Four Worlds
From Wikipedia, the free encyclopedia
The Four Worlds
in Kabbalah
Atziluth
Beri'ah
Yetzirah
Assiah
The Four Worlds (Hebrew: עולמות Olamot/Olamos, singular: Olam עולם), sometimes counted with a prior stage to make Five Worlds, are the comprehensive categories of spiritual realms in Kabbalah in the descending chain of Existence.
The concept of "Worlds" denotes the emanation of creative lifeforce from the Ein Sof Divine Infinite, through progressive, innumerable tzimtzumim (concealments/veilings/condensations). As such, God is described as the "Most Hidden of All Hidden",[1] and Olam is etymologically related to, and sometimes spelled as,[2] עלם (Noun: העלם Helem meaning "concealment"). While these dimmings form innumerable differentiated spiritual levels, each a microcosmic realm, nonetheless, through the mediation of the sephirot (Divine attributes), five comprehensive Worlds emerge. "Higher" realms metaphorically denote greater revelation of the Divine Ohr light, in more open proximity to their source, "Lower" realms are capable of receiving only lesser creative flow. The Worlds are garments of the Ein Sof, and Hasidic thought interprets their reality as only apparent to Creation, while "from above" the Divine Infinite fills all equally.
As particular sephirot dominate in each realm, so the primordial fifth World, Adam Kadmon, is often excluded for its transcendence, and the four subsequent Worlds are usually referred to. Their names are read out from Isaiah 43:7, "Every one that is called by My name (Atzilus "Emanation/Close"), and for My glory I have created (Beriah "Creation"), I have formed (Yetzirah "Formation"), even I have made (Asiyah "Action"). Below Asiyah, the lowest spiritual World, is Asiyah-Gashmi ("Physical Asiyah"), our Physical Universe, which enclothes its last two sephirot emanations (Yesod and Malchut).[3] Collectively, the Four Worlds are also referred to as ABiYA, after their initial letters.
v t e
The Worlds are formed by the Ohr Mimalei Kol Olmin, the Divine creative light that "Fills all Worlds" immanently, according to their particular spiritual capacity to receive. The 10 sephirot attributes and 12 basic partzufim personas shine in each world, as well as more specific Divine manifestations. In Lurianic Kabbalah, the partzufim dynamically interact with each other, and sublime levels are enclothed within lower existences, as their concealed soul. Nonetheless, in each World, particular sephirot and partzufim predominate. The five Worlds in descending order:
Adam Kadmon (אָדָם קַדְמוֹן), meaning Primordial Man. This anthropomorphic metaphor denotes the Yosher (Upright) configuration of the sephirot. Kadmon signifies "primary of all primaries", the first pristine emanation, still united with the Ein Sof. Also called the realm of Keter Elyon (Supernal Crown of Will), "the lucid and luminous light" (Tzachtzachot), "the pure lucid sephirot which are concealed and hidden" in potential. As Keter is elevated above the sephirot, so Adam Kadmon is supreme above the Worlds, and generally only Four Worlds are referred to.
Atziluth (אֲצִילוּת), meaning World of Emanation, also "Close." On this level the light of the Ein Sof (Infinite Divine "without end") radiates and is still united with its source. This supernal revelation therefore precludes the souls and Divine emanations in Atzilus from sensing their own existence. In Atzilus the 10 sephirot emerge in revelation, with Chochma (Wisdom) dominating, all is nullification of essence (Bittul HaEtzem) to Divinity, not considered created and separate. The last sephirah Malchut (Kingdom) is the "Divine speech" of Genesis 1, through which lower Worlds are substained.
Beri'ah (בְּרִיאָה or alternatively[4] בְּרִיָּה), meaning World of Creation. On this level is the first concept of creatio ex nihilo (Yesh miAyin), however without yet shape or form, as the creations of Beriah sense their own existence, though in nullification of being (Bittul HaMetzius) to Divinity. Beriah is the realm of the "Divine Throne", denoting the sephirot configuration of Atzilus descending into Beriah like a King on a Throne. The sephirah Binah (Understanding) predominates, Divine intellect. Also called the "Higher Garden of Eden". The Highest Ranking Angels are in Beriah.[citation needed]
Yetzirah (יְצִירָה), meaning World of Formation. On this level the created being assumes shape and form. The emotional sephirot Chesed to Yesod predominate, the souls and angels of Yetzirah worship through Divine emotion and striving, as they sense their distance from the Understanding of Beriah. This ascent and descent channels the Divine vitality down through the Worlds, furthering the Divine purpose. Therefore, in Yetzirah are the main angels, such as Seraphim, denoting their burning consummation in Divine emotion. Also called the "Lower Garden of Eden".
Assiah (עֲשִׂיָּה), meaning World of Action. On this level the creation is complete, differentiated and particular, due to the concealment and diminution of the Divine vitality. However, it is still on a spiritual level. The angels of Asiyah function on the active level, as the sephirah Malchut (fulfilment in Kingship) predominates. Below spiritual Asiyah is Asiyah Gashmi ("Physical Asiyah"), the final, lowest realm of existence, our material Universe with all its creations. The last two sephirot of Asiyah channel the lifeforce into Physical Asiyah.
Jacob's vision in Genesis 28:12 of a ladder between Heaven and Earth. In Kabbalistic interpretation, the Sulam-ladder's four main divisions are the Four Worlds[5] and the angelic hierarchy embody external dimensions of the lights-vessels, while souls embody inner dimensions
These four worlds are spiritual, Heavenly realms in a descending chain, although the lowest world of Assiah has both a spiritual and a physical aspect. The physical level of Assiah is our physical finite realm, including the cosmological Universe studied by Science. Consequently, as Kabbalah is a metaphysical study, its reference to Ohr ("light") is a metaphor for Divine emanation, and the terms "higher" and "lower" are metaphors for closer and further from Divine consciousness and revelation.
The 16th-century systemisation of Kabbalah by Moshe Cordovero brought the preceding interpretations and schools into their first complete rational synthesis. Subsequent doctrines of Kabbalah from Isaac Luria, describe an initial Tzimtzum (withdrawal of the universal Divine consciousness that preceded Creation) to "allow room" for created beings on lower levels of consciousness. Lower levels of consciousness require the self-perception of independent existence, by the created beings on each level, to prevent their loss of identity before the magnificence of God. This illusion increases with more force in each subsequent descending realm. The number of graduations between the Infinite and the finite, is likewise infinite, and arises from innumerable, progressively strong concealments of the Divine light. Nonetheless, the four worlds represent fundamental categories of Divine consciousness from each other, which delineates their four descriptions. Consequently, each world also psychologically represents a spiritual rung of ascent in human consciousness, as it approaches the Divine.
Kabbalah distinguishes between two types of Divine light that emanate through the 10 Sephirot (Divine emanations) from the Infinite (Ein Sof), to create or affect reality. The continual flow of an immanent lower light ("Mimalei Kol Olmin"), the light that "fills all worlds" is the creating force in each descending world that itself continually brings into being from nothing, everything in that level of existence. It is this light that undergoes the concealments and contractions as it descends downward to create the next level, and adapts itself to the capacity of each created being on each level. A transcendent higher light ("Sovev Kol Olmin"), the light that "surrounds all worlds" would be the manifestation on a particular level of a higher light above the capacity of that realm to contain. This is ultimately rooted in the infinite light ("Ohr Ein Sof") that preceded Creation, the Tzimtzum and the Sephirot, rather than the source of the immanent light in the "Kav" (first emanation of creation after the Tzimtzum), in the teachings of Isaac Luria. Consequently, all the worlds are dependent for their continual existence on the flow of Divinity they constantly receive from the Divine Will to create them. Creation is continuous. The faculty of Divine Will is represented in the Sephirot (10 Divine emanations) by the first, supra-conscious Sephirah of "Keter"-Crown, that transcends the lower 9 Sephirot of conscious intellect and emotion. Once the Divine Will is manifest, then it actualises Creation through Divine Intellect, and "subsequently" Divine Emotion, until it results in action. The reference to temporal cause and effect is itself a metaphor. The psychology of man also reflects the "Divine psychology" of the Sephirot, as "Man is created in the image of God" (Genesis 1:27). In man the activation of willpower through intellect and emotion until deed, requires time and subsequent cause and effect. In the Divine Sephirot and their activation of Creation, this does not apply, as limitations only apply to Creation.
The Book of Job states that "from my flesh I see God". In Kabbalah and Hasidism this is understood to refer to the correspondence between the "Divine psychology" of the Four Worlds and the Sephirot, with human psychology and the Sephirot in the soul of man. From understanding the Kabbalistic description of the human soul, we can grasp the meaning of the Divine scheme. Ultimately, this is seen as the reason that God chose to emanate His Divinity through the 10 Sephirot, and chose to create the corresponding chain of four Worlds (called the "Seder hishtalshelus"-"order of development"). He could have chosen to bridge the infinite gap between the Ein Sof and our World by a leap of Divine decree. Instead the Sephirot and Four Worlds allow man to understand Divinity through Divine manifestation, by understanding himself. The verse in Genesis of this correspondence also describes the feminine half of Creation: (Genesis 1:27) "So God created man in His own image, in the image of God created He him, male and female created He them". Consequently some of the Sephirot are feminine, and the Shechina (immanent Divine presence) is seen as feminine. It is the intimate relationship between the Divine sceme of four World and man, that allows man's ascent more easily to Divine consciousness (see Dveikus).
[edit]Correspondences
Jacob's vision in Genesis 28:12 of a ladder between Heaven and Earth. In Kabbalistic interpretation, the Sulam-ladder's four main divisions are the Four Worlds[5] and the angelic hierarchy embody external dimensions of the lights-vessels, while souls embody inner dimensions
These four worlds are spiritual, Heavenly realms in a descending chain, although the lowest world of Assiah has both a spiritual and a physical aspect. The physical level of Assiah is our physical finite realm, including the cosmological Universe studied by Science. Consequently, as Kabbalah is a metaphysical study, its reference to Ohr ("light") is a metaphor for Divine emanation, and the terms "higher" and "lower" are metaphors for closer and further from Divine consciousness and revelation.
The 16th-century systemisation of Kabbalah by Moshe Cordovero brought the preceding interpretations and schools into their first complete rational synthesis. Subsequent doctrines of Kabbalah from Isaac Luria, describe an initial Tzimtzum (withdrawal of the universal Divine consciousness that preceded Creation) to "allow room" for created beings on lower levels of consciousness. Lower levels of consciousness require the self-perception of independent existence, by the created beings on each level, to prevent their loss of identity before the magnificence of God. This illusion increases with more force in each subsequent descending realm. The number of graduations between the Infinite and the finite, is likewise infinite, and arises from innumerable, progressively strong concealments of the Divine light. Nonetheless, the four worlds represent fundamental categories of Divine consciousness from each other, which delineates their four descriptions. Consequently, each world also psychologically represents a spiritual rung of ascent in human consciousness, as it approaches the Divine.
Kabbalah distinguishes between two types of Divine light that emanate through the 10 Sephirot (Divine emanations) from the Infinite (Ein Sof), to create or affect reality. The continual flow of an immanent lower light ("Mimalei Kol Olmin"), the light that "fills all worlds" is the creating force in each descending world that itself continually brings into being from nothing, everything in that level of existence. It is this light that undergoes the concealments and contractions as it descends downward to create the next level, and adapts itself to the capacity of each created being on each level. A transcendent higher light ("Sovev Kol Olmin"), the light that "surrounds all worlds" would be the manifestation on a particular level of a higher light above the capacity of that realm to contain. This is ultimately rooted in the infinite light ("Ohr Ein Sof") that preceded Creation, the Tzimtzum and the Sephirot, rather than the source of the immanent light in the "Kav" (first emanation of creation after the Tzimtzum), in the teachings of Isaac Luria. Consequently, all the worlds are dependent for their continual existence on the flow of Divinity they constantly receive from the Divine Will to create them. Creation is continuous. The faculty of Divine Will is represented in the Sephirot (10 Divine emanations) by the first, supra-conscious Sephirah of "Keter"-Crown, that transcends the lower 9 Sephirot of conscious intellect and emotion. Once the Divine Will is manifest, then it actualises Creation through Divine Intellect, and "subsequently" Divine Emotion, until it results in action. The reference to temporal cause and effect is itself a metaphor. The psychology of man also reflects the "Divine psychology" of the Sephirot, as "Man is created in the image of God" (Genesis 1:27). In man the activation of willpower through intellect and emotion until deed, requires time and subsequent cause and effect. In the Divine Sephirot and their activation of Creation, this does not apply, as limitations only apply to Creation.
The Book of Job states that "from my flesh I see God". In Kabbalah and Hasidism this is understood to refer to the correspondence between the "Divine psychology" of the Four Worlds and the Sephirot, with human psychology and the Sephirot in the soul of man. From understanding the Kabbalistic description of the human soul, we can grasp the meaning of the Divine scheme. Ultimately, this is seen as the reason that God chose to emanate His Divinity through the 10 Sephirot, and chose to create the corresponding chain of four Worlds (called the "Seder hishtalshelus"-"order of development"). He could have chosen to bridge the infinite gap between the Ein Sof and our World by a leap of Divine decree. Instead the Sephirot and Four Worlds allow man to understand Divinity through Divine manifestation, by understanding himself. The verse in Genesis of this correspondence also describes the feminine half of Creation: (Genesis 1:27) "So God created man in His own image, in the image of God created He him, male and female created He them". Consequently some of the Sephirot are feminine, and the Shechina (immanent Divine presence) is seen as feminine. It is the intimate relationship between the Divine sceme of four World and man, that allows man's ascent more easily to Divine consciousness (see Dveikus).
[edit]Correspondences
Chakravyuha, a threefold seed pattern with a spiral at the centre, one of the troop formations employed at the battle of Kurukshetra, as recounted in the Mahabharata.
Labyrinth among rock drawings in Valcamonica, Italy
In Greek mythology, the Labyrinth (Greek λαβύρινθος labyrinthos, possibly the building complex at Knossos) was an elaborate structure designed and built by the legendary artificer Daedalus for King Minos of Crete at Knossos. Its function was to hold the Minotaur, a mythical creature that was half man and half bull and was eventually killed by the Athenian hero Theseus. Daedalus had made the Labyrinth so cunningly that he himself could barely escape it after he built it.[1] Theseus was aided by Ariadne, who provided him with a skein of thread, literally the "clew", or "clue", so he could find his way out again.
http://en.wikipedia.org/wiki/Labyrinth
Ley line
From Wikipedia, the free encyclopedia
(Redirected from Ley lines)
For other uses, see Ley Lines (disambiguation).
The Malvern Hills, Alfred Watkins believed a ley line passes along their ridge.
Ley lines are alleged alignments of a number of places of geographical and historical interest, such as ancient monuments and megaliths, natural ridge-tops and water-fords. The phrase was coined in 1921 by the amateur archaeologist Alfred Watkins, in his books Early British Trackways and The Old Straight Track. He sought to identify ancient trackways in the British landscape, commenting "I knew nothing on June 30th last of what I now communicate, and had no theories".[1] Watkins later developed theories that these alignments were created for ease of overland trekking by line-of-sight navigation during neolithic times, and had persisted in the landscape over millennia.[2]
In 1969 the writer John Michell revived the term "ley lines", associating it with spiritual and mystical theories about alignments of land forms, drawing on the Chinese concept of feng shui. He believed that a mystical network of ley lines existed across Britain.[3]
Since the publication of Michell's book the spiritualised version of the concept has been adopted by other authors, and applied to landscapes in many places around the world. Both versions of the theory have been criticised on the grounds that random distributions of points will inevitably create apparent "alignments".
Crop circle
From Wikipedia, the free encyclopedia
For the irrigation method that produces circular fields of crops, see center pivot irrigation.
A 780 ft (240 m) crop circle in the form of a double (six-sided) triskelion composed of 409 circles. Milk Hill, England, 2001.
A crop circle is a sizable pattern created by the flattening of a crop such as wheat, barley, rye, maize, or rapeseed. Crop circles are also referred to as crop formations, because they are not always circular in shape. The documented cases have substantially increased from the 1970s to current times. In 1991 two hoaxers confessed and claimed authorship of circles throughout England. Twenty-six countries reported approximately ten thousand crop circles in the last third of the 20th century. Ninety percent of those were located in southern England. Many of the formations appearing in that area are positioned near ancient monuments, such as Stonehenge. According to one study, nearly half of all circles found in the UK in 2003 were located within a 15 km (9.3 miles) radius of Avebury.[1]
Archeological remains can cause cropmarks in the fields, in the shapes of circles and squares, but they don't appear overnight and they are always in the same places every year.
http://en.wikipedia.org/wiki/Crop_circle
interesting but no the whole alternate arrangement doesnt seem to be correct if you look closer it will be com cler but it is a clue and ive already mentioned it
aenima tracks 1-7 with 8 in middel and 9-15 on the other
lateralus 1-6 7 middel 8-13
10k day 1-5 6 middel 7-11
this creatyes then patern 876 in the middel so the next album will have 5 in the moideeil
this also creates the total amount of tracks in an desending order from aenima 15 13 11 so the next will be 9
the same concept
all you know about PROBLEM 8 is what blair's sold you. so there's no reason to believe that it will be on the next album.
PAST TENSE: 1. "recorded many years ago - so long ago, in fact...", 2. "...not only was the song professionally recorded", 3. "it was actually ‘issued’ in a manufactured medium", 4. "Because of the ingenious way it was made available to the public..." PRESENT TENSE: 1. "...Problem 8, in my opinion, constitutes the ultimate hidden track".
so it's already "out there" and "in the ether", folks. it's so hidden that it makes you want to believe that it hasn't even been "made available to the public" yet - even though it has. FUTURE TENSE ASSUMPTIONS?: a few loft photos of "problem 8" written on a white board while the band's recording new material, preparing for a new release ...taken at about the same time blair decided to finally let (the rest of) us in on the secret.
"Although you are free to speculate all you want, I would ask that you please do not read more into this than I’ve just stated" - BMB
“Problem 8 (The Riemann Hypothesis)”
- an original full-blown Tool song complete with vocals and lyrics
- recorded in a studio, many years ago
- so long ago that I don’t remember who played bass (although I want to say it was Justin)
- hasn’t been heard except for by a handful of people
- virtually no one outside of the band (and a few others) is aware of its very existence
"some of the other, more uncommon pieces/collectibles/keepsakes" ...which "no, it is not":
- “All Indians, No Chiefs” vintage tee-shirt
- (rare blue, limited edition, signed) Lateralus vinyl (with bonus doodles by Adam)
- Evans drum head (signed by Danny with a purple Sharpie, containing a slightly off-kilter “Star of Babalon”)
- Stinkfist (Eastern European promo) album
- super scarce Australian release of a “colour double Salival LP” (all of which are most likely CD transfer bootlegs)
- “Salival” box-set (signed, embellished with original Adam artwork of varying degrees of complexity
Leave any “Salival” vinyl alone, however. They’re all phony.
- 72826 “SATAN” (1991 original demo cassette, 500-1000 copies made)
factory-sealed, genuine UNOPENED, mint copy
makes for a nice centerpiece to any tool memorabilia collection
phallic Tool wrench on the cover
6 tracks from Tool’s first two records,
including studio versions of “Cold & Ugly” and “Jerk-off.”
- GENUINE certified RIAA record award
contains the name of the person that it was presented to,
only usually given to friends, family, and those intimately involved in the record’s production
don’t often come up for sale, might have to wait until someone dies
band stopped giving these out after “Aenima” so there can’t be too many floating around.
- tour posters (limited edition, signed, framed)
with original hand-drawn "double-set" artwork by guitarist Adam Jones or bassist Justin Chancellor
see: ‘recent’ Nokia shows in L.A., Hamburg Germany on June 6, 2006 (666)
large “ET IN ARCADIO EGO” European tour poster from some by-gone era.
might have been ancient back stage passes
- a cheap guitar signed hastily backstage by all four band members as part of some radio promo
- bizarre video props
- some Xeroxed set-list that includes “The Grudge”, and which is also signed by Maynard (most likely fabricated)
- lyrics to a popular Tool song hand written on a Ralph’s grocery bag
- a cover (not the rumored “Crazy Train”)
- a glorified segue that never made it onto a record
yes it looks like poroblem eight will be track 5
one thing ids funny thouh
wikipedia states that the 16 step theory was claimed by a anoyomous
fan my gues ia that fan is blair and i used it to determine that the lovers card is conected to the deviding of the albums
and the real nature of the hidden track is a mystery that only time will reveal
but still im not kidding there is a hidden track on lateralus
if you go back abd look at all the old news letters you would realize that blair has been giving clues all the time.
but if you dont understand the key principle applied , it would make no sense.
so ive got all the pieces but they only need to be assenbled in the coorect order.
'cept it doesn't seem like you really read what blair has written... bc you believe (for whatever reason) that the track hasn't already been "recorded", "issued", or "made available to the public" yet.
what are you talking about
i said there is a track on the lateralus album in the start if you reverse it
i did also say that i cant remember what it sounded like
i dont know the guy anymore on whose cd it was
so sorry
and also im not sure if it is problem 8
its definitley part of it
and thats what im actually talking about
problem 8 is something cool
and do you even understand what its all about ?
thats what im talking about.
see there is alot of things to be figured out just wait and see
how long was it since 10 000 days was released before he mentioned the puzzle on it?
so look at things in a differnt perspective , and try figuring out this shit
and i did realize that problem 8 is going to be on the new album but im not shitting you there is a hidden track on lateralus
Quote:
Originally Posted by McRoggles
Nonethless, Problem 8 will be on the new album.
Quote:
Originally Posted by frater H
this creatyes then patern 876 in the middel so the next album will have 5 in the moideeil
Quote:
Originally Posted by McRoggles
ahooo, the fifth song on upcoming album will be... problem 8?
and then my post about what blair has actually said.
Quote:
Originally Posted by frater H
yes it looks like poroblem eight will be track 5 ...one thing ids funny thouh ...wikipedia states that
Quote:
Originally Posted by frater H
if you go back abd look at all the old news letters you would realize that blair has been giving clues all the time.
Quote:
Originally Posted by iAMtheMA!
'cept it doesn't seem like you really read what blair has written... bc you believe (for whatever reason) that the track hasn't already been "recorded", "issued", or "made available to the public" yet.
if you have read the thread from the start it would you would undersstand
and , if problem 8 was created on 30 manufactured mediums(vinyl or cd )
why would they have no reason to incude it on an album to be available to everybody
i just cant believe everybody has missed this , see im not that type of guy who listens to tool all day
and rant about what happened at there cocerts .
the first time i read about the puzzle was this year after the puzzle of 10 00 days was completed.
and i read this book of the tarot the other day and
davinci code is basically one of the main keys to unravelling the puzzle
and also the fibonacci sequence im just trying to figure out if its just the 16th step and also if the octancci number heptanacci and hexanacci number isn`t being used.
when a realized the stuff i figured out , it gave me new insight and i learned something
but its not complete so there is yet to learn.
there is definitley magick incorporated into the recording of the albums
and thats part of the whole thing.
another thing the next album will have a map of someort in figuring out thes e puzzle`s
if its gonna be interactive or on cd i dont know , and it will be covered with all the ritual magick elemental tools, the pentacle dagger grail and wand etc.
these are some of the things that i saw in a vision while listening to the album and while not.
so i dont know if im the only one but i do think that it has got someting to do with problem 8
okay hers a loittle something to put in your pipe to smoke
if you really cant see that there is something more to problem 8 than just being a hidden track
the puzzle about the songs of 10 000 days being arranged in the correct order to the seophiroth of the tree of life.
is just one of the 4 that fit on te 4 albums from aenima to the last one
this is just a part of it.
oh and i like yje funny comment
always good to break the tension
being to serious about something
Nema (occultist)
From Wikipedia, the free encyclopedia
For other meanings of Nema, see Nema (disambiguation).
Nema is an occultist and writer best known for her magical writings about the Ma'atian current. She has been practising and writing about magick (magical working, as defined by Aleister Crowley) for over twenty-five years. From her experience with Thelemic magick (a system designed by Crowley), she developed her own system of magic called Maat Magick which has the aim of transforming the human race. Her writings have appeared in many publications, including the Cincinnati Journal of Ceremonial Magick, Aeon, Starfire, and others.
In 1974, she allegedly channelled a short book called Liber Pennae Praenumbra. Her ideas have been featured in the writings of Kenneth Grant.[1][2] In 1979, she co-founded the Horus-Maat Lodge. According to Donald Michael Kraig:
"Nema has been one of the most influential occultists of the last quarter century although most occultists have never read her works. What Nema has done is influenced those who have been writers and teachers. They, in turn, influenced the rest of us."[3]
Ankh
From Wikipedia, the free encyclopedia
For other uses, see Ankh (disambiguation).
Ankh
The ankh ( /ˈæŋk/ or /ˈɑːŋk/; U+2625 ☥ or U+132F9 𓋹), also known as key of life, the key of the Nile or crux ansata (Latin meaning "cross with a handle"), was the ancient Egyptian hieroglyphic character that read "eternal life", a triliteral sign for the consonants ꜥ-n-ḫ. Egyptian gods are often portrayed carrying it by its loop, or bearing one in each hand, arms crossed over their chest.
The Djed pillar, an ancient Egyptian symbol meaning 'stability', is the symbolic backbone of the god Osiris.
The djed ( /dʒɛd/ in English) symbol is one of the more ancient and commonly found symbols in Egyptian mythology. It is a pillar-like symbol in hieroglyphics representing stability. It is associated with Osiris, the Egyptian god of the afterlife, the underworld, and the dead. It is commonly understood to represent his spine.
Contents [hide]
1 Myth
2 Origin and development
3 Hieroglyphic usage
4 Ceremonial usage
5 Usage as amulets
6 Parallels in other cultures
7 References
8 External links
[edit]Myth
In the myth of Osiris and Isis, Osiris was killed by Set by being tricked into a coffin made to fit Osiris exactly. Set then had the coffin with the now deceased Osiris flung into the Nile. The coffin was carried by the Nile to the ocean and on to the city of Byblos in Syria. It ran aground and a sacred tree took root and rapidly grew around the coffin, enclosing the coffin within its trunk. The king of the land, intrigued by the tree's quick growth, ordered the tree cut down and installed as a pillar in his palace, unaware that the tree contained Osiris's body. Meanwhile, Isis searched for Osiris aided by Anubis, and came to know of Osiris's location in Byblos. Isis maneuvered herself into the favor of the king and queen and was granted a boon. She asked for the pillar in the palace hall, and upon being granted it, extracted the coffin from the pillar. She then consecrated the pillar, anointing it with myrrh and wrapping it in linen. This pillar came to be known as the pillar of djed.[1]
[edit]Ori
Maat
From Wikipedia, the free encyclopedia
For other uses, see Maat (disambiguation).
Maat
Maat was both the goddess and the personification of truth and justice. Her ostrich feather represents truth.
Goddess of truth and justice
Major cult center All ancient Egyptian cities
Symbol the ostrich feather
Parents Ra
Consort Thoth (in some accounts)
Maat or ma'at (thought to have been pronounced *[muʔ.ʕat]),[1] also spelled māt or mayet, was the ancient Egyptian concept of truth, balance, order, law, morality, and justice. Maat was also personified as a goddess regulating the stars, seasons, and the actions of both mortals and the deities, who set the order of the universe from chaos at the moment of creation. Her (ideological) counterpart was Isfet.
The earliest surviving records indicating Maat is the norm for nature and society, in this world and the next, was recorded during the Old Kingdom, the earliest substantial surviving examples being found in the pyramid texts of Unas (ca. 2375 BCE and 2345 BCE).[2]
Later, as a goddess in other traditions of the Egyptian pantheon, where most goddesses were paired with a male aspect, her masculine counterpart was Thoth and their attributes are the same. After the rise of Ra they were depicted together in the Solar Barque.
After her role in creation and continuously preventing the universe from returning to chaos, her primary role in Egyptian mythology dealt with the weighing of souls that took place in the underworld, Duat.[3] Her feather was the measure that determined whether the souls (considered to reside in the heart) of the departed would reach the paradise of afterlife successfully.
Pharaohs are often depicted with the emblems of Maat to emphasise their role in upholding the laws of the Creator.[4]
Contents [hide]
1 Maat as a principle
1.1 Maat and the law
1.2 Maat and scribes
2 Maat as a goddess
3 Temples of Maat
4 Maat themes found in the Book of the Dead and on tomb inscriptions
4.1 42 Confessions (Papyrus of Ani)
5 Assessors of Maat
6 See also
7 Notes
8 References
[edit]Maat as a principle
Maat wearing feather of truth
Maat as a principle was formed to meet the complex needs of the emergent Egyptian state that embraced diverse peoples with conflicting interests. The development of such rules sought to avert chaos and it became the basis of Egyptian law. From an early period the King would describe himself as the "Lord of Maat" who decreed with his mouth the Maat he conceived in his heart.
The significance of Maat developed to the point that it embraced all aspects of existence, including the basic equilibrium of the universe, the relationship between constituent parts, the cycle of the seasons, heavenly movements, religious observations and fair dealings, honesty and truthfulness in social interactions.[5]
The ancient Egyptians had a deep conviction of an underlying holiness and unity within the universe. Cosmic harmony was achieved by correct public and ritual life. Any disturbance in cosmic harmony could have consequences for the individual as well as the state. An impious King could bring about famine or blasphemy blindness to an individual.[6] In opposition to the right order expressed in the concept of Maat is the concept of Isfet: chaos, lies and violence.[7]
In addition to the importance of the Maat, several other principles within ancient Egyptian law were essential, including an adherence to tradition as opposed to change, the importance of rhetorical skill, and the significance of achieving impartiality, and social justice. In one Middle Kingdom (2062 to c. 1664 BCE) text the Creator declares "I made every man like his fellow". Maat called the rich to help the less fortunate rather than exploit them, echoed in tomb declarations: "I have given bread to the hungry and clothed the naked" and "I was a husband to the widow and father to the orphan".[8]
To the Egyptian mind, Maat bound all things together in an indestructible unity: the universe, the natural world, the state, and the individual were all seen as parts of the wider order generated by Maat.
The underlying concepts of Taoism and Confucianism resemble Maat at times.[9] Many of these concepts were codified into laws, and many of the concepts often were discussed by ancient Egyptian philosophers and officials who referred to the spiritual text known as the Book of the Dead.
[edit]Maat and the law
There is little surviving literature that describes the practice of ancient Egyptian law. Maat was the spirit in which justice was applied rather than the detailed legalistic exposition of rules (as found in Mosaic law of the 1st millennium BCE). Maat was the norm and basic values that formed the backdrop for the application of justice that had to be carried out in the spirit of truth and fairness. From the 5th dynasty (c. 2510-2370 BCE) onwards the Vizier responsible for justice was called the Priest of Maat and in later periods judges wore images of Maat.[10]
Later scholars and philosophers also would embody concepts from the wisdom literature, or Sebayt.[11] These spiritual texts dealt with common social or professional situations and how each was best to be resolved or addressed in the spirit of Maat. It was very practical advice, and highly case-based, so that few specific and general rules could be derived from them.
During the Greek period in Egyptian history, Greek law existed alongside Egyptian law. The Egyptian law preserved the rights of women who were allowed to act independently of men and own substantial personal property and in time this influenced the more restrictive conventions of the Greeks and Romans.[12] When the Romans took control of Egypt, the Roman legal system which existed throughout the Roman Empire was imposed in Egypt.
[edit]Maat and scribes
Scribes held prestigious positions in ancient Egyptian society in view of their importance in the transmission of religious, political and commercial information.[13]
Thoth was the patron of scribes who is described as the one "who reveals Maat and reckons Maat; who loves Maat and gives Maat to the doer of Maat".[14] In texts such as the Instruction of Amenemope the scribe is urged to follow the precepts of Maat in his private life as well as his work.[15] The exhortations to live according to Maat are such that these kinds of instructional texts have been described as "Maat Literature".[16]
[edit]Maat as a goddess
or
or
or
or
or
or
or
Goddess Maat[17][18]
in hieroglyphs
Maat was the goddess of harmony, justice, and truth represented as a young woman,[19] sitting or standing, holding a was scepter, the symbol of power, in one hand and an ankh, the symbol of eternal life, in the other. Sometimes she is depicted with wings on each arm or as a woman with an ostrich feather on her head.[20] Depictions of Maat as a goddess are recorded from as early as the middle of the Old Kingdom (c. 2680 to 2190 BCE).[21]
The sun-god Ra came from the primaeval mound of creation only after he set his daughter Maat in place of Isfet (chaos). Kings inherited the duty to ensure Maat remained in place and they with Ra are said to "live on Maat", with Akhenaten (r. 1372-1355 BCE) in particular emphasising the concept. Some of them incorporated Maat into their names, being referred to as Lords of Maat,[22] or Meri-Maat (Beloved of Maat). When beliefs about Thoth arose in the Egyptian pantheon and started to consume the earlier beliefs at Hermopolis about the Ogdoad, it was said that she was the mother of the Ogdoad and Thoth the father.
In the Duat, the Egyptian underworld, the hearts of the dead were said to be weighed against her single "Feather of Ma'at", symbolically representing the concept of Maat, in the Hall of Two Truths. A heart which was unworthy was devoured by the goddess Ammit and its owner condemned to remain in the Duat. The heart was considered the location of the soul by ancient Egyptians. Those people with good and pure hearts were sent on to Aaru. Osiris came to be seen as the guardian of the gates of Aaru after he became part of the Egyptian pantheon and displaced Anubis in the Ogdoad tradition.
The weighing of the heart, pictured on papyrus in the Book of the Dead typically, or in tomb scenes, shows Anubis overseeing the weighing and the lioness Ammit seated awaiting the results so she could consume those who failed. The image would be the vertical heart on one flat surface of the balance scale and the vertical Shu-feather standing on the other balance scale surface. Other traditions hold that Anubis brought the soul before the posthumous Osiris who performed the weighing.
[edit]Temples of Maat
The earliest evidence for a dedicated temple is in the New Kingdom (c. 1569 to 1081 BCE) era, despite the great importance placed on Maat. Amenhotpe III commissioned a temple in the Karnak complex, whilst textual evidence indicates that other temples of Maat were located in Memphis and at Deir el-Medina.[23]
[edit]Maat themes found in the Book of the Dead and on tomb inscriptions
This section may contain original research. Please improve it by verifying the claims made and adding references. Statements consisting only of original research may be removed. (November 2011)
A section of the Egyptian Book of the Dead written on papyrus showing the "Weighing of the Heart" in the Duat using the feather of Maat as the measure in balance
One aspect of ancient Egyptian funerary literature which often is mistaken for a codified ethic of Maat is Spell (Chapter) 125 of the Book of the Dead or Papyrus of Ani (known to the ancient Egyptians as The Book of Going Forth by Day). The lines of this spell are often collectively called the "Forty-Two Declarations of Purity" or the Negative Confessions. These declarations varied somewhat from tomb to tomb and so cannot be considered a canonical definition of Maat. Rather, they appear to express each tomb owner's individual conception of Maat, as well as working as a magical absolution—misdeeds or mistakes made by the tomb owner in life could be declared as not having been done, and through the power of the written word, wipe that particular misdeed from the afterlife record of the deceased.
Many of the lines are similar, however, and they can help to give the student a "flavor" for the sorts of things which Maat governed — essentially everything, from the most formal to the most mundane aspects of life.
The doctrine of Maat is represented in the declarations to Rekhti-merti-f-ent-Maat and the 42 Negative Confessions listed in the Papyrus of Ani. The following are taken from public domain translations made by E. A. Wallis Budge in the early part of the 20th century; more recent translations may differ in the light of modern scholarship.
[edit]42 Confessions (Papyrus of Ani)
I have not committed sin.
I have not committed robbery with violence.
I have not stolen.
I have not slain men and women.
I have not stolen grain.
I have not purloined offerings.
I have not stolen the property of the god.
I have not uttered lies.
I have not carried away food.
I have not uttered curses.
I have not committed adultery, I have not lain with men.
I have made none to weep.
I have not eaten the heart [i.e I have not grieved uselessly, or felt remorse].
I have not attacked any man.
I am not a man of deceit.
I have not stolen cultivated land.
I have not been an eavesdropper.
I have slandered [no man].
I have not been angry without just cause.
I have not debauched the wife of any man.
I have not debauched the wife of [any] man. (repeats the previous affirmation but addressed to a different god).
I have not polluted myself.
I have terrorised none.
I have not transgressed [the Law].
I have not been wroth.
I have not shut my ears to the words of truth.
I have not blasphemed.
I am not a man of violence.
I am not a stirrer up of strife (or a disturber of the peace).
I have not acted (or judged) with undue haste.
I have not pried into matters.
I have not multiplied my words in speaking.
I have wronged none, I have done no evil.
I have not worked witchcraft against the King (or blasphemed against the King).
I have never stopped [the flow of] water.
I have never raised my voice (spoken arrogantly, or in anger).
I have not cursed (or blasphemed) God.
I have not acted with evil rage.
I have not stolen the bread of the gods.
I have not carried away the khenfu cakes from the Spirits of the dead.
I have not snatched away the bread of the child, nor treated with contempt the god of my city.
I have not slain the cattle belonging to the god.[24]
[edit]Assessors of
Butterfly effect
From Wikipedia, the free encyclopedia
For other uses, see Butterfly effect (disambiguation).
Point attractors in 2D phase space.
In chaos theory, the butterfly effect is the sensitive dependence on initial conditions, where a small change at one place in a nonlinear system can result in large differences to a later state. The name of the effect, coined by Edward Lorenz, is derived from the theoretical example of a hurricane's formation being contingent on whether or not a distant butterfly had flapped its wings several weeks before.
Although the butterfly effect may appear to be an esoteric and unlikely behavior, it is exhibited by very simple systems: for example, a ball placed at the crest of a hill may roll into any of several valleys fully depending on slight differences in initial position.
The butterfly effect is a common trope in fiction when presenting scenarios involving time travel and with hypotheses where one storyline diverges at the moment of a seemingly minor event resulting in two significantly different outcomes.
the book of the dead is a bunch of spells right.
why wouldnt it be possible to cast a spell with music
if its possible in writing.
whats the difference
if you understand problem 8 you would apreciate tool much more
you realize that they have spent alot of time in planning this out.
and solving the puzzle makes yourself aware of the fact.
well understanding the puzzle you need the final album to solve it completely
