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Over the centuries, the Knights Templar has been the subject of many misconceptions, especially in the modern age of mass media. Heavily popularized misunderstandings also created confusion for private researchers, and caused major determinative facts of the historical record to be wholly overlooked, even by professional academics.
As a result, many interested persons come to the Templar Order burdened by certain popular misconceptions. Specific factual clarification is thus needed on various key issues, before one can enjoy and appreciate the depth of the Order’s fully restored heritage in the modern era.
All readers are therefore encouraged to explore the following clarifications on key topics of popular interest. It is hoped that this will empower the reader to explore the rest of this website with an open mind, and with renewed interest in the reality and substance of modern Templarism.
Proprietary Research – This site presents new and original research, from primary sources in the historical record. The numbered source references are the verifiable evidence of all relevant facts. The Templar Order now shares this with the general public for the first time, as part of its core mission of restoring venerable traditions as the pillars of civilization.
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Order & Church are Separate – The Order of the Temple of Solomon historically carries and protects the Ancient Catholic Church, which is separate and independent. The Templar Order has its own Chivalric Constitution and Grand Mastery, and is interfaith and non-denominational with its own Mystical spirituality, while separately supporting Ancient Catholicism. Templars are not required to participate in the Church. The Church has its own Ecclesiastical Charter and Pontificate, and its Faithful and Clergy are not obligated to join the Templar Order.
DIVERSITY OF CHIVALRIC LEGITIMACY FOR THE MODERN ERA
Many Chivalric Orders exist in the modern era, of varying types and degrees of legitimacy, each of which developed under unique circumstances. The basis for each Order creates a category of opinion or expectations for each approach. This has resulted in a great diversity of competing theories of legitimacy, many contradictory, and each modeled after different Orders.
No single Chivalric Order can possibly satisfy all of the competing theories, many of which contradict each other. For this reason, regardless of the strongest bases for legitimacy, backed by history, law, facts and evidence, there will always be challengers who insist on a different opinion, critics who allege some defect, and self-perceived competitors who claim they are the only “Real Knights”.
For the Order of the Temple of Solomon of 1118 AD as a historical institution, there is only one real issue for legitimacy as the direct continuation of the original Knights Templar: It must have a meaningful connection to the founding authorities of its historical Grand Mastery, as the basis for legal and canonical Magistral Succession, which also must be supported by substance and authenticity of Doctrinal Succession.
In other words, it must have a direct lineal, legal and canonical connection to the founding bases of the original Templar Order, and it must embody and teach the authentic Templar heritage in its spiritual and cultural fullness.
The original Templar Order is unique, possessing multiple and alternative sources of chivalric legitimacy. Driven by a profound sense of responsibility for preserving this historical institution, university historians backed by international law firms completed an intensive seven-year project to restore the Order. Restoration was not based on “claims” supported by mere legal “technicalities”, but rather was firmly rooted in – and made possible by – possessing the full and authentic substance and heritage of the historical institution.
The modern Templar Order has reassembled and restored all aspects of its original sources of legitimacy, as evidenced in the historical record, carefully balancing each basis with the others:
Succession was reestablished from the ancient Templar Priesthood (which the first Knights recovered by excavating the Temple of Solomon) , as the founding Ecclesiastical authority of the original Grand Mastery. This reconnected the Order to its Ecclesiastical Protection from the Vatican Papal Bull Omne Datum Optimum (1139 AD) . Succession was additionally reconnected from a legalized Royal line of King Fulk of Jerusalem which legally carries the founding Royal authority of the original Grand Mastery. This achieved full Royal Protection by an official Letters Patent (2013).
Both forms of Magistral Succession legally establish permanent and independent sovereignty of the Order in its own right, as a Principality of statehood, thus governed by a Prince Grand Master, and inherently possessing its own independent Fons Honourum as a historical institution. The Order is recognized by a licensed international Court as an official government exercising statehood. It also holds registered United Nations NGO status through its non-profit Foundation
The European Organisation for Nuclear Research (Cern) has launched an investigation into a video filmed at night on its Geneva campus depicting a mock ritual human sacrifice.
The video, which circulated online, shows several individuals in black cloaks gathering in a main square at Europe’s top physics lab, in what appears to be a re-enactment of an occult ceremony.
The video includes the staged “stabbing” of a woman. It is filmed from the perspective of a secret viewer watching from a window above who, as the ceremony reaches its climax, lets out a string of expletives and flees with the camera still running.
The ceremony appears to have been staged in front of a statue of the Hindu deity Shiva that is on permanent display at the complex, home of the Large Hadron Collider.
“These scenes were filmed on our premises but without official permission or knowledge,” a Cernspokeswoman told Agence France-Presse in an email.
“Cern does not condone this type of spoof, which can give rise to misunderstandings about the scientific nature of our work.”
The “investigation” under way was an “internal matter”, she said.
The video has raised questions about security on Cern’s campus.
Asked to detail the security procedures surrounding access to the campus, the Cern spokeswoman said: “Cern IDs are checked systematically at each entry to the Cern site whether it is night or day.”
She further indicated that those responsible for the prank had access badges.
“Cern welcomes every year thousands of scientific users from all over the world and sometimes some of them let their humour go too far. This is what happened on this occasion,” the email said.
The spokeswoman was not available to comment the possible identity of those responsible.
Geneva police told AFP they had been in contact with Cern about the video but were not involved in an official investigation.
Cern hosts machinery carrying out some of the world’s most elaborate particle research, including an enormously powerful proton smasher trying to find previously undiscovered particles.
With Agence France-Presse
Why is there a Nataraj statue at CERN?
On 18 June, CERN unveiled an unusual new landmark, a 2m tall statue of the Indian deity Lord Shiva.
The Director-General and Dr. Kakodkar watch as Mr.Chandrasekhar signs the Guest Book.
The statue is a gift from India, celebrating CERN’s long association with India which started in the 1960’s and continues strongly today. It was unveiled by the Director General, Dr Robert Aymar, His Excellency Mr K. M. Chandrasekhar, Ambassador (WTO-Geneva) and Dr Anil Kakodkar, Chairman of the Atomic Energy Commission and Secretary, Dept of Atomic Energy, India.
In the Hindu religion, this form of the dancing Lord Shiva is known as the Nataraj and symbolises Shakti, or life force. As a plaque alongside the statue explains, the belief is that Lord Shiva danced the Universe into existence, motivates it, and will eventually extinguish it. Carl Sagan drew the metaphor between the cosmic dance of the Nataraj and the modern study of the ‘cosmic dance’ of subatomic particles.
The statue was made in India. The original sculpture was a wax model, around which a soil mould was made. Melting the wax left a hollow into which liquid metal was poured. Once cooled, the mould was split and the statue polished and given its antique finish.
The statue is on permanent display in the square between buildings 39 and 40, a short distance from the Main Building.
“In 2004, a 2m statue of the dancing Shiva was unveiled at, the European Center for Research in Particle Physics in . The statue, symbolizing Shiva’s cosmic dance of creation and destruction, was given to by the Indian government to celebrate the research center’s long association with India. A special plaque next to the Shiva statue explains the significance of the metaphor of Shiva’s cosmic dance with quotations from : “
Hundreds of years ago, Indian artists created visual images of dancing Shivas in a beautiful series of bronzes. In our time, physicists have used the most advanced technology to portray the patterns of the cosmic dance. The metaphor of the cosmic dance thus unifies ancient mythology, religious art and modern physics.”
Don’t bother with the gobbledygook you get below. Do a simple online search.
Nataraja (: “நடராசர்” or Kooththan கூத்தன், The King of Dance) is a depiction of the as the cosmic dancer who performs his divine dance (called ) to destroy a weary universe and prepare for its renewal, by the god who starts the process of creation.
The dance has a Great Significance:
First, it is seen as the image of his rhythmic play which is the source of all movement within the universe. This is represented by the circular or elliptical frame surrounding the Lord.
Secondly, the purpose of his dance is to release the souls of all men from the snare of illusion.
Lastly, the place of the dance is portrayed as the center of the universe, is actually within the heart.
CERN Wishes to bring forth the rhythm of the Universe through modern Technology, release all men from the snare of illusion, and try to explain the mysteries of the Universe
Shiva’s Cosmic Dance at CERN
On June 18, 2004, an unusual new landmark was unveiled at CERN, the European Center for Research in Particle Physics in Geneva — a 2m tall statue of the Indian deity Shiva Nataraja, the Lord of Dance. The statue, symbolizing Shiva’s cosmic dance of creation and destruction, was given to CERN by the Indian government to celebrate the research center’s long association with India.
photo credit: Giovanni Chierico
In choosing the image of Shiva Nataraja, the Indian government acknowledged the profound significance of the metaphor of Shiva’s dance for the cosmic dance of subatomic particles, which is observed and analyzed by CERN’s physicists. The parallel between Shiva’s dance and the dance of subatomic particles was first discussed by Fritjof Capra in an article titled “The Dance of Shiva: The Hindu View of Matter in the Light of Modern Physics,” published in Main Currents in Modern Thought in 1972. Shiva’s cosmic dance then became a central metaphor in Capra’s international bestseller The Tao of Physics, first published in 1975 and still in print in over 40 editions around the world.
A special plaque next to the Shiva statue at CERN explains the significance of the metaphor of Shiva’s cosmic dance with several quotations from The Tao of Physics. Here is the text of the plaque:
Ananda K. Coomaraswamy, seeing beyond the unsurpassed rhythm, beauty, power and grace of the Nataraja, once wrote of it “It is the clearest image of the activity of God which any art or religion can boast of.”
More recently, Fritjof Capra explained that “Modern physics has shown that the rhythm of creation and destruction is not only manifest in the turn of the seasons and in the birth and death of all living creatures, but is also the very essence of inorganic matter,” and that “For the modern physicists, then, Shiva’s dance is the dance of subatomic matter.”
It is indeed as Capra concluded: “Hundreds of years ago, Indian artists created visual images of dancing Shivas in a beautiful series of bronzes. In our time, physicists have used the most advanced technology to portray the patterns of the cosmic dance. The metaphor of the cosmic dance thus unifies ancient mythology, religious art and modern physics.”
A balance between light and dark, good and evil and the line that seperates from the ignorance to knowledge to a cosmic where there is no relativity of time-space abstraction on pre-assumed theories – a symbol where science can find bliss to the unknown and be an explorer to be known, also the enery which doesn’t take sides and has no existence or destruction but has conversion. 🙂
You can visit official theory to have a glimpse of dancing ‘cosmo’ :
I was walking to Caravaca (Region Murcia, southern Spain) where the release of all carma or guilt is overed this year (like every 7th year). This is a great opportunity to make peace with one self. The castle where the church with the reliquie of the holy Cross is, was built by the Knights Templar.