Merkabah

WELCOME

The Golden Heart Merkabah of Creation is the original teaching given to man by the Angelic Kingdom. It is a method of activating your Merkabah fields (light-body/consciousness) to put you back in touch with who we really are. It has been passed to Kevin and Christine Core through their links with the Angelic Kingdom.

Christine Cores story and explanation of The Golden Heart Merkabah of Creation :

It started as a fascination with geometry in my teens. I went on to study the Flower of Drunvelo Malchezedek’s ‘Flower of Life’ in 1994. Although the Golden Heart Merkabah is very different to the teachings of Drunvelo’s acknowledgement is due to him for bringing this field of wisdom into the open.

These workshops bring a deep knowing of the truth of our Divinity. This is demonstrated through a knowledge of form as know and taught in the mystery schools of Greece and Egypt.

It is my dream that everyone who wishes should have access to every thing they need and desire in order to be the greatest expression possible of all they are.

Why learn the Merkabah?

The greatest gift of this workshop is the liberation of spiritual information into the realms of pattern and form rather than philosophy and concept. This brings the freedom to soar to new heights of consciousness and understanding.

The 7 day workshops are given once to twice a year.

INTRODUCTION

The time of the widespread use of the Merkabah for humanity as a whole is not now. The people who will be drawn to this practice are people who’ve done this practice in previous lifetimes, who have contacted the Divine Creative Energy of the Merkabah in the temples of the ancient world, and those people who recognize their connection with the extra-terrestrial and angelic realms of light.

As we come to the end of three great cycles, a 250 million year cycle, a 260,000 year galactic cycle, and the 26,000 solar cycle, there are those of us who recognize that our time in 3-D here on earth is now coming to a close. We are impulsed by our Divine Self to ignite our consciousness with the energy of Cosmic Fire, the pure Creative Force of the Divine. We recognize that we are Ascended Masters walking the earth, connected to the consciousness of humanity impulsing our brothers and sisters to wake up from the atrophy of limited consciousness.

Our main focus is to teach this workshop in what was known as Thebes, Egypt, in the ancient world, now known as Luxor. The word Luxor means City of Light .

As we teach these 7 day workshops, our purpose is to reactivate the temples here, to reawaken the ancient wisdom of Atlantis held in these temples, to ground the Galactic Council on Earth and to activate the Merkabah of Gaia into Ascension.

In all mystical systems throughout the world there is a description within that system of the creation process. How the World and the Universe we live in was created and why.

All of these descriptions start with a basic premise that everything came from a void or a no-thing state. The tradition in which I have had many past lives has been the Cabbalistic Tradition, and so it is to this that I shall now turn to try to give you a feel for the first Forces of Creation.

In the Cabbalistic Tradition, the primal soup in which creation takes place is called the Unmanifest. This is a state of potentiality, where the potential for creation exists but is not yet extant. Everything that we know or understand has yet to be formed. Nothing exists in this state because for it to be in existence it would have to cease to be Unmanifest. It IS. That is all that can be said about it. To take it beyond this would be to give it qualities and this would give it existence.

This state is eternal, without qualities, ever present.

Without cause something happens in the Unmanifest, and that something is motion. There is a desire for ‘space’ to move. Two forces come about. One is for space to move and the other is a resistance to that movement. This causes the movement to go out on a slight arc. There are no other forces in operation and so this movement goes out on a slight arc eternally, over a vast, vast distance, over many, many eons.

Because there are no other forces in operation the movement going out on a slight arc will remain constant and so will always return to the point from which it originated. When this motion is complete it forms a spinning ring of force, which then continues on its designated path eternally, because there are no other forces to disturb it.

This spinning ring continues upon its path for countless eons until such time that it starts to transmit its movement to the space around it, and creates another spinning ring of force which spins at 90 degrees to the first ring. This ring is formed outside the original ring. These two rings are now the only movements in the Unmanifest, each spinning in its own plane eternally.

Again, these continue to be the only forces within the Unmanifest until the combined action of these two spinning rings again causes the space around them to move and a third spinning ring of forces is generated. This is formed outside the first and second ring and spins at 90 degrees to the two originals.

It goes out on its designated path, with its slight arc, until such time as it arrives back at its origins, as did the other two. When the third ring arrives back at its origin and forms a third spinning ring of force it creates a closed system. This system is known as a Cosmos and this is the closest approximate description of the creation of a Cosmos given in Metaphor.

These spinning rings of force have qualities. The first that was created is called the Ring Cosmos. The second that was created is called the Ring Chaos, and the third the Ring Pass Not.

The qualities of the Ring Cosmos are that its influence extends from the periphery into the centre. Its tendency is to build up in the centre. It is a positive force or male energy.

The qualities of the Ring Chaos are that its influence extends from the centre to the periphery. Its tendency is to return that which has been built up at the centre and return it from when it came, the Unmanifest. Its tendency therefore is to break down that which has been built up. It is a negative force or female energy.

The qualities of the Ring Pass Not are to hold the forces of the other two rings in balance.

That system which is now known to you as a Cosmos is Merkabah. There has to be these three forces in operation in our Cosmos before anything can become manifest. They are the building blocks, the foundation on which all else stands. That is why in our Universe, Divinity is always described as a triune force. Everything in our world has these three forces that bring everything we see about us into creation. It is the knowledge of the manipulation of these forces which is the key to creation itself.

THE VESICA PISCES 

When the I AM merges with I AM THAT I AM, the circumference of each circle passes through the centre of the opposite circle. It is the creation of a mirror image by Divinity to relate to itself which is the basis of a deep esoteric truth. All mirrors are a reflection of this!!!

The shape which is formed by the coming together of the two circles is the Vesica Pisces.

In the Pythagorean school it was discovered that the square roots of the numbers 2, 3, & 5 are fundamental properties that are inherent in the creation of all form.

These square roots are to be found innate within the structure of the Vesica Pisces.

The square root of 2 defines the diagonal of the square. Its quality is generation.

2 Squared = 1.4142135.

The square root of 3 defines both the diagonal of a cube and the length of the Vesica Pisces.

Its quality is the formation of 3-dimensional space.

3 Squared = 1.7320508.

The square root of 5 defines the Golden Rectangle and the Golden Mean proportion. Its quality is regeneration or growth. It is seen to represent the life-giving qualities of Christ Energy.

5 Squared = 2.2360679.

THE GOLDEN MEAN

If we take the rectangle generated by the Vesica Pisces in the diagram on the previous page, and turn it on its side we end up with the following:

You can see that if you divide this rectangle into two equal squares, and then move one of those squares into the centre of the rectangle, who’s base is created by the diagonal, you are left with two smaller Golden Mean rectangles who’s shortest side is proportionally 0.618 in relation to the original.

It is therefore shown that the value of Phi or the Golden Mean is an inherent quality of the Vesica Pisces.

But what does this mean for us?

Phi phi = 1    Phi – phi = 1      Phi + phi = sqrt5

Phi = 1.6180339.. phi = 0.6180339..
Phi = 1 + phi phi = Phi – 1
Phi = 1/phi phi = 1/Phi
Phi 2 = Phi + 1 (-phi) 2 = -phi + 1 or
phi 2 = 1 – phi
Phi = ( sqrt5 + 1)/2 phi = ( sqrt5 – 1)/2

 

Some basic facts concerning the Golden Mean.

The ratio of the length of a face of the Great Pyramid (from centre of the bottom of a face to the apex of the pyramid) to the distance from the same point to the exact centre of the pyramid’s base square is about 1·6. It is a matter of debate whether this was “intended” to be the golden section number or not.

Euclid (about 300BC) in his “Elements” calls dividing a line at the 0.6180399.. point dividing a line in the extreme and mean ratio. This later gave rise to the name golden mean .

There are no extant records of the Greek architects’ plans for their most famous temples and buildings (such as the Parthenon). So we do not know if they deliberately used the golden section in their architectural plans. The American mathematician Mark Barr used the Greek letter phi to represent the golden ratio, using the initial letter of the Greek Phidias who used the golden ratio in his sculptures.

Luca Pacioli (also written as Paccioli) wrote a book called De Divina Proportione ( The Divine Proportion ) in 1509. It contains drawings made by Leonardo da Vinci of the 5 Platonic solids. It was probably Leonardo (da Vinci) who first called it the sectio aurea (Latin for the golden section ).

Today, some mathematicians use phi () for the golden ratio as on these web pages and others use the Greek letters alpha () or tau (), the initial letter of tome which is the Greek work for “cut”.

The Golden mean is equal to 1 2 ( 5 + 1 ), and is the solution of the quadratic equation f 2 – f – 1 = 0. It has many interesting properties. It has often been believed that things such as pictures with dimensions divided in the ratio 1: f are somehow more ‘pleasing’ or ‘aesthetic’ than other divisions. Other properties of are that f 2 = f + 1 = 2.618033988… and 1 f = f – 1 = 0.618033988… In the Fibonacci sequence 1, 1, 2, 3, 5, 8, 13, …, where each number is the sum of the two previous numbers, the ratio between successive numbers tends to f.

Thursday January 16, 2003
The Guardian

Think of any two numbers. Make a third by adding the first and second, a fourth by adding the second and third, and so on. When you have written down about 20 numbers, calculate the ratio of the last to the second from last. The answer should be close to 1.6180339887…

What’s the significance of this number? It’s the “golden ratio” and, arguably, it crops up in more places in art, music and so on than any number except pi. Claude Debussy used it explicitly in his music and Le Corbusier in his architecture. There are claims the number was used by Leonardo da Vinci in the painting of the Mona Lisa, by the Greeks in building the Parthenon and by ancient Egyptians in the construction of the Great Pyramid of Khufu.

What makes the golden ratio special is the number of mathematical properties it possesses. The golden ratio is the only number whose square can be produced simply by adding 1 and whose reciprocal by subtracting 1. If you take a golden rectangle – one whose length-to-breadth is in the golden ratio – and snip out a square, what remains is another, smaller golden rectangle. The golden ratio is also difficult to pin down: it’s the most difficult to express as any kind of fraction and its digits – 10 million of which were computed in 1996 – never repeat.

It was this elusive nature that led the 15th-century Italian friar and mathematician Luca Pacioli to equate the golden ratio with the incomprehensibility of God. Although Euclid defined it around 300 BC, and the followers of Pythagoras probably knew of it two centuries earlier, it was Pacioli’s three-volume treatise, The Divine Proportion, that was crucial in disseminating the golden ratio beyond the world of mathematics.

Da Vinci was a friend of Pacioli’s and almost certainly would have read the book, hence the claim that he painted the face of the Mona Lisa to fit inside a hypothetical golden rectangle.

Of course, it all depends on how you draw the rectangle!” says Mario Livio, who has written a book called The Golden Ratio and who is head of science at Baltimore’s Space Telescope Science Institute.

The appeal of the divine proportion to the human eye and brain has been scientifically tested. Dozens of psychological tests, beginning with those of Gustav Fechner in the 19th century, have shown that, when subjects are presented with a range of rectangles, they invariably pick out as most pleasing ones whose sides are in the golden ratio.

But the most surprising thing is that a number deemed aesthetically pleasing by human beings also crops up in nature and science. Take the arrangement of leaves on the stem of a plant. As each new leaf grows, it does so at an angle offset from that of the leaf below. The most common angle between successive leaves is 137.5 – the golden angle. Why? Because 137.5 = 360 – 360/G, where G is the golden ratio. Why does the golden ratio play a role in the arrangement of leaves? It’s all down to the “irrationality” of the number. Irrational numbers are ones that cannot be expressed as the ratio of two whole numbers – for instance, 5/2.

“The golden ratio is arguably the most irrational of all irrational numbers,” says Livio. This can be said more precisely. Irrational numbers can be expressed as continued fractions – basically an infinite series of ever-diminishing terms. As each successive term is added, the continued fraction converges towards a single value.

“The golden ratio is the slowest of all continued fractions to converge,” says Livio. This turns out to be the key property. A new leaf must collect sunlight without throwing the leaves below it into too much shadow. A plant must arrange its leaves in such a way that the greatest number can spiral around the stem before a new leaf sprouts immediately above a lower one – that is offset at 360.

“What better way to do this than to choose an angle between leaves based on a number that takes the longest to converge?” says Livio.

The golden ratio also crops up in the hard sciences. Take the growth of “quasi-crystals”. These have “five-fold symmetry”, which means they make a pattern that looks the same when rotated by multiples of one-fifth of 360 . In the 1990s, physicists in Switzerland and the US imaged the microscopic terrain of the surface of such crystals. They found flat “terraces” punctuated by abrupt vertical steps. The steps come in two predominant sizes. The ratio of the two step heights? The golden ratio!

Even Pythagoreans may have known of the association of the golden ratio with five-fold symmetry. The symbol of their cult was the five-pointed star, and the ratio of the length of the side of each triangular point to its projected base is the golden ratio.

Perhaps the most surprising place the golden ratio crops up is in the physics of black holes, a discovery made by Paul Davies of the University of Adelaide in 1989. Black holes and other self-gravitating bodies such as the sun have a “negative specific heat”. This means they get hotter as they lose heat. Basically, loss of heat robs the gas of a body such as the sun of internal pressure, enabling gravity to squeeze it into a smaller volume. The gas then heats up, for the same reason that the air in a bicycle pump gets hot when it is squeezed.

Things are not so simple, however, for a spinning black hole, since there is an outward “centrifugal force” acting to prevent any shrinkage of the hole. The force depends on how fast the hole is spinning. It turns out that at a critical value of the spin, a black hole flips from negative to positive specific heat – that is, from growing hotter as it loses heat to growing colder. What determines the critical value? The mass of the black hole and the golden ratio!

Why is the golden ratio associated with black holes? “It’s a complete enigma,” Livio confesses. Shakespeare said it all: “There are more things in heaven and earth…”

THE GOLDEN MEAN IN THE NATURE 

The Golden Mean is inherent in all organic life as demonstrated below. It is the building block, the programme, around which matter organises itself in form. The Golden Mean as a number, as a proportion, is the vibration of the Divine Mind in structure so it can be truly said that we are all created in the image of the Divine.

 

 

 

 

 

 

THE GOLDEN MEAN IN ARCHITECTURE

What we have tried to show here is that inherent in all natural systems is the Divine Building Block of the Golden Mean Ratio.

This is the knowledge that was the innermost secret of the Egyptians and Greeks, and before these the Atlanteans. In the 14th, 15th & 16th centuries, with the inclusion into the ranks of the Masons of the Artists and Craftsmen of the era, a new revolution in Art, Architecture and music took place. It became known as the Golden Age of the Reformation, and was fuelled by these artisans being exposed to the knowledge of the Golden Mean and its role in Divine Proportion.

These artisans built into their paintings, buildings and music the proportions, the vibration of the Golden Mean which give their work the quality of beauty only found up till then in nature.

 

The Moslem arch and cathedral doorway are both designed using two intersecting circles and Vesica Piscis, but at right angles to each other. Through these doors, symbols of spiritual passage, we leave the street of the Many and enter the domain of the One.

The west facade of the Cathedral of Notre Dame in Paris is designed as a circle descend­ing from heaven above which intersects a circle rising from earth below. Entering a cathedral symbolically places us in the space between them where transformation is possible.

These extracts and those following are from ‘A Beginners Guide to Constructing the Universe’

By Michael Schneider.

 

THE GOLDEN MEAN IN ART 

In the 14th Century the new class of artisans that had arisen began to be admitted into the Mystery Schools and Masonic Lodges of the time.

It was these Mystery Schools that were the holders of the secret knowledge that came out of Atlantis, through Egypt and Greece , through the Roman Empire into Europe. This knowledge was revealed to the initiate as the language of Sacred Geometry, symbol, number and colour.

As these artisans were subjected to these initiations it caused a spontaneous flowering of consciousness driven by the inflowing Divine energy of the Golden Mean, hence this time was known as the Renaissance or the Golden Age.

 

This is a typical example of painting at the time of the early 14th Century. Note how flat the painting is with a very limited perspective.

The 15th-century Italian artist Fra Angelico, who was also a devout Dominican monk, painted several vesions of The Annunciation. In the background, Adam and Eve are shown being driven from the Garden of Eden.

Within the space of just 50 years paintings like this were being produced all over Italy .

The use of perspective is now widely used as the artist basks in his new-found knowledge of representing Divine Form.

 

 

The School of Athens (1510-1511) is one several frescoes that Raphael painted for the Stanza della Segnatura, in the Vatican . The fresco, which depicts Plato and Aristotle (centre), as well as other ancient Greek philosophers and scholars, marks the mature style Raphael achieved during his years in Rome (1508-1520). The work is considered a masterpiece in the use of perspective and in the portrayal of the artistic ideals of the High Renaissance.

This also had a profound effect on how the human form was depicted. Up until this time all human form had again been depicted as flat and miss-proportioned.

With this new-found knowledge the human form was recognized as something of great beauty which resonates the Golden Mean proportionally.

 

Venus of Urbino was painted by Titian in 1538. The pose was taken from an earlier painting by Giorgione and is a recreation of the Classical Greek nude. This painting embodies the rich colour and tone for which Titian was famous; its pictorial composition is flawless.

One of the most famous examples of the depiction of the human form in perfect Golden Mean proportion is ‘David’ by Michelangelo.

 

His statue is carved in perfect Golden Mean proportions. When the conscious mind perceives something which is in these proportions it causes spontaneous feelings of joy, beauty and happiness to arise in the perceiver.

THE GOLDEN MEAN AND DAVINCI

How does this relate to us and the world we live in?

Below is the famous drawing of Leonardo DaVinci called the Vitruvian Man. Amongst other things this drawing shows that the navel sits at the exact Phi ratio between the top of the head and the bottom of the feet. The following extract is from ‘The Ancient Secret of the Flower of Life’ by Drunvalo Melchizedek.

 

When a baby is born, its navel is in the exact geometrical center of the body. Both male and female babies start out this way, and as they grow, the navel starts to move toward the head. It moves up to the phi ratio, then continues upward. Then it comes back down to below the phi ratio, oscillating during the formative years. I don’t know what the ages are, but these movements and locations happen at specific ages. It never actually stops at the perfect phi ratio in either males or females, but if I remember correctly, the male navel ends up slightly above the phi ratio and the female navel just below it. If you average the male and female points, you get the perfect phi ratio. So even though Leonardo’s drawing is of a male, it assumes that it is at the phi ratio, but of course in nature it would not be.

Da Vinci figured out that if you draw a square around the body, then a diagonal from foot to extended fingertip, then draw a parallel line (another one of those parallel lines) from the navel horizontally over to the side of the square, that horizontal line intercepts the diagonal line exactly at its phi ratio [Fig. 7-31] as well as that of the vertical line from head to feet. Assu ming it’s at that perfect point, not slightly above for females or slightly be­low for males, this means that the human body is divided into phi ratios from top to bottom, which we stated earlier. If these lines were the only places in the human body where the phi ratio is located, it would probably be just an interesting fact. But the truth is, the phi ratio is located in thousands of places throughout the body, and it is not just a coincidence.

Here are some obvious phi-ratio locations in the human body. The length of each bone in the finger has a phi ratio to the next bone, as shown in the lower drawing. That same ratio occurs with all your fingers and toes. This is a somewhat unusual relationship because one finger lon­ger than the other in what appears to be an arbitrary fashion, but it’s not ar­bitrary – nothing in the human body is. The distances on the fingers marked A to B to C to D to E are all in a phi ratio, as well as the Lengths of the phalanges, F to G to H.

 

If you compare the length of the hand to the length of the lower arm bone, it has a phi ratio, just like the length of the lower arm bone compared to the upper arm bone. .

Or take the length of the foot to the lower leg bone, or that bone to the thigh bone and so on. This phi ratio is found throughout the entire bone structure in all kinds of places and ways. It’s usually at places where something bends or changes direction. The body also does it through proportionate sizes of one part to another. If you study this, you will be continually amazed

The DaVinci Codes

The International Best Seller ‘The DaVinci Codes is based upon the secret of Phi. The following is an extract from that book.

… ‘My friends, as you can see, the chaos of the world has an underlying order. When the ancients discovered PHI, they were certain they had stumbled across God’s building block for the world, and they worshipped Nature because of that. And one can understand why. God’s hand is evident in Nature, and even to this day there exist pagan, Mother Earth-revering religions. Many of us celebrate Nature the way the pagans did, and don’t even know it. May Day is a perfect example, the celebration of spring … the earth coming back to life to produce her bounty. The mysterious magic inherent in the Divine Proportion was written at the beginning of time. Man is simply playing by Nature’s rules, and because art is man’s attempt to imitate the beauty of the Creator’s hand, you can imagine we might be seeing a lot of instances of the Divine Proportion in art this semester.’

Over the next half hour, Langdon showed them slides of artwork by Michelangelo, Albrecht Durer, Da Vinci, and many others, demonstrating each artist’s intentional and rigorous adherence to the Divine Proportion in the layout of his compositions. Langdon unveiled PHI in the architectural dimensions of the Greek Parthenon, the pyramids of Egypt , and even the United Nations Building in New York . PHI appeared in the organizational structures of Mozart’s sonatas, Beethoven’s Fifth Symphony, as well as the works of Bartok, Debussy, and Schubert. The number PHI, Langdon told them, was even used by Stradivarius to calculate the exact placement of the f-holes in the construction of his famous violins.’

FIBONACCI SEQUENCE

Leonardo Fibonacci was born some time before DaVinci. He was a monk in a contemplative order who’s job it was to maintain the gardens. As he went about his work in a meditative state he noticed a pattern in the structure of the trees and flowers in the garden. This pattern has become known as the Fibonacci Series.

In the table below, look at the two left columns, the Current Term and the Previous Term.

We start with a 1 in the current term and take it over into the previous term. We then add these together and place the result in the current term. We then take the number above the 2 and place it in the previous term column, and then add these two together, placing the result in the current term. Keep repeating this process to create the Fibonacci sequence.

= 1.6180339..
(Fibonacci Sequence)
Current Term
Previous Term
Division
Ratio
1
1
1 / 1
1.0
2
1
2 / 1
2.0
3
2
3 / 2
1.5
5
3
5 / 3
1.6666
8
5
8 / 5
1.600
13
8
13 / 8
1.625
21
13
21 / 13
1.615384
34
21
34 / 21
1.619048
55
34
55 / 34
1.617647
89
55
89 / 55
1.618182
144
89
144 / 89
1.617978
233
144
233 / 144
1.618056

If we take our attention now to the two columns on the right, we see that these are named Division and Ratio. We now take the numbers generated in the two left-hand columns and transpose them into the two right columns. By dividing the number from the Previous Term column into the number from the Current Term column we arrive with a number in the Ratio column.

As you perform this simple calculation down the number sequence you will see that the number generated in the Ratio column gradually aligns with the Fibonacci Sequence.

But what does this mean?

Leonardo Fibonacci discovered that the number of petals on a flower, or the number of leaves on a branch always followed the same pattern. The number of leaves or petals would always equal 3,5,8,13,21 etc. What he discovered was that nature itself is built upon the building block of Phi = 1.618.

A more common way of showing how the Golden Mean, through the Fibonacci Series, creates the world around us is by creating a spiral using the Fibonacci number sequence. In Drunvalo’s book he shows how to generate a Fibonacci spiral using graph paper.

We start at the top pf the number sequence and place two squares side by side creating a Golden Mean Rectangle. We then create the next number in the sequence using the squares and make a right-angle turn. We keep making a right-angled turn as we create the Fibonacci sequence.

As can be seen this quickly generates a spiral. As Drunvalo shows it the right-angled lines are the male energy of the spiral, and the curved line is the female energy.

An occult truth is hidden here pertaining to ascension. When we chose to come into incarnation we always come in on a spiral. When ascending the planes we always ascend at right-angles.

So how does this relate to our world? All natural spirals are created using this number sequence as a building block. The number sequence is based on the Golden Mean value of 1.618 and so proves again that the ‘calling card’ of God, of Creation, is ever present around us.

Here are some examples of this.

The diagram above shows the mismatch between the Fibonacci and nature which ensures the diversity of nature.

Drunvalo also talks about a building 1 mile from the Great Pyramid at Giza. In this building is a perfect spherical shaft which sinks into the Earth for 1 mile. In the Emerald Tablets of Thoth it states that this shaft was created at the time of the Great Pyramid, and all other pyramid structures on the Earth.

If a you take a Fibonacci Spiral from this spot and spiral it our across the Earth, it passes through every pyramid structure upon the Earth, including the Great Pyramid of Giza.

This is because, at the time of the Ascension, a crystal capstone will be lowered onto the top of the Great Pyramid of Giza and a pulse of energy from the Galactic Core will radiate out from this point into the grids of the Earth, impulsing the Ascension of the planet.

THE GOLDEN HEART MERKABAH OF CREATION

Below is a chart showing the generation of the next level of spheres, after the Vesica Pisces, which has its basis in the seven days of creation, and ultimately forms 13 spheres which is known as Metatron’s Cube.

The graphic below is taken from “Sedona. Beyond the Vortex” by Richard Dannelly.

Within these spheres is the potential for the generation of the building blocks of creation known as the Platonic solids.

Around each of us is an electromagnetic field of energy which is our consciousness. Most of us feel that our consciousness is created within our physical brains. This is not the case. Our physical brains are just the vehicle for the reception of consciousness into this incarnation, into this reality.

We also exist on many levels of consciousness. These levels of consciousness, or dimensions, correspond to the musical scales within an octave. At the moment, humanity is focussed, in incarnation, on the 3rd plane of consciousness. We are working collectively, on the 4th level consciousness, and are evolving to the 5th level of consciousness. The magnetic structure of each of our electromagnetic energybodies, on each of these levels of consciousness, corresponds to one of the Platonic Solids. This electromagnetic energy field around each of our dimensional bodies is the Merkabah Lightbody for that level of consciousness.

THE GOLDEN HEART MERKABAH OF CREATION

The Golden Heart Merkabah of Creation is the practice whereby each of these Merkabah Lightbodies is spun, with intention, at a divine rate, to create a vortex of energy within your consciousness at that level.

As we have shown previously, all of these sacred geometrical shapes hold within their structure the energy of Creation in the form of the Golden Mean ratio. That these sacred geometrical shapes are held as a magnetic structure within our different Merkabah Lightbodies. When we activate each of these Lightbodies using this practice, through their spin, they create a vortex whereby the Creative Energy of God is drawn into your Lightbody, energising your consciousness at that level, and creating whatever is in your consciousness at that level. You become a vortex of Creation Energy.

Thus is the power of this practice and why it was a so closely guarded secret up until 1995.

GENERATION OF PLATONIC SOLIDS FROM
SEED OF LIFE AND METATRON’S CUBE

THE GOLDEN HEART MERKABAH OF CREATION

From the diagram below it can be seen that the Qabalistic Tree of Life fits perfectly over the pattern of the Flower of Life. The Tree of Life in turn is a Universal Glyph of the pattern of consciousness. This pattern can be transposed over any mystical system and its correspondences verified.

This diagram also shows the locations of the Alpha and Omega chakras which are more multi-dimensional gateways than chakras as we know them. They link in to the creation or octave above and below our reality.

Also shown on this diagram are the locations of the ‘hidden’ Sephiroth on the Tree of Life including the little known ‘Devic’ chakras.

THE GOLDEN HEART MERKABAH OF CREATION

We are all aware of the fact that we have energy centres in our electro- magnetic auras or ‘lightbodies’.

What we do not realize is that each of these ‘chakras’ has a vibration which perfectly matches the vibration of one of the ‘Platonic Solids’. That is to say that a particular chakra has, as part of it’s structure as consciousness, a vibrational pattern of one of the platonic solids.

Each chakra contains ALL geometric patterns within it, but one is more predominant in each chakra over the others.

Movement is consciousness.

It is the knowledge of the ratios of spinning these chakras as dimensional form that is the knowledge of the Golden Heart Merkabah.

As an example

If I knew the perfect spin ratio of the Icosahedron, the perfect spin ratio that would attune me to the Divine at that level of consciousness, I could activate this Merkabah at that spin rate, which resonates with the Atmic Body, or the 6th Dimension.

This would create an instant link with that aspect of my Eternal Self which is consciously aware at that level or vibration. I would start to receive impressions, realizations of my Self as a 6th dimensional being whilst still holding awareness in 3rd dimensional density.

Why is this so special?

Well, the traditional spiritual path is to sit in meditation, in stillness, to allow your ‘essential self’ to arise. This can take many years of practice which is ok.

This practice has always been given in the past to the highest initiates as a way of contacting aspects of the Self which would normally be out of reach for the majority of us in one lifetime.

The time on the planet now is of ‘no more secrets’, and so this practice has been given out into the world so that all who feel drawn to reach for the stars can do so in this lifetime.

The service aspect of this work is that, in truth, the Merkabah field of planet Earth is also starting to spin at a higher rate. Those of us who choose to do this work are helping the planet to achieve this new spin. Each one of us is an atom in the body of Gaia. As more of us start to do spiritual work it is affecting the Merkabah Lightbody of Gaia.

Those of us who are activating our Merkabah Lightbody and are choosing to meet in groups to create ‘Group Merkabah’ can profoundly effect all life on this planet and the planet Herself. It is the way that has been chosen for Ascension to occur and has the Blessing of all the Realms of Light.

 

THE PHOTON BAND

Most of us are aware that there is in existence something called the Photon Band but most of us are unaware of what exactly this is.

In the early 1960’s various satellites began picking up evidence of a band of photonic energy which had its origins in the very centre of our galaxy. This has since become known as the Photon Band. The whole of the Solar System is now transiting into this band of energy; Earth first contacted it in 1987, the Sun entered it on the Winter Solstice of 1998, and our whole Solar System will be immersed in it at the Winter Solstice of 2012.

This also coincides with the end of the Galactic Calendar as kept by the Mayan Timekeepers. Once in this band of energy the Solar System will remain in it for 2000 years before once again venturing out into the Galactic Night.

The immersion in this band of photonic energy is causing a speeding up of the atoms in our Solar System. This in turn is causing the cells in your body to speed up and let go of stored energy. It has been proved by scientists that our cells store the energy of traumas we experience, in fact cancer cells are cells that are so overloaded with emotional trauma that they mutate and lose connection with the host ie; your consciousness, and begin to evolve and grow along a chaotic pattern.

Throughout the world people are experiencing the effects of this clearing.
These are sore throats and ‘flu-like’ symptoms without the flu; headaches across the forehead or over one eye or both; heart palpitations or arrhythmia due to an activation of the Thymus Gland; extremely exhausted for no apparent reason; aching joints and diarrhoea.

In the book ‘The Pleiadian Agenda’ by Barbara Hand Clow it states that this band of energy is creating a clearing of all of Humanity at cellular and DNA level. This has to happen for only those of us who have done the clearing can experience all 9 dimensions of existence simultaneously. This is a prerequisite for remaining in physical body after the full immersion in the Photon Band after 2012.

The illustration opposite shows how bands of energy radiate out from the Galactic Core forming a torus. It is one of these bands that we are entering into at this time.

WHO IS IN CONTROL ?

Picture from a Dollar BillThe knowledge of the Merkabah is being used in our society to control us. We are constantly bombarded with images, sounds and colours keyed to the Golden Mean to influence our consciousness, and to encourage us to hand over our power to the few who feed off of us financially.

This is the picture found on the Dollar Bill.

The word “Mason” is found by drawing a hexagram.


When this statue was unveiled of George Washington , the first president of the United States, the people could not understand why their esteemed George was depicted in such a strange, half-naked pose.

Look at the classic image of the Satanic symbol of “Baphomet”, however, and all becomes clear.


This is the logo for the US Television Network CBS.
It is based again on the pyramid with the all-seeing eye.

WHO IS IN CONTROL ?

The picture below shows how the American Capital was built using Sacred Geometry to channel the energy of the Divine into Governmental decisions.


The picture to the right shows how the streets were created to form an inverted pentagram, the sign of using Divine Energy in its reverse aspect ie; for personal power.

Also the creation of the figure of an owl. Another symbol connoting ‘dark’ energy.

Note the layout below also depicts an owl.


This kind of symbolism is also used by large corporations. The Nokia symbol above right has 3 chevrons arranged in groups of 6 – hence 666.

WHO IS IN CONTROL ?

This is another example of an occult symbol. It is based on the serpent eating its own tail, otherwise known as the Oroboros.

It has both a light and a dark meaning, being a symbol of an aspirant consuming his or her own ego or is the symbol of a powerful demon from the Goetia, the Lesser Key of Solomon.

The UN emblem showing a globe with latitude and longitude lines outlining 33 fields, symbolizing the 33 degrees of Freemasonry .