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43885[ANGEL]15 Libra, The Angels of Visual Art

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  • Spiritus Sanctus
    Oct 8 9:12 AM

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      15 degrees Libra
      The Angels of Visual Art
      Also known as

      The Angels of ‘Tapum’
      The act of impulsing Divine Love into the physical plane transforms old conditions into new ones. This is done mentally, emotionally, and physically.  
      In the beginning, all things were created perfect, and at the end of time all beings reach perfection. When the Alpha and the Omega meet, energy comes full circle and the perfection of the beginning becomes one with the perfection of the end.
       Through the divine virtues of ‘Tapum’, we awaken mastery of visual images so that people may communicate through light, form, and color.
       Divine visual images delight and stimulate the optic nerve, so that the pineal, hypothalimus and pituatary glands emit important chemicals to alter consciousness.
      ‘Everything that has to do with embellishment and ornamentation comes under the guidance of the Angels of ‘Tapum’.
      ‘Decoration and advertising and those who work in these professions are under our guidance and protection.’
      ‘From the beginning of time we have inspired the ornamentation of places of worship, the decoration for festivities, and the brightly colored signs of shopkeepers.’
      We inspire visual and multi-media in all fields.
      The use of art to communicate high inspiration, enlightenment and change is a path to perfection.
      The language of visual art is an interdimensional communication media.
       For instance, in all places, in all dimensions, with all beings, the pictural “word” for Consciousness is light.
      To express Divine Consciousness, the placement of this light is in the middle, for Divine Consciousness is the center from which all else radiates.
      When visual art has a lighter color in the middle, representing Divine Consciousness, there is a centering and healing effect on all who see it.
      By understanding this most basic visual image for Divine Consciousness, the light in the center, the importance and use of mandalas in visual art is understood.
      A mandala can range from the extremely subtle to the extremely graphic. For instance, in a typical landscape, the light in the center can be a subtle brightening of the sky, or it can actually be the sun, moon, or a Being of Light.  The circle can be subtly suggested by the patterns in the clouds and the placement of the trees or there can be an actual circle drawn around the sun.
      Mandalas can be geometric shapes on a colored background for instance.
      In this form, they are often used for interdimensional travel.  By envisioning such a mandala and imagining that you are diving through it, the consciousness travels into other dimensions.  It is even possible for beings of other dimensions to travel into this one in the same way.
      The more beautiful and perfect the mandala and the colors and shapes used, the more beautiful and spiritually perfect is the destination that is located.
      Visual artworks are therefore interdimensional doorways.
       It is for this reason that the divine virtues of the urge for spiritual perfection and unity with Divine Light, the letter P, and creativity and its on-going effects, the letter U, are part of our name.  It is of the utmost importance that visual artworks create doorways of consciousness into destinations that are for the highest good of all concerned.
      The variety of different expressions of mandalas are infinite.
      Mandalas are designs based on a circle, because the circle is a visual symbol of creation.
       The light at the center of the circle is the Divine Light, which is Divine Consciousness.
      “As above, so below.”
       The light at the center of the circle can also symbolize the individual spirit of an Child of Light or a Being of the Heavenly Host, for example.
      The area surrounding the center is the expression of consciousness as it radiates from the spirit.
      Therefore the center is surrounded by an outer ring of symbols in harmonious and symmetrical placement.   These symbols are placed somewhat like petals around the center of a flower.  The numbers of symbols and the types of symbols depend on the divine qualities and aspects that are being represented.
      Through the various uses of numbers, colors, shapes and light the manifestations of divine will, intellect, emotion, and form are expressed.
      Flowers and snowflakes are examples of naturally occuring mandalas in nature.
      Religious symbols such as crosses, the Star of David, and medicine wheels etc. are mandalas.
      Because of the enlightening nature of mandalas, we inspire their use in design, ornamentation, and all other types of visual art in order to facilitate bringing heaven to earth.
      We do this to calibrate and attune the four brainwave levels through visual interaction along the optic nerve. This form of art is a self-correcting maintenance tool for the mind and feelings of the Children of Light as well as a method of attunement to high states of wisdom and enlightenment.
      Mandalas have been used to represent divinity and promote healing and spiritual development in every culture from the beginning of time.
      Every aspect of a mandala has archetypal significance, and triggers ancient memories and attunement to high inspiration.
      Depending on the number of petals, the types of colors, shapes and forms, different varieties of aattunements and healing occur and different divine virtues are enlivened.


      Here are the numbers one through ten and their divine meanings.
      ‘NUMBER ONE  is the first number in the universe and represents the highest form, which is God Himself. The manifested light and everything that was made of it is God in His Oneness. Whenever the Deity is to be identified, this is done by number one. One means highest cognition, highest unity, and highest wisdom. All evolution starts with this number. It is represented by a dot. One is represented by the center of the mandala’.
      ‘NUMBER TWO is the number of duality, of polarity, of the positive and the negative principle. In the material world, the two indicates electricity and magnetism, love and hate, light and shadow. It is always a pole and its anti-pole, of which one could not exist without the other. It is God and man. It appertains to those religions which regard God as something separate, whereby the dualistic principle is to be found in all forms of existence. Two can be represented by a horizontal line’.
      ‘NUMBER THREE is symbolized by a triangle. The three is the number of akasha principal, of fate, of cause and effect, of Karma, and is attributed to the sphere of Saturn. All things on all levels originate from the akasha principle, the fine pre-matter of all existence, and therefore from the number three. It is the original idea of procreation. Man and woman and child. Also it represents spirit, soul, and body. It is the number of intuition, life and death, and cognition in its highest form.’
      Many mandalas have patterns of three or multiples of three. When you gaze upon such a mandala, remember the unity of
      your spirit [will], soul [feeling] and your body.
      ‘NUMBER FOUR is the perfect number of mastery of creation. The work of Carl G. Jung emphasized that mandalas with four or a multiple of four spokes (petals) represented complete balance and healing in the four brainwave states. It is represented by Jupiter. It represents the four basic elements of fire, air, water and earth. It also represents the four directions, the four fundamental features of God, which are omnipotence, wisdom, love - immortality, and perfect consciousness. It is the number of everything that is created in the visible and the invisible worlds. It is highest wisdom and the number of length, width, height, and depth. It is represented by a cross with arms of equal length, or by an equilateral quadrangle’.
       Think of the lovely dogwood flower with its four perfect petals.
      ‘NUMBER FIVE is the perfect representation of the microcosm, of man in all his phases and forms of existence. It represents the microcosm in its perfection. The working of the four elements, ruled by the akasha principle, is represented by five and also expresses th

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