About Konstantin

Konstantin Schönros C.V 1970-72 studied art history at Stockholm University. Took lessons in sculpture (most abstract) by prof. Albert Jusui at the Art Academy of Stockholm. 1970-73 In parallel studies, attended lectures at the School's Key, ABF, Arts and the school's advertising Beckman. 1974-80 Spent most of those years in Indonessia to study art, practice of various batik techniques, and woodcarving (Java Solo, Yo-Jakarta & Bali); these parallel with Wushu (and other Asian martial arts, sorinji kempo, muai-taj plus QiGong ( several different types of QiGong: Some of the: Xing Sheng Zuang,BU-jung, Iron Shirt, Tao Healing, Six Healing Sounds, Fusion of the FiveElements, Ba Gua Zhan). (including the: Fumie Tanaka, Mantak Chia, WangJi, David Sheng in Asia - Lui Linn in Stockholm) - Ashtanga, Raja, HathaYoga. 1980-82 sold their own creations (mostly prototypes), in both jewelry ("artitan")and clothing (WEARABLE ART). Since he was mostly in southeast Asia, he advanced in the esoteric martial arts (Tai Chi, Pa-qua and Tao healing,Qigong). 1982 Started the "Bird of Paradise" both, as show-room, shop and businesswith his talented designer and life partner Rose Marie Samuelsson Schönros., The volcanic island of Santorini in the Greek Archipelago. Both landscape and ruins (Ia & Akrotiri), has been the major source of inspiration for the creation of the warm earth colors of the batik & pressure, which was later engraved for some years to come, most of the "Bird of Paradise” profile. 1988 "Artitan" Exhibition in Oslo Norway at "Norway Designs' Gallery. 1989 "Art on Silk & Titan" Exhibition on ("Kulture Huset") in Stockholm, along with some other Swedish-Greek artists. 1990 Various arts and crafts mission abroad and Qi Gong instructor until 2004 1986-93. Rose-Marie and Constantine opens his own business inc. atelier in Stockholm (Södermalm) 1993-now Wushu Academy, with legendary SIFU Lui Linn 1991-95 Training in CAD design, information line, marketing. organized by theCulture AF. 1991-1997 Kompedium "The Tao of Green Gourmet" and cooperation with the Swedish Veg.Society and Health Promotion 1994-95 Single Mission on Textile & Batik (Nitor). 1995-2002 A): Renovation & Style Called "Interiorigin" (paintings, decco,gilding, marbling, carpentry, mosaic etc), apartments, houses, museums, only organic paints and solvents options! B) Silk Screen suitable for individual motives for roads, cabinets, etc. 2002 Special Education in Medical Boards (massage) 2002 Development of "HYDROBICS" & "HYDRODYNAMICS"; research Hydrotherapia, Dolphin & Vibration therapy from Asclepios doctrine, which was taught in various cities: Cos (Head Quarter), Samos, Cnidus, , Effesos). Asklipios School was estbl. At 12.th century BC). Hippocrates studied 435 f Kr. at Asclepios School. Since 2003 main subject, for Konstantin was to studie & research more about Asklipios & Hipocrates, - the whole knowledge - integrating T.C.M, with Western medicine & nutrition, as a part of the quantum physics together with Dolphin therapy, parallel with physical exercises mainly Hydrobics, QiGong, TaiJi quen, Yoga etc, depending individually. Innovations into the "Green Gourmet" To eat wholesome is not enough! To enjoy, is very important, as well (By R-M Schönros)

FUNCTIONAL WEARABLE ARTS, BIRD OF PARADISE LIVING ARTS

Posted on May 19, 2026 by Konstantin

Posted on November 7, 2025

Bird of Paradise living Arts / ARTS ON SILK AND TITAN

B I R D OF P A R A D I S E S A N T O R I N I 1 9 9 3

B I R D OF P A R A D I S E / THE ORIGINAL FUNCTIONAL WEARABLE ART SINCE 1982

DEDICATED TO: ROSE-MARIE SCHÖNROS MY BELOVED WONDERFUL WIFE AND MOTHER , SINCE OUR YOUNG DAYS..MY MUSA BEAUTIFUL FANTASTIC ARTIST, DESIGNER, AND EXCELLENT PATTERN CONSTRUCTOR..….HER SPIRIT IS SHINING AND AMPLIFIES US ALL THE WAY..

MY B E A U T I F U L – U N I Q U E – M U S A

NOW .THAT SHE STILL CONTINUES BEING MY BEAUTIFUL — FANTASTIC ARTIST, DESIGNER, AND EXCELLENT PATTERN CONSTRUCTOR.. ….WONDERFUL MOTHER AND WIFE, SINCE OUR YOUNG DAYS–HER BEAUTIFUL SPIRIT IS SHINING AND AMPLIFIES US ALL THE WAY..…… AS ALWAYS, WHEN SHE WAS ON THIS EARTH . SHE`S I M M O R T A L ***************”””NOW SHE IS AT CHAMPS ÉLYSÉE

Rose-Marie at the Studio of Bird of paradise (SPRING 2016):

HA DEN ÄRAN MIN ÄLSKLING, DU ÄR MED ADONIS NU PÅ CHAMPS ELYSEES MINA ÄLSKADE

YOU MY IMMORTAL ONES… YOUR SPIRITS..

AMARYLLIS AND ME ARE BREATHING YOU AND CELEBRATING YOU

KULTURHUSET: OCTOBER 1989 – “ART ON SILK & TITAN” AND WHY IT HAPPENED!!…..

THE REASON WAS THAT, THE SPRING 1988 IT WAS PLAYED AT THE FOLK OPERA OF STOCKHOLM GIACOMO PUCCINI`S GREAT MASTERPIECE TURANDOT. IT WAS DIRECTED BY THE FAMOUS DIRIGENT KJERSTIN NERBE, WHO WAS DRESSED IN TITANIUM AND SILK CREATION, (HAND MADE BY R-M & K SCHÖNROS) AT THE PREMIER OF*********************”’*****T U R A N D O T ********************”””””

KULTURHUSET EXHIBITION / OCTOBER-NOVEMBER 1989

INTERVIEWER: BERIT WAHLGREN“: “They create in silk and titan.” – A cosmopolitan creator and a forest shoulder.
On Renstjernansgatan on Söder in Stockholm.
Here hang the most beautiful garments, in pure natural materials: Silk, linen and cotton.
Titan jewelry and rainbows all colors decorative
on shimmering sided.
Rose-Merie Schönros has always created clothes.
Ever since she was 11 years old, she has sewn for herself. At 15, she worked, for a short period,
as a factory seamstress.
But the longing for the world took over. She went to Paris and became a modèle and mannequin de couture.

Roots in Greece.

At the beginning of the eighties Rose-Merie and Konstantin met each other. He with roots in Greece, but a cosmopolitan traveling person.
Konstantin has taken inspiration from his many destinations in Asia.
He has learned batik handling in Bali. He has been in the Philippines and Japan and learned a lot from their tailoring and clothing.
In Konstantin’s jewelry art, Greek and Nordic mythology can be read as sources of inspiration.
Since 1982, they have been working as dyers, batik makers and jewelry makers in titanium. They have participated in many exhibitions and work with avant-garde clothing and jewelry.
-We want to create a total, where dyeing silk garments combined with jewelry creates a total composition. and trendy in a commercial sense.
-“Trends and fashion are a grotesque copy of avant-garde artistic creation,” claims Konstantin.

Titanium jewelry

All jewelry is made of titanium. It is a chemically pure element, which is used in large quantities in surgery and space research.
Titanium is five times stronger than steel. The durability is enormous. By heat treatment, you can create different beautiful colors and rainbows all shades with larger elements of blue-gray shifts.
-Titanium has a unique ability to be accepted by the body.
You avoid allergies Titanium jewelry weighs little
and is easy to wear, explains Konstantin.

Silk.
–Silk is a natural material, which you get from the cocoon of butterfly spider larvae.
A cocoon can contain about a kilometer of thread. This thread uses man and weaver silk fabric.
-No other fabric is so comfortable and easy for the body to accept, says Rose-Merie lyrically. It’s hot in winter and hot in summer.

Thanks to these properties, says Konstantin, we have created art applied on silk.
We use various processes from knotting and wax batik to handprinting, silkscreen and hand painting. We buy the best silk from China.
By: Berit Wahlgren. (Head of Information at the CULTURE HOUSE)

“Art on Silk & Titan” Kulturhuset -89
Photo: ANN ANDREN

“Art on Silk & Titan” Kulturhuset -89
Photo: ANN ANDREN

THE PEACOCK WAS A SYMBOL OF THE GODDESS HERA, WHOSE CHARIOT THEY PULLED.

HERA, THE GODDESS OF THE STARS AND SKIES, WAS NOT ONLY THE SISTER BUT THE WIFE OF THE GREEK GOD ZEUS, THE KING OF ALL THE GODS ON MOUNT OLYMPUS.

SHE HAD LONGSTANDING PROBLEMS WITH THE WITH ZEUS, AS HIS EYE WAS KNOWN TO WANDER, PUTTING IT MILDLY. HE SOON BECAME INTERESTED IN A PRIESTESS OF HERA’S CALLED IO, WHO WAS GUARDED BY HERA’S OWN SERVANT, AN ENORMOUS GIANT WITH ONE HUNDRED EYES KNOWN, AS ARGOS PANOPTIS.

IN ORDER TO POSSESS THE WOMAN, ZEUS ORDERED THAT ARGUS BE KILLED; HOWEVER , BEFORE THIS COULD HAPPEN, Hera IMMORTALIZED her FAITHFUL WATCHMAN BY TURNING HIS ONE HUNDRED EYES INTO THE SPECTACULAR “EYES” ON THE TAIL OF A PEACOCK. By: https://strangeago.com/

“PROMETHEUS BOUND ” IO INITIALLY REJECTED ZEUS’ ADVANCES, UNTIL HER FATHER THREW HER OUT OF HIS HOUSE ON THE ADVICE OF ORACLE’S. ACCORDING TO SOME STORIES, ZEUS THEN TURNED IO INTO A HEIFER IN ORDER TO HIDE HER FROM HIS WIFE.HERMES AGAINST THE HUNDRED-EYED MONSTER

Many versions of peacock story in Greek mythology

In the version of the story in which Zeus transformed Io, the deception failed, and Hera begged Zeus to give her the heifer as a present, which, having no reason to refuse, he did. Hera then sent Argus Panoptis to watch over Io and prevent Zeus from visiting her, so Zeus sent Hermes to distract and eventually slay Argus.

According to the Roman writer Ovid, he did so by first lulling him to sleep by playing the panpipes and telling stories. Zeus freed Io, who was still in the form of a heifer.

The peacock perhaps featured so prominently in story and mythology because it was seen by many cultures as a symbol of immortality; the ancients believed that its flesh did not decay, …..PEACOCK TURNED INTO WOMAN WHO MARRIED ADONIS IN ANCIENT GREEK REPUBLIC MYTH OF ERINONA

THE SPECTACULARLY BEAUTIFUL PEACOCK ALSO FEATURED IN ANOTHER ADVENTURE INVOLVING ATHENA, ADONIS AND ARTEMIS, ALONG WITH ZEUS AND HERA.

THIS LEGEND IS OF THE CYPRIOT GIRL KNOWN AS ERINONA. ERINONA AND ADONIS WERE THE VICTIMS OF THE RIVALRY OF THE GODS, WHO CLASHED WITH EACH OTHER IN THEIR CONTINUAL POWER PLAYS. THE GODDESSES ATHENA OF THE ARTEMIS THEMSELVES ADMIRED THE MORTAL GIRL ERINONA FOR HER WISDOM AND PURITY. APHRODITE, ANGRY, THAT THE GIRL DID NOT HONOR HER, AS WELL, TRIED TO MAKE ZEUS FALL IN LOVE WITH HER.

HERA, EVER JEALOUS OF ZEUS’ INNUMERABLE ALLIANCES, ARRANGED FOR ADONIS TO RAPE THE VIRGIN GIRL, WHICH CAUSED ZEUS TO LOSE ALL INTEREST IN HER. Now enraged over the subterfuge, ZEUS struck and killed ADONIS, while Artemis transformed ERINONA into a peacock — and then the peacock into a human being.

APHRODITE then begged ZEUS to allow a shadow of ADONIS to return to the world of the living, guided by HERMES. The resurrected ADONIS then married the transformed — and re-transformed — ERINONA, and they had a son together, called TALEAS or TALOS.

IN THE REAL WORLD OF HELLENIC-ERA GREECE. ALEXANDER THE GREAT HIMSELF WAS SAID TO HAVE BEEN SO DAZZLED BY THE BEAUTY OF PEACOCKS THAT HE MADE IT ILLEGAL TO KILL THEM..,,.AND IF SOMEONE DID THAT, HE WAS PUNISHED BY DEATH PENALTY.

SANTORINI -83

HERE ARE TWO MASTERPIECES OF HAND WORK ON SILK VELVET WITH A COUPLE OF PEACOCKS AND CRYSTAL MIRROR CARVING BELOW ROSE-MARIE LOOKING AT THE CRYSTAL MIRROR, IN WHICH WAS CARVED THE PEACOCK THE SYMBOL OF THE “BIRD OF PARADISE” – DIVINE CREATIONS, OF ROSE-MARIE AND KONSTANTIN SCHÖNROS.. PHOTO: PRESS

ANORAC JACKET AND PILOT OVERALL, SEWED IN JAPONEE’ – 18′ SILK,/ECO PIGMENT DYED, INAUTUMN 1986 BY ROSE-MARIE AND KONSTANTIN. PHOTO: KARY LASCH

SISTA BILDEN FRÅN FÖRRA SOMMARN

IDAG DEN 02/06/24 SOMNADE DU IN MIN FINAÄ L S K L I N GTACK FÖR ALLA FYRTIOTVÅ (42) LYCKLIGA ÅREN TILLSAMMANS!!

Rose-Marie at the “Bird of Paradise” workshop in Stockholm -88

Studio & Work Shop 1987 at Rensiarnansgatan Södermalm /Stockhom

Rose-Marie
Photo: Kary Lasch

Bird of Paradise – Divine Creations/ Fashion Fair1986

ROSE-MARIE PHOTO: KARY LASCH

ROSE-MARIE & KONSTANTIN PHOTO: TONY LANDBERG

INSTAGRAM: euphoriatrica

“Bird of Paradise” Wearable Art since 1982 – Art on Silk & Titan

“Odyseus & Gorgona” Eco colours – washproof on 8″ japonee silk From the 1989(October) “Art on Silk & Titan” Kulturhuset Stockholm. (Saatchi & Saachi Galery)
www.konstantin living arts

“Cloudy Dreams” from “Art on Silk & Titan” – with Eco-Silk pigments – washproof – on 8″ Japonee`Silk
Photo: Konstantin
at KKV Konstnärernas Kollektivverkstad i Nacka.

“Cosmic Power”
Hand painted in 8″ Japonee silk with Eco-colours
by Konstantin Schönros
Photo: Konstantin

Artitanic Mask “Art on Silk & Titan” from “Bird of Paradise”- Kulturhuset – October 1989

Titan, Silver & Black star stone Papercuter; Handmade by Master Jannis Papastavridis,Konstantin`s younger brother.
Photo: Jannis(R.I.P.)

Titanium, Silver, brass & red Gold – BeltBucle; Handmade by Jannis Papastavridis, Konstantin`s younger brother.
Ph: Master Jannis(R.I.P.)
www.functionalwearableart since 1982

Spectrolithe-stone & Titanium; H-made by Master Jannis Papastavridis (Konstantins younger brother)
Photo: Jannis(R.I.P.)

“Spectrolite & Silver” Hand made By master Jannis (Konstantins brother).
Photo: Jannis Papastavridis
Photo: Jannis(R-I.P.)

Myriam watching the “cosmic dream” handpainted by Konstantin & Rose-Marie Schönros at 8” japoneè silk with eco-textile colours (125cm * 110cm )
(private Collection)

PHOTO: WOODY OCHNIO

“Fire Bird” in Titanium & Fossil Block-Batique
Modell: Victoria

“Fuji” Handmade in Titanium, Gold & silver by Functional Wearable Art.com

Identical Amonite Fossil Block Batique by Konstantin & Rose-Marie on various Silk garments (here: on Japoneé 8″ , Satin & Dupunione Silk (“Art on Silk & Titan”) -1982

CLASSICALS FROM BIRD OF PARADISE:

FOSSIL BLOCK BATIQUE ON SILK SATIN & DUPUNION 8″, /ECO-COLOURS

Raw Silk & old Ikat from Suba Island – Indonesia
from “Bird of Paradise”, Sewn by Rose-Marie Schönros
Modell: Rose-Marie
Photo: Woody Ochnio

“Optical Line” /A..part of the Show-room
of Bird of Paradise in Stockholm Photos by the master Woody Ochnio

“INDIVIDUAL DESIGNS
HERE: 3 KIND OF SILK:
LACES, CREPE DE CHINE, JAPONEE 8″
HAND MADE(1992) BY ROSE-MARIE, WAX BATIQUE, ECO COLOURS PHOTO: ROSE-MARIE

Fuji” Handmade in Titanium, Gold & silver by Konstantin Schönros

Gold mask(18 carats), Silver Titanium & Silk Fossile-Block Batique
Photo:Woody Ochnio

Owe SANSTRÖM/(ABBAs DESIGNER) & Rose-Rosemarie Schönros
Photo: Press

Padded Batik-Jackets-85
Choreographer Roy Barrows & Rose-Marie
Photo: Press

Rose-marie in Paris

Photo: Michael Klazskow

ROSE-MARIE IN YOUNGER DAYS! (A) PHOTO; KARY LASCH

ROSE-MARIE IN YOUNGER DAYS! (B) PHOTO; KARY LASCH

Rose-Marie Samuelsson-chönros & Kary Lasch himself
Photo:Kary Lasch

Rosemarie Schönros

Photo: Tony Landberg at Stig Forsberg’s studio sometime in the late 70s and waffled hair which was very fashionable then.

A FANTASTIC ARTIST, DESIGNER AND EXCELLENT PATTERN CONSTRUCTOR….WONDERFUL MOTHER AND WIFE, SINCE OUR YOUNG DAYS–HER BEAUTIFUL SPIRIT IS SHINING AND AMPLIFIES US ALL THE WAY..NOW .THAT SHE`S AT THE CHAMPS ÈLYSÈES.. IS I M M O R T A L AND SHE CONTINUES BEING M Y U N I Q U E M U S E…AS SHE WAS ON EARTH

Rose-Marie at the Studio of Bird of paradise
p: Woody Ochnio

“Optical Line” Art on Silk & Titan” by “Bird of Paradise” – Divine Creations- Hand made by Rose- Marie & Konstantin (Living Arts Batique)
Eco Colours –19 88
Modell: Rose-Marie
Photo: Woody Ochnio

ANORAC JACKET AND PILOT OVERALL, SEWED IN JAPONEE’ – 18′ SILK,/ECO PIGMENT DYED, INAUTUMN 1986 BY ROSE-MARIE AND KONSTANTIN.

PHOTO: KARY M LASCH

“Marmorated-Block-Batique” & Titanium suspenders (“Wearable Art” collection-88) Hand Made by Konstantin Schönros
Mod: Miriam
Ph: Woody Ochnio

“Wearable Art”-1988 – Fossil Batique & Titan;H-Made By konstantin Schönros.
Modell: Petra on her horse.
Ph: Woody Ochnio

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Titanic ..drama! (titanium, Gold & Silver by Konstantin)
Mod: Konstantin
Photo: Woody Ochnio

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Titan, Gold, Silver; H-Made by Konstantin Schönros
Mod: Konstantin
Photo: W.Ochnio

“Fire Bird” Artitan collection H-M,by Konstantin & R-Marie Schönros
Mod: Victoria
Ph: Woody Ochnio

“Artitan” Rose-Marie & Konstantin Schönros -88
Modell: Victoria
Photo: Woody Ochnio

Viktoria(RIP), Dressed In Japonee Silk Pilot Overall With Block Batique/In ECO Colours & Titanium Jewelry (“Wagner”Series// “Artitan”), For:

“Functional Wearable Art”, From Bird Of Paradise-Divine Creations”).

Photo: Woody Ochnio. Private Collection Of Christer Knutars.

Myriam -98 Marmoring on Batique By Konstantin & R_Marie Konstantin Schönros
Ph: Woody Ochnio

“Art on Silk & Titan” -by Konstantin &Rosemarie Schönros
“Titanium shapes”
Photo: Konstantin /— at Konstnärernas Kollektivverkstad – KKV Stockholm.

Earth Colours by “Bird of Paradise” (Rose-Marie & Konstantin Schönros).
“Art on Silk & Titan”
Photo: Woody Ochnio
Modells: Ann with Viktoria Sokolov and Rosemarie Schönros.

“Fossile Batique” (Block Batique from Amonite-Fossiles from Gotland-88) Earth Colours by “Bird of Paradise” (Rose-Marie & Konstantin Schönros).
“Art on Silk & Titan”
Modells: Rose-Marie &Tame
Photo: Woody Woody Ochnio

“Fuji” – Artitan – (Gold, Titan & Silver) hand made by Konstantin Schönros
Photo: Konstantin Schönros — at Konstnärernas Kollektivverkstad – KKV Stockholm.

ROSE-MARIE & MARIE LUISE BAXTER

Rose-Marie in younger days

Photo: Kary Lasch

Rose-Marie(-84) in Silk Anorak & Overall
Photo:???

Rose-Marie &Marie-Louise Nordlund-Baxter 1982

Kary Lasch & Rosie to the..left

Image may contain: 2 people, people smiling

Kary Lasch & Rose-Marie in “Antlantic”

“Art on Silk & Titan” October November -89
Konstantin & RoseMarie
Photo. Ann Andren

Image may contain: Konstantin Schönros and Rosemarie Schönros, people smiling, hat

Functional wearable art from Bird of Paradise – Divine Creations
Here: Block Amonite Fossile batique on Dupunioni & 8″ japonee silk at late 80`s
Natural(ECO) pigments Designed & Handmade by Rose-Marie & Konstantin Schönros
Modell: Rose-Marie
Photo: Kary Lasch

Rose-Marie modelling for the image of the Fifties

Photo: Jörgen Reimer

Rose-Marie

Bali residence -85 (Golden Village)
Photo: PAOLO ROSI (for Italian magazine)

Lurex collection Fall – 1986 – Bali from Bird of Paradise – Divine Creations (Functional Wearable Art 1982)

Modell: Ati / Photo: Konstantin

The unforgettable Family of Hamiltons(R.I.P)
Photo: Woody Ochnio

City Hall Stockholm -84
Shiffon Silk Dress
Hand made by Rose-Marie & Konstantin Schönros (“Bird of Paradise”) with Eco colours.
Modell: Rose-Marie

City Hall Stockholm -84
Japonee Silk “salopette pilote”
Hand made by Rose-Marie & Konstantin Schönros (“Bird of Paradise”) with Eco colours.
Modell: Rose-Marie
Photo: Konstantin

Rose-Marie at the Bird of Paradise Studio -88
Photo: Konstantin

KONSTANTIN & ROSE-MARIE HAVING A BRAKE PHOTO: WOODY OCHNIO

Gabriella at the release party
of Staffan Hildenbrandt film
“Ingen kan älska, som vi”,
at her place (-88)
Photo: Woody Ochnio

Modell: Anne
Photo: Woody Ochnio

“Optical Line” Art on Silk & Titan” by “Bird of Paradise” – Divine Creations- Hand made by Rose- Marie & Konstantin (Living Arts Batique)
Eco Colours –19 88
Modell: Rose-Marie
Photo: Woody Ochnio

Silk overall & Anorac Jacket(padded with Silk Japone) from Bird of Paradise – Schönros Original -84
Modell: Rose-Marie
Photo: Woody Ocmnio

Silk overall & Anorac Jacket from Bird of Paradise – Schönros Original -84
Modell: Rose-Marie
Photo:Konstantin Silk overall & Anorac Jacket from Bird of Paradise – Schönros Original -84
Modell: Rose-Marie
Photo:Konstantin

-88, 89 & -91
Modells: Tame & Rose-Marie
Photo: Woody Ochnio

Silk overall “Bird of Paradise”-87 / Modell: Rose-Marie /Photo: Woody Ochnio

Lahman’s Trikot in “Bamboo Batik” /Fashion Show 1992
Modells: Tony & Monika
Photo:

Woody Ochnio

Wearable Art -88-2001, from “Bird of Paradise”-Divine Creations
Hand made by Rose-Marie & Konstantin Schönros -on 3 different kind of natural silk (Dupioni japonee & Crepe satin)
Fossile (Amonite)-Block Batique
Modells: Rosie (Rose-Marie) & Tame
Photo: Woody Ochnio

“art on Silk & Titan/from “Bird of Paradise-Divine Creations(since 1982)
Photo: Woody Ochnio

Artitan (Titan, Gold & Silver)
Modell: Konstantin
Photo: Woody Ochni

OUTSIDE THE WORKSHOP OF BIRD OF PARADISE

Earth Colours by “Bird of Paradise” (Rose-Marie & Konstantin Schönros). SANTORINI -83
Mod: Rose-Marie
Photo: Konstantin

Konstantin & Rosemarie
Relaxing outside the work shop of “Bird of Paradise” – Divine Creations in Santorini -83
Photo: Press

Mixed famify photos…up to the Right: Konstantin & Rosie
in their favorate Tavern in Santorini -83
Up to the left: Rosemarie at the summer house of the parents of Konstantin – down Adonis looking for ..something at his moms chest….middle right relaxing in Bali Safari –
Down to the right Konstantin, Adonis & Rosie in Xylokastro beach -85

Santorini -83..thirsty Konstantin & Safari

Ann & “OPTICAL LINE TYPE-B

Photo: Woody Ochnio

Konstantin & Rose-Marie /up to the Right – Just Maried in Traditional Japaneese Silk Kimonos – 83! ( five days home & then Back to Santorini & Bird of Paradise!)
Photo: Antony Struwer

Ann in “Optical LineB”/Titan & Platina

Golden mask(18 carats), Silver Titanium & Silk Fossile-Block Batique
Mod:V iktoria Sokolov.
“Titan vision” by Konstantin Schönros
Photo: Woody Ochnio

more Titan image

Mod: Viktoria Sokolov.
Photo: Woody Ochnio

“Fire Bird” in Titanium & Fossil Block-Batique
Modell: Victoria
Photo: Woody Ochnio

Image may contain: Rosemarie Schönros, smiling, closeup

Marmoring Batique -87, -88, 89 Wearable Art by “Bird of Paradise”
Modells: Mirjam, Rose-Marie, Peter, Åsa , Konstantin, Tame ,Tomy
Photo: Woody Ochnio

Mia & Adonis in Silk handpainted jackets

Fall -87..block batique from “Bird of Paradise”
Modells: Standing: Peter, Åsa & Konstantin(down)
front: Tomy & Tame
Photo: Woody Ochnio

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“Bird of Paradise” – Divine Creations
From the left: Gabriella, Konstantin, Åsa, Tame & Tommy
Photo: Woody Ochnio

Ethnic gang!
From the Left: Konstantin, Tomy & Tame on ANTIQUE Wild -Java Silk Block Batique–
Photo: Woody Ochnio

Up to the left: 3 different Silk collage – batique with organic colours – crepe de chine, laces, japomeè; bottoms made by titanium(blue) Hand made by Rose-Marie & Konstantin Schönros – “Bird of Paradise” “Living Art” & “Functional wearable art” collection…NOT for the BIG market….of course!! (1988)

Photo: Konstantin

Ewa-Lena Posing in Swedish “Lahmans Trikot”
in “Bamboo”- Batique by Konstantin & Rose-Marie Schönros,
with eco-pigments -91 “Bird of Paradise”
Photo: Woody Ochnio

Up to the left: 3 different Silk collage – batique with organic colours – crepe de chine, laces, japomeè; bottoms made by titanium(blue) Hand made by Rose-Marie & Konstantin Schönros – “Bird of Paradise” “Living Art” & “Functional wearable art” collection…NOT for the BIG market….of course!! (1988) Photo: Konstantin

Ewa-Lena Posing in Swedish “Lahmans Trikot”
in “Bamboo”- Batik by Konstantin & Rose-Marie Schönros,
with eco-pigments -91 “Bird of Paradise”
Photo: Woody Ochnio

“Passion” sewn by Rose-Marie from “bird of Paradise” -87
Modell: Eva-Lena
Photo: Woody Ochnio

ANN dressed in “LAHMANS” TRICOT 1992 SRING-TIME

PHOTO: WOODY OCHNIO

“Wearable Art” – Art on Silk & Titan by Bird of Paradise (Rose-Marie & Konstantin Schönros)
Modell: Ann
Photo: Woody Ochnio

Rose-Marie at the Bird of Paradise Studio -88
Photo: Konstantin

Rose-Marie Schönros photographed by: Kary Lasch

Rose-Marie Schönros photographed by: Kary Lasch,

Rose-Marie Schönros photographed by: Kary Lasch

Rose-Marie Schönros
Photographed by:Kary Lach

Living ARTS on Silk & Titan
Modells: Tony & Monica
Designed & Hand made by Konstantin & Rose-Marie Schönros.
Photo:; Woody Ochnio

Living ARTS on Silk & Titan
Modells: Tony & Monica
Designed & Hand made by Konstantin & Rose-Marie Schönros.
Photo:; Woody Ochnio

Myriam dressed in batik & Titan
Photo: Woody Ochnio

Lahman’s Trikot in “Bamboo Batik” /Fashion Show 1992
Modells: Tony & Monika
Photo: Woody Ochnio

The well-known – at -80`Tony Johansson dressed in Titanium armour Silver Tie (Saatchi & Saatchi.art/schönros) –
Photo: Woody Ochnio

Silk (..in ALL kind of Silk:.as Satin, Japonee, Organga, Crepe de Chine, Dupunioni, Laces etc)

Image may contain: one or more people and people sitting

Upp from the Left:

Upp from the left: Peter,Åsa & Konstantin sitting Front: Tommy & Tame
Designed & Hand made by Konstantin & Rose-Marie Schönros.
Photo: WoodyOchnio

Image may contain: 4 people, including Konstantin Schönros, people sitting and shoes

All dressed in Silk batik – works by Rose-Marie & Konstantin /Functional wearable art
Modells – from the left: Gabriella, Konstantin, Åsa, Tame & Tommy
Photo: Woody Ochnio

Image may contain: 2 people, including Konstantin Schönros, people standing Living ARTS on Silk & Titan
Modells: Tony & Monica
Designed & Hand made by Konstantin & Rose-Marie Schönros.
Photo:; Woody Ochnio

Rose-Marie photographed by Victor Arimondi

Portret of R-Marie by Victor Arimondi)-1981

Rose-Marie at “Relax” –80(victor-Arimondi)

An-other-portret of Rose-Marie by Victor Arimondi -1980

Rose-Marie “Innocent-80”-Photo: -Victor Arimondi

"Medea" Rose-Marie Photo:(Victor-Arimondi) -80

“Bird of Paradise” – Divine Creations
“Wearable Art”
In Black & White: Rosemarie Schönros
Photo: Victor Arimondi

Old Laces – Collage from “Wearable Art” – Art on Silk & Titan by Bird of Paradise (Rose-Marie & Konstantin Schönros)
Spring -87
Modells: Åsa & Tame,
Photo: Woody Ochnio

“Wearable Art” Hand made by Rose-Marie & Konstantin Schönros
Modell: Anne
Photo:

50`s Nostalgy
Rose-Marie
Photo: J.Shäffer

MSH Modell Angency
RoseRosemarie Schönros
Photo: Tony Landberg

Rose-Marie in Younger Days!
Photo: Kary LaschRose-Marie
Photo: Kary Lasch

Rose-Marie
Photo: Kary Lasch

Rose-Marie Samuelsson-Schönros Rose-Marie in Younger Days!
Photo: Kary Lasch

Kary Lasch the human & not only master of Photography, but great comedian, as well! P.I.P Kary!

Antlantic -81
Rose-Marie Samuelsson – Schönros photographed by Kary Lasch (photo to the lift)
Photo: Kary Lasch

Rose-Marie Schönros -81
Photo: Kary Lasch

Image of the 50″sRose-Marie Schönros(Samuelsson)
& Kary Lasch
Photo: Kary L. Lasch

RoseMarie
Ready to swim
Photo:Shäffer

Modell: Rose-Marie / Photo: Schäfe

Image of 50`s
Rose-Marie
Photo:J. Shäffer

RoseMarie for Hallberg jewelry

MSH Modell Angency
RoseRosemarie Schönros
Photo: Tony Landberg

Rose-Marie
Photo: Kary Lasch

Rose-Marie, as little girl
Photo: Alex Fröberg (Her uncle)

Camila on Golden padded jacket in silk from “Bird of Paradise” by Konstantin & Rose-Marie Schönros
“Functionalwearableart Art on Silk & Titan” -87
Photo: Woody Ochniohttps://scontent.farn1-2.fna.fbcdn.net/v/t31.18172-8/10623804_10152906924124609_6607163087446439251_o.jpg?_nc_cat=110&ccb=1-7&_nc_sid=5f2048&_nc_ohc=BHdT3J0JSeAQ7kNvgHVjB3n&_nc_ht=scontent.farn1-2.fna&oh=00_AYA5jbTyFoyRQgRmGp-a2guFjAx9yP9Lzsqf-WrWeclDGA&oe=66791C9A

-Petra on her horse; dressed on silk (Fossil Block Batique) & Titan
Photo: Woody Ochnio/SUMMER -88

Rose-Marie SamuelssonRosemarie Schönros
Photo: MSH Modell Agency

Adonis Schönros
Photo: Konstantin

ROSE-MARIE WITH FURS BY SOPHIE ERICKSONS

Up to the left: 3 different Silk collage – batique with organic colours – crepe de chine, laces, japomeè; bottoms made by titanium(blue) Hand made by Rose-Marie & Konstantin Schönros – “Bird of Paradise” “Living Art” & “Wearable Art” collection…NOT for the BIG market….of course!! (1988)

Sidenoverall, sidenskärp samt titan armband hand made
by Rose-Marie & Konstantin
Modell: Rose-Marie
Photo: Woody Ochnio

ROSE-MARIE AT THE WORKSHOP-SHOW AND STUDIO OF “BIRD OF PARADISE-DIVINE CREATIONS”, WEARING HER OWN CREATIONS, AS USUAL PHOTO: KONSTANTIN

Fashion Show “Wearable Art” Konstantin dressed in his Silk – Creations (Making jokes & mimes) at Dagmar Elleby`s show-room – 1990
Photo: Woody Ochnio

“Green Gourmet” på “interiorigin” vernissage.. — in Stockholm, Sweden.“Arte Ordinata” Detail from Kitchen – “INTERIORIGIN”
Photo:Tony Landberg

Detail from the kitchen
Photo: Tony Landberg

Dancing Angels at the Livingroom
Photo: Tony Landberg interiorigin …at youtube

“Dancing Dolphins” – mosaIc (towels silk screened with the motives of the mosaics). with the Great Assistence of Adonis (RIP)
Photo: Tony Landberg

Detail of Bathroom “interiorigin
Photo: Tony Landberg

Adonis Schönros creation (at the age of 18)
Photo: Konstantin
Rose-Marie living arts

Adonis var en väldigt kreativ person, skapade fina möbler, smide, keramik, han hade även ett svetsarcertifikat för heta arbeten, han var en människa med många talanger..
Lärde sig språk snabbt, engelska, grekiska, italienska. En härlig humor och en stor empati för djur och människor.
Ett stort intresse för historia.
Underbar att sitta och prata med.
Han kunde få mig att skratta så tårarna rann, han hade något utöver det vanliga.
Världen gick miste om en person som var en stor tillgång att kunna se dråpligheterna
I den värld han levde.R.I.P
Älskar dig för evigt.

‘https://www.youtube.com/watch?v=g72OyCzKSbk

INTERIOR by Konstantin & Rose-Marie IS:
Mosaics, Paintings, Marmorings, etc by using STRICTLY ECO Colours for BOTH to the Garmrments & on the Walls:
…UNDER the name:
interiorigin (at youtube)
Photo: Tony Landberg : ttps://www.youtube.com/results?search_query=interiorigin

Interviewed by the Interior Magazine

Photo: Christopher Landberg

Interiorigin youtube
Photo: Tony Landberg / /ENTRANCE

Dancing Angels” by James Cane ,rest by Konstantin
Photo: Tony Landb

THE ART OF MOSAIC ~ ~ ~
The term mosaic usually refers to an architectural surface (floor, wall, ceiling) covered with a decorative layer consisting of mosaic tiles, which can be made of natural materials (e.g. stones, marble, semi-precious stones) or manufactured materials (tiles, glass). The tiles are fixed to the surface they decorate with the help of mortar, which serves as an adhesive.

The term mosaic (synonym of the Latin word mosaic) first appears in Latin texts and it is possible that its etymology is associated with the Muses and more specifically with sacred caves dedicated to the Muses, decorated with mosaics.

Most of the mosaics that have survived are, for obvious reasons, floor mosaics, important examples of which can be found in OLYNTHOS, OLYMPIA, PELLA, DION, CORINTH, etc. The mosaics used during the 5th-4th centuries BC are pebbles with natural colors, which is why the colors are limited. There is no clear picture of the period when the transition from rounded pebbles to cubic mosaics was made. It is most likely that this happened in the middle of the 3rd century BC and the technique probably came from ALEXANDRIA, the most famous city of the “HELLENISTIC PERIOD”=LATE CLASSICAL HELLENIC PERIOD).

Although the mosaic has its roots in Greece, it was the Romans who made it more widely known from Britain to North Africa, where it is found in both public and private buildings. Pergamon was famous for its mosaics, the birthplace of the great Greek sculptor Sosos, whose works were described with great accuracy by Pliny. Pliny, like Vitruvius, described in great detail the construction technique and the substrate of mosaics.

The art of mosaic reaches another level during the Byzantine period with new characteristics and themes, marking significant developments in the technique

I N T E R I O R I G I N

Bathroom Detail ..ALL Mosaic & Painting
motives are silkscreened at the same place so
for example, the towels are carrying of the “DANCING DOLPHINS”

Photo: Tony Landberg

Konstantin preparing “Green Gourmet” Dinner
for the guests Interiorigin Vernissage at Östens!
Photo: Tony Landberg

DETAIL FROM THE KITCHEN

Raw food à la cart & boufet LEMURIA (Nybrogatan)-1994 Raw food Restaurang
Krister & Konstantin….those were the Days!!….& NOW: Raw Food is just growing BIGGER!!………………..

“Allt om Mat” MAGASIN

The Ultimate Fermented Kale chips Recipe(Photo: Allt om Mat)
1) 250 gr. Kale leaf.
,2) 200 gr. Fine Tahini.
3) 2 Tablespoons Probioform, Juiced out of 2 (two) freshly squeezed lemons, including one (1) grated lemon zest.
4) Half Red Onion (grated) 2 slices of pressed garlic and 2 teaspoons Butane Lemon Pepper “Sichuan”
5) 3 tablespoons umeshu-shiso vinegar & one dl. gluten-free Tamari.
6) 2 dl. “Bjäst” (cultivated yeast flakes).
Do this:
First, mix the ingredients from 2an, 3an, 4an and 5an, in a bowl.
Then you put in the kale leaves, “massage” them and let the leaves absorb for at least 15 minutes.
Last you put in “Bjäst”!
Flatten out on baking paper and into the drying cabinet (at 38 ° C) for about 12 hours.
P.S: Probioforme. Bhutan pepper & Tahini

Tjärhovsgatan “Green Gourmet” -95 Raw food Bouffet..
Eva Sangwall & Konstantin, njuter av Raw-ice cream at the office of the Swedeish Vegetarian Society – above the”Green Gourmet”
Photo: Christer Knutars

“Green Gourmet” RAWFOOD Restaurang at the Swedish Vegetarian Society 1996/ Petra, Konstantin, Rose-Marie, Patrick

PHOTO: PRESS

Silk screens on eco – T-shirts in…1995!
Messages HAVE to be with Humor!..it works BETTER!
“CLOCK” doesn`t exist anymore, but Clock was an other scam by the time of 1995..- now the referee`s name is …replaced by… (gluteus)-MAX-(imus)!

Till minnet av underbara pionjären inom “Grön festmat”mm Anna-Lisa Stenudd (nedre bild) styrelseledamot på Sv.V.F. & Hälsofrämjandet.

It`s very seldom now days to be at that beautiful place, like in the -90`s!! I have so many things in my mind , I `ve got to take it easy!
2002 Hällunden – Öland
Photo: Press

Anton & Monika Gutenberg
Curriculum led by Konstantin (arranged by Hälsofrämjaren & Svenska Veg. Föreningen – summer -97)

The TAO of the “Green Gourmet”…since 1993
Photo: Allt om Mat 1996

Fån Vänster: Petra, Konstantin, Rose-Marie, Patrick Wahlberg “Green Gourmet” 1996 at Swedish Vegetarian Society

..Hand made by Rose-Marie & Konstantin Schönros/ Green Gourmet since 1993

“Green Gourmet”

2B continued” !!!

MATAPOTEKET (=FOOD PHARMACY) – 2018 –

….”Green Gourmet” (Raw Food – Restaurang – since1994 – 1997 at Tjärhovsgatan at Swedish Vegetarian Sociaty H.Q)..NOW: “Green Gourmet -2B continued” !!!)

Fermented Kale chips

1) 250 gr. Kale leaf.,2) 200 gr. Fine Tahini.3) 2 Table spoons Probioform, Juiced out of 2 (two) freshly squeezed lemons, including one (1) grated lemon shell.4) Half Red Onion (grated) 2 slices of pressed garlic and 2 teaspoons Butane Lemon Pepper “Sishuan”5) 3 tablespoons umeshu-shiso vinegar & one dl. gluten-free Tamari.6) 2 dl. “Beast” (cultivated yeast flakes). Do this:First, mix the ingredients from 2an, 3an, 4an and 5an, in a bowl.Then you put in the kale leaves, “massage” them and let the leaves absorb for at least 15 minutes.Last you put in “Bjäst”!Flatten out on baking paper and into the drying cabinet (at 38 ° C) for about 12 hours.

ADONIS SCHÖNROS ART WORKS & PHOTOS

“ARTA ORDINATA” DETAIL, FROM THE “INTERIORIGIN” WORKS OF ALL FAMILY: ROSE-MARIE, KONSTANTIN, ADONIS & AMARYLLIS

LAST PICTURE WITH HAPPY MOM

Mother and son

AT THE AGE OF EIGHT(8)

ADONIS IN YOUNGER DAYS

Dressed in in silk pilot overall(Konstantin) & Kio jacket(Adonis) in SKANSEN.. .. – TITTA PAPPA!.. Elefanten äter med snoppen!

STORKEN HAR LANDAT ADONIS, ROSE-MARIE OCH KONSTANTIN

ADONIS &. MIA MODELLING FOR “BIRD OF PARADISE”, DRESSED IN HAND PAINTED SILK PADDED JACKETS (ECO COLOURS)

PHOTO: WOODY OCHNIO

ADONIS & AMARYLLIS

INTERIORIGIN/ENTRANCE

DANCING ANGELS/LIVING ROOM

DANCING DOLPHINS MOSAICS / DETAIL FROM BATHROOMA BY ADONIS & KONSTANTIN

PHOTO TONY LANDBERG

PHOTO: TONY LANDBERG “ARTA ORDINATA” BY ADONIS /DETAIL FROM THE KITCHEN

KITCHEN DETAIL/

KITCHEN DETAIL/PREPAIRING THE GREEN GOURMET VERNISSAGE DINER

ADONIS OWN CREATIONS AT THE AGE OF 18

FENG-SHUI BY ADONIS AT THE AGE OF 18

Portret of Adonis by James Cane

MAR-ADON-A!!!!

New collection from Bird of Paradise – Divine Creations (Original Schönros – Wearble Art – “Art on Silk & Titan” est -1982) (MOST of the Photos have been taken in 1987, -88, -89 by Woody Ochnio & worked PERFECT out in 1990 – 91, by Woody again)

PROJECT BY

Woody W. OchnioWarsaw, PolandFollowMessage

ABOUT

Bird of Paradise New collection – Earth, Wind,Fire; designers Rose-Marie & Konstantin Schonros. photosession made in august 1991 in Saltsjobaden to the seaside. Reworked in computer in 04/2015. Woody Ochnio Photography ©

Published: april 29, 2015

(Hand made by R-Marie & Konsatntin with Eco pigments in different kind of silk, mainly “Japonè”, Crepe de Chine & Dupionee – with “block Batique” combined with Titanium – “Artitan” – jewelry)

Designers Rose-Marie and Konstantin Schonros, beautiful silky womens clothes,

with models: Sara Kay, Peter Kay, Lena, Tame, Rose-Marie & Konstantin, Tomy, Myrjam, Åsa, Gabriella, Paulina Ochnio, Sandra, Eva Lena, Anne, Camilla, Petra, Gillan, Adonis, Tony, Monika etc.

Earth colours has been always one of the characteristics of “Bird of Paradise – Divine Creations” & “Art on Silk & Titan” – Wearable art – by Rose -Marie & Konstantin Schönros..at htis one is also a combination of “Marmoring Batique & Silk Screens:

Functional wearable art from Bird of Paradise – Divine Creations
Here: Block Amonite Fossile batique on Dupunioni & 8″ japonee silk at late 80`s
Natural(ECO) pigments Designed & Handmade by Rose-Marie & Konstantin Schönros
Modell: Tame
Photo: Woody Ochnio

Artitanic Mask “Art on Silk & Titan” from “Bird of Paradise”- Kulturhuset – October 1989

“Fuji” – Artitan – (Gold, Titan & Silver) hand made by Konstantin Schönros Photo: Konstantin Schönros at KKV Konstnärernas Kollektivverkstad i Nacka.

Gabriella Koesen at release party ( in her place) of the film
of Staffan Hildebrand : “Ingen kan älska, som vi”

Bird of Paradise – Summer Heat

Fashion – Styling – Photography

Modell: Camilla

PHOTO:Woody Ochnio Phot ©ography

“Wearable Art” – Artitan – (Titan, Gold & Silver) handmade by Konstantin SchönrosAutumn -89 Photo: Konstantin “Titan vision” by Konstantin SchönrosPhoto: Woody Ochnio

Camila on Golden padded jacket in silk from “Bird of Paradise” by Konstantin & Rose-Marie Schönros
“Functionalwearableart Art on Silk & Titan” -87
Photo: Woody Ochnio

Modell: Petra – Collection -88 – Petra on her horse

Photo: Woody Ochnio

Fall -88 – Myrjam

Functional wearable art from Bird of Paradise – Divine Creations
Here: Block Amonite Fossile batique on Dupunioni & 8″ japonee silk at late 80`s
Natural(ECO) pigments Designed & Handmade by Rose-Marie & Konstantin Schönros
Modell: Myriam
Photo: Woody Ochnio

Functional wearable art from Bird of Paradise – Divine Creations

Photo: Woody Ochnio

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THE SILK IN THE ANTIQUITY

Alexander the Great, Aristotle and Pamphili from Kos

Interesting information from the Museum Guide
The comments of PLINY the Elder:
“The women weave webs, like spiders, making a luxurious material for women’s dresses, called silk. The process of breathing and weaving the thread was first invented in KOS, by a woman named PAMPHILI, daughter of PLATAEUS. She had the undoubted glory of inventing the way to lighten women’s clothing to the point of nudity.”
In this way PLINY the Elder, a writer of the 1st century, comments on the property of silk to “reveal” the human body (Naturalis Historia XI, xxvi-xxvii). We obtained the information from the Silk Museum guide written by Alexandra Tranta (published by PIOP), where one can find many interesting facts about the history of silk.

ALEXANDER THE GREAT, ARISTOTELES AND PAMPHILI
We also READ: “SILK CLOTH WAS INTRODUCED TO ANCIENT GREECE WITH THE CAMPAIGNS OF ALEXANDER THE GREAT (334-323). WISHING TO UNRAVEL THE SECRET OF SILK PRODUCTION ALEXANDER SENDS COCOONS TO HIS TEACHER, ARISTOTLE, WHO, THE FIRST OFTHE ANCIENT GREEK WRITERS, MENTIONS THE SILKWORM, DESCRIBING IT, AS A kind OF “LARGE WORM” (ARISTOTLE, ON ANIMAL STORIES, V.XIX, 551 b):
“From the large worm, which has one horn and differs from the others, it becomes first a variable of the tapeworm, then a bombylus, and then a necydalus; and in six months it changes all these forms. And from this life also the cobs are analyzed by the women’s clothes, being rubbed
, and then they woven; and the first is said to be woven in K. Pamphili Plato’s daughter”. Hist. Anim.V.19.6. Aristotle, “The Histories about Animals”.

Here ARISTOTLE mentions as the first silk weaver PAMPHILI from KOS in even earlier times (the first one is not called ὑφῆναι ἐν Kῷ Pamphili) and describes the process of converting the cocoon into silk.
He speaks, in fact, of its transformations, as well as of the process of pulling the thread from the cocoon: “therefore the animal and the analyzable buds of the women’s tennis shoes are woven together”.
Aristotle mentions that Pamphili from Kos wove silk cloth, but we don’t know if silk-making was later forgotten. Thus, we do not know if silk was imported or reused because it had fallen into oblivion when Alexander “discovered” it in his campaigns.

Image: Detail of a black-figure lekyth by the AMASIS Painter depicting women in domestic work: weaving on the standing loom and grinding. Metropolitan Museum, New York.
https://anihneftes.wordpress.com/, https://www.archaiologia.gr/
https://euphoriatric.com/living-arts-bird-of-paradise…/

The oldest silk was found in Cyprus

In Pyrgos, Cyprus, the archaeologist Christos Dumas found a fossilized cocoon of a lepidopteran species similar to the silkworm (!) and connected it to the many figures in Cretan art showing women collecting cocoons in forests.

Nevertheless, there is a reference to the introduction of silk into Greece as early as Alexander the Great, who, wishing to discover the secret of silk production, sent cocoons to his teacher, Aristotle, who was the first of the ancient Greek authors in his work “The Life Stories” refers to the silkworm and its transformation process.

A little later, a small piece of 4,000-year-old silk fabric (the oldest silk found in the Mediterranean), was unearthed by Italian researchers. In the container where the cloth was found, there were also wool and cotton fibers, as well as weights and a small spool.

(K.M.): At least for me, the event caused sensation, admiration and curiosity… We know that in other countries, when a …shovel that is at least 200 years old is discovered, a Museum is built to …show it off!

The ancient Greeks did have knowledge of sea silk, in 5Th century BC ,referring to it as “sea wool” continuing in the 2nd century CE, indicating its use as a luxury item. Archaeological finds of *Pinna nobilis shells in ancient Greek sites suggest a potential for the material, though the fibers may have been used for other purposes, such as food, as they were in Southern Italy. The earliest saved written records for sea silk date to the 2nd century CE, and while the Greeks may have been among the cultures that worked with this rare fiber, the Magna Graecia connection remains less clear compared to later production centers.

SILK IN ANCIENT GREEK CONTEXT

Term for Sea Silk:

By the 2nd century CE, the Greek term for sea silk was tà ἐκ τῆς θαλάσσης (thalassis eria), or “sea wool,” which still denoted a luxury textile material,

Use as a Luxury Item:

Sea silk was already considered a luxury item in the ancient world, and the Greeks were likely continuing used this precious, naturally golden-brown fiber.

Magna Graecia Connection

Pinna nobilis Distribution:

The noble pen shell (Pinna nobilis), the source of sea silk, is endemic to the Mediterranean and was always present in the waters of Magna Graecia, as in the main land of Greece

Shell Remains:

Remains of the noble pen shell have been found in ancient Greek sites in locations like Thessaly and Santorini, suggesting that the material was available in the region.

This very luxurious textile made (Later in Latin “Byssus”, from the Greek Βυσσος=filaments) of the Mediterranean pen shell, known for its naturally iridescent, golden-brown color. While silk production from silkworms in ancient Magna Graecia was limited, Greek maritime networks and the trade.

In luxury Marine Silk and goods did connect back the regions to Greece, especially in Thessaly, Corinth and Santorini, where it was started once, commerce. Sea-silk remained a luxury product, during the Roman era was, as before, appreciated by the elite, and its production was a dying art, with ancient sources mentioning its existence and appreciation in the classical period..

“SEA SILK” IN THE COPPER AGE for UNDERWEAR

According to a recent study, “sea silk” was used for the spidery, fitted underwear of women, as shown by the figures in Minoan and Mycenaean frescoes. The almost transparent “bodice” that they wore under the vest, and which gives the impression that their breasts were bare, was instead covered by a very thin, fitted underwear made on a loom from the organic silk of the “Noble Pinna” shell (Pinna Nobilis) that was endemic to the Aegean archipelago (Dr. Eleni Konstantinidi – Syvridi).

The noble pen shell or fan mussel, commonly known in English as the “noble pen shell or fan mussel”, is the largest bivalve mollusc in the Mediterranean Sea (marine bivalve mollusc) that can exceed one meter in length, with a lifespan of (45) years. It belongs to the Pinnidae family and the Anisomyaria order, and resembles a huge mussel. It has the property of producing a rare type of silk, which was the finest textile material of animal origin with brilliant transparency and sparkling in the sun like gold. The threads were extremely expensive, more valuable than gold and precious stones, and is even mentioned in Champollion’s Rosetta in the British Museum.

The laminae, with their broad triangular and relatively fragile shells, reddish-brown in color with fan-like radial striations, and their inner surface covered with nacre, are found on soft bottoms and seagrass beds standing upright on the bottom. They produce teardrop-shaped pearls, and secrete from their glands a network of fringes (byssus), made of a multitude of silken threads, consisting of keratin and other proteins, which solidify immediately, and reach a length of (6) centimeters.

This was the raw material for the processing of luxurious threads for the transparent underwear worn by priestesses and goddesses in the signet rings of Crete, in the wall paintings of Mycenaean times, and in Sardinia until Roman times (goddesses and priestesses attire). These delicately tufted “busts” were symbols of high social status, and were worn by the wives of officials and wealthy individuals (Evagella Campi, Dr. Italian history).

Today, the shells tend to disappear due to parasitic infection, and they survive only within the Amvrakikos Gulf in the Ionian Sea, and in the Gulf of Kalloni in Lesvos. In Italy, their fishing has been banned. According to the BBC, there is probably only one person left in the world today in Sardinia, who collects the viscose, spins it and weaves it like our ancestors into shiny fabrics for newlyweds, etc. Her name is Chiara Vigo from Sant’Antico, a small island southwest of Sardinia.

practitioners keep it alive–more for tradition’s sake than economic reward.

Unfortunately the Pinna nobilis clams which are the source of byssus fibers have declined rapidly in number thanks to overfishing, pollution, and the general decline of the Mediterranean sea-grass beds. Other fibers like seaweed based cellulose or watered silk have adopted the “sea silk” name further confusing the issue. Today the sea silk industry only barely survives in Sardinia where a handful of aging practitioners keep it alive–more for tradition’s sake than economic reward.

A few pieces have survived in museums including the extraordinary mediaeval chasuble of St. Yves pictured below

Luxury fiber is a strange thing. Linen comes from flax (which has some legitimate claims to being the first domesticated plant). Silk is derived from the cocoons of lepidoterans. Qiviut comes from the undercoats of musk-oxen. One of the rarest of all luxury fibers comes from an even more peculiar source. “Sea silk” is produced by collecting and spinning the long micro filaments or “byssus” secreted by several kinds of bivalve mollusks–expecially Pinna nobilis (a large saltwater clam once widespread in the Mediterranean ocean). Pinna nobilis can grow up to a meter (3 feet) in size and anchors itself to the ocean floor with an extremely fine fiber it excretes from a land in its foot.

NO V I O L E N T SILK:

Peace Silk, or Ahimsa silk, is made without hurting silkworms. Rather than boiling the cocoons, small incisions are made to allow the month to exit the cocoon once the metamorphosis is complete.

Unlike conventional silk production, which involves boiling silkworms alive in their cocoons to extract the silk fibers, Peace Silk is produced by allowing the silkworms to complete their metamorphosis into moths before harvesting their cocoons. Ahimsa is a Sanskrit term meaning ‘non-violence’ or ‘non-harm.General Information, Caring For & Breeding Silkworms

Background

Silkworms are the larva of a moth (Bombyx mori) native to Asia that spins a cocoon of fine, strong, lustrous fiber that is the source of commercial silk. The culture of silkworms is called sericulture. The various species raised today are distinguished by the quality of the silk they produce. Silkworms feed on the leaves of the mulberries (genus Morus) and sometimes on the Osage orange (Maclura pomifera).

Bombyx Mori will not bite, making it an ideal worm for feeding most reptiles, amphibians and other animals. And they offer great nutritional value as a live feeder. mulberry leaves

Mulberry Leaves

Newborns are small enough for most baby reptiles to eat and young silkworms can even be fed so they will grow to a desired size. Silkworms are soft-bodied, slow moving and can grow to 3 inches in length. They are also relatively fast growing, reaching about 3 inches in length and ready to cocoon in as little as 25 – 28 days.

Silkworms go through four stages of development, as do most insects: egg, larva, pupa and adult. Click here to see a life cycle chart. The adult (imago) stage is the silkworm moth. The larva is the caterpillar (not really a “worm” at all). The pupa is what the silkworm changes into after spinning its cocoon before emerging as a moth. Since the silkworm grows so much, it must shed its skin four times while it is growing. These stages-within-a-stage are called instars.

Today, the silkworm moth lives only in captivity. Silkworms have been domesticated so that they can no longer survive independently in nature,

particularly since they have lost the ability to fly. All wild populations are extinct. Also contributing to their extinction is the extraordinary fact that they only eat mulberry leaves.

Silkworms have been used by researchers to study pheromones or sexual attractant substances. The pheromones are released by female moths and the males detect the chemicals with olfactory hairs on their antennae. This allows the male to find the female for mating. The male antennae are made of many small hairs to increase the chances of picking up small amounts of the pheromones over long distances.

How to Grow Your Worms to the Perfect Size silkworm eggs

Silkworm Eggs and Moth The great thing about silkworms is that they only grow as much as you feed them, and they can go for up to a week without food. Keep in mind, however, that they will become dehydrated and begin to die off after a few days without food, and should be fed at least once daily in order to remain healthy. But, in general, if you have too many you can feed them a few times per week and they’ll stay alive until you need them without growing too much larger.

Wash hands thoroughly before handling the worms or the food or they may develop bacterial problems. Using a cheese grater, grate a small amount of food onto the them and repeat until the caterpillars reach the desired size. For best results, maintain temperatures between 78° and 88° F.

Excessive condensation forming in the container after feeding is the leading cause of failure. If this condensation does form, take the lid off your container and allow the container and old food to completely dry out. In the future, make sure the previous food is dry before feeding again. Old damp food is a breeding ground for mold and other problems, dry food is not. A fan can help for quicker dry outs.

As the silkworms grow, you may need to transfer your worms to a larger plastic container. The lid needs to have ventilation holes. If not, you need to vent the lid so the silkworms won’t suffocate and to allow condensation to dissipate. You can also use a shoebox. The old food and waste matter can be removed, but does not have to be if it remains thoroughly dry.

Under ideal conditions (78° to 88° F and allowed to feed nearly continuously) silkworms can go from egg to 1 inch in length in about 12 days, and 3 inches in under 30 days. The worms will begin to spin cocoons at about 28 – 30 days old or when they are between 2 1/2 and 3 inches long.

From Cocoon to MOTH silkworm

Silkworm moths emerge from their cocoons after spending about two to three weeks metamorphosing. As moths, they do not eat or fly. They will usually mate, lay eggs and die within a week. Fertile eggs turn from yellow to gray or purple in a week or so. If the eggs don’t hatch within 3 weeks, they usually will not hatch until the following year (see above—from egg to larva).

Proper Handling Procedures

Again, in order for your worms to stay healthy for many weeks, you’ll need to keep the silkworms as dry as possible. If condensation builds up during feeding, vent the container lid to prevent excess humidity.

Be sure to wash your hands thoroughly before handling the worms or their food. Silkworms can be susceptible to bacteria if you don’t properly handle them. As long as the container environment remains dry, your worms will be fine.

Mold develops from high temperatures and high humidity. If the worms are covered with droppings, silk and old food for too long, mold may develop and kill the worms. If mold does develop, grate about 1/4 inch of food (sold separately) all over the worms with a cheese grater. As the worms crawl to the top of the new food pile you can transfer them off the moldy food and place them into a new container.

Silkworms are susceptible to bruising and dying if not handled with care, especially as they grow larger.

When handling and transferring the worms, be very gentle.

BACK TO PINNNA NOBOLIS!

The Pinna nobilis (noble pen shell) primarily lives within or on the edges of seagrass meadows, which are composed of marine flowering plants rather than true “seaweed” (algae).
Its most common and preferred habitats include:
Posidonia oceanica (Neptune Grass): This is the primary seagrass species associated with Pinna nobilis. The mussel anchors its pointed end deep into the sediment among the roots of this grass.
Cymodocea nodosa (Little Neptune Grass): It is also frequently found in meadows of this seagrass, especially in lagoon environments.
Caulerpa prolifera: In certain regions like Tunisia, they have been observed living within meadows of this green algae.
Ecological Relationship:
While the mussel lives among these plants, it also serves as a substrate for other organisms. Diverse species of true seaweed (algae), along with sponges and bryozoans, often grow directly on the exposed part of the Pinna nobilis shell, creating a “miniature ecosystem” on the animal itself.
The species is currently Critically Endangered due to a devastating parasitic outbreak. For information on current protection efforts,

RESTORATION PROGRAMME OF PINNA NOBILIS – RAC/SPA
The Mediterranean endemic fan mussel Pinna nobilis is suffering an ongoing basin-scale mass mortality event (MME) since 2016. As most Mediterranean populations have collapsed, the species has been declared as Critically Endangered in the IUCN Red List of threatened species. In an effort to track the progress of the MME and provide updated information on the status of the species in the Greek seas, data collected through dedicated surveys and opportunistic assessments during 2019 and 2020 have been compiled. During surveys conducted at 258 sites, a total of 14,589 fan mussels were recorded, of which 81.1% were dead. Of the remaining 2,762 live individuals, 256 were juveniles. Two marine areas that still sustain living populations were identified, namely Kalloni Gulf (Lesvos Island), and Laganas Bay (Zakynthos Island). The inner part of Kalloni Gulf appears to maintain the largest surviving population of the species in the eastern Mediterranean, with an abundance estimate of 684,000 individuals (95% confidence interval: 322,000-1,453,000). Solitary, potentially resistant, scattered individuals were recorded at several sites. Other previously abundant populations that had been assessed in the past, specifically those of Lake Vouliagmeni (Korinthiakos Gulf), Souda Bay (Crete) and Gera Gulf (Lesvos Island) with a total of ~350,000 individuals, have now been wiped out. Our results document the collapse of most P. nobilis populations throughout the Greek seas. The MME has progressed substantially between early 2019 and mid-2020, as indicated by the increase in mortality at sites consecutively monitored multiple times. This work highlights the urgent need for continuous monitoring of surviving populations and calls for immediate implementation of an effective protection and management strategy that will ensure the persistence of surviving individuals and the production of resistant offspring.
Article Details
How to Cite
ZOTOU, M., GKRANTOUNIS, P., KARADIMOU, E., TSIRINTANIS, K., SINI, M., POURSANIDIS, D., AZZOLIN, M., DAILIANIS, T., KYTINOU, E., ISSARIS, Y., GERAKARIS, V., SALOMIDI, M., LARDI, P., RAMFOS, A., AKRIVOS, V., SPINOS, E., DIMITRIADIS, C., PAPAGEORGIOU, D., LATTOS, A., GIANTSIS, I. A., MICHAELIDIS, B., VASSILOPOULOU, V., MILIOU, A., & KATSANEVAKIS, S. (2020). Pinna nobilis in the Greek seas (NE Mediterranean): on the brink of extinction?. Mediterranean Marine Science, 21(3), 575–591. https://doi.org/10.12681/mms.23777
Issue
Vol. 21 No. 3 (2020)

The “Project Sea-silk” went public in 2004, when the Natural History Museum and the Museum of Cultures Basel, Switzerland, presented in a joint exhibition for the first time over 20 textile objects of sea-silk, dating from fourteenth to twentieth centuries. The exhibition catalogue, Muschelseide – Goldene Fäden vom Meeresgrund, (Maeder et al. 2004) represents the first illustrated book to the theme. All exhibition and catalogue texts were written in German and Italian, as from the beginning of my studies it was clear, that sea-silk was first of all a cultural heritage of Italy. Parts of the exhibition were conceived as a travelling exhibition and presented later in Taranto and Lecce, Italy, and in Lugano, Switzerland. Since 2010, an extensive and richly illustrated Internet site presents the inventoried sixty sea-silk items, the biology of the Pinna nobilis L. and its fibre beard, the production process of the fibres, and – the most important part – the history of sea-silk, followed by a large bibliography. The regularly updated projects homepage www.muschelseide.ch is written in English, German and Italian.

The result is a fine, resistant textile material, once famous and highly appreciated for its natural iridescent, brown-golden colour. (Figure 2) The pen shell Pinna nobilis L. is protected since 1992, prohibiting a reanimation of the sea-silk productFelicitas Maeder Project Sea-silk, Natural History Museum Basel, Switzerland Abstract Sea-silk is made of the fibre beard of the pen shell (Pinna nobilis L.), endemic in the Mediterranean. The fibres were cut off the mussel, washed, dried, combed and spun. The result is a fine textile material, since antiquity appreciated for its naturally iridescent browngolden colour. Sea-silk was rare and nearly unknown in textile history. Sixty small textile items have been inventoried, mostly knitted, but also stitched, embroidered or fur-like. They belong to natural history, not textile collections. The oldest fragment was dated fourth century CE; the oldest surviving item is a knitted cap dated fourteenth century. Sea-silk is often confused with byssus. In the sixteenth century, naturalists have denoted the fibre beard of Pinna by the Latin term byssus, in analogy to the ancient byssus meaning fine linen. These double meaning has created many misapprehensions. Today new problems arise from old textile byssus relics newly declared as sea-silk. Contents: Revealing an old story /

The pen shell and its product: byssus / Written and material evidences of sea-silk / The ambiguity of the terms byssus and sea-silk / Sea-silk in antiquity / What a mess! Byssus and sea-silk in modern mass media Revealing an old story In the long, fascinating history of textiles, sea-silk is only a tiny chapter. In textile research it has hardly ever been a topic – with a few exceptions. Forbes mentions sea-silk in Volume 4 of his Studies in Ancient Technology. In the last part of the chapter named “Other fibres”, he writes: “Vestments were made […] even from the bundles of fibres from the pinna mussel of the eastern Mediterranean coast.“ (Forbes 1956, 63). Furthermore sea-silk was – and still is – a topic in both myth and legends, especially because of its golden gloss and the corresponding associations.

In 1998, the first critical, 200-page monograph was published in the Canadian journal Ars Textrina: “Pinna and her silken beard: A foray into historical misappropriations” (McKinley 1998). Daniel McKinley (1924-2010) meticulously analysed texts from antiquity to the twentieth century, from Portugal to China, identified unexamined iterations of recurring assertions, deconstructed myths and legends and uncovered countless errors. It’s a great pity that this essential source for any future studies didn’t get the attention it deserved. One reason may be that it has not been easy to access. I am happy to make the whole text – with the permission of the author’s family – available on the Internet site of the ‘Project Sea-silk’: http://www.muschelseide.ch/…/bibliogr…/Monographien.html In the same year 1998, without knowing of each other, I started the ‘Project Sea-silk’ at the Natural History Museum Basel, Switzerland with three main objectives: • To compile an inventory of all objects in sea-silk still existing in museums and private collections worldwide • To trace the history of this almost forgotten textile material, its production and manufacture, trade and diffusion • To document the knowledge and remains of this cultural heritage of Greece and Italy especially: “Magna Graecia”

The pen shell and its product: byssus Sea-silk is a product of the noble pen shell Pinna nobilis L. (Šiletić 2004). (Figure 1) This bivalve is the largest shellfish of the Mediterranean, where it is endemic. The sedentary mollusc stands upright in the sea grass weeds along the coast, with almost one third buried in the sand. To withstand the flow, it fastens itself with a beard of very fine, strong filaments in the ground. These fibrous tufts, zoologically called byssus, with a length of up to 20 cm, constitute the raw material for sea-silk. The tufts cut off the mussel have to be washed several times, dried, combed and spun like other natural fibres.

…IN GENERAL…

Ancient Greeks knew ALL of silk, INITIALY in Magna Greacia (Syracuse – Corinthian colony) and Athens, Thebe and Corinth, developing their own production, particularly on the island of Cos, using this time wild silkworms from Asia. Philosophers like Aristotle described it, noting its mysterious origin, and while the secret of true sericulture was lost LOST and REINTRODUCED from China later, Greeks traded, continued producing again Both Pinna Nobilis silk and Mulberry silk for luxury garments, before inking the East and West through the burgeoning Silk Road.

Early Knowledge & Introduction Alexander the Great: Silk apparently returned to Greece in the 4th century BC after Alexander’s campaigns, introducing the Hellenistic world to the exotic fabric. Aristotle’s Account: He described silk being spun on the island of Cos from wild silkworm cocoons from IONIA(Today’s “MinorAsia”in nowday’s Turkey), though his knowledge was vague, suggesting it wasn’t yet mainstream. “Seres”: The Greeks called China the “Seres” (Land of Silk), acknowledging its source, and the term “silk” (sērikós) derives from this.

Production & Trade Cos (Kós): Became famous for silk production, using imported Chinese raw silk for weaving, a practice that continued for centuries. Importation: Silk also came via the Silk Road from China and was a highly valued commodity, exchanged for gold and other precious goods. Other Cities: Syracuse, Athens, Thebes, and Corinth were also known for their silk industries. Usage & Mystery Luxury Item: Silk was a symbol of wealth and exoticism, used for rich robes and fine textiles, though initially rare. “Sea Silk”: All Greeks in Magna Greacia knew of “sea wool” (Amorgina), a very luxury fiber from the sea shell Pinna Nobilis, differed from Chinese silk. Secret Lost: The secret of true sericulture (raising silkworms) was lost later in the West until Byzantine monks smuggled eggs from China in the 6th century CE, making the earlier Greek knowledge distinct.

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They wrote about Pythagoras

I know of no other man who has had as much influence on the sphere of human intellect as Pythagoras, wrote Nobel Prize-winning mathematician and philosopher Bernard Russell. And Professor of Ancient Philosophy at Cambridge University W.K.C Gurthie states: “The intelligence of Pythagoras must have possessed both a logical and a religious quality, which are rarely found together in the same man. It is not surprising that he and his school attracted two different types of people, on the one hand enthusiastic about the promotion of Mathematical philosophy and on the other religious, whose ideal was the “Pythagorean way of life”.

Pre-publication from the book: “Pythagoras…Secret Teaching & Modern Science” PYTHAGORAS THE SAMIAN

Golden number Φ = 1.618033 ΠΑΝ ΜΈΤΡΟΝ ΆΡΙΣΤΟΝ/”PAN METRON ARISTON”

Pythagoras, an important Greek philosopher, mathematician, geometer and theorist, also had a deep interest in music and its therapeutic dimension.

He believed that music has healing properties and can affect the human soul and body.

For Pythagoras, music was connected to the mathematical proportions and harmonies of the world.

He believed that different sounds and musical scales could affect the

emotional state of people and contribute to their spiritual balance.

In addition, healing through music

(also known as “music therapy”)

was an aspect he considered important, as the

harmony of music could bring peace to the

spirit and enhance physical health.

The Pythagoreans insisted that sounds and melodies, when used properly, could heal

not only the body but also the soul.

The synthesis of music with mathematical proportions was central to Pythagoras’ philosophy, and this complex belief system around music, mathematics, and healing resonates to this day in many modern therapies an

THE Φ “PHI” SPIRAL In 1-dim of numbers the Journey begins with 1-1-2-3-5-8-13-21-34 etc (the timeless Fibonacci Sequence),

In 2-dim, each number becomes a flat square and when they are all positioned together they form the flat Golden Spiral within the confines of the Golden Rectangle.

In 3-dim, each square is extended out to become a cube and when stacked edge to edge with varying sizes,

The formation of a 3-dim golden Phi Spiral which is ultimately an antenna into the cosmos, the horn of a cow or the Ram’s Horn, something that is tangible and real and meaningful to us.

In 4-dim, millions of ram’s horn patterned around a single point form the Torus! which is the genetic memory or shape of what we appeared to be when we were a mere 512 cell division from the original zygote.

Golden Pythagoras. The unimaginable beauty of the universal language of =

HELIX = ΕΛΙΞ

Φ WHEN WITH ART AND SCIENCE, ANCIENT GREECE TOUCHES THE DIVINE GOLDEN SECTION
The Golden Ratio or Golden Section Φ or the Golden Rule Φ or Divine Ratio is defined as the quotient of the positive numbers when in force, which is approximately equal to 1,618.
It gives harmonious proportions and for this reason it has been used in architecture and painting, both in Ancient Greece and during the Renaissance.
The golden section was introduced and calculated by Pythagoras (-585 to -500) who was born in Samos, and founded a very important philosophical school in CROTON of MAGNA GRAECIA (Lower Italy).
The golden section is symbolized by the letter Φ in honor of PHEIDIAS, perhaps the most famous sculptor of Greek Antiquity, and the most important of the classical period. The golden word was known to the Pythagoreans.
In their secret symbol, the pentacle, the golden word appears on the sides of the star.
Many works of the classical era, such as the Parthenon, and the Renaissance, such as paintings by Leonardo da Vinci, were created based on the golden word.
Even today it is used to attribute harmony to works, or to plastic surgery to beautify the human face.
If people choose the Golden Section for aesthetic reasons, what can we say about nature, which chooses the logarithmic spiral to “construct” a multitude of structures?
Scientists have been surprised to find that the logarithmic spiral appears in the shapes of physical objects with completely different properties.
On a smaller scale it appears in the shells of many marine organisms, such as nautilus.
In the intermediate scale it appears in the shape of cyclones, as typically reflected in the photos of meteorological satellites.

The story behind the “golden” number F – It symbolized harmony in Ancient Greece (photo)

The “golden” number Φ is the one that connects the harmony of mathematics with that of nature, but also of art.

THE GOLDEN NUMBER F

The golden number φ was first discovered by the ancient Greeks who observed that everything on earth, from plants to the human body itself, grows based on a ratio.
Pythagoras was the first to formulate the mathematical definition of proportion using two line segments. His thinking was that if there is a straight segment and a point of intersection intersects it asymmetrically so that the length of the longer segment to the entire length of the segment is equal to the length of the longer segment to the length of the shorter, then their ratio shows some kind of analogy. Assume that there is a segment AB. By cutting it into two unequal parts at point C, two straight segments are created.
Suppose that AG>BG then AB/AG=AG/BG. The point of intersection C gives the golden ratio because the ratio of AB/AG and AG/BG gives a result of 1.618 which is also the golden number φ. This number shows the harmony possessed by an object that is examined. It is the only number for which the relation φ =φ+1 and φ=1+√5/2 is valid.
The main observation is that the result is an indefinite number. This shows that it is not possible for a smaller line segment to fit into a larger one exactly. Therefore there are also some numbers whose function is outside the human perception and their field of definition is the ideal.
This is how the concept of the idea was discovered, which Plato investigated and formulated the theory of ideas. It is obvious that they knew everything about the use of the number φ because the pentagram which was the symbol of the Pythagorean school is subject to this analogy.
The use of the number φ in antiquity is impressive. In the Parthenon from the pediments and the carvings on them to the capitals, in the ancient theater of Epidaurus, in all the statues, in the Pyramids of Egypt which follow the structure of an isosceles triangle.
But all this seems insignificant in front of the greatest achievement of the ancient Greeks. The construction of the Greek language which is a purely mathematical language and is demonstrated through the lexarithms. There are too many examples where one word equals another lexarithmically and while they have a different meaning as independent words like lexarithms they form one meaning and are directly related to the golden number φ and also to π=3.14.
In no other language is the same true, and no other language has been regarded as a masterpiece worldwide. That the study of ancient Greek has been shown to help develop brain neurons making people smarter is a result of the complexity of language construction. With the help of φ and π and the verbs between the words, it also works as a means of encryption. All of these are essentially proofs that invalidate the discovery of Fibonacci because the specific sequences were already being used to the maximum extent with the main example being the language itself and the arrangement of the diazoms in the theater of Epidaurus.
It was a very common phenomenon that texts that had been lost over the centuries or had been deliberately hidden by someone to conceal knowledge, when they resurfaced, those who possessed them would set themselves up as the great scientists who allegedly discovered alone from the nowhere some very important elements for humanity without justifying it neither their background nor their previous life, while they were written centuries ago.
Is it a coincidence that almost all the great researchers of the previous thousand years were either rich with large collections of Greek writings, or belonged to some secret organization that was also related to the concealment of higher knowledge?
In the later era it is used in the paintings of great painters such as Da Vinci who built the Mona Lisa based on a golden triangle and painted it by expanding it with other golden triangles, in designs based on geometric shapes such as Fractals. It was also discovered that DNA also follows the analogy and so does the entire universe. Even the movement of the planets is based on the golden ratio.
The golden number φ is one of the greatest discoveries of Geometry. It seems that it was already true and Pythagoras formulated something commonly used and accepted. The benefits of this formulation of Pythagoras are many. The golden ratio was established as a number so that it could be used in constructions in later years because the ancient Greeks already knew, the theory of proportions of sections and sides was developed which led to the formulation of a multitude of theorems and most importantly that the theory of ideas was formulated.
Diodos, The Gate of Knowledge
https://enneaetifotos.blogspot.com/

The book of nature is written in the language of mathematics… “The basic laws of the universe are simple, but because our senses are limited we cannot understand them. There is a pattern to creation.”…”In mathematics the (f) represents the golden ratio. Its value is: 1.618033…”

The Pythagorean star and the gold Number φ=1.618033…

The number φ (1.618033…) is the number of mathematical beauty, it is the number of harmony, which governs the entire Universe!
The symbol of the Pythagorean brotherhood was the
“pentagram”, i.e. the star, which is formed by the five diagonals of the regular pentagon. It turns out that each side of the “pentagram” divides the other two into a golden ratio or golden ratio.
This harmony, which is found in an excessively large number in the elements of nature, was impossible to pass unnoticed by the particularly observant ancient Greek mathematicians. In search of the formula that gives this perfect ratio, Pythagoras spent a lot of time of his life and finally managed to find a .. magic number. Pythagoras is the first to discover the “golden” number f.
Pythagoras, with this discovery, managed to influence the entire world of art, giving artists of all categories the opportunity to perfect the proportions of their works. This is because the number φ, also known as the Golden Section, is the one that connects the harmony of mathematics with that of nature, but also of art, with extreme precision.
Trying to find the ideal way to divide a line segment, Pythagoras came up with the idea of dividing its total length in two, in a unique way. So he cut a straight line in two, in such a way that the ratio of the small piece to the large part is equal to that of the large part to the total length. This led to the discovery that has influenced the art world like no other. The number φ is expensive this ratio of straight segments.
To understand the usefulness of this number we need nothing more than our own body. If we observe the fingers of our hand, we will see that they are divided into three parts. Each one is 1.618 times “shorter” than the last. If we also compare the length of the arm with that of the forearm, we will end up with the exact same number. In the case where we are transferred to the head of the human body, then almost all its members hide within them the… strange 1,618. This number is none other than the Golden Ratio.
Actually, the number Φ does not have only three digits after the decimal point. It is an irrational number, that is, a number that cannot be derived from the product of two others, which has an infinite number of decimal places. In short, the number is not calculable, but it is approachable. Thus, if a sculptor wanted to create a perfectly proportioned marble human he had only to consult the properties of the Golden Ratio.

The letter “F” = «Φ» is what symbolizes the Golden Ratio, because there is a myth that Phidias was the first to use his…harmony on the Parthenon. The truth is that if one sees the ancient monument, one will notice several “golden” proportions on it.
From the moment the Golden Ratio became popular, most artists began to use it to give their works a sense of ‘perfectness’. Applications of the “magic” number can be found in architecture, sculpture, painting and even music.
Perhaps the most characteristic example of its use is the human bodies painted by Leonardo Da Vinci, applied to perfect pentagons. Accordingly, Mozart divided a large number of his sonatas into two parts, with a time ratio equal to the number F. The applications of the discovery of the two mathematics in art are extremely numerous and can be found in some of the most famous buildings, the most famous paintings or the most impressive statues.
If humans choose the Golden Ratio for aesthetic reasons, what can we say about nature, which chooses the logarithmic spiral to “build” a multitude of structures?
Scientists have been surprised to find that the logarithmic spiral appears in the shapes of natural objects with completely different properties. On a smaller scale it appears in the shells of many marine organisms, such as the nautilus.
In the intermediate scale it appears in the shape of cyclones, as is typically captured in meteorological satellite photographs. Finally on the largest possible scale it appears in the shape of spiral galaxies, huge formations of hundreds of billions of stars, which we can enjoy in the photographs of modern telescopes.
What is the underlying reason that makes a number, constructed on the basis of an abstract mathematical property, have such important applications in nature, and indeed in such diverse systems? Shells, cyclones and galaxies have nothing in common and are governed by completely different physical laws. Shell growth is affected by available space. The formation of cyclones is due to the flow of moist air from areas of high pressure to areas of low pressure.
Due to the Earth’s rotation, the air currents deviate from the straight line, so that in the northern hemisphere all cyclones rotate counterclockwise, while in the southern hemisphere they rotate counterclockwise.
Finally spirals are regions of a galaxy where there is a concentration of stars, dust and gas, which are created when another galaxy passes nearby. So it seems that the Golden Ratio is a number with “universal” properties, similar to the number π = 3.14 which is equal to the quotient of the circumference of a circle by its diameter.

Nassos Mantas

By: George Anagnostou. This particular spiral is not just idle curiosity or merely an interesting pattern – it is actually a map of the harmonic sequence. This is how music works – in fact, it is how everything works.

It is a visual representation of musical intervals and their relationships within the context of a harmonic or tuning system. At the core of the chart is the fundamental note (C), with frequencies doubling for each octave. Each interval is also associated with a specific mathematical ratio, first calculated by Pythagoras.

He discovered that two notes forming an octave always have a ratio of 2 to 1. The perfect fifth has a ratio of 3 to 2, and the perfect fourth has a ratio of 4 to 3. Pythagoras combined these intervals and then created additional notes to form a larger scale. Through his mathematical calculations, music theory was born.

All frequencies—whether sound, light, planetary motion, etc.—can be related to this cycle. The same spiral pattern appears everywhere in nature: DNA, plants, galaxies, our weather patterns… and also in music. The spiral is repetition, but with the accumulation of experience, it embodies the fundamental process of creation and growth.

THE ANCIENT GREEKS HAD LITERATURE, ARTS, SCIENCE AND THUS THEY WERE ABLE TO REACH THE DIVINE THEIR DOCTIONS WERE COMPLETELY USELESS
The Golden Ratio Φ or Golden Section Φ or Golden Rule Φ or Divine Proportion is defined as the quotient of positive numbers when valid, which is approximately equal to 1.618. It gives harmonious proportions and for this reason has been used in architecture and painting, both in Ancient Greece and during the Renaissance.
The golden ratio was introduced and calculated by Pythagoras, (-585 to -500) who was born in Samos, and founded a very important philosophical school in Crotona in Magna Grecia (Lower Italy).
The golden ratio is symbolized by the letter Φ in honor of Phidias, perhaps the most famous sculptor of Greek antiquity, and the most important of the classical period. The golden ratio was known to the Pythagoreans. In their secret symbol, the pentagram, the golden ratio appears on the sides of the star. Many works of the classical era, such as the Parthenon, and the Renaissance era, such as paintings by Leonardo da Vinci, were created based on the golden ratio. Even today, it is used to give harmony to works, or in plastic surgery to beautify the human face.
If people choose the Golden Ratio for aesthetic reasons, what can we say about nature, which chooses the logarithmic spiral to “construct” a multitude of structures?
Scientists have found with surprise that the logarithmic spiral appears in the shapes of natural objects with completely different properties. On the smallest scale it appears in the shells of many marine organisms, such as the nautilus.
On the intermediate scale it appears in the shape of cyclones, as characteristically captured in photographs of meteorological satellites.
Finally, on the largest possible scale it appears in the shape of spiral galaxies, enormous formations of hundreds of billions of stars, which we can enjoy in photographs of modern telescopes.
What is the deepest reason that makes a number, constructed on the basis of an abstract mathematical property, have such important applications in nature, and in such different systems? Shells, cyclones and galaxies have no common property and are governed by completely different physical laws. The development of shells is influenced by the available space. The creation of cyclones is due to the flow of moist air from areas of high pressure to areas of low pressure. Due to the rotation of the Earth, air currents deviate from the straight line, so that in the northern hemisphere all cyclones rotate counterclockwise while in the southern hemisphere they rotate counterclockwise. Finally, spirals are regions of a galaxy where there is a concentration of stars, dust and gases, which are created when another galaxy passes in close proximity. It therefore seems that the Golden Section is a number with “universal” properties, similar to the number π = 3.14 which is equal to the quotient of the circumference of a circle by its diameter.

ANCIENT GREEK LOCATIONS AND THEIR RELATIONSHIP WITH THE GOLDEN RATION Φ
The Ancient Greeks used the “stadium” as a unit of measurement for distances. There is an incredible Geographic symmetry of the distances or geometric shapes that form important monuments of Greek Antiquity.
An isosceles triangle is formed between the Acropolis of Athens, the temple of Poseidon in Sounion and the temple of Athena Aphaea in Aegina with a distance of 242 stadia.
In every known monument of Ancient Greece (e.g. the oracle of Delphi, the sacred island of Delos, the sanctuary of Dodona, etc.) when we “draw” a Circle with the monument as center and another monument as radius, then the imaginary circumference of the circle will also pass through another monument or city! (e.g. center “Dodoni” and radius of circle “Athens” …. then the circumference of the Circle will pass through Sparta! Center “Delphi” – radius Athens – the circumference will also pass through Olympia…, Delos – Argos – Mycenae …. and many other examples…) .
Chalkis is 162 (Φ*100) stadia away from Thebes and Amphiareion (the same). The distance from Thebes to Amphiareion is 262 stadia (162 x 1.62 = 2.62 but also 100 x φ2= 262) the triangle obeys the harmony of the golden number φ. Chalkis is also 314 stadia away from Athens and Megara. That is, the golden number φ and π are presented one hundredfold. Smyrna is equidistant from Athens and Thessaloniki (1620 stadia). (Φ x 1000) .
In addition to the Sacred Geography of Ancient Greece, it is known that the Parthenon was built with proportions and combinations of the GOLDEN number Φ = 1.618034 and π =3.1415927.
Is it a coincidence that it is considered one of the most brilliant monuments in the history of humanity?
Is the use of the GOLDEN NUMBER Φ in the construction of the temple accidental and coincidental?

This attachment that is found in almost every living and inanimate thing, From the human body to galaxies, from the leaves of plants to the waves of the ocean, there is a manifestation everywhere. This relationship is mathematics.

The human body: The same ratio has been seen in the dimensions of the human face, length of hands, distance between eyes, even up to the DNA spiral

Out in the nature: Flower petals arrangement, snail shells, sunflower seeds pattern, even the rotation of celestial galaxies all follow this proportion

Discover the deeper connection between harmonics and the universe:

Spinelius Angelos.

Pythagoras considered the beginning of all things to be unity, and from unity that the indefinite duality came {became}, through the manifestation of unity and as matter.

And from unity and the indefinite duality, that numbers were made •

And from numbers the signs, and from these {the signs} the letters from which the plane shapes are made..

And from the planes the solids • From these {the solids} the sensible bodies, whose elements are four..

Fire, Water, Earth, Air, which change and through the alteration of all of these, the Cosmos becomes, animate, mental, spherical, containing in the middle the earth and it is spherical and inhabited..!!

Heraclitus once said..

Everything flows and nothing remains..This is exactly what happens with matter in time and with a fierce charioteer the seven-branched dynamism with knowledge and wisdom that it contains within it, makes the ceaseless voyage of the worlds, seeking to depict and present the perfect..

It is well known that the Ancient Greeks were obsessed with harmony and perfection. And of course the harmony, found in so many elements of nature, could not go unnoticed by the particularly observant Ancient Greek mathematicians.

So in search of the formula that gives this perfect ratio, Pythagoras and Euclid spent a lot of time of their lives and finally managed to find a magic number.

Pythagoras is theoretically the first to discover the “golden” number Φ, (Φ in honor of the great sculptor PHIDIAS) but the first written evidence of its existence is found in one of the thirteen books of Euclid’s “Elements”.

The two mathematicians managed with this discovery to influence the entire world of art, giving artists of all kinds the opportunity to perfect the proportions of their works. This is because the number Φ, also known as the Golden Ratio, is the one that connects the harmony of mathematics with that of nature, but also of art, with extreme precision.

Trying to find the ideal way to divide a line segment, the two famous mathematicians had the idea of dividing its total length in two, in a unique way.

So they cut a straight line in two, taking care that the ratio of the small piece to the large one is equal to that of the large part to the total length. This led to the discovery that has influenced the art world like no other. The number Φ is expensive this ratio of straight segments.

To understand the usefulness of this number we need nothing more than our own body. If we observe the fingers of our hand, we will see that they are divided into three parts. Each one is 1.618 times “shorter” than the previous one .

If we also compare the length of the arm with that of the forearm, we will end up with the exact same number. And in the case, when we move to the head of the human body, then almost all its members hide inside them the… strange 1,618. This number is none other than the Golden Ratio.

Actually, the number Φ does not have only three digits after the decimal point. It is an irrational number, that is, a number that cannot be derived from the product of two others, which has an infinite number of decimal places. In short, the number is not calculable, but it is approachable. Thus, if a sculptor wanted to create a marble human with perfect proportions he had only to consult the properties of the Golden Ratio.

The letter “ Φ ” IS WHAT SYMBOLIZES the Golden Ratio, because there is a MYTH that Phidias was the first to use his harmony on the Parthenon . The TRUTH is that if one sees the ancient monument, one will notice SEVERAL”golden” proportions on it.

From the moment the Golden Section became popular, most artists began to use it to give a sense of “perfect” to their works . Applications of the “magic” number can be found in architecture, sculpture, painting and even music.

Perhaps the most characteristic example of its use is the human bodies painted by Leonardo Da Vinci, applied to perfect pentagons.

A picture is worth a thousand words: Follow pronews.gr on Instagram to “see” the real world!

Accordingly, Mozart divided a large number of his sonatas into two parts, with a time ratio equal to the number Φ . The applications of the discovery of the two mathematics in art are extremely numerous and can be found in some of the most famous buildings, the most famous paintings or the most impressive statues.

The science of number and the art of the will are the two keys to magic, said the priests of Memphis.. They open all the gates of the Universe. sciences in a concentric order, to perceive the “involution” of the spirit into matter with the global creation and its evolution or the rise towards unity with that individual creation which is called the development of consciousness into superconsciousness in the eternal space time of the eternal Reasons…PYTHAGORAS.

THE UNKNOWN GREAT WORKS OF OUR ANCIENT ANCESTORS
source: http://enneaetifotos.blogspot.com

“The wisest of beings is the number” Pythagoras Indeed, reason is the cause of all harmony, the ratio that indicates the infinite relationship of all things, i.e. the presence of the Divine Word in every form of life.
The Ancient Mysteries, knowing this universal truth, built the Sacred buildings in such a form and in such positions, so that there is a geometrical and mystical relationship between them, demonstrating the infinite Wisdom of the Creative Source of all things.
Ancient Greece, light-giver in eternity, transmits this wisdom to us, from the harmonious and mathematical structure of the words of the Greek Language, to the Holy places of its monuments with the secret but also revelatory speech of symbols and mathematical relationships, structures and of the distances.
A fascinating book by a serious scholar. His work was the basis for all current literature on lexarithms and geodesic triangulation.

GOLDEN SECTION Φ

The Golden Ratio Φ or Golden Section Φ or Golden Rule Φ or Divine Proportion is defined as the quotient of positive numbers when it holds which is approximately equal to 1.618. It gives harmonious proportions and for this reason it has been used in architecture and painting, both during Ancient Greece and during the Renaissance.
The golden ratio was introduced and calculated by Pythagoras, (-585 to -500) who was born in Samos, and founded a very important philosophical school in Croton of Great Greece (Lower Italy). The golden section is symbolized by the letter Φ in honor of Pheidias, perhaps the most famous sculptor of Greek Antiquity, and the most important of the classical period.
The golden ratio was known to the Pythagoreans. In their secret symbol, the pentacle, the golden word appears on the sides of the star. Based on the golden ratio, many works of the classical era, such as the Parthenon, and of the Renaissance era, such as Leonardo da Vinci’s paintings, were created. Even today it is used to bring harmony to works, or in plastic surgery to beautify the human face.
If humans choose the Golden Ratio for aesthetic reasons, what can we say about nature, which chooses the logarithmic spiral to “build” a multitude of structures? Scientists have been surprised to find that the logarithmic spiral appears in the shapes of natural objects with completely different properties. On a smaller scale it appears in the shells of many marine organisms, such as the nautilus. In the intermediate scale it appears in the shape of cyclones, as is typically captured in meteorological satellite photographs. Finally on the largest possible scale it appears in the shape of spiral galaxies, huge formations of hundreds of billions of stars, which we can enjoy in the photographs of modern telescopes.
What is the underlying reason that makes a number, constructed on the basis of an abstract mathematical property, have such important applications in nature, and indeed in such diverse systems? Shells, cyclones and galaxies have no common properties and are governed by completely different physical laws. Shell growth is affected by available space. The creation of cyclones is due to the flow of moist air from areas of high pressure to areas of low pressure. Due to the Earth’s rotation, the air currents deviate from the straight line, so that in the northern hemisphere all cyclones rotate counterclockwise, while in the southern hemisphere they rotate counterclockwise. Finally spirals are regions of a galaxy where there is a concentration of stars, dust and gas, which are created when another galaxy passes nearby. So it seems that the Golden Ratio is a number with “universal” properties, similar to the number π = 3.14 which is equal to the quotient of the circumference of a circle by its diameter. ANCIENT GREEK LOCATIONS AND THEIR RELATIONSHIP WITH THE GOLDEN LOGOS F The Ancient Greeks used the “stadium” as a unit of measurement for distances.
There is an incredible Geographical symmetry of the distances or geometric shapes that form important monuments of Greek Antiquity, e.g. An isosceles triangle is formed between the Acropolis of Athens, the temple of Poseidon in Sounio and the temple of Aphaia Athena in Aegina with a distance of 242 stadia .
In every known monument of Ancient Greece (e.g. oracle of Delphi, the sacred island of Delos, the sanctuary of Dodoni, etc.) when we “engrave” a Circle with the monument as its center and another monument as its radius, then the imaginary circumference of circle will also pass by another monument or city! (eg center “Dodoni” and circle radius “Athens” … then the circumference of the Circle will pass through Sparta! Center “the Delphi” – radius Athens – the circumference will also pass through Olympia.. ., Delos – Argos – Mikynes …. and many other examples…) .
Chalkida is 162 (Φ*100) stadia from Thebes and Amphiarion (the same). The distance between Thebes and Amphiareum is 262 stadia (162 x 1.62 = 2.62 but also 100 x φ2= 262) the triangle obeys the harmony of the golden number φ. Chalkida is also equidistant from Athens and Megara 314 stadia. That is, the golden number φ and π are presented a hundredfold.
Smyrna is equidistant from Athens and Thessaloniki (1620 stadia). (Φ x 1000) . Apart from the Sacred Geography of Ancient Greece, it is known that the Parthenon has been built with proportions and combinations of the GOLDEN number Φ = 1.618034 and π =3.1415927. Is it a coincidence that it is considered one of the most brilliant monuments in the history of mankind? Is the use of the GOLDEN NUMBER F in the construction of the temple accidental and coincidental?

The ONLY means of ENLIGHTENMENT is TRUTH. The only Teacher is the SPIRIT of TRUTH.There can be NO religion higher than the TRUTH! PYTHAGORAS .

The HELLENIC and PYTHAGORIAN SACRED SYMBOL-The FIVE ALPHA:
1) ATHENA: “AHP”= AIR
2) APOLLO: “ΑΙΘΗΡ”= ETHER
3) APHRODITE: “ΥΔΩΡ”= WATER
4) ARES: “ΠΥΡ”= FIRE
5) ARTEMIS: “4”/ΤΕΣΣΕΡΑ Ρ/= the 4 ABOVE.

The pentacle is a powerful symbol, much misunderstood and much abused in various circles.
It is a symbol of energy and strength, which unfortunately fell into a handful of hands.

The ancient Greeks also called it “Pentagram” because it consists of 5 lines, “Pentagon” because it has 5 angles and “Pentamychus”.

We first meet her as a symbol of the Pythagorean philosophy of the perfection of man, the God Within and eternity.

According to Pythagoras, the number 5 is the number of man and the Soul.

Each edge of the Pentacle is related to an element, which gives life to man and which man creates: earth-matter, water-liquids, air-breath, fire-energy, soul-mind.

The pentacle is made from a regular pentagon by bringing the diagonals to that pentagram.

The pentacle is associated with the golden ratio φ: the ratio of each line segment appearing in it to its immediately smaller one is equal to the golden ratio.

The golden ratio is defined as the quotient of positive numbers when true which is approximately equal to 1.618. It is considered to give harmonious proportions and for this reason it has been used in architecture and painting, both during ancient Greece and during the Renaissance.

The golden ratio was introduced and calculated by Pythagoras, (585 – 500 BC).

For the Pythagoreans, the Pentacle was an emblem, they called it “HEALTH” and it was their identifier (“Healthy”).

HEALTH symbolized the opposite of death. But not of material death, but of spiritual death. That is why the center of the Pentacle symbolized the immortal Life.

The pentacle was one of the main symbols of the Pythagoreans, highly respected.

The mathematical and geometric properties of the shape, which is one of the sides of the perfect dodecahedron, had reduced it to a most sacred symbol.

For the Neo-Pythagoreans the four limbs symbolized the four elements of nature and the fifth, which tends upwards, symbolized the divine. Each peak was assigned a letter, the first of the following words:

Water

Gaia

Idea (or Hieron)

Eili (the heat of the Sun)

Air

The initial letters of these words gave the acronym HEALTH, because it was believed that whoever wears them will be filled with strength and will always be healthy.

“Pentamychus” was another name for the Pentalpha for the Pythagoreans, the meaning of which is “the deepest Being”, “the center of existence”.

Pherecydes (probably a teacher of Pythagoras) wrote his own version of Theogony and called it “Pentamychus”.

It is therefore probable that this name of Pentalfa by the Pythagoreans, comes from Pherekydes.

Plato characterized the Pentalpha as a “symbol of the Heavens” and his later people associated the Pentalpha with the 5 Platonic solids, as follows:
Tetrahedron – Fire, Cube – Earth, Octahedron – Air, Dodecahedron – Spirit and Icosahedron – Water.

Later, the famous Greek-Egyptian Claudius Ptolemy (ca. 87-150 AD) associated the 5 ‘secondary’ planets with the Pentacle and the elements, as follows: Mars – Earth, Saturn – Water, Venus – Air, Jupiter – Fire , Mercury – Spirit.

In the upright Pentacle they are placed as follows: Mercury in the upper corner, Mars in the left, Saturn in the lower left, Aphrodite in the lower right and Jupiter in the right.

According to Ptolemy, the two elements on the right are benevolent, while the two on the left are malevolent. The top is neutral, balancing the 4 elements.

The two main planets, Sun and Moon, stand above the Pentacle, right and left, respectively.

the Pentacle, ‘tied’ together in a way reminiscent of the Taoist Yin-Gang.

From the Middle Ages to the present day, we find Pentalpha again in the folk traditions and superstitions of the Greek countryside, as a talisman of protection against the malicious winds of the forest.

The Pentacle is one of the few symbols found in so many religions and philosophies of the world.
For millennia it has been revered, protects the wearer from demons (whether personal or not) and is seen as a symbol of wisdom, knowledge, happiness and life.

In some of the newer mystical systems, we can find the Sun and the Moon in the center of the Pentacle, ‘tied’ together in a way reminiscent of the Taoist Yin-Gang.

From the Middle Ages to the present day, we find Pentalpha again in the folk traditions and superstitions of the Greek countryside, as a talisman of protection against the malicious winds of the forest.

Its association with Satanism is degenerate and vile.
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Plato had a great appreciation for Mathematics and recognizing the great educational value of Mathematics and especially Geometry, he had written at the entrance of the Academy the inscription: “Mideus ageometritos izito…”

The Pythagoreans called the unit Apollo, as we are informed by Plutarch and Plotinus, because it lacks multitude.

They also called her Prometheus, according to the anonymous author of the Theological Theology of Arithmetic, because she in no way moves to the previous part (from proso zero tropo thein)• because there is nothing beyond the unspoken.

Also, they called her Zeus, because as the one or the ineffable principle of things is to all the rest of the Gods, so is Zeus to all his subsequent divine orders, as Proclus admirably observes in On Plato’s Theology, Book 5.

Also they called her Remembrance, after the name of the mother of the Muses, because as the Muses give birth to all the variety of reason with which the world abounds, and are the causes of the perfection of the universe, Remembrance will be proportionate to the one, which is the source of all multitude.
It may also be said that as Remembrance is memory and memory is stability of knowledge, the unit is so named because it is the image of the one which is the stable root of all knowledge and all things.

She was called Hestia, or fire in the center of the earth, because, as Simplicius observes (Note to Aristotle Concerning the Heavens, Book 2), she possesses creative power, feeds the whole earth from the center, and excites whatever is in it to a cold nature, so that as a productive center, it is proportional to one .

Excerpt from the book: “The theoretical arithmetic of the Pythagoreans”, Thomas Taylor, Publisher: Iamblichus.

The pentagon that you create by carving the diagonals of a regular pentagon, or the well-known pentalpha, was the sacred symbol of the Pythagoreans, which they called “pentagrammon” and symbolically represented all the goods of both the soul and the body, as characteristically mentioned by Lucian:

“this soul and body are competent and altogether all the envelope of the human good” (Lucian, On the Prosecution of Sin 5,9 – 11).

In this sense, it is a symbol of the completed soul, that is, the soul that has been perfected and is on its way to deification. In fact, he says that they called it the “principle of health” : – the principle of health they called it – and used it as an identifying symbol when they wrote letters to each other:

(the pentagram) that the so-called pentagram was a symbol of Pythagoras identifying each other and that is why it was written in the letters” (Comments to Lucian, 64. 5, 1-4).

In the five corners of the pentacle they placed the letters of the word HYGIEA with the following correspondences: Y = water, C = earth, I = fire, as fire is the subtlest and most penetrating of the four elements, as is the letter I, and EI = ether, as the ether is the vital principle of the universe, the kingdom of Zeus (Orphic Hymn Etheros 5, v 1), which expresses the essence (EI).

The pentagram, next, indicates the complete harmonization of the four elements within us, which are unified by the ether, which results in the health of the body, but also of the soul, since the vast majority of illnesses are of a mental cause. This is why Athena – Phronesis is also worshiped as Athena Hygieia and in her Orphic Hymn 32, st.15-16, Orpheus invokes her to give us peace, koron, i.e. fullness of emotion, and health: dos d’irenin polyolbon and koron and health”.

Conclusions, therefore, the five-pointed jasmine flower symbolizes the virtuous soul, the one that has been perfected because wisdom prevails in it, where wisdom (time + understanding..

By: Giannis Tsianakas.

Philosophy is the greatest good ever given by the Gods to Man (Plato).

As if it were ambrosia and nectar, because the pleasure that arises from them is authentic, incorruptible and divine…

They enable us to acquire scientific knowledge about eternal natures.
(Iamblichus, Protreptikos on Philosophy).

”Education will be the art of converting the soul, that is, in what way the conversion will be accomplished as easily and effectively as possible, not how the power of vision will be implanted in this organ, but taking it for granted that the organ DOES have this power and that it is simply not directed in the right direction (Plato, Republic, Book 2, 518d)

Mathematics and theory and everything scientific, that is, whatever really opens the eyes of the soul and cleanses the mind from the blindness of other pursuits, were implanted in the Greeks so that they could see clearly the real principles and causes of all things.

(Iamblichus, On the Pythagorean Life ch.1, 31. 13-16
THE EYE-MAKING OF THE SOUL AS TRULY AND PURELY TOWARDS THE VIEW POSSIBLE.
Artemis,
Louvre Museum

The PENTAGRAMMON of ΥΓΕΙΑ (=HYGEIA HEALTH) .. THIS IS A TINY PART of the INTERCONNECTION OF
THE ACHIEVEMENTS, AS: GEOMETRY
MATHEMATICS, MUSIC,, PHILOSOPHY, HEALTH, ,AND THE FOLLOWING ONES,AS: HARMONY,
PHYSICS, ASTRONOMY

**************T O B E C O N T I N U E D …..INSPIRING ……. L A T E R****

The Pentateuch was already known by the Pythagoreans as a symbol of Hygiaine, as they placed the 5 letters of the word Υ-Γ-Ι-ΕΙ-Α … I-G- I-EI -A on it. Antiochus before the battle saw in his dream Alexander, who instructed him to use this symbol (apparently as a war flag and motto) to win… From this testimony of Lucian it is proved that the latest known history by several centuries later with Constantin the “Great” and “ἐν τουτῳ νικα”, it is a simple copy.
George Lathyris

The symbol of health!
And “in this victory” or “in this victory”…
~~~~~~~~~~~~~~~~~~~~~~
Antiochus the so-called savior, when he was about to enter into battle with the Galatians, it appeared to him that he saw in his dream Alexander who gave him the order to deliver to the army as a slogan before the battle, and under the protection of this slogan he achieved the wonderful victory!
Antiochus the savior, when the Galatians were approaching, he glorified the honor of those who believed in Alexander, shouting a slogan before the battle, handing over the health to the army, and under this slogan he won that wonderful victory!
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Note This battle took place in 277 BC. in Asia Minor. This important information about the dream of Antiochus and the motto of the battle is saved by Lucian in his rhetorical work: In order to foretell guilt.

PAN METRON ARISTON = ΠΑΝ ΜΈΤΡΟΝ ΆΡΙΣΤΟΝ//”PAN METRON ARISTON” = ALL IN MEDERATION

I have not met in any other culture such an amazing example of moderation in our lives.

The “PYTHAGORAS CUP” or “cup of justice” built by the philosopher, mathematician, geometrician and music theorist aimed to propose and maintain the measure, the “metronariston”.

The “Mässcupen”, which dates from around the 6th century. p.m. X. , it is a masterpiece of the hydraulic engineering of the ancient Greeks, but also a means of teaching. In addition to limiting wine consumption through a “smart glass”, Pythagoras wanted to teach temperance and observance of measure. When the measure is exceeded, it is “hubris”, which results in the penalty of “tisis”.All people should enjoy in moderation what is given to them without seeking more.The ancients believed that a “ubris” usually provoked the intervention of the gods, especially Zeus, who would send the abuser “it”, i.e. blur, close the mind.

She in turn led the abuser to new abusers, which eventually provoked the “nemesin”, wrath and revenge ie of the gods, which brought with it “tisin”, ie his punishment and destruction.

This is how it works:

There is a line engraved inside, which defines the amount of wine. If the user does not exceed the limit, he can enjoy his “drink”. However, it takes one more drop to cross the line and then the glass is empty, spilling all the wine from its base.

ITS MECHANISM:

In the center of the cup is a column that is placed above a tube leading to the bottom. As the glass is filled, the wine level inside the central column rises at the same time. When the fluid does not cross the defined line, no problem is created. But when the liquid crosses the boundary, its molecules pull each other down, resulting in the emptying of the cup.

The construction of Pythagoras follows the laws Pascal developed centuries later for associated containers.

Pythagoras was an important ALSO a philosopher, mathematician, geometer and music theorist. He is the preeminent founder of Greek mathematics, he created an even system for the science of the heavenly bodies which he established with all the relevant numerical and geometrical proofs and he was the founder of an initiatory philosophical movement called Pythagorism (Pythagorism or Pythagoreanism). Because most of the information was written by many centuries after his death, very little reliable information is known about him. He also greatly influenced philosophy and religious teaching in the late 6th century BC, is often cited as a great mathematician and scientist, and is known for the Pythagorean Theorem that bears his name. He was born around 580 BC. and the island of Samos is given as the predominant place of birth. It is also possible that he traveled a lot when he was young. Around 530 BC moved to a Greek colony in southern Italy. Pythagoras’ supporters followed the practices he developed and studied his philosophical theories. The meeting places of the Pythagoreans were burned and Pythagoras was forced to leave the city. He died in Metapontion in Italian Lefkania at the age of 84 in 496 BC.
We, however, will focus on the musical side of Pythagoras…
Musical Intervals & “Pythagorean Monochord”
The relationship between two numbers, that is, what is today called a ratio in arithmetic and geometry, in the mathematical theory of Music of Pythagoras is called “Space”.
In the theory of Music, in fact, the word space had a double meaning. Because on the one hand, the numerical relationship with which the ratio of the musical interval was expressed was called an interval, and on the other hand, this word was in accordance with its everyday meaning and the “line segment”, i.e. the distance between two points.
The musical interval, which was expressed as the “relation of two numbers to each other” in Pythagoras’ theory of Music, was originally called interval = distance of two points from each other. This “space” actually had two border points, which were given as numbers.
More specifically, Pythagoras was the one who first laid the foundations of the science of Music with a scientifically based theory of Music. Discover the relationship between the length of the strings and the pitch they give.
To achieve this he used a stringed instrument, which he created himself, the “Monochord” or otherwise “Pythagorean canon” as it was later named in honor of its inventor.
The monochord was an ancient musical and scientific instrument, which was inextricably linked to the work of the ancient philosopher and music theorist Pythagoras, who also used it to teach his students philosophy. In its simplest form, the monochord has one string stretched over an acoustic speaker (the main body of the instrument). The use of movable frets allows the controlled alteration of pitch, from which the mathematical relationship between them is derived. For example, if the fret is placed at half the length of the string, the resulting mathematical relationship is expressed by the ratio 1:2, the familiar octave, or eighth-note interval, to musicians.
In other words, the Pythagoreans discovered a perfectly constant relationship between the length of the lyre strings and the basic chords (1/2 for the eighth, 3/2 for the fifth and 4/3 for the fourth). The wonderful property of these harmonious relationships was that they included the first four natural numbers (1, 2, 3, 4), the sum of which equals 10, the sacred number of Delphi (Tetraktys).

ΠΥΘΑΓΟΡΑΣ/PYTHAGORAS

Pythagoras, the…Vatican, and the turban

No ancient Greek philosopher wore a turban. Pythagoras wore a white linen tunic and a purple velvet ribbon, which tied his broad forehead. This was an indication of his superiority as a leading Mystic.

After all, this was also the reason why when he presided over the Eleusinian mysteries, the Hierophant out of respect gave him his place, thus acknowledging the superiority of Pythagoras.

Pythagoras never wore a turban, as shown in some busts, which have absolutely nothing to do with ancient Greek physiognomy – it is an invention and work of the Vatican.

This is done so that they gradually claim that he was not even… Greek, but… Phoenician or Egyptian with what this implies for ancient Greek philosophy, given that he was the protagonist of the pre-Socratic philosophers.

In Samos and in the park of Rome with the 150 statues of ancient philosophers, the statue of Pythagoras dominates with an ancient Greek posture – without a turban, as of course without a turban he is depicted in the well-known painting by **Raphael. Also, in the underground library of the Vatican, the bust of Pythagoras is without a turban.

# However, for many years, since 1917, the Vatican and its environs, for political, cultural and cultural reasons, have engaged in a well-orchestrated effort to deconstruct/demythologize and de-Hellenize (Islamize) the bust of the Top Ancient Greek Mystic, philosopher and mathematician (see Burkert, 1962 & his followers).

But, also at the beginning of the twentieth century, [Musei Capitolini page, (12.10.2015)] the proposal was put forward to identify the portrait, which depicts the ancient Greek Pythagoras, based on a comparison with the outline of another portrait in which he wears a turban, which which would lead to the conclusion that the great mathematician had adopted the Eastern style of dress.

**The proposal is still the subject of intense debate among scientists today”.

***(1)** [* At the beginning of the Novecento, it was proposed to identify the depiction of Pythagoras in the portrait, on the basis of a comparison with a portrait on a contour and the presence of the turban, which would agree to the adoption of costumi orientali da parte del mathematico. The proposal is still the object of a lively scientific debate.

# ***Comment: **Porphyrios mentions that, in the second phase of Pythagoras’ initiation, near the Kouretes [of Crete], that the philosopher with a black woolen crown, remains for one night lying face down on the earth, on the beach and then he is led to the Ideal Andron, where after three nines (3×9=27 days), he ends up in the third phase, the enthronement phase. This fact belongs to the process of initiation into the ideal den and has absolutely nothing to do with the oriental turban.*

*Note: the first bust:*Rome, Italy. Bust statue of Pythagoras, famous philosopher, mathematician and scientist. Sculpture in Villa Borghese park.

Excerpt from the forthcoming book: “Pythagoras… Secret Teaching & Modern Science”, chapter, The Bust of Pythagoras.

# *Recently, in Metapontio (K. Italy), a beautiful monument was erected in honor of the world teacher, but oh the miracle… “they”(=JEALOUS BARBARIANS WITH HEAVY INFERIORITY COMPLEX..) put on him AGAIN…. a turban, and it continues in their WELL-orchestrated effort…*–# ***We have a SACRED OBLIGATION and MORAL duty to prevent the FALSIFICATION OF THE HISTORY OF THE ANCIENT GREEK WORLD

T*************** T H I S IS N O T P Y T H A G O R A S************””

NATURE IS THE MASTER TEACHER FOR THE MASTER MINDS

PYTHAGORAS USED INTERVALS OF HARMONIC RATIOS, AS A TYPE OF MEDICINE FOR “DIS-EASES” OF THE BODY, THE EMOTIONS & THE PSYCHE(=SOUL). “HE ALIGNED SOULS TO THEIR DIVINE NATURE” AND THROUGH MUSIC HE PERFORMED WHAT HE CALLED, “SOUL ADJUSTMENTS”. PYTHAGORAS WAS ABLE TO DISCERN THE HARMONY AND CONSONANCE OF HEAVENLY BODIES: THE “MUSIC OF THE SPHERES”…

BY: Πολύγνωτος Παπαοικονόμου

The Spiral of Secrets.The Pythagorean Theodore of Cyrene proved the property of the absolute, from the square root of 3. [the indefiniteness of the square root of 2 had already been proved in the early Pythagorean school],up to the square root of 17 in 425 BCWith the help of the Pythagorean theorem, Theodore constructed his famous spiral.A spiral consisting of contiguous right triangles with hypotenuse square roots of successive naturals.The construction starts with an isosceles right triangle with equal vertical sides of length 1 and hypotenuse of the square root of 2, then it creates a new right triangle with a vertical side of the hypotenuse of the first and a second vertical side of length 1, the hypotenuse in the new rectangle is equal to square root of 3, the process continues in the same way.

NUMEROLOGY=ΑΡΙΘΜΟΣΟΦΙΑ//ARITHMOSOPHIA….PYTHAGORAS’ ARITHMOSOPHIA=numerology will be understood by those who CAN DECIPHER the numerical symbols. But they must first enter the hidden mysteries of the Mind. They must learn to reflect.. They must find their soul and have a dialogue with it. man quickly in contact with the inner region of our dimension, they will learn in a few words the fellow man, not only to think and study, but also to concentrate in his inner region, in his Mind and then in his eternal soul..Then amazed he will see that the Essence speaks with him and reveals to him the eternal point, from which everything flows and everything is made… The vibrations of the invisible worlds arrive unnoticed and unknown in the region of our dimension… But we can capture them, using our superconsciousness ..This superconsciousness works only with concentration and stimulation of the Mind, on the Metaphysical – internal matters and especially on the symbolic numbers..The sacred symbolic first four numbers, from one to four, point us to descending path, the path of Pythagoras’ numerology..1+2+3+4=10….10=1+0=1=Unit..But the Unit is the generator of the numbers in their ascending and descending performance..They come out of the One from the Unit itself..In this way the Eternal Source extracts the multiplicity and pours it into the chaotic region of the as yet non-existent Spirit of energy activity..All lies in the Mind He will achieve the perfect conception of the vibration of Of substance, the spirit of energism that vibrates dissimilarly from its other sister vibrations, to impress, print another womb, which will give birth in the Mind to the true mold of a thought or a thing or a phenomenon, an event or any matrix for its world form…

When in 543 BC, Pythagoras, going to the city of Crotona in Lower Italy, leaving bitterly from his homeland of Samos, passed through Fliudas, a flourishing state at that time of ancient Corinth. He taught there, and the king of Fliudos, Leo, greatly admired him and asked him what he did. I do not pretend to be a profession, but I am a philosopher, answered Pythagoras.

In Pythagoras we meet for the first time the word “philosophy”. Pythagoras did not call himself wise, since he believed that only God is wise, man should at most be a philosopher, a friend of God’s wisdom, since he will never be able to reach His wisdom.

The belief has prevailed that Pythagoras did not write since no work of his has survived. Nevertheless, Heraclitus, who was almost his contemporary, about 25 years younger, mentions his works, such as educational, political, physical, etc. It is said that Plato on his first trip to Sicily collected these books and edited them in his his work. The Timaeus in particular is considered to express the ideas of Pythagoras in their entirety.

According to Pythagoras an entity is called a number when the product of itself is greater than the sum of itself. One is not a number, according to the above definition, it is god, generator of numbers. Two is also not a number, because both the product and the sum are equal to each other, that is, it is a coexisting god, a second generator of numbers. The numbers start with three because 3 X 3 = 9 an

The Tetraktys is the Essence of Teaching and the Sacred Symbol of the Pythagoreans. It consists of the first ten numbers (1-10) arranged in four rows (one in the first row, two in the second, three in the third and four in the fourth row) as shown in the picture. Tetraktyn was called “Tetradas” which in Pythagorean Philosophy is the essence and meaning of the number four. Tetraktys is the fourth “triangular number” thus showing another view of the relationship of Tetrad and Tetraktyos. In any case, we should not forget the relation of Tetraktys with “Ten”. From this the Tetraktys is mentioned according to Iamblichus with the prepositional names: Cosmos (decoration, ornament), Pan (the god Panas – Pan = All), Uranus, Atlas, Key, Aion, Memory, Gnomon, Eimarmene, Kratos, Phanis, Helios, Pythmen et al. By studying the concepts of numbers found in the Tetractyn and their relationships, the Pythagoreans argue that one reaches the attainment of wisdom.
The main relationship of Tetrad and Tetraktyos can also be seen from the famous relationship of the first four numbers with the ten they produce when added (1+2+3+4=10). From these first four numbers (1, 2, 3 & 4), it is possible to construct the ratios: “by four” (4:3, fourth), “by five” (3:2, fifth), “by all ” (2:1, Octave), which attribute to music the mentioned harmonic musical intervals which Pythagoras was the first to precisely determine with numerical reasons. These proportions create Harmony, which for the Pythagoreans has a literally cosmic meaning (hence its name “Cosmos”). The Pythagoreans used the Tetraktyn to swear, even invoking Pythagoras as a god, as can be seen from the “Golden Epics” where it is stated:
“Yes, with the immortal soul, delivered four times
always of a permanent nature.”
(yes, but the one who delivered to our soul the tetractyn,
which is the source of eternal nature.)
Numbers are related to geometric shapes. Thus the unit is related to the point, the dyad to the line, the triad to the triangle, and the tetrad or tetraktys to the tetrahedron (or triangular pyramid), the first geometric solid. Its symbol was considered the square which was also the symbol of the divine and perfection.[5]. Also wisdom was considered to be acquired from the four esoteric sciences for the Pythagoreans of arithmetic, music, geometry and astronomy. It is a symbol of God Apollo and the Pythagoreans connect the Tetraktyn with the Oracle of Delphi, as seen in the important “hearing” about existence mentioned by Iamblichus[6]: “what is the Oracle in Delphi? Tetraktys” (what is the Oracle of Delphi? Tetraktys).

There is another Tetraktys, as mentioned in Plato’s Timaeus, which is called a double Tetraktys and consists of eight lines created by the first eight numbers (1, 2, 3, 4, 5, 6, 7, which in total give a total of 36 (1+2+3+4+5+6+7+8=36). From another point of view this Quadrilateral is created, and thus connected to the regular Quadrilateral Quadrilateral, by the sum of the first four odd numbers and of the first four integers: (1+3+5+7)+(2+4+6+8)=36 as mentioned by Plutarch in “On Isis and Osiris”.

GOLDEN RATIO Φ ON THE PYTHAGORIAN SYMBOL

PARTHENON WAS BUILT on the PRNICIPLES of PYTHAGORAS

The FIRST FLYING MASCHINE was BUILT by the GREEK PYTHAGOEIAN PHILOSOPHER ARCHYTAS in TARANTO(CORINTHIAN COLONY) SOUTHERN ITALY.

For the Pythagoreans, a politician was the person who, after having been taught philosophy, returned to the world to be useful to others.
He is not interested in positions and powers but in the improvement of society.
The one who chose to become a politician could not pass to the stage of a mathematician, that is, one who can deliver lessons and teach.
Those who could had the advantage of living near Pythagoras.
Friendship and companionship were of the highest importance for the Pythagoreans and they considered that universal love was reflected in these two elements.
They were bound by an oath of secrecy over the higher teaching, the ceremonies and the sacred symbols.
Pythagoras offered mankind a universal “successful experiment” for this and later Plato would call education with music and gymnastics!!!!

ONE OF THE BASIC PYTHAGORIAN GROUNDS FOR: ARCHITECTURE, GEOMETRY, MUSIC, STEREOMETRY, ASTRONOMY, HARMONY AND PHILOSOPPHY

WHAT DID PYTHAGORAS SAYABOUT WOMAN=ΓΥΝΗ/GYNE

“WOMAN is WORTHY OF HONOR ON EARTH=ΓΕΑ-(“ΓΑIA”)/GAIA AND HEAVEN=ΟΥΡΑΝΟΣ/URANUS!..THIS ENABLES us to REALIZE and UNDERSTAND the OMNIPOTENCE of MOTHER NATURE=ΦΥΣΙΣ/PHYSIS.

THIS IS THE SANCTIFIED IMAGE OF NATURE AND ENABLES US TO ASCEND GRADUALLY TOWARDS THE SOUL=ΨΥΧΗ/PSYCHE OF THE WORLD=ΚΟΣΜΟΣ/COSMOS, WHICH GIVES BIRTH, SUSTAINS, RENOVATES and TRANSPORTS the WORLD of SOULS INTO the FIELD of LIGHT=ΦΩΤΟΣ(ΦΩΣ)/PHOTOS/(FOS)

Pythagorean music clinic
The Pythagoreans used medicine for the purification of the body, and music for the of the soul.
“the Pythagoreans purified the body through medicine, and the soul through music”.
The frequency A=432 Hz, known as Verdi ‘A’ is an alternative resonance that is mathematically consistent with the universe. 432 Hz based music emits beneficial healing energy because it is a pure sound of the fundamental mathematics of nature.
[But, ISO certified 440 Hertz
The majority of world music is set to 440 hertz by the International Organization for Standardization (ISO), which adopted it in 1953. Recent re-discoveries of the pulsating/oscillating nature of the Universe show that the standard of modern concerts internationally can create a morbid action or anti-social behavior in people’s consciousness].
Music therapy is the application of music and its use, as a therapeutic tool, through various methods and techniques in order to improve and maintain mental, spiritual and physical health.
Sounds were a kind of creative energy. Vibrations, frequencies, periodicity and rhythmic patterns were and are considered the generative cause of all manifestations and forms of matter (energy).
In ancient Greece, who doesn’t remember the god Apollo with his lyre, Orpheus, Pythagoras and Asclepius who healed the soul and body with sounds and music? It was widely believed that diseases could be cured by the use of repetitive sounds.
Pythagoras believed that the stars and planets produce sounds which the human ear cannot perceive because they are imperfect. Nevertheless, they have the ability to influence the mental state of man. If the balance of the soul is disturbed, it can be restored with the help of music, since the universe, music and the psyche follow similar harmonious principles. In this way, global harmony is also restored.
Music in Ancient Greece
In Ancient Greece, Music was completely intertwined with the everyday life of all people, and as a complex artistic and spiritual expression it had a special place in all the manifestations of personal and social life. Music, Song and Orchesis (usually interrelated) were the most characteristic manifestations of civilized society and key factors – but also indicators – of well-being.
From the archaic times, Music began to acquire an increasingly complex character and role, culminating in the creation of Music Games in many cities. The earliest such recorded Games are the “Carnea” in Ancient Sparta, a city where Music in general held a prominent place and was inextricably linked to the education of the young.
Athens literally shone after the 6th century when Music now played a leading role in the city’s two major Festivals, the Great Panathenaia and the Great Dionysia.

Excerpt from the under-published book “Pythagoras … Secret Teaching & Modern Science”.

the sources of the ancient passages are mentioned on the relevant pages of the book.

Α Ρ Ι Θ Μ Ο Σ Ο Φ Ι Α.= ARITHMOSOPHIA = A R I T H M I C – W I S D O M

NUMEROWISDOM….Pythagoras’ numerology will be understandable to those who can decipher the numerical symbols. But they must first enter the hidden mysteries of the Mind. They must learn to reflect.. They must find their soul and have a dialogue with it. man quickly in contact with the inner region of our dimension, they will learn in a few words the fellow man, not only to think and study, but also to concentrate in his inner region, in his Mind and then in his eternal soul..Then amazed he will see that the Essence speaks with him and reveals to him the eternal point, from which everything flows and everything is made… The vibrations of the invisible worlds arrive unnoticed and unknown in the region of our dimension… But we can capture them, using our superconsciousness ..This superconsciousness works only with concentration and stimulation of the Mind, on the Metaphysical – internal issues and especially on the symbolic numbers..The sacred symbolic first four numbers, from one to four, point us to descending path, the path of Pythagoras’ numerology..1+2+3+4=10….10=1+0=1=Unit..But the Unit is the generator of the numbers in their ascending and descending performance..They come out of the One from the Unit itself..In this way the Eternal Source extracts the multiplicity and pours it into the chaotic region of the as yet non-existent Spirit of energy activity..All lies in the Mind He will achieve the perfect conception of the vibration of Of essence, the spirit of energism that vibrates dissimilarly from its other sister vibrations, to impress, to print another internal womb, which will give birth in the Mind to the true mold of a thought or a thing or a phenomenon, an event or any matrix for its world form…Pythagoras the Great ..

ΤEΤΡΑΚΤΥΣ/TETRAKTYS (QUADRANT) 1=1

3=1+2

6=1+2+3

10=1+2+3+4

15=1+2+3+4+5

21=1+2+3+4+5+6

28=1+2+3+4+5+6+7

It is completely inconceivable that the Pythagorean Tetraktys can be placed in anything other than the Pythagorean 1-1- Φ triangle and not in the disproportionate and disharmonious equilateral triangle as is usually known. If it is extended to the pentacle, further analogies become visible with respect to the Tetraktys, i.e. 1- 1/φ becomes 1 in 1/φ which becomes φ with respect to the four elements and the Aether (Soul of All).
This, as well as the ‘mysterious’ nature of the 5th Platonic solid, the dodecahedron, is a part of the ‘unwritten knowledge’ about which Plato does not speak directly because the Pythagoreans (including Plato) considered it sacrilege to discuss with the impious and the uninitiated, that is, the common mass of people.
Source: Apollonius – Ariadne.

THE QUADRANT(=TETRAKTYS) IS THE IDEAL INSTRUMENT FOR AUTOMATICALLY RECORDING THE VIBRATIONS OF ACTIONS TAKEN ANYWHERE IN THE WORLD …

THE HUMAN MIND WITH ITS THREE
STATES:

CONSCIOUSNESS SUBCONSCIOUSNESS AND SUPERCONSCIOUSNESS.

WHEN HE RAISES ABOVE THESE AND CONNECTS WITH HIS INTELLECT, THEN HE IS CORRECTLY IN HIS FOUR-DIMENSIONAL AREA WHERE THE QUADRATIC WORKS…

IN THIS AREA THE CAUSES OF THE EVENTS THAT WILL OCCUR IN OUR WORLD BECOME…

WE ARE IN FRONT OF THE FOUR STAGES OF CAUSE AND EFFECT…

1: LOWER MENTAL WORLD OF THE 11TH DIMENSION….

2: ASTRAL WORLD OR THE TWELFTH DIMENSION..

3: ETHERICAL WORLD OR THE 4)7 OF OUR ETHERICOPHYSICAL OR THE THIRTEENTH DIMENSION…

4: PHYSICAL WORLD OR THE 3)7 OF THE ETHERICOPHYSICAL THE LOWER OR A PART OF THE THIRTEENTH DIMENSION…

THE FIRST THREE DIFFERENT AREAS ARE THE AREA OF THE CAUSES OF ALL..

THE FOURTH AREA OR PHYSICAL IS THE PART OF THE APPLICATION OR THE RESULT OF ALL THE CAUSES THAT TAKE PLACE IN THE FIRST THREE MENTIONED AREAS…

IN THESE WORLDS THE FOURTH AND IN THESE WORLDS HE COLLECTS THE ELEMENTS WITH WHICH HE KNOWS THE BEGINNING AND THE END OF THE PHENOMENA OF OUR NATURAL WORLD….

PYTHAGORAS.

THE OPENING OF THE UNIVERSE SIMULTANEOUSLY REDUCES THE SQUARE THAT IT TAKES WITHIN IT WITH THE HELP OF THE NUMBER 3 THE 300,000 KILOMETERS THE SPEED OF LIGHT IN THE SECOND WHICH IS THE CREATED SPACE-TIME SPACE THAT IS ALWAYS 3×3=9 IE LOCATION/TIME/MASS GIVES THE EXTENSION TO EACH THE SECOND THAT THE EXPANDING UNIVERSE TAKES..THE NINED SYSTEM IS THE ULTIMATE MEASUREMENT OF INNER AND OUTER WORLDS..THE SQUARE BESIDES ITS OUTER MEASUREMENT FOR THE OPENINGS OF THE UNIVERSE MEASURES AT THE SAME TIME T THE INNER DIMENSIONS OF CREATION..IT’S QUARTER CIRCLE THE NUMBER NINE IS PRESENTED CONTINUOUSLY AND UNINTERRUPTEDLY TO REMIND US OF THE QUARTER OF THE COUNT.360:4=90=9+0=9.4×90=360….THE END OF DAYS IS ABOVE THE PROPORTION AND PROPORTION OF THE TWO COMPONENTS OF (2×4=8)=8+1=9.. THIS BECOMES THEIR HEAD AND IS CALLED IN OUR WORLD THE ULTIMATE SOVEREIGNTY OF THE NUMBER 9….

Mon 2:59 PM

THE PYTHAGOREAN UNIT

THE GREAT THEOREM THAT IS EQUAL TO TRUTH. 0+oo=1 zero plus INFINITY equals unity..

The esoteric tradition tells us that Aristotle’s students Dicaearchos and Aristoxenos wrote in their books that Pythagoras represented Creation with this equation of his (0+oo=1).

We also learn that Euclidean Geometry contained between Pythagorean mathematics and this Pythagorean formulation of Creation.

The essence of all beings is Number and tone.

The unit is eternal and unborn.

Pythagoras often said this by saying “that which is not genesis”.

The eternal and unborn Unity, i.e. the ONE, contains within itself everything.

Both the even and the odd..

PYTHAGORAS..

NUMBER 9(NINE) IS THE MASTER ONE!
MULTIPLICATED BY ANY NUMBERS GIVES 9(NINE)!!

3×1=3 3×2=6
6×1=6 6×2=12/2+1=3
9×1=9 9×2=18/1+8=9
************************
3×3=9
6×3=18/1+8=9
9×3=27/2+7=9
************************
3×4=12/1+2=3
6×4=24/2+4=6
9×4=36/3+6=9
************************
3×5=15/1+5=6
6×5=30/3+0=3
9×5=45/4+5=9
************************
3×6=18/1+8=9
6×6=36/3+6=9
9×6=54/5+4=9
************************
3×7=21/2+1=3
6×7=42/4+2=6
9×7=63/6+3=9
************************
3×8=42/2+4=6
6×8=48/4+8=12/1+2=3
9×8=72/7+2=9
************************
3×9=27/2+7=9
6×9=54/5+4=9
9×9=81/8+1=9

By: Δημητρης Παππαδεας: ZEUS =609=15=6…ZEUS=612 =9 …IEUS=615=12=3 …THE THREE CODIFIED NAMES OF CREATION …BY SERIAL ARITHMETIC LEXARITHMIC.

ZΕΥΣ =609=15=6…ΖΕΥΣ=612 =9 …ΙΕΥΣ=615=12=3 …ΤΑ ΤΡΙΑ ΚΩΔΙΚΟΠΟΙΗΜΕΝΑ ΟΝΟΜΑ ΤΗΣ ΔΗΜΙΟΥΡΓΙΑΣ …ΚΑΤΑ ΣΕΙΡΙΑΚΗ ΑΡΙΘΜΟΣΟΦΙΚΗ ΛΕΞΑΡΙΘΜΙΚΗ.

**********************************************************************************

An extremely important property of π is that it can be characterized through its role as the best constant in the isoperimeter inequality: the region A enclosed by a flat Jordan curve of perimeter P satisfies the inequality 4πA <= P^2 and the equality is clearly achieved for the circle, since in this case A = πr^2 and P = 2πr Thus the circle is the shape that encloses the largest possible area with the smallest possible perimeter.

tThe acoustics in the ancient theater of EPIDAVRUS have the curious thing, that as the Greek is clearly heard there, other languages cannot be heard, there is some kind of coordination of the sound, the Mathematical Greek language, the space and the acoustics, and this is because the Greek language is a musical language. (the relationship between musical harmony and mathematics and mathematics and the harmony of the universe is well known, just as it is also known that in ancient Greece music, arithmetic, geometry and astronomy were sister sciences)

Its orchestra is a perfect circle, while its cavity is part of a sphere. 34 rows of seats in the lower section and 21 in the upper give the number 55 (ЭЄ). The sum of the first 10 numbers (1+2+3+4+5+6+7+8+9+10) gives 55 (ЭЄ), the sum of the first 6 (1+2+3+4+5+6 ) gives 21 and the sum of the last 4 (7+8+9+10) gives 34.

The golden number Φ makes its appearance since the ratio of the rows of the two diazoms 21/34=0.618=Φ, but also the ratio of the lower diazom to the total of the rows 34/55=0.618=Φ6

The Steam-Powered Pigeon of Archytas – The Flying Machine of AntiquityArchytas was an ancient Greek philosopher, who was born in 428 BC in Tarentum, Magna Graecia, now southern Italy. In addition to being a philosopher, Archytas was also a mathematician, astronomer, statesman, and a strategist, best remembered for inventing what is believed to be the first-ever self-propelled flying device known as the Flying Pigeon.

became a Pythagorean, fascinated by arithmetic, mathematics and geometry. Raphael’s fresco, The School of Athens, shows Pythagoras as a young man. ( Public domain )

Explaining the World Through Mathematics

When Archytas was young, he was taught by Philolaus. Over time he became a Pythagorean, believing that only arithmetic could provide a basis for satisfactory proofs, and that this could not be accomplished via geometry. He even taught mathematics to Eudoxus of Cnidus and Menaechmus.

Pythagoras: A Life Beyond Math and Science

Socrates: The Father of Western Philosophy

To Archytas, everything revolved around and could be explained by mathematics. He viewed mathematics as being broken into four branches: geometry, arithmetic, astronomy and music. In a preface to one of his writings (identified by some as “On Mathematics” and others as “On Harmonics”), Archytas wrote

MUSIC IS MATH. The World is EXPRESSED by MATHEMATICS and interpreted by MATHEMATICS.
PYTHAGORAS had said the following quote:
“What nature creates,
they constitute music that was solidified” In the photo below we see in the upper part of it a graph with the order of the HARMONIC notes, and in the lower part
the X-RAY from the shell of a snail.
*The MOST important things are NOT taught… always….

Stream Golden Record: Music of The Spheres by NASA | Listen online for free on SoundCloud

Periktioni – natural philosopher was a student of Pythagoras 569 – 474 BC. and she probably taught at his school..Two of her works have survived to this day and are attributed to her: “Wisdom” and “The Harmony of Woman”!!!

ΕΛΙΞ = “ELIX” 3rd Grammatical declension/here: Nominativus form

Lecture 13: Greek Astronomy — https://euphoriatric.com/apollo-nine-muses-alexandros/

Φ
WHEN WITH ART AND SCIENCE, ANCIENT GREECE TOUCHES THE DIVINE GOLDEN SECTION
The Golden Ratio F or Golden Section Φ or the Golden Rule Φ or Divine Ratio is defined as the quotient of the positive numbers when in force, which is approximately equal to 1,618.
It gives harmonious proportions and for this reason it has been used in architecture and painting, both in Ancient Greece and during the Renaissance.
The golden section was introduced and calculated by Pythagoras (-585 to -500) who was born in Samos, and founded a very important philosophical school in CROTON of MAGNA GRAECIA (Lower Italy).The golden section is symbolized by the letter Φ in honor of PHOS(=LIGHT) & PHEIDIAS, perhaps the most famous sculptor of Greek Antiquity, and the most important of the classical period. The golden word was known to the PYTHAGORIANS.In their secret symbol, the pentacle, the golden word appears on the sides of the star. Many works of the classical era, such as the PARTHENON, and the Renaissance, such as paintings by Leonardo Da VINCI, were created based on the golden word.Even today it is used to attribute harmony to works, or to plastic surgery to beautify the human face. If people choose the Golden Section for aesthetic reasons, what can we say about nature, which chooses the logarithmic spiral to “construct” a multitude of structures? Scientists have been surprised to find that the logarithmic spiral appears in the shapes of physical objects with completely different properties. On a smaller scale it appears in the shells of many marine organisms, such as nautilus. In the intermediate scale it appears in the shape of cyclones, as typically reflected in the photos of meteorological satellites.Finally, on the largest possible scale, it appears in the shape of spiral galaxies, huge formations of hundreds of billions of stars, which we can enjoy in the photographs of modern telescopes.What is the deepest reason why a number, constructed on the basis of an abstract mathematical property, has such important applications in nature, and in fact in such different systems? Shells, cyclones and galaxies have nothing in common and are governed by completely different laws of nature.

PYTHAGORAS: )The HELIX of PYTHAGORAS “ΑΓΕΩΜΕΤΡΗΤΟΣ ΜΗΔΕΙΣ ΕΙΣΙΤΩ”AGEOMETRITOS MEDEIS EISITO NO ONE IGNORANT OF GEOMETRY MAY ENTER “.The inscription on the outer door of the PLATONIC Academy…!

– Oh GODDESS GEOMETRY! Oh GREAT GODDESS of the ANCIENT GREEK MYSTERIES SCIENCE! After so many centuries, you are remembered and admired and honored! Foundation, you, of every HOLY ceremony. YOU, OH GODDESS you are the regulator of all SANCRAMENTAL ORDER. Reflection, you, of all the gods of activity. Bearing, you, ruler, of all divine liturgical reflection on the highest evolutionary level of mortals, on the most DIVINE horizon of the Mysteries“.“AGEOMETRITOS MEDEIS EISITO ” inscribed, commanding, the MYSTERY LAW of PLATO’s ACADEMY . Did this scholar understand what is being understood academically today? Of course not ! According to the age-old unwritten Mystery Law, the highest perceived level is to be sought by the power of consciousness. Searchable, therefore, the possible conscious interpretation of the concept “geometry”. After achieving, as far as possible, the definition of the concept “GEOMETRY, the negative version, through the ETHERIC ALPHA, as the adjective “NO- GEOMETRIC” can PLATONIC Mysterious scheme . However, through such an approach to the level in which the concept of the “GEOMETER” operates, a particularity emerges, a sought-after particularity, introduced by the future, almost prohibitive. Indeed, as will be seen below, the sought-after particularity of “non-geometric” leads to dead ends for the most part. How can it be expected that the imported one is at the top level “non-geometric”? All this is clarified by a rather successful deterministic interpretation of the term ancient GREEK MYSTERY SCIENCE since the goddess of the ancient Greeks, MYSTAGOGIA sought the transformation of the ETHERS of the SYNDETIC LOGOS of the SOUL and human organism into a Spiritual Organization. So, the “earth”, as a symbolic counterpart of the soul, was the main concern of the Mysteries of PLATO’s ACADEMY. Here, a thin horizon is visible, which, in a hidden way, exists within the symbol “earth”. Perhaps, this horizon is two-fold. Specifically, as the first level of the horizon of this hidden to recognize the co-existence of the Syndicate Logo after the concept “earth” within the ADJECTIVE “GEOMETRTOS”. As a second level, the coexistence after the term “earth” of both the Syndicated Logo and the ether of the ETHERIC psychic medium is recognized. The justified HORIZONS i.e. on the one hand of the Connectional Logos, and on the other of the ether of the ETHERIC psychic interspace, is connected with the deepening of the synergy of the ETHERIC Laws with these two ether. The Laws of the ether are called “measures”. So the scholar ” AGEOMETRITOS MEDEIS EISITO ” refers to those who do NOT carry ETHERIC measures within the two ETHERS of the “earth”, i.e. within the ether of the ETHERIC psychic interspace, as well as within the ether of the Connective Word. It is understood, from the above, that this prohibition of Plato’s Academy, carried out at the previously described levels, determines the minimum number admitted to the Academy. In order not to discount the level of these ETHERIC specifications, the fulfillment of these special conditions refers to corresponding ETHERIC legal achievements of prior lives. Therefore, the Academy welcomes souls with a Mysterious pre-history, so that this previous education fulfills the requested and required conditions of the existence of established etheric measures within these two, according to the above, ETHERIC systems of the material psychic individual. A first rather unique certainty is that these two ETHERIC systems of the soul underwent the necessary Mystical training in previous lives, so that the establishment and by extension the manifestation of the ETHERIC measures within the two ETHERIC systems of the SOUL is VISIBLE

The cosmic plan of Creation HELLENIC CIVILIZATION/^^The ancient Greeks even put the universe in order. They said that the Universe is an indivisible whole and everything in it is interrelated and interacts with each other. Within the world (universe) there is a Universal Law of Physics, with individual laws, which contribute to the cosmic balance. Leucippus, Democritus, Epicurus, Heraclitus, etc. did not accept that God is the creator of the Universe and stated that the Microcosm and the Macrocosm are one and the same

THE G E O M E T R I C O R D E R OF THE UNIVERSE (=Η ΓΕΩΜΕΤΡΙΚΗ ΤΑΞΗ ΤΟΥ ΣΥΜΠΑΝΤΟΣ)

The ancient Greeks had beliefs related to the mathematical-geometrical structure of the universe, which was often understood as the “world soul” or “cosmic soul”. This idea was particularly evident in the Pythagoreans and later in the Neoplatonists.

Pythagoras and his followers believed that the world was governed by mathematical principles and that these principles were inherent in the structure of reality. They saw numbers and geometric shapes as fundamental elements that supported the universe, with the world reflecting divine order and harmony. The concept of “harmony of the spheres,” attributed to Pythagoras, exemplifies this belief, suggesting that the movements of the heavenly bodies create a celestial music based on mathematical proportions.

Neoplatonism, which emerged later, developed these ideas further. Forms such as Plato and Plotinus proposed a hierarchical structure of existence, with the One or Good as the ultimate source of reality, emanating successive levels of existence, including the universal soul. This universal soul was often depicted as a cosmic intellect or animating principle, intricately connected to the mathematical and geometrical order of the universe.

P Y T H A G O R I A N C O S M O L O G Y ACCEPTS:

A) EROS GRAVITY) and ERIN ENTROPY) , As the two opposite components that maintain the balance of the Universe.Gravity tends to attract things and create structures of Physics, while Entropy tries to bring the systems of Nature into a state of disorder and to divide them.The balance between gravity and entropy determines the structure of all the stars.Therefore the victories of each over the other are temporary and never final.So everything changes in space-time according to the HERACLETOS of EPHESOS saying “TA PANTA REI”.After the imposition of dogmatic cosmopolitan religions in the 3rd century, the worldview of the uncle and Nature was divided and the world believed in superstitions.Then theology followed its own dogmatic path and science its own with a deviant course.

B) THE “ΑΠΕΙΡΟN”/A P E I R O N(=I N F I N I T Y) OF ANAXIMANDROS

(The word pentagram comes from the Greek word πεντάγραμμον (pentagrammon),from πέντε (pente), “five” + γραμμή (grammē), “line”.Pentagram refers to just the star and pentacle refers to the star within the circle specifically although these are often referred to as the same.^[The word pentalpha is a a post-classical Greek name of the shape.)^[

NATURE, UNIVERSE, ARCHITECTURE, MATHEMATICS, GEOMETRY, PHILOSOPHY, ,SCIENCE & THE COSMIC PRINCIPE OF the GOLDEN Φ

THE “EQUILATERAL PENTALPHA”, THE “GOLDEN SECTION Φ” AND THE PENTAL SIDE DODECHADER, AS A TOOL OF NATURE AND TIME MEASUREMENT NUMBERS, ARE APPEARING.
The philosophical students of PYTHAGORAS as we wrote above, but also Euclid studied the PENTALPHA of the built ACHAEAN Greeks and found the 72΄ degree angle at the crosses (angle of the top pyramids), the 108΄ degree angle (108/2 sides = 54m -horizontal, earth), which PENTALPHA drew in the ratio of division of all its isosceles, the “golden section”.
Later, the golden section was used by PHEIDIAS and from its initial letter and in honor of “the golden section” of the ACHAEAN Greek builders with PENTALPHA, it was named with the letter “F” internationally. PHEIDIAS, guided by the “golden section” of the Achaean Greek builders of PENTALPHAA, built the PARTHENON and made its roof with the angle of 108 degrees of PENTALPHA, as well as the “treasure of the Athenians” in DELPHI with the same angle of 108 In addition, PENTALPHA, the sacred shape of PYTHAGORAS, with the union of its vertices from five straight lines, made the EQUAL PENTAGON, which as a polyhedron makes the TWELVE of the Gods, of the ancient Greeks as the greatest perfection. When the same number of side corners is found in the corners of the POLYEDRA, then it was called by the Achaean Greeks “HOLY SHAPES of PYTHAGORAS” and they contain in them, all the numbers that are related to time, matter, life, and its laws. These are only five. Later the Christians called them “Platonic” because they did not like PYTHAGORAS teaching “Reincarnation and Reincarnation to relatives” and called them “cosmic, universe, celestial” or “Archimedes”.
PENTALEFER (PENTAGRAM) – TWELVE (gods) the “12 MONTHS (twelve sides)” & the “30 DAYS of the month (30 peaks of a DODECAHEDRON)” come out.
The “YEAR of the ACHEAN Greeks (12 months for 30 days each month of the ancient Greeks, plus the feasts of FIRE which were 5 days and each Olympics 6 days = 365 or 366 days) the 12 HOURS of day (12 seats) and night ( 12 seats) and as a binary polyhedron the 24 HOURS per day.
AFTER come out minutes (5 sides for 12 seats equal to 60 minutes). the seconds (5 sides for 12 seats equal to 60΄ minutes on themselves 3600΄΄, where they give us in tens, the degrees of the Circle 360,0΄ and AGAIN. the “three dimensions of materials (meeting of three sides at each vertex) The “20 amino acids (angles)” that produce life (plants and animals). In addition, the equilateral PENTALE (pentacle) – DODECALE (of gods), is in a BINAL SYSTEM with the equilateral ICOSIHEDRON, while the equilateral HEXAHEDRON is in a binary system with the equilateral equilateral with the equilateral OCTAHEDRON

THE H I E R A R H Y OF S O U N D, M U S I C & E N E R G Y/ (ANCIENT TUNING SYSTEMS:

INTONATION and PYTHAGORIAN TUNING SYSTEMS The HIERARHY of SOUND, MUSIC and ENERGY .There are 4 PRIMARY levels of energy in the universe when looking at it all from a frequency or vibration level. As we go down the list each aspect becomes more and more powerful. Frequencies – Many people these days are now focused on pure frequency. Pure frequency manifests in the world through Tuning Forks, Tone Generators, Flutes (not completely pure), Crystal Bowls (also not completely pure), Concert Pitch and Tuning Systems. You can also think of cells, atoms, and the elements as pure frequencies.There are many pure frequencies that have been shown to create very specific effects on us physically, mentally, emotionally and spiritually. For example, 45 hertz has been proven to regenerate bones. Many use 136.102 hertz as the “OM” frequency in gongs and tuning forks because it is a frequency based on the rotation of the Earth around the the Sun. Mentally, our brain vibrates at specific frequencies of delta, theta, alpha and gamma, and we can use these frequencies to ENTRAIN our brain into these brainwave states. There are also some general frequencies that seem to correspond to higher emotional states such as gratitude, compassion, love and joy. Then there are frequencies that can open our heart or lead us into a direct connection with our Soul, Spirit, and Source. At the Institute (and online) we find the frequency of your Soul. Source is all frequencies in the Universe.Concert Pitch is the core frequency that an orchestra or all of the instruments in a group tune to. Many people have jumped on the band wagon of tuning concert pitch to auspicious frequencies such as 432 hertz or 528 hertz. This is cool and effective, but not nearly as effective as when these frequencies are played by themselves – as with tone generators or tuning forks. However, listening to frequencies by themselves can be quite annoying to many people. (Also, it has now become clear that the science behind the 528 hertz phenomena is a bit shady – the actual research project does not exist). A Tuning System is the particular frequency of each of the 12 notes within an octave. ANCIENT TUNING SYSTEMSs such as Just INTONATION and PYTHAGORIAN tuning systems are based on the natural harmonics found throughout nature. Equal Tempered tuning (which is what most of our music is tuned to) has no relationship to anything in the natural world. Therefore, tuning systems are actually quite a bit more important that Concert Pitch.Via sound research institute

Ξυλόφωνο=Xylophone

Πυθαγόρας και «Μουσική ἰατρεία» Pythagoras and “Musical Medicine” «Μουσική ἰατρεία»

Pythagoras, and the Pythagoreans, believed that listening to certain melodies calms the emotions and the mind and is therapeutic.

And when this is accomplished, the inner vitality of the body is restored and healing begins. They believed that music contributes the most to health, and if one uses it in the right ways the treatment is complete.

Pythagoras, “psychogenically” thinking, applied combinations of some diatonic, chromatic and harmonic scales, with which he easily turned into opposites the passions of the soul that had recently been created, and were born without any logic, and guided them, transforming sorrows and rages, unreasonable pity and envy and fear, all kinds of desires and strong passions, appetites and softnesses and indolences and violences, each of these passions in virtue, with the proper melodies, as if they were some salutary combinations of medicines. But in order to heal man must be treated as a whole, a single organism. Treating only one part of this whole is not only not a real cure, it can actually delay it (Block).

Melody and rhythm can help restore balance and harmony to the soul. When balance is restored to the soul, the body regains its health. He believed and taught, that there are suitable paeans and correct rhythms, which can lead to healing, but also to maintaining health, speaking of “Musical medicine”.

Iamblichus, in “about Pythagorean life” states that:

PYTHAGORAS used to make use of this purification (purification) with seriousness and indeed for this reason he called it “Musical medicine” (that is, “healing through music”) and indulged in this purgative melody during the spring.

So he had someone sit in the middle who played the lyre

and around sat those who could sing.

So, with him playing the lyre, they sang paeans,

through which they felt they were enjoying themselves

and they were getting good at singing and rhythm.

They even used music to restore health during the rest of the year.

Iamblichus also writes that:

The plan, therefore, of the school of Pythagoras was based on “allopathy”, a method of treating diseases by the use of agents that bring about symptoms other than those of the disease itself. Music does not intensify an emotional state that disturbs and sickens, but, on the contrary, stops it and harmonizes it.

This great philosopher did not admit the illusory, temporary pleasure dear to the people, but that which is lasting, modest and free from all deceit.

He said that there are two categories of pleasures, the one that yields to the demands of the belly and likened it, because of its tenderness, to the homicidal odes of the Sirens, and the other that refers to the good and just of the necessities of life and which is also pleasant in the present and in the future for sure. The second he likened to the harmonious odes of the Muses and only this he admitted. This view decisively influenced Plato as well, who mentions in Timaeus:

circumambulations of our soul (a similar course to that of the soul in our body), is presented to him, who associates with the Muses wisely, and not for their mere and frivolous amusement, but to restore order and harmony to the soul, when slips out of its orbit.

Pythagoras recommended that one pay attention to two moments of one’s daily life, when one goes to sleep and when one gets up from sleep. Iamblichus and Claudius Ptolemy (100-178 AD) point out that: And when at night his interlocutors went to bed, he freed them from the cares and noises of the day and cleared their clouded minds, with some odes and some peculiar musical members, endeavoring to make the sleep of these people not only quiet and with good dreams, but even prophetic.

When they rise again at dawn, relieve them from their nocturnal torpor, relaxation, and indolence with some quaint songs and melodies of simple composition, soothing, chants of different musical modes from the evening ones—sometimes again, tunes without words—so that the tumult of their soul, created by awakening, to be transformed into a clean and orderly state, into an organized meekness, properly attuning their souls to the activities of the day.

Music in ancient civilizations was more than just a pleasure to the ear. It was the algebra of metaphysical theories, knowledge which was given only to initiates, but whose principles, through the collective unconscious, nourished, influenced and educated the broad masses. This made it a powerful instrument of moral education.

Ethnoplastic and psychotherapeutic properties of music

PYTHAGORAS goes on to recognize the uniqueness of music as an educational and therapeutic medium, underlining in this way, its unlimited cultural and psychotherapeutic properties. Thus, the concepts of purification and ecstasy, achieved through the musical coordination of body and soul, are gradually introduced. And he offered humanity a “successful experiment”, what Plato would later call: education with GYMNASTICS and MUSIC.

His biographers note that PYTHAGORAS considered the lyre to be a suitable educational tool, capable of healing mental passions and leading to wisdom.

/AΠΟΛΛΩΝ

APOLLO was the leader of the MUSES

Initially these deities were nymphs of the mountain and the waters.

HESIOD in THEOGONY narrates:

MNIMOSYNE slept in PIERIA with KRONO’s son ZEUS and gave birth to these virgins,that make us forget our sufferings and alleviate our pain.

Nine nights in a row by the wise ZEUS going up to his sacred bed, slept next to the MNEMOSYNE,away from all the immortals.

Muses are the source of inspiration

For every mental activity

and in many places they were worshiped with special honors,

while there is an ORPHIC HYMN of the MUSES.

PLATO in his ACADEMY had an altar dedicated to the MUSES, while HOMEROS invokes MUSA CALLIOPE, as his source of inspiration, when writing his epics.

The same is found in the works of Hesiod, but also to all the great creators of antiquity. It has not remained until today,the term muse is used frequentlyto show that someone inspires an artist,a creator ……..

The common idea is that music is made up of sounds makes it difficult to understand because it is not always true that the sound “makes” music (what is music for someone may not be for others). To make the sound create music is necessary that those who perceive it, take satisfaction from it. This satisfaction can be physical or mental, real or fantastic.

ONCE AGAIN!: Φ WHEN WITH ART AND SCIENCE, ANCIENT GREECE TOUCHES THE DIVINE GOLDEN SECTION

The Golden Ratio or Golden Section Φ or the Golden Rule Φ or Divine Ratio is defined as the quotient of the positive numbers when in force, which is approximately equal to 1,618. It gives harmonious proportions and for this reason it has been used in architecture and painting, both in Ancient Greece and during the Renaissance.The golden section was introduced and calculated by Pythagoras (-585 to -500) who was born in Samos, and founded a very important philosophical school in CROTON of MAGNA GRAECIA (Lower Italy).

The golden section is symbolized by the letter Φ in honor of PHEIDIAS, perhaps the most famous sculptor of Greek Antiquity, and the most important of the classical period. The golden word was known to the Pythagoreans.

In their secret symbol, the pentacle, the golden word appears on the sides of the star.

Many works of the classical era, such as the Parthenon, and the Renaissance, such as paintings by Leonardo da Vinci, were created based on the golden word.

Even today it is used to attribute harmony to works, or to plastic surgery to beautify the human face.

If people choose the Golden Section for aesthetic reasons, what can we say about nature, which chooses the logarithmic spiral to “construct” a multitude of structures?

Scientists have been surprised to find that the logarithmic spiral appears in the shapes of physical objects with completely different properties.

On a smaller scale it appears in the shells of many marine organisms, such as nautilus.

In the intermediate scale it appears in the shape of cyclones, as typically reflected in the photos of meteorological satellites.

All reactions:

EAR ARCHITECTURE, TURNS VIBRATIONS INTO SOUND, THUS APPROVING, ONCE AGAIN, ONE of the PYTHAGOREIAN PRINCIPLES ARCHITECTURE, TURNS VIBRATIONS INTO SOUND, THUS APPROVING, ONCE AGAIN, ONE of the PYTHAGOREIAN PRINCIPLES

Da VINCI MASTER WORKS & FIBONACCI NUMBERS ARE BASED STRICTLY ON THE DIVINE PRINCIPlLES OF the PYTHAGOREAN RULES OF THE GOLDEN Φ …. & FIBONACCI, AS WELL!

FROM PYHTHAGORAS TO FIBONACCI

The 5 SISTER SCIENCES according to PYTHAGORAS were: Numbers (mathematics)Shapes (Geometry)Stereometry, Music (Harmony),. AstronomyThese sciences are intertwined and are in one another like the Russian bamboo. Combine now the alphabet that encloses numbers and musical tones with these 5 sciences, EXACTLY as in the NINE MUSES Tip: astronomy = astry + law, α-sup = what is not supported, so astronomy = universal laws governing what is not based somewhere, dealing with music (harmony), geometry) and all this with the ether that surrounds the celestial spheres.

PYTHAGORAS listened to the harmony (music) of the CELESTIAN SPHERESSo the ancient Greek language that has to do with the flow of the universe.The Greek language is the only one that can be used for PCs because of the mathematics and musicality of not only the Alphabet-words, but also of the mathematical concepts that arise, for example, the word THESIS becomes: compassion, affirmation, confession, hypothesis, exhalement, advent, preaching, revival, apostasy, counseling, etc., if these words now translate them into English are completely unrelated to each other.The fact that the Alphabet is not copied from somewhere else is shown by the fact that in 2300 BC Homer already has at his disposal the 6,500,000 primary words (the first person of the present and singular number) which if we multiply them X72 are the calls we will make a huge number that is not the final, because we do not forget that the Greek language is not sterile, GENERAL.If we now compare e.g. the English language that has 80,000 words, of which 80% is Greek as the UNIVERSITY of WALES informs us, and we can see that this sterile language evolves for 1000 years, we can easily conclude that HOMEROS receives a language that is deep in the time of 100,000 BC; 500,000 BC?Who knows … WHY the absolute proof is its mathematics itself, which does not exist in any other language of the planet. Let us not forget yet that the Creator uses mathematics to create, so our language is necessarily related to the source (root-0/1).But before “KRYPTON” there is the “Signal”, that is, the association of words with these concepts. They said earlier that the foreign dialects were agreed upon, that is, some agreed that the object would call it “X”, which makes the languages sterile, so they cannot give birth to new words, so there is no mathematics, so they cannot describe new concepts that exist in nature, with the result that the brain, since it cannot describe through new words new meanings, is left in the dark, so brain neurons do not give birth to young people as opposed to those who use Greek. How could, for example, the English or the French or X, Y with a word that has 10 meanings to describe precisely and clearly a deeper meaning?Let alone the multiple sides of it? it cannot be why everything started here. Signal is therefore the connection of the signal with the signified, that is, the word itself is created in such a way that it describes the meaning enclosed in it.EXAMPLE: the naming of the word KARYON comes from a observation of nature (as all the words), that is, when two horned animals (cripples, traps etc.) trawl with their coins they hear the crack or “kara”, this sound gave the name “horn” (horn) the horn gave the name of a keel or a carat (head) and its inferior Karyon (small head). Τhe Karyon (walnut) looks amazing with the human head and the inside of it with a brain.Y is the root of the verb YΩ (wet) where Y exists; there is a cavity (or curvature), that is, flies, the rain (liquid element) enters into the earth.The musical-numerical alphabet creates musical-mathematical words describing corresponding concepts derived from the observation of the nature of Creation and hence of the Creator itself, but the question is how many millennia may have taken to create this perfect a mathematical complex whose letters are numbers and musical tones, and the words, that is, all the numbers and musical tones, conceal within them, in addition to complex musical harmonies, concepts which is it not at all accidental but after extensive observation of nature?So, reasonably, ANTISTHENES reminds us of “The Wisdom or the Name of Visit”

MUSES, MUSEUMS, AND MUSIC,ARTS AND SCIENCES “MUSEUM” comes from a Greek word MUSAI meaning “SHRINE of the MUSES.” The Muses were the nine Greek goddesses who were believed to inspire literature and the arts and “Music” comes from the Greek “MOUSIKE”, musical art, or an art of the Muses (the nine goddesses who preside over literature and the arts and sciences:Clever and beautiful, daughters of ZEUS and MNEMOSYNE, entertained the OLYMPIAN gods at banquets, playing the lyre and singing, especially the CLEUS (=GLORY) of ZEUS.The MUSES were born in PIERIA and lived in the PIERIA Mountains. They were the Goddesses of music, musical instruments, dance, feasting and poetry.They also lived on Mount PARNASSOS, because the great oracle of APOLLO was located there. They took walks, sang, danced and bathed in the HIPPOCRINE spring, the most beautiful spring at the top of ELIKON.They are the patron goddesses of literature, science and the arts. Sources of knowledge and inspiration for the Greeks.In their honor, our ancestors founded the Museums, that is, temples, where the sciences and arts were honored.Museums were “schools of arts and all learning” when other peoples had nothing to do with science and their arts were in their infancy.Music was once one of the five branches of Mathematics, namely: MATHEMATICS GEOMETRY, STEREOMETRY, MUSIC and ASTRONOMY. In the time of troubles, in the time when libraries were demolished, books were burned, academies were closed, the Olympic Games were stopped, that is, the period of the destruction of Greek Thought, like the sculptures of the PARTHENON, the piece of Music from Mathematics came off. A good man and a Greek, he left !!!!Good return to FOS(=LIGHT) VANGELIS !!!Their contribution to shaping world culture is incalculable. Proof is the adoption of the term “Music” by all countries of the world, in every corner of the globe!So when we say that the Greeks gave light to humanity, beyond the concepts of democracy, states, freedom, justice, mathematics, science, arts, architecture, beauty, and so on,we must also remind music, this WORLD language, which was born here, by the Muses, daughters of ZEUSs and MNEMOSYNE, in PIERIA, in the PIERIA mountains, in the always Greek Macedonia!APOLLO was the leader of the MUSESInitially these deities were nymphs of the mountain and the waters.HESIOD in THEOGONY narrates: MNEMOSYNE slept in PIERIA with CRONO’s son ZEUS and gave birth to these virgins that make us forget our sufferingsand alleviate our pain.Nine nights in a row by the wise ZEUS going up to his sacred bed, slept next to the MNEMOSYNEl, away from all the immortals.Muses are the source of inspirationfor every mental activity and in many places they were worshiped with special honors, while there is an ORPHIC HYMN of the MUSES. PLATO in his ACADEMY had an altar dedicated to the MUSES, while HOMEROS invokes MUSA CALLIOPE as his source of inspiration, when writing his epics. The same is found in the works of Hesiod, but also to all the great creators of antiquity. It has not remained until today, the term muse is used frequently to show that someone inspires an artist, a creator ………..Greek Numbers and Arithmetic(ALPHA – ΑΛΦΑ = 1 + 30 + 500 + 1 = 532 => 5 + 3 + 2 = 10 => 1 + 0 = 1EN = 5 + 50 = 55 => 5 + 5 = 10 => 1 + 0 = 1OMIKRON – ΟΜΙΚΡΟΝ = 70 + 40 + 10 + 20 + 100 + 70 + 50 = 360, as there are degrees of the circle. The MATHEMATICAL ORDER of the names of NINE MUSES: (According to the the VALUES of the INDEX , BELOW the names)1. POLYMNIA (or Polhymnia or Polyamnia). ΠΟΛΥΜΝΙΑ (from: “πολύς + ύμνο” polys + hymn = long hymn) from long and hymn, praise because many people or the many and memory, because many mentions in history. He was the custodian of the divine hymns and hypocritical imitation, geometry, history, grammar etc. The painted faces to Heaven with a wreath of laurel and pearls on the head, white dress, with his lyre in her hands and the inscription Multi-mnias Mr. Myths.ΠΟΛΥΜΝΙΑ – ΠΟΛΥΜΝΙΑ = 80 + 70 + 30 + 400 + 400 + 40 + 50 + 10 + 1 = 1081 => 10 + 8 + 1 = 19 => 1 + 9 = 10 => 1 + 0 = 1 2. Urania – ΟΥΡΑΝΙΑ (from: oυρανός uranos= sky) was the custodian of the heavenly bodies and general astronomy discovered. According to tradition with Dionysus begat Hymenaeus and Apollo linen. Painted Urania crowned with stars and prometopidio, blue dress, in front of the tripod up had the celestial sphere and diabetes.UΡΑΝΙΑ = 70 + 400 + 100 + 1 + 50 + 10 + 1 = 632 => 6 + 3 + 2 = 11 => 1 + 1 = 2 3. Terpsichore – ΤΕΡΨΙΧΟΡΗ (from:τέρπω + χορός –terpo+choros = regale + dance, delights through dance, harp and education.), the Muse of Orchiseos Named TERPSICHORE because eterpeto, thanks to dance. Perhaps by learning (pleasing listeners). Tradition says that she bore the Strymonikos Rhesos and ARES the Vistones or even with Achelous the Sirens. The Terpsichore painted laurel-(DAFNE) crowned and prometopidio holding harp and dancing happy, while her feet barely touching the ground and with the inscription Terpsichore lyran.Terpsichore – ΤΕΡΨΙΧΟΡΗ = 300 + 5 + 100 + 700 + 10 + 600 + 70 + 100 + 8 = 1893 => 1 + 8 + 9 + 3 = 21 => 2 + 2 = 3 4. Melpomene – ΜΕΛΠΟΜΕΝΗ (from: μέλπω “melpo” (=μελωδώ + μένος = to create music + stubborness) was the custodian of Tragedy, because it invented, rhetoric and musical melody. Named Melpomene by word molttin because by this melpousin people all their goods. Melpomene with Acheloos, in a tradition born of Horns The painted wears tragedy mask, angry, laurel-crowned with a scepter, bat in hands and Melpomeni inscription TragodianMelpomene – ΜΕΛΠΟΜΕΝΗ = 40 + 5 + 30 + 80 + 70 + 40 + 5 + 50 + 8 = 328 => 3 + 2 + 8 = 13 => 1 + 3 = 4 5. Thalia or ΘΑΛΕΙΑ – (Θάλεια) was Superintendent of Comedy. Discover comedy, geometry, architecture and agriculture. He was the custodian and Symposia. The name Thalia = thallein plants, or in the Thalia (symposia) orThalleia – ΘΑΛΕΙΑ = 9 + 1 + 30 + 30 + 5 + 10 + 1 = 86 => 8 + 6 = 14 => 1 + 4 = 56) Calliope ΚΑΛΛΙΟΠΗ (καλή + ωψ = ex: good + ops = this with the beautiful eyes), the muse of epic poetry (ex:οπτικό = optical). Calliope was the superior and more formal than the other sisters of the Muses. He accompanied the kings and their senior leaders to enforce the words of obedience and righteousness. Calliope was the custodian of the heroic poetry and rhetoric. He named Calliope because he had nice view, face. They were called and Kalliepeian because it was evretria poetry. She mated with Apollo and became the mother of Orpheus. The Euterpe was the Muse of music. Painted Kalliopi new and nice, with flowers or ivy in the head, the right hand holding laurels and left two books, many times the Iliad and the Odyssey.Calliope – ΚΑΛΛΙΟΠΗ = 20 + 1 + 30 + 30 + 10 + 70 + 80 + 8 = 249 => 2 + 4 + 9 = 15 => 1 + 5 = 6 7.Euterpe ΕΥΤΕΡΠΗ Ευτέρπη (from the prefix ευ = well, fair + τέρπω = regale ,discovered various musical instruments, lessons, and dialectics. Lessons delight people, but ” is Euterpe reasons of educated ‘. Efterpi with Struma gave birth Risso. The painted laurel-crowned playing flute or holding him. Beside her was musical instruments and texts, Eros and trees with singer cicadas (cicada). Euterpe -ΕΥΤΕΡΠΗ= 5 + 400 + 300 + 5 + 100 + 80 + 8 = 898 => 8 + 9 + 8 = 25 => 2 + 5 = 7 8. Clio – ΚΛΕΙΩ (from: κλέος= glory) the Muse of History (Cleopatra = the glory of father)Qleio (Q = Qoppa) discovered the History (and guitar). The story was called Cleo, because it refers to Kleos (belonging to the heroes of the past), we narrate the authors through books. According to tradition, the Clio accused because Venus fell in love with the ‘Adoni. Venus retaliated: He led the Pieros’s house and made her fall in love with him. The Clio by Pierre begat Hyacinth. With Magnes (father Pierre) begat Ialemo, the Hymenaeus and Flax. Painted Cleo laurel-crowned and purple garment. In her right hand was holding one tube and left a book that read Cleo history. At her feet was the box of history. Qleio – ΚΛΕΙΩ = 90 + 30 + 5 + 10 + 800 = 935 => 9 + 3 + 5 = 17 => 1 + 7 = 8 9. Erato ΕΡΑΤΩ(from: έρως – eros = love), is the founder of Lyric and especially erotic poems, marriage (and of poetry, music and the dialectic). The name Erato by eresthai and the word love and lover. The painted seated, wearing a rosary (wreath of roses), with the lyre and the bow of love in the arms and the inscription Erato Psaltrian. Apollonius Rhodius begins the third chapter of Part Four of the Argonauts with: ” And now muse Erato, come to us and tell us how Jason brought the Golden Fleece from her love of Medea, because you graces the Cypriot Aphrodite brings the magic to unmarried girls. ”Erato – ΕΡΑΤΩ = 5 + 100 + 1 + 300 + 800 = 1206 => 1 + 2 + 0 + 6 = 9 = 5 + 100 + 1 + 300 + 800 = 1206 => 1 + 2 + 0 + 6 = 9 Pausanias maintains that there were two generations of Muses, the first generation was three and were the daughters of Uranus and Gaia, and the second was nine were daughters of Zeus and Mnemosyne. The oldest Elikoniades Muses were:Μνήμη – Mnimi =Memory • Μελέτη – Meleti = study)Αοιδή – Aidi = SingingThe poetic art need all three Muses, you need a combination of song, memory and study. Why to sing first needed memory, and after study (exercise).INDEX:LETTER & VALUE(Γράμμα &Αξία)Α´1Ι´10Ρ´100͵Α1000Β´2Κ´20Σ´200͵Β2000Γ´3Λ´30Τ´300͵Γ3000Δ´4Μ´40Υ´400͵Δ4000Ε´5Ν´50Φ´500͵Ε5000Ϛ´6Ξ´60Χ´600͵Ϛ6000Ζ´7Ο´70Ψ´700͵Z7000Η´8Π´80Ω´800͵H8000Θ´9Ϟ´90Ϡ´900͵Θ9000″The ‘MUSES’ and Music in general were so named from ‘MUSAI’ (research), from the search for Philosophy and Knowledge.” (PLATO, “KRATYLOS” 406 A.)Ancient and modern poets, philosophers, scientists and artists invoke the beautiful MUSES, to inspire them and to be able to complete their work.Greek MusicEnglish MusicGerman MusikItalian MusicaFrench La musiqueSpanish MúsicaPortuguese MúsicaRussian MusicSerbian MusicSwedish musicTurkish MüzikMaltese MusicEstonian MuusikaCroatian musicUkrainian MusicSwahili MuzikiLatvian Mūzika and so on.Tradition says:Two MUSES invented the theory and practice in learning. Three Muses invented the three musical tones Collider, medium and dim the three strings of Lyra, the three prosody acute, grave, circumflex and three parelilythota times, present tense, future tense three persons, three numbers, the triangle of stars and other triarithma . Four Muses invented the FOUR dialects: Attica, Ionici, Dorici and Ahaici. Five Muses the five senses: sight, taste, smell, touch and hearing. Seven Muses invented the seven strings of the lyre, the seven Heavenly belts, the seven planets and the seven vowels of the Unique Mathematical-rythmic Greek alphabet.

How to become a philosopher. The Pythagorean friendship and the virtue of friendship.

Pythagoras had a unique way of selecting students for his teaching… He made his prospective students wait outside in the courtyard of his school in silence for at least 3 to 5 years and they were not allowed to speak to each other, and this according with Pythagoras it would enable the students to understand what a friend is… (Explanation the word philosophy is compound and consists of the word friend + wisdom) that is, they are obliged to cooperate with each other which had nothing to do with words but with actions and feelings and so that the feeling of friendship develops very deeply… In this way he protected them all from themselves, that is, no one should say anything bad about another…

Then he put them in a row and stood in front of them and imposed the same question on everyone “What is a friend” we have a testimony of a student what he answered when he was asked what a friend is and he answered with two words “a friend is the other me” that is a friend is “another who is the same as me”

(*This was taken by the Latins and referred to as an alter ego (Latin for “other I) means an alternate self, which is believed to be distinct from a person’s normal or true original personality. Finding one’s alter ego will require finding one’s other self, one with a different personality).

In short, if one wants to become a philosopher, one must first learn the virtue of friendship, because it does not exist in its essential sense. And in order to practice the virtue of friendship, one needs a great deal of unselfishness (the absence of selfishness, characteristic of a person whose actions are not dictated by interest or personal gain) and control of egoism.

There are two examples from Iamblichus writing about Pythagoras that show how deeply strong and unwavering the friendship of the Pythagoreans was:

The first example is the story of two Pythagoreans, Pythias (or Phintias) and Damon, a story that has inspired all the world’s artistic community, literature, poetry, painting, etc., trying to render this Pythagorean friendship, i.e. friends until death ( I urge you to look up the story and read it) which took place in the famous city of Syracuse, birthplace of Archimedes

And the other is in a few words he talks about the debt that a Pythagorean had when he died in his Inn and he didn’t have to pay the whole amount because death would find him inside the Inn, then he told him that the rest of the money I owe you will pay them back and with interest another Pythagorean, who would pass by his Inn by chance if he saw this symbol that I will give you to put outside your Inn… And so it happened after 2 years a Pythagorean passed by and saw the Pythagorean symbol at the door of the Inn, and so entered and discharged the debt of his Pythagorean friend.

As we see, Pythagorean friendship transcends both space and time and it is blood ties that unite them.

This is the beginning of philosophy, first the conquest of friendship, i.e. the full contact of “know thyself” this is how a person knows himself through the faults of his friend but also his own weaknesses which he tries to develop and only then he can acquire the virtue of wisdom which is the other step (as there are many other steps that need development).

This is the concept of Greek philosophy which the Pythagoreans developed to the greatest extent.

PYTHAGOREAN PHILOSOPHY AND THE CONCEPT OF THE GREAT GEOMETER

Pythagorean philosophy represents one of the most important chapters of ancient Greek thought. The Pythagoreans, students of Pythagoras, formed a system that combined philosophy, mathematics, music and religious elements. Within this philosophy, an emphasis is evident on the importance of geometry, which has wider semantic implications and is one of the pillars of Pythagorean ideology.
Pythagoras and his students, known as the Pythagoreans, believed that the study of geometry was a path to uncovering the universal truths behind the physical world. They saw geometric shapes as reflections of deeper cosmic principles. By meditating on geometric forms, they believed that one could achieve spiritual enlightenment and align with divine intelligence.
They believed that divine intelligence used geometric principles to create and organize the universe, ensuring its harmonious functioning. They also believed that learning geometry leads to a deeper understanding of the world and contributes to the development of virtue and justice in the human soul. They saw geometry as a path to understanding the divine.
At the heart of Pythagorean philosophy was the belief that numbers and geometric principles held the key to understanding the nature of reality. They perceived the universe as a harmonious and mathematically structured entity and sought to reveal its mysteries through the study of mathematics, music, and astronomy.
NUMEROLOGY AND HARMONY OF THE SPHERES
The Pythagoreans recognized that there was a deep connection between numbers, geometry and music. They believed that numbers were the fundamental building blocks of the universe and that they had inherent divine qualities. They attached spiritual and mystical significance to numbers, a concept known as numerology.
They believed that musical intervals could be expressed as simple ratios of whole numbers, and these ratios were reflections of the harmonic relationships found in geometry. They saw the universe as a harmonious composition, often referred to as the “music of the spheres,” where the movements and interactions of the heavenly bodies were believed to produce harmonious sounds. This idea further strengthened their belief in divine order and the influence of divine intelligence in the world.
In exploring geometry, the Pythagoreans discovered that certain mathematical proportions corresponded to harmonies in music. They noticed that musical intervals, such as the octave, the perfect fifth, and the perfect fourth, could be expressed as simple whole number ratios. For example, an octave corresponds to a ratio of 2:1, a perfect fifth to a ratio of 3:2, and a perfect fourth to a ratio of 4:3.
The Pythagoreans saw these musical proportions as reflections of the harmonic relationships found in geometry. They believed that just as geometric shapes and proportions represented divine order, so too did musical intervals that could be expressed as simple numerical ratios.
According to the Pythagoreans, the movements and interactions of the heavenly bodies produced harmonious sounds that were beyond human perception. They believed that these heavenly sounds, although inaudible to man, were an expression of divine order and the influence of divine intelligence in the universe.
The Pythagorean understanding of the connections between geometry, numerology and music influenced later philosophical and scientific thought. He laid the foundations for the development of mathematical and scientific research, particularly in the field of harmonics and the study of musical intervals, and also contributed to the development of the concept of the Great Geometer who is the Composer of universal harmony.
#Pythagoras #Pythagoreans #Harmony #SacredGeometry #GreatGeometris #GreatComposer #Apollo #Lyra #Creator #Arithmology

CONTINUED FROM: https://www.facebook.com/groups/hellenicwisdom/posts/1357205985680240

It is said that he got most of his moral teachings from Themistokleia, who was a priestess of Delphi. He was heavily influenced by the Ionian philosophers (especially in the study of nature and the universe), as well as the occultism of Orphism. He dealt with geometry measuring the earth) and perfected it. He returned to Samos when he was about 56 years old and tried to start his teaching there. However, because Samos was ruled by a tyrant and the Samians were indifferent to the philosophical life, he moved to Italy, where he finally founded a philosophical school in Kroton of Great Greece around 525 BC. In fact, it is a fact that Lower Italy and Sicily was called Great Greece thanks to Pythagoras who filled it with philosophers, scientists and virtuous people.

Krotonas, south.
In this place he founded an organization which, although it was considered secret, had at the same time a communal form. The huge building in which the group teaching took place was called Oimakoion. In this organization ownership and knowledge were held in common. Any discovery was not attributed to a specific member.

The Pythagorean School had a particularly conservative and strict code of conduct. The students had to keep the teachings and theories secret and if this was not done it could even cost them their lives!

The entrance of the school, the Pythagoreans had engraved the saying “MEDES GEOMETRITOS ESITO”, which meant that no one can enter and become a member of the brotherhood, who does not measure all objects with earthly measures.

The three main criteria for Pythagoras to accept someone into his school were prudence, justice and bravery. He imposed a strict examination on those young people who asked him to become members of the faculty. He asked them to learn how they treat their parents and their friends and he observed every detail in them, their posture, their gait, their unnecessary talking, their silence, even the way they laughed.

************************”THE PYTHAGOREAN THEOREM***************************************

For Pythagoras, neither wealth nor origin was a criterion and that is why he never allowed Cylon to participate in the Pythagorean school, who had wealth, but also came from an aristocratic family. But his origin did not make him “noble”, as he was violent, burdensome and behaved like a tyrant. The fact that Pythagoras expelled Cylon angered the latter and using his wealth and position, Cylon turned the people against Pythagoras and together with his supporters attacked the Pythagoreans and burned the house in which they had gathered.

  All members avoided eating meat! This was because they believed in the transmigration or transmigration of life, and therefore the slaughter of an animal was considered the destruction of the new abode of one (friend) who had died.

Pythagoras is considered the one who coined the words "philosophy" (love of wisdom) and "mathematics" (what is learned), trying to describe their intellectual activity. It is heard that he gave two kinds of lectures: one exclusively for the members of the faculty and one for everyone else. He and his school played arguably the most crucial role in the history of mathematics. They gave new emphasis to mathematics recognizing its association more with the love of wisdom than with the demands of life as it had been until then

 There is a legend that says that Pythagoras sacrificed a calf (or a hundred calves according to other versions) for the discovery (or proof) of the theorem. But this is not consistent with the dietary rules of the school, so it is considered almost impossible.

         "In right triangles, the square of the side subtending the right angle is equal to the square of the sides containing the right angle."

THEANO (born c. 546 B.C.), the wife of the Greek mathematician and philosopher Pythagoras, ran the Pythagorean school in southern Italy in the late sixth century B.C. following her husband’s death.She is credited with having written treatises on mathematics, physics, medicine, and child psychology.It is said that she formulated the theory of the “Golden Section” as well as the theory of the “Harmony of the Spheres”.Theano’s husband, Pythagoras (c. 582-500 B.C.), was inspired one of the most influential sects in the ancient world.Best known for devising the Pythagorean Theorem—which states that the sum of the squares of the sides of a right triangle is equal to the square of the hypotenuse—Pythagoras was considered the greatest scientist of antiquity by classical Greek scholars and is considered to have been the first mathematician.However, given that Pythagoras lived seven generations before Plato, most of the information about him comes from fairly late sources—a few as late as the third century A.D. Another problem is that some of these sources are of doubtfulreliability.References to Pythagoras’s ideas can be found in earlier writings, including those of Empedocles, Heraclitus, Herodotus, Plato, and Aristotle.https://biography.yourdictionary.com/theano

  All members avoided eating meat! This was because they believed in the transmigration or transmigration of life, and therefore the slaughter of an animal was considered the destruction of the new abode of one (friend) who had died.

        Pythagoras is considered the one who coined the words "philosophy" (love of wisdom) and "mathematics" (what is learned), trying to describe their intellectual activity. It is heard that he gave two kinds of lectures: one exclusively for the members of the faculty and one for everyone else. He and his school played arguably the most crucial role in the history of mathematics. They gave new emphasis to mathematics recognizing its association more with the love of wisdom than with the demands of life as it had been until then

 There is a legend that says that Pythagoras sacrificed a calf (or a hundred calves according to other versions) for the discovery (or proof) of the theorem. But this is not consistent with the dietary rules of the school, so it is considered almost impossible.

AΠΟΛΛΩΝ
APOLLO was the leader of the MUSES
Initially these deities were nymphs of the mountain and the waters.
HESIOD in THEOGONY narrates:
MNIMOSYNE slept in PIERIA with KRONO’s son ZEUS
and gave birth to these virgins
that make us forget our sufferings
and alleviate our pain.
Nine nights in a row by the wise ZEUS
going up to his sacred bed,
slept next to the MNEMOSYNE,
away from all the immortals.
Muses are the source of inspiration
for every mental activity
and in many places they were worshiped with special honors,
while there is an ORPHIC HYMN of the MUSES.
PLATO in his ACADEMY
had an altar dedicated to the MUSES,
while HOMEROS invokes MUSA CALLIOPE
as his source of inspiration,
when writing his epics.
The same is found in the works of Hesiod,
but also to all the great creators of antiquity. It has not remained until today,
the term muse is used frequently
to show that someone inspires an artist,
a creator ……..
The common idea is that music is made up of sounds makes it difficult to understand because it is not always true that the sound “makes” music (what is music for someone may not be for others). To make the sound create music is necessary that those who perceive it, take satisfaction from it. This satisfaction can be physical or mental, real or fantastic.

ACHILEION MUSEUM the NINE MUSES

MUSES (Mousai) - Greek Goddesses of Music, Poetry & the Arts

The NINE MUSES IN ONE OF THE MUSEUMS HERE: ACHILEION MUSEUM

To Ζεύγμα, εγώ και η μούσα Ευτέρπη – Πεπορέ…

HELLENIC CIVILIZATION/ ASIA MINOR/ ZEUGMA (todays TURKEY)/ MOSAICS FROM the GREEK MYTHOLOGY-COSMOLOGY
the NINE MUSES
KALLIOPE (beauty + face = the one who has a beautiful voice) First and bigger and smarter and more dynamic, is the Muse of Homer. Incredibly wise and gifted, she was considered the muse of epic, heroic poetry. “Leader of all the Muses”, according to Ovid.
KLEIO (cleos = glory, praise, excellent reputation) She was the Muse of History because she highlighted the cleos, the glory of the heroes of history. The verb “close” means I narrate or make known something important. She was depicted laurel-crowned and in a red dress.
ΕΥΤΕΡΠΗ (ευ + τέρπω = delightful, attractive, pleasant, charming) Muse of Music. She was depicted laurel wreath playing or holding a flute. She was accompanied by musical instruments and texts, Eros and trees with cicadas.
THALIA (thallo = flourishing, thallous, generous) Thalia was the patron saint of merriment, comedy and SYMPOSIA. She had under her protection the bucolic poetry, that is, the corresponding contemporary folk songs.
MELPOMENI (melpo = the unlucky, hymn) Muse of tragedy, despite her happy songs. She was depicted wearing a mask of tragedy, angry, laurel wreath with a scepter and a bat in her hands.
TERPSICHORI (terpo + dance = the one who is dancing) Dance muse. She was depicted laurel wreath holding a harp and dancing happily. Its symbol was the lyre, the flute and the triangle.
ΕΡΑΤΩ (εράομαι, εράω = the one I loved, the one I longed for) The muse of lyric poetry and hymns. She is always depicted with a lyre and almost naked. Protector of marriage and love. Invent love poems.
POLYMNIA (many + hymn = the Muse of many hymns) Polymnia was the Muse of sacred hymns and eloquence. Very serious woman, pensive and thoughtful. She often holds her finger in front of her lips.
OURANIA (sky, the sky, the sky) Patron of Astronomy and Astrology. It is usually depicted wearing a star-shaped wreath. In her left hand she held the world globe and in her right the compasses
The ancient Greeks thought so highly of music, they dedicated a muse to it. That’s quite a compliment, considering the high regard in which they held muses. Her name is Euterpe, which means Well Pleasing.
Euterpe is the muse of music and lyric poetry. Her symbol is the flute. She is said to have invented the flute and other wind instruments. (Look for the flute in the picture of the ancient vase, above.)
They couldn’t stop there. Erato, which means the Lovely, is the muse of love poetry and marriage songs. they equated music with love and the marriage bed. They gave her the lyre as a symbol. It seems that music was a preoccupation with them. (Look for the lyre in the wall adornment at the left.)
Notice the muse in music. The Muse Of Music proudly points out that the modern English word for music is ultimately derived from a combination of the Ancient Greek word for music and the Greek expression, art of the Muses. To the Greeks, music was the art of all arts, the art of the muses.
Relating muses and art of the muses to come up with the modern word music makes sense. The Greeks identified their muses with the arts and the art of music with their muses. That identification is high praise for music as an art form; it positions Euterpe as the “most equal” muse of all the coequal ancient muses.
What Do MUSIC, MUSES & MUSEUMS have In Common?
In ancient Greece a place that was devoted to learning was a sacred place, a place where muses reside. Therefore, in ancient Greece, any place devoted to learning and the arts was called a museum—a muse place!
Museums—all museums—are places sacred to the muses. When you visit a museum, you enter a holy place, one sacred to the gods!
Explore the connection between muses and museums at the page called About Muses And Museums: click here.

Etymology And The Muses

The word music , according to the writings of the ancient Greek poets and philosophers, is derived from “Musa”.= Μούσα…From the verb: “μῶσθαι”, which means desire or “aspire to”, the term music derive from “muse”.
The common idea is that music is made up of sounds makes it difficult to understand because it is not always true that the sound “makes” music (what is music for someone may not be for others). To make the sound create music is necessary that those who perceive it, take satisfaction from it. This satisfaction can be physical or mental, real or fantastic.

Musa again, is produced from maousa = Musa. “ma”=«μα», is the root of the verb mao-mo = to devise or search or ask mentally. (In the Doric dialect the word “Mousa” is “Mosa”).

The word music, in today’s time, means the art of sounds, unlike the ancient Greeks who gave the word music a different meaning, they meant the indissoluble unity of sound and speech, something that does not exist nowadays. With sport the body is exercised, while with music the spirit. Music, the gift of the Muses, in ancient Greece, defined and characterized the man who acts, thinks and feels. Thus, as a means of spiritual maturation, the word that would characterize ancient Greek music is not the word “art” but the words education and power. This can also be seen from the fact that the one who played the flute e.g. he was called a piper and not a musician, i.e. he was considered a simple performer. But after the separation of music from speech, language, which happened shortly after Plato, we see the use of the concept musician. This change was to be the birth of an autonomous art which, as mentioned above, was embedded within discourse.

The Pegasus mosaic, the three partitions dedicated to the Muses. On the left personification of Helikon and Boeotia. In the central larger one the 9 Muses and on the right, the Muse Calliope gives inspiration to Hesiod.

The muse Efterpi
Euterpi in Greek mythology was one of the Muses, the daughters of Memory, fathered by Zeus. Called the Giver of Pleasure, when later poets assigned roles to each of the Muses, she was the muse of Music. In later classical times she was called the muse of lyric poetry and was depicted holding a flute. Some claim that she invented the flute or double flute, although most mythographers credit Marsyas with its invention.

The name “Euterpi” comes from the adverb ευ (good, nice) and the verb terπεω/-ο (thank you).

Hats off to The Muses!

In classic mythology, a Muse was any of a number of sister goddesses: Aoede (song), Melete (meditation), Mneme (memory), and especially any of the nine daughters of Zeus and Mnemosyne who presided over the arts that are noted above on this page. Since then, the word muse has come to refer to just the nine daughters described above.
The word museum was in use in ancient Greece and Rome, where it referred especially to the scholarly institute founded in Alexandria about 280 BCE. It was absorbed into English early in the seventeenth century.
In the fourteenth century, as a verb the word muse meant to gaze meditatively or wonderingly, a meaning that’s now archaic. Archaically, in Middle English the word amuse meant to keep in expectation by flattery or pretense.
Since the fourteenth century, as a verb the word muse has come to mean to think silently, to meditate on, to gaze meditatively, and to comment thoughtfully. And in the modern world, the word amuse has come to mean to hold someone’s attention, please, entertain, divert, cause mirth, and to cause to pass the time agreeably.
It seems obvious that the various ideas, arts, concepts, emotions, and principles that the ancient Greek muses stand for inspired a number of derivative words, ancient and modern—words such as meditation, memory, muse, museum, and amuse.
Hats off to The Muses!

PAN METRON ARISTON

ΠΑΝ ΜΈΤΡΟΝ ΆΡΙΣΤΟΝ/”PAN METRON ARISTON” = ALL IN MEDERATION

I have not met in any other culture such an amazing example of moderation in our lives.
The “PYTHAGORAS CUP” or “cup of justice” built by the philosopher, mathematician, geometrician and music theorist aimed to propose and maintain the measure, the “metronariston”.
The “Mässcupen”, which dates from around the 6th century. p.m. X. , it is a masterpiece of the hydraulic engineering of the ancient Greeks, but also a means of teaching. In addition to limiting wine consumption through a “smart glass”, Pythagoras wanted to teach temperance and observance of measure. When the measure is exceeded, it is “hubris”, which results in the penalty of “tisis”.
All people should enjoy in moderation what is given to them without seeking more.
The ancients believed that a “ubris” usually provoked the intervention of the gods, especially Zeus, who would send the abuser “it”, i.e. blur, close the mind.
She in turn led the abuser to new abusers, which eventually provoked the “nemesin”, wrath and revenge ie of the gods, which brought with it “tisin”, ie his punishment and destruction.
This is how it works:
There is a line engraved inside, which defines the amount of wine. If the user does not exceed the limit, he can enjoy his “drink”. However, it takes one more drop to cross the line and then the glass is empty, spilling all the wine from its base.
Her mechanism:
In the center of the cup is a column that is placed above a tube leading to the bottom. As the glass is filled, the wine level inside the central column rises at the same time. When the fluid does not cross the defined line, no problem is created. But when the liquid crosses the boundary, its molecules pull each other down, resulting in the emptying of the cup.
The construction of Pythagoras. Pascal follows The laws developed centuries later for associated containers

https://youtube.com/watch?v=ISfIT3B4y6E%3Fstart%3D3%26feature%3Doembed

https://youtube.com/watch?v=bKt0tdKHP5M%3Ffeature%3Doembed

The “ΑΠΕΙΡΟN”/APEIRON = INFINITY of ANAXIMANDROS( “ANAXIMANDER”) was APPLIED by PYTHGAGORAS, as WELL

PYTHAGORAS WAS the one who promoted science and philosophy in Greece and all over the world.
PYTHAGORAS SAMIOS, PHILOSOPHER and MATHEMATICIAN, according to information from other writers, because his DIKA writings were burned by religious people, was the son of MNISARHOS.

PYTHAGORAS, born in 570 BC. and murdered in 496 BC. at the age of 74, by the religious Kilon and his group.
The “SECRET” ISOSKELES(=EQUILATERAL) PENTALPHA= PENTACLE of the PYTHAGORIANS
They even made a legend about his death, according to which his pursuers located him in a field with broad beans, which PYTHAGORAS considered to produce poison and did not want to cross. (Indeed, the large eating of green beans (nitrogen production), leads to death in young children). PYTHAGORAS in “Transmigration and incarnation of ancestral spirit in descendants”) arrested the other members of the SCHOOL of PYTHAGORAS and killed them without trial. However, some of his students survived the murder and the most famous of them were ARCHIPPUS, PHILOLAUS, LYSIS and others. What these survivors later wrote and taught, from the philosophy of PYTHAGORAS, were destroyed by ancient theologians (twelve gods) and what remained in ALEXANDRIA-type libraries were destroyed by the Christian religious with the fires they set on the Greek libraries.
The “SECRET” ISOSKELES(=EQUILATERAL) PENTALPHA= PENTACLE of the PYTHAGORIANS
PYYTHAGORAS, as a politician and researcher, applied the democratic system of meritocracy of the “DEGREES of a closed circle of initiates”, which after about 2600 years and in our time, slowly but steadily, is promoted with the parties. In the political system of Pythagoras, in order to rise to merit in ranks, one had to prove that it is worthwhile over time and to believe in the rebirth of plants, animals and people in nature, through one’s own genealogy, as is today done by science. acceptable.

Η «Μυστική» Ισοσκελής Πεντάλφα των Πυθαγορείων

Pythagoras as a mathematician and researcher, because he considered himself to be his own reborn ancestor, sought through the knowledge of his ancient ancestors and the works of his ancestors, the WISDOM OF NATURE. He believed, like his ancient Achaean ancestors (as reborn), in the wisdom of nature and considered that it is expressed in very small (today, perhaps quanta, quartz), absolute numbers, multiples of the same number, which add nature and beings on earth and space. He called his theory “Number and Numbers”.

He also researched equilateral polyhedra and drew valuable conclusions from their multiplications, additions, subtractions and divisions.

He researched the “PENTALFA” that he had as an emblem in his school and found the “golden section”.

He researched the right triangle and found the famous law “the square of the hypotenuse of a right triangle is equal to the sum of the squares of its two perpendicular sides” which solves a number of geometric problems and much more.

Pythagoras, as a physicist and researcher, discovered the laws of music in relation to the lengths of the strings of instruments, mainly the guitar, and determined the tones according to the length of the string.

Pythagoras, contrary to what many write, wrote many books, but because even the ancient religious people did not like what he wrote, nor did the modern Christians like it, they burned them, wherever they found them, with the result that today similar people claim religious, that Pythagoras did not write anything.

The “Secret” Isosceles Pentacle of the Pythagoreans

However, from the Greek dialect of the ancient Achaeans, where “number” means “A piece of welded material is not this element”, (but absolute and correct material that together with others makes sets of “Numbers”), we conclude that Pythagoras taught as the beginning of everything the UNIT and the “Perfect Sets”.

Also from Pythagoras’s theory of “Spirit Transmigration and Reincarnation” to offspring relatives, it emerges as evidence that he valued the family unimaginably, respected his family children as his ancestors but also as descendants of himself and loved the reborn as a whole, its people. He also believed that everyone’s children, whether from a formal marriage or from a concubine, should have the same rights as reborn offspring, and advocated the abolition of the concubine’s inferior position, which was not to the liking of the fascist politicians of his day.

Emblem of Pythagoras and by extension of the Pythagoreans was as above written the “ISOSKELI PENTALFA” of the Greek Achaean builders, which we also have as an EMBLEM of our first page, considering ourselves followers of the work of Pythagoras and to the belief in the “Incarnation and Reincarnation of the spirit” to offspring relatives, but also as a HONOR that we must pay to the MATERIAL wisdom of NATURE that we admire and believe.

The “isosceles pentacle” was the “GREAT” tool of the most ancient Greek Achaean builders. The “isosceles Pentalfa” was made by the Greek Achaeans with five ISOMIC long logs of about 30 points, which at their ends were angled at an angle of 18 degrees. Then they joined the ISOMIKI, five rods at the ends and thus formed the “Equilateral Pentacle”, as a tool of masons.

With the “Pentalfa” as a tool, the Greek masons (masons in Achaia) had all the necessary angles, in degrees.

The “Secret” Isosceles Pentacle of the Pythagoreans

They had the 36΄ degree angle at the outer corners of the “Pentalfa”, which angle of 36΄ degrees, multiplied by 10 made the 360΄ degrees of a Circle or instead divided the circle into 10 ISA degrees of 36΄ degrees each.
They had the 72΄ degree angle, in the “cross” interior (which 72΄ degree angle was also at the top of the pyramids).
They had the 108΄ degree angle at the cruciform exterior, (where 108΄ degrees is the roof angle of the Parthenon and the “Athenian treasure at Delphi”, as well as half of it 108/2 = 54΄ degrees angle is the horizontal ground angle to the side of the pyramids).
They had 180΄ degrees in the straight lines.
They had in “Pentalfa” the “Golden section” (perfect proportion of object construction) of the works of art, the bodies of animals and plants of NATURE, at the point of intersection on one of its sides, as intersected by the others, from beginning to end AD / ΑΓ = φ = ΑΓ / ΑΒ = φ, κτλ (of the Pythagorean school, the five fingers, the five splits of nerves in sexes).
The Greek masons (masons) had with a rope and weight, at the top of an outer corner, the knowledge of the “horizontal line”, the knowledge of the “vertical line in the horizontal line” and the knowledge of 90 degrees in the corners of their buildings, when the straight line of the weight rope, from the upper outer corner of “PENTALFA” intersected the top of the lower inner corner of “PENTALFA”.
They knew that the wall was built perpendicular to the ground. This happened when they were leaning the next corners of the “Pentalfa”, from that of the weight, on the wall, then the line of the weight, in a correct wall construction, is parallel to the outer side of the “PENTALFA”.
Later the UNEDUCATED RELIGIOUS people banned “PENTALFA” and the MASONS now use a by-product of it, “ALFAIDI”.

THE ANCIENT SOUL LIVES INVOLUNTARY HIDDEN WITHIN US…THE ANCIENT MOTHERS OF GODS AND HUMANS, LIKE HESIODUS, THE PRINCIPLES NOURISHED AND NURSED THE MEMORIES, MEANINGS AND HEARTS OF THE GREEKS….ETERNAL TETRAKTYS

“KNOW THOU-SELF” = “ΓΝΩΘΗ Σ ‘ΑΥΤΟΝ”- and you will know the UNIVERSE and the Gods. INSCRIPTION on the TEMPLE OF DELPHI………. Sleep, Dream and Ecstasy are the three gates open to the Beyond, from where they come to us the science of the soul and the art of divination. EVOLUTION IS THE LAW OF LIFE… NUMBER IS THE LAW OF UNIVERSE ..PYTHAGORAS

*********PYTHAGORAS AND THE MATHEMATICAL STRUCTURE OF THE ANCIENT GREEK LANGUAGE******************

The 520 different proofs of the PYTHAGORAS THEOREM and the THREE

THEOREMS in the EUCLIDES GEOMETRY.

The letters in the Greek language are NOT sterile SYMBOLS. UPRIGHT, UPSIDE DOWN, with special INTONATION, WERE the TOTAL of the 1620 SYMBOLS used in HARMONY (Mousike in New Greek). Their MOST important property is that EACH letter has a NUMERICAL VALUE /AMOUNT, EACH LETTER IS A NUMBER, SO BY EXTENSION, EVERY WORD IS A NUMBER.

A VAST KNOWLEDGE, LOCKED-CODED INTO THE WORDS, BECAUSE OF THE MATHEMATICAL QUOTATIONS THEY HAVE. ONE of the PIONEERS IN THIS AREA CONSTITUTED THE GREAT PYTHAGORAS.

The NUMBERS, SHAPES, HARMONY AND the STARS HAVE SOMETHING IN COMMON, SO THE CORRESPONDING MATHEMATICS (NUMBERS), GEOMETRY (SHAPES), HARMONY (MUSIC) AND ASTRO-NOMY (ASTER = A -WITHOUT SUPPORT + NATURAL LAWS {=NOMY} [αστήρ=α-χωρίς-στήριγμα + φυσικοί νόμοι που τα διέπουν]) WERE SISTERS SCIENCES BY PYTHAGORAS, THAT IN THE SPECIFIC ORDER MENTIONED WERE THE LADDER FOR the EVOLUTION (ΕΞΈΛΙΞΗ {EXELIXIS} = εκ -του- ΈΛΙΚΟΣ, DNA {OF-THE-STRANDED, DNA) OF THE MIND SOUL TOWARDS the CREATOR.

The letters of the Greek alphabet in total were 33 as many as the vertebrae, the last 5 vertebrae (which play the role of the antenna) have a direct connection with the brain and correspond to the last 5 unspoken letters which only the priests knew* one of them it was Sostika (or Gammadion) which in Latin became swastika and the Nazis ..stole it and called it Swastika.

As we speak Greek, we are actually formulating mathematical equations! The Greek language is not a random language. It was built on mathematics, and what few people still know is that every word in Greek has a mathematical background. The letters in the Greek language are not sterile. Upright, upside down with special emphasis, they constituted the total of 1620 symbols used in Harmony (Music in modern Greek). Their most important property is that each letter has a numerical value/value, each letter is a number, so by extension each word is a number. A vast knowledge locked-coded in words due to the mathematical values they have. One of the pioneers on the subject was the great PYTHAGORAS. Numbers, shapes, harmony and stars have something in common, so respectively mathematics (numbers) geometry (shapes) harmony (music) and astronomy (star = a-without-support + physical laws that govern them) were sister sciences according to PYTHAGORAS, which in the specific order we mentioned was the ladder for evolution from -the-Elix. DNA) of the mind-soul to the Creator. A Creator who created based on these four sciences. 27 symbol-numbers with numerical value compose the Greek Alphabet, 3 groups of 9 symbol-numbers each group, with the sum of each group 45, 450, 4,500. to see some examples: ALPHA = 1+30+500+1= 532 =>5+3+2= 10 => 1+0= 1 EN=5+50 = 55 => 5+5 = 10 => 1+0=1 OMIKRON = 70+40+10+20+100+70+50= 360, as many as the degrees of the circle. In order to be able to understand the meanings of the concepts of the words of the Ancient Greek language, we must first of all know some things about the Greek language itself. The ancient Greek language is the only one that is not based on someone simply sitting down and agreeing to name an object “χ” or “ψ” like all the other sterile languages of the world. The Greek language is a mathematical masterpiece that we will try to approach. The beginning of everything is the Greek Alphabet itself (which of course we did not get from someone else as we will see below because in reality it is not possible). The letters of the Greek alphabet in total were 33, as many as the vertebrae, the last 5 vertebrae (which play the role of the antenna) are directly related to the brain and correspond to the last 5 unspoken letters that only the priests knew, one of them was the Sostika (or Gammadion) which in Latin became swstika and the Nazis stole it and called it Swastika. This symbol is of the life-giving Sun (Apollo), the Nazis reversed it to symbolize the opposite of the life-giving Sun, that is, dark death. There were still some letters that were abolished over time such as Digamma (F), Koppa (Q), Stigma (S’), Sambi (ϡ) Pythagoras informs us about the 3 levels of the Greek language which are the following: 1. Omilon 2. Semainenon (a. signal, b. signified) 3. Krypton (a. intervals b. vibration c. lexical number d. tonal number). – The first is speech – The second is the relationship of the signal with the signified which we will analyze below – The third is space (distance & time), vibration (which awakens the brain through eigenfrequencies from the created pulses – Pallas Athena), lexical arithmetic (relationship of letters and words with numbers) and tonal arithmetic (relationship of letters and words with musical tones). each letter corresponded to a number, but also to a musical tone, so letter=number=tone (musical), which shows that in our language behind the letter-words there are numbers (lexarithms) and musical sounds (tonarithms). The 4 sister sciences according to Pythagoras were: 1. Numbers (mathematics) 2. Shapes (Geometry) 3. Music (Harmony) 4. Astronomy These sciences are interconnected and are located one inside the other like Russian dolls. Now combine the alphabet that includes numbers and musical tones with these 4 sciences. tip1: Astronomy = star + law, a-star = that which is not supported, therefore astronomy = the universal laws that govern that which is not supported anywhere, which have to do with music (harmony), shapes (geometry), numbers (mathematics) and all of this with the Ether which surrounds the celestial spheres. Pythagoras listened to the harmony (music) of the celestial Spheres. A a language that has to do with the flow of the universe. The Greek language is the only one that can be used for computers because of the mathematical and musicality not only of the Alphabet-words, but also of the mathematical concepts that are born, e.g. the word THESIS becomes: composition, epithesis, subthesis, hypothesis, exposition, addition, addition, prethesis, anathesis, diathesis, antithesis etc. etc. if we now translate these words into English they are completely unrelated to each other. The fact that the Alphabet cannot be copied from somewhere else is shown by the fact that in the year 2300 BC (with studies by Tziropoulou and others and not in 800 BC) Homer already has at his disposal 6,500,000 primary words (first person present & singular number) which if we multiply them by X72 which are the calls, we will get a huge number which is not the final one, because let’s not forget that the Greek language is not sterile, It gives BIRTH. Just compare, for example, the English language, which has 80,000 words, of which 80% are Greek, as the University of Wales informs us.BUT UNFORTUNATELY DUE TO ANTHELLENIC CHRISTIAN EMPERORS- PARTICULARY THEODOSIOS -EXCEPT JULIANUS, AS MOST OF THEM LATER BECAME…..27 SYMBOLS /NUMBERS – WITH NUMERICAL VALUE, MAKE UP THE GREEK ALPHABET, 3 GROUPS of 9 SYMBOLS /NUMBERS EACH GROUP Ä, WITH EACH GROUP SUMP OF 45, 450, 4500.
This symbol is of the life-giving Sun (Apollo), the Nazis reversed it to symbolize the opposite of the life-giving Sun, i.e. dark death.
There were still some letters which over time were abolished such as Digamma (F), Coppa (Q), Stigma (S’), Sambi (ϡ)
Pythagoras informs us about the 3 levels of the Greek language which are the following: 1. Omilon 2. Signifier (a. sign, b. signified) 3. Crypton (a. intervals b. vibration c. lexarithm d. tonarithm)
– The first is speech
– The second is the relationship between the sign and the signified which we will analyze below
– The third is space (distance & time), vibration (which awakens the brain through eigenfrequencies from the created pulses
– Athena Pallas) the lexarithm (relationship of letters and words with numbers) and the tonarithm (relationship of letters and words with musical tones) Each letter corresponded to a number, but also to a musical tone so letter=number=tone (musical), which shows that in our language behind the letters-words there are numbers (lexarithms) and musical sounds (tonarithms).
The 4 sister sciences according to Pythagoras were: 1. Numbers (mathematics) 2. Shapes (Geometry) 3. Music (Harmony) 4. Astronomy
These sciences are interrelated and lie within each other like Russian baboons. Now combine the alphabet that encloses numbers and musical tones with these 4 sciences.
tip1: Astronomy= astar + law, a-star = that which is not supported, so astronomy= the universal laws that govern that which is not supported somewhere, which have to do with music (harmony), shapes (geometry) numbers (mathematics ) and all this with the Aether which surrounds the heavenly spheres.
tip 2: Pythagoras heard the harmony (music) of the heavenly Spheres
So we speak a language that has to do with the flow of the universe. The Greek language is the only one that can be used for PCs due to the mathematical and musicality not only of the Alphabet-words, but also of the mathematical concepts that are born e.g. the word THESIS becomes: synThesis, apThesis, kaThesis, hypoThesis, exposure, proThesis, preThesis, assignment, disThesis, antiThesis, etc., etc. if we now translate these words into English, they are completely unrelated to each other.

…..BUT UNFORTUNATELY LATER BECAME..27 SYMBOLS /NUMBERS – WITH NUMERICAL VALUE, MAKE UP THE GREEK ALPHABET, 3 GROUPS of 9 SYMBOLS /NUMBERS EACH GROUP Ä, WITH EACH GROUP SUMP OF 45, 450, 4500.

“ΑΛΦΑ” (ALPHA, ‘Α’) = 1 +30 +500 +1 = 532 => 5 +3 +2 = 10 => 1 +0 = 1

“EN” (ONE) = 5 +50 = 55 => 5 +5 = 10 => 1 +0 = 1

“ΟΜΙΚΡΟΝ” (OMIKRON, ‘O’) = 70 +40 +10 +20 +100 +70 +50 =360, AS MANY, AS THE DEGREES OF THE CIRCLE.

BUT TO BE ABLE TO UNDERSTAND the MEANINGS of the CONCEPTS OF THE WORDS OF THE ANCIENT GREEK LANGUAGE, YOU MUST FIRST BE AWARE OF SOME THINGS ABOUT THE ANCIENT GREEK LANGUAGE ITSELF.

THE ANCIENT GREEK LANGUAGE is the ONLY one, that is NOT BASED on the FACT, that some people just sat down and.. agreed to CALL an object ‘x’ or ‘y’ like ALL OTHER STERIL WORLD LANGUAGES. THE GREEK LANGUAGE IS A MATHEMATICAL MASTERPIECE WHICH WE WILL TRY TO APPROACH .

THE BEGINNING OF EVERYTHING IS THE GREEK ALPHABET (WHICH OF COURSE WE DIDN’T GET IT FROM SOMEONE ELSE, AS WE WILL SEE BELOW , BECAUSE ACTUALLY, THAT IS NOT POSSIBLE).

PYTHAGORAS TELL US ABOUT THE 3 LEVELS OF THE GREEK LANGUAGE, WHICH IS AS FOLLOWS:

1) SPEAKING

2) SIGNIFIER (a. signal, b. signified)

3) KRYPTON (a. intervals, b. vibration, c.).

A) LEXARITHMOS [the NUMERIC VALUE of the LETTER, WORD OR SENTENCE],

B) TONARITHMOS [THE TONE, THAT ASSEMBLES EACH SOUND].

-The FIRST is the speech.

-The SECOND is the relationship between the MARK and the signified which we will analyze BELOW.

-THE THIRD IS THE INTERVALL (distance & time), THE VIBRATION (WHICH TRIGGERS THE BRAIN VIA RESONANCE FREQUENCIES OF THE CREATION PULSEN – PALLAS ATHENA), THE LEXARITHMOS” (RELATIONSHIP of LETTERS and WORDS with NUMBERS)

AND

“TONARITHMOS”(RELATIONSHIP OF LETTERS AND WORDS WITH MUSICAL TONES).

EACH LETTER CORRESPONDS TO A NUMBER, BUT ALSO IN A MUSICAL TONE SO LETTER = NUMBER = TONE (musical), WHICH SHOWS, THAT THIS

LANGUAGE BEHIND THE LETTERS-WORDS, ARE NUMBERS (LEXARITHMOS) AND MUSICAL SOUNDS (TONARITHMOS ).

That the Alphabet cannot be copied from somewhere else is shown by the fact that in the years 2300 BC. (with studies by Tziropoulou and others and not 800 BC) Homer already has at his disposal 6,500,000 primary words (first person present & singular) which if we multiply them by X72 which are the calls, we will get a a huge number which is not the final one, because let’s not forget that the Greek language is not sterile, GENNA.
IF we now compare e.g. the English language which has 80,000 words of which 80% are Greek as the University of Wales informs us, and measure that this barren language evolves for 1000 years, we can easily draw the conclusion that Homer receives a language which has depth in the time 100,000 BC? 500,000 BC? Who knows…
HOWEVER, the absolute proof is its mathematicality itself, which does not exist in any other language on the planet. Let’s not forget that the Creator uses mathematics to create, so our language is necessarily related to the source (root-0/1).
But before “Krypton” there is “Meaning”, i.e. the connection of words with their meanings. They said earlier that foreign dialects were defined by agreement, that is, some agreed that such and such an object would be called “X”, which makes languages sterile, so they can’t give birth to new words, so there’s no mathematicality, so they can’t describe new ones concepts that exist in nature, with the result that since the brain cannot describe new concepts through the new words, it remains in the dark, so the neurons of the brain do not generate new ones in contrast to those who use Greek.
How could e.g. English or French or X, Y with a word that has 10 meanings to accurately and therefore clearly describe a deeper meaning? let alone the multiple sides of it? it can’t, so here’s why it all started here.
So the Sign is the connection of the sign with the signified, i.e. the word itself is created in such a way that it describes the meaning enclosed within it. Example: the naming of the word KARYON (Walnut) comes from an observation of nature (like all words), i.e. when two horned animals (rams, goats, etc.) collide with their horns, the “crack” is heard or “kar”, this sound gave the name “keras” (horn) the horn gave the name krata or kara (head) and its diminutive Karyon (small head).
The Carrion (nut) bears a striking resemblance to the human head and its interior with a brain. Y is the root of the verb ΙΟ (to rain) where there is Y there is a cavity (or convexity) i.e. it feminizes something, the rain (liquid element) enters (feminizes) the earth.
The musical-numerical alphabet creates musical-mathematical words which describe corresponding concepts, which come from the observation of the nature i.e. of Creation and therefore by extension of the Creator himself, but the question is how many millennia it might have taken to create this perfect mathematical complex where the letters are numbers and at the same time musical tones and the words i.e. the set of numbers and musical tones hide within them apart from complex musical harmonies, concepts which are not random at all but after extensive observation of nature?
Antisthenes therefore reminds us “The principle of wisdom is the visitation of names“

he earliest numerical notation used by the Greeks was the Attic system. It employed the vertical stroke for a one, and symbols for“5”, “10”, “100”, “1000”, and “10,000”. Though there was some steam lining of its use. The (IONIAN)) Greek system of enumeration was a VERY SOPHISTICATED one, Like the ATTICA SYSTEM it was also DECIMAL Its distinguishing feature is that it was alphabetical and required the use of more than 27 different symbols for numbers plus a couple of other symbols for meaning. This made the system somewhat cumbersome to use. However, calculation lends itself to a great deal of skill within almost any system, the Greek system being no exception. ” Greek Enumeration and Basic Number Formation First, we note that the number symbols were the same as the letters of the Greek alphabet. symbol value symbol value symbol value ! 1 ” 10 # 100 $ 2 % 20 & 200 ‘ 3 ( 30 ) 300 * 4 + 40 , 400 – 5 . 50 / 500 6 0 60 1 600 2 7 3 70 4 700 5 8 6 80 7 800 8 9 90 900 where three additional characters, the (digamma), the (koppa), 1°c 2000, G. Donald Allen Greek Numbers and Arithmetic 2 and the (sampi) are used. Hence, &62 = 287 Larger Numbers Larger numbers were also available. The thousands, 1000 to 9000, were represented by placing adiacritical mark ! before a unit. Thus ! ‘&62 = 3287 In other sources we see the diacritical mark placed as a subscript before the unit. Thus ! ‘&62 = 3287 The uses of a M was used to represent numbers from 10,000 on up. Thus 9! = 50: 000 9″#&62 = 120: 287 Alternatively, depending on the history one reads 9 – = 50: 000 9!% ¢ &62 = 120: 287 Archimedes, in his book The Sand Reckoner, calculated the number of grains of sand to fill the universe”. This required him to develop an extention the power of Greek enumeration to include very large numbers. Fractions In the area of fractions, context was crucial for correctly reading a fraction. A diacritical mark was placed after the denominator of the (unit) fraction. So, $ ! = 1 2 ;<= +$ ! = 1 42 but this latter example could also mean 40 ! ” . More complex fractions could be written as well, with context again being important. The numerator was written with an overbar. Thus, .! 6* = 51 84 Numerous, similar, representations also have been used, with increasing sophistication over time. Indeed, Diophantus uses a fractional form identical to ours but with the numerator and denominator in reversed positions. 2The reader may ask, ”What universe?” It was the universe of Aristarchos the so called ‘ancient Copernicus’ because he proposed a sun centered universe with the earth and other planet orbiting it. More on this later. Greek Numbers and Arithmetic 3 # Calculation The arithmetic operations are complex in that so many symbols are used. However, as you can imagine, addition amounts to grouping and then carrying. For example 5+7= – + 2 = %$ = 12, not terribly unlike what we do. Multiplication was carried out using the distributive law. For example: &62 ¢ $ = (& + 6 + 2) £ $ = (200 + 80 + 7) £ 2 = 400 + 160 + 14 = 574 = /3*

(ALPHA – ΑΛΦΑ = 1 + 30 + 500 + 1 = 532 => 5 + 3 + 2 = 10 => 1 + 0 = 1

EN = 5 + 50 = 55 => 5 + 5 = 10 => 1 + 0 = 1

OMIKRON – ΟΜΙΚΡΟΝ = 70 + 40 + 10 + 20 + 100 + 70 + 50 = 360, as there are degrees of the circle

INDEX:

ΓΡΆΜΜΑ=LETTER	ΑΞΊΑ=VALUE	ΓΡΆΜΜΑ	ΑΞΊΑ=VALUE	ΓΡΆΜΜΑ	ΑΞΊΑ=VALUE	ΓΡΆΜΜΑ	ΑΞΊΑ=VALUE
Α´	1	Ι´	10	Ρ´	100	͵Α	1000
Β´	2	Κ´	20	Σ´	200	͵Β	2000
Γ´	3	Λ´	30	Τ´	300	͵Γ	3000
Δ´	4	Μ´	40	Υ´	400	͵Δ	4000
Ε´	5	Ν´	50	Φ´	500	͵Ε	5000
Ϛ´	6	Ξ´	60	Χ´	600	͵Ϛ	6000
Ζ´	7	Ο´	70	Ψ´	700	͵Z	7000
Η´	8	Π´	80	Ω´	800	͵H	8000
Θ´	9	Ϟ´	90	Ϡ´	900	͵Θ	9000

A vast knowledge locked-coded into words because of mathematical values they have. One of the pioneers on the matter was maximum Pythagoras.

The numbers, shapes, harmony and the stars have something in common, so respectively mathematics (numbers) geometry (shape), harmony (music) and astro-nomy (one star = a-choris- bracket + natural nomoipou govern ) were sisters sciences by Pythagoras, which in this series we discussed was the ladder to development (= ex -tou- helix, DNA) of mind-soul to the Creator.

A Creator who created based on these four disciplines. 27 symbols-figures in numerical value make up the Greek Alphabet, 3 groups of 9 numbers-symbols each group, totaling each group 45, 450, 4,500.
ALPHA = 1 + 30 + 500 + 1 = 532 => 5 + 3 + 2 = 10 => 1 + 0 = 1
EN = 5 + 50 = 55 => 5 + 5 = 10 => 1 + 0 = 1
OMIKRON = 70 + 40 + 10 + 20 + 100 + 70 + 50 = 360, as there are degrees of the circle

To be able to understand the meanings of the concepts of words of ancient Greek tongue should first know a little about the actual Greek language.

The ancient Greek language is the only one that is not based on the fact that some people just sit and agreed to call an object “x” or “y” as all other sterile world languages. The ancient Greek language is a MATHEMATICAL MASTERPIECE that wè`ll try to approach.

The beginning of everything is the same as the Ancient Greek alphabet (which of course we did not get it from someone else as we shall see, because factually not possible). The letters of the Greek alphabet as a whole was 33 and as many vertebrae, the last five vertebrae (playing the role of the antenna) directly related to the brain and corresponding to the last 5 ineffable letters which only the priests knew * one of them It was the right (or Gammadion) which in Latin became swstika and the Nazis stole and name Swastika. This symbol is the life-giving Sun (Apollo), the Nazis reversed it to symbolize the opposite of life-giving Sun, ie dark death.

There were also some letters which over time abolished as Digamma (F, Qoppa (Q), stigma (S ‘), Saba (ϡ)
Pythagoras inform us about the 3 levels of Greek language which are:

1. Talking
2. Signifier (a. Signal b. Signified)
3. caches (a. Time b. Vibration c. Lexarithmos d. Tonarithmos)
-The First is the speech
-The Second is the relationship between the mark and the signified that we will analyze below.
-The Third is the interval (distance & time), vibration (which awakens the brain through resonance frequencies of the created pulses – Pallas Athena) the lexarithmos (relation of letters and words with numbers) and tonarithmos (relation of letters and words of tunes )

Each letter corresponding to a number, and a musical tone so letter = number = tone (musician), which shows that in our language behind letters-words are numbers (lexarithmoi) and musical sounds (tonarithmoi).

The four sisters sciences by Pythagoras were:
1. Numbers (mathematics)
2. Shapes (Geometry – γεωμετρια); from: geo+metria=earth measure, meter.
3. Music (Harmony)(nine muses..)
4. Astronomy (Astro+nomia from nomos=law)

The above sciences are interrelated with the Ancient Hellenic Language and are into each another like Russian bampouskes. Combine alphabet enclosing numbers and musical tones with these 4 disciplines.

1.Astronomia = + astir law, a-Justice = is not supported, so astronomy = the universal laws that govern what is not based somewhere, who have to do with music (harmony),shapes (geometry) numbers (mathematics ) and all the ether that surrounds the heavenly realms.

2. Pythagoras heard the harmony (music) of the celestial Spheres thus speak a language that has to do with the flow of the universe.

PHOENICIAN “ALPHABET”: AN HISTORICAL DECEPTION

This theory:

1. Completely rejects the theorem that the Greek language came from another language (the so-called “Indo-European”!!!), since it is PROVEN to be the only NON-conventional language of the world. In other words, the only language where a relationship betweenthe “word” (as a form) and the “meaning of the word” is established.

2. Consequently, it is proven that Greek is the first and only created language of the human species which provided the basis for all “conventional” languages, as are all the other languages of the world (where there is no causative relationship between the form and the meaning). These other languages are a corrupt form of Greek.

3. This theory proves, without a doubt, that the alphabet was created by the Greeks so that the 24 or 27 code letters would aid in attributing the meanings of the Greek words (and only of these).

4. Comparatively, this theory shows that the symbols of the Phoenician writings and their nouns, e.g., “alef” = ox, “beth” = hut, “gimel = camel, etc., not only do not

ARISTARHUS

ARISTARCHUS of SAMOS: & HIS HELIOCENTRIC SYSTEM ARISTARHUS was certainly both a mathematician and astronomer and he is most celebrated as the first to propose a sun-centred universe. He is also famed for his pioneering attempt to determine the sizes and distances of the sun and moon.There was a time when people thought that the earth was the center of the universe. Although Nicolaus COPERNICUS, who admited, that he just taken up from the three ONES!: ARISTARCHUS-PYTHAGORAS-ANAXIMANDER & he had great knowledge of ARCHIMEDES,like NOBODY of his medevial times!

BUT: Galileo Galilei got credit for this idea in the 1500’s, this theory was ACTUALY originated by the ANCIENT GREEK ASTRONOMER and MATHEMATICIAN known as ARISTARHUS of SAMOS. HERE`s MORE information about WHO was and his CONTRIBUTION to ASTRONOMY:Early Life of Aristarchus. Aristarchus of Samos was born approximate 310 B.C in an area known as Samos, Greece. There are historical records that show his formal education took place in Alexandria. He eventually became head of the Greek educational system at Lyceum in Greece.Sun is at the Center Aristarchus is known for his revolutionary astronomical hypothesis. It was Aristarchus who initially put forth a theory of the Sun and not the Earth being the fixed center of the universe. It was his belief the earth and the other planets actually moved around the sun. Aristarchus also provided a theory on stars being distant suns. He claimed they did not move, and the universe was much larger than others could imagine.Inspired by Philolaus of Croton. Aristarchus of Samos was inspired by the work of Philolaus of Croton, who put forth the idea that the cosmos existed because unlimited fire is found at the center of a cosmic sphere. This is the first person recognized as placing the other planets in their correct order as well as correct distance from the sun.Development of Hypothesis. The written book “On the Sizes and Distances of the Sun and Moon” is the only known work that Aristarchus wrote. When he had completed this, Aristarchus felt presenting it would have not have benefited him since it was a contradiction to the general consensus of the Greek scientific community. His book was based on the observations made during a lunar eclipse. He determined the Earth’s shadow was twice the diameter of the Moon’s shadow. Aristarchus did record the Sun and Moon being two degrees when measured for an angular diameter. He was also able to show the angular distance between the Moon and sun during the time of quarter moon as 87 degrees.Implications of this Theory. Many modern scientists believe the hypothesis put forth by Aristarchus had other interesting aspects to it beyond all the planets in the universe rotating around the sun. With the use of geometry, he determined the Sun may be as much as 20 times farther away from the earth than the moon. His figures were not as accurate as such calculations would be by future astronomers. Aristarchus did use a sound geometric method for his calculations. This was the correct way to make such a determination. It was using this method that made more sophisticated and accurate celestial calculations possible.Aristarchus of Samos died in circa 230 B.C. He is recognized by most astronomers as someone who was advanced in his thinking and ideas for the time when he lived. Aristarchus of Samos did not get much recognition during his life for his work but he did achieve credit later on.The GREEKS SHOULD NEVER LEARN that: DEMOCRITUS , PYTHAGORAS, HERACLEITOS completely formulated the theory of NUCLEAR PHYSICS and SPECIAL RELATIVITY, unifying into single MATHEMATICAL, formulas, as ELECTRICITY, GRAVITY, MAGNETISM, ASTRONOMY, and the Weak Currents of NUCLEAR ATOMS.The Greeks MUST NEVER LEARN that: the ASTRONOMERS – MATHEMATICIANS: EUDOXUS, CALLIPOS , ARISTARCHOS, ANAXIMANDROS, EUKLIDES, ARCHIMEDES, CONON, HIPPARCHUS, CLEOMEDES, APOLLONIOS, PTOLEMY, THEON, HYPATIA, PAPPUS, had EXHAUSTED the LIMITS of human INTELLIGENCE by solving MENTALY WITHOUT GRAPHICAL REPRESENTATION equations of 12 unknowns (twelve equations twelve unknowns) while the limit of today’s computers is “7 equations 7 unknowns”. Because the THIEVES of ANCIENT KNOWLEDGE, AS: – KEPLER, GALILEO, COPERNICUS etc. MUST be SHOWN!! …The GREEKS SHOULD NOT KNOW that: the ENGINEERS – TECHNICIANS: EUPALINOS, SOSTRATOS, HERON, ZOSIMOS, KALLINIKOS, manufactured TOPOGRAPHIC instruments for TRIGONOMETRIC SURVEYING, AUTOMATIC mechanisms and instruments for ELECTRICAL applications, because the SWINDLER EDISON MUST be SHOWN as the INVENTOR of … ELECTRICITY, ALTHOUGH the above GREEK ENGINEERS used the ELECTRON (AMBER) as a NATURAL ACCUMULATOR of STATIC ELECTRICITY in technical applications…The Greeks MUST NOT KNOW that: the GEOGRAPHERS – EXPLORERS SKYLAX, PYTHEAS, EUDOXUS, STRABON, PAUSANIAS, COSMAS the INDIKOPLEISTIS, HECATAEUS, had mapped the ENTIRE surface of the planet, because there is a danger that the Greeks will learn that ATLANTIS and the AMERICAN CONTINENT belonged administratively in DELPHI, while Asia belonged administratively to SARDIS, with the central coordinator being the APOLLONIAN Center of DELOS, to which the Transborean Greeks (Northern Siberia) sent as a token of recognition “every year, choice grain”, through the Greek ARIMASPAS and ISSIDONES and MASSAGESTAEof Central and Southern SIBERIA.The Greeks should not know that the Greek DOCTORS, GALENOS, CELSIUS, HERACLIDES, HEROPHILUS, PRAXAGORAS, AGNODIKIS, KTIRIAS, HIPPOCRATES, ERIVIOTIS, carried out “balancing electromagnetic fluids of the body” treatments by regulating the alkalinity and acidity of the organs. That they were making cures using “left-handed amino acids” (antibiotics) obtained from plants, fully knowing that only recently did molecular biology discover the action-reaction of left-handed amino acids (antibiotics) with right-handed amino acids (organism proteins).The Greeks must not learn that the symbols “LEFT-CROWNED SWASTIKA” and “RIGHT-CROWNED SWASTIKA” were SYMBOLS of PHYSICS and MATHEMATICS, by which the Greeks PYTHAGORAS and DEMOCRITUS and ARISTARCHOS expressed right-handed and left-handed nuclei of atoms, planets, solar systems, galaxies and cosmic domains clusters of galaxies.2500 years ago HIPPOCRATES performed brain and heart surgery…Despite the almost non-existent means of his time, HIPPOCRATES performed difficult surgeries. He and his students successfully treated orthopedic, cardiac and basic surgery cases. HIPPOCRATES even performed operations on the human skull, as we read in several of his works… In addition to the operation itself, HIPPOCRATES attached great importance to the preparation of the patient and the operating room.In the work Kat’iatreion, he describes in detail how the patient should be prepared before the operation, how the tools are sterilized, how the space is shaped, but also how artificial and natural light is used during the operation…American archaeobotanists were able for the first time to study and analyze the contents of pills made by doctors in ancient Greece and which were discovered 20 years ago, in a Greek shipwreck off the coast of Tuscany…DNA analyzes showed that each pill was a mixture of at least ten different plant extracts, including hibiscus and celery. “For the first time, we now have physical evidence of what is contained in the writings of the ancient Greek physicians DIOSCORIDIS and GALENOS,” said ALLEN TWOWAY of the SMITHSONIAN INSTITUTION’s NATIONAL Museum of NATURAL HISTORY in WASHINGTON , according to New Scientist..Apostle ORPHEUS” ETYMOLOGY OF the NAME ROOT:ÁRISTOS ARKHḖ / ÁRKHŌ > ARÍSTARCHOS NATIVE ETYMOLOGIC NAME ROOT: GREEK; ÁRISTOS (ἌΡῘΣΤΟΣ=NOBLIEST) ARKHḖ (Ᾰ̓ΡΧΉ) ÁRKHŌ (ἌΡΧΩ) ARÍSTARKHOS (ἈΡΊΣΤΑΡΧΟΣ)MEANING: This name derives from the Ancient Greek name “Arístarkhos (Ἀρίσταρχος)”, composed of two elements: “áristos (ἄρῐστος)” (best, better, excellent, first-rate, thorough) plus “arkhḗ (ᾰ̓ρχή) árkhō (ἄρχω)” (beginning, origin, sovereignty, dominion, authority). In turn the name means “the perfect source, the right origin”. 1) Aristarchus of Samos (~310–230 BC) was an ancient Greek astronomer and mathematician who presented the first known model that placed the Sun at the center of the known universe with the Earth revolving around it. 2) Aristarchus of Samothrace (~220–143 BC) was a grammarian noted as the most influential of all scholars of Homeric poetry. He was the librarian of the library of Alexandria.But humanity is not going to be carried in its entirety to Greece to see the works of the ancestors. There are many more people who go to Museums all over the world and see what is on display there. And the works of our ancestors there are our best ambassadors. Greece lives in the Museums of the whole world, it sends a daily message to all people, it does not let them forget us.
The declarations of support for our current sufferings are not only due to the History lesson that is taught in all the schools of the world. It is also due to the great Greek works that silently and majestically send the message to humanity: “here you see a great civilization”. Personally, I am happy that the works of the ancestors are scattered in Museums all over the world and they send this great message to all peoples. And I am also happy that they can be seen and enjoyed by millions of people who will never travel to Greece.
Number of visitors to Museums with Greek exhibits in 2012:
Louvre: 9,720,000
Metropolitan Museum of New York: 6,115,887
British Museum: 5,575,946
Pergamon Museum: 1,410,000
Art History Museum, Vienna: 703.588.
Acropolis Museum: 1.020.462…PLYS>…GETY…HERMITAGE..
https://enromiosini.gr/…/%CF%84%CE%B1-%CE%AD%CF%81…/…

THE PYTHAGOREAN DIET

THE FOOD-NUTRITION-DIET(=ΔΙΑΤΡΟΦΗ-ΔΙΑΙΤΑ/ DIATROPHI-DIETA) OF PYTHAGORAS

Whenever Pythagoras was going to penetrate the underground abodes of the gods and stay there for some time (!!), he used, most of the time, foods that quench hunger and thirst, “alima” and “adipsa”.

Against hunger, he prepared a diet of poppy seeds, sesame seeds, silla skin, thoroughly washed until it was clean of the liquid on it, daffodil stalks (or flowers), mallow leaves, coarsely ground flour (pligouri), barley and chickpeas, all in equal quantities, pounded, which he mixed with Ymittos honey.

For thirst, she made a mixture of water-gourd seed (or cucumber seed), soft pitted raisin, coriander flower, mallow seed as for anti-hunger food, and anthrakla, grated cheese, very fine flour, cream, and he mixed it all with island honey.

This recipe, he said, was learned by Heracles from Demeter, when she sent him to arid Libya. So this is why his mouth was always kept in the same condition, as if he controlled it with a spirit level, without being sometimes healthy and sometimes sick, or sometimes fattening and bulging, and sometimes thinning and emaciating.

And in his countenance was always reflected the same disposition of mind,’ for he neither overflowed with pleasure nor withered with sorrow, and neither joy nor sorrow seemed to possess him, and neither laugh nor cry was ever seen by any one.

The sacrifices he offered to the gods were always well received, for he knew how to propitiate them with wheat flour, pies, frankincense, and fragrant sweet wine, and as for living animals, little, if we excepted hens
and the tender piglets that he sometimes sacrificed. Once he also sacrificed an ox, but made of dough, as the most informed historians inform us.

It was then that he discovered that the square of the hypotenuse of a right-angled “triangle” is equal to the sum of the “squares” of the two perpendicular sides that contain it! And what he said to those who watched him were exhortations, which he either elaborated thoroughly or said in the form of “symbols”.

Pythagorean bios, Porphyrios, KATARTI publications 2001

Photo Bust of PYTHAGORAS in the Town Hall of PYTHAGORAS, SAMOS

HOW PYTHAGORAS, BASED ON THE FAMOUS SAYING 《YOURSELF KNOWLEDGE》, CONNECTED HIS EXTERNAL IS WITH HIS INNER PSYCHOLOGICAL OR SUBCONSCIOUS AND THEN ASCENDED WITH HIS SPIRITUAL POWER HE RAISED ETC HIGHER HIS CONSCIOUSNESS IN MORE DETAILED VIBRATIONS WHERE THEY CONSULTED WITH OTHER WORLDS AND INNER DIMENSIONS WHEN WITH THIS COORDINATION AND WITH IDENTIFICATION HE COMMUNICATED WITH HIGHER VIBRATIONS OF MATTER AND RECEIVED INFINITE AWESOMENESS.. SLOWLY SLOWLY AS HE RETURNED TO THE PHYSICAL LOWER SUBSTATION HE CONNECTED HIS SPIRIT WITH PSYCHOSOCIATION HE SAW HIS HYPOSTATE WHEN HE LET ALL THE KNOWLEDGE AND INFORMATION POUR INTO HIS PHYSICAL BRAIN WHICH HAS JUST RECEIVED FROM THE INNER DIMENSION WITH THE ONE THAT WAS TURNED..WHAT IS THIS TUNING??TUNING IS THE HOMOVIBRATION WHEN TWO BEINGS ARE SYNCHRONIZED IN ANY DIMENSION AS THEY THEN CHANNEL EACH OTHER OTHER THAN THEIR REMAINING KNOWLEDGE THAT HAS ACCUMULATED WITHIN THE THEIR PSYCHIC FILE…THIS COMMUNICATION CAN LAST INFINITELY UNTIL THEY EXCHANGE THEIR EXPERIENCES GATHERED OVER MILLIONS OF YEARS AGO..THERE ARE CASES WHICH THE TRANSFER SOME OF THIS IS DONE AUTOMATICALLY AND COMPLETELY..BUT IN MOST CASES IT IS SLOW AND DISCONTINUED..THERE ARE EVEN NEGATIVE CONTACTS WHO OFFER NO DISCHARGE TO EACH OTHER…THEN THE NEGATIVE RECEIVERS GO TO THE ORIGINAL MATRIX/ IDEAS WHEREVER THEY RECEIVE WHAT THEY CAN….THIS DOWNLOAD INFO HOW SIMILAR TO OUR WORLD WHO IT IS MADE IN PUBLIC LIBRARIES BY MAN..

The first prominent modern vegetarian was the Greek philosopher Pythagoras who lived towards the end of the 6th century BC. The Pythagorean diet came to mean an avoidance of the flesh of slaughtered animals. Pythagorean ethics first became a philosophical morality between 490-430 BC with a desire to create a universal and absolute law including injunctions not to kill “living creatures,” to abstain from “harsh-sounding bloodshed,” in particular animal sacrifice, and “never to eat meat.”

The diet followed Pythagoras was lacto vegetarian, ie eat: Fruits, vegetables, cereals, nuts, legumes and dairy minimally, in order from the largest to the smallest amount. Said that one should not eat the factors together with the output (eg chicken and egg) and avoid almost all generally seafood. Cereals were the basis of the diet of the Golden Age of people like Hesiod tells us in his “Works and Days” and the staple food of the Pythagoreans. “For lunch the Pythagoreans used only bread (with yeast) and honey” (Iamblichus, “On Long Pythagoras”, par 97).

Hippocrates was talking about balance: “The thing that maintains health within the body is equitable distribution and precise mixing of the forces (= fairness) of dry, liquid, cold, sweet, bitter, sour and salty. The illness is caused by the prevalence of one (= monarch). Treatment is achieved by restoring the disturbed balance, using the opposite of excess force”. The exact mixing, equality, symmetry, harmony are the basis of the dogmas of the Pythagoreans and of Hippocrates.

Hippocrates writes: “Within the man there are bitter, salty, sweet, and sour, and the astringent… and when these ingredients are blended and bonded together, neither is shown, nor is affecting humans. But when one of them separates itself and left alone the damage appears”.

Back in the 4th century BC, Hippocrates taught through the famous aphorism that “Let your medications be your food and let your food be your medicine. ” After 2.500 years, many modern scientific bodies following studies and experimentations begin to recognize that this amazing physician-philosopher from Kos was actually right.

Indeed, food, especially locally grown and sourced produce, boasts amazing healing properties! Every fruit and vegetable has a certain pattern that resembles a body organ, this pattern acts as a signal or sign as to that fruit or vegetable’s benefit to us.

For example:

Nuts: Brain
The folds and wrinkles of a walnut bring to mind the brain. The shape of the nut even approximates the body part, looking like it has left and right hemispheres. Wanuts have a very high content of omega-3 fatty acids, which help support brain function and vitamin E which help prevent diseases such as Alzheimer’s.

Carrot: Eye
Slice a carrot in half crosswise and it’s easy to see that the veggie resembles an eye—look closely and you’ll even notice a pattern of radiating lines that mimic the pupil and iris. And the old wives’ tale is true: Munching on carrots will actually promote healthy eyes. “Carrots are filled with vitamins and antioxidants, like beta-carotene, that decrease the chance of macular degeneration, the leading cause of vision loss in older people,” says Sasson Moulavi, MD, medical director of Smart for Life Weight Management Centers in Boca Raton, Florida.

Red Beans: Kidney
Kidney Beans actually heal and help maintain kidney function—and they look exactly like human kidneys.

Celery: Bone
Long, lean stalks of celery look just like bones—and they’re good for them, too. “Celery is a great source of silicon, which is part of the molecular structure that gives bones their strength,” says Dr. Moulavi. Another funny bone coincidence: “Bones are 23 percent sodium, and so is celery,” reports Avellino.

Avocados: Uterus
The lightbulb shape of an avocado looks like a uterus, and it supports reproductive health as well. “Avocados are a good source of folic acid,” says Elizabeth Somer, registered dietician and author of Eat Your Way to Happiness. “Folate has been found to reduce the risk for cervical dysplasia, which is a precancerous condition.”

Grapefruit: Breast
The similarity between round citrus fruits––like lemons and grapefruit––and breasts may be more than coincidental. “Grapefruit contains substances called limonoids, which have been shown to inhibit the development of cancer in lab animals and in human breast cells,” says Dr. Moulavi.

Tomato: Heart
Slice open a tomato and you’ll notice the red veggie has multiple chambers that resemble the structure of a heart. “Studies have found that because of the lycopene in tomatoes, there is a reduced risk for heart disease in men and women who eat them,” says Somer. And, she adds, if you mix them with a little fat, like olive oil or avocado, it will boost your body’s lycopene absorption nearly tenfold.

Ginger: Stomach
Anyone who’s ever reached for a glass of ginger ale when they’ve had a stomachache knows about the antinausea effects of ginger. So it’s fitting that the herb somewhat resembles the digestive organ. According to Dr. Moulavi, “gingerol, which is the ingredient responsible for ginger’s pungent scent and taste, is listed in the USDA database of phytochemicals as having the ability to prevent nausea and vomiting.”

Sweet Potatoes: Pancreas
The oblong sweet potato bears a strong resemblance to the pancreas, and also promotes healthy function in the organ. “Sweet potatoes are high in beta-carotene, which is a potent antioxidant that protects all tissues of the body, including the pancreas, from damage associated with cancer or aging,” says Somer.

Figs: Male Sperm
Figs are full of seeds and hang in twos when they grow. Figs increase the mobility of male sperm and increase the numbers of Sperm as well to overcome male sterility.

Mushroom: Ear
Slice a Mushroom in half and it resembles a human ear. Mushrooms have been found to improve hearing, as mushrooms are one of the few foods that contain vitamin D. This particular vitamin is important for healthy bones, even the tiny ones in the ear that transmit sound to the brain.

Grapes: Lungs
Our lungs are made up of branches of ever-smaller airways that finish up with tiny bunches of tissue called alveoli. These structures, which resemble bunches of Grapes, allow oxygen to pass from the lungs to the blood stream. A diet high in fresh fruit, such as grapes, has been shown to reduce the risk of lung cancer and emphysema. Grape seeds also contain a chemical called proa

https://www.nationaltrust.org.uk/…/restoring-apollo-and…

2,500 years of musical temperaments
Dialogue between humans and nature

José Rodríguez Alvira

Pythagorean Tuning

Attributed to Pythagoras (ca. 569 BC – ca. 475 BC), it is the first documented tuning system.

Pythagoras calculated the mathematical ratios of intervals using an instrument called the monochord. He divided a string into two equal parts and then compared the sound produced by the half part with the sound produced by the whole string. An octave interval was produced:

Thus concludes that the octave mathematical ratio is 2 to 1.

By dividing the string into 3 equal parts and vibrating 2 of these parts we obtain the fifth interval:

Thus concludes that the fifth mathematical ratio is 3 to 2.

By dividing the string into 4 equal parts and vibrating 3 of these parts we obtain the fourth interval:

Thus concludes that the fourth mathematical ratio is 4 to 3.

Using this method Pythagoras calculates the same ratios we calculated using the harmonics series.

Scale Construction

From a C, we will build a major scale according to the Pythagorean tuning. We first calculate the fifth by multiplying the frequency of C by 3/2 (fifth size):

To multiply a number by a fraction we multiply by the numerator (top number) and then divide by the denominator (bottom number).
G = 261 x 3 / 2.

From G we calculate D by dividing the frequency of G by 4/3 (quarter size):

To divide a number by a fraction we multiply by the denominator (bottom number) and then divide by the numerator (top number).
Re = 392 x 3 / 4.

Now A (D x 3/2):

Then E (A divided by 4/3):

Now B (E x 3/2):

F equals C x 4/3 and C5 is C4 x 2:

Pythagorean tuning remains in use until the Renaissance, what leads us to seek a new tuning system?

The mathematical ratio of the major third in the harmonic series is 5/4 or 1.25, what is the ratio of the third in the Pythagorean scale? Dividing the frequency of E (330) by C (261) we realize that this third is larger than the third in the harmonic series:

330 ÷ 261 = 1.2643678161

Pythagorean tuning was effective when the commonly used harmonic intervals were the octave, fifth and fourth. With the increasing use of thirds during the Middle Ages and the Renaissance, the Pythagorean third was no longer acceptable to many ears. This leads us to seek new tuning systems …

95% of illnesses, perishing with the PYTHAGORIAN DIET

Few words About the Pythagorean Nutrition.

HIPPOCRATES: “What keeps health is equitable distribution and precise mixing within the body forces (= egalitarianism) of dry, liquid, cold, sweet, bitter, sour and salty.Illness caused by the predominance of one (= monarchy). Treatment is accomplished by restoring the disturbed balance, the method of the opposite of excess power. “

Those perceptions were found intact in Hippocrates. (The exact mix, equality before the law, symmetry, harmony, are the basis of the doctrines of Pythagoras and Hippocrates. And here, as we will see, we are amazed by the law of proportionality!).

THE PYTHAGORIAN FOOD

And the Vegetarian Noutrition

SAMOS is the birth place of Pythagoras (Πυθαγορας) 570 – c. 496 BC) was an Ionian Greek philosopher, mathematician, botanist, and founder of the religious movement called Pythagoreanism. Most of the information about Pythagoras was written down centuries after he lived, so very little information is known about him. He was born on the island of Samos. Around 530 BC, he moved to Croton, in Magna Graecia (nowdays south Italy). His followers pursued the religious rites, (which had only Philosophical concept, praising the Nature) and practices developed by Pythagoras and studied his philosophical theories. The society took an active role in the politics of Croton but this eventually led to their downfall. Pythagorean meeting-places were burned and Pythagoras was forced to flee the city. He died in Metapontion in south east Italy at 496 B.C..
Pythagoras made influential contributions to philosophy and religion in the late 6th century BC. He is often revered as a great mathematician, mystic, and scientist and is best known for the Pythagorean theorem which bears his name. However, because legend and obfuscation cloud his work even more than that of the other pre-Socratic philosophers, one can give only a tentative account of his teachings, and some have questioned whether he contributed much to mathematics or natural philosophy. Many of the accomplishments credited to Pythagoras may actually have been accomplishments of his colleagues and successors. Whether or not his disciples believed that everything was related to mathematics and that numbers were the ultimate reality is unknown. It was said that he was the first man to call himself a philosopher, or lover of wisdom and Pythagorean ideas exercised a marked influence on Plato, and through him, all of West

Those perceptions were found intact in Hippocrates. (The exact mix, equality before the law, symmetry, harmony, are the basis of the doctrines of Pythagoras and Hippocrates. And here, as we will see, we are amazed by the law of proportionality!).

95% of illnesses, perishing with the PYTHAGORIAN diet

And the Vegetarian Noutrition

Those perceptions were found intact in Hippocrates. (The exact mix, equality before the law, symmetry, harmony, are the basis of the doctrines of Pythagoras and Hippocrates. 12/10/t-95.html

Wallnut looks like a little brain, a left and right hemisphere, upper and lower brain and cerebellum. Walnuts help brain development and brain function. Wallnut in greek:-Karyon – (Synonym to Cephalos) = Head refering to the Brain..Here: Kara = beloved (Doric dialect – Homer – later cara into Latin, cherie in French, kära in Swedish etc.) Karyatis means the female statue, which is support of the roof, of the Erechthion, in Parthernon of Acropolis of Athens, or other Hellenic Temples (Both Doric, Ionic, Corinthian) in main land Midle East, Minor Asia (Ionic style)

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The Red Beans: really can heal and help maintain proper kidney function they look exactly like the human kidneys.

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Carrots greatly enhance blood flow to the eyes and enhance overall functioning of the eyes.

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Celery: like bones. Celery is specifically aimed at strengthening and bone strength. Foods with sodium, such as celery feeds necessary, skeletal body needs.

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Avocado: aimed to health and proper functioning of the womb and cervix of the woman’s uterus. Avocados help female hormones to come into equilibrium, shed unwanted weight after birth and preventing cervical

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Figs: replace the testes and are full of seeds and hang in pairs, when they grow up. Figs increase the mobility of male (+) sperm cells and increases the number of spermatozoa for help to overcome male sterility.

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The mushroom: Mushrooms can help improve hearing, as yet, mushrooms are one of the few foods contain vitamin D. Vitamin D is important for healthy bone, which strengthens even tiny bones inside the ear that transmit sound to the brain.

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Grapes: A diet high in fresh fruits, such as grapes, has been shown to reduce the risk of lung cancer and emphysema. The grape seeds also contain a chemical called proanthocyanidin, which seems to reduce the severity of allergic asthma.

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Ginger (Ginger): One of the biggest advantages is aiding digestion, and is also a popular treatment for motor problems-diseases.

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10-Sweet-Potatoes-PancreasFoods-That-Look-Like-Body-Parts-1

Sweet potatoes: Sweet potatoes look like the pancreas and actually bring balance the glycemic index of diabetics.

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Onions: They help the cells to get rid of toxins. Also, when cut, producetears, cleaning eye epithelial cells.Garlic: It helps to remove waste materials and dangerous free radicalsfrom the body.

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THE LEMON: is a miracle products to kill cancer cells. IS 10000 TIMES STRONGER THAN THE CHEMOTHERAPY & CANCER TESTED IN ALL FORMS. IN ADDITION TO CONSIDER AS AN AGENT antimicrobial IN ADDITION TO CONSIDER AS AN AGENT antimicrobial LARGE SPECTRUM, against infections of bacteria and tumors, CAPABLE TO COMBAT THE INTERIOR AND PEST worms, set the HIGH BLOOD PRESSURE IS antidepressants and combats ANXIETY DISORDERS AND NEFRIKES. Lemon juice contains vitamin C, sugars, carbohydrates, proteins and mineral salts (potassium, phosphorus, calcium, magnesium, sodium and silicon) while the peel refreshing essential oil. Also, the lemon is rich in flavones, antioxidants valuable in therapy. Lemon is excellent antibacterial, disinfectant, antiseptic and astringent, it is considered that helps control uric acid, prevents thrombosis of arteries and veins and accumulation of salts. Lemon because it activates the immune system (increasing white blood cells) is considered excellent hemostatic….

Euphoriatric & Music(The nine Muses, Apollo & Orpheus), Etymology, HERMES – God Dionysos(“us” ..LATER in Latin) Facts

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THE H A R P A HISTORICAL FACTS..

Posted on April 14, 2026 by Konstantin

Posted on May 7, 2024

Dedicated to God Apollo

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THE WORD. H A R P = AΡΠΑ(ΑΡΠΑΖΩ/ARPAZO(=SNATCH)

HARP = AΡΠΑ: SYMPHONIC STRINGED MUSICAL INSTRUMENT. It COMES FROM THE ANCIENT GREEK VERB ΆΡΠΩ/ARPO AND

ΑΡΠΑΖΩ/ARPAZO(=SNATCH), THE THE HARPIES=ΆΡΠΥΙΕΣ

AND IN ἍΡΠΗ/ARPE = A KIND OF BIRD OF PREY, AS IT WAS CONSIDERED, THAT THE INSTRUMENT IS PLAYED WITH THE USE OF ALL THE FINGERS IMITATING A BIRD OF PREY.

THE OLDEST GREEK MUSICAL INSTRUMENTS ARE TJE HARP, AVLOS (OR LYRE), WHICH IS DATING BACK TO THE NEOLITHIC AGE.

THE THREE GREEK CIVILIZATIONS

1) AEGEAN, WHICH ARE THE CYCLADIC MARBLE FIGURES REPRESENTING HARP AND LYRES,

2nd) THE MINOAN AND

3rh) THE MYCENAEAN, PROVIDE EVIDENCE OF THE IMPORTANCE OF MUSIC IN THEIR CULTURES SUCH AS CYCLADIC MARBLE FIGURES .

THE HARP HAS LEGENDARY ORIGINS: IN GREEK MYTHOLOGY(-BASED ON MYTHAGOGY-COSMOLOGY). IT WAS INVENTED BY THE GOD APOLLO. CHARMED BY THE SOUND OF ARTEMI’S BOW, HE GAVE HER STRINGS TO ATTACH TO the WEAPON, CREATING A NEW INSTRUMENT.

PS: UNFORTUNATELY CERTAIN BARBARIANS CLAIM, THAT THE ANCIENT GREEK WORD “HARP” IS……..PROTO – GERMAN!!!….NOW DAY`S PARTICULARY, THAT`S THE RIGHT OF THE STRONGER, WHO DOES N OT NEED HISTORICAL ACTS, ETYMOLOGYCRIMINAL MARIONETTS, ARTS PHILOSOPGY, MATHEMATICS ETC , AS HISTORICAL FACTS NOW DAYS TO RULE THE GLOBAL MEDIA FURTHER WITH THEIRCRIMINAL MARIONNETS !!!!!!

THOUSANDS OF YEARS LATER

THE HARP, WAS LATER INTEGRATED INTO THE

CHRISTIAN IMAGES, AS PLAYED BY ANGELS AND KINGS, AMAZES US WITH ITS DELICATE AND CRYSTALLINE SOUND.

ORPHEUS, THE SON OF APOLLO, WHOSE “RICH CLEAR WORDS AND THE SILVERY NOTES FROM HIS HARP WERE SO ENCHANTING, THAT THEY … HAD A MAGICAL EFFECT ON EVERYTHING AROUND HIM.

ORPHEUS SONGS COULD CHARM EVEN ROCKS AND RIVERS, AS WELL, AS HUMANS AND ANIMALS.

. AS THE STORY GOES, HERMES USED THE INSTRUMENT TO STEAL 50 OF APOLLO’S PRIZE CATTLE, OFFERING UP THE LYRE TO THE LATTER WHEN APOLLO BECAME ANGRY. THUS, THE LYRE IS NOW AN HISTORIC ATTRIBUTE TO THE GOD QF MUSIC AND PROPHECY, SYMBOLIZING wisdom AND MODERATION.

THE AEOLIAN HARP HAS A LONG HISTORY OF BEING ASSOCIATED WITH THE NUMINOUS, FOR ITS VIBRANT TIMBRES, THAT PRODUCE AN ETHEREAL SOUND

HOMER RELATES THAT HERMES INVENTED THE LYRE FROM DRIED SINEWS STRETCHED OVER A TORTOISE SHELL. IT WAS ABLE TO BE PLAYED BY THE WIND.REGARDING THE ETYMOLOGY OF THE WORD MUSIC: THE WORD, is3 DERIVED FROM THE WORD MUSE .

THE WORD MUSE, AGAIN, IS DERIVED FROM MOUSHA = muse. ” MA ” is THE ROOT of the verb mao-mo which means to devise or search or ask mentally . (In the DORIC DIALECT, the WORD ” MUSE ” is ” MUSES “).

An early ancestor to the harp appeared Greece, and later in spread in India , China and Burma. During the Middle Ages, it was played all over Europe and became very popular in the Celtic nations. The harp was the instrument of the troubadours, and accompanied their narratives throughout their journeys.

Monarchs have ALSO played the HARP, from SAPHO, QUEEN MARIE ANTOINETTE, as well as innumerable poets. Often richly decorated, it can be as much a statement of wealth as a musical instrument. But the palette of sounds that the HARP produces gives it true status. Refined, sparkling, and SUBTLE, THE SOUND OF THE HARP IS DREAMY AND ENCHANTING.

The ancient Greek term MUSIC (inv. art ) appeared to INITIALLY declare instrumental music ( ΚΡΟῦΣΙΣ Ä), song ( ᾨΔῊ ), SPEECH (ΛΕΞΙΣ) and RHYTHMIC movement ( ὌΡΧΗΣΙΣ) as an INSEPARABLE PERFORMANCE unity, but ALSO in general education, SPIRITUAL CULTIVATION AND ELOQUENCE, WHICH WERE UNDER THE PROTECTION OF THE MUSES

. MUSICIAN AS AN ADJECTIVE MEANT “CULTIVATED”. ALREADY IN THE HOMERIC EPICS , THE PRACTICE OF MUSIC SYMBOLIZES THE PEACEFUL LIFE AND CULTUR of an organized SOCIETY in CONTRAST t3o THE BRUTALITY OF WAR.

IN THE 6th CENTURY e.g. MUSIC BECOMES THE OBJECT OF A SYSTEMATIC THEORETICAL APPROACH BY PHILOSOPHERS, ALTHOUGH AT FIRST THEIR INTEREST IS INDIRECT. THE FIRST MENTIONED is3 PYTHAGORAS FROM SAMOS AND HIS STUDENTS, WHO LIVED IN MAGNA GRAECIA IN CROTON IN LOWER ITALY

BELIEVING THE WORLD IS MADE OF WHOLE NUMBERS, THE PYTHAGOREAN DESCRIBED THE HARMONIOUS SOUND OF A MELODY AND ITS EFFECT ON THE HUMAN SOUL, AS A RESULT OF NUMERICAL PROPORTIONS. THEY EVEN REDUCED MUSICAL HARMONY TO A THEORETICAL MODEL OF THE GENERAL HARMONY OF THE UNIVERSE AND PERFORMED ACOUSTIC EXPERIMENTS.

Ancient Greek warrior playing the Salpygum (Salpyx) , late 6th–early 5th century BC, Melanomorph vase at Lykythos.

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How can we understand the present if we don’t look at the past? says a proverb. And very wisely he says, because we must always look back, to our roots, so that we can excel in the future and never make the same mistakes as our ancestors in the present, creating an eternal chain of repetition. So with music. We should look back to see the musical history of our people as well as the world musical history, to perceive on the one hand the beginning of music and its evolution but also on the other to be able to have the knowledge to spread the musical feats of our ancestors.

Regarding the etymology of the word music : the word, according to the writings of the ancient Greek poets and philosophers, is derived from the word muse . The word muse, again, is derived from maousha = muse. ” ma ” is the root of the verb mao-mo which means to devise or search or ask mentally . (In the Doric dialect, the word ” muse ” is ” moses “).

Lyres appear in Greek mythology as an instrument played by the gods Hermes and Apollo, and by the Greek hero Orpheus. All three were famous as superb lyre players.

Orpheus played the lyre, a harplike instrument that had been given to him by the god Apollo. Most legends relate that Orpheus’ mother was one of the Muses; most often she is said to be Calliope, the patron of epic poetry

The nine muses. Originally these deities were mountain and water nymphs. Hesiod in Theogony recounts: ” Memory slept in Pieria with the son of Cronus and gave birth to these virgins . “

An important point in world music history is the flourishing period of ancient Greek music. When geometry and mathematics contributed to the study of music but also to the construction of the first musical instruments, instrumental music began to develop in ancient Greece, since until the 6th century we have mainly vocal music as a means of expression. This shift towards instrumental music is confirmed by the work ” Pythic Law “, which is the most important court law of the music of ancient Greece and described the fight between Apollo and the dragon Python . It was Sakada ‘s invention , and perhaps the first example of purely programmatic (descriptive) music.

The amount of information that has survived to this day about ancient Greek music allows us a systematic classification of the sources, which applies not only to Greek antiquity but to the history of music in general. The first and basic category of sources are written sources and they are divided into two separate categories, practical and theoretical . Practical sources are called surviving fragments of music in musical notation. From these sources mainly hymns have survived in fragments and have been transcribed into today’s musical writing (two Delphic hymns of Apollo , the Epitaph of Sicily, etc.). These passages about ancient Greek music are few (about 50 in total) and above all short and often with gaps and deficiencies in the notation. Texts about music are called theoretical sources. Theoretical sources include, in addition to special treatises on music theory, the numerous references to music and musical life contained in literary, philosophical and historical works. Theoretical sources of this category are often called here philological sources . The theoretical, as opposed to the practical, are numerous and contain valuable and often extensive information on many issues, yet there are gaps and difficulties in understanding them. The main works are those of Aristoxenus , Euclid , Nicomachus and Alypius , who gives us detailed tables of ancient Greek musical writing.

The lyre represents the peace of Elysium, the paradise where heroes were sent after they were appointed immortality by the gods. As for Orpheus, he acquired the lyre from his father, Apollo, who taught Orpheus how to play

In addition to written sources, another very important category of sources is pictorial testimonies or pictorial sources (depictions of scenes of musical life on vases), as well as the remains of musical instruments found in excavations . The number of pictorial testimonies is great and this fact in itself is testimony to the importance of music in the daily life of the ancient Greeks.
Lyra: the most widespread stringed instrument of ancient Greece, a musical instrument particularly popular since it was not necessarily an instrument of professionals. A symbol of Apollo, the lyre was not used in public events, while it was the instrument par excellence for training the young. It can be characterized as the national organ of the ancient Greeks.

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A typical example is the Harpist in the National Archaeological Museum of Athens, a marble statue of Proto-Cycladic art (2800 – 2300 BC) that represents a seated harpist playing a type of harp.

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Lyres are found in the palace of Pylos and in Crete (1400 BC). The lyre was identified with Apollo. According to mythology, Hermes invented it: When Apollo (Fig.) discovered that Hermes had stolen his oxen, he chased him. Running to hide, he accidentally stepped on a turtle shell. Noticing that the raven made the sound louder, he made the first lyre and gave it to Apollo, appeasing his anger.
The flute, the diaulos, the askalos, the syrigus of Pan, the salpyx, the drum and the rattle, the cymbals, the rattles, the seistro, the croupezio, the whisper and the chalkeophone are some of the wind and percussion instruments.

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Lyra: the most widespread stringed instrument of ancient Greece, a musical instrument particularly popular since it was not necessarily an instrument of professionals. A symbol of Apollo, the lyre was not used in public events, while it was the instrument par excellence for training the young. It can be characterized as the national organ of the ancient Greeks. The lyre was the civilised instrument of the cultured Apollo, while the pipe or flute was used by the wilder, nature-dwelling deities. On one occasion the god Pan, boasting of his mastery of the pipes, was foolish enough to challenge Apollo to a contest.

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“Apollo the Guitarist” seated on a rock, holding his lyre and key. (Detail from the sides).
Roman copy of a Greek original of the 4th BC. h. The work can be dated to the late Hadrian-Antonine period (mid 2nd century AD). It is possible that it was placed in a temple as a gift from the emperor, the only one who could dispose of such a precious material in large quantities as porphyry or porphyry.
Purchased by the Farnese from the Sassi family, it was located in the Palazzo in Campo dei Fiori. The earliest Farnese catalogs specify the “metal or bronze” construction of the head, arms and legs. These parts were removed and replaced by what is visible today in white marble, the work of Carlo Albacini (1734-1813), on the occasion of the sculpture’s transfer to Naples in 1805. Napoli Museo Nazionale – Piano Terra – Collezione Farnese – sala I .
The god, clothed in a long tunic of purple porphyry, held by a belt below the breast, sits on a rock holding the lyre in the left hand and the key in the right (in white marble, inserted by Albacini). His costume, which resembles a woman’s, is the festive costume of the Pythians, worn by the performers taking part in the music competition.
From 1850 BC at Minoan Knossos large column bases of some variety of porphyry are found. And the ancient Egyptians used varieties of this stone in their constructions. It is a volcanic rock that forms when magma cools slowly below the earth’s surface. It has a unique texture and “luxurious” color, which was especially valued during the Roman period to satisfy the love of luxury of the Roman elite. It was red-brown to red-purple in color, like the color dyed with the material from the rare sea snails with the ancient Greek name “porphyres”, hence its name. The purple porphyry was also called “imperial” and had been discovered in an isolated location in Egypt in 18 AD by a Roman legionnaire, according to Pliny the Elder (Gaius Plinius Secundus, 23-79), in his “Natural History” (Naturalis Historia) . Like the purple cloth, it was characteristic of the emperors (e.g. their “tongas” were made from it in their busts). But also later, it was used by the emperors of the Eastern Roman state, called Byzantium by the historians, in their sarcophagi and in Byzantine imperial monuments.This stone is also valued for its versatility.It can be cut and carved into various shapes and sizes , making it ideal for a range of applications.Its use continues later, in the constructions of Western European emperors and kings.

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The harp has legendary origins: in Greek mythology, it was invented by the god Apollo. Charmed by the sound of Artemi’s bow, he gave her strings to attach to the weapon, creating a new instrument. The harp, played by angels and by kings, amazes us with its delicate and crystalline sound.

FRENCH INNOVATIONS
The first pedals were the invention of the Bavarian luthier Hochbrücker at the beginning of the 18th century. Several instrument makers in France developed new innovations and patents, including one by the writer, watchmaker, diplomat and businessman Pierre Beaumarchais. The famous piano maker Sebastien Érard gave the harp seven pedals in the 19th century, one per note of the scale.

In the 20th century, the innovations continued. At the beginning of the century, the Pleyel House patented a harp without pedals, called the chromatic harp, at the request of several musicians. This harp was used in a composition by Claude Debussy, the Sacred Dance and Secular Dance. Although it was not a commercial success, the piece is very interesting for the history of music and is a masterpiece of chamber music.

Ravel
Maurice Ravel with the harpist Lily Laskine at a performance of Ravel’s Introduction et allegro in 1935.
French involvement in the development of this instrument is still strong today! The French harpist Anja Linder, who was paralyzed following an accident, invented the “Anjamatic”, an electro-pneumatic harp without pedals. Anja teaches the “Anjamatic” at the Strasbourg Conservatory. She was named a Knight of the National Order of Merit in 2016.

The history and development of the harp is bursting with as many notes, high and low, as the instrument itself is capable of. The most exciting part of the harp’s history is what’s still to come for this ancient instrument.

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The word music, according to the writings of the ancient Greek poets and philosophers, is derived from “Musa”. Musa again, is produced from maousa = Musa. “ma” is the root of the verb mao-mo = to devise or search or ask mentally. (In the Doric dialect the word “Muse” is “Moses”).

The word music The word music, in today’s time, means the art of sounds, unlike the ancient Greeks who gave the word music a different meaning, they meant the indissoluble unity of sound and speech, something that does not exist nowadays.

With sport the body is exercised, while with music the spirit.

Music, the gift of the Muses, in ancient Greece, defined and characterized the man who acts, thinks and feels. Thus, as a means of spiritual maturation, the word that would characterize ancient Greek music is not the word “art” but the words education and power. This can also be seen from the fact that the one who played the flute e.g. he was called a piper and not a musician, i.e. he was considered a simple performer. But after the separation of music from speech, language, which happened shortly after Plato, we see the use of the concept musician. This change was to be the birth of an autonomous art which, as mentioned above, was embedded within discourse.

Ancient Greek Music

Ancient Greek music holds a special place among the musical cultures of Antiquity. The main reason for this is certainly the fact that the historical evidence and sources for the study of ancient Greek musical culture are more than for any other musical culture of antiquity. However, apart from this, and perhaps thanks to this, the ancient Greek musical culture exerted a great influence on later musical cultures in Europe and also in the Middle East, mainly on the Arab musical culture. This effect concerns, at least in the case of European music, the aesthetics of music, music creation, music education and more generally the place of music in education, music theory and other fields, which are today, as well as the former subject of musicology.

The influence of ancient Greek music on later musical cultures is not only due to any historical testimonies and sources regarding it. It is due, and in fact to a large extent, to the overall effect of the ancient Greek and Roman civilization on modern Europe, especially during the Renaissance years, but not only then. Ancient Greek music became for the humanists, but often also for the musicians of the Renaissance, the ideal model of music. Thus, as often happens in similar cases, a myth was created around ancient Greek music, based more on the musical reality of later times and on historical fallacies, than on the positive knowledge of the sources that survived. This myth was certainly productive for the development of modern music, as it shows e.g. the genesis of opera. However, for the knowledge of ancient Greek music itself, it had several negative consequences, which musicological research began to overcome from the middle of the 19th century. and so on. From this time, a systematic research of ancient Greek music, freed from the distorting lenses of later periods, began.

SOURSES

The abundance of surviving information on ancient Greek music allows a systematic classification of sources, which is not only valid for Greek antiquity, but for the history of music in general and is used to classify sources at least until the end of the Middle Ages.

The first and basic category of sources are written sources. Written sources are divided into two separate categories, practical and theoretical sources.

Practical sources are called surviving fragments of music in musical notation. From the practical sources mainly hymns survived in fragments and have been transcribed into today’s musical writing (two Delphic hymns of Apollo, the epitaph of Sicily, etc.). These passages about ancient Greek music are few (about 50 in total) and above all short and often with gaps and deficiencies in the notation.

Texts about music are called theoretical sources. Theoretical sources include, in addition to special treatises on music theory, the numerous references to music and musical life contained in literary, philosophical and historical works. Theoretical sources of this category are often called here philological sources. The theoretical as opposed to the practical are many and contain valuable and often extensive information on many issues, yet there are gaps and difficulties in understanding them. The main works are by Aristoxenus, Euclid, Nicomachus and Alypius (who gives us detailed tables of ancient Greek musical writing).

In addition to written sources, another very important category of sources is pictorial evidence or pictorial sources (depictions of scenes of musical life on vases), as well as the remains of musical instruments found in excavations. The number of pictorial testimonies is great and this fact in itself is testimony to the importance of music in the daily life of the ancient Greeks.

Historical Overview

It is difficult for anyone to determine the temporal and geographical boundaries of the musical culture of ancient Greece. A key difficulty is the dissociation between the temporal origins of different kinds of sources. Thus, the surviving theoretical sources, as well as the surviving nuggets of practical sources, date almost exclusively to the first post-Christian centuries. On the contrary, the philological and pictorial sources are abundant already from the period of greatest flowering of this culture – that is, from the 7th to the 4th BC. century or so. therefore, following a demarcation that is more or less generally accepted and corresponds in general terms to the geographical and temporal demarcation of the period of birth and heyday of the ancient Greek culture, we can say that ancient Greek music covers a period of time that begins in the last centuries of 2nd millennium BC and ends at the end of the 4th century BC. (i.e. at the beginning of the Hellenistic Period), and developed mainly in the main part of Greece and in the Greek cities of Asia Minor and Lower Italy. The period of more than a thousand years determined by the above time limits corresponds to various periods of ancient Greek history. Thus the history of ancient Greek music can be subdivided into two major periods:

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Aphrodite is , as well associated with the harp. Though she wasn’t an actual goddess, Calliope is often depicted with one. The character of Orpheus, again not regarded as a god, was a harpist (or probably more accurately, the lyre)

Orpheus, ancient Greek from Thraca legendary hero endowed with superhuman musical skills. He became the patron of a religious movement based on sacred writings said to be his own. Traditionally, Orpheus was the son of a Muse (probably Calliope, the patron of epic poetry) and Oeagrus, a king of Thrace (other versions give Apollo). Apollo, as the god of music, gave Orpheus a golden lyre and taught him to play it. Orpheus’s mother taught him to make verses for singing. (Orpheus name derives fro the verb root *h₃erbʰ- ‘to change allegiance, status, ownership’. Cognates could include Greek: ὄρφνη (órphnē; ‘darkness’) and ὀρφανός (orphanós; ‘fatherless, orphan’) from which comes English ‘orphan’ through Latin.

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The story of Orpheus has resonated through the millennia and has been a popular subject of art, music and literature for more than 2,500 years. The Greek legend was flourishing by the mid-sixth century B.C., and variations of his story appear in the ancient writings of Aristophanes, Plato, Aristotle, Apollodorus, Virgil and Ovid. According to one version of the myth, Orpheus was the son of the muse Calliope. Given a lyre (a form of ancient harp) by the god Apollo and instructed in its use by the Muses, he became so skilled at creating music with it that he was able to charm and placate elements of both the natural and supernatural world. Animals, trees, rocks and even some of the gods themselves were moved by the music from his golden harp, and ancient images of him often depict scenes in which Orpheus is surrounded by a variety of tranquil creatures, both real and mythical.

Personal information
Abode
Symbol	LYRE
Born	PIMPEIA, PIERIA
Died	Pangaion Hills, Odomantice
Parents	Oeagrus and Calliope
Spouse	EURYDIKE
Children	MUSAEUS

Orpheus and Eurydice in Palais Garnier, Paris. ΟΡΦΕΥΣ (Orpheus) and ΕΥΡΥΔΙΚΗ (Eurydice).

The power of Orpheus’s music led Jason and his fellow Argonauts to seek his aid on their quest for the Golden Fleece, but the primary story associated with Orpheus concerns his wife, a nymph named Eurydice. According to legend, she was killed after being bitten by a poisonous snake. Devastated by her death and determined to recover his lost love, Orpheus descends into the underworld, where he uses the power of his music to charm Charon, the ferryman who brings the dead across the River Styx, in order to gain passage to the underworld. As he continues, he also enchants the monstrous guardian of the gates to the underworld, the three-headed dog Cerberus.

Glancing back however is often a symbol of a reluctance to look forward, to be distracted, dwell on the past and remain static. To the ancient Greeks, Orpheus was a legendary prophet, poet and musician. Because the moral behind both stories is “Don’t look back.” Orpheus wanted to bring his wife, Eurydice, back to life and was told not to look back or he would lose everything. Lot was told by God that he must not look back or he would turn to ashes. Of course his wife didn’t listen and she became a pile of ash/salt

His music and grief so moves Queen Persephone that she pleads with her grim consort, Hades, to release Eurydice and allow Orpheus to bring his wife out of the underworld. The god of the underworld grants this request, but only on the condition that Orpheus trust that Eurydice is following him; he must not look back at her until they pass beyond the realm of Hades’ domain and into the world of the living. Their escape is depicted in Sir Edward John Poynter’s dramatic 1862 oil-on-canvas Orpheus and Eurydice. At the last moment, Orpheus is unable to resist looking back at his love, and thus he is forced to watch as she is once again transported back to the world of the dead..

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*******A R I O N

Arion was a lyric poet from Mithymna (Molyvos) in Lesvos. We do not even know the year of his birth and death. The information about him and his life comes mainly from the historian Herodotus. He left Lesbos early and lived near the tyrant of Corinth Periandros (625 – 585 BC).

He was the best guitar player of his time and contributed to the development of the dithyramb, the hymn of Dionysian worship, which was the forerunner of tragedy. Arion was the first to compose a dithyramb, gave it a lyrical form and narrative content and presented it at the court of the art-loving tyrant Periander, in Corinth. Arion presented the dancers disguised as Satyrs, i.e. with characteristics of goats, which is why he was called the “inventor of the tragic way”. As a poet and composer, he wrote chants (hymns) and preludes (guitar rules), of which not a single verse has survived. According to Herodotus Arion had won a musical competition in Sicily.

Arion, playing his kithara and riding dolphins. Sculpture by Jean Raon (Grove of the Domes [fr], Gardens of Versailles)

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There is a story about his life, which is more like a fairy tale, and it was bequeathed to us by Herodotus. Once, Arion decided to travel to Sicily for a living. There, after having collected a lot of money and wealth through his art, he started the return journey in a Corinthian ship. During the voyage the sailors decided to rob him and throw him overboard. Arion offered to give them money to save his life, but in vain. Then, he begged them to do him one last favor. To let him sing before his death. The sailors accepted. Arion, having put on his good clothes, took the guitar in his hands, stood on the prow of the ship and sang the “standing law”, a hymn to Standing Artemis and others a hymn to Apollo the god of music. His song attracted dolphins around the ship. At the end of the song he threw himself into the sea. A dolphin enchanted by his song took him on its back and took him out to Cape Tainaro. From there, Arion went on foot to Corinth, where he reported everything to Periander, the tyrant of Corinth. He ordered the sailors, who had meanwhile returned to Corinth, to be arrested and put to death.

Arion, riding a dolphin; from the statue by Ernest-Eugene Hiolle. Illustration for The Chefs-D’Oeuvre d’Art of the International Exhibition, 1878, edited by Edward Straham (Gebbie & Barrie, c 1878).

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Greek mythology is intended to serve as an education for the people of Ancient Greece, and with the Myth of Orpheus and Eurydice, they are taught two things. First, you need to stay true to your word. And, second, always be respectful to the gods.

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FUNCTIONAL WEARABLE ARTS, BIRD OF PARADISE LIVING ARTS

Posted on November 7, 2025 by Konstantin

Bird of Paradise living Arts / ARTS ON SILK AND TITAN

B I R D OF P A R A D I S E S A N T O R I N I 1 9 9 3

B I R D OF P A R A D I S E / THE ORIGINAL FUNCTIONAL WEARABLE ART SINCE 1982

MY B E A U T I F U L – U N I Q U E – M U S A

Rose-Marie at the Studio of Bird of paradise (SPRING 2016):

HA DEN ÄRAN MIN ÄLSKLING, DU ÄR MED ADONIS NU PÅ CHAMPS ELYSEES MINA ÄLSKADE

YOU MY IMMORTAL ONES… YOUR SPIRITS..

AMARYLLIS AND ME ARE BREATHING YOU AND CELEBRATING YOU

KULTURHUSET: OCTOBER 1989 – “ART ON SILK & TITAN” AND WHY IT HAPPENED!!…..

KULTURHUSET EXHIBITION / OCTOBER-NOVEMBER 1989

Roots in Greece.

Titanium jewelry

“Art on Silk & Titan” Kulturhuset -89
Photo: ANN ANDREN

“Art on Silk & Titan” Kulturhuset -89
Photo: ANN ANDREN

THE PEACOCK WAS A SYMBOL OF THE GODDESS HERA, WHOSE CHARIOT THEY PULLED.

HERA, THE GODDESS OF THE STARS AND SKIES, WAS NOT ONLY THE SISTER BUT THE WIFE OF THE GREEK GOD ZEUS, THE KING OF ALL THE GODS ON MOUNT OLYMPUS.

Many versions of peacock story in Greek mythology

According to the Roman writer Ovid, he did so by first lulling him to sleep by playing the panpipes and telling stories. Zeus freed Io, who was still in the form of a heifer.

THE SPECTACULARLY BEAUTIFUL PEACOCK ALSO FEATURED IN ANOTHER ADVENTURE INVOLVING ATHENA, ADONIS AND ARTEMIS, ALONG WITH ZEUS AND HERA.

SANTORINI -83

ANORAC JACKET AND PILOT OVERALL, SEWED IN JAPONEE’ – 18′ SILK,/ECO PIGMENT DYED, INAUTUMN 1986 BY ROSE-MARIE AND KONSTANTIN. PHOTO: KARY LASCH

SISTA BILDEN FRÅN FÖRRA SOMMARN

IDAG DEN 02/06/24 SOMNADE DU IN MIN FINAÄ L S K L I N GTACK FÖR ALLA FYRTIOTVÅ (42) LYCKLIGA ÅREN TILLSAMMANS!!

Rose-Marie at the “Bird of Paradise” workshop in Stockholm -88

Studio & Work Shop 1987 at Rensiarnansgatan Södermalm /Stockhom

Rose-Marie
Photo: Kary Lasch

Bird of Paradise – Divine Creations/ Fashion Fair1986

ROSE-MARIE PHOTO: KARY LASCH

ROSE-MARIE & KONSTANTIN PHOTO: TONY LANDBERG

INSTAGRAM: euphoriatrica

“Bird of Paradise” Wearable Art since 1982 – Art on Silk & Titan

“Odyseus & Gorgona” Eco colours – washproof on 8″ japonee silk From the 1989(October) “Art on Silk & Titan” Kulturhuset Stockholm. (Saatchi & Saachi Galery)
www.konstantin living arts

“Cloudy Dreams” from “Art on Silk & Titan” – with Eco-Silk pigments – washproof – on 8″ Japonee`Silk
Photo: Konstantin
at KKV Konstnärernas Kollektivverkstad i Nacka.

“Cosmic Power”
Hand painted in 8″ Japonee silk with Eco-colours
by Konstantin Schönros
Photo: Konstantin

Artitanic Mask “Art on Silk & Titan” from “Bird of Paradise”- Kulturhuset – October 1989

Titan, Silver & Black star stone Papercuter; Handmade by Master Jannis Papastavridis,Konstantin`s younger brother.
Photo: Jannis(R.I.P.)

Titanium, Silver, brass & red Gold – BeltBucle; Handmade by Jannis Papastavridis, Konstantin`s younger brother.
Ph: Master Jannis(R.I.P.)
www.functionalwearableart since 1982

Spectrolithe-stone & Titanium; H-made by Master Jannis Papastavridis (Konstantins younger brother)
Photo: Jannis(R.I.P.)

“Spectrolite & Silver” Hand made By master Jannis (Konstantins brother).
Photo: Jannis Papastavridis
Photo: Jannis(R-I.P.)

Myriam watching the “cosmic dream” handpainted by Konstantin & Rose-Marie Schönros at 8” japoneè silk with eco-textile colours (125cm * 110cm )
(private Collection)

PHOTO: WOODY OCHNIO

“Fire Bird” in Titanium & Fossil Block-Batique
Modell: Victoria

“Fuji” Handmade in Titanium, Gold & silver by Functional Wearable Art.com

Identical Amonite Fossil Block Batique by Konstantin & Rose-Marie on various Silk garments (here: on Japoneé 8″ , Satin & Dupunione Silk (“Art on Silk & Titan”) -1982

CLASSICALS FROM BIRD OF PARADISE:

FOSSIL BLOCK BATIQUE ON SILK SATIN & DUPUNION 8″, /ECO-COLOURS

Raw Silk & old Ikat from Suba Island – Indonesia
from “Bird of Paradise”, Sewn by Rose-Marie Schönros
Modell: Rose-Marie
Photo: Woody Ochnio

“Optical Line” /A..part of the Show-room
of Bird of Paradise in Stockholm Photos by the master Woody Ochnio

“INDIVIDUAL DESIGNS
HERE: 3 KIND OF SILK:
LACES, CREPE DE CHINE, JAPONEE 8″
HAND MADE(1992) BY ROSE-MARIE, WAX BATIQUE, ECO COLOURS PHOTO: ROSE-MARIE

Fuji” Handmade in Titanium, Gold & silver by Konstantin Schönros

Gold mask(18 carats), Silver Titanium & Silk Fossile-Block Batique
Photo:Woody Ochnio

Owe SANSTRÖM/(ABBAs DESIGNER) & Rose-Rosemarie Schönros
Photo: Press

Padded Batik-Jackets-85
Choreographer Roy Barrows & Rose-Marie
Photo: Press

Rose-marie in Paris

Photo: Michael Klazskow

ROSE-MARIE IN YOUNGER DAYS! (A) PHOTO; KARY LASCH

ROSE-MARIE IN YOUNGER DAYS! (B) PHOTO; KARY LASCH

Rose-Marie Samuelsson-chönros & Kary Lasch himself
Photo:Kary Lasch

Rosemarie Schönros

Photo: Tony Landberg at Stig Forsberg’s studio sometime in the late 70s and waffled hair which was very fashionable then.

Rose-Marie at the Studio of Bird of paradise
p: Woody Ochnio

ANORAC JACKET AND PILOT OVERALL, SEWED IN JAPONEE’ – 18′ SILK,/ECO PIGMENT DYED, INAUTUMN 1986 BY ROSE-MARIE AND KONSTANTIN.

PHOTO: KARY M LASCH

“Marmorated-Block-Batique” & Titanium suspenders (“Wearable Art” collection-88) Hand Made by Konstantin Schönros
Mod: Miriam
Ph: Woody Ochnio

“Wearable Art”-1988 – Fossil Batique & Titan;H-Made By konstantin Schönros.
Modell: Petra on her horse.
Ph: Woody Ochnio

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Titanic ..drama! (titanium, Gold & Silver by Konstantin)
Mod: Konstantin
Photo: Woody Ochnio

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Titan, Gold, Silver; H-Made by Konstantin Schönros
Mod: Konstantin
Photo: W.Ochnio

“Fire Bird” Artitan collection H-M,by Konstantin & R-Marie Schönros
Mod: Victoria
Ph: Woody Ochnio

“Artitan” Rose-Marie & Konstantin Schönros -88
Modell: Victoria
Photo: Woody Ochnio

Viktoria(RIP), Dressed In Japonee Silk Pilot Overall With Block Batique/In ECO Colours & Titanium Jewelry (“Wagner”Series// “Artitan”), For:

“Functional Wearable Art”, From Bird Of Paradise-Divine Creations”).

Photo: Woody Ochnio. Private Collection Of Christer Knutars.

Myriam -98 Marmoring on Batique By Konstantin & R_Marie Konstantin Schönros
Ph: Woody Ochnio

“Art on Silk & Titan” -by Konstantin &Rosemarie Schönros
“Titanium shapes”
Photo: Konstantin /— at Konstnärernas Kollektivverkstad – KKV Stockholm.

Earth Colours by “Bird of Paradise” (Rose-Marie & Konstantin Schönros).
“Art on Silk & Titan”
Photo: Woody Ochnio
Modells: Ann with Viktoria Sokolov and Rosemarie Schönros.

“Fuji” – Artitan – (Gold, Titan & Silver) hand made by Konstantin Schönros
Photo: Konstantin Schönros — at Konstnärernas Kollektivverkstad – KKV Stockholm.

ROSE-MARIE & MARIE LUISE BAXTER

Rose-Marie in younger days

Photo: Kary Lasch

Rose-Marie(-84) in Silk Anorak & Overall
Photo:???

Rose-Marie &Marie-Louise Nordlund-Baxter 1982

Kary Lasch & Rosie to the..left

Kary Lasch & Rose-Marie in “Antlantic”

“Art on Silk & Titan” October November -89
Konstantin & RoseMarie
Photo. Ann Andren

Rose-Marie modelling for the image of the Fifties

Photo: Jörgen Reimer

Rose-Marie

Bali residence -85 (Golden Village)
Photo: PAOLO ROSI (for Italian magazine)

Lurex collection Fall – 1986 – Bali from Bird of Paradise – Divine Creations (Functional Wearable Art 1982)

Modell: Ati / Photo: Konstantin

The unforgettable Family of Hamiltons(R.I.P)
Photo: Woody Ochnio

City Hall Stockholm -84
Shiffon Silk Dress
Hand made by Rose-Marie & Konstantin Schönros (“Bird of Paradise”) with Eco colours.
Modell: Rose-Marie

City Hall Stockholm -84
Japonee Silk “salopette pilote”
Hand made by Rose-Marie & Konstantin Schönros (“Bird of Paradise”) with Eco colours.
Modell: Rose-Marie
Photo: Konstantin

Rose-Marie at the Bird of Paradise Studio -88
Photo: Konstantin

KONSTANTIN & ROSE-MARIE HAVING A BRAKE PHOTO: WOODY OCHNIO

Gabriella at the release party
of Staffan Hildenbrandt film
“Ingen kan älska, som vi”,
at her place (-88)
Photo: Woody Ochnio

Modell: Anne
Photo: Woody Ochnio

Silk overall & Anorac Jacket(padded with Silk Japone) from Bird of Paradise – Schönros Original -84
Modell: Rose-Marie
Photo: Woody Ocmnio

-88, 89 & -91
Modells: Tame & Rose-Marie
Photo: Woody Ochnio

Silk overall “Bird of Paradise”-87 / Modell: Rose-Marie /Photo: Woody Ochnio

Lahman’s Trikot in “Bamboo Batik” /Fashion Show 1992
Modells: Tony & Monika
Photo:

Woody Ochnio

“art on Silk & Titan/from “Bird of Paradise-Divine Creations(since 1982)
Photo: Woody Ochnio

Artitan (Titan, Gold & Silver)
Modell: Konstantin
Photo: Woody Ochni

OUTSIDE THE WORKSHOP OF BIRD OF PARADISE

Earth Colours by “Bird of Paradise” (Rose-Marie & Konstantin Schönros). SANTORINI -83
Mod: Rose-Marie
Photo: Konstantin

Konstantin & Rosemarie
Relaxing outside the work shop of “Bird of Paradise” – Divine Creations in Santorini -83
Photo: Press

Santorini -83..thirsty Konstantin & Safari

Ann & “OPTICAL LINE TYPE-B

Photo: Woody Ochnio

Konstantin & Rose-Marie /up to the Right – Just Maried in Traditional Japaneese Silk Kimonos – 83! ( five days home & then Back to Santorini & Bird of Paradise!)
Photo: Antony Struwer

Ann in “Optical LineB”/Titan & Platina

Golden mask(18 carats), Silver Titanium & Silk Fossile-Block Batique
Mod:V iktoria Sokolov.
“Titan vision” by Konstantin Schönros
Photo: Woody Ochnio

more Titan image

Mod: Viktoria Sokolov.
Photo: Woody Ochnio

“Fire Bird” in Titanium & Fossil Block-Batique
Modell: Victoria
Photo: Woody Ochnio

Marmoring Batique -87, -88, 89 Wearable Art by “Bird of Paradise”
Modells: Mirjam, Rose-Marie, Peter, Åsa , Konstantin, Tame ,Tomy
Photo: Woody Ochnio

Mia & Adonis in Silk handpainted jackets

Fall -87..block batique from “Bird of Paradise”
Modells: Standing: Peter, Åsa & Konstantin(down)
front: Tomy & Tame
Photo: Woody Ochnio

“Bird of Paradise” – Divine Creations
From the left: Gabriella, Konstantin, Åsa, Tame & Tommy
Photo: Woody Ochnio

Ethnic gang!
From the Left: Konstantin, Tomy & Tame on ANTIQUE Wild -Java Silk Block Batique–
Photo: Woody Ochnio

Photo: Konstantin

Ewa-Lena Posing in Swedish “Lahmans Trikot”
in “Bamboo”- Batique by Konstantin & Rose-Marie Schönros,
with eco-pigments -91 “Bird of Paradise”
Photo: Woody Ochnio

Ewa-Lena Posing in Swedish “Lahmans Trikot”
in “Bamboo”- Batik by Konstantin & Rose-Marie Schönros,
with eco-pigments -91 “Bird of Paradise”
Photo: Woody Ochnio

“Passion” sewn by Rose-Marie from “bird of Paradise” -87
Modell: Eva-Lena
Photo: Woody Ochnio

ANN dressed in “LAHMANS” TRICOT 1992 SRING-TIME

PHOTO: WOODY OCHNIO

“Wearable Art” – Art on Silk & Titan by Bird of Paradise (Rose-Marie & Konstantin Schönros)
Modell: Ann
Photo: Woody Ochnio

Rose-Marie at the Bird of Paradise Studio -88
Photo: Konstantin

Rose-Marie Schönros photographed by: Kary Lasch

Rose-Marie Schönros photographed by: Kary Lasch,

Rose-Marie Schönros photographed by: Kary Lasch

Rose-Marie Schönros
Photographed by:Kary Lach

Living ARTS on Silk & Titan
Modells: Tony & Monica
Designed & Hand made by Konstantin & Rose-Marie Schönros.
Photo:; Woody Ochnio

Living ARTS on Silk & Titan
Modells: Tony & Monica
Designed & Hand made by Konstantin & Rose-Marie Schönros.
Photo:; Woody Ochnio

Myriam dressed in batik & Titan
Photo: Woody Ochnio

Lahman’s Trikot in “Bamboo Batik” /Fashion Show 1992
Modells: Tony & Monika
Photo: Woody Ochnio

The well-known – at -80`Tony Johansson dressed in Titanium armour Silver Tie (Saatchi & Saatchi.art/schönros) –
Photo: Woody Ochnio

Silk (..in ALL kind of Silk:.as Satin, Japonee, Organga, Crepe de Chine, Dupunioni, Laces etc)

Upp from the Left:

Upp from the left: Peter,Åsa & Konstantin sitting Front: Tommy & Tame
Designed & Hand made by Konstantin & Rose-Marie Schönros.
Photo: WoodyOchnio

All dressed in Silk batik – works by Rose-Marie & Konstantin /Functional wearable art
Modells – from the left: Gabriella, Konstantin, Åsa, Tame & Tommy
Photo: Woody Ochnio

Rose-Marie photographed by Victor Arimondi

Portret of R-Marie by Victor Arimondi)-1981

Rose-Marie at “Relax” –80(victor-Arimondi)

An-other-portret of Rose-Marie by Victor Arimondi -1980

Rose-Marie “Innocent-80”-Photo: -Victor Arimondi

“Bird of Paradise” – Divine Creations
“Wearable Art”
In Black & White: Rosemarie Schönros
Photo: Victor Arimondi

Old Laces – Collage from “Wearable Art” – Art on Silk & Titan by Bird of Paradise (Rose-Marie & Konstantin Schönros)
Spring -87
Modells: Åsa & Tame,
Photo: Woody Ochnio

“Wearable Art” Hand made by Rose-Marie & Konstantin Schönros
Modell: Anne
Photo:

50`s Nostalgy
Rose-Marie
Photo: J.Shäffer

MSH Modell Angency
RoseRosemarie Schönros
Photo: Tony Landberg

Rose-Marie in Younger Days!
Photo: Kary LaschRose-Marie
Photo: Kary Lasch

Rose-Marie
Photo: Kary Lasch

Rose-Marie Samuelsson-Schönros Rose-Marie in Younger Days!
Photo: Kary Lasch

Kary Lasch the human & not only master of Photography, but great comedian, as well! P.I.P Kary!

Antlantic -81
Rose-Marie Samuelsson – Schönros photographed by Kary Lasch (photo to the lift)
Photo: Kary Lasch

Rose-Marie Schönros -81
Photo: Kary Lasch

Image of the 50″sRose-Marie Schönros(Samuelsson)
& Kary Lasch
Photo: Kary L. Lasch

RoseMarie
Ready to swim
Photo:Shäffer

Modell: Rose-Marie / Photo: Schäfe

Image of 50`s
Rose-Marie
Photo:J. Shäffer

RoseMarie for Hallberg jewelry

MSH Modell Angency
RoseRosemarie Schönros
Photo: Tony Landberg

Rose-Marie
Photo: Kary Lasch

Rose-Marie, as little girl
Photo: Alex Fröberg (Her uncle)

-Petra on her horse; dressed on silk (Fossil Block Batique) & Titan
Photo: Woody Ochnio/SUMMER -88

Rose-Marie SamuelssonRosemarie Schönros
Photo: MSH Modell Agency

Adonis Schönros
Photo: Konstantin

ROSE-MARIE WITH FURS BY SOPHIE ERICKSONS

Up to the left: 3 different Silk collage – batique with organic colours – crepe de chine, laces, japomeè; bottoms made by titanium(blue) Hand made by Rose-Marie & Konstantin Schönros – “Bird of Paradise” “Living Art” & “Wearable Art” collection…NOT for the BIG market….of course!! (1988)

Sidenoverall, sidenskärp samt titan armband hand made
by Rose-Marie & Konstantin
Modell: Rose-Marie
Photo: Woody Ochnio

ROSE-MARIE AT THE WORKSHOP-SHOW AND STUDIO OF “BIRD OF PARADISE-DIVINE CREATIONS”, WEARING HER OWN CREATIONS, AS USUAL PHOTO: KONSTANTIN

Fashion Show “Wearable Art” Konstantin dressed in his Silk – Creations (Making jokes & mimes) at Dagmar Elleby`s show-room – 1990
Photo: Woody Ochnio

“Green Gourmet” på “interiorigin” vernissage.. — in Stockholm, Sweden.“Arte Ordinata” Detail from Kitchen – “INTERIORIGIN”
Photo:Tony Landberg

Detail from the kitchen
Photo: Tony Landberg

Dancing Angels at the Livingroom
Photo: Tony Landberg interiorigin …at youtube

“Dancing Dolphins” – mosaIc (towels silk screened with the motives of the mosaics). with the Great Assistence of Adonis (RIP)
Photo: Tony Landberg

Detail of Bathroom “interiorigin
Photo: Tony Landberg

Adonis Schönros creation (at the age of 18)
Photo: Konstantin
Rose-Marie living arts

‘https://www.youtube.com/watch?v=g72OyCzKSbk

Interviewed by the Interior Magazine

Photo: Christopher Landberg

Interiorigin youtube
Photo: Tony Landberg / /ENTRANCE

Dancing Angels” by James Cane ,rest by Konstantin
Photo: Tony Landb

The art of mosaic reaches another level during the Byzantine period with new characteristics and themes, marking significant developments in the technique

I N T E R I O R I G I N

Bathroom Detail ..ALL Mosaic & Painting
motives are silkscreened at the same place so
for example, the towels are carrying of the “DANCING DOLPHINS”

Photo: Tony Landberg

Konstantin preparing “Green Gourmet” Dinner
for the guests Interiorigin Vernissage at Östens!
Photo: Tony Landberg

DETAIL FROM THE KITCHEN

Raw food à la cart & boufet LEMURIA (Nybrogatan)-1994 Raw food Restaurang
Krister & Konstantin….those were the Days!!….& NOW: Raw Food is just growing BIGGER!!………………..

“Allt om Mat” MAGASIN

“Green Gourmet” RAWFOOD Restaurang at the Swedish Vegetarian Society 1996/ Petra, Konstantin, Rose-Marie, Patrick

PHOTO: PRESS

Till minnet av underbara pionjären inom “Grön festmat”mm Anna-Lisa Stenudd (nedre bild) styrelseledamot på Sv.V.F. & Hälsofrämjandet.

It`s very seldom now days to be at that beautiful place, like in the -90`s!! I have so many things in my mind , I `ve got to take it easy!
2002 Hällunden – Öland
Photo: Press

Anton & Monika Gutenberg
Curriculum led by Konstantin (arranged by Hälsofrämjaren & Svenska Veg. Föreningen – summer -97)

The TAO of the “Green Gourmet”…since 1993
Photo: Allt om Mat 1996

Fån Vänster: Petra, Konstantin, Rose-Marie, Patrick Wahlberg “Green Gourmet” 1996 at Swedish Vegetarian Society

..Hand made by Rose-Marie & Konstantin Schönros/ Green Gourmet since 1993

“Green Gourmet”

2B continued” !!!

MATAPOTEKET (=FOOD PHARMACY) – 2018 –

….”Green Gourmet” (Raw Food – Restaurang – since1994 – 1997 at Tjärhovsgatan at Swedish Vegetarian Sociaty H.Q)..NOW: “Green Gourmet -2B continued” !!!)

Fermented Kale chips

ADONIS SCHÖNROS ART WORKS & PHOTOS

“ARTA ORDINATA” DETAIL, FROM THE “INTERIORIGIN” WORKS OF ALL FAMILY: ROSE-MARIE, KONSTANTIN, ADONIS & AMARYLLIS

LAST PICTURE WITH HAPPY MOM

Mother and son

AT THE AGE OF EIGHT(8)

ADONIS IN YOUNGER DAYS

Dressed in in silk pilot overall(Konstantin) & Kio jacket(Adonis) in SKANSEN.. .. – TITTA PAPPA!.. Elefanten äter med snoppen!

STORKEN HAR LANDAT ADONIS, ROSE-MARIE OCH KONSTANTIN

ADONIS &. MIA MODELLING FOR “BIRD OF PARADISE”, DRESSED IN HAND PAINTED SILK PADDED JACKETS (ECO COLOURS)

PHOTO: WOODY OCHNIO

ADONIS & AMARYLLIS

INTERIORIGIN/ENTRANCE

DANCING ANGELS/LIVING ROOM

DANCING DOLPHINS MOSAICS / DETAIL FROM BATHROOMA BY ADONIS & KONSTANTIN

PHOTO TONY LANDBERG

PHOTO: TONY LANDBERG “ARTA ORDINATA” BY ADONIS /DETAIL FROM THE KITCHEN

KITCHEN DETAIL/

KITCHEN DETAIL/PREPAIRING THE GREEN GOURMET VERNISSAGE DINER

ADONIS OWN CREATIONS AT THE AGE OF 18

FENG-SHUI BY ADONIS AT THE AGE OF 18

Portret of Adonis by James Cane

MAR-ADON-A!!!!

New collection from Bird of Paradise – Divine Creations (Original Schönros – Wearble Art – “Art on Silk & Titan” est -1982) (MOST of the Photos have been taken in 1987, -88, -89 by Woody Ochnio & worked PERFECT out in 1990 – 91, by Woody again)

PROJECT BY

Woody W. OchnioWarsaw, PolandFollowMessage

ABOUT

Bird of Paradise New collection – Earth, Wind,Fire; designers Rose-Marie & Konstantin Schonros. photosession made in august 1991 in Saltsjobaden to the seaside. Reworked in computer in 04/2015. Woody Ochnio Photography ©

Published: april 29, 2015

(Hand made by R-Marie & Konsatntin with Eco pigments in different kind of silk, mainly “Japonè”, Crepe de Chine & Dupionee – with “block Batique” combined with Titanium – “Artitan” – jewelry)

Designers Rose-Marie and Konstantin Schonros, beautiful silky womens clothes,

with models: Sara Kay, Peter Kay, Lena, Tame, Rose-Marie & Konstantin, Tomy, Myrjam, Åsa, Gabriella, Paulina Ochnio, Sandra, Eva Lena, Anne, Camilla, Petra, Gillan, Adonis, Tony, Monika etc.

Artitanic Mask “Art on Silk & Titan” from “Bird of Paradise”- Kulturhuset – October 1989

“Fuji” – Artitan – (Gold, Titan & Silver) hand made by Konstantin Schönros Photo: Konstantin Schönros at KKV Konstnärernas Kollektivverkstad i Nacka.

Gabriella Koesen at release party ( in her place) of the film
of Staffan Hildebrand : “Ingen kan älska, som vi”

Bird of Paradise – Summer Heat

Fashion – Styling – Photography

Modell: Camilla

PHOTO:Woody Ochnio Phot ©ography

“Wearable Art” – Artitan – (Titan, Gold & Silver) handmade by Konstantin SchönrosAutumn -89 Photo: Konstantin “Titan vision” by Konstantin SchönrosPhoto: Woody Ochnio

Camila on Golden padded jacket in silk from “Bird of Paradise” by Konstantin & Rose-Marie Schönros
“Functionalwearableart Art on Silk & Titan” -87
Photo: Woody Ochnio

Modell: Petra – Collection -88 – Petra on her horse

Photo: Woody Ochnio

Fall -88 – Myrjam

Functional wearable art from Bird of Paradise – Divine Creations

Photo: Woody Ochnio

KULTURHUSET: OCTOBER 1989 – “ART ON SILK & TITAN” by Rose-Marie & Konstantin Schönros
Photo: Ann Andren

Amaryllis Schönros /Photo: Rose-Marie

Rose-Marie & Adonis
Photo: Konstantin

Konstantin in Silk Overall & Adonis in Jack Pack -87
Skansken
Photo: Rose-Marie

Adonis Schönros with hand painted Headband on Crepe Satin Silk, at age of 8 Stockholm`s Wushu Akademy by Louis Linn
Photo: Woody Ochnio

Adonis Schönros & Rose-Marie (Mother)
Photo: Konstantin

Adonis Schönros
Photo: Konstantin

“Wearable Art” Bamboo Batique with Eco Colours by R-Marie & Konstantin Schönros (“Bird of Paradise”) -88 Mod: Mirjam Photo: Woody Ochnio

Tony, Monica & Baily Bamboo-Batique on Lahmans Tricott

Skara sommarland -97 Konstantin & Amaryllis
Photo: R-Marie

Image may contain: 2 people, people standing, outdoor and nature

Fashion Show “Wearable Art” Konstantin dressed in his Silk – Creations (Making jokes & mimes) at Dagmar Elleby`s show-room – 1990 Photo: Woody OchnioEdit

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They wrote about Pythagoras

Pre-publication from the book: “Pythagoras…Secret Teaching & Modern Science” PYTHAGORAS THE SAMIAN

Golden number Φ = 1.618033 ΠΑΝ ΜΈΤΡΟΝ ΆΡΙΣΤΟΝ/”PAN METRON ARISTON”

Pythagoras, an important Greek philosopher, mathematician, geometer and theorist, also had a deep interest in music and its therapeutic dimension.

He believed that music has healing properties and can affect the human soul and body.

For Pythagoras, music was connected to the mathematical proportions and harmonies of the world.

He believed that different sounds and musical scales could affect the

emotional state of people and contribute to their spiritual balance.

In addition, healing through music

(also known as “music therapy”)

was an aspect he considered important, as the

harmony of music could bring peace to the

spirit and enhance physical health.

The Pythagoreans insisted that sounds and melodies, when used properly, could heal

not only the body but also the soul.

THE Φ “PHI” SPIRAL In 1-dim of numbers the Journey begins with 1-1-2-3-5-8-13-21-34 etc (the timeless Fibonacci Sequence),

In 2-dim, each number becomes a flat square and when they are all positioned together they form the flat Golden Spiral within the confines of the Golden Rectangle.

In 3-dim, each square is extended out to become a cube and when stacked edge to edge with varying sizes,

The formation of a 3-dim golden Phi Spiral which is ultimately an antenna into the cosmos, the horn of a cow or the Ram’s Horn, something that is tangible and real and meaningful to us.

Golden Pythagoras. The unimaginable beauty of the universal language of =

HELIX = ΕΛΙΞ

The story behind the “golden” number F – It symbolized harmony in Ancient Greece (photo)

The “golden” number Φ is the one that connects the harmony of mathematics with that of nature, but also of art.

THE GOLDEN NUMBER F

The Pythagorean star and the gold Number φ=1.618033…

Nassos Mantas

The human body: The same ratio has been seen in the dimensions of the human face, length of hands, distance between eyes, even up to the DNA spiral

Out in the nature: Flower petals arrangement, snail shells, sunflower seeds pattern, even the rotation of celestial galaxies all follow this proportion

Discover the deeper connection between harmonics and the universe:

Spinelius Angelos.

Pythagoras considered the beginning of all things to be unity, and from unity that the indefinite duality came {became}, through the manifestation of unity and as matter.

And from unity and the indefinite duality, that numbers were made •

And from numbers the signs, and from these {the signs} the letters from which the plane shapes are made..

And from the planes the solids • From these {the solids} the sensible bodies, whose elements are four..

Heraclitus once said..

So in search of the formula that gives this perfect ratio, Pythagoras and Euclid spent a lot of time of their lives and finally managed to find a magic number.

Trying to find the ideal way to divide a line segment, the two famous mathematicians had the idea of dividing its total length in two, in a unique way.

Perhaps the most characteristic example of its use is the human bodies painted by Leonardo Da Vinci, applied to perfect pentagons.

A picture is worth a thousand words: Follow pronews.gr on Instagram to “see” the real world!

THE UNKNOWN GREAT WORKS OF OUR ANCIENT ANCESTORS
source: http://enneaetifotos.blogspot.com

GOLDEN SECTION Φ

The ONLY means of ENLIGHTENMENT is TRUTH. The only Teacher is the SPIRIT of TRUTH.There can be NO religion higher than the TRUTH! PYTHAGORAS .