Indigenous Gaelic Warfare
Weaponry
Gaels employed a variety of weapons in combat including javelins (called sleagh in gaelic), harpoons (gae), darts (birin), slings, spears and swords. Javelins and harpoons were used by the wealthiest among them, while less wealthy fighters used slings and darts, although ranged combat was generally disdained in Celtic warfare as being cowardly. Gaels employed a variety of spears, swords, and axes for close quarters combat. The Craisech was also used. It was a long spear used from horseback to pursue a defeated enemy and stab overhand from above, or used with both hands like a bayonet to fight at close quarters after dismounting. Gaelic swords were a very small affair, many not being more than 14 inches long, though blades with lengths of 21 inches were common. They were rigid, double-edged, and had an acute point used for stabbing. There were, however, longer swords based on La Tene Gallic[citation needed] models which were long and capable of delivering crushing blows, but these could only be afforded by the aristocracy, which fought from chariots and later on horseback.
Standards
Standards and hollowed out bull horns (a primitive battle trumpet) were often carried into battle to rally men into combat. The bagpipe would also gain popularity in the later years.
Armour
In Gaelic culture, the use of armor was generally disdained as being cumbersome and impairing the agility of the warrior. However, in a few rare cases, its value was recognized and kings would be covered in armor and helmets to protect them. Armour was usually a simple affair: the poorest might have worn padded coats; the wealthier might have worn boiled leather; and the wealthiest might have had access to bronze chest plates or a cuirass, and perhaps (but rarely) mail (though it did exist in Ireland, it was rare). Overlapping iron or bronze scales could also have been expected. Helmets were rather like Hallstatt helmets[citation needed], even into the Middle Ages. That is, they were usually round, some with decorated cheekguards, and crested with horse hair, or featuring a long plume tail. Like most Celtic helmets, they were modular, so they could be decorated by their owners with such accoutrements. Shields were usually round, with a spindle shaped boss, though later the regular iron boss models were introduced by the Anglo-Saxons and Vikings. A few shields were also oval in shape or square, but most of them were small and round, like bucklers, to better enable agility.
Customs
In Gaelic Ireland, before the Viking age (when Vikings brought new forms of technology, culture and warfare into Ireland), there was a heavy importance placed on clan wars and ritual combat. This is known as the heroic age, and Celtic clans would fight wars in an endemic manner; that is, occurring every summer and in a very ritualized fashion. In pre-Christian Ireland human sacrifice formed a huge part of these conflicts. Very much the same as most other primitive cultures, warriors killed or captured in combat would be sacrificed to the gods in ritualistic ways. Those killed in combat would have their heads cut off and kept as talismans. Their dead corpses were offered to the goddess of war, Morrigan, whom they believed would turn into a crow and come to devour the deceased. Captives were frequently also sacrificed to other gods by either drowning or herding them into a hut and burning them. These acts were accompanied by chants and incantations performed by Druids (pagan priests). These customs continued even after the advent of Christianity into Ireland. Take, for example, the Viking Thorgest, who was said to have been drowned by the Christian Irish. Another very important aspect of Celtic ritual warfare at this time was single combat. To settle a dispute and measure one’s prowess, it was customary to challenge an individual warrior from the other army to ritual single combat to the death while cheered on by the opposing hosts. Such fights were common before pitched battle, and for ritual purposes tended to occur at river fords. For examples of this behavior, one can read the epic literature of Ireland, such as the Ulster Cycle and Fenian Cycle, as well as accounts of Gaelic wars such as the “Wars of the Gael with the Foreigners” and Geoffrey Keating’s “History of Ireland.”
Tactics and Organization
War in Ireland and Scotland was based around the cattle raid. Cattle were the main form of wealth in the Gaelic culture, as currency had not yet been introduced, and the aim of most tribal wars was the capture of the enemy’s cattle. For this task, there were specially trained units of light infantry known as “ceitherne” or “kern” (literally “warband”) which were lightly armed with either swords or knives (sgian) for self-defence. Their main task was the theft and herding away of the enemy cattle. Initially Ceithern were members of individual tribes, but later, when the Vikings and English introduced new systems of billeting to soldiers, the kern became billeted soldiers and mercenaries who served anyone who paid them the most. The Ceitherne were in no way fit to engage in combat because of their light armament and lack of horses. Instead, they were accompanied by the chariot mounted aristocracy, which was the mainstay of the Gaelic army. Chariots were later replaced by cavalry, known as hobelars, who acted as a vanguard by harassing the enemy, clearing ambushes, and dismounting to fight battles on foot. Not only would the chariots or cavalry protect the kern while they stole the cattle, but they also did most of the actual fighting, while the kern simply rustled the cattle and occasionally acted as light infantry skirmishers.
The Gaels tended to be experts in guerrilla ambush, constructing forts in the woods to be used as hidden supply bases which were connected by secret cleared paths. The armies would move through the woods at great speed and frequently avoid open battle. Instead, the Gaels preferred to use harassing tactics. Offensively, they would plunder the countryside; defensively, they would evacuate civilians into the woods and harass the attacker, mostly with darts, javelins, and stones. Close quarters combat was avoided until there was a clear advantage, and cavalry or chariots always dismounted for it. Ambushes were frequently laid for advancing armies in wooded areas, at river-crossings, in valleys, and in any other place where it might be convenient. The Gaels also enjoyed a reputation for night attacks and stealth. This is not to say that the Gael completely avoided set piece battles, for they frequently did have pitched battles, mostly against each other while denying that honor to foreign hosts which they deemed too heavily armed and numerous.
Adaptations
As time went on, the Gaels began intensifying their raids and colonies in Roman Britain (c. 200-500 AD). Naval forces were necessary for this, and, as a result, large numbers of small boats, called curraghs, were employed. Chariots and horses were transported across the sea to fight, but, because Gaelic forces were so frequently at sea (especially the Dal Riada/Scots), weaponry had to change. Javelins and slings became more uncommon, as they required too much space to launch, which the small curraghs did not allow. Instead, more and more Gaels were armed with bows and arrows. The Dal Riada, for example, after colonizing the west of Scotland and becoming a maritime power, became an army composed completely of archers. Slings also went out of use, replaced by both bows and a very effective naval weapon called the staffsling (Gael: Cranntabhaill). Later, the Gaels realized (probably learning from the Anglo-Saxons, whom they contacted in Britain), that the use of cavalry, as opposed to chariots, was cheaper, and by the 7th century AD, chariots had disappeared from Ireland and had been replaced by cavalry. Later, when the Gaels came into contact with the Vikings, they realized the need for heavier weaponry, so as to make hacking through the much larger Norse shields and heavy mail-coats possible. Heavier hacking-swords became more frequent, as did helmets and mail-coats. The Gael also learned how to use the double-handed Danish axe, wielded by the Vikings. Irish and Scottish infantry troops fighting with axes and armor, in addition to their own native darts and bows, were later known as “Gall oglaigh” (English: Galloglass), or “foreign gaels”, and formed an important part of Gaelic armies in the future. The coming of the Normans into Ireland several hundred years later also forced the Irish to use an increasingly large number of more-heavily armored Galloglaigh and cavalry to effectively deal with the mail-clad Normans.
Exported Gaelic Warfare
Norse-Gaelic mercenaries
See main article: Gallowglass
The most prolific Norse legacy in general Gaelic war though is the creation of the gall-glaich (Scottish Gaelic) or gall-glaigh (Irish), the Norse-Gaelic mercenaries who inhabited the Hebrides. They fought and trained in a combination of Gaelic and Norse techniques, and were highly valued; they were hired by everyone in Britain at different times, though most famously the Irish, who hired exponentially more of them than anyone else. The French also found need of hiring them. They often opted to hire Irish- and Scotsmen to assist them in their conflicts. Additionally, both the English and French hired Gaelic horsemen, called hobelars, the concepts of which were copied by both nations.
Later Weaponry
During the late Middle ages and Renaissance, weapon imports from Europe had an impact on Gaelic weapon design. Take for example the German zweihander sword, a long double-handed weapon used for quick, powerful cuts and thrusts. Irish swords were copied from these models, which had unique furnishings. Many, for example, often featured open rings on the pommel. On any locally designed Irish sword in the Middle Ages, this meant you could see the end of the tang go through the pommel and cap the end. These swords were often of very fine construction and quality. Scottish swords continued to use the more traditional “V” cross-guards that had been on pre-Norse Gaelic swords, culminating in such pieces as the now famous “claymore” design. This was an outgrowth of numerous earlier designs, and has become a symbol of Scotland. The claymore was used together with the typical axes of the galloglaigh until the 18th century, but began to be replaced by pistols and muskets. Also increasingly common at that time were basket-hilted swords, shorter versions of the claymore which were used with one hand in conjunction with a shield. These basket-hilted broadswords are still a symbol of Scotland to this day, as is the typical shield known as a “targe.”
Sources
Iulius Caesar, “De Bello Gallico”
“Tain Bo Cuailnge”, From the Book of Leinster
Geoffrey Keating, “History of Ireland”
“The Wars of the Gaels with the Foreigners”
http://www.myarmoury.com/feature_armies_irish.html
http://www.myarmoury.com/feature_armies_scots.html
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Categories: Celtic culture | Gaels | Warfare of the Ancient era | Warfare of the Medieval eraHidden categories: Articles to be merged from July 2009 | All articles to be merged | Articles lacking sources from March 2008 | All articles lacking sources | All articles with unsourced statements | Articles with unsourced statements from December 2009
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Undoubtedly one of the best shopping destinations in the world, Bangkok has an exciting collection of street markets, snuggled within the city. A specialized marketplace that attracts many, Thai Amulet Markets are famous in Bangkok among both local and foreign visitors alike.
For over a century, Thai amulets have been an obsession for many Thai Buddhists as wearing an amulet is considered a tradition. From the very early ages, the importance of wearing an amulet has been preached to every boy and girl alike. Famous throughout the world, these amulets are thought to have mystical powers, bringing good fortune to its owner.
Thai amulet styles are unlimited in shapes and sizes. Being one of the worlds largest producers, sellers and exporters, Thai amulets range from medallion-sized to pendant-sized. Engraved in metal, wood or clay, these amulets showcase images of Buddha and famous monks who are recognized around the world. Some include rare objects and relics or mythical creatures. There are even those that depict cryptic writings in the ancient script of Khmer language that are often difficult to decipher.
Depending on the individuals needs, these amulets are commonly worn for a specific purpose. There are some who wear these amulets for good health or gaining favor in the eyes of the gods. There are others who wear for long-life, protection and business prosperity. The stories that explain the history behind each amulet is often hazy. However, each amulet can change depending on the person who is recounting the charm and its powers.
Amidst the long row of stands in Bangkoks largest amulet market, Tha Phrachan displays an array of extraordinary talismans, charms and religious amulets. The market appears every Sunday, creating a massive meeting place for those that buy and sell Thai amulets. Hoping to find one that will bring good fortune, hundreds of faithful shoppers are seen crouching on the ground, examining the images of the Buddha with magnifying glasses.
The Phuket Amulet Centre is another place for Thai amulets, established about 20 years ago. The displays attract a variety of people from all over the world. If youre planning on a leisure travel to Thailand, then a Phuket hotel such as Millennium Resort Patong Phuket is the ideal place, situated nearby to such street markets. This five-star Phuket resort is conveniently located in the premier tourist destination in Phukets most vibrant and popular area.
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Pushpitha Wijesinghe is an experienced independent freelance writer. He specializes in providing a wide variety of content and articles related to the travel hospitality industry.
History references the use of evil eye jewelry and beads from 3000 B.C in the ancient Orient, Sumeria, Turkey, and areas of Middle East. There, people believed that when someone sees your good fortune and is envious, bad luck will befall you. In fact, it is believed that any type of praise has some form of greed and jealousy attached to it, and can cause harm. In order to protect themselves against the negative energy of envious looks and enchanting gaze, people wore the evil eye jewelry. They had a belief that the evil eye jewelry helps redirect the bad spirits and energies back onto the person casting the evil eye, and keep the bearer safe.
Even today, the evil eye beads in bracelets, pendants, amulets, talismans, and other forms are worn extensively by people in the Middle East, as well as many other countries. Versions of the evil eye beads are seen at several places, such as the entrance of a home or office, in the keychains, at babys clothing, in the car, and many other places to disperse the bad luck from ones life.
Typically the evil eye jewelry is a single eye image set in a blue background color. In the Middle East, blue is a symbol of water and prosperity and is used to ensure good luck and happiness in the life of the wearer. The evil eye is commonly made of glass. However, materials like agate, stones, and Lucite are also used for making the evil eye beads.
Evil eye beads are also available as charm bracelets, rings, pendants, anklets, and earrings. The manufacturers of the evil eye jewelry present the same in assortment of styles and sizes to meet varied tastes and preferences. One can buy the evil eye bracelets or the evil eye pendants to make a stylish appearance at work or at a casual get-together. The exquisite designs and style patterns of the evil eye jewelry have made them a craze in the fashion world. More and more people are buying them to be worn as a fashion accessory, as well as a good luck charm.
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With about 6,000 years of recorded history behind it, Egypt has certainly built a rich treasure of culture, practices and beliefs, many of which still have great meaning in modern life. Some of ancient Egyptian symbols, for instance, are still manifested in Egyptian jewelry and art and literary works as well.
The Culture and Gods of an Ancient Race
Going back in time, once can see that Egyptian culture is rich in symbols, talismans, amulets and the like. Hieroglyphs found by archaeologists on walls, for instance, creatively told stories, while talismans unearthed from diggings were used for magical and mystical purposes. Even ancient Egyptian jewelry showed these symbols, pieces that depicted what were once considered as “the word of the Gods.”
During the ancient times, Egyptians tried to fathom the world and everything in the universe according to the earth, the sky, the moon, the sun and the stars. As such, they gave different names to celestial beings, among other things, and worshipped them as Gods. For example, Ra was believed to be the Sun God, while Nut was considered the Sky God.
Egyptians also used different symbols to represent their different Gods and drew various artwork or hieroglyphics as a means to spread the word, the teachings or even them magic of these Gods. The ankh, for instance, which appeared in various tomb paintings, means “eternal life,” and was worn by ancient Egyptians for protection. Some people even say that the ankh was the basis for the Christian cross.
The Eye of Horus, on the other hand, is said to ward off evil spirits. Horus is one of the oldest and most important gods in Egyptian culture. It is believed that the Eye of Horus pendant was even worn by many Egyptians during the ancient times. With the likeness of a beetle, the Scarab symbol was actually based on the dung beetle common during the ancient times. Egyptians observed beetles rolling balls of dung on the ground (for food and for their eggs) and likened this to the sun being rolled across the sky. They then came to use the symbol to represent rebirth.
Egyptian Symbols in Modern Times
Even though these various Egyptian symbols are centuries old, we can still see them in this day and age. They are used in different art formsfrom paintings and creative graffiti to tattoos. Visit any tattoo shop and you’ll find that the most common image or drawings shown to customers are those of Egyptian symbols, such as the ankh or the Eye of Horus.
Others, such as the cosmic jewelry designer, David Weitzman, have drawn inspiration from these symbols to create lovely and exquisite pieces of Egyptian jewelry. By using Egyptian symbols in rings, pendants, bracelets and amulets, Weitzman continues the tradition and culture of Ancient Egypt and gives the wearer the same power and magic that were bestowed on these symbols long ago.
The Eye of Horus pendant, for example, features the powerful, swirly eye in a triangular border. Those who want protection and a healthy life can use this beautiful Eye of Horus pendant, not only as a lovely piece of jewelry, but also as a talisman against sickness and malice.
Weitzman’s ankh necklace, on the other hand, gives the wearer insight into the secret to the eternity of the soul. With a lotus flower and ankh symbols on different pendants in the Egyptian jewelry necklace, the wearer can contemplate on how the lotus flower submerges and rises in the day, and how the ankh is the key to life.
Ancient tradition shouldn’t be lost in the modern world. We can draw a lot of inspiration, learning and realization from culture from the olden days. By transforming these traditions and molding them to fit into the modern world (like Weitzman has done with this Egyptian jewelry), we can show our ideals and our beliefs through many creative ways.
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David W
Egyptian jewelry
Eye of Horus
ankh necklace
There is a history of tattoos. In ancient ages different tattoo designs were severed as rites of passage, they were the marks of status and rank, symbols of religious and spiritual devotion, decorations for bravery, sexual lures and marks of fertility, pledges of love, punishment, amulets and talismans, protection, and as the marks of outcasts, slaves and convicts. As days slipped by everything went away along with the time and in the new era tattoo became the trend. Moreover, as it grew many people made tattooing as their profession and even many academies started offering the tooting related courses.
Tattooing is a start-of-art not possible for every artist to fulfill customers requirement. It is a trend which is being followed from years and will be eternal. Some people opt for tattoo designing for their likeness, some opt for boasting and some for the memories of someone. Everybody has different reasons for tattooing. Many people know what they want in their tattoo and many take time to speculate. People who already have a picture of their tattoo it becomes easy for tattoo artist to draw, however, it gets very tough for an artist to draw ones imagination and satisfy them.
Tattoos can be placed just about anywhere on the body. There are many tattoo designs available online or can be found at tattoo store, nevertheless, it is very important to choose the right tattoo design since it speaks a lot about your personality and shows what kind of person you are. What is great is that there are some tattoo design sites that will allow you to combine two different designs so you can create one unique tattoo design that will suit the specific art form that you are looking for. Do not make random choices and let anyone or anything influence your decision on the tattoo design you would have inked.
It is important to take a wise decision for getting inked because permanent tattoos are something that will remain on your body until your death. No doubt that it can be removed through laser, however, besides costing high you have to go through an excruciating pain yet which will leave an impression of the tattoo.
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Dragon tattoos are popular all over the world. Nowadays more than thirty percents of people that are going to make a tattoo chose a dragon tattoo design. Maybe the reason for such incredible popularity is that dragons are personages of many legends in nearly all cultures. Dragons can have different character, but they are certainly powerful creatures. The other reason may be that there are many styles of dragon tattoos that differ in design and in meaning. But there are two main types of dragon tattoos: Western dragon and Eastern dragon.
The meaning of Eastern dragon tattoos is always positive. In Chinese mythology dragon is a symbol of wisdom and knowledge. In the East dragon tattoos are extremely popular. They reveal the intelligence and are often made as talismans. In China people believe that dragon tattoo designs bring luck and happiness.
Western dragon is also an important character of many legends and myths. But usually its meaning far from positive. In European legends dragons were powerful but dangerous creatures. They destroyed villages with fire and were often associated with greed.
But in Britain there was different attitude to dragons. Dragons were sacred creatures in Celtic myths and they often symbolized Britons. So there is a special type of tattoos Welsh dragons tattoos that often reveal the proud for past and Celtic origin of the owner. Such tattoos have positive meaning and are widely spread in Britain and Europe.
But from all myths and legends we know that dragons are extremely powerful. Maybe they are the most popular mythical creatures in the world. Mentions of dragons can be found in al cultures and not depending on the connotation dragons are always highly respected and dragon tattoo designs wonderfully popular. Nor less important is the great variety of dragon tattoo designs. They are made in absolutely different styles and colors. You can choose traditional Chinese dragon tattoo or stylish tribal design; dragon tattoo can be made in classic black ink or in bright colors. Everybody can choose a dragon tattoo for himself or create an individual design. And this is certainly another reason for dragon tattoos popularity. But the meaning of such tattoo is always individual. Many people make dragon tattoo as a symbol of power and might. Others associate it with wisdom and think that a dragon tattoo emphasizes their intelligence. But on the whole a dragon tattoo is always a kind of statement. It reveals persons character and will. In some cultures such tattoos also show respect for traditions of ancestors.
All dragon tattoo designs always have deep meaning, more than that they always look original and attractive. Dragon tattoos are usually quite big and are often made bright. They are used as back tattoos than the dragon is made on the size of the whole back. Such tattoo is quite extreme and extravagant of course, but it looks great and attracts attention. Such dragon tattoo design reveals a strong will and free character of its owner. All dragon tattoos look stylish and emphasize a good taste of their owners.
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In early mystery traditions of the west and near east
In ancient Greek mythology, Zeus takes the bull-form known as Taurus in order to win Europa. Taurus is also associated with Aphrodite and other goddesses, as well as with Pan and Dionysus. The face of Taurus “gleams with seven rays of fire.”
In the Gnosticism of the Mediterranean and middle eastern regions, from 6th century BCE in Chaldea (a Hellenistic designation for a part of Babylonia), through the Mysteries of Mithras in Rome, to the second or third centuries CE, the Seven Rays are found in a variety of syncretistic elements of symbolism. The Chaldean Oracles have survived as fragmentary texts from the 2nd century AD, and may have been compilations from several sources, combining neo-Platonic elements with others that were Persian or Babylonian in origin. Later neo-Platonists, such as Proclus and Iamblichus, rated them highly.
Harvard historian S F Dunlap, wrote in 1894:
Moses was of the race of the Chaldeans. The Chaldean Mithra had his Seven Rays, and Moses his Seven Days. The other planets which circling around the sun lead the dance as round the King of heaven receive from him with the light also their powers; while as the light comes to them from the sun so from him they receive their powers that he pours out into the Seven Spheres of the Seven Planets of which the sun is the centre.
Dunlap wrote that the idea of spirit as the ultimate cause is present in all of the great religions of the East (which in the terminology of his time included the area now known as the Near East or Middle East), and that this idea can be found in “the Seven Rays of the Chaldaean Mithra and the Seven Days of Genesis. From the Sun came fire and spirit.” According to Dunlap, “this was the astronomical religion of the Chaldeans, Jews, Persians, Syrians, Phoenicians and Egyptians.”
Dunlap compared the nimbus of Apollo to the Seven Rays of Dionysus, presiding over the orbits of the seven planets. The Seven Rays are found also in the Chaldean mystery of the “the God of the Seven Rays, who held the Seven Stars in his hand, through whom (as Chaldaeans supposed) the souls were raised.” Prior to the Christian era, this deity was known as Iao (the first birth) or Sabaoth (the Sun), and later described as “Christos of the Resurrection of Souls.”
Later, in the fourth century CE, Emperor Julian Saturnalia composed a “Hymn to the Solemn Sun,” and spoke of “unspeakable mysteries hidden from the crowd such as Julian the Chaldean prophesied concerning the god of the seven rays.” In Greek gnostic magic of the same era, colored gemstones were often used as talismans for medicine or healing; they were often engraved with a symbol borrowed from the Egyptian deity Chnuphis: a hooded serpent or great snake. The snake was shown with a lion’s head, from which emanated either twelve or seven rays. The twelve rays represented the zodiac, and the seven rays represented the planets, usually with the seven Greek vowels engraved at the tips of the seven rays. The reverse sides of the talismans were engraved with a snake twisting around a vertical rod. These were known as “Gnostic amulets,” and were sometimes also engraved with the names “Iao Sabao”.
In Catholicism
The Annunciation
Jan van Eyck, 1434
Seven rays of light descend from the upper window
In early Christian iconography, the dove of the Holy Ghost is often shown with an emanation of seven rays, as is the image of the Madonna, often in conjunction with a dove or doves. The Monastery of St. Catherine on Mount Sinai, circa 565 CE, shows the Transfiguration of Christ in the apse mosaic, with “seven rays of light shining from the luminous body of Christ over the apostles Peter, James and John.” In the present day Byzantine-style St. Louis Cathedral in Missouri, the center of the sanctuary has an engraved circle with many symbols of the Holy Trinity. The inscription reads: “Radiating from this symbol are seven rays of light representing the seven gifts of the Holy Ghost.”
During the 12th century, Saint Norbert of Xanten, founder of the Order of Canons Regular of Prmontr, discovered the spot where the relics of Saint Ursula and her companions of Saint Gereon and of other martyrs lay hidden while in a dream. In the dream that led him to this location, he was guided by “the seven rays of light… surrounding the head of the crucified Redeemer.”
The Annunciation is an oil painting by Early Netherlandish master Jan van Eyck, from around 1434-1436. The picture depicts the Annunciation by the Archangel Gabriel to the Virgin Mary that she will bear the Son of God (Luke 1:26-38). In a prominent element of the complex iconographic work, the Seven gifts of the Holy Spirit descend to her on seven rays of light from the upper window to the left, with the dove symbolising the Holy Spirit following the same path. The seven rays on which the doves descend are unique elements in the painting in that they are of the heavenly realm rather than the earthly realm, with the difference shown by the artist through the use of gold leaf rather than ordinary oil paint. Only the seven rays are so treated, and while all of the other light sources in the painting cast shadows, the seven rays do not.
The Italian secret society of the late 1600s, Knights of the Apocalypse, was founded with the professed aim to defend the Catholic Church against the expected Antichrist, though it was accused of having political motives as well. They wore on their breasts a star with seven rays.
In Hindu scripture
Agni is a Hindu and Vedic deity depicted in three forms: fire, lightning and the sun. In Hindu art, Agni is depicted with two or seven hands, two heads, and three legs. In each head, he has seven fiery tongues with which he licks sacrificial butter. He rides a ram or a chariot harnessed by fiery horses. His attributes are an axe, a torch, prayer beads and a flaming spear. Agni is represented as red and two-faced, suggesting both his destructive and his beneficent qualities, and with black eyes and hair. Seven rays of light emanate from his body.
In the Gayatri prayer from the Vedas, the seven rays are described as the emanations of the Sun, identified with the creator of life, “Because the being who shines with seven rays, assuming the forms of time and illumines all… naturally shines with seven rays is called light or the effulgent power; the light of the Generator or Sun – the light is the sun, the sun is the light, they are identical.”
The Vishnu Purana, a post-vedic scripture, describes how Vishnu “enters into the seven solar rays which dilate into seven suns.” These are the “seven principal solar rays,” the source of heat even to the planet Jupiter, and the “seven suns into which the seven solar rays dilate at the consummation of all things…”
Twentieth century Hindu scholar, poet and mystic, Sri Aurobindo, described the Vedic seven rays of knowledge, or Agni, as “the seven forms of the Thought-principle” and wrote that the “the seven brilliant horses of the sun and their full union constitutes the seven-headed Thought of Ayasya by which the lost sun of Truth is recovered. That thought is again established in the seven rivers, the seven principles of being divine and human, the totality of which founds the perfect spiritual existence.”
Syncretistic interpretations
Egyptologist Gerald Massey wrote in 1881 of what he described as connections between Vedic scripture, ancient Egyptian mythology and the Gospel stories. He theorized that IAO, the “Seven-rayed Sun-God of the Gnostic-stones” was also the “Serpent Chnubis,” and “the Second Beast in the Book of Revalation.” In 1900, he elaborated further, describing the unity of “the seven souls of the Pharaoh,” “the seven arms of the Hindu god Agni,” “the seven stars in the hand of the Christ in Revelation,” and “the seven rays of the Chaldean god Heptaktis, or Iao, on the Gnostic stones.”
In the late 1940s, art historian and writer Ananda Coomaraswamy was curator in the department of Asiatic Art at the Boston Museum of Fine Arts and built the first large collection of Indian art in the United States. His writings in the field of perennial philosophy and the Traditionalist School included complex essays collating symbols of ancient wisdom and metaphysics from widely diverse cultures including Indian, Islamic, Chinese, Hellenic, and Christian sources. He wrote that the seven rays of the sun appear in both Hindu and Christian symbolism, representing similar concepts, and in particular the symbolism of the seventh ray that “corresponds to the distinction of transcendent from immanent and of infinite from finite.” He added that of “our Axis of the Universe (skambha, divo dharuna, etc.) and Islamic qutb ….. The seventh ray alone passes through the Sun to the suprasolar Brahma worlds, “where no sun shines” (‘all that is under the Sun being in the power of Death, and all beyond immortal’).”
In Theosophy
Part of a series on
Theosophy
Founders of the T. S.
Helena Blavatsky Henry Steel Olcott
William Quan Judge
Theosophists
Alfred Percy Sinnett
Abner Doubleday Geoffrey Hodson
Archibald Keightley C.W. Leadbeater
Annie Besant G. R. S. Mead
Katherine Tingley Ernest Wood
Philosophical concepts
Seven Rays
Organisations
Theosophical Society
TS Adyar TS Pasadena
TS Point Loma-Covina TSA Hargrove
United Lodge of Theosophists
Theosophical texts
Isis Unveiled The Key to Theosophy
Mahatma Letters The Secret Doctrine
The Voice of the Silence
More…
Theosophical Masters
Sanat Kumara Maitreya
Djwal Khul Morya
Kuthumi Paul the Venetian
Serapis Bey Master Hilarion
Master Jesus Master Rakoczi
Related topics
Agni Yoga Anthroposophy
Esotericism Jiddu Krishnamurti
Neo-Theosophy
Liberal Catholic Church
Living Ethics Alice A. Bailey
Ascended Master Teachings
Benjamin Creme
v d e
Syncretism is one of the core principles of Theosophy, a religious philosophy originating with Helena Petrovna Blavatsky from the 1870s, and the seven rays appear repeatedly in the related writings. Theosophy holds that all religions are attempts by the “Spiritual Hierarchy” to help humanity in evolving to greater perfection, and that each religion therefore has a portion of the truth.
Blavatsky wrote in the first book of The Secret Doctrine of an ” analogy between the Aryan or Brahmanical and the Egyptian esotericism” and that the “seven rays of the Chaldean Heptakis or Iao, on the Gnostic stones” represent the seven large stars of the Egyptian “Great Bear” constellation, the seven elemental powers, and the Hindu “seven Rishis.” She stated that the seven rays of the Vedic sun deity Vishnu represent the same concept as the “astral fluid or ‘Light’ of the Kabalists,” and that the seven emanations of the lower seven sephiroth are the “primeval seven rays,” and “will be found and recognized in every religion.”
In the second volume of the Secret Doctrine, Blavatsky discusses the “seven nervous plexuses of the body” and the seven rays they radiate, stating that this principle is found in the Rig Veda, in the mythology of Ahura Mazda, in the beliefs of the Incas, the Chinese Yao, and the Egyptian Osiris, who “when he enters the ark, or solar boat, takes seven Rays with him.” She describes the “seven wise ones” of the Veda as “the seven Rays which fall free from the macrocosmic centre”.
Blavatsky summarizes the syncretistic principle of her doctrine as it relates to the seven rays:
“…a key which reveals to us on indisputable grounds of comparative analogy… the Indian phnix, the emblem of cyclic and periodical time, the “man-lion” Singha, of whose representations the so-called “gnostic gems” are so full. Over the seven rays of the lion’s crown, and corresponding to their points, stand, in many cases, the seven vowels of the Greek alphabet AEHIOYW, testifying to the Seven Heavens. This is the Solar lion and the emblem of the Solar cycle, as Garuda is that of the great cycle, the “Maha-Kalpa” co-eternal with Vishnu, and also, of course, the emblem of the Sun, and Solar cycle. … As well remarked by C. W. King: “Whatever the primary meaning (of the gem with the solar lion and vowels) it was probably imported in its present shape from India, that true fountain head of gnostic iconography.” (Gnostics, p. 218)
In the third volume of the Secret Doctrine, published posthumously, Blavatsky described the “Seven Primeval Rays” as a group of celestial beings also known as “Gods” or “Angels” or “Powers”. She stated that this symbolism was “adopted later on by the Christian Religion as the ‘Seven Angels of the Presence.’”
Metaphysics of the seven rays
In Theosophy, the Seven Rays are said to be seven major types of Light-Substance (spirit/matter) (waves/particles) that compose the created universes. These are also believed to convey “Divine Qualities”.
According to Alice A. Bailey, each person has a soul ray that remains the same through all their incarnations, and a personality ray that is different for each incarnation. Each ray is also correspondent with certain Masters of Wisdom, and with particular planets, cycles, nations, etc.
Bailey stated that the Seven Rays locally originate within the “Solar Logos,” i.e., the consciousness of the “Divine Being” of the Sun. According to Benjamin Creme, rays are focused through the Solar Logos from the “Galactic Logos,” (the consciousness of the “Divine Beings” of the Milky Way Galaxy), and have their ultimate origin within the mind of God.
On the local planetary level, it is believed by adherents of the Theosophical tradition that the Seven Rays are transmitted from the Solar Logos through the God of our planet, Sanat Kumara, then through the spiritual hierarchy of our planet which includes the “Masters of Wisdom” (Some writings term them the Ascended Masters or the Great White Brotherhood).
Each of the Seven Rays is believed to be associated with a different kind of occult energy, and a different color.
Qualities of the seven rays
The Seven Rays are listed below:
Alice A. Bailey and the Church Universal and Triumphant assign different colors and in some cases different Masters to each of the seven rays. In Letters on Occult Meditation, Alice Bailey indicates that there is no simple correspondence between the rays and these colors. The colors, Masters, and Retreats indicated here are those indicated by both Alice Bailey and the Church Universal and Triumphant.
According to Alice A. Bailey and C.W. Leadbeater, the Masters live in immortal bodies at a residence on the physical plane at the indicated location (although a given Master may physically travel extensively incognito to various locations, become invisible, teleport to various locations, and walk through walls, as well as influence humans telepathically and travel on the inner planes, as required by the demands of his spiritual work).
According to the Church Universal and Triumphant, and other Ascended Master Activities, each Master is believed to serve at a Retreat on the physical or etheric plane at the geographical location shown after their name.
The “Gifts of the Holy Spirit” of the Church Universal and Triumphant for each ray are shown. For both Alice A. Bailey and the Church Universal and Triumphant, each ray has a jewel which is believed to focus the energy of that ray, which is indicated.
In a section below, the characteristic magic for each ray as listed by C.W. Leadbeater.
Alice A. Bailey
Ray
Colour
Cosmic Master
Residence
Planet Rulers
Chakra/Gland
Jewel
1st ray
Will – Power
Blue
Morya
Darjeeling, India
Pluto/Vulcan
Vishuddha (7th)
Throat/Thryoid
Diamond
2nd ray
Love-Wisdom
Indigo
Kuthumi
Shigatse, Tibet
Sun/Jupiter
Sahasrara (4th)
Crown/Pineal
Sapphire
3rd ray
Active Intelligence
Green
Venetian
“Chateau de Liberte, S. France & Temple of the Sun, NY”
Earth/Saturn
Anahata (5th)
Heart/Thymus
Emerald
4th ray
Harmony through conflict
Yellow
Serapis
Luxor, Egypt
Moon/Mercury
Muladhara (1st)
Base/Adrenals
Jasper
5th ray
Concrete Science
Orange
Hilarion
Island of Crete, Greece
Venus
Ajna (6th)
Brow/Pituitary
Topaz
6th ray
Love-Devotion
Red
Master Jesus
Mount Lebanon, Lebanon
Mars/Neptune
Manipura (3rd)
Solar Plexus/Pancreas
Ruby
7th ray
Ceremonial Order
Violet
St. Germain
Transylvania, Romania
Uranus
Swadisthana (2nd)
Sacral/Gonads
Amethyst
Ascended Master Teachings
Ray
Colour
Ascended Master
Retreat
Quality
Chakra
Day
Gift of the Holy Spirit
Jewel
1st ray
Will of God
Blue
White
El Morya
Darjeeling, India
Power
Good will
Faith
Throat (5th)
Tuesday
Faith in God’s will
Word of Wisdom
Diamond
Sapphire
Star Sapphire
Lapis Lazuli
2nd ray
Wisdom of God
Yellow
Lanto
Grand Teton, Wyoming, USA
Wisdom
Understanding
Crown (7th)
Sunday
Word of Wisdom
Word of Knowledge
Yellow Diamond
Yellow Sapphire
Topaz
3rd ray
Love of God
Pink
Rose
Paul the Venetian
Chteau de Libert, S. France
Temple of the Sun, New York
Love
Creativity
Beauty
Heart (4th)
Monday
Discerning of spirits
Ruby
Diamond
Garnet
Rose quartz
Pink Beryl
4th ray
Purity of God
White
Crystal
Serapis Bey
Luxor, Egypt
Purity
Discipline
Joy
Base of the Spine (1st)
Friday
Working of miracles
Diamond
Pearl
Zircon
Quartz crystal
5th ray
Science of God
Green
Gold
Hilarion
Crete, Greece
Truth
Science
Vision
Third Eye (6th)
Wednesday
Healing
Emerald
Diamond
Jade
Quartz crystal
6th ray
Peace of God
Purple
Metallic Gold
Ruby
Lady Nada
Arabian Peninsula
Peace
Service
Brotherhood
Solar Plexus (3rd)
Thursday
Diverse kinds of tongues and interpretation
Ruby
Topaz
Alexandrite
Diamond with pearl
7th ray
Freedom of God
Violet
Purple
Pink
Aqua / Teal
Saint Germain
Transylvania, Romania
Table Mountain, Wyoming, USA
Freedom
Alchemy
Justice
Seat of the Soul (1st)
Saturday
Prophecy
Working of Miracles
Amethyst
Diamond
Aquamarine
C.W. Leadbeater
C.W. Leadbeater gave a list showing the characteristic type of magic for each ray. This list indicates what he regarded as the most compatible type of magic to be performed by persons on each ray (although anyone of any ray can do any of these various types of magic).
1. FIRST RAY: Magic of Will of magician
2. SECOND RAY: Magic of Raja Yoga (Development of Mind)
3. THIRD RAY: Magic of Astrology (Natural Magnetic Forces).
4. FOURTH RAY: Magic of Hatha Yoga (physical development).
5. FIFTH RAY: Magic of Alchemy (Manipulation of Material Substances).
6. SIXTH RAY: Magic of Bhakti Yoga (Selfless Service and Altruistic Love [ agape ]).
7. SEVENTH RAY: Ceremonial magic (Invocation of Elementals, and Devas).
In other contemporary philosophies
In the mid to late 20th century, as the New Age movement gained in popularity, the concept and imagery of the seven rays appeared in a variety of settings.
In esoteric astrology, the seven rays are considered to be split into three groups: the first two rays represent Will and Wisdom, respectively, and the remaining five rays together form the group that represents Activity. The energy
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The Buddha Jewelry is known for unique and quality items. Among them are the necklaces of various types. These are quality products that can serve lots of purposes. They are known for their uniqueness, beauty and sound bearings. Lets take a look at the necklaces and what they stand for in the jewelry world.
Kinds of Buddha Necklaces
Buddha necklaces are of various kinds. Oftentimes, they are known as Tibetan necklaces. They come with special names with roots from the famous Buddhist religion. Today, there are various kinds of Buddha necklaces on sale in various online shops. Youll always locate them in websites that deal on Buddha jewelry products in great details.
Designs and Shapes of Buddha Necklaces
Buddha necklaces showcase in quality designs and shapes. They are made of quality elements such as copper, metals, silver, gold and so on. Most of the necklaces are handcrafted in Nepal and Tibet. In most cases, the Tibetan necklaces are made of quality silver elements, turquoise, red coral and other quality gemstones. Some of the necklaces are also made of nickel silver and yak bone elements. A good number of them abound in most online portals that deal on Buddhist stuffs.
Buddha Necklaces with Pendants
A good number of Buddha necklaces could be worn with pendants hanging loosely on them. Such Buddha necklaces with pendants are usually worn around the neck as protective talismans. Most Buddha adherents use such necklaces and pendants for their spiritual and physical protection from evil. People wear them as charms in order to protect the heart which is the most vital part of the human person. The necklaces are also used for fashion booting especially by most women.
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Every female has a heart of loving beauty. They would always contrive to dress up themselves so as to get other people’s praise. A praise word or an appreciative eye from other people would make them very happy to their dressing. A female’s appearance is no longer the only standard for judging whether or not she is attractive. A female’s charm index is usually decided by many factors such as her appearance, figure, and clothing. Consequently, a female’s charm does not completely depend on her natural appearance, and the outer dressing also has great influence on her charm. If a female wants to make her more attractive, she should use the following talismans to enhance her charm index:
The perfume
The unique charming fragrance of perfume would always breathe out enchanting charm, and make people become intoxicated. As someone says, the females are the flowers, and different female represents the different flower. If a female adds fragrance to her body, she would be a more attractive flower.
The sexy lingerie
The male most enjoys the female’s face and figure. The face could be perfected by make-up, and the figure could be shaped by the sexy lingerie. The sexy lingerie could make a female’s figure sexier, and more attractive to male’s eyeballs. So, you may just as well wear such a set of sexy lingerie to give your boyfriend a surprise on the romantic Valentine’s Day.
The lipstick
The lips are one of the most attractive parts on a female body. The vivid lipstick would doubtlessly further stand out the attractive lips, and makes it become a bold mark of face. For example, many Hollywood stars are selected as the most attractive celebrities by right of their sexy lips instead of their faces such as Julia Roberts, Angelina Jolie.
The high-heeled shoes
The high-heeled shoes are invented specially for females. The slim heel perfectly combines with female’s fairy, sexy ankle, and creates the elegance on the foot. Furthermore, the sound made by heel’s contact with ground likes a beautiful tune, and attracts people to listen.
The jewelry
A set of suitable clothing could make a female more beautiful, attractive, but it will never make a female outstanding. If a female wants to be prominent, it is not enough for her to only have a set of fashionable clothing, and she also needs to match her clothing a beautiful jewel. The brilliant rays sent by jewel could absolutely attract all people’s eyes, and this female would become eye-catching as a result of it.
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