|
|
General: YHWH=CUBO=NUMERO 26=SATURNO (YHWH ES EL TIEMPO MISMO)
Elegir otro panel de mensajes |
|
|
| Tanto el Tabernáculo y el Templo consistían de tres partes: |
| |
El Atrio |
El Lugar Santo |
El Lugar Santísimo |
|
Con relación al Tabernáculo
|
| |
El Lugar Santísimo era un cubo (10 pies x 10 pies x 10 pies) |
|
Con relación al Templo:
|
| |
El Lugar Santísimo era un cubo (20 pies x 20 pies x 20 pies) |
El tabernáculo propiamente dicho era una tienda cuadrangular, de 30 codos* de
largo, 10 de ancho y 10 de alto. Las dimensiones del conjunto de la estructura
no figuran con exactitud en los registros del Exodo, pero se las puede calcular
sobre la base de los detalles que se dan de las cortinas y las tablas que se
usaron en las paredes del tabernáculo, y de las medidas proporcionales, pero
mayores, del templo de Salomón (1 R. 6:2). La tienda estaba dividida en 2
compartimentos: el 1º conocido como "lugar santo" (Ex. 28:29), y el 2º como
"lugar santísimo", literalmente "el Santo de los Santos" (26:33, BJ). Este
constituía un cubo de 10 codos por lado, mientras el lugar santo era de 10
codos por 20. El tabernáculo estaba rodeado por un atrio o patio de 50 codos
de ancho por 100 de largo, limitado por cortinas de lino de 5 codos de alto
(27:18). Esta pared de cortinas estaba suspendida por 60 columnas, quizá de
maderas de acacia* (por ser esta la madera usada para los muebles y otras
columnas; cf 26:37) revestidas de plata y sostenidas por pedestales de bronce.
En la parte central del extremo oriental del patio se hallaba la entrada, que
estaba constituida por una cortina especial de 20 codos de largo (27:9-17). En
la mitad oriental del patio, cerca de la entrada, estaba el altar de los
holocaustos (vs 1-8) y el lavacro o lavatorio (30:17-21).
Leer más: Diccionario Biblico Cristiano Online y Gratis en Español - Significado o definicion de Tabernaculo
EL LUGAR SANTISIMO DEL TEMPLO DE SALOMON Y DEL TABERNACULO DE MOISES TENIA FORMA DE CUBO Y ESTABA ORIENTADO DE ESTE A OESTE. CONCRETAMENTE DICHO COMPARTIMENTO ESTABA HACIA ADONDE SALE LA LUNA CRECIENTE. ESTO EXPLICA SU FUERTE NEXO CIENTIFICO CON DICHA LUNA, INTERRELACIONADA CON EL NACIMIENTO DE UN NIÑO. LA LUNA CRECIENTE TIENE LA CUALIDAD DE QUE SALE Y SE PONE A LA PUESTA DEL SOL SIEMPRE EN EL OESTE. CONCRETAMENTE EL MENSAJE ESPIRITUAL DEL LUGAR SANTISIMO DEL TABERNACULO DE MOISES Y DEL TEMPLO DE SALOMON TIENE UN FUERTE NEXO, INSISTO CON EL NACIMIENTO DE UN NIÑO, Y MAXIME QUE EN EL CONTEXTO A LOS MESES DEL AÑO EL OESTE NOS CAE EN SEPTIEMBRE U OCTUBRE, OSEA EN LA FIESTA DE LOS TABERNACULOS. TABERNA/VINO/GRIAL
Si usted mira objetivamente el cubo vera que esta relacionado con el NUMERO 6 (6 SUPERFICIES), 12 (LINEAS PERIMETRALES/12 MESES LUNARES), NUMERO 8 (PUNTOS PERIMETRALES/RESURRECCION) E INCLUSO CON EL NUMERO 28 CONSIDERANDO LAS LINEAS DIAGONALES INCLUIDAS LAS INTERIORES. CONCRETAMENTE EL CUBO ESTA DISEÑADO EN FUNCION EL MES LUNAR CON LOS SABADOS LUNARES.
INCLUSO TAMBIEN LE VEMOS AL CUBO UN NEXO ZODIACAL Y GALACTICO EN EL CONTEXTO A LOS EXTREMOS DEL ZODIACO SEGUN APOCALIPSIS 4:7
HIPERCUBO
SI CONTAMOS LA CANTIDAD DE PARTES DEL CUBO MAGICO TENEMOS EL ASOMBROSO NUMERO 26 RELACIONADO CON LA GEMATRIA EN EL HEBREO DE YHWH E INCLUSO EN EL INGLES DE GOD/DIOS.
| god in Simple Gematria Equals: 26 |
( |
g
7 |
o
15 |
d
4 |
) |
APOCALIPSIS 21
15. El que hablaba conmigo tenía una caña de medir, de oro, para medir la ciudad, sus puertas y su muro.
16. La ciudad se halla establecida en cuadro, y su longitud es igual a su anchura; y él midió la ciudad con la caña, doce mil estadios; la longitud, la altura y la anchura de ella son iguales.
17. Y midió su muro, ciento cuarenta y cuatro codos, de medida de hombre, la cual es de ángel.
|
|
|
|
|
|
LA MISMA FORMA DE ORION, OSEA UNA REFERENCIA AL CUBO/ HEXAGONO/ SATURNO (1 DE REYES 6:20 Y APOCALIPSIS 21:16) |
|
|
|
|
Also: “Harleston says of Teotihuacan’s builders: ‘When they draw a line, they’re telling you an area. When they draw an area, they’re telling you a volume. When they put volume, they’re telling you time.”
Geodesy and geodetic placement of “sacred sites” of ancient origins has long been affirmatively suspect – especially, the Great Pyramid of Giza. Geodesy involves a fundamental understanding of plane or solid geometry, astronomy relative to latitude and longitude with latitude of more recent vintage since ships-clock (cir. 1540) came into vogue. These geodetic or geometric relationships both on earth and in the heavens are a frequent haunt of pagans and occultists and of novel interest to science – though science with its unfortunate proliferation of skeptic is apt to go off into “metric tangents” and miss out on all the “fun!” “For quite some time researchers have been documenting the astronomical alignments of ancient archaeological and megalithic stone sites all over the world. But discovery of their geodesic alignment has been more recent. Geodesy refers to the theory and practice of surveying to determine the position of specific points on Earth’s surface. It is distinguished from plane surveying in that it deals with areas whose dimensions are so great that the curvature of the Earth must be taken into account. Geometric geodesy involves the creation of a mathematical model of Earth, while physical geodesy studies Earth’s gravity field. The discovery of the precise alignment of Mayan sites along the 90th parallel is significant because it demonstrates that the Maya were aware of Earth’s curvature and knew the advanced formulas used in geodesy.
Note: Carl Munck, archaeocryptographer, introduces an ancient Pyramid Matrix, in which ancient monuments – across the globe – encode their exact positions with respect to latitude and longitude. The science of decoding these monuments is called archaeocryptography. For latitude, ancient monuments were referenced to the same (modern) equator. For longitude, these monuments were referenced to a former Giza, Egypt Prime Meridian – discovered by Munck – that ran from pole to pole across the Great Pyramid.
|
|
|
|
|
| Reply |
Message 5 of 6 on the subject |
|
|
|
|
| Reply |
Message 6 of 6 on the subject |
|
The Language of the Divine Architect
The creation myths of many traditions describe the universe as the work of a Divine Architect who uses “sacred geometry” to unfold the dimensions of a beautiful cosmos, wisely designing every aspect of it, and governing by just proportions evidenced in the geometric shapes and processes of nature.
   
The language of God is mathematical language of numbers, proportions and (sacred) geometry.
“As Above, So Below” – these words circulate throughout occult and magical circles, and they come from Hermetic texts. The concept was first laid out in The Emerald Tablet of Hermes Trismegistus, in the words “That which is Below corresponds to that which is Above, and that which is Above, corresponds to that which is Below, to accomplish the miracles of the One Thing”
The entire Universe (including our solar system, as well as atoms, DNA and life-forms) reveals the secrets of balance, rhythm, proportion and unity in diversity, the fractal interconnection of parts with each other and the whole. This harmony is expressed by some “key” numbers: Fibonacci Series, Phi, Pi and “e”.
The first 21 Fibonacci numbers:
0 1 1 2 3 5 8 13 21 34 55 89 144 233 377 610 987 1597 2584 4181 6765
A simple number pattern, known as the Fibonacci Series, sits at the heart of the marvelous architecture and patterns of life and growth.
These few equations are the “seeds” of God’s “Grand Design” ( God’s “fingerprint”):
Pi = (6/5) * phi2
Euler’s Identity Equation:
where
e – is Euler’s number, the base of natural logarithms
i – is the imaginary unit, which satisfies i2 = sqrt(-1)
Pi – is the ratio of the circumference of a circle to its diameter
phi- is the the golden ratio number 1.618034
Mathematical beauty of Euler’s Identity
Euler’s identity is considered by many to be remarkable for its mathematical beauty. These three basic arithmetic operations occur exactly once each: addition, multiplication, and exponentiation. The identity also links five fundamental mathematical constants:
The number 0, the additive identity.
The number 1, the multiplicative identity.
The number Pi, which is ubiquitous in trigonometry, the geometry of Euclidean space, and analytical mathematics (Pi = 3.14159265…)
The number e, the base of natural logarithms, which occurs widely in mathematical and scientific analysis (e = 2.718281828…). Both “pi” and “e” are transcendental numbers.
The number i, the imaginary unit of the complex numbers, a field of numbers that contains the roots of all polynomials (that are not constants), and whose study leads to deeper insights into many areas of algebra and calculus, such as integration in calculus.
Furthermore, in algebra and other areas of mathematics, equations are commonly written with zero on one side of the equals sign.
A poll of readers conducted by The Mathematical Intelligencer magazine named Euler’s identity as the “most beautiful theorem in mathematics”. Another poll of readers that was conducted by Physics World magazine, in 2004, chose Euler’s identity tied with Maxwell’s equations (of electromagnetism) as the “greatest equation ever” — Wikipedia
A simple number pattern, known as the Fibonacci Series, sits at the heart of the marvelous architecture and patterns of life and growth.
Pi and phi
Pi = (6/5) * phi2
300 * Pi = 360 * phi2
For a circle with radius = 1 we get this equation for
(close approximation of) its circumference:
2 * Pi = (360/150) * phi2
There is another way to write this equation:
Pi – Phi2 = 0.2 * phi2
Lets calculate the value:
Pi – phi2 = 0.5236
this number in meters is equal 20.614 inches = 1 Royal Egyptian Cubit
(unit of length used by ancient Egyptians during construction of pyramids)
3:6:9
“If you only knew the magnificence of the 3, 6 and 9, then you would have a key to the universe.” –-N.Tesla
Perhaps Tesla had in mind another thing altogether. It basically boiled down to energy/field/consciousness, which equates in to electricity/magnetism/consciousness, that made up Trinity. Energy is your divine spark, and field is the area you exist within. The 2 things that allow consciousness to isolate itself is electricity and magnetism. NOTHING in the physical universe exists outside energy and field…only then can you have consciousness reside inside a material existence.
3:6:9 … Perhaps these numbers were intentionally expressed by the pyramids of Giza…? There are 9 pyramids on the Giza plateau: 3 large pyramids and 6 small “satellite” pyramids. Also, the design of the Second (Khafre) Pyramid of Giza is based on ratio 9:6.
Note: 6:5 is another special ratio used in ancient times
The Fibonacci series has a pattern that repeats every 24 numbers
Numeric reduction is a technique used in analysis of numbers in which all the digits of a number are added together until only one digit remains. As an example, the numeric reduction of 256 is 4 because 2+5+6=13 and 1+3=4. Applying numeric reduction to the Fibonacci series produces an infinite series of 24 repeating digits:
1, 1, 2, 3, 5, 8, 4, 3, 7, 1, 8, 9, 8, 8, 7, 6, 4, 1, 5, 6, 2, 8, 1, 9
If you take the first 12 digits and add them to the second twelve digits and apply numeric reduction to the result, you find that they all have a value of 9.
1st 12 numbers: 1 1 2 3 5 8 4 3 7 1 8 9
2nd 12 numbers: 8 8 7 6 4 1 5 6 2 8 1 9
Numeric reduction – Add rows 1 and 2: 9 9 9 9 9 9 9 9 9 9 9 18
Final numeric reduction – Add digits of result: 9 9 9 9 9 9 9 9 9 9 9 9
|
|
|
|
|
|
|
|
|
22/7=3.14=PI
12 PUNTOS EN SU CIRCUNFERENCIA=RELOJ=SANTA CENA
LONGITUD CIRCUNFERENCIA=PIxDIAMETRO
 |
|
|
|
|
|
|
|
|
|
|
REPRODUCCION DE LOS CONEJOS EN FUNCION A LA SERIE DE FIBONACCI, INCLUSO DEL RELOJ Y DE LA MISMA SANTA CENA (MISMA MANZANA)
 
Apocalipsis 21
1. Vi un cielo nuevo y una tierra nueva; porque el primer cielo y la primera tierra pasaron, y el mar ya no existía más.
2. Y yo Juan vi la santa ciudad, la nueva Jerusalén, descender del cielo, de Dios, dispuesta como una esposa ataviada para su marido.
3. Y oí una gran voz del cielo que decía: He aquí el tabernáculo de Dios con los hombres, y él morará con ellos; y ellos serán su pueblo, y Dios mismo estará con ellos como su Dios.
4. Enjugará Dios toda lágrima de los ojos de ellos; y ya no habrá muerte, ni habrá más llanto, ni clamor, ni dolor; porque las primeras cosas pasaron.
5. Y el que estaba sentado en el trono dijo: He aquí, yo hago nuevas todas las cosas. Y me dijo: Escribe; porque estas palabras son fieles y verdaderas.
6. Y me dijo: Hecho está. Yo soy el Alfa y la Omega, el principio y el fin. Al que tuviere sed, yo le daré gratuitamente de la fuente del agua de la vida. (911 O SALMO 119)
7. El que venciere heredará todas las cosas, y yo seré su Dios, y él será mi hijo.
8. Pero los cobardes e incrédulos, los abominables y homicidas, los fornicarios y hechiceros, los idólatras y todos los mentirosos tendrán su parte en el lago que arde con fuego y azufre, que es la muerte segunda.
9. Vino entonces a mí uno de los siete ángeles que tenían las siete copas llenas de las siete plagas postreras, y habló conmigo, diciendo: Ven acá, yo te mostraré la desposada, la esposa del Cordero.
10. Y me llevó en el Espíritu a un monte grande y alto, y me mostró la gran ciudad santa de Jerusalén, que descendía del cielo, de Dios,
11. teniendo la gloria de Dios. Y su fulgor era semejante al de una piedra preciosísima, como piedra de jaspe, diáfana como el cristal.
12. Tenía un muro grande y alto con doce puertas; y en las puertas, doce ángeles, y nombres inscritos, que son los de las doce tribus de los hijos de Israel; (EL MISMO RELOJ, O SANTA CENA O LA MANZANA, LA TRASLACION EN EL TIEMPO)
13. al oriente tres puertas; al norte tres puertas; al sur tres puertas; al occidente tres puertas.
14. Y el muro de la ciudad tenía doce cimientos, y sobre ellos los doce nombres de los doce apóstoles del Cordero.
15. El que hablaba conmigo tenía una caña de medir, de oro, para medir la ciudad, sus puertas y su muro.
16. La ciudad se halla establecida en cuadro, y su longitud es igual a su anchura; y él midió la ciudad con la caña, doce mil estadios; la longitud, la altura y la anchura de ella son iguales. (CUBO=ESPACIO/TIEMPO)
17. Y midió su muro, ciento cuarenta y cuatro codos, de medida de hombre, la cual es de ángel. (EL NEXO DE LA MANZANA, EL PENTAGONO, LA NUEVA JERUSALEN, EL CASTILLO SAN ANGELO DEL VATICANO E INCLUSO EL MISMO PENTAGONO DE WASHINGTON D.C. ES OBVIO EL NEXO DEL RELOJ CON LA MANZANA)
18. El material de su muro era de jaspe; pero la ciudad era de oro puro, semejante al vidrio limpio;
19. y los cimientos del muro de la ciudad estaban adornados con toda piedra preciosa. El primer cimiento era jaspe; el segundo, zafiro; el tercero, ágata; el cuarto, esmeralda;
20. el quinto, ónice; el sexto, cornalina; el séptimo, crisólito; el octavo, berilo; el noveno, topacio; el décimo, crisopraso; el undécimo, jacinto; el duodécimo, amatista.
21. Las doce puertas eran doce perlas; cada una de las puertas era una perla. Y la calle de la ciudad era de oro puro, transparente como vidrio.
22. Y no vi en ella templo; porque el Señor Dios Todopoderoso es el templo de ella, y el Cordero.
23. La ciudad no tiene necesidad de sol ni de luna que brillen en ella; porque la gloria de Dios la ilumina, y el Cordero es su lumbrera. (PROVERBIOS 25:11, OSEA LA MISMA MANZANA, OSEA UNA REFERENCIA AL SOL/ORO/HOMBRE Y LUNA/PLATA/MUJER, OSEA EL MISMO SUEÑO DE JOSE DE GENESIS 37)
24. Y las naciones que hubieren sido salvas andarán a la luz de ella; y los reyes de la tierra traerán su gloria y honor a ella.
25. Sus puertas nunca serán cerradas de día, pues allí no habrá noche.
26. Y llevarán la gloria y la honra de las naciones a ella.
27. No entrará en ella ninguna cosa inmunda, o que hace abominación y mentira, sino solamente los que están inscritos en el libro de la vida del Cordero.
|
|
|
|
|
|
LLAVE DE ORO Y DE PLATA AL IGUAL QUE LA MANZANA
Incendio Notre Dame: Última hora de la catedral de París (15 DE ABRIL)
 Incendio Notre Dame (París), en directo (Bertrand Guay / AFP)
PHI A NOTRE-DAME
A la catredal de Notre Dame hi observem més rectanlges auris: Creat per Mario Pastor 
The DaVinci Code, Notre Dame Cathedral from DaVinci Code
original movie prop
 
        
August 23, 2018/
The Golden Section (aka Golden Mean, and Golden Ratio) phys.org
We use math in architecture on a daily basis to solve problems. We use it to achieve both functional and aesthetic advantages. By applying math to our architectural designs through the use of the Golden Section and other mathematical principles, we can achieve harmony and balance. As you will see from some of the examples below, the application of mathematical principles can result in beautiful and long-lasting architecture which has passed the test of time.
Using Math in Architecture for Function and Form
We use math in architecture every day at our office. For example, we use math to calculate the area of a building site or office space. Math helps us to determine the volume of gravel or soil that is needed to fill a hole. We rely on math when designing safe building structures and bridges by calculating loads and spans. Math also helps us to determine the best material to use for a structure, such as wood, concrete, or steel.
“Without mathematics there is no art.” – Luca Pacioli, De divina proportione, 1509
Architects also use math when making aesthetic decisions. For instance, we use numbers to achieve attractive proportion and harmony. This may seem counter-intuitive, but architects routinely apply a combination of math, science, and art to create attractive and functional structures. One example of this is when we use math to achieve harmony and proportion by applying a well-known principle called the Golden Section
Math and Proportion – The Golden Section
Perfect proportions of the human body – The Vitruvian Man – by Leonardo da Vinci.
We tend to think of beauty as purely subjective, but that is not necessarily the case. There is a relationship between math and beauty. By applying math to our architectural designs through the use of the Golden Section and other mathematical principles, we can achieve harmony and balance.
The Golden Section is one example of a mathematical principle that is believed to result in pleasing proportions. It was mentioned in the works of the Greek mathematician Euclid, the father of geometry. Since the 4th century, artists and architects have applied the Golden Section to their work.
The Golden Section is a rectangular form that, when cut in half or doubled, results in the same proportion as the original form. The proportions are 1: the square root of 2 (1.414) It is one of many mathematical principles that architects use to bring beautiful proportion to their designs.
Examples of the Golden Section are found extensively in nature, including the human body. The influential author Vitruvius asserted that the best designs are based on the perfect proportions of the human body.
Over the years many well-known artists and architects, such as Leonardo da Vinci and Michelangelo, used the Golden Section to define the dimensions and proportions in their works. For example, you can see the Golden Section demonstrated in DaVinci’s painting Mona Lisa and his drawing Vitruvian Man.
Famous Buildings Influenced by Mathematical Principles
Here are some examples of famous buildings universally recognized for their beauty. We believe their architects used math and the principals of the Golden Section in their design:
Parthenon
The classical Doric columned Parthenon was built on the Acropolis between 447 and 432 BC. It was designed by the architects Iktinos and Kallikrates. The temple had two rooms to shelter a gold and ivory statue of the goddess Athena and her treasure. Visitors to the Parthenon viewed the statue and temple from the outside. The refined exterior is recognized for its proportional harmony which has influenced generations of designers. The pediment and frieze were decorated with sculpted scenes of Athena, the Gods, and heroes.
Parthenon Golden Section
Notre Dame Cathedral in Paris
Built on the Ile de la Cite, Notre Dame was built on the site of two earlier churches. The foundation stone was laid by Pope Alexander III in 1163. The stone building demonstrates various styles of architecture, due to the fact that construction occurred for over 300 years. It is predominantly French Gothic, but also has elements of Renaissance and Naturalism. The cathedral interior is 427 feet x 157 feet in plan. The two Gothic towers on the west façade are 223 feet high. They were intended to be crowned by spires, but the spires were never built. The cathedral is especially loved for its three stained glass rose windows and daring flying buttresses. During the Revolution, the building was extensively damaged and was saved from demolition by the emperor Napoleon.
Notre Dame Cathedral in Paris
Taj Mahal
Built in Agra between 1631 and 1648, the Taj Mahal is a white marble mausoleum designed by Ustad-Ahmad Lahori. This jewel of Indian architecture was built by Emperor Shah Jahan in memory of his favorite wife. Additional buildings and elements were completed in 1653. The square tomb is raised and is dramatically located at the end of a formal garden. On the interior, the tomb chamber is octagonal and is surrounded by hallways and four corner rooms. Building materials are brick and lime veneered with marble and sandstone.
Taj Mahal designed by Ustad-Ahmad Lahori
As you can see from the above examples, the application of mathematical principles can result in some pretty amazing architecture. The architects’ work reflects eye-catching harmony and balance. Although these buildings are all quite old, their designs have pleasing proportions which have truly passed the test of time.
https://bleckarchitects.com/math-in-architecture/
|
|
|
|
|
Primer
Anterior
2 a 11 de 26
Siguiente
Último
|
|
| |
|
|
©2024 - Gabitos - Todos los derechos reservados | |
|
|
Tema anterior
