is the capability to know something might happen before it does or knowing something is right or wrong because of a feeling or sense. It often comes and goes without notification. However with time, this feeling could get stronger, and turn out to be a guiding process in our daily lives.

 

We might start to sense warning signs or what our next action should be without explanation. Don’t dispute your intuition. Use it! It might not always be right; however it most certainly will put us on the right path.

 

3. PRONE TO LIGHT SENSITIVITY.

 

With the opening third eye, we could find ourselves a little more sensitive to light and seeing colors more brightly.

    

Vivid colors and our awareness of light may begin subtly; they are not always instantly obvious or overwhelming. However, the sensitivity to light often brings further awareness of what is happening around us. When focusing deeply on the third eye (like in meditation), the lights of the third eye might appear.

 

The third eye and it’s reference to light has been talked about for years in many traditions worldwide. It is well-known in many forms of art and religious works. If you study the works, you can often see the light reference in circular shapes and star-shaped lights peeking through the clouds.

 

Our eyes will change over time, and we might feel like we just can’t get enough sun on our skin. This is normal. Soak it up! Just make sure you are not harming the skin.

 

4. A FEELING OF GRADUAL AND CONTINUAL CHANGE.

 

Most importantly, fostering a healthy third eye steadily changes our perspective and personality in life. It results in beneficial changes because we want, and maybe even crave them. We can usually see it in the way we treat others. We might become more tolerant and less selfish.

   

5. INCREASED HEADACHES.

 

A headache pressure is stronger than the pressure talked about earlier that happens between the eyebrows. At times, that pressure can begin to ache a little. Consider it a little bit of energy overload. Go outdoors and do a thing you cherish, like meditate or walk.

 

Head pressure is an actual sign of the spiritual eye opening, particularly in the center of the forehead. It is an indication that one’s pineal gland is developing energetically.

  

Never apologize for being a strong woman!

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TIPS TO ENGAGE THE THIRD EYE

 

When our Third Eye is opening, we’ll begin body-to-soul discussions in our mind with an understanding of our place in the Universe and that we are the creator of our reality!

 

We will encounter greater states of mindfulness, enabling us to visualize a better life and take focused action to help us live up to our potential. We’ll become very intuitive, possess a good memory, and we’ll have the ability to understand without any problem.

 

www.powerofpositivity.com/5-signs-third-eye-opening/

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|| See & Hear || Abstraction & Concretism || Indras Pearl network ||

  

Abstraction in psychology Carl Jung's definition of abstraction broadened its scope beyond the thinking process to include exactly four mutually exclusive, opposing complementary psychological functions: sensation, intuition, feeling, and thinking.

 

Together they form a structural totality of the differentiating abstraction process. Abstraction operates in one of these opposing functions when it excludes the simultaneous influence of the other functions and other irrelevancies, such as emotion. Abstraction requires selective use of this structural split of abilities in the psyche. The opposite of abstraction is concretism.

 

There is an abstract thinking, just as there is abstract feeling, sensation and intuition. Abstract thinking singles out the rational, logical qualities ... Abstract feeling does the same with ... its feeling-values. ... I put abstract feelings on the same level as abstract thoughts. ... Abstract sensation would be aesthetic as opposed to sensuous sensation and abstract intuition would be symbolic as opposed to fantastic intuition. (Jung, [1921] (1971):par. 678).

 

Source: Wikipedia

  

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These are some details of my recent paintings on large canvases. I'll share the full versions of each work shortly (when they are dry... lol). I used 2 different techniques and I wanted them to be very colorful, spontaneous and decorative.

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In civilizations of a traditional nature, intellectual intuition lies at the root of everything; in other words, it is the pure metaphysical doctrine that constitutes the essential, everything else being linked to it, either in the form of consequences or applications to the various orders of contingent reality.

 

Not only is this true of social institutions, but also of the sciences, that is, branches of knowledge bearing on the domain of the relative, which in such civilizations are only regarded as dependencies, prolongations, or reflections of absolute or principial knowledge.

 

Thus a true hierarchy is always and everywhere preserved: the relative is not treated as non-existent, which would be absurd; it is duly taken into consideration, but is put in its rightful place, which cannot but be a secondary and subordinate one; and even within this relative domain there are different degrees of reality, according to whether the subject lies nearer to or further from the sphere of principles.

 

Thus, as regards science, there are two radically different and mutually incompatible conceptions, which may be referred to respectively as traditional and modern. We have often had occasion to allude to the 'traditional sciences' that existed in antiquity and the Middle Ages and which still exist in the East, though the very idea of them is foreign to the Westerners of today. It should be added that every civilization has had 'traditional sciences' of its own and of a particular type. Here we are no longer in the sphere of universal principles, to which pure metaphysics alone belongs, but in the realm of adaptations.

(…)

 

By seeking to sever the connection of the sciences with any higher principle, under the pretext of assuring their independence, the modern conception robs them of all deeper meaning and even of all real interest from the point of view of knowledge; it can only lead them down a blind alley, by enclosing them, as it does, in a hopelessly limited realm.

 

Moreover, the development achieved in this realm is not a deepening of knowledge, as is commonly supposed, but on the contrary remains completely superficial, consisting only of the dispersion in detail already referred to and an analysis as barren as it is laborious; this development can be pursued indefinitely without coming one step closer to true knowledge.

 

It must also be remarked that it is not for its own sake that, in general, Westerners pursue science; as they interpret it, their foremost aim is not knowledge, even of an inferior order, but practical applications, as can be deduced from the ease with which the majority of our contemporaries confuse science and industry, and from the number of those for whom the engineer represents the typical man of science.

(…)

 

Modern experimentalism involves the curious illusion that a theory can be proven by facts, whereas in reality the same facts can always be equally well explained by several different theories; some of the pioneers of the experimental method, such as Claude Bernard, have themselves recognized that they could interpret facts only with the help of preconceived ideas, without which they would remain 'brute facts' devoid of all meaning and scientific value.

 

Since we have been led to speak of experimentalism, the opportunity may be taken to answer a question that may be raised in this connection: why have the experimental sciences received a development in modern civilization such as they never had in any other?

 

The reason is that these sciences are those of the sensible world, those of matter, and also those lending themselves most directly to practical applications; their development, proceeding hand in hand with what might well be called the 'superstition of facts', is therefore in complete accord with specifically modern tendencies, whereas earlier ages could not find sufficient interest in them to pursue them to the extent of neglecting, for their sake, knowledge of a higher order. It must be clearly understood that we are not saying that any kind of knowledge can be deemed illegitimate, even though it be inferior; what is illegitimate is only the abuse that arises when things of this kind absorb the whole of human activity, as we see them doing at present.

(…)

 

One of the characteristics of the present age is the exploitation of everything that had hitherto been neglected as being of insufficient importance for men to devote their time and energy to, but which nevertheless had to be developed before the end of the cycle, since the things concerned had their place among the possibilities destined to be manifested within it; such in particular is the case of the experimental sciences that have come into existence in recent centuries.

 

There are even some modern sciences that represent, quite literally, residues of ancient sciences that are no longer understood: in a period of decadence, the lowest part of these sciences became isolated from all the rest, and this part, grossly materialized, served as the starting-point for a completely different development, in a direction conforming to modern tendencies; this resulted in the formation of sciences that have ceased to have anything in common with those that preceded them. Thus, for example, it is wrong to maintain, as is generally done, that astrology and alchemy have respectively become modern astronomy and modern chemistry, even though this may contain an element of truth from a historical point of view; it contains, in fact, the very element of truth to which we have just alluded, for, if the latter sciences do in a certain sense come from the former, it is not by 'evo-lution' or 'progress' - as is claimed - but on the contrary, by degeneration.

(…)

 

These are the two complementary functions proper to the traditional sciences: on the one hand, as applications of the doctrine, they make it possible to link the different orders of reality and to integrate them into the unity of a single synthesis, and on the other, they constitute, at least for some, and in accordance with their individual aptitudes, a preparation for a higher knowledge and a way of approach to it - forming by virtue of their hierarchical positioning, according to the levels of existence to which they refer, so many rungs as it were by which it is possible to climb to the level of pure intellectuality.

 

It is only too clear that modern sciences cannot in any way serve either of these purposes; this is why they can be no more than 'profane science', whereas the 'traditional sciences', through their connection with metaphysical principles, are effectively incorporated in 'sacred science'.

 

The ways leading to knowledge may be extremely different at the lowest degree, but they draw closer and closer together as higher levels are reached. This is not to say that any of these preparatory degrees are absolutely necessary, since they are mere contingent methods having nothing in common with the end to be attained; it is even possible for some persons, in whom the tendency to contemplation is predominant, to attain directly to true intellectual intuition without the aid of such means; but this is a more or less exceptional case, and in general it is accepted as being necessary to proceed upward gradually.

 

The whole question may also be illustrated by means of the traditional image of the 'cosmic wheel': the circumference in reality exists only in virtue of the center, but the beings that stand upon the circumference must necessarily start from there or, more precisely, from the point thereon at which they actually find themselves, and follow the radius that leads to the center. Moreover, because of the correspondence that exists between all the orders of reality, the truths of a lower order can be taken as symbols of those of higher orders, and can therefore serve as 'supports' by which one may arrive at an understanding of these; and this fact makes it possible for any science to become a sacred science, giving it a higher or 'anagogical' meaning deeper than that which it possesses in itself.

 

Every science, we say, can assume this character, whatever may be its subject-matter, on the sole condition of being constructed and regarded from the traditional standpoint; it is only necessary to keep in mind the degrees of importance of the various sciences according to the hierarchical rank of the diverse realities studied by them; but whatever degree they may occupy, their character and functions are essentially similar in the traditional conception.

 

What is true of the sciences is equally true of the arts, since every art can have a truly symbolic value that enables it to serve as a support for meditation, and because it’s rules, like the laws studied by the sciences, are reflections and 'applications of fundamental principles: there are then in every normal civilization 'traditional arts', but these are no less unknown to the modern West than are the 'traditional sciences'. The truth is that there is really no 'profane realm' that could in any way be opposed to a 'sacred realm'; there is only a 'profane point of view', which is really none other than the point of view of ignorance.

 

This is why 'profane science', the science of the moderns, can as we have remarked elsewhere be justly styled 'ignorant knowledge', knowledge of an inferior order confining itself entirely to the lowest level of reality, knowledge ignorant of all that lies beyond it, of any aim more lofty than itself, and of any principle that could give it a legitimate place, however humble, among the various orders of knowledge as a whole. Irremediably enclosed in the relative and narrow realm in which it has striven to proclaim itself independent, thereby voluntarily breaking all connection with transcendent truth and supreme wisdom, it is only a vain and illusory knowledge, which indeed comes from nothing and leads to nothing.

 

This survey will suffice to show how great is the deficiency of the modern world in the realm of science, and how that very science of which it is so proud represents no more than a deviation and, as it were, a downfall from true science, which for us is absolutely identical with what we have called 'sacred' or 'traditional' science. Modern science, arising from an arbitrary limitation of knowledge to a particular order-the lowest of all orders, that of material or sensible reality-has lost, through this limitation and the consequences it immediately entails, all intellectual value; as long, that is, as one gives to the word 'intellectuality' the fullness of its real meaning, and refuses to share the 'rationalist' error of assimilating pure intelligence to reason, or, what amount to the same thing, of completely denying intellectual intuition.

 

The root of this error, as of a great many other modern errors - and the cause of the entire deviation of science that we have just described - is what may be called 'individualism', an attitude indistinguishable from the anti-traditional attitude itself and whose many manifestations in all domains constitute one of the most important factors in the confusion of our time; we shall therefore now study this individualism more closely.

 

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excerpts from The Crisis of the Modern World by René Guenon

 

Chapter 4: Sacred and profane science

 

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Dekoulou Monastery, Greece

 

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An architect without aesthetic is an architect without ethic.

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Massimiliano and Doriana Fuksas directed the Biennale of Venice 2000 with the title “Less Aesthetics, More Ethics”.

 

The urban transformation occurred in the last thirty years has no equal both in terms of dimension of the phenomenon and the size of the areas involved.

The first idea was to use the 2000 Biennial as a workshop for analyzing and trying to give an intelligible shape to the new planetary dimension of urban behaviours and transformations. The considerations, investigations and intuitions over the evolution of the cities took shape as a need for “something else”. “Something else” from architecture – whose troubled life we try to prolong every day – which we share our entire life with, and “something else” from successful architecture schemes: it was about recovering the awareness according to which the quality of architects and works was no longer enough. At such point, the 2000 Biennial edition had a main theme.

 

“CITIES: LESS AESTHETICS, MORE ETHICS”, the theme of the seventh Biennial of Architecture tries to communicate the deep unease of fast-transforming societies, where the data and reference points of an architect have utterly changed.

 

The exhibition, set at “Le Corderie”, draws the visitor’s attention to the “big” 280 X 5 metre screen whose images posit questions about megalopolis, areas contaminated by contradictions, conflicts, pollution, refugees’ dramatic condition, about new social aggregation centres like stations, airports and shopping centres, as well as a series of interviews with fifty architects.

 

For the first time, the Venice Biennial of Architecture uses simultaneously l’Arsenale, that is le Corderie, le Artiglierie and le Gaggiandre, in addition to i Giardini, the exhibition’s traditional location.

 

Foxes show great caring, adaptability and intelligence when raising their young and around now is a particularly busy time for the Vixen. Another six weeks or so and her cubs will start to make their first forays from the den.

In a future post apocalyptic world not very far from now, justice has a new name The Druidess Of Midian!

 

A bit of fun shoot at Coalhouse Fort, Tilbury, Essex, with C-Imagery.

 

Model: The Druidess Of Midian

MUA Dawn Holdbrook MUA

 

Photography © C-Imagery

 

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