ASCENSION BLOODLINES

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Ascension Bloodlines One of the most interesting beliefs about ascension is the notion of "ascension bloodlines". According to the Gnostic tradition, ascension is said to happen only after several dedicated lifetimes that directly support the ascension process. If an individual ascends leaving daughters, the daughters supposedly become able to reproduce at will rather than going through the process of sex. The ascension process is said to transmit forward along the genetic line for seven generations, giving the females the ability to give birth through immaculate conception to offspring who will ascend. The priest class in various cultures were said to guard these bloodlines in order to ensure that all descendants would ascend. This belief is based on the many accounts in mythology and spiritual history of individuals born of virgin mothers (Jesus, Mithra, etc.) who then accomplish extraordinary social changes, preceding their ascension.

The Great White Brotherhood In some versions of the doctrine, the ascended masters, as a collegiate body, are the "Great White Brotherhood," white referring to advanced spirituality rather than race - very much like "Gandalf the White" after his victory over the Balrog in The Lord of the Rings. In fact, most early reports of the masters described them as racially Tibetan or Hindi, not Anglo. Belief in the Brotherhood and the masters is an essential part of the syncretistic teachings of these several groups. Various important spiritual leaders such as Jesus, the Prophet Muhammad, the Virgin Mary, and Kuan Yin the compassionate bodhisattva, take their seats alongside magical or alchemical personalities like the Count of St. Germain, and other mystic celebrities like Kuthumi, one of Helena Petrovna Blavatsky's claimed spiritual guides - all of these leaders have put aside any differences they might have had in their Earthly careers, and unite instead to improve the spiritual well-being of the human race. Reincarnation Reincarnation is a notable feature of some groups' teachings about the ascended masters. For example, according to the Summit Lighthouse the ascended master Kuthumi was also reincarnate as a number of historically important people, including Pharaoh Thutmose III, the philosopher Pythagoras, Saint Francis of Assisi, Balthasar the Magus, and Shah Jahan. Several of the other ascended masters are said to have had equally distiguished careers in reincarnation.

A good point to remember is that ascension has never received widespread accceptance in the mainstream orthodox community.Is it a natural process, and why has it been a closely guarded secret of the ancient mystery schools such as the Hellenistic and Eleusinian mysteries?

Belief/disbelief throughout history Is it presumptuous and blasphemous? Why have so many ascended masters been of Tibetan origin ? What mysteries are held secret within their culture?

The adepts of Eastern rweligions more easily gravitate to this notion of ascension.

The topic of ascension and ascended masters is one that probably will continue to spark controversy and disbelief, and can be a difficult subject to comprehend even for those who have spent years studying esoteric doctrines. Having been playfully described as something like getting "beamed up", as in the television series Star Trek, the idea of ascension has not reached widespread acceptance. Some relegate the subject matter to the realm of New Age myth and fantasy, while others maintain the process of ascension is as natural as human evolution. Historically, for the past two thousand years, the concept of ascension seemed so outrageous and confrontational, especially within traditional, western, orthodox religious belief systems, that many people dismissed the idea immediately or have a very strong adverse reaction to it. The idea that all humans could conceivably do what Christ supposedly did is seen by many religious persons as presumptuous, if not blasphemous. In the 21st century, the notion of ascension seems to attract individuals more interested in eastern religions, spirituality, metaphysics, or those simply looking for a deeper meaning to their existing beliefs and experiences.

NO UNIVERSALLY SCIENTIFIC TEXT EXISTS WHICH DEFINES WHAT AN ASCENDED MASTER IS AND UNDER WHAT CONDITIONS DEFINE SUCH A PERSON , OR HOW TO VERIFY THEIR GENUINE ACCOUNTS. WE HAVWE ONLY ANECDOTAL REPORTS TO FALL BACK ON AND NO OTHER AUTHORITATIVE SOURCES THERE IS NO HOW TO MANUAL TO 'YARDSTICK OUR MEASUREMENT IN THE CONTEXT OF THE DISCIPLINE OF THE MEASURABLE SCIENCES , IN ANY EVENT. NOTE THE TWO BOOKS ALLUDED TO IN THE BELOW TEXT.

One difficulty in discussing the idea of an ascended master is that there is no universally-accepted, definitive, scientific text which describes what the conditions are to become such a person, or how to verify the conditions. Even in the 21st century, most public sources, even books directly dealing with the topic, tend to describe various ascended masters, their activities, meetings with such people, etc., without giving us the requisite understanding of how we ourselves could undergo the process of ascension firsthand. With only anecdotal reports and no actual "how-to" manual, we are then left struggling with how to either retrofit this concept into our existing beliefs, how to shift our beliefs entirely, or simply reject the system altogether. Texts that claim to give a deeper understanding of ascension, including practical exercises, meditations, diet, etc., are often dismissed by mainstream audiences. Beginning in the 1930s, a few books were published on this subject, the authors claiming to have had contact with Masters who encouraged the more pragmatic aspects of the Ascension process to be known. Prior to that, the practical knowledge is claimed to have been held in strict secrecy within Mystery schools, allegedly due to the pressures and intolerance of orthodox religious authorities. Even among many who believe themselves to be spiritual adepts or initiates, the concept of ascension has not been widely accepted or understood because of the radical nature of transformation that has been ascribed to it. Books which purport to detail the developmental process Jesus went through in finding his own Inner Christ Self include The Urantia Book, published in 1955, and A Course In Miracles, suppposedly dictated by Christ Himself and published in 1976.

Examples of Ascended Masters The history of ascension predates Christianity, indeed extending back for thousands of years, yet the story of Jesus is one of the most widely known stories of ascension. In the Bible when Mary Magdalene wants to reach out and touch Christ at the tomb, he says, "Touch me not, for I have not yet ascended to my Father." This has led to the idea that the ascension process is apparently so delicate that even the touch of an ordinary human, who still holds the concepts of limitation and separation, is enough to hold the ascension process back. (This does not explain how Jesus was then able to sit down and have a fish dinner with his disciples.) It is generally thought that one does not have to die in order to ascend, but the fact that Jesus was said to have died, then resurrected, then ascended, has led some people to believe that this must be the case for everyone. Other individuals with stories of ascension include Hercules, following the completion of his twelve labors, the Greek hero was raised to heaven and made a god by Zeus. Virgin Mary (Mother of Jesus); When Mary chose to ascend, one story says that she gathered up disciples around her to witness the event, and then she "consumed" herself, contrary to the Roman Catholic belief that Mary was simply "taken up into heaven". Another story has Mary dying in a normal fashion, and her body placed at her own request in a sealed tomb, which was opened and found empty three days later. Muhammad, the famous prophet of Islam is said to have ascended at the site of the Dome of the Rock in Jerusalem. El Morya, said to have been a Rajput prince, also incarnated as King Arthur and as Thomas More. Theosophists believe he was one of the masters who worked closely with Helena Blavatsky to found the original Theosophical Society. Mahatma Kuthumi, said to have been a Punjabi who attended Oxford University in 1850, may have authored the poem "Dream of Ravan" published in the Dublin University Magazine about 1854. Vishwanath, ascended master rumored to incarnate as individuals with psychic abilities (unconfirmed). Djwhal Khul, said to have been a Tibetan who started out with the unlikely name Gai Ben-Jamin. Believers tell the legend of his incarnation on Lemuria where he assisted in rescuing valuable knowledge before the sinking of that continent. He is said later to have transmitted this information to channeller Alice Bailey. St. Germain, also known as "The Master Rakozi" in the Alice A. Bailey books based on Theosophy, is believed by many New Age religious groups such as I Am and the Church Universal and Triumphant to have ascended after what was believed to be his final mortal incarnation as Sir Francis Bacon. These groups believe that St. Germain , a mysterious individual reputed to be a "magician" who flourished in France and was widely known among the aristocracy just before the revolution of 1789, was already an ascended master, which is believed to explain his reputed magical powers.

Reality as we know it is about to ascend, evolve, 0r return to its natural state of light. This is about shedding the physical body, in the alchemy of time of consciousness, as stated in all of the prophecies since the beginning of our biogenetic linear time experiment. The dream is ending , the wake-up calls heard by the souls around the world. In the theory of ascension, it is assumed that humans are composed of seven energetic or subtle bodies - physical, etheric, astral, causal, mental, celestial, and Christ consciousness. Consciousness at the physical level vibrates at the lowest frequency, and each of the successive bodies exists at higher frequencies, following the color of the rainbow, hence the rainbow bridge of consciousness. Subtle bodies are related to the seven main chakras, which correspond with specific endocrine glands. Ascension is described as consciously increasing the vibratory rate of the physical and other bodies to the Christ level. Stories describe the physical body losing its definition, diffusing, then finally resembling a star imploding or exploding. People who have raised their bodies through ascension are fully in command of the physical realm, capable of decelerating their vibratory rate to appear any way they desire, including moving about freely on Earth. Thus, ascension is seen as an alternative to death. Some relegate ascension to pseudoscience, myth and metaphor, but that is the nature of our reality, while others maintain the process of ascension is as natural as human evolution. Reality as myth, math, and metaphor act to manifest messages through illusion. When you adjust your frequency, you will understand. Always remember, our consciousness program is about to evolve along with all of the souls within. Trust your instincts on this.

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Sacred geometry involves sacred universal patterns used in the design of everything in our reality, most often seen in sacred architecture and sacred art. The basic belief is that geometry and mathematical ratios, harmonics and proportion are also found in music, light, cosmology. This value system is seen as widespread even in prehistory, a cultural universal of the human condition. It is considered foundational to building sacred structures such as temples, mosques, megaliths, monuments and churches; sacred spaces such as altars, temenoi and tabernacles; meeting places such as sacred groves, village greens and holy wells and the creation of religious art, iconography and using "divine" proportions. Alternatively, sacred geometry based arts may be ephemeral, such as visualization, sand painting and medicine wheels. Sacred geometry may be understood as a worldview of pattern recognition, a complex system of religious symbols and structures involving space, time and form. According to this view the basic patterns of existence are perceived as sacred. By connecting with these, a believer contemplates the Great Mysteries, and the Great Design. By studying the nature of these patterns, forms and relationships and their connections, insight may be gained into the mysteries - the laws and lore of the Universe. Music The discovery of the relationship of geometry and mathematics to music within the Classical Period is attributed to Pythagoras, who found that a string stopped halfway along its length produced an octave, while a ratio of 3/2 produced a fifth interval and 4/3 produced a fourth. Pythagoreans believed that this gave music powers of healing, as it could "harmonize" the out-of-balance body, and this belief has been revived in modern times. Hans Jenny, a physician who pioneered the study of geometric figures formed by wave interactions and named that study cymatics, is often cited in this context. However, Dr. Jenny did not make healing claims for his work. Even though Hans Jenny did pioneer cymatics in modern times, the study of geometric relationships to wave interaction (sound) obviously has much older roots (Pythagoras). A work that shows ancient peoples understanding of sacred geometry can be found in Scotland. In the Rosslyn Chapel, Thomas J. Mitchell, and his son, my friend Stuart Mitchell, have has found what he calls "frozen music". Apparently, there are 213 cubes with different symbols that are believed to have musical significance. After 27 years of study and research, Mitchell has found the correct pitches and tonality that matches each symbol on each cube, revealing harmonic and melodic progressions. He has fully discovered the "frozen music", which he has named the Rosslyn Motet, and is set to have it performed in the chapel on May 18, 2007, and June 1, 2007.

Cosmology At least as late as Johannes Kepler (1571-1630), a belief in the geometric underpinnings of the cosmos persisted among scientists. Kepler explored the ratios of the planetary orbits, at first in two dimensions (having spotted that the ratio of the orbits of Jupiter and Saturn approximate to the in-circle and out-circle of an equilateral triangle). When this did not give him a neat enough outcome, he tried using the Platonic solids. In fact, planetary orbits can be related using two-dimensional geometric figures, but the figures do not occur in a particularly neat order. Even in his own lifetime (with less accurate data than we now possess) Kepler could see that the fit of the Platonic solids was imperfect. However, other geometric configurations are possible. Natural Forms Many forms observed in nature can be related to geometry (for sound reasons of resource optimization). For example, the chambered nautilus grows at a constant rate and so its shell forms a logarithmic spiral to accommodate that growth without changing shape. Also, honeybees construct hexagonal cells to hold their honey. These and other correspondences are seen by believers in sacred geometry to be further proof of the cosmic significance of geometric forms. But some scientists see such phenomena as the logical outcome of natural principles.

Art and Architecture The golden ratio, geometric ratios, and geometric figures were often employed in the design of Egyptian, ancient Indian, Greek and Roman architecture. Medieval European cathedrals also incorporated symbolic geometry. Indian and Himalayan spiritual communities often constructed temples and fortifications on design plans of mandala and yantra. For examples of sacred geometry in art and architecture refer: Labyrinth (an Eulerian path, as distinct from a maze) Mandala Parthenon Taijitu (Yin-Yang) Tree of Life Rose Window Celtic art such as the Book of Kells Yantra Swastika Dharmacakra

SACRED GEOMETRY LABYRINTHS

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Labyrinths A labyrinth is an ancient symbol that relates to wholeness. It combines the imagery of the circle and the spiral into a meandering but purposeful path. It represents a journey to our own center and back again out into the world. Labyrinths have long been used as meditation and prayer tools. A labyrinth is an archetype with which we can have a direct experience. Walking the labyrinth can be considered an initiation in which one awakens the knowledge encoded within their DNA. A labyrinth contains non-verbal, implicate geometric and numerological prompts that create a multi-dimensional holographic field. These unseen patterns are referred to as sacred geometry. They allegeldy reveal the presence of a cosmic order as they interface the world of material form and the subtler realms of higher consciousness.The contemporary resurgence of labyrinths in the west is stemmimg from our deeply rooted urge to honor again the Sacredness of All Life. A labyrinth can be experienced as the birthing womb of the Great Goddess. Thus, the labyrinth experience is a potent practice of Self-Integration as it encapsulates the spiraling journey in and out of incarnation. On the journey in, towards the center, one cleanses the dirt from the road. On the journey out, one is born anew to consciously dwell in a human body, made holy by having got a taste of the Infinite Center. Labyrinth is a word of pre-Greek ("Pelasgian") origin absorbed by classical Greek, and is apparently related to labrys, a word for the archaic iconic "double axe", with inthos connoting "place" (as in "Corinth"). The complex palace of Knossos in Crete is usually implicated, though the actual dancing-ground, depicted in frescoed patterns at Knossos, has not been found. Something was being shown to visitors as a labyrinth at Knossos in the 1st century AD. Greek mythology did not recall, however, that in Crete there was a Lady who presided over the Labyrinth. A tablet inscribed in Linear B found at Knossos records a gift "to all the gods honey; to the mistress of the labyrinth honey." All the gods together receive as much honey as the Mistress of the Labyrinth alone. "She must have been a Creational Goddess." According to Greek mythology, King Minos of Crete had the craftsman Daedalus construct the Labyrinth in order to conceal the Minotaur, the half-bull, half-human offspring of Minos' wife Pasiphae and a bull. For some unknown reason, Daedalus and his son Icarus were confined in the Labyrinth. Constructing wings of feathers and wax, the two were able to escape by flying above the walls of the Labyrinth. Young Icarus, however, impetuously flew too near the sun. His waxy wings melted and he drowned in the Icarian Sea. 7-Fold Cretan Labyrinth Another couple associated with the Labyrinth was Theseus and Ariadne. Theseus was the son of Aegeus, King of Athens. At the time Athens had to a pay tribute of seven boys and seven girls to Crete - as food for the Minotaur - every nine years. Theseus decided to put a stop to this and joined a tribute group going to Crete. There, Ariadne, one of Minos' daughters, fell in love with him. She gave Theseus a ball of string, which helped him find his way out of the Labyrinth after he had killed the Minotaur.That the Cretan labyrinth had been a dancing-ground and was made for Ariadne rather than for Minos was remembered by Homer in the Iliad where, in the pattern that Hephaestus inscribed on Achilles' shield, one incident pictured was a dancing-ground like the one that Daedalus designed in the spacious town of Knossos for Ariadne of the lovely locks. Even the labyrinth dance was depicted on the shield, where youths and marriageable maidens were dancing on it with their hands on one another's wrists - circling as smoothly on their accomplished feet as the wheel of a potter and there they ran in lines to meet each other. The labyrinth is the referent in the familiar Greek patterns of the endlessly running meander, to give the "Greek Key" its common modern name. In the 3rd century BC coins from Knossos are still struck with the labyrinth symbol. The predominant labyrinth form during this period is the simple 7-circuit style known as the classical labyrinth. As a unicursal (one way in, one way out) path, a labyrinth is showing and teaching centeredness. This differentiates a labyrinth from a maze which has many paths & dead-ends leading to confusion. Like life & destiny, a labyrinth may be a long journey but it has a specific beginning and a definite end. Like mandalas, a labyrinth offers a holistic route (meandering radius) from the periphery to the center. A labyrinth imprints a 'royal groove', a ceremonial pathway designed according to principles such as Harmonic Proportion and Alternance of Energy. For instance, the clockwise (sunwise) and counter-clockwise (moonwise) spins of the meanders map out a balance between the left and right hemispheres of the brain. The seven circuits of the classical Cretan Labyrinth pathway have also associated with the seven primary chakras of the body. Chakra is a Hindu word meaning 'wheels of light.' They are spiralling vortexes of energy that make up the energy field of our bodies. Yoga works with the chakra system as do various complimentary healing modalities. Notice that you don't walk these paths in order from one to eight. The sequence of the paths is 3-2-1-4 and 7-6-5-8. This is a pattern that repeats itself twice: 3-2-1-4 and then 7-6-5-8. Chakras and Labyrinths Musical Patterns of Labyrinths Ancient Labyrinths Pliny's Natural History mentions four ancient labyrinths: the Cretan labyrinth, an "Egyptian labyrinth", a "Lemnian labyrinth" and an "Italian labyrinth". Pliny's "Egyptian labyrinth" -- Even more generally, "labyrinth" might be applied to any extremely complicated maze-like structure. Herodotus, in Book II of his Histories, describes as a "labyrinth" a building complex in Egypt, "near the place called the City of Crocodiles," that he considered to surpass the pyramids in its astonishing ambition: It has twelve covered courts - six in a row facing north, six south - the gates of the one range exactly fronting the gates of the other. Inside, the building is of two stories and contains three thousand rooms, of which half are underground, and the other half directly above them. I was taken through the rooms in the upper storey, so what I shall say of them is from my own observation, but the underground ones I can speak of only from report, because the Egyptians in charge refused to let me see them, as they contain the tombs of the kings who built the labyrinth, and also the tombs of the sacred crocodiles. The upper rooms, on the contrary, I did actually see, and it is hard to believe that they are the work of men; the baffling and intricate passages from room to room and from court to court were an endless wonder to me, as we passed from a courtyard into rooms, from rooms into galleries, from galleries into more rooms and thence into yet more courtyards. The roof of every chamber, courtyard, and gallery is, like the walls, of stone. The walls are covered with carved figures, and each court is exquisitely built of white marble and surrounded by a colonnade. Pliny's "Lemnian labyrinth - "Pliny's Natural History (36.90) lists the legendary Smilis, reputed to be a contemporary of Daedalus, together with the historical mid sixth-century BCE architects and sculptors Rhoikos and Theodoros as one of the makers of the "Lemnian labyrinth", which Andrew Stewart (One Hundred Greek Sculptors: Their Careers and Extant Works, "Smilis") regards as "evidently a misunderstanding of the Samian temple's location en limnais, 'in the marsh'". Pliny's "Italian labyrinth" - According to Pliny, the tomb of the great Etruscan general Lars Porsena contained an underground maze. Pliny's description of the exposed portion of the tomb is intractable; Pliny, it seems clear, had not observed this structure himself, but is quoting the historian and Roman antiquarian Varro. Amiens Labyrinth The full flowering of the medieval labyrinth design came about during the twelfth and thirteenth centuries with the grand pavement labyrinths of the gothic cathedrals, most notably Chartres and Amiens in France. The 11-ring labyrinth at Chartres Cathedral The best known example of labyrinth is embedded in the stone pavement of Chartres Cathedral near Paris. The Middle Ages was a time of pilgrimages. Since most people could not make the grand pilgrimage to Jerusalem, considered by Christians to be the center of the world, and symbolizing the Kingdom of Heaven, they would make pilgrimages to important cathedrals such as Canterbury, Santiago de Compostella and Chartres. Once there, they would end their pilgrimage by walking the labyrinth to the center, and then slowly retracing their steps to regain the 'outside world' and return to their homes. The Chartres was labyrinth sometimes walked in place of the actual pilgrimage to Jerusalem and considered a holy experience. People believed that if you walked the labyrinth with the full dedication of a pilgrim, you would be transformed, the old you will be grounded at the threshold stone a purified you emerging, ready to tackle new directions in your life's journey. The new Cathedral labyrinth patterns were all laid out according to the same basic pattern twelve rings that enclose a meandering path which slowly leads to a center rosette. The path makes 28 loops, seven on left side toward the center, then seven on the right side toward the center, followed by seven on the left side toward the outside, and finally seven on the right side toward the outside terminating in a short strait path to the rosette. Like all cathedral labyrinths, it draws upon the ancient northern Celtic, middle eastern, and Classical Greek and Roman origins of the Christian faith. The Medieval builders were careful to incorporate their understanding of sacred architecture into the design and location of the labyrinths, which were usually placed near the entrance at the west end of the nave, beside the baptismal font at the foot of the Church. This location symbolizes our first steps on the spiritual journey. The labyrinth of Chartres has been referred to by four different names: Le dedale - or Daedalus: the legendary architect who built a labyrinth for King Minos of Crete. Just as Theseus struggled against the Minotaur, so man struggles against evil, and is guided back out through the maze by Ariadne or divine grace. The labyrinth of Chartres, however, is not a complex maze but a single path with no hidden corners or dead-ends. La lieue - league: which is a distance of about three miles. Although the length of the path is only 260 meters, in the Middle Ages some pilgrims would walk the labyrinth on their knees. This exercise would take about an hour, or the time needed to walk three miles. Le chemin de Jerusalem - The Road to Jerusalem: By walking the labyrinth, the faithful could make a substitute pilgrimage to the Holy Land, and be united in spirit with the Crusaders. To make a pilgrimage to a sacred place such as the Holy City is part of an ancient and ongoing tradition of spiritual commitment. When long distance traveling became too dangerous during the upheavals of the Middle Ages, the cathedral labyrinths were installed and established as alternative destinations for pilgrimage. Pilgrimage is both a communal event and a private act of transformation. Walking the labyrinth with others reminds us that we are all on the path together, each in our own unique way. ______________________________________