Apocalyptic Seals - Revision history

Odyssee at 05:24, 28 July 2022

2022-07-28T05:24:58Z

← Older revision		Revision as of 05:24, 28 July 2022
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	[[File:Apokalyptic Seals Eliphas Levi.jpg\|thumb\|"The Seven Seals of Saint John", in: [[w:Éliphas Lévi\|Éliphas Lévi]]: Dogme et rituel de la haute magie, vol. 2, Paris 1861, p. 364.]]		[[File:Apokalyptic Seals Eliphas Levi.jpg\|thumb\|"The Seven Seals of Saint John", in: [[w:Éliphas Lévi\|Éliphas Lévi]]: Dogme et rituel de la haute magie, vol. 2, Paris 1861, p. 364.]]

	According to occult tradition, the seven apocalyptic seals are not directly those seals which are broken at the opening of the [[book with the seven seals]] mentioned in {{B\|Rev\|5:1-14\|ESV}}. These events up to the appearance of the seven angels with the [[seven trumpets]] are depicted only in the [[third apocalyptic seal]]. Rather, the apocalyptic seals span a much wider range and represent the imaginatively seen [[astral]] [[archetype]]s of the entire evolution of humanity on earth in symbolic form.		According to occult tradition, the seven apocalyptic seals are not directly those seals which are broken at the opening of the [[book with the seven seals]] mentioned in {{B\|Rev\|5:1-14\|ESV}}. These events up to the appearance of the seven angels with the [[seven trumpets]] are depicted only in the [[third apocalyptic seal]]. Rather, the apocalyptic seals span a much wider range and represent the imaginatively seen [[astral]] [[archetype]]s of the entire [[evolution of humanity]] on [[earth]] in symbolic form.

	The capitals of the seven planetary columns, on the other hand, represent the level of the spiritual primordial tones or elementary forces, which can only be grasped through inspiration, in plastic forms. Through their transformation of form from pillar to pillar, they give a vivid picture of the [[planetary stages of world evolution]]. Due to the limited possibilities, however, the columns for the congress in Munich could initially only be executed as paintings. It was not until 1908/09 that the motifs of the planetary columns were realised in the model building in Malsch, which was built according to Rudolf Steiner's ideas. They were only created in full size for the [[First Goetheanum]].		The capitals of the seven planetary columns, on the other hand, represent the level of the spiritual primordial tones or elementary forces, which can only be grasped through inspiration, in plastic forms. Through their transformation of form from pillar to pillar, they give a vivid picture of the [[planetary stages of world evolution]]. Due to the limited possibilities, however, the columns for the congress in Munich could initially only be executed as paintings. It was not until 1908/09 that the motifs of the planetary columns were realised in the model building in Malsch, which was built according to Rudolf Steiner's ideas. They were only created in full size for the [[First Goetheanum]].

Odyssee: /* The meaning of the seals */

2022-07-28T05:18:48Z

The meaning of the seals

← Older revision		Revision as of 05:18, 28 July 2022
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	[[File:Apokalyptic Seals Eliphas Levi.jpg\|thumb\|"The Seven Seals of Saint John", in: [[w:Éliphas Lévi\|Éliphas Lévi]]: Dogme et rituel de la haute magie, vol. 2, Paris 1861, p. 364.]]		[[File:Apokalyptic Seals Eliphas Levi.jpg\|thumb\|"The Seven Seals of Saint John", in: [[w:Éliphas Lévi\|Éliphas Lévi]]: Dogme et rituel de la haute magie, vol. 2, Paris 1861, p. 364.]]

	According to occult tradition, the seven apocalyptic seals are not directly those seals which are broken at the opening of the [[book with the seven seals]] mentioned in {{B\|Rev\|5:1-14\|ESV}}. Rather, the apocalyptic seals span a much wider range and represent the imaginatively seen [[astral]] [[archetype]]s of the entire evolution of humanity on earth in symbolic form. The capitals of the seven planetary columns, on the other hand, represent the level of the spiritual primordial tones or elementary forces, which can only be grasped through inspiration, in plastic forms. Through their transformation of form from pillar to pillar, they give a vivid picture of the [[planetary stages of world evolution]]. Due to the limited possibilities, however, the columns for the congress in Munich could initially only be executed as paintings. It was not until 1908/09 that the motifs of the planetary columns were realised in the model building in Malsch, which was built according to Rudolf Steiner's ideas. They were only created in full size for the [[First Goetheanum]].		According to occult tradition, the seven apocalyptic seals are not directly those seals which are broken at the opening of the [[book with the seven seals]] mentioned in {{B\|Rev\|5:1-14\|ESV}}. These events up to the appearance of the seven angels with the [[seven trumpets]] are depicted only in the [[third apocalyptic seal]]. Rather, the apocalyptic seals span a much wider range and represent the imaginatively seen [[astral]] [[archetype]]s of the entire evolution of humanity on earth in symbolic form.

			The capitals of the seven planetary columns, on the other hand, represent the level of the spiritual primordial tones or elementary forces, which can only be grasped through inspiration, in plastic forms. Through their transformation of form from pillar to pillar, they give a vivid picture of the [[planetary stages of world evolution]]. Due to the limited possibilities, however, the columns for the congress in Munich could initially only be executed as paintings. It was not until 1908/09 that the motifs of the planetary columns were realised in the model building in Malsch, which was built according to Rudolf Steiner's ideas. They were only created in full size for the [[First Goetheanum]].

	When designing the first six seal images, Rudolf Steiner was guided by the seals on the Apocalypse shown by the French occultist [[w:Éliphas Lévi\|Éliphas Lévi]] (1810-1875) in his work ''Dogme et rituel de la haute magie''.<ref>Éliphas Lévi: ''Dogme et rituel de la haute magie'', volume 2, Paris 1861, p. 364 [https://archive.org/details/b24884340_0002/page/364/mode/2up archive.org]</ref> Steiner designed the seventh seal, which establishes the reference to the New Jerusalem, entirely independently.<ref>Bernd Lampe: ''Das Buch mit den sieben Siegeln'', in: ''Das Goetheanum'' Nr. 7, 14. February 2014, p. 5 ff.</ref> He said about the deeper meaning of the seal images:		When designing the first six seal images, Rudolf Steiner was guided by the seals on the Apocalypse shown by the French occultist [[w:Éliphas Lévi\|Éliphas Lévi]] (1810-1875) in his work ''Dogme et rituel de la haute magie''.<ref>Éliphas Lévi: ''Dogme et rituel de la haute magie'', volume 2, Paris 1861, p. 364 [https://archive.org/details/b24884340_0002/page/364/mode/2up archive.org]</ref> Steiner designed the seventh seal, which establishes the reference to the New Jerusalem, entirely independently.<ref>Bernd Lampe: ''Das Buch mit den sieben Siegeln'', in: ''Das Goetheanum'' Nr. 7, 14. February 2014, p. 5 ff.</ref> He said about the deeper meaning of the seal images:

Odyssee: /* The meaning of the seals */

2022-05-17T12:19:25Z

The meaning of the seals

← Older revision		Revision as of 12:19, 17 May 2022
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	[[File:Apokalyptic Seals Eliphas Levi.jpg\|thumb\|"The Seven Seals of Saint John", in: [[w:Éliphas Lévi\|Éliphas Lévi]]: Dogme et rituel de la haute magie, vol. 2, Paris 1861, p. 364.]]		[[File:Apokalyptic Seals Eliphas Levi.jpg\|thumb\|"The Seven Seals of Saint John", in: [[w:Éliphas Lévi\|Éliphas Lévi]]: Dogme et rituel de la haute magie, vol. 2, Paris 1861, p. 364.]]

	According to occult tradition, the seven apocalyptic seals are not directly those seals which are broken at the opening of the book with the seven seals mentioned in {{B\|Rev\|5:1-14\|ESV}}. Rather, the apocalyptic seals span a much wider range and represent the imaginatively seen [[astral]] [[archetype]]s of the entire evolution of humanity on earth in symbolic form. The capitals of the seven planetary columns, on the other hand, represent the level of the spiritual primordial tones or elementary forces, which can only be grasped through inspiration, in plastic forms. Through their transformation of form from pillar to pillar, they give a vivid picture of the [[planetary stages of world evolution]]. Due to the limited possibilities, however, the columns for the congress in Munich could initially only be executed as paintings. It was not until 1908/09 that the motifs of the planetary columns were realised in the model building in Malsch, which was built according to Rudolf Steiner's ideas. They were only created in full size for the [[First Goetheanum]].		According to occult tradition, the seven apocalyptic seals are not directly those seals which are broken at the opening of the [[book with the seven seals]] mentioned in {{B\|Rev\|5:1-14\|ESV}}. Rather, the apocalyptic seals span a much wider range and represent the imaginatively seen [[astral]] [[archetype]]s of the entire evolution of humanity on earth in symbolic form. The capitals of the seven planetary columns, on the other hand, represent the level of the spiritual primordial tones or elementary forces, which can only be grasped through inspiration, in plastic forms. Through their transformation of form from pillar to pillar, they give a vivid picture of the [[planetary stages of world evolution]]. Due to the limited possibilities, however, the columns for the congress in Munich could initially only be executed as paintings. It was not until 1908/09 that the motifs of the planetary columns were realised in the model building in Malsch, which was built according to Rudolf Steiner's ideas. They were only created in full size for the [[First Goetheanum]].

	When designing the first six seal images, Rudolf Steiner was guided by the seals on the Apocalypse shown by the French occultist [[w:Éliphas Lévi\|Éliphas Lévi]] (1810-1875) in his work ''Dogme et rituel de la haute magie''.<ref>Éliphas Lévi: ''Dogme et rituel de la haute magie'', volume 2, Paris 1861, p. 364 [https://archive.org/details/b24884340_0002/page/364/mode/2up archive.org]</ref> Steiner designed the seventh seal, which establishes the reference to the New Jerusalem, entirely independently.<ref>Bernd Lampe: ''Das Buch mit den sieben Siegeln'', in: ''Das Goetheanum'' Nr. 7, 14. February 2014, p. 5 ff.</ref> He said about the deeper meaning of the seal images:		When designing the first six seal images, Rudolf Steiner was guided by the seals on the Apocalypse shown by the French occultist [[w:Éliphas Lévi\|Éliphas Lévi]] (1810-1875) in his work ''Dogme et rituel de la haute magie''.<ref>Éliphas Lévi: ''Dogme et rituel de la haute magie'', volume 2, Paris 1861, p. 364 [https://archive.org/details/b24884340_0002/page/364/mode/2up archive.org]</ref> Steiner designed the seventh seal, which establishes the reference to the New Jerusalem, entirely independently.<ref>Bernd Lampe: ''Das Buch mit den sieben Siegeln'', in: ''Das Goetheanum'' Nr. 7, 14. February 2014, p. 5 ff.</ref> He said about the deeper meaning of the seal images:

Odyssee at 06:12, 8 May 2022

2022-05-08T06:12:22Z

← Older revision		Revision as of 06:12, 8 May 2022
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	For the English edition of "Occult Seals and Columns", published in 1924, the Danish painter Arild Rosenkrantz (1870-1964) made seal pictures in Arlesheim under Rudolf Steiner's direct guidance, which were initially printed in black and white. Afterwards, in London in the 1930s, he painted 7 circular pastel pictures of the seals, each 72 cm in diameter.		For the English edition of "Occult Seals and Columns", published in 1924, the Danish painter Arild Rosenkrantz (1870-1964) made seal pictures in Arlesheim under Rudolf Steiner's direct guidance, which were initially printed in black and white. Afterwards, in London in the 1930s, he painted 7 circular pastel pictures of the seals, each 72 cm in diameter.

			== Criticism ==

			The imperfect artistic design of the seal pictures painted by Clara Rettich provoked much criticism, especially from the sculptor Dr Ernst Wagner, whose works were also exhibited at the Congress.[3] Although Steiner was also aware of the inadequacies, a draft letter to Ernst Wagner dated 12 April 1909 states:

			{{GZ\|That conversation in the Munich Congress Hall, where you called the seals unartistic and I replied <but correct>, you have in fact misunderstood. I was in complete agreement with you, and would very, very much have liked these things to be artistic. But the occultist must think realistically, not chimerically, and so he must take what is available. <But right> therefore also says everything. For that is what matters, that at present no artist has the ability to recreate real life. And so one has only the choice: either the formal-abstract suggestion of inner life and content with an outwardly inartistic shaping; or the dead forms and schemes which today are often called artistic, and which seem to the connoisseur of real life more or less like corpses which are supposed to feign life.\|284\|14}}

	==Literature==		==Literature==

Odyssee: /* Seven Pillars */

2022-05-07T08:27:58Z

Seven Pillars

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	[[File:Saeulen.jpg\|thumb\|450px\|Seven Pillars]]		[[File:Saeulen.jpg\|thumb\|450px\|Seven Pillars]]

	"Between each two of these seals in the congress room was one of the seven pillars, which are reproduced in the second series of pictures. In the capitals of these columns, as already indicated above, experiences of the "seer" (which is actually no longer an appropriate name in this field) in the "spiritual world" are depicted. It is a matter of the perception of the primordial forces, which exist in spiritual tones. The plastic forms of the capitals are translations of what the "seer" hears. But these forms are by no means arbitrary, they are the way they naturally arise when the "seeing human being" lets the "spiritual music" (harmony of the spheres), which flows through his whole being, have an effect on the forming hand. The plastic forms here are really a kind of "frozen music" which expresses the world's mysteries. That these forms appear as column capitals seems self-evident to those who see through the situation. The basis of the physical development of earth beings lies in the spiritual world. From there it is "supported". Now all development is based on a progression in seven stages. (The number seven is not to be understood as the result of a "superstition", but as the expression of a spiritual lawfulness, just as the seven colours of the rainbow are the expression of a physical lawfulness). The earth itself progresses in its development through seven states, which are designated by the seven planetary names: Saturn, Sun, Moon, Mars, Mercury, Jupiter and Venus states. (On the meaning of this, compare my "Occult Science" or the essays On the Akasha Chronicle. But not only does a celestial body progress in its development in this way, but every development passes through seven stages, which in the sense of modern spiritual science are designated by the expressions for the seven planetary states. In the manner indicated above, the spiritual supporting forces of these states are represented by the forms of the column capitals. But one will not arrive at a true understanding of this matter if one only takes the intellectual explanation as a basis when looking at the forms. One must look into the forms artistically and sensitively and allow the capitals to have an effect on one as a form. Those who do not take this into account will believe that they are only looking at allegories or, in the best case, symbols. Then he would have misunderstood everything. The same motif runs through all seven chapters: a force from above and one from below, which first strive against each other, then, reaching each other, work together. These forces are to be felt in their fullness and in their inner life, and then the soul itself is to experience how they spread out, contract, embrace, intertwine, open up, etc., in a lively formative way. One will be able to feel this complication of forces, as one feels the "shaping" of the plant out of its living forces, and one will be able to feel how the line of force first grows vertically upwards in the column, how it unfolds in the plastic shapes of the capitals, which open themselves to the forces coming towards them from above and open up, so that a sensibly supporting capital becomes. First the force from below unfolds in the simplest way, and the force from above strives towards it just as simply (Saturn column); then the forms from above fill up, push themselves into the points from below and thus cause the lower forms to give way to the sides. At the same time these lower forms close up into living formations (Sun column). In the further course of time, the upper form becomes more diverse; a tip that had been pushed out grows as if into a fertilising principle, and the lower form is transformed into a fruit-bearer. The other motif of force between the two has become a load-bearing support, because the relationship of the intermediate links would not be felt strongly enough as a load-bearing force (Moon column). Furthermore, a separation of the lower and the upper occurs, the strong bearers of the moon's capital have themselves become column-like, the intervening upper and lower have grown together to form a structure, a new motif is indicated from above (Mars column). The formations that have arisen from the connection of the upper and lower have taken on life and therefore appear as a staff entwined with snakes. One will have to feel how this motif grows organically out of the previous one. The central formations of the Martian capital have disappeared; their power has been absorbed by the supporting inner part of the capital; the hints previously coming from above have become fuller (Mercury column). Now it goes again to a kind of simplification, which, however, includes the fruit of the previous multiplication. The upper closes itself up like a cup, the lower simplifies life in a chaste form (Jupiter column). The last state shows this "inner fullness" at its highest with the outer simplification. The transformations of growth from below have attracted a fruit-bearing calyx-like form from above (Venus column).		{{GZ\|Between each two of these seals in the congress room was one of the seven pillars, which are reproduced in the second series of pictures. In the capitals of these columns, as already indicated above, experiences of the "seer" (which is actually no longer an appropriate name in this field) in the "spiritual world" are depicted. It is a matter of the perception of the primordial forces, which exist in spiritual tones. The plastic forms of the capitals are translations of what the "seer" hears. But these forms are by no means arbitrary, they are the way they naturally arise when the "seeing human being" lets the "spiritual music" (harmony of the spheres), which flows through his whole being, have an effect on the forming hand. The plastic forms here are really a kind of "frozen music" which expresses the world's mysteries. That these forms appear as column capitals seems self-evident to those who see through the situation. The basis of the physical development of earth beings lies in the spiritual world. From there it is "supported". Now all development is based on a progression in seven stages. (The number seven is not to be understood as the result of a "superstition", but as the expression of a spiritual lawfulness, just as the seven colours of the rainbow are the expression of a physical lawfulness). The earth itself progresses in its development through seven states, which are designated by the seven planetary names: Saturn, Sun, Moon, Mars, Mercury, Jupiter and Venus states. (On the meaning of this, compare my "Occult Science" or the essays On the Akasha Chronicle. But not only does a celestial body progress in its development in this way, but every development passes through seven stages, which in the sense of modern spiritual science are designated by the expressions for the seven planetary states. In the manner indicated above, the spiritual supporting forces of these states are represented by the forms of the column capitals. But one will not arrive at a true understanding of this matter if one only takes the intellectual explanation as a basis when looking at the forms. One must look into the forms artistically and sensitively and allow the capitals to have an effect on one as a form. Those who do not take this into account will believe that they are only looking at allegories or, in the best case, symbols. Then he would have misunderstood everything. The same motif runs through all seven chapters: a force from above and one from below, which first strive against each other, then, reaching each other, work together. These forces are to be felt in their fullness and in their inner life, and then the soul itself is to experience how they spread out, contract, embrace, intertwine, open up, etc., in a lively formative way. One will be able to feel this complication of forces, as one feels the "shaping" of the plant out of its living forces, and one will be able to feel how the line of force first grows vertically upwards in the column, how it unfolds in the plastic shapes of the capitals, which open themselves to the forces coming towards them from above and open up, so that a sensibly supporting capital becomes. First the force from below unfolds in the simplest way, and the force from above strives towards it just as simply (Saturn column); then the forms from above fill up, push themselves into the points from below and thus cause the lower forms to give way to the sides. At the same time these lower forms close up into living formations (Sun column). In the further course of time, the upper form becomes more diverse; a tip that had been pushed out grows as if into a fertilising principle, and the lower form is transformed into a fruit-bearer. The other motif of force between the two has become a load-bearing support, because the relationship of the intermediate links would not be felt strongly enough as a load-bearing force (Moon column). Furthermore, a separation of the lower and the upper occurs, the strong bearers of the moon's capital have themselves become column-like, the intervening upper and lower have grown together to form a structure, a new motif is indicated from above (Mars column). The formations that have arisen from the connection of the upper and lower have taken on life and therefore appear as a staff entwined with snakes. One will have to feel how this motif grows organically out of the previous one. The central formations of the Martian capital have disappeared; their power has been absorbed by the supporting inner part of the capital; the hints previously coming from above have become fuller (Mercury column). Now it goes again to a kind of simplification, which, however, includes the fruit of the previous multiplication. The upper closes itself up like a cup, the lower simplifies life in a chaste form (Jupiter column). The last state shows this "inner fullness" at its highest with the outer simplification. The transformations of growth from below have attracted a fruit-bearing calyx-like form from above (Venus column).

	Whoever can feel everything that is expressed in these "pillars" of world events, feels comprehensive laws of all being, which solve the riddles of life in a completely different way than abstract "laws of nature".		Whoever can feel everything that is expressed in these "pillars" of world events, feels comprehensive laws of all being, which solve the riddles of life in a completely different way than abstract "laws of nature".
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	Whoever looks at the pictures with spiritual ideas in his head and with devotional feelings in his heart will receive a sacredness from them. Anyone who wants to hang them up or place them in any place where he confronts them with everyday thoughts and feelings will feel an unfavourable effect, which can go as far as a bad influence on physical life. One should act accordingly and only enter into a relationship with the pictures which is in harmony with a devotion to the spiritual worlds. Such pictures should serve as ornaments in a room devoted to the higher life; they should never be found or looked at in places where the thoughts of men are not in harmony with them.\|284\|95f}}		Whoever looks at the pictures with spiritual ideas in his head and with devotional feelings in his heart will receive a sacredness from them. Anyone who wants to hang them up or place them in any place where he confronts them with everyday thoughts and feelings will feel an unfavourable effect, which can go as far as a bad influence on physical life. One should act accordingly and only enter into a relationship with the pictures which is in harmony with a devotion to the spiritual worlds. Such pictures should serve as ornaments in a room devoted to the higher life; they should never be found or looked at in places where the thoughts of men are not in harmony with them.\|284\|95f}}

	For the English edition of "Occult Seals and Columns", published in 1924, the Danish painter Arild Rosenkrantz (1870-1964) made seal pictures in Arlesheim under Rudolf Steiner's direct guidance, which were initially printed in black and white. Afterwards, in London in the 1930s, he painted 7 circular pastel pictures of the seals, each 72 cm in diameter.		For the English edition of "Occult Seals and Columns", published in 1924, the Danish painter Arild Rosenkrantz (1870-1964) made seal pictures in Arlesheim under Rudolf Steiner's direct guidance, which were initially printed in black and white. Afterwards, in London in the 1930s, he painted 7 circular pastel pictures of the seals, each 72 cm in diameter.

	==Literature==		==Literature==

Odyssee at 08:25, 7 May 2022

2022-05-07T08:25:58Z

@@ Line 128: / Line 128: @@
 File:GA284 Siegel 07 Entwurf.jpg|7th Seal
 </gallery></center>
 ==Literature==
+* [[Rudolf Steiner]]: ''The Apocalypse of St. John'', [[CW 104]], {{Lectures|104}}
 * [[Rudolf Steiner]], Alexandra Riggins: ''Die sieben apokalyptischen Siegel'', Triskel Verlag 2005, ISBN 978-3-905893-02-1
 * [[Rudolf Steiner]]: ''Lucifer – Gnosis'', [[GA 34]] (1987), ISBN 3-7274-0340-3 {{Lectures|034}}

Odyssee at 15:26, 5 May 2022

2022-05-05T15:26:26Z

← Older revision		Revision as of 15:26, 5 May 2022
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	{{GZ\|Thus you see how in such seals the whole world is represented, and because the world is put into them by the magicians and initiates, therefore a mighty power dwells in them. You can always return to these seals; you will always find that you can tap infinite wisdom through meditation. They have a tremendous influence on the soul of man, because they are drawn from the mysteries of the world. If you hang them up in a room where such things are discussed as we are talking about here today, where one rises to the sacred mysteries of the world, they have a highly invigorating, enlightening effect, without people sometimes knowing it. But precisely because they have this meaning, they are not at the same time apt to be profaned. And strange as it may seem, if they hang all around a room where nothing spiritual is spoken, where trivial words are spoken, they also have an effect, but in such a way that they make the physical organism ill. Trivial as it may sound, they destroy the digestion. What is born of the spiritual belongs to the spiritual and must not be profaned; it shows this itself by its effect. Signs of spiritual things belong where spiritual things take place and come into effect.\|284\|77f}}		{{GZ\|Thus you see how in such seals the whole world is represented, and because the world is put into them by the magicians and initiates, therefore a mighty power dwells in them. You can always return to these seals; you will always find that you can tap infinite wisdom through meditation. They have a tremendous influence on the soul of man, because they are drawn from the mysteries of the world. If you hang them up in a room where such things are discussed as we are talking about here today, where one rises to the sacred mysteries of the world, they have a highly invigorating, enlightening effect, without people sometimes knowing it. But precisely because they have this meaning, they are not at the same time apt to be profaned. And strange as it may seem, if they hang all around a room where nothing spiritual is spoken, where trivial words are spoken, they also have an effect, but in such a way that they make the physical organism ill. Trivial as it may sound, they destroy the digestion. What is born of the spiritual belongs to the spiritual and must not be profaned; it shows this itself by its effect. Signs of spiritual things belong where spiritual things take place and come into effect.\|284\|77f}}

			=== Rudolf Steiner's designs ===
			<center><gallery perrow="5" widths="150" heights="150">
			File:GA284 Siegel 02a Entwurf.jpg\|2nd Seal
			File:GA284 Siegel 02 Entwurf.jpg\|2nd Seal (further design)
			File:GA284 Siegel 03 Entwurf.jpg\|3rd Seal
			GA284 Siegel 04 Entwurf.jpg\|4th Seal
			File:GA284 Siegel 07 Entwurf.jpg\|7th Seal
			</gallery></center>

	==Literature==		==Literature==

Odyssee at 13:51, 5 May 2022

2022-05-05T13:51:33Z

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	And because wherever something is revealed, there is a duality to which the third must unite, man, when he has overcome death, will identify himself with the spirit (the dove) which pervades the world. He will resurrect and live again in the Spirit: P. S. S. R.		And because wherever something is revealed, there is a duality to which the third must unite, man, when he has overcome death, will identify himself with the spirit (the dove) which pervades the world. He will resurrect and live again in the Spirit: P. S. S. R.

	This is the Theosophical Rose Cross. It shines into those times when religion and science will be reconciled.\|284\|77f}}		This is the Theosophical Rose Cross. It shines into those times when religion and science will be reconciled.\|284\|77f}}

			=== On the effects of the seal images ===

			{{GZ\|Thus you see how in such seals the whole world is represented, and because the world is put into them by the magicians and initiates, therefore a mighty power dwells in them. You can always return to these seals; you will always find that you can tap infinite wisdom through meditation. They have a tremendous influence on the soul of man, because they are drawn from the mysteries of the world. If you hang them up in a room where such things are discussed as we are talking about here today, where one rises to the sacred mysteries of the world, they have a highly invigorating, enlightening effect, without people sometimes knowing it. But precisely because they have this meaning, they are not at the same time apt to be profaned. And strange as it may seem, if they hang all around a room where nothing spiritual is spoken, where trivial words are spoken, they also have an effect, but in such a way that they make the physical organism ill. Trivial as it may sound, they destroy the digestion. What is born of the spiritual belongs to the spiritual and must not be profaned; it shows this itself by its effect. Signs of spiritual things belong where spiritual things take place and come into effect.\|284\|77f}}

	==Literature==		==Literature==

Odyssee at 13:37, 5 May 2022

2022-05-05T13:37:32Z

@@ Line 82: / Line 82: @@
 {{GZ|Seal V represents a higher stage of human development, such as will occur when the earth has again united with the sun and man will no longer work merely with the forces of the earth, but with the forces of the sun. The "woman who gives birth to the sun" refers to this future man. Certain forces of a lower nature, which live in man and prevent him from the full development of his higher spirituality, will then have been put out of him. These forces are represented in the seal on the one hand in the beast with the "seven heads and ten horns", on the other hand in the moon at the feet of the sun-man. For spiritual science, the moon is the centre of certain lower forces which are still working in the human being today and which the human being of the future will force 'under himself'.|284|94}}
 {{GZ|Then the time approaches when great changes take place in the cosmos. When man will have drawn on the power of the sun, then that stage of development will begin where the sun will be reunited with the earth. Man will be a solar being. Man will give birth to a sun through the power of the sun. Hence [on the fifth seal] the woman who gives birth to the sun. Then mankind will be so far advanced morally, ethically, that all the corrupt powers which rest in the lower human nature will be overcome. This is represented by the beast with the seven heads and the ten horns. At the feet of the sun-woman is the moon, which contains all those bad substances which the earth could not use and which it had not expelled. All the magical powers that the moon still exerts on the earth today will then be overcome. When man is united with the sun, he will have overcome the moon.|284|76}}
 ==Literature==

Odyssee at 12:42, 5 May 2022

2022-05-05T12:42:42Z

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	Here, I would like to say, we are pointed to the actual cultural secret of the present time, which first of all expresses itself in such a way that human beings do not immediately appear to be divided into three parts, but appear in such a way - which can now be grasped with one's hands in our present time - that we have cloud people who can only think, while the other two parts are atrophied: Rainbow and fire-feet, that we have rainbow-people, in whom feeling is preferably developed, who can also, for example, grasp Anthroposophy only with feeling, not with the intellect. But they are not only present in the Anthroposophical Society, but also outside in the world. These people can grasp the world only with feeling; in them thinking and will are atrophied, but feeling is especially developed. Then there are people today who actually act as if they had only hypertrophied the will. Their thinking and feeling are atrophied: people who act like bulls, given over only to the immediate outer impulses - the fire-footed people.\|346\|202f}}		Here, I would like to say, we are pointed to the actual cultural secret of the present time, which first of all expresses itself in such a way that human beings do not immediately appear to be divided into three parts, but appear in such a way - which can now be grasped with one's hands in our present time - that we have cloud people who can only think, while the other two parts are atrophied: Rainbow and fire-feet, that we have rainbow-people, in whom feeling is preferably developed, who can also, for example, grasp Anthroposophy only with feeling, not with the intellect. But they are not only present in the Anthroposophical Society, but also outside in the world. These people can grasp the world only with feeling; in them thinking and will are atrophied, but feeling is especially developed. Then there are people today who actually act as if they had only hypertrophied the will. Their thinking and feeling are atrophied: people who act like bulls, given over only to the immediate outer impulses - the fire-footed people.\|346\|202f}}

			=== Seal V ===
			[[File:Siegel 05 (Tafel XI) AS.jpg\|thumb\|Fifth apocalyptic seal]]
			{{GZ\|The fifth seal represents the further development of man in the future in a cosmos in which the conditions just indicated will have occurred. The man of the future, who will himself have a different relationship to the sun than the present one, is represented by the "woman who gives birth to the sun"; and the power which he will then have over certain forces of the world, which today express themselves in his lower nature, is represented by the standing of the "woman of the sun" on the beast with the seven heads and ten horns. The woman has the moon under her feet: this indicates a later cosmic relationship of sun, earth and moon.\|34\|599}}

			{{GZ\|Seal V represents a higher stage of human development, such as will occur when the earth has again united with the sun and man will no longer work merely with the forces of the earth, but with the forces of the sun. The "woman who gives birth to the sun" refers to this future man. Certain forces of a lower nature, which live in man and prevent him from the full development of his higher spirituality, will then have been put out of him. These forces are represented in the seal on the one hand in the beast with the "seven heads and ten horns", on the other hand in the moon at the feet of the sun-man. For spiritual science, the moon is the centre of certain lower forces which are still working in the human being today and which the human being of the future will force 'under himself'.\|284\|94}}

			{{GZ\|Then the time approaches when great changes take place in the cosmos. When man will have drawn on the power of the sun, then that stage of development will begin where the sun will be reunited with the earth. Man will be a solar being. Man will give birth to a sun through the power of the sun. Hence [on the fifth seal] the woman who gives birth to the sun. Then mankind will be so far advanced morally, ethically, that all the corrupt powers which rest in the lower human nature will be overcome. This is represented by the beast with the seven heads and the ten horns. At the feet of the sun-woman is the moon, which contains all those bad substances which the earth could not use and which it had not expelled. All the magical powers that the moon still exerts on the earth today will then be overcome. When man is united with the sun, he will have overcome the moon.\|284\|76}}

	==Literature==		==Literature==

← Older revision		Revision as of 05:18, 28 July 2022
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	[[File:Apokalyptic Seals Eliphas Levi.jpg\|thumb\|"The Seven Seals of Saint John", in: [[w:Éliphas Lévi\|Éliphas Lévi]]: Dogme et rituel de la haute magie, vol. 2, Paris 1861, p. 364.]]		[[File:Apokalyptic Seals Eliphas Levi.jpg\|thumb\|"The Seven Seals of Saint John", in: [[w:Éliphas Lévi\|Éliphas Lévi]]: Dogme et rituel de la haute magie, vol. 2, Paris 1861, p. 364.]]

	According to occult tradition, the seven apocalyptic seals are not directly those seals which are broken at the opening of the [[book with the seven seals]] mentioned in {{B\|Rev\|5:1-14\|ESV}}. Rather, the apocalyptic seals span a much wider range and represent the imaginatively seen [[astral]] [[archetype]]s of the entire evolution of humanity on earth in symbolic form. The capitals of the seven planetary columns, on the other hand, represent the level of the spiritual primordial tones or elementary forces, which can only be grasped through inspiration, in plastic forms. Through their transformation of form from pillar to pillar, they give a vivid picture of the [[planetary stages of world evolution]]. Due to the limited possibilities, however, the columns for the congress in Munich could initially only be executed as paintings. It was not until 1908/09 that the motifs of the planetary columns were realised in the model building in Malsch, which was built according to Rudolf Steiner's ideas. They were only created in full size for the [[First Goetheanum]].		According to occult tradition, the seven apocalyptic seals are not directly those seals which are broken at the opening of the [[book with the seven seals]] mentioned in {{B\|Rev\|5:1-14\|ESV}}. These events up to the appearance of the seven angels with the [[seven trumpets]] are depicted only in the [[third apocalyptic seal]]. Rather, the apocalyptic seals span a much wider range and represent the imaginatively seen [[astral]] [[archetype]]s of the entire evolution of humanity on earth in symbolic form.

			The capitals of the seven planetary columns, on the other hand, represent the level of the spiritual primordial tones or elementary forces, which can only be grasped through inspiration, in plastic forms. Through their transformation of form from pillar to pillar, they give a vivid picture of the [[planetary stages of world evolution]]. Due to the limited possibilities, however, the columns for the congress in Munich could initially only be executed as paintings. It was not until 1908/09 that the motifs of the planetary columns were realised in the model building in Malsch, which was built according to Rudolf Steiner's ideas. They were only created in full size for the [[First Goetheanum]].

	When designing the first six seal images, Rudolf Steiner was guided by the seals on the Apocalypse shown by the French occultist [[w:Éliphas Lévi\|Éliphas Lévi]] (1810-1875) in his work ''Dogme et rituel de la haute magie''.<ref>Éliphas Lévi: ''Dogme et rituel de la haute magie'', volume 2, Paris 1861, p. 364 [https://archive.org/details/b24884340_0002/page/364/mode/2up archive.org]</ref> Steiner designed the seventh seal, which establishes the reference to the New Jerusalem, entirely independently.<ref>Bernd Lampe: ''Das Buch mit den sieben Siegeln'', in: ''Das Goetheanum'' Nr. 7, 14. February 2014, p. 5 ff.</ref> He said about the deeper meaning of the seal images:		When designing the first six seal images, Rudolf Steiner was guided by the seals on the Apocalypse shown by the French occultist [[w:Éliphas Lévi\|Éliphas Lévi]] (1810-1875) in his work ''Dogme et rituel de la haute magie''.<ref>Éliphas Lévi: ''Dogme et rituel de la haute magie'', volume 2, Paris 1861, p. 364 [https://archive.org/details/b24884340_0002/page/364/mode/2up archive.org]</ref> Steiner designed the seventh seal, which establishes the reference to the New Jerusalem, entirely independently.<ref>Bernd Lampe: ''Das Buch mit den sieben Siegeln'', in: ''Das Goetheanum'' Nr. 7, 14. February 2014, p. 5 ff.</ref> He said about the deeper meaning of the seal images:

← Older revision		Revision as of 12:19, 17 May 2022
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	[[File:Apokalyptic Seals Eliphas Levi.jpg\|thumb\|"The Seven Seals of Saint John", in: [[w:Éliphas Lévi\|Éliphas Lévi]]: Dogme et rituel de la haute magie, vol. 2, Paris 1861, p. 364.]]		[[File:Apokalyptic Seals Eliphas Levi.jpg\|thumb\|"The Seven Seals of Saint John", in: [[w:Éliphas Lévi\|Éliphas Lévi]]: Dogme et rituel de la haute magie, vol. 2, Paris 1861, p. 364.]]

	According to occult tradition, the seven apocalyptic seals are not directly those seals which are broken at the opening of the book with the seven seals mentioned in {{B\|Rev\|5:1-14\|ESV}}. Rather, the apocalyptic seals span a much wider range and represent the imaginatively seen [[astral]] [[archetype]]s of the entire evolution of humanity on earth in symbolic form. The capitals of the seven planetary columns, on the other hand, represent the level of the spiritual primordial tones or elementary forces, which can only be grasped through inspiration, in plastic forms. Through their transformation of form from pillar to pillar, they give a vivid picture of the [[planetary stages of world evolution]]. Due to the limited possibilities, however, the columns for the congress in Munich could initially only be executed as paintings. It was not until 1908/09 that the motifs of the planetary columns were realised in the model building in Malsch, which was built according to Rudolf Steiner's ideas. They were only created in full size for the [[First Goetheanum]].		According to occult tradition, the seven apocalyptic seals are not directly those seals which are broken at the opening of the [[book with the seven seals]] mentioned in {{B\|Rev\|5:1-14\|ESV}}. Rather, the apocalyptic seals span a much wider range and represent the imaginatively seen [[astral]] [[archetype]]s of the entire evolution of humanity on earth in symbolic form. The capitals of the seven planetary columns, on the other hand, represent the level of the spiritual primordial tones or elementary forces, which can only be grasped through inspiration, in plastic forms. Through their transformation of form from pillar to pillar, they give a vivid picture of the [[planetary stages of world evolution]]. Due to the limited possibilities, however, the columns for the congress in Munich could initially only be executed as paintings. It was not until 1908/09 that the motifs of the planetary columns were realised in the model building in Malsch, which was built according to Rudolf Steiner's ideas. They were only created in full size for the [[First Goetheanum]].

	When designing the first six seal images, Rudolf Steiner was guided by the seals on the Apocalypse shown by the French occultist [[w:Éliphas Lévi\|Éliphas Lévi]] (1810-1875) in his work ''Dogme et rituel de la haute magie''.<ref>Éliphas Lévi: ''Dogme et rituel de la haute magie'', volume 2, Paris 1861, p. 364 [https://archive.org/details/b24884340_0002/page/364/mode/2up archive.org]</ref> Steiner designed the seventh seal, which establishes the reference to the New Jerusalem, entirely independently.<ref>Bernd Lampe: ''Das Buch mit den sieben Siegeln'', in: ''Das Goetheanum'' Nr. 7, 14. February 2014, p. 5 ff.</ref> He said about the deeper meaning of the seal images:		When designing the first six seal images, Rudolf Steiner was guided by the seals on the Apocalypse shown by the French occultist [[w:Éliphas Lévi\|Éliphas Lévi]] (1810-1875) in his work ''Dogme et rituel de la haute magie''.<ref>Éliphas Lévi: ''Dogme et rituel de la haute magie'', volume 2, Paris 1861, p. 364 [https://archive.org/details/b24884340_0002/page/364/mode/2up archive.org]</ref> Steiner designed the seventh seal, which establishes the reference to the New Jerusalem, entirely independently.<ref>Bernd Lampe: ''Das Buch mit den sieben Siegeln'', in: ''Das Goetheanum'' Nr. 7, 14. February 2014, p. 5 ff.</ref> He said about the deeper meaning of the seal images: