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A wallpaper image of Vishnu holding Mother Lakshmi the Great God, who gives eternal wealth and love. 🊷

Image Size: Mobile Proportion (9: 19)

Image Type (Code): CF2B

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Preface (Long, but finished reading and clear. If Blue's work is already plowing across to the bottom, see what this picture works with)

Images = living symbols, all lines, colors, shapes, so we don't need to understand them immediately. Good images should keep working in our hearts.

The part of the content (the letter in which Blue extends the intent of each image) as you read it...

Don't believe Blue, but notice our first response, not only at the level of thought / emotion, but at the level that the mind has not yet interpreted. It does not come in the form of a clear answer to like / dislike, yes / no, but often appears in other forms, such as

- This picture makes some ideas come up that you don't want to think about.

- Suddenly, think of old events, some people, some life spans.

- I don't know what to explain about life now, but it's not stagnant.

- Resist, want to argue, want to deny, and still can't explain why.

- Read and want to scroll through unusually fast / come back and read many times without knowing the reason

These are not tastes, and not necessarily good experiences, but they are signs that the unconscious is responding to symbols that touch certain structures in us.

Blue does not recommend using emotions alone; emotions are different to the unconscious; emotions are the result (traces left behind after mental movements), the unconscious is a movement before language (born before what is felt).

An example of an emotion that often follows the unconscious's response is often an emotion that is difficult to explain; it is not a basic emotion (like glad, sorry, angry, scared), but an emotion that results from a mixture of feelings and thought processes together, e.g.

- You know you've never seen it before.

- Awkward, awkward, can't be put down when the picture isn't scary.

- Attracted. I want to stop watching. I don't know why I'm attracted.

- I want to come back and see it. I don't think it was that early.

- I wanted to keep this picture when I didn't mean to find anything like this.

- It's like looking back. Something's staring at us.

- Be still, be quiet, want to stop watching when you don't feel particularly liked.

- A small, heavy body perception in the chest, suffocation, tears that still can't explain what it's about.

I'm frustrated, I want to argue, I want to say no, I don't know what I'm protecting.

- It hung in his head after he stopped watching.

- Its meaning wasn't immediately clear, but it felt like it had something.

If you notice that something in us is moving up and followed by emotions and unexplained reasons, that's enough to say that the unconscious has started working before that.

One picture is not designed to make everyone feel the same.

Symbols are not red lights, green lights that are taught to understand society.

Symbols work differently; they do not convey a single meaning, but they awaken the inner experience of each person.

The same symbol may make someone feel safe, while another feels uncomfortable, and someone may feel nothing.

All this is not wrong, because the function of symbols requires the same floor.

Blue is only responsible for putting the intention in the picture, not the person who works with it, so it's about one person and one picture, and the process is not about the medium. Blue doesn't cheer, doesn't compare, doesn't say which picture is better. Blue's job is only to open up areas for the picture to meet the owner who really resonates with it.

If there is no response, it does not mean that this image is bad. And if there is resonance, it does not mean that this image is suitable for everyone. The image works through our integrity to our unconscious mind (1-1). If just believe every word without asking your mind once, the world will not need to find anything else. We will be rich, famous, loved by the whole world for a long time.

🊞 functional hierarchy of images and symbols.

When people work with images or symbols, there are always two words to talk about: Resonance and Synchronization, these two things are not the same thing, and they are not mutually exclusive, but in step order...This is a very long story.

1. Resonance (internal world response / birth at the individual level because each internal cost is not the same) is the first stage to occur first.

2. The synchro part (reflected to the outside world / born on a materialistic level) is the result that follows.

🊞 the Archetypal Mechanism

We are not waiting for blessings or alms from the sky, gods or beliefs. The thing that really changes life is that the Archetype within ourselves is awakened.

Many people are familiar with the image remember that changing a life is to make a wish. There is an adult, a deity, or a sacred thing, who prays, speaks, or gives something from the outside, like we are waiting for it, and power is what is given. But the function of the image in this way is not that. The deity, power, or symbols do not serve as a blessing and do not change our lives instead, but as a representation or reflection of some part of our mind.

Symbolism, Imagery, Rituals, Beliefs, Dreams, and Art therefore do not send power in from the outside, but serve to stimulate, gather, and organize the psychic energy that is already in us to extract inner power or compressed, invisible, or dared to use it.

When the unconscious perceives that image, the corresponding inner Archetype is awakened. And when the Archetype is Activated,

External perceptions, decisions, and behaviors gradually change. It is this internal change that causes real-world situations, people, and opportunities to move along, not because someone gives us power, but because we become ready to hold that power.

Energy is not something to ask for.. the material world is not a gift from the sky.. but the result of a ready mind.

So the next time we look at the picture or pay homage to the sacred, let's change the conversation in mind from

Please help the baby elephant.

Is

May this power awaken in me, make me ready to attract what corresponds to it, the right people, the right circumstances, and opportunities come in front of me, for example.

This is taking ownership, or taking power back to yourself. The energy will change from the Victim to the Creator as soon as it is over.

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Insert a big note. The sun is not equal to the moon. The sun is to explain. The moon is to try to intervene.

The sun is like reading a map. Mu is trying to change course on the map.

Many people often mix the two, such as yesterday going to see the horoscope, and the fortune teller says that the financial year is not good to pay respect to this god. Here, the first half is reading the horoscope, and the second half is mu.

Blue doesn't work with the stars, never sees the horoscope, and doesn't believe in the surfer model (from which book can't remember), but essentially the elements of life are divided into two areas.

1. The surfer side is what we can develop, such as skills / knowledge / training / discipline / decision-making / courage, etc.

2. Sea and wave aspects are all things that we do not control, such as timing / opportunity / people who have met / economy / unexpected events / luck, or what some people call a boost, etc.

In this framework, we do not have to believe that the future is determined at all, but we still believe that the world has external factors that are conducive or not conducive to our actions.

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So what is this image (external factors) (in the power dimension)?

- Protection of a soul mate In a world where love is fragile, easy to break, love is often driven by speed, high expectations, the power of this partner creates a halo to protect the relationship from interference by negative energy or external obstacles, allowing the love of the worshipper to be protected as His legend.

- Eternal love From the motto that he is an avatar of all ages, the presence of this idol symbolizes the true couple or promotes the love that exists to be honest and stable, invoking the flow of mythical relationships into real life.

- A shade of shade in the midst of a crisis. A large leaf is like a sacred territory that protects Him and his worshippers. Double worship gives us a safe space. No matter how stormy external circumstances are, the power of Vishnu and Lakshmi will calm our lives like lotus leaves that do not mop up water.

- Combining the power of treasure and healing. Our Lady Lakshmi is the power of attracting wealth (Shakti) and Vishnu is the power of healing. Dual worship is tantamount to closing the energy cycle. Let money flow in with Vishnu as the guardian of wealth from leaking. Create lasting stability.

- The power of inexhaustible excess, the world's healer, cradles a wealthy wife under the same lotus umbrella, echoing the Archetype of abundance. This power will attract enormous opportunities into life beyond the normal level of demand so that we can have an excess and share abundance.

-Convergence of energy polarity Dual worship gives life the highest balance, because Vishnu is the keeper of the world (Vasana power) and Our Lady Lakshmi is the driving force (wealth). Merging these two powers makes your influence not flat, but three dimensions that cover both status and stability.

- Protecting wealth from spills, Vishnu gives protection, while Our Lady Lakshmi gives money. When coupled, His energy helps to build a dam that keeps acquired property from losing in vain, a force that strengthens wealth.

-A state of success that is inclusive when wealth (Lakshmi) and security power (Vishnu) are unified. The result in life is not just money, but the shade, which is the highest that no money can buy in this chaotic world.

# Mu line # Moo line wallpaper # Auxiliary wallpaper # Our Lady Lakshmi # Phra Narayana

7/11 Edited to

... Read moreāļˆāļēāļāļ›āļĢāļ°āļŠāļšāļāļēāļĢāļ“āđŒāļŠāđˆāļ§āļ™āļ•āļąāļ§āļ‚āļ­āļ‡āļœāļđāđ‰āļ—āļĩāđˆāđƒāļŠāđ‰āļ āļēāļžāļ§āļ­āļĨāđ€āļ›āđ€āļ›āļ­āļĢāđŒāļžāļĢāļ°āļ§āļīāļĐāļ“āļļāļ­āļļāđ‰āļĄāļžāļĢāļ°āđāļĄāđˆāļĨāļąāļāļĐāļĄāļĩāļ™āļĩāđ‰ āļžāļšāļ§āđˆāļēāđ„āļĄāđˆāđƒāļŠāđˆāđ€āļžāļĩāļĒāļ‡āļ āļēāļžāļŠāļ§āļĒāļ‡āļēāļĄāļ—āļąāđˆāļ§āđ„āļ› āđāļ•āđˆāđ€āļ›āđ‡āļ™āļ āļēāļžāļ—āļĩāđˆāļĄāļĩāļžāļĨāļąāļ‡āļŠāļ°āļ—āđ‰āļ­āļ™āļ āļēāļĒāđƒāļ™āļˆāļīāļ•āđƒāļˆāļ­āļĒāđˆāļēāļ‡āļĨāļķāļāļ‹āļķāđ‰āļ‡ āļ āļēāļžāļ™āļĩāđ‰āđ€āļ›āđ‡āļ™āļŠāļąāļāļĨāļąāļāļĐāļ“āđŒāļ—āļĩāđˆāļ—āļģāđƒāļŦāđ‰āļĢāļđāđ‰āļŠāļķāļāļ–āļķāļ‡āļ„āļ§āļēāļĄāļĄāļąāđˆāļ‡āļ„āļąāđˆāļ‡āļ—āļĩāđˆāđ„āļĄāđˆāđ„āļ”āđ‰āļĄāļēāđāļ„āđˆāļ—āļēāļ‡āļ§āļąāļ•āļ–āļļ āđāļ•āđˆāļ„āļ·āļ­āļ„āļ§āļēāļĄāļĄāļąāđˆāļ‡āļ„āļąāđˆāļ‡āļ—āļēāļ‡āļˆāļīāļ•āđƒāļˆāđāļĨāļ°āļ„āļ§āļēāļĄāļĢāļąāļāļ—āļĩāđˆāļĒāļąāđˆāļ‡āļĒāļ·āļ™ āđƒāļ™āļāļēāļ™āļ°āļœāļđāđ‰āļ—āļĩāđˆāđ„āļ”āđ‰āļŠāļ°āļ—āđ‰āļ­āļ™āļžāļĨāļąāļ‡āļˆāļēāļāļ āļēāļžāļ™āļĩāđ‰ āļāļēāļĢāđ„āļ”āđ‰āļ§āļēāļ‡āļ āļēāļžāļšāļ™āļŦāļ™āđ‰āļēāļˆāļ­āđ‚āļ—āļĢāļĻāļąāļžāļ—āđŒāļĄāļ·āļ­āļ–āļ·āļ­āļ›āļĢāļ°āļˆāļģāļ§āļąāļ™āļŠāđˆāļ§āļĒāđƒāļŦāđ‰āđ€āļāļīāļ”āļ„āļ§āļēāļĄāļŠāļ‡āļšāđāļĨāļ°āļ„āļ§āļēāļĄāļĄāļąāđˆāļ™āđƒāļˆāđƒāļ™āļāļēāļĢāđƒāļŠāđ‰āļŠāļĩāļ§āļīāļ•āļĄāļēāļāļ‚āļķāđ‰āļ™ āļŦāļĨāļēāļĒāļ„āļĢāļąāđ‰āļ‡āļ—āļĩāđˆāļ„āļ§āļēāļĄāļĢāļđāđ‰āļŠāļķāļāļ–āļđāļāļāļĢāļ°āļ•āļļāđ‰āļ™āđ‚āļ”āļĒāđ„āļĄāđˆāļĢāļđāđ‰āļ•āļąāļ§ āđ€āļŠāđˆāļ™ āļĢāļđāđ‰āļŠāļķāļāļ–āļđāļāļ”āļķāļ‡āļ”āļđāļ”āđƒāļˆāļ­āļĒāļēāļāļŦāļĒāļļāļ”āļĄāļ­āļ‡ āļŦāļĢāļ·āļ­āļ™āļķāļāļ–āļķāļ‡āļ›āļĢāļ°āļŠāļšāļāļēāļĢāļ“āđŒāļ—āļĩāđˆāđ€āļāļĩāđˆāļĒāļ§āļ‚āđ‰āļ­āļ‡āļāļąāļšāļ„āļ§āļēāļĄāļĢāļąāļāđāļĨāļ°āļ„āļ§āļēāļĄāļĄāļąāđˆāļ‡āļ„āļąāđˆāļ‡ āļāļēāļĢāļ•āļ­āļšāļŠāļ™āļ­āļ‡āđāļĢāļāđ€āļŦāļĨāđˆāļēāļ™āļĩāđ‰āđ„āļĄāđˆāđ„āļ”āđ‰āļĄāļēāļˆāļēāļāļāļēāļĢāļ„āļīāļ”āļ§āļīāđ€āļ„āļĢāļēāļ°āļŦāđŒ āđāļ•āđˆāđ€āļ›āđ‡āļ™āļ›āļāļīāļāļīāļĢāļīāļĒāļēāļ—āļĩāđˆāļĄāļēāļˆāļēāļāļˆāļīāļ•āđ„āļĢāđ‰āļŠāļģāļ™āļķāļ āļŠāđˆāļ‡āļœāļĨāđƒāļŦāđ‰āļĢāļđāđ‰āļŠāļķāļāđ€āļŠāļ·āđˆāļ­āļĄāđ‚āļĒāļ‡āđāļĨāļ°āļĄāļĩāļžāļĨāļąāļ‡āļšāļ§āļāđƒāļ™āļāļēāļĢāđ€āļ”āļīāļ™āļŦāļ™āđ‰āļēāļ•āđˆāļ­ āļ āļēāļžāļ‹āđ‰āļ­āļ™āļ—āļąāļšāļ”āđ‰āļ§āļĒāļŠāļąāļāļĨāļąāļāļĐāļ“āđŒāđƒāļšāļšāļąāļ§āļŦāļĨāļ§āļ‡āļ‹āļķāđˆāļ‡āđ€āļ›āļĢāļĩāļĒāļšāđ€āļŠāļĄāļ·āļ­āļ™āļĢāđˆāļĄāđ€āļ‡āļēāļ—āļĩāđˆāļ›āļāļ›āđ‰āļ­āļ‡āļ„āļ§āļēāļĄāļŠāļ‡āļšāđāļĨāļ°āļŠāđˆāļ§āļĒāđ€āļŠāļĢāļīāļĄāļŠāļĢāđ‰āļēāļ‡āļ­āļēāļ“āļēāđ€āļ‚āļ•āļĻāļąāļāļ”āļīāđŒāļŠāļīāļ—āļ˜āļīāđŒāđƒāļŦāđ‰āļāļąāļšāļœāļđāđ‰āļšāļđāļŠāļē āđ„āļĄāđˆāļ§āđˆāļēāļ āļēāļĒāļ™āļ­āļāļˆāļ°āļĄāļĩāļ­āļļāļ›āļŠāļĢāļĢāļ„āļŦāļĢāļ·āļ­āļžāļĨāļąāļ‡āļ‡āļēāļ™āļĨāļšāđ€āļ‚āđ‰āļēāļĄāļē āļ āļēāļžāļ™āļĩāđ‰āļŠāđˆāļ§āļĒāđƒāļŦāđ‰āļĢāļđāđ‰āļŠāļķāļāđ€āļŦāļĄāļ·āļ­āļ™āļĄāļĩāđ€āļāļĢāļēāļ°āļāļģāļšāļąāļ‡āļ—āļēāļ‡āļˆāļīāļ•āđƒāļˆ āđāļĨāļ°āļžāļĨāļąāļ‡āļ‚āļ­āļ‡āļžāļĢāļ°āđāļĄāđˆāļĨāļąāļāļĐāļĄāļĩāļāļąāļšāļžāļĢāļ°āļ§āļīāļĐāļ“āļļ āļ—āļĩāđˆāđ€āļ›āđ‡āļ™āļ•āļąāļ§āđāļ—āļ™āļ‚āļ­āļ‡āļžāļĨāļąāļ‡āļāļēāļĢāļ”āļķāļ‡āļ”āļđāļ”āđāļĨāļ°āļĢāļąāļāļĐāļēāļ„āļ§āļēāļĄāļĄāļąāđˆāļ‡āļ„āļąāđˆāļ‡ āļ—āļģāđƒāļŦāđ‰āļ„āļ§āļēāļĄāļŠāļąāļĄāļžāļąāļ™āļ˜āđŒāļ—āļēāļ‡āļāļēāļĢāđ€āļ‡āļīāļ™āđāļĨāļ°āļŠāļĩāļ§āļīāļ•āļĄāļĩāļ„āļ§āļēāļĄāļĄāļąāđˆāļ™āļ„āļ‡āđāļĨāļ°āļ•āđˆāļ­āđ€āļ™āļ·āđˆāļ­āļ‡āļ­āļĒāđˆāļēāļ‡āļĒāļąāđˆāļ‡āļĒāļ·āļ™ āļ­āļĩāļāđ€āļĢāļ·āđˆāļ­āļ‡āļ—āļĩāđˆāļ™āđˆāļēāļŠāļ™āđƒāļˆāļ„āļ·āļ­āļāļēāļĢāđƒāļŠāđ‰āļ āļēāļžāļ™āļĩāđ‰āđ€āļžāļ·āđˆāļ­āđ€āļ›āđ‡āļ™āđ€āļŦāļĄāļ·āļ­āļ™āļāļĢāļ°āļˆāļāļŠāļ°āļ—āđ‰āļ­āļ™āļ•āļąāļ§āđ€āļ­āļ‡āđāļĨāļ°āļāļĢāļ°āļ•āļļāđ‰āļ™ Archetype āđƒāļ™āļˆāļīāļ•āđƒāļˆ āļ‹āļķāđˆāļ‡āļŦāļĄāļēāļĒāļ–āļķāļ‡āļāļēāļĢāļ›āļĨāļļāļāļžāļĨāļąāļ‡āļ āļēāļĒāđƒāļ™āļŦāļĢāļ·āļ­āļžāļĨāļąāļ‡āļ—āļĩāđˆāļ‹āđˆāļ­āļ™āđ€āļĢāđ‰āļ™āđƒāļŦāđ‰āļ•āļ·āđˆāļ™āļ‚āļķāđ‰āļ™ āļ›āļĢāļ°āļŠāļšāļāļēāļĢāļ“āđŒāļ™āļĩāđ‰āļ—āļģāđƒāļŦāđ‰āđ€āļŠāļ·āđˆāļ­āļ§āđˆāļēāđ„āļĄāđˆāđ„āļ”āđ‰āđ€āļ›āđ‡āļ™āđ€āļžāļĩāļĒāļ‡āđāļ„āđˆāļāļēāļĢāļ‚āļ­āļžāļĢāļˆāļēāļāđ€āļ—āļžāđ€āļˆāđ‰āļē āđāļ•āđˆāđ€āļ›āđ‡āļ™āļāļēāļĢāļĒāļķāļ”āļ­āļģāļ™āļēāļˆāđāļĨāļ°āļžāļĨāļąāļ‡āļ—āļĩāđˆāđāļ—āđ‰āļˆāļĢāļīāļ‡āđƒāļ™āļ•āļąāļ§āđ€āļ­āļ‡āđƒāļŦāđ‰āļ•āļ·āđˆāļ™āļ‚āļķāđ‰āļ™āđāļĨāļ°āļ‚āļąāļšāđ€āļ„āļĨāļ·āđˆāļ­āļ™āļŠāļĩāļ§āļīāļ•āđ„āļ›āļ‚āđ‰āļēāļ‡āļŦāļ™āđ‰āļēāļ­āļĒāđˆāļēāļ‡āļĄāļĩāļŠāļ•āļīāđāļĨāļ°āļŠāļĄāļ”āļļāļĨ āđ‚āļ”āļĒāļĢāļ§āļĄāđāļĨāđ‰āļ§āļ āļēāļžāļ§āļ­āļĨāđ€āļ›āđ€āļ›āļ­āļĢāđŒāļ™āļĩāđ‰āļˆāļķāļ‡āđ„āļĄāđˆāđ€āļžāļĩāļĒāļ‡āđāļ•āđˆāđ€āļ›āđ‡āļ™āļ‡āļēāļ™āļĻāļīāļĨāļ›āđŒāđ€āļžāļ·āđˆāļ­āļ„āļ§āļēāļĄāļŠāļ§āļĒāļ‡āļēāļĄ āđāļ•āđˆāļĒāļąāļ‡āđ€āļ›āđ‡āļ™āđ€āļ„āļĢāļ·āđˆāļ­āļ‡āļĄāļ·āļ­āļ—āļĩāđˆāļŠāđˆāļ§āļĒāđƒāļŦāđ‰āļœāļđāđ‰āđƒāļŠāđ‰āļ‡āļēāļ™āđ„āļ”āđ‰āļŠāļąāļĄāļœāļąāļŠāļ–āļķāļ‡āļžāļĨāļąāļ‡āļ‡āļēāļ™āļ āļēāļĒāđƒāļ™āđāļĨāļ°āļ‚āļąāļšāđ€āļ„āļĨāļ·āđˆāļ­āļ™āļŠāļĩāļ§āļīāļ•āđƒāļ™āļ—āļēāļ‡āļšāļ§āļāļ­āļĒāđˆāļēāļ‡āļĨāļķāļāļ‹āļķāđ‰āļ‡ āļ—āļģāđƒāļŦāđ‰āđ€āļŦāļĄāļēāļ°āļāļąāļšāļ„āļ™āļ—āļĩāđˆāļŠāļ™āđƒāļˆāļŠāļēāļĒāļĄāļđ āļ•āđ‰āļ­āļ‡āļāļēāļĢāļŠāļīāđˆāļ‡āļ—āļĩāđˆāļĄāļēāļāļāļ§āđˆāļēāļāļēāļĢāđ€āļŠāļĢāļīāļĄāļ”āļ§āļ‡āļ—āļąāđˆāļ§āđ„āļ› āļŦāļĢāļ·āļ­āļœāļđāđ‰āļ—āļĩāđˆāļĄāļ­āļ‡āļŦāļēāļ„āļ§āļēāļĄāļŠāļ‡āļšāđāļĨāļ°āđāļĢāļ‡āļšāļąāļ™āļ”āļēāļĨāđƒāļˆāļ›āļĢāļ°āļˆāļģāļ§āļąāļ™