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ﻬஐﻬ Oracle ﻬஐﻬNeshamah---------Emek Ha-Melekh July 2006 炼金术中的鸟In alchemical writings we meet a seemingly bewildering multiplicity of animal symbols - red lions, white eagles, stags, unicorns, winged dragons and snakes. Although at first glance all this complex mass of symbolism seems tortured and confused there is an inner coherence to these symbols, which the ancient alchemists used in specific ways reflecting their esoteric content. In this article I wish to consider a particularly tight knit group of these animal symbols, the birds of alchemy - the Black Crow, White Swan, Peacock, Pelican, and Phoenix - which are descriptive of certain stages of the alchemical process. Of course it would be wrong to suggest that there are fixed rigid meanings with regard to these symbols. The alchemists always integrated the symbols they used, so that one has to look at the total context, the background against which they stand, but when the birds appear in this sequence it is almost certain that the following interpretation can be applied. Firstly, let us look at the symbols in general. What did the alchemists wish to symbolise by birds? The essential thing about birds is that they, having as their domain the air element, mediate between the earthly realm and the heaven world. The alchemist in observing the flight of birds, recognised in them a picture of the human soul undergoing spiritual development. The soul, aspiring upwards, flying free of the restraints of the earth bound body seeking the heavenly light, only to have to return to the earthly consciousness again after the meditation, the alchemist symbolised by the bird. Thus the bird symbols, in alchemy, reflect the inner experiences of soul alchemy, the soaring of the soul free from the earth bound body and the physical senses. The soul, in the meditations of soul alchemy, touches upon the spiritual world, and brings something of this back into the outer life again. The birds as symbols mediate between the physical and spiritua1 worlds, they reflect certain archetypal experiences encountered by the soul in its development through the alchemical process. These symbols were used in two ways. Firstly, as a description in a text of one aspect of the process. Thus the alchemist might indicate a certain process as the Pelican stage, and describe certain facets of this by using perhaps other symbols, Secondly, these bird symbols could be used as a subject matter for a meditation, and by inwardly building such a symbol, one connected in soul with the essential experience of the particular stage of the alchemical-soul process. Consider them in the following sequence, one which occurs in various sources: Black Crow - White Swan - Peacock - Pelican - Phoenix - as these correspond to a developing inner experience which involves a progressively deepening encounter with the inner spiritual dimension of our being. The Black Crow sometimes also the Raven is the beginning of the great work of soul alchemy. This indicates the initial stages of the alchemist's encounter with his inner space, through withdrawing from the outer world of the senses in meditation, and entering what is initially the dark inner world of the soul. Thus this stage is also described in alchemical texts as the blackening, the nigredo experience, and it is often pictured as a death process, as in the caput mortuum, the deaths head, or as some alchemical illustrations show, the alchemist dying within a flask. Thus in the symbol of the Black Crow we have the stepping out in consciousness from the world of the physical senses the restrictions that bind us to the physical body.
The Black Crow sometimes also the Raven is the beginning of the great work of soul alchemy. This indicates the initial stages of the alchemist's encounter with his inner space, through withdrawing from the outer world of the senses in meditation, and entering what is initially the dark inner world of the soul. Thus this stage is also described in alchemical texts as the blackening, the nigredo experience, and it is often pictured as a death process, as in the caput mortuum, the deaths head, or as some alchemical illustrations show, the alchemist dying within a flask. Thus in the symbol of the Black Crow we have the stepping out in consciousness from the world of the physical senses the restrictions that bind us to the physical body.
The next stage, is often shown as The White Swan. Now the alchemist begins to experience the inner world as being light filled - the initial inner brightness which is often erroneously mistaken for true illumination. This is merely a first conscious encounter with the etheric world, and in comparison with physical sense experience is for many souls so overpowering as to be pictured as bright white light. The alchemical tradition recognised this and symbolised this stage as the White Swan. The swan is a bird which is rarely seen in flight, but rather swimming upon lake or river, gracefully moving on the surface of water- in soul terms, on the soul's surface, its etheric interface with the physical.
With the Peacock stage, the alchemist has entered into the inner experience of the astral world, which initially appears as ever shifting patterns of colour. This experience is often symbolised in alchemy by the appropriate image of the peacock's tail with its splendid iridescence of colour. In terms of this series of five stages, the turning point is reached with the Peacock. Up until this point the alchemist has experienced aspects of his being which he was formerly unconscious of - the etheric forces and the astral body. Essentially these experiences have happened to him, although he had to make himself open to the experiences through entering into the initial Black Crow state, however, in order to progress he must begin to work upon his inner being. This active working with the soul forces is perfectly pictured in the Pelican. The Pelican is shown stabbing its breast with its beak and nourishing its young with its own blood. The alchemist must enter into a kind of sacrificial relationship with his inner being. He must nourish with his own soul forces, the developing spiritual embryo within. Anyone who has made true spiritual development will know well this experience. One's image of one's self must be changed, transformed, sacrificed to the developing spiritual self. This is almost invariably a deeply painful experience, which tests one's inner resources. Out of this will eventually emerge the spiritual self, transformed through the Pelican experience. The Pelican was in this spiritual sense a valid image of the Christ experience and was used as such by the early alchemists. The Phoenix completes this process of soul development. The Phoenix bird builds its nest which at the same time is its funeral pyre, and then setting it alight cremates itself. But it arises anew from the ashes transformed. Here we have captured the alchemists experience of spiritualisation, He has integrated his being so much, that he is no longer dependent upon his physical body as a foundation for his being. He now stands upon the sureness of the spiritual - he has in this sense attained the Philosopher's Stone, the Spiritual core of his being. Thus we can sketch shortly the process of Soul alchemy, the integration, purification and transmutation of the soul, as pictured in this series of bird symbols. BLACK CROW - withdrawal - freeing of the from depend ence on the Physical senses PHOENIX - freeing of the spirit from the bounds of the physical WHITE SWAN - experience of the etheric body PELICAN - using consciously the forces of the etheric body PEACOCK - astral body consciousness - inward immersion - point of transformation - outward expression integration - purification - transmutation The Peacock's Tail is the central experience to this process, the point of inner transformation, which arises from a true consciousness of the astral body. We note also that the other stages mirror each other. Thus the Black Crow and the Phoenix are related as beginning and end of the process, but in a deeper sense they are both connected with death-processes. The dying to the senses of the Black Crow stage is ultimately transformed into the triumph over the death process of the physical, that is pictured by the Phoenix. There is a further mirroring of the White Swan and Pelican stages. The White Swan is an experience of the etheric forces in one's being, and this is later transformed into a conscious mastery and outward expression of these life forces. The Peacock's Tail stage - the conscious experience of the astral body - stands alone in this picturing of the process, though it was sometimes split into two facets, in the writings of some alchemists - an initial winged dragon phase which resolved into the Peacock's Tail. In the initial encounter with the astral body, the negative distorted aspects of one's being can dominate, and these can be pictured as the winged dragon, but through soul purification, ultimately the full beauty and splendour of the astral body are revealed in the Peacock's Tail. In the early alchemical texts (and in particular the 'Rosarium philosophorum'), this picture of soul alchemy is developed in parallel with descriptions of what was a sore physical process. Thus it was that the soul development of the alchemist went hand in hand with an actual physical operation, and this operation, the details of which have not been wholly lost, involved color and form changes within a sealed flask, isomorphic to the inner changes of soul alchemy, described by these bird symbols. Thus we had a physical process which involved a blackening, a whitening; a rapid iridescence of colours, a circular distillation stage, and a final sublimation. Part of the task of modern alchemy must be to rediscover this physical process, and explore its further ramifications. 炼金术标记-Ouroboros(大毒蛇)
Ouroboros is an ancient alchemy symbol depicting a snake or dragon [DNA] swallowing its own tail, constantly creating itself and forming a circle. It is the Wheel of Time - The Alchemy Wheel - 12 Around 1 to manifest grid programs that give the illusion of linear time allowing souls to experience emotions. Ouroboros is associated with Alchemy -- Gnosticism and Hermeticism. It represents the cyclical nature of things, eternal return, and other things perceived as cycles that begin anew as soon as they end. In some representations the serpent is shown as half light and half dark, echoing symbols such as the Yin Yang, which illustrates the dual nature of all things, but more importantly, that these opposites are not in conflict. Origins of the Ouroboros The serpent or dragon eating its own tail has survived from antiquity and can be traced back to Ancient Egypt, circa 1600 B.C.E. From there it passed to Phoenicia and then to the Greek philosophers, who gave it the name Ouroboros ("the tail-devourer"). Norse Mythology - the serpent Jormungand, one of the 3 children of Loki - the Trickster who grew so large that it could encircle the world and grasp its tail in its teeth. Hindu Mythology - the dragon circling the tortoise which supports the four elephants that carry the world. The serpent or dragon also appears in Aztec, Chinese, and Native American mythology. Christians adopted the Ouroboros as a symbol of the limited confines of this world (that there is an "outside" being implied by the demarcation of an inside), and the self-consuming transitory nature of a mere this-worldly existence following in the footsteps of the Preacher in Ecclesiastes. It could very well be used to symbolize the closed-system model of the universe of some physicists even today. Symbology behind the Ouroboros
The ouroboros has several meanings interwoven into it. Foremost is the symbolism of the serpent biting, devouring, eating its own tail. This symbolises the cyclic Nature of the Universe: creation out of destruction, Life out of Death. The ouroboros eats its own tail to sustain its life, in an eternal cycle of renewal. In the above drawing, from a book by an early Alchemist, Cleopatra, the black half symbolises the Night, Earth, and the destructive force of nature, yin. the light half represents Day, Heaven, the generative, creative force, yang.
Alchemy
Alchemically, the ouroboros is also used as a purifying glyph. Ouroboros was and is the name for the Great World Serpent, encircling the Earth.
The word Ouroboros is really a term that describes a similar symbol which has been cross-pollinated from many different cultures. Its symbolic connotation from this owes to the returning cyclical nature of the seasons; the oscillations of the night sky; self-fecundation; disintegration and re-integration; truth and cognition complete; the Androgyne; the primaeval waters; the potential before the spark of creation; the undifferentiated; the Totality; primordial unity; self-sufficiency, and the idea of the beginning and the end as being a continuous unending principle.
Ouroboros represents the conflict of life as well in that life comes out of life and death. 'My end is my beginning.' In a sense life feeds off itself, thus there are good and bad connotations which can be drawn. It is a single image with the entire actions of a life cycle - it begets, weds, impregnates, and slays itself, but in a cyclical sense, rather than linear.
Thus, it fashions our lives to a totality more towards what it may really be - a series of movements which repeat. "As Above, So Below" - we are born from nature, and we mirror it, because it is what man wholly is a part of. It is this symbolic rendition of the eternal principles that are presented in the Emerald Tablets of Thoth. The Ouroboros connects the Above and Below Born from this symbolic notion, there are many different cultures which share this great dragon-serpent symbol (the serpent Jormungandr, from the myth of Yggdrasil, is just one). There are some cultures thatsee the image as not being beneficial, but evil - like Satan. These more specific re-interpretations will be spoken of later. It is of interest to mention that a symbol such as that of the Ouroboros is something which Carl Jung refers to as an archetype; it seems to makes its way into our conscious mind time and time again in varying forms. The 19th century German chemist named Kekule dreamed of a snake with its tail in its mouth one day after dosing off. He had been researching the molecular structure of benzene, and was at a stop point in his work until after waking up he interpreted the dream to mean that the structure was a closed carbon ring. This was the breakthrough he needed. There is another mention of the Ouroboros laying at the edge of "the sea which surrounds the world," called Pontus. The Ouroboros encircles the Universe; everything known and unknown is encompassed in its embracing coils, supporting and maintaining the earthly balance. It injects life into death and death into budding life. Its form suggests immobility with its locked jaws upon itself, yet at the same time it pushes the insistent message of perpetual movement through its twined coils. The first clues to this symbol go back as far as 1600-1700 BC in Egypt. Through the years the serpent moved on to the Phoenicians and the Greeks-who were what gave it the name "Ouroboros." The Greek translation means, "tail eater." "All is One!" cries this Ouroboros from Alexandrian Egypt. "The Serpent Ouroboros" from ancient Egypt. Papyrus of Dama Heroub Egypt, 21st Dynasty The zodiac as a tail-eating snake (Ouroboros) symbolizes the eternity of Time and the boundry of the universe. Below it, the double lion Routi ('Yesterday and Tomorrow'), the agency of ressurection, supporting the newborn Sun God. It has a strong relation to what is known as the Androgyne. The androgyne is the united male and female principles together. This is the prime primordial end to human endeavor, the reunion which births totality and creation. It is not unlike the idea of androgyny, which is a duality complete. "A return to wholeness."  Seven-segmented Aztec Ouroboros. This is an Aztec Ouroboros (with proportions that even Hermes would have found pleasing) originally from: Project Ouroborus at the University of Minnesota, which has a large and diverse selection of these impressive archtypes. The following commentary from this source links with what has already been said and also adds further points of interest: This symbol appears principally among the Gnostics and is depicted as a dragon, snake or serpent biting its own tail. In the broadest sense, it is symbolic of time and the continuity of life. It sometimes bears the caption Hen to pan - 'The One, the All', as in the Codex Marcianus, for instance, of the 2nd century A.D. It has also been explained as the union between the chthonian principle as represented by the serpent and the celestial principal as signified by the bird (a synthesis which can also be applied to the dragon). Ruland contends this proves that it is a variant of the symbol for Mercury - the duplex god. In some versions of the Ouroboros, the body is half light and half dark, alluding in this way to the successive counterbalancing of opposing principls as illustrated in the Chinese Yin-Yang symbol for instance. Evola asserts that it represents the dissolution of the body, or the universal serpent which (to quote the Gnostic saying) 'passes through all things'. Poison, the viper and the universal solvent are all symbols of the undifferentiated-of the 'unchanging law' which moves through all things, linking them by a common bond. Both the dragon and the bull are symbolic antagonists of the solar hero. The Ouroboros biting its own tail is symbolic of self-fecundation, or the primitive idea of a self-sufficient Nature - a Nature, that is which, ?la Nietzsche, continually returns, within a cyclic pattern, to its own beginning. There is a Venetian manuscript on alchemy which depicts the Ouroboros with its body half-black (symbolizing earth and night) and half-white (denoting heaven and light). As a symbol of the eternal unity of all things, the cycle of birth and death from which the alchemist sought release and liberation, it was familiar to the alchemist/physician Sir Thomas Browne. In his A letter to a friend, a medical treatise full of case-histories and witty speculations upon the human condition, he wrote of it: [...] that the first day should make the last, that the Tail of the Snake should return into its Mouth precisely at that time, and they should wind up upon the day of their Nativity, is indeed a remarkable Coincidence. Carl Jung Swiss psychologist Carl Jung saw the ouroboros as an archetype and the basic mandala of alchemy. Jung defined the relationship of the ouroboros to alchemy: The alchemists, who in their own way knew more about the nature of the individuation process than we moderns do, expressed this paradox through the symbol of the uroboros, the snake that eats its own tail. In the age-old image of the uroboros lies the thought of devouring oneself and turning oneself into a circulatory process, for it was clear to the more astute alchemists that the prima materia of the art was man himself. The ouroboros is a dramatic symbol for the integration and assimilation of the opposite, i.e. of the shadow. This 'feed-back' process is at the same time a symbol of immortality, since it is said of the uroboros that he slays himself and brings himself to life, fertilises himself and gives birth to himself. He symbolises the One, who proceeds from the clash of opposites, and he therefore constitutes the secret of the prima materia which [...] unquestionably stems from man's unconscious'. (Collected Works, Vol. 14 para.513)
Celestial Symbology The Ouroboros is believed to have been inspired by the Milky Way, Sagittarius - The Archer is in the heart of the summer Milky Way.
The center of our Milky Way Galaxy in the constellation Sagittarius.
The Eye of a Galaxy
The Milky Way Galaxy is the inspiration for the symbol of the Ouroboros. Myth refers to a serpent of light residing in the heavens. The Milky Way is this serpent, and viewed at galactic central point near Sagittarius, this serpent eats its own tail. The Milky Way galaxy keeps a great time cycle that ends in catastrophic change. The sign of the Suntelia Aion is the sun rising out of the mouth of the ouroboros, which will occur on the solstice December 2012 - which links with the Mayan Calendar as a symbolic date for the clse our our reality - virtual reality program - Quetzalcoatl - and escalating Earth changes in the Ring of Fire.
The Greeks called this End of the Age the Suntelia Aion. Ancient historians and especially Plato referred to a cycle of catastrophe at the End of the Age. The AION was symbolized by the Ouroboros. The galactic center of the galaxy is 26 degrees 54 minutes Sagittarius. It approaches 27 degrees 0 minutes in the year 2010. In the year 2012 the galactic center is 27 degrees and 1 minute.
27+1=10=1+0=1 = New Beginnings
If your birthday is on or around December 18th - you are aligned with the sun pointing to the center of the galaxy. People born on this date include my friends George, Robert and Steven Spielberg! You could also have the Galactic Center as Sun, Ascendant, Midheaven, or other sensitive point in your charts.
 The Ouroboros and the Tree of Life
The Double Triangle of Solomon
Stylized Ouroboros in a medieval alchemy lab in Heidelberg
Janus 1608
The Ouroboros is the connection between man and God.
Chinese Ouroboros from Chou dynasty, 1200 BC.
Pre 1400 Japan
Oceanic Ouroboros from Alciato's Emblems
Late 1700's
Emblem of the Theosophical Society
昆达里尼能量KUNDALINI ENERGIES 昆达里尼能量 (瑜伽教理中的)生命力(据认为蜷伏在尾椎部,当上升至脑时,即激发悟道)
Stretching back into the corridors of time, Asian religions have spoken of a mystical force called the 'Kundalini'. Throughout history many names have been given to this power. Orgone, esprit, loosh, prana, elan vital, and bio-electricity are some of these names. 回到时间隧道，亚洲宗教已经谈到称做“昆达里尼”的生命力。整个历史多次给这种力取了很多名字。生命力，才气，loosh，prana，热烈的生机和生物电就是这些名称的一部分。 The rise of the kundalini is linked with a warm liquidly magnetic energy when it rises up the spine. Physical symptoms connected to the opening of the kundalini may include crackling noises at the base of the neck, and unexplained headaches - but be careful about attributing these symbols to rising kundalini energies. Often they have a medical cause that needs the attention of a physician. 当昆达里尼由脊骨上升时候，它的升起和温暖流畅的磁能连接在一起，昆达里尼的开启与身体症状联系一起的包括脖子底部烤肉皮的噪音以及无法解释的头痛-但是小心将这些符号归于到昆达里尼能量上来。经常它们有医学原因需要医生的诊断。 Kundalini energies are sometimes triggered by a blow to the head or other physical trauma timed by your soul to awaken your psychic journey and innate abilities. 有时头部受打击或其它身体外伤昆达里尼能量同步被灵魂触发唤醒你的精神旅程和天生的能力。 Releasing the Kundalini energy too quickly can have serious emotional effects on a person. One should not attempt to open this thrust of energy if one is not in a balanced psychologically. This is not for those with manic depression or bi-polar disorder. 一个人释放昆达里尼能量太快可以有严重的情感影响。如果一个人心理上不平衡，他就不应该尝试打开这个能量推力。这不适合狂躁消沉或bi极混乱的那些人。 The manifestation of the Kundalini energy - frequency of vibration - links with the Sanskrit term 'Chaitanya' - the integrated force of your physiological, mental, emotional and religious bodies. 昆达里尼能量的显现-振动频率-与梵语‘Chaitanya’连接在一起-你生理、精神、情感和修道身体综合的力。
Kundalini literally means 'coiling,' like a snake. Energy and consciousness - moves in spiraling motion - coils - loops - the snake. This is a metaphor for the spiraling energies of consciousness - which is our reality of thought and is explained by Sacred Geometry the loops are the loops of time - the slinky effect - time as an illusion played out in a physical game of polarities - duality emotions. 昆达里尼字面意思就是‘盘绕’，像一条蛇。能量和意识-以螺旋运动感应-盘绕-环-蛇。这就是意识的螺旋能量的隐喻-意识是我们思想的实相被神圣几何学解释的环就是时间之环- slinky作用-时间是由极性的物理游戏扮演的幻想-二元情感。 In the classical literature of Hatha Yoga, kundalini is described as a coiled serpent at the base of the spine. 在瑜珈气功古典文学里，昆达里尼被描绘成在脊骨底部盘绕的大蛇。
The coiled and dormant 'feminine' energy, refers to the vast potential of psychic energy contained within us all. It is normally symbolized as a serpent coiled into three and a half circles, with its tail in its mouth, and spiraling around the central axis (sacrum or sacred bone) at the base of the spine. The awakening of this serpent and the manifestation of its powers is a primary aim of the practice of Kundalini Yoga. 盘绕和沉睡的‘女性’能量，引用我们身体内部全部巨大的精神潜能。通常以盘绕三圈半的大蛇来象征，嘴里含着尾巴，而在脊骨底部盘绕在中央轴（骶骨或神骨）上。蛇的唤醒和她力量的显现是修习昆达里尼瑜珈主要的目标。 The image of coiling, like a spring, conveys the sense of untapped potential energy that will spring into action soon. For now we remember in small doses. 盘绕的图像，像一根弹簧，传递未打开的潜能感觉，潜能立刻以弹簧起作用。因为现在我们回忆起一部分。 Kundalini can be described as a great reservoir of creative energy at the base of the spine. It's not useful to sit with our consciousness fixed in our head and think of kundalini as a foreign force running up and down our spine. 昆达里尼可以被描绘成脊骨底部创造性能量的巨大储库。看做我们脊骨上下流动的外力暂时照看我们的被固定在头脑和昆达里尼思想意识没有用处。 The concept of kundalini can also be examined from a strictly psychological perspective. From this perspective kundalini can be thought of as a rich source of psychic or libidinous energy in our unconscious. 昆达里尼的概念也可以从严格的心理透视被检查。从这透视昆达里尼可以被认为是精神或我们无意识性欲能量的丰富来源。 In the classical literature of Kashmir Shaivism kundalini is described in three different manifestations. 在克什米尔Shaivism古典文学里，以三个不同的表现来描绘昆达里尼。 The first of these is as the universal energy or para-kundalini. 首先这些被看做普遍的能量或para-生命力。 The second of these is as the energizing function of the body-mind complex or prana-kundalini. 其次这些被看做身体头脑联合体或prana-生命力的强化功能。 The third of these is as consciousness or shakti-kundalini which simultaneously subsumes and intermediates between these two. 第三这些被看做同时包含和这两者之间媒介的意识或者shakti-生命力。 Ultimately these three forms are the same but understanding these three different forms will help to understand the different manifestations of kundalini. 基本上这三种形态是一样的，只是理解这三种不同的形态将有助于理解昆达里尼不同的表现。
This energy is also related to one's personal storehouse of ***ual energy. Kundalini takes ***ual energy in its raw form and converts it into fine spiritual energy of an extremely high frequency, which then allows the fruition and activation of paranormal activities such as good quality OBE's, telepathy, matter/energy conversion, and communication with entities that inhabit the vast areas of our multi-dimensional universe. 这能量也涉及一个人的性能量仓库。昆达里尼获得自然形态的性能量而将它转化为纯粹的非常高频率的精神能量，于是精神能量允许超正常行为例如好品质OBE、心灵感应、物质/能量转化与居住在我们多维宇宙广阔地方的实体沟通的实现和激活。 RESULTS OF OPENING THE KUNDALINI 开启昆达里尼的结果 - Activating Your DNA! - 激活你的DNA！ - Opening your Clairvoyant and Clairaudient abilities. - 开启你的透视和超听觉能力。 - Feeling connected to the oneness of the universe - 觉知与宇宙大一连接上 - Your mind feels expanded in its quest for higher awareness and knowledge - 你的头脑感觉扩展以探索更高的觉知和知识 - Allowing your ego to step aside and connecting with higher frequency of thought and consciousness - 允许你的自我退让以及同更高频率的思想和意识连接起来 - Feeling unconditional love, peace, and connection with spirit - 感觉无条件的爱，和平，与灵魂连接
OPENING THE KUNDALINI WITH MEDITATION 用冥想开启昆达里尼
Kundalini is most often awaken through Yoga meditation - which include Mantra Yoga, Hatha Yoga, Laya Yoga or Kriya Yoga. I have prepared a meditation to help you on your path should Yoga not be available to you. 多数通过瑜珈冥想唤醒昆达里尼-冥想包括音流瑜伽、哈塔瑜伽、情者瑜伽和克里亚瑜珈。我已经准备了一个冥想有助你在道路上，瑜珈真的对你有用。 To prepare for this meditation - you might want to tape record the words on this page to listen to as your move through the meditation. Please speak slowly and softly. 准备冥想-你应该用磁带记录你通过冥想感应听到的话。请缓慢和轻柔地说。 Allow lots of time for the meditation - as you will need to relax when you are finished. 要长时间冥想-因为你需要放松，这时候你是完美的。 You may want to listen to music or be in a quiet place - or be in nature. 你也许该听音乐或处于一安静的地方-或呆在自然界里。 Find a quiet place free of distractions. 找一处不让人分心的地方。 调节照明和房间温度。 调整穿着. . . 鞋 . . . 眼镜。 坐着或躺着 Quiet your mind . . . Still your thoughts. 安静你的头脑. . . 静止你思想。 放松你身体 你的脸. . .你的下巴. . .正在放松 你的肩膀. . .你的脖子. . .已放松 你的胳臂. . .你的手. . .感觉安宁。 你的腰. . .你的臀. . .正在放松 你的腿. . .你的脚. . .完全放松了 Focus on your breathing. 注意力集中在呼吸上。 通过鼻子缓慢而深深地吸气。 舒适地尽可能长地保持呼吸。 缓慢而又完全地通过嘴呼气。 重复二次以上的呼吸. . .或感觉很舒服。 Now focus your attention on your chakras 现在把你的注意力集中在你的脉轮上 Starting from the top of your head visualize your crown chakra opening. 从头顶开始想象你头顶脉轮开启。 Watch as pure white light enters your crown chakra 注视纯净白光进入你的顶脉轮 白光开启你的第三只眼。 你可以经验尤其是蓝色、紫色. . .颜色振动 白光下移至你的喉轮放松了你的束缚 Allow the tones to resonant from your throat. 自你的咽喉处引起音调共鸣。 Do this as long as is comfortable . . . 在舒适的情况下做这个. . . The white light now enters your heart chakra. 白光现在进入你的心脏脉轮。 你体验无条件的爱与慈悲的感觉。 白光进入你的腹腔神经丛。 逐渐地你的恐惧-愤怒-紧张被释放。 See the white light enter your spleen chakra 留心白光进入你的脾脉轮 释放与脉轮连接的痛苦和内疚。 The white light now enters your Root Chakra the seat of your kundalini energy. 现在白光进入你昆达里尼能量所在的根脉轮。 当它到达后，它就开始激活底部（根）脉轮。 Feel the energy suddenly emerge from your Root Chakra, 感觉能量突然从你的根脉轮出现， The coiled snake represents the spiraling DNA - 盘卷的蛇象征螺旋DNA –开启， Allow the energy to flow through your chakras. 让能量通过脉轮流动。 看能量轮旋转 When your are ready . . . come back into your physical body. 当你准备好. . .回到你身体内。 放松和平衡你的能量 你可以想要喝一些水
------------------------------------------------------------------------- 注:哈他瑜伽（Hatha Yoga）帮助你揭开身体和呼吸之谜。它是所以瑜伽体系中最实用的一个体系，也是最为西方所熟知的一个体系。它包括了一系列的练习，通过身体的姿势、呼吸和放松的技巧，来达到训练的目的。这些技巧对神经系统、各种腺体和内脏都大有益处。其目的在于推动有节奏的呼吸和开发身体潜能。有些人还指出，它的目的还包括让身体准备好练习专门锻炼. 天使
The word 'Angel' is taken from the Greek word 'Angelos' which means 'Messenger'. Angels are those souls who from the beginning of creation never lost contact with the Creator, never had physical lives, and seek only to fulfill the will of the Creator. Angels can vary in form, depending on the needs and expectations of those requesting help. They may appear as either male or female, but are neither. They are beings of light energy. They came into being as a link between the Creator and humanity. They bring us messages to guide and protect us during the spiritual transformation that is taking place now on the planet. Angels are different in many respects from Spirit Guides. They usually come with a frequency of unconditional love whereas spirit guides have personalities and are often humorous and talk a lot! 天使一词源自希腊语‘安琪尔’，意思是‘信使’。天使就是那些自创造开端而来的灵魂，从未与创造者失去联系，从未有肉体生命，只是寻求完成创造者意志。天使可以改变形态，取决于那些请求帮助的人需要与期待。他们可以以男性或女性示现，但是他们两者皆不是。他们是光能量存在。他们进入创造者与人类之间的连结物中。他们给我们带来信息，在行星上现在正发生的灵性转化方面指导与保护我们。天使不同于指导灵的许多形象。他们通常伴随无条件爱的频率产生，然而指导灵具有个性，大多幽默和滔滔不绝！ In the Middle Ages Angels were depicted as bringing messages, such as the birth of Christ. They were usually depicted as human-like beings, which huge wings, halos, and radiating white light. 在中世纪，天使被描写为带来信息，如基督的诞生。他们常常被描写为类人存在，具有巨大的翅膀，光环和辐射白光。 Angels have been recognized by major religions as having a very important place in the overall plan of creation. The idea of Angels is significant in Judeo-Christian religious thought. In both the Old and New Testaments, angels are identified as belonging to specifically named groups, in a kind of celestial hierarchy, consisting of Nine Orders. Before the advent of Christianity, angels as messengers had their belief counterparts in Ancient Greece, where Hermes- (Thoth - Tehuti) was considered a messenger of God, and in Rome, where he was called Mercury. The Vikings also had a messenger God called Hermod. 主要宗教公认天使在全面的创造计划中具有重要位置。天使的观念在犹太教与基督教所共有的思想里意义重大。在新旧约全书中，天使被认为是特定名称的族群，在天上的层级里，由九个法则组成。在基督教出现前，天使如同信使那样在古希腊具有他们的信仰相似物，在古希腊里赫耳墨斯(为众神传信并掌管商业、道路、科学、发明、口才、幸运等的神)-(透特-特胡提)被认为是上帝的信使，而在罗马那地方被称作墨丘利神(众神的信使)。斯堪的纳维亚人也具有信使神称作Hermod。 As we prepare to return to a higher level of consciousness many people are connecting with Angels. Though they usually do not remain with one person exclusively, they can come to when you call them. 如同我们重新返回到更高意识层面那样，许多人正与天使连接 。虽然他们通常不专属于一个人，当你呼唤他们的时候，他们就能到达。
THE CHOIR 唱诗班
The Choir is the name used for the order of angels, a method of organization that proposes a kind of celestial hierarchy for the entire angelic realm. The term choirs is probably derived from one of the most central roles of all angels, the singing of praises to God so that all of heaven and Creation reverberate with the joyous sound. The inderlying principle of the angelic choirs is rooted in the metaphysical understanding of varying degrees of angelic perfection or the extent to which each order reflects the perfect light of God's illuminative love. 唱诗班是用于天使法则的名称，为整个天使领域向某类天上层级提建议团体方法。唱诗班术语或许源自所有天使的大中枢角色之一，赞美上帝的歌唱以便所有的天堂或造物回响快乐的声音。天使唱诗班的主要法则是根植于形而上学天使各种完美程度的理解，每种程度反射了上帝启蒙爱的完美之光。 The Angels of creation are a group of seven angels who are said to have been in existence before Creation of the world. That angels may have been created before the birth of the world is attested to by this passage in Job (38). According to the Second Book of Enoch, a useful source for angelic lore, the seven angels reside in the sixth heaven.There remains, however, serious discussion among angelologists as to when God created the angels. 创造天使是七天使团体，据说在世界创造之前就存在。〈圣经〉约伯(38)通过通道证明那些天使在世界诞生之前就被创造。按照伊诺克的第二本书，天使的知识有用来源，七个天使居住在第六天堂，可是在天使科学之间的严肃讨论中仍遗留如上帝什么时间创造了天使。 ANGEL – CHOIR 天使-唱诗班 The ninth and final order of angels according to the organization of the celestial hierarchy as created by the sixth-century theologian Dionysius the Areopagite; the angels belong to the third and final triad of choirs, with the archangels and principalities, the primary focus of their existence being the caretakership of humanity and the world. While the lowest rank of all angelic beings-if one accepts the idea of a regulated angelic organization-angels are nevertheless members of the heavenly host and thus possess the profound and beautiful attributes given to them by their Creator. They are beings of pure spirituality and exist to fulfill the tasks given to them by God. Chief among these are to act as messengers of the Lord to the Earth and guardians of the human soul. 第九和最后天使法则是依照天上层级团体，像六世纪神学家戴奥尼夏Areopagite那样创造的；天使属于第三和最后三和音唱诗班，有大天使和天使长，主要聚焦于人类与世界看守者生命存在。虽然所有天使存在最低阶级-假如一个人接受调控天使团体的思想-天使不过是天主成员而因此拥有创造者赋予他们深刻和美丽品质。他们是纯灵性存在而存在完成上帝赋予他们的任务。天使中的领袖是担负主的信使到地球和守护人类灵魂。 We are most familiar with the angel realms. Angels work most closely with humanity. There are angels for healing, illumination, creativity, nature, music, dance, writing and literature, protection, emotions, politics, science and technology, devotion, purity, information, salvation, environment, transformation, peace, art, relationships, ceremonial order and magic. All you have to do is call (invoke) them and they will come. 我们非常熟悉天使领域。天使的工作非常接近人类。天使有疗愈、启发、创造、自然、音乐、舞蹈、写作与文学、保护、情感、政治、科学与技术、奉献、纯洁、信息、拯救、环境、转化、和平、艺术、关系、仪式秩序和魔法。
GUARDIAN ANGELS 守护天使 Also called tutelary angels, the well established and widely accepted belief that all people (as well as nations, cities, and churches) have a special angel who stays with them, watching over their lives and encouraging their spiritual well-being and happiness. Many deny that guardian angels could possibly exist, but others state, with the support of Scripture, theological writings, and common sense, that they do live, even if mortals forget or refuse to acknowledge their presense. The idea of the guardian angel is found in Judaism, Christianity, and Islam, and the roots of the belief date to the earliest times. St. Thomas Aquinas, one of history's foremost experts on angels, stated that all people have guardian angels. They remain with one throughout life, staying ever at one's side even during sin. They foster good works and help to direct the soul to salvation, but only if the soul is so inclined to be led. They cannot influence the will, but they do act upon the senses and project themselves upon the imagination and intellect, discouraging evil acts. According to Thomas, the angels remain even after death, standing with the soul in heaven; there, however, it does not encourage salvation, but assists in the glimpsing of the final brightness of eternal bliss. All guardian angels are taken from the lowest ranks of the celestial hierarchy, namely the choir of angels. 也称作守护天使，被很好与广泛地所有的人(即国家、城市与教会) 接受的信仰具有专门的天使，他与他们同在，观察他们的生活和鼓励他们的灵性更好存在与快乐。许多人否认守护天使可能存在，但是其它情形，借助手稿、神学写作和公有的感觉的支持，他们真的活着，甚至凡人忘记或拒绝承认他们存在。在犹太教、伊斯兰教和对于最早时期根信仰发现守护天使。斯科特·托马斯·阿奎奈(意大利中世纪神学家和经院学家, 1226-1274)，最初天使历史学家之一，陈述了所有人具有守护天使。他们属于一个人一生，永远以一面甚至过失期间存在。他们鼓励善行和帮助指导灵魂去救助，只是假如灵魂倾向被引导。他们不能影响意志，但是他们真的遵照理性和投射他们自己于想象和智力、令人气馁的邪恶行为中。根据多马(耶稣十二门徒之一)，天使甚至在死亡后仍在，与天堂的灵魂同在；然而在那里，它不鼓励救助，只是帮助照看永恒祝福的最后光亮。所有的守护天使从天堂层级的最低阶级也就是天使唱诗班而来。 ANGELS OF THE LAST JUDGMENT 最后审判的天使 The angels who are to appear at the Last Judgment, the final day, when all who have ever lived will be brought before the throne of God. The idea of the Last Judgment is especially prominent in Islamic and Christian lore. In the latter, the angel Israfel shall play a blast upon his mighty trumpet to awaken the slumbering dead. Some angels will be spared the effects of the first blasts, but after the third or fourth even they shall be destroyed by the Lord and the end of time will have descended upon all of creation. In the Christian tradition, the Second Coming of Christ will be announced not by Israfel, but by Gabriel, who will likewise sound an irresistible note upon his trumpet. Also prominent in the expected Day of Judgment is St. Michael the Archangel, captain of the hosts of the Lord, who will presumably have just led the heavenly hosts in their final triumph over Satan and the legions of darkness. 在最后审判出现的天使，最后的日子里，那时候曾经活过的人将会被带到上帝的王座前面。在伊斯兰教和基督教知识里最后审判的观念尤其突出。在较后，天使Israfel扮演一股冲击波，以他有力的喇叭唤醒睡梦中的死者。有些天使将会备用第一冲击波的效果，但是在第三或第四波后甚至他们被主破坏和时间结束将提升所有的造物。在基督教传统里，人子再来将不是被Israfel宣布，而是被加百利(七大天使之一,上帝传送好消息给人类的使者)宣布，他将不用他的喇叭同样发出不可抵抗的声音。最后审判日子同样突出的期待就是斯科特·米迦勒天使长，指挥主的仆人，据推测他将领导天堂仆人在最后的战争里战胜撒旦和黑暗军团。
GARDEN OF EDEN 伊甸园 The Earthly Paradise that was the first abode of Adam and Eve until their expulsion from the garden, an event recorded in the Old Testament Book of Genesis. Deriving its name perhaps from the Sumerian word eden, meaning "plain" (or perhaps from a word denoting "pleasure"), Eden was supposedly located in the Near East, close to Israel, its precise locale narrowed by the position of four rivers that formed out of the river that flowed out of Eden and nourished the garden: the Pishon, the Gihon, the Trigris, and the Euphrates, rivers that would seem to place the garden in the fertile crescent. ttempts to locate the garden, however, have (not surprisingly) proven unsuccessful. Beyond the fearsome cherubim (listed often as Metatron or Jophiel), there are a number of associations between angels and the garden. For example, the famed archangel Raphael is said to be the angel responsible for guarding the tree of life; this angel was also named by John Dryden in his poem "State of Innocence, or the Fall of Man," as being the very angry angel who tossed Adam and Eve out of Paradise. In Paradise Lost by John Milton, however, this task was given to the archangel Michael. 地球天堂是最初亚当与夏娃住所，直到他们被逐出乐园为止，记录在《创世纪》基督教的《旧约全书》里的事件。它的名称源自闪族人词乐园，意思是“平原”（或也许来自话表示“快乐”），据推测乐园位于近东，在以色列附近，它的精确位置被河流的四条河流的位置所成形，此河流流经乐园和滋养花园：the Pishon, the Gihon, the Trigris, 和幼发拉底河河流好象就是肥沃的新月形花园。然而试图定位伊甸园已经（不让人吃惊）证明失败。超越可怕的小天使（经常如Metatron或Jophiel列出来的），在天使和伊甸园之间有很多联想。例如著名的大天使拉斐尔据说就是负责守护生命树的天使；约翰·Dryden在他的 “清白形象或堕落的人” 诗里面也指定了这个天使，像是很愤怒的天使，他将亚当和夏娃逐出了天堂。在天堂被约翰·米尔顿失去的任务给予了天使长米迦勒。 ANGEL OF EGYPT 埃及天使 The angel who is charged with the special protection and guardianship of Egypt. Ranked as one of the guardian angels of nations (see Guardian Angels), this angelic patron has been given various identifications, including Samael (a chief angel of the fallen angels), Mastema (the accusing angel), and Duma. The latter angel is most often considered the proper angel of Egypt. He was most vociferous in defense of his charges, going so far in legend as to empower the accomplished wizards of Egypt to perform the same feats of magic as Moses when the Lawgiver arrived at the court of the pharaoh and tried to impress him enough that the Israelites should be freed from their bondage (an event recorded in the Old Testament Book of Exodus). According to legend, recounted in Louis Ginzberg's The Legends of the Jews, the angel descended to the land of the Nile to give succor to his people upon departure of the Jews, stopping long enough to put a fright into the Israelites by an impressive demonstration in the air. As Jewish custom declares all the guardian angels of nations to have fallen (save, of course, for the ever-redoubtable St. Michael), the angel of Egypt joined denizens of the hoary netherworld; it is unclear whether the Lord ever appointed a successor. 这天使是承担埃及特别保护与守护。归类为民族守护天使之一(看守护天使),这个天使资助人已被赋予许多鉴定，包括Samael（堕天使长），Mastema(问罪天使)和Duma。后来的天使通常被认为是埃及的固有天使。在担负防卫时他是大声喊叫的，传说里竟然授权与熟练的埃及巫术来表演同样的魔术技艺，如摩西那时侯的立法者来到法老王宫廷而试图给他留下深刻印象，以色列人就会解脱他们的束缚(记录在出埃及的旧约全书的一个事件)根据传说，在路易斯·金伯格的犹太人传说中，天使下到尼罗河土地上给离开的犹太人他的人们援助，靠空中深刻印象的显现长时间停止下来迫使以色列人四散而逃。当犹太人习惯宣称所有的民族守护天使已经堕落(当然除永远可怕的圣·米迦勒之外)，埃及天使加入了古代阴间的居民；是否主曾经指定一位继承者是不清楚的。
ELDERS 年长者 The collective name given to a group of twenty-four beings who sit upon thrones encircling the throne of God, as described by St. John in the Book of Revelation. It is often believed by scholars and interpreters of Revelation that the elders are, in fact, to be counted as great angels, perhaps a secret or distinct order of angelic beings. It is unclear where exactly the elders reside, although the Second Book of Enoch lists them as inhabiting part of the first of 赋予二十四个存在集体名称，他们坐于围绕上帝王座的王座之上，如圣·约翰在启示录里描写的那样。学者和启示解释者经常认为年长者就是，事实上，连大天使计算在内，或许是一个秘密或天使存在的明显法则。长者居住在哪里是不清楚的，虽然伊诺克的第二本书编录他们为居住在最初部分。
ELOHIM 耶洛因 The Hebrew name for God (Yahweh), the plural of eloha, meaning "god"; while technically a plural word, the singular Elohim was used and understood as the Hebrew conception of the God of Israel, the one true God. In Hebrew texts of the Old Testament, the word Elohim was used variously with other words or conjunctions such as ha- to make entirely clear that this is "the" God and not some other deity or personage. This grammatical addition was considered essential because elohim had also been used for earlier goddesses-its root, in fact, came from the Canaanite word el-and for such beings as angels. The application of elohim (perhaps to be defined as "sons of God") has been given to angels in the sense that they represent God as messengers and thus are equatable or synonymous with God himself. It can be argued, however, that the elohim might constitute their own order or choir, as was maintained by the fifteenth-century scholar Pico della Mirandola. When he compiled his own list of the angelic choirs, he placed the elohim in ninth place. 希伯来人上帝(耶和华)的名称，eloha的复数，意思“神”；虽然技术上为复数词，单数耶洛因是用于理解成以色列上帝的概念，唯一真正的上帝。在希伯来人旧约圣经里，耶洛因词用法不同，用于其它话或例如哈那样的连接中-意思完全清楚就是“上帝”而不是某些其它的神或名人。这个合乎文法增加被认为是基本的，由于耶洛因也用于更早的女神-它的根源，事实上，来自迦南语el-and 适合于像天使那样的存在。耶洛因的应用（也许定义为“上帝的儿子”），理性上已经赋予了天使，天使表现上帝的信使，因而等同或与上帝本身同义。可以辩论它，然而耶洛因也建立他们自己的法则和唱诗班，如十五世纪学者皮考·黛拉·米伦多拉所主张那样。当他编列他自己的天使唱诗班时候，在九处安放了耶洛因。 WATCHERS 观察者 Also termed the grigori, a group of angels who figure in Jewish legend; they are reputed to have members who fell onto sin and others who stayed devoted to the cause of the Lord. Originally the watchers were apparently some of the most august angels in all of heaven. They never slept, kept eternal vigilance over heaven, and were some of the tallest beings in all creation. According to the Book of Jubilees (supported to some degree by the First Book of Enoch), they were sent to earth to give instruction to mortals on nature and other knowledge considered useful for them to have by the Lord. Unfortunately several watchers became enamored with human women and so cohabited with them. Their offspring were the nephilim, the giants who were mentioned in the Book of Genesis and who supposedly troubled the world with their cruelty and evil; the nephilim were all but exterminated in the Flood. There is also another group of mighty angels called the watchers. Known in Hebrew as the irin or irin qaddisin, these angels are said in the Third Book of Enoch to number only two and are the close companions of the holy ones. They are greater than all the other angels combined, matched by no other other creatures in the entire heavenly host. They reside directly next to the very throne of God and, with the holy ones, act as the court officials of heaven, debating every case that comes before the blessed throne. The watchers and the holy ones were mentioned in the Book of Daniel (4:17). 也称作格里高里，算在犹太人传说中的天使团体；他们冠以成员，进入过失和停留在奉献主的事业的其他人里。最初观察者明显是某些在全部天堂中最威严的天使。在天堂上他们从不休息，保持永恒的警惕，而是所有造物中某些最高的存在。根据大赦年书（受伊诺克第一本书某种程度的支持），他们被派往地球给人类送指示，以通过主赋予自然和其它对人类有用的知识。不幸地是许多观察者被人类的女人所迷住而因而与她们同居。他们的后代就是nephilim，在创世纪书里面提到一个巨人种族用他们残忍和邪恶搅乱了世界；在大洪水中nephilim差点被完全消灭。也有另外力量强大的天使称作观察者。希伯来人熟悉的如irin 或者irin qaddisin，在伊诺克第三本书中据说算入仅二处而是神圣一的亲密同伴。他们比所有其它天使组合更大，在全部天堂仆人中无以伦比。他们直接住在上帝绝对王座旁而拥有神圣的一，担负天堂宫廷事务，争论来自王座祝福前的每个案例。在丹尼尔的书(4:17)中提到观察者和神圣一。 ANGELS OF THE WEEK 值周天使 The angels who have authority over the seven days of the week-in much the same fashion as there are angels presiding over the planets, hours of the day, and months of the year. The angels give their particular day their special attention and in legend can be invoked to assist a person in some endeavor or need. The angels and their days are reported in The Magus (1801) by Francis Barrett: 在每周7天里具有权威的天使-以非常相同的风格，如同有天使指挥行星、一天的小时、一年的月份。天使赋予它们特别的日子他们特别的注意力，在传说中能被调用来帮助一个人的努力与需要。弗朗西斯·巴雷特在他的魔术家(1801年)报道了天使和他们的日子： Sunday-Michael星期天-米迦勒 ZODIAC OF THE ANGELS 天使十二宫图 The tradition that there are ruling angels who watch over or govern the twelve signs of the zodiac. They are often to be considered synonymous with the various angels of the months of the year. Specifically, the angels of the zodiac are as follows: 传统上存在统治天使的存在，他看守或支配黄道十二宫。它们经常被认为与一年月份里的天使意思一样。特别地，黄道十二宫天使如下： Aries: Machidiel白羊座：米迦勒
FLAMES 光辉 A choir or order of angels that appears in a certain aspect of Jewish lore. An angelic choir by the name of flames is not normally counted among the traditionally accepted orders of angels. They can perhaps be equated with one of the recognized choirs of angels. 一个唱诗班或出现在犹太人学问里某个方面的天使法则。用光辉名称一个天使唱诗班不是正常计算传统上接受的天使法则之一。他们或许能等效为其中之一的天使唱诗班。
MANNA 吗哪 (《圣经》故事所述,古以色列人经过荒野所得的天赐食物) By tradition, the food of the angels and the blessed in heaven; it is best known as the food sent to the Israelites as they fled from Egypt and wandered in the desert under the leadership of Moses. Meaning in Aramaic "What is this?" manna was described in the Book of Exodus as "like coriander seed, white, and the taste of it was like wafers made with honey." This is generally accepted meal of the angelic hosts, although there is naturally some question why angels, being entirely spiritual creatures, might have need for substantial food. 根据传统，它是天使食物和天堂祝福；它是送给以色列人最有名的食物，当他们在摩西带领下从埃及逃跑而迷失在沙漠里时候。在亚拉姆语里意思为“这是什么？”在出埃及书中描述吗哪为“像胡荽种子，白色，尝起来像蜂蜜做成的薄饼。”通常认为这是天使仆人的饭食，虽然自然有某些疑问，为什么天使是完全灵性的生物，也需要真实的食物。
MERKABAH ANGELS MERKABAH天使 The collective name for those angels appearing in the lore and traditions of the mystical Jewish sect of the Merkabah. The Merkabah ( or Merkava)-meaning "Chariot"-flourished in Judaism from the time of the first century A.D. and continued in various centers throughout the early Middle Ages. Adherents of the sect believed in the necessity and desirability of using esoteric and mystical means to ascend through the great seven heavens or mansions, called hekhalot ( or hechaloth), to the glorious throne of God, which rests upon an in comparable chariot-the Merkabah. The seal-keeping angels are sometimes equated with the seven merkaboth, a group of angelic beings who stand as the corresponding figures of the seven heavens. They can perhaps also be identified as the virtual embodiment of the heavens themselves. Aside from these angels, the Merkabah accepted that there were groups of angels always surrounding the throne of God. These were said to include the seraphim, the galgallim, and especially the hayyoth. 是出现在主里和Merkabah.神秘犹太人教派传统里的那些天使的集体名称。Merkabah (或Merkava)-意思是“战车”-活跃在公元一世纪时期的犹太教里。而延续在各种各样的中心遍及早期的中世纪。教派追随者认为有必要和希望利用通过七个天堂或大厦的密宗和神秘手段来提升，称作hekhalot(或hechaloth)，来荣耀上帝的王座，它放在可比较的战车the Merkaba上。看守封印天使有时用七个merkaboth代替，一个天使存在团体，他们作为七个天堂的相应身份。他们或许被看作天堂本身的虚拟化身。除这些天使以外，Merkabah认可有围绕上帝王座的天使团体。据说包括六翼天使galgallim，特别是hayyoth。
MESSENGERS 信使 One of the most important of all duties of angels, so much so that the very Hebrew word mal'akh and greek word angelos, denoting these beings, both mean "messenger." The angel stands as one of the central intermediaries or representatives of the Lord to humanity. Existing entirely at the will and in the service of God, the angel is frequently dispatched to earth to deliver some important revelation or declaration, usually having much impact upon the lives of the recipients. Aside from the other tasks given to them in relating to earthly affairs, angels are mentioned frequently in the Bible in the ministering role of messengers. While angels have many other duties in tradition, both in heaven and on earth, their role as messengers is still one central to their existence, serving to remind an often forgetful world that God loves all of his Creation and is concerned for its well-being. 天使最重要的职责之一，名称太多以致很多希伯来人语mal'akh 和希腊语安琪尔，表示这些存在，意思都是“信使”。天使树立为中枢媒介者或对于人类的主的代表。现有的完全以意愿服务上帝，经常派遣天使到地球递送某些重要的启示和宣言，通常给手件人生活带来很大冲击。除给予他们与地球事务有关的任务外，在圣经里经常用信使大臣的角色提到天使。虽然在天堂和地球上，传统里天使具有许多其它职责，他们作为信使的角色仍然是他们存在的中心，服务提醒容易忘记的世界上帝爱他的造物和关心它很好存在。
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