Staffs of ancient magicians - Temple of Truth. Magic wand and magic wand How to make a magic staff from wood

Part 1. “The beginning of the journey”

Introduction

Magic is not just science. Not even just art. Magic is life path, this is a philosophy different from ordinary human philosophy. A magician who has reached certain levels cannot be fully considered a human being, since he begins to think differently and pursue different goals. But this in no way means that he becomes a “subhuman”; quite the contrary - he seems to rise to another level of development, ahead of the people of his time.

Magic is a path of life and a path not for the weak. You may not be a strong man, but you must have a strong spirit, a strong will, and the first thing you must learn is to live in harmony with yourself. Be able to control your body and thoughts as much as possible, because if you don’t know how to control yourself, how can you control others (and not necessarily people)?

In most magical orders, there are several training directions, although it often turns out that all of them are intended for each of the members of the order to undergo. But almost always there are three main ones: the Seeker (magician-researcher, theorist), the Knight (magician-warrior) and the Healer. Naturally, these directions may be called something else, but the essence does not change. This book is dedicated to the art of Knights - combat magicians.

The practices that are given here are designed for students no higher than the second level, which means that in the book you will find initial skills and simple techniques that can be practiced even by those who do not have special training.

Chapter 1. Exercises

Willpower training

Possessing a strong will is one of the main advantages of a magician. To develop the will means to learn to subordinate the living and inanimate nature, elements, events. But the main thing is that in the course of training willpower, a person learns to conquer himself. It is not for nothing that ancient wisdom says: “The greatest warrior is the one who could defeat himself.”

As an exercise for training the will, Paracelsus proposed the following option: Walking quite for a long time over any terrain, wait until you feel very tired. Naturally, you will want to go home, but you shouldn’t. Head to some nearby, but quite hard to reach place, such as: a high hill, a swamp, climb the stairs to a great height, etc. By the way, after completing this exercise, do not rush to go home, but look around and if there is any pebble next to you, take it with you, it will bring good luck (of course, to the extent that you completed the exercise honestly with yourself).

There are other options:

· Take a walk at night in the cemetery. First with someone, and then alone.

· Hand wrestling (arm wrestling) also develops willpower well, but this exercise is recommended for beginners.

· A wonderful way: Every day at the same time, designated by yourself, perform the same action. For example, go to the tap and wash your hands. Or take a pencil and take it to another room. Place it on the table, pick it up and bring it back. The first results will be visible already in the second or third week.

Compacting the working area

As you know, around every person there is an energy-information field that performs the function of protection. It is called the biofield. Typically, a person’s biofield (that part of it that can be recorded using a bioframe) reaches two to two and a half meters in radius at chest level. For magicians it can be of any size; for telekinetics (people who influence objects at a distance) it can be five to ten meters.

The biofield is not homogeneous. It contains an area of ​​the most dense energy flow. This area is concentrated directly around the human body (at a distance of 0.5-2 m) and is called the working field. It is within the working field that a person can influence other physical objects using “look and gesture” (G&G), i.e. contactless.

There are several methods for compacting this field in order to develop the capabilities of ViZh.

1) Take Matchbox and, placing a sliver of a match on it, slowly begin to turn it over, meanwhile, do not let this sliver fall with your eyes. When you manage to turn it completely upside down, and the sliver does not fall, make the weight heavier by taking a larger sliver or match.

2) Place a regular one on your palm plastic handle or a lighter so that its axis is perpendicular to the axis of “symmetry” of your palm. Begin to slowly turn your palm, bringing the handle into vertical position. It is necessary to ensure that it does not fall even when the palm is completely upside down.

3) Take a coin, wash and wipe it so that it is completely dry and not greasy, wipe your hands dry and proceed to the next exercise:

Rub your palms together until they become hot, and run your right palm over your forehead from bottom to top. After this, place the coin on your forehead, 1.5-2 cm above the bridge of your nose, press it lightly and count out loud to three. Then remove your hand, letting go of the coin. It should remain on the forehead “as if glued.” After this, you can bend over, shake your head, etc. - the coin should be kept on the forehead.

Working field measurement

I decided to give this technique a little earlier than the main study of working with a frame and a plumb line (pendulum), because it will greatly help in training, namely in monitoring results.

Let's call the one whose field is being measured the Student, and the one who carries out the measurements the Teacher. The student stands up with his arms down and his feet shoulder-width apart, and begins to imagine pictures of nature - a forest, a river, etc. The Teacher places an L-shaped frame a few centimeters from the Student’s solar plexus, parallel to the plane of his body. After the frame is balanced, the Teacher begins to move backwards, watching the readings of the frame. As soon as the frame moves into a plane perpendicular to the initial one, the Teacher stops and measures the distance traveled. This is the size of the Student’s working field.

Expansion of the working field

This exercise should be done knowing the size of your biofield. The exercise is done by two people. Let's call one Student (this is the one who trains the field), and the other - Teacher (controls the result).

The Student and the Teacher stand from each other at a distance slightly less than the Student’s biofield. The latter closes his eyes and mentally sends a wave warm air To the teacher. This is repeated until the wave is accepted. After the wave begins to pass unhindered, you can increase the distance.

Development of "lights"

Every person has seven chakras, but sometimes it turns out that they are “not enough” and then additional points of energy exchange are used to compensate for this “lack.” To practice energy (and later in magical practice), it is necessary to open and develop such channels on the palms. For these purposes, the following exercises are used:

Opening. There is a small indentation in the center of the palm, which is clearly visible if you relax your hand. Closing your eyes, imagine that in the middle of this depression in your palm a small flame lights up, as if from a lighter. When your hand really feels warm, stop the exercise, and next time make the flame bigger. You need to ensure that the flame in your imagination and the warmth in your hand appear simultaneously. When this succeeds, it means you have opened the points on your palms. The training is carried out first for one hand, then for the other, then simultaneously for both.

Development. Spread your relaxed palms to a distance of an elbow and begin to slowly bring them together. First, learn to feel the warmth from an imaginary light of one hand in the palm of the other. And then - slowly bringing your hands to a distance of a third of an elbow - sharply throw the flame out of both hands. It should feel like something has been sharply inflated between your hands. balloon and he pushed your hands away.

Development of astral vision

Astral vision - quite broad concept. The whole problem is that it has not yet been given an exact definition. Astral vision includes vision of the Astral, the use of the “third eye”, etc., that is, any vision of what is inaccessible to ordinary vision.

To develop this property, the following exercise is recommended:
Take a comfortable position and look ahead. When you look at a one- or two-color object, remember it. Then, closing your eyes, restore this object in front of your mind's eye. The main thing is a clear rendering of shape and color. Rotate it, look at it from different angles.

The next step is to “take” a more complex one in shape and color combination object and do the same with it. The most difficult object, in my opinion, is a tree with leaves and flowers.

Ritual "Wolf"

The history of this ritual stretches back centuries. It is not known how long ago it arose, but it is possible that it was partly responsible for the origin of legends about werewolves and wolfhounds. At the beginning of August every year there is the Night of the Red Moon. On this night, all natural undead are maximally activated and shadows come into our world. You can distinguish NKL very simply - on this night the Moon takes on a fiery red color. On this night, the Magician came to the forest and performed the “Wolf” ritual, that is, he identified himself with this animal to such an extent that he began to see and feel like a real wolf. In this state, he wandered through the forest, hunting and observing, and with dawn the nature of the wolf left the human body, and the Magician left the forest completely purified and charged with strength for the entire next year.

Chapter 2. Tools.

Crystal

For emergency recharging (as well as for such purposes as: increasing the power of concentration, defense, attack, etc.) the so-called “crystal” is used. It consists of a piece of rock crystal suspended on a chain and worn around the neck in direct contact with the body.

The crystal must be prepared and programmed independently. This should be done as follows:

Crystal Cleansing: Take the crystal by the chain with your non-working hand (left-handed - right, and right-handed - left), concentrate and imagine that the stone itself is covered with something black. Working hand slowly move along the stone, “removing” this blackness, each time shaking it off in the place where you usually throw it negative energy(corner of a room, window, etc.) or on a stone brought from the street in advance. Throw away the stone when finished.

Repeat the operation four to five times until the crystal becomes “absolutely clean.” Now it is ready for programming.

Crystal programming: First, you need to come up with a key word for the stone, which you will mentally pronounce when addressing it in order to bring it into an active state. After this, lie down on a horizontal surface and place the crystal on your forehead, in the place of the “third eye,” throwing the chain back.

After focusing, begin to mentally say the following phrase: “Crystal, when I tell you (the key), you (will do something).”

The best option: “Crystal, when I tell you (key), you will increase the power of my concentrations.”

When you feel the crystal become hot, remove it from your forehead and store it in a closed bag, wearing it when necessary.

About once every month or two it is necessary to repeat the above procedures to maintain the crystal in working condition.

Crystal Usage: In order to activate a crystal, you need to mentally call it with a key word and, having received a response (most often a warm wave through the body), concentrate on the task you need.

Sword in Slavic magic- the same as the sword in Western - one of the main ritual tools. The sword helps to concentrate one’s will and produce both physical and energetic attack or defense.

The Sword is made by the Magician himself from iron strips that are chained together. The handle is usually made black, and a rock crystal stone is used as the “apple”. Ruby is used less often, but it is quite expensive, and besides, it is practically useless for magical weapons, because “works” on rather rough energies, akin to the astral plane.

When creating a sword, you should always remember the ancient wisdom: “The sword of a samurai is the soul of a samurai,” which in relation to Magic can be paraphrased as follows: “The Sword of a Magician is the will of a Magician.”

The sword does not require a special dedication ceremony, but this does not mean that such a ritual cannot be performed. It will just be different for everyone. The weapon itself will tell you what to do best, so when creating it, learn to listen to your creation.

Introduction

It is no coincidence that the title of this book mentions the word “energy” and not “Magic”, for there is a significant difference between Combat Magic (BM) and Combat Energy (BE). Now I will try to explain what it is.

BE, unlike BM, implies the combat use of only personal energy reserves and, to some extent, so-called “atmospheric electricity”, which has nothing in common with real electricity, except that it is also a form of energy. BE does not require a large theoretical base, so it is taught at junior levels.

Chapter 2. Cleansing techniques

"Energy exchange"

This technique of relieving accumulated negativity and gaining fresh strength is also known from Proto-Slavic Rus' and is used everywhere. It consists of an exchange of forces with trees.

All trees are divided into vampires and donors. Vampire trees are taken from environment all negativity, and the donor trees release positive energy into the surrounding space. Vampires include: aspen, maple, rowan. For donors - Oak (Warrior tree), Pine (Mage tree), and only in spring - White Birch (tree of female beauty. Exactly White, not Speckled!).

IN morning hours classes, choose sunny weather and go deeper into the forest. There, having chosen a vampire tree, lean against it with your naked back and mentally ask to take away all the nastiness, all the negative energy from you. In a minute, you will feel as if all the dirt that has accumulated in your body over the past time is being pulled out of you through your back. When the feeling of being sucked out subsides and pleasant weakness and slight drowsiness appear, thank the tree and move on to the donor tree.

By the way, you need to be more careful when choosing a donor. As a magician (even if just a beginner), spruce or pine will be more suitable for you. Naturally, the tree must be selected in advance, carefully examining it for its age and good health.

Just as with a vampire, lean your back against the tree, or hug it, pressing your whole body (this is done more often) and ask the tree for strength. After a while, you will feel new, fresh strength flowing into your body.

"Four Elemental Techniques"

This technique performs not so much recharging as “running” energy exchange channels, increasing vitality and improving well-being. One, or maximum two, techniques from the following are more suitable for each person.

"Root"

The “Root” technique carries out a vertical sweep using the energy of the earth. Sometimes this method is confused with the “Tree” technique, but this is a mistake, because “Tree” belongs to other traditional techniques and covers only the final part of “Root”.

The technique is based on a rather complex (to begin with) thought form with identification. The arms are lowered along the body, the body itself is relaxed. Below is the formula itself:

« I- a small root that was stuck into the ground. I draw moisture from the cool soil. I start branching to get more moisture. Here, I look out of the ground, now I have a green body. I am growing the first branches. The buds swell and the first leaves appear. From underground comes a force that pushes my growth upward, feeding my branches and leaves. This power comes from my powerful roots, which make their way down to the aquifer. My body hardens and becomes covered with bark. The branches turn into branches, from which new branches appear. There are a lot of leaves on me. I'm covered in leaves. The greater the force coming from underground, the more leaves there are. My roots are so powerful that I am one with the earth.”

This concludes the exercise.

"Talking to the Wind"

This technique carries out a vortex sweep through horizontal encircling channels. The technique is performed without a formula.

Stand on open place(in a field, in a clearing) and relax. Listen to the movement of the wind around you. Inhale slowly and deeply several times, feel the purity and elasticity of the air. Slowly, slowly begin to raise your arms to the sides and up. Feel how a whirlwind of air begins to move around you, how this wind sweeps away all the dirt from you, filling your entire body. At first the whirlwind is weak, but the higher the hands are raised, the stronger it becomes. Raising your hands, begin to make circular movements with them, as if spinning a vortex of air around you and above you even faster. When you feel that the wind has weakened or slight fatigue sets in, stop the exercise by slowly lowering your arms.

"A drop in the sea"

The reception carries out a smooth sweep in all directions. Performed without formula.

Choose a body of water with clean, still water. It could be a lake, creek, sea, etc. Lie down on the water so that you remain on the surface with your arms and legs spread out to the sides. Look to the sky or close your eyes. Regulate your breathing so that it is not intermittent and convulsive. Relax.

Feel the elasticity of the water that surrounds you. This elasticity decreases, as if water is gradually penetrating into your body. You begin to slowly dissolve into it. You feel how your body mixes with water and behold, you are consciousness, the soul of this reservoir. You are everywhere in it at the same time. You have access to the depths and shores, algae and all the living creatures that live on the bottom and in the water column.

Slowly gather your “I” in your body and smoothly dive under the water. After exhaling, float up just as smoothly. The exercise is over.

Chapter 3. “Defense Techniques”

“The concept and principle of operation of the Shield”

The simplest methods of energy protection are different kinds shields In this chapter we will consider only them.

The concept of a shield: a shield is an energy structure formed by compacting an area of ​​the biofield in order to prevent the penetration of destructive energy impulses. I hope this is clear.

In fact, this definition includes both the concept and principle of operation of the shield. It is created within the biofield using the appropriate thought form. The shield can be reflective or scattering. Scattering shields are most often used due to their simplicity. When creating them, there is no need to trace the direction of the attack after it is reflected. On the other hand, reflective shields are the most effective because... can send a charge back to the enemy, hitting him with the same energy that he spent on you, and then add some from himself.

Below I will give several examples of reflective and scattering shields, and I will consider absorbing shields later, because they are considered master techniques.

Scattering Shields

"Wall"

Visualization: between you and the enemy is created Brick wall thickness from 1 to ... (as long as you can stand) rows. From the moment it is created, all enemy attacks will spend their strength on this wall without reaching you. Keep in mind - the shield works as long as you hold visualization.

Advantages: The wall is the most common energy shield. It is built on a fairly simple mental image and consumes little energy.

Disadvantages: Easy to open. It will not save you from an enemy stronger than you.

Note: For this and other techniques, you must master visualization techniques (see part 1).

"Cap"

Visualization: A silvery-white web envelops you, forming a dome in the shape of half an egg above you. The threads become thicker and thicker until they turn into a solid wall.

Pros: Quite a simple shield. Its advantages over a wall are that it cannot be opened unnoticed and it surrounds you on all sides. The main advantage is that you can easily move around with it.

Disadvantages: Same as the “wall”.

"Firewall"

Movements: The master waves his hand, as if drawing a line on the ground between himself and the enemy.

Visualization: The earth bursts along the drawn line and a flame bursts out of the crack, which separates the master from the enemy with a wall. Periodically, when the wall begins to weaken, the master moves his hands upward, as if lifting something, and thereby causes a new wave of fire.

Advantages: Provides relatively reliable protection from any type of energy attacks and allows you to compact it into the right point without unnecessary movements and effort.

Disadvantages: You cannot move with this shield and a lot of energy is spent on it. Another disadvantage is the difficulty of visualization.

"Gray Wall"

Visualization: Before your eyes there is a gray wall. Dull, rough and cold. A feeling of complete security and isolation from outside world. Only the gray surface of the cement is visible and nothing else.

Advantages: This method is suitable for use in a crowd, when someone is trying to get under the “Dome” or cross the “Wall”... It is performed with eyes closed and does not require spatial visualizations.

Disadvantages: Eyes are closed, so you cannot monitor what is happening around you.

"Crystal Dome"

Visualization: From the middle of the body, somewhere inside behind the solar plexus, a blue ball is formed, which inflates with a sharp exhalation, “squeezing” out all the negativity and forming a protective shell around the body, consisting of a transparent “crystal material”.

Movement: With explosive expansion of the ball, arms sharply to the sides.

Advantages: Performs not only a protective, but also a cleansing function. Installs quickly.

Disadvantages: Doesn't last long.

Reflective Shields

"Wall with a mirror"

Visualization: The same brick wall, but on outside there is a mirror. Thus, the enemy “sees” his reflection in it, which receives the entire attack directed at you.

Advantages: Reduces energy costs for a retaliatory attack, because all the force directed at you is reflected back.

Disadvantages: Difficulty in visualizing the reflection.

"Shield of Perseus"

Shield from the “Mobile” series. That is, it allows you to repel a narrowly targeted attack, hitting the enemy with it, without covering your entire body.

Visualization: A round mirror shield appears on the left (right) hand, which reflects energy attacks by placing it in the path of the release.

Advantages: Mobility, quick installation, low installation costs.

Disadvantages: Low strength. Required correct calculation angle of attack for effective repulsion. Difficulties in visualizing reflections.

Chapter 4. Attack Techniques

Balls

The simplest way energy attack. The palms are folded into a praying position at chest level. After which they begin to slowly move apart, forming a glow between them, which gradually takes the shape of a ball. When the ball is stretched to required sizes, it is “shifted” to the right (left) hand and thrown at the enemy with a whipping motion, trying to hit energy nodes (energy exchange points, chakras - you can call it whatever you like).

"Summoning the Sword"

Visualization: lower your right hand to your left thigh and feel the hilt of the sword. Then, with a smooth movement, you take it out and deliver a slashing blow. The main thing is not to lose visualization at the moment the sword plunges into the enemy’s field.

"Thunder"

Raise your right hand up and visualize lightning striking from above into the center of your palm. After a while, you will feel that your hand begins to be penetrated by discharges that pass into the body. Smoothly lower your hand, collecting all the energy received from lightning in your palm into a small sparkling ball the color of lightning, and throw it at the enemy in the same way.

"Needles"

Hands are inserted into the armpits and pulled out with tension. After overcoming the pressing force, they bend at the elbows and rise up and back, making a swing. After this, the hands are sharply thrown forward, and (visualization) a small blue (or fiery, or black) needle comes off from each of the outstretched fingers.

"Tulip" / "Scorpion's Sting"

The right hand is thrown forward. The moment she stops, a clot of energy resembling a tulip bud flies out of her open palm, as if by inertia. The clot is connected to the palm by a channel in the form of a tourniquet. The moment the “Tulip” hits (deepens) the target, it explodes due to the energy entering it through the channel.

"Glove"

Sharply raise your elbow bent to 90 degrees. right hand to the side so that the fist looks up. At the same time, you clearly hear a metallic clang. When your hand freezes in the upper position, you begin to feel the weight of the iron glove placed on your fist. When you feel its (gloves) presence confidently enough, you can strike either a regular blow (it will be several times stronger) or a blow to the enemy’s field.

"Onion"

Initial position: Feet shoulder-width apart, the toe of the left foot and the heel of the right are on the same line connecting you and the opponent. The left arm is extended forward at the level of the chin, but does not straighten completely, remaining slightly bent at the elbow. The hand is raised up 90 degrees, edge forward. The right palm covers the left.

Visualization: Your left hand is a bow, your right hand holds the string. You begin to pull back the string, spreading your hands as if you were holding a real bow. A glowing blue (black, red) arrow appears between the hands, which increases in length as the distance between the hands increases. At the moment when the tension reaches its maximum, that is, you understand that just a little more and visualization will be lost, the right hand releases the bowstring and the arrow instantly covers the distance to the enemy, hitting him.

Tips: After the arrow hits the target, imagine that the enemy reacts to your attack as if hit by a real arrow, this will enhance the effect.

Advantages: Penetrates almost any energy protection, because is a targeted attack.

Flaws: Big time preparing an attack.

Chapter 6. Techniques of the masters

Attack Techniques

"Falling Stone" (Master)

Purpose: In addition to general damage from the attack, it causes a depressed state in the enemy and worsens the work with energy.

Optimal time: Doesn't matter.

Starting position: Feet shoulder-width apart, arms lowered at 30 degrees from the body.

Visualization: Begins by slowly bending your elbows. A clot of dense, heavy energy is formed, its structure similar to a stone. After this, the creation of a large gray stone, which rises up with arms raised and hovers over the enemy.

Sharply spreading your arms to the sides, the stone “drops” on the enemy. In this case, it is desirable to visualize how a stone falls on the enemy’s body, breaking it and crushing it into the ground. It is recommended to visualize the torment and convulsions of the enemy for some time.

« P Side effects: Due to the relative simplicity of this technique, no side effects have yet been observed.

"Annihilation Complete" (Master)

Purpose: Elimination of the consequences of training in the form of residual energy, elimination of negativity accumulated in a given place. In extreme cases, it can be used as military equipment.

Optimal time: Sunny day.

Starting position: The arms are pressed to the body and bent at the elbows so that the part of the arm from the elbow to the wrist is parallel to the ground. Hands - 45 degrees away from you and down so that your palms are in the plane of your chest. Feet shoulder width apart.

Visualization: There are flames around. All space, trees, grass, earth are burning. Slowly you begin to move your arms forward, moving them. The surrounding flame begins to gather, as if in a vacuum explosion, at one point, 30-40 cm away from your solar plexus. As the hands come closer and the concentration of flame in the already formed ball increases, the color of the ball begins to change from fiery to white, blindingly bright.

The hands begin to move, as if stroking a sphere with a diameter 3-4 times larger than the ball. Meanwhile, the fireball continues to change color towards white and begins to make a hum. When the sound increases to the point of pain in the head and a feeling of real heat arises, the ball (without touching it with your hands) is “shot” towards the object.

As soon as the ball touches the ground, a bright white flash follows in your visualization and a fiery sphere swells in all directions from the point where the ball falls, burning everything in its path.

« Side effects»:

· By the end of the performance, the master stops breathing, because... the entire technique is performed with a gradual slowing of breathing and increasing pauses between exhalation and inhalation. This happens naturally, completely unconsciously. Therefore, the first breath after finishing work can cause dizziness or loss of consciousness.

· If there is a breakdown during performance, a BPZ may form and cause harm to the performer himself.

· Possible rise in blood pressure and, as a result, darkening of the eyes and tinnitus.

Fig.1. Beginning of creating a ball. "Smoothing the sphere." Ball shot.

"Pillars" (Master)

Purpose:
1. Energy attack. In addition to the functions of a conventional attack, it temporarily deprives the enemy of the ability to concentrate personal energy and causes a temporary “inconsistency” in the enemy’s energy exchange system.
2. Recharging and compensation of the shifted energy balance.

Optimal time: Doesn't matter, as long as you don't feel very tired.

Starting position: Palms folded in a “prayer” position at face level.

Visualization: Begins with the arms slowly lowered. To the left, at arm's length, a column of absolute darkness grows. The feeling is that it consists of an impenetrable black liquid, motionless and very cold. A similar pillar grows on the right, but it consists of fire. He is constantly moving, changing in himself, but not changing external form. It hums and bursts with heat, embodying the swiftness of the flame and fierce life.

Let’s call these pillars “Yin pillar” and “Yang pillar”.

When the hands reach the solar plexus, the master spreads them 45 degrees downwards, while simultaneously turning the hands with palms up. The hands stop their movement when the hands are turned palms up, and the forearms are directed at 45 degrees downwards and strictly towards the corresponding pillars. Arms are bent at the elbows.

Next, the movement begins with the left hand. The hand sharply straightens in a stabbing blow, turning the hand with the palm down, and “pierces” the Yin pillar. A wave of black cold “throws” through the hand into the master’s body. It begins to grab the body and, when half of the body already seems completely numb, the right hand straightens in a blow with a turn of the palm. Immediately, fiery energy bursts from the Yang pillar through the hand into the body, which begins to “press out” the darkness, capturing, in turn, the right half of the body.

When energy vortexes begin to arise at the border of cold and heat in the master’s body, he pulls out his left hand from the Yin pillar, and immediately after that his right hand from the Yang pillar.

The finishing touch, the ball is thrown at the opponent. In this case, you need to try to get into the manipura, svadhisthana, or anahata chakras.

"Side effects":

· During the performance, the master begins to tremble. This phenomenon is observed from the moment of connection from the first pole. The moment I connect to the second pole, the trembling intensifies. This is normal.

· During training correct execution, but with insufficient practice, drooling and nosebleeds may begin. In both cases, the assistant interrupts the technique by pouring cold water on the performer.

· In people with epilepsy, this technique will definitely cause a seizure.

A) initial position (side view).
B) before contact with pillars.
B) contact.

Defense Techniques

Black Shield (Master)

Position: Eyes closed (with good visualization you can open them), head slightly bent down, the impression is that with closed eyes you are looking at the enemy from under your eyebrows.

Visualization: Around the master, the space seems to begin to melt, turning into a black viscous substance, surrounding him with a solid, constantly changing and swaying wall. Any energy clot that gets into this substance also dissolves and gives up its energy to the shield, as if feeding it.

Advantages: One of the most reliable energy shields.

Disadvantages: The shield is double-sided, you cannot attack from behind it.

"Unfolding Sphere" (Master)

Purpose: Providing selective protection against energy attacks. Protection of the “Constant” class, that is, it is installed once for a time determined only by installation costs.

Optimal time: Moonlight night or severe thunderstorm.

Starting position: Hands down, palms forward.

Visualization of the creation: The master spins a black vortex around himself, which starts at the ground and, following the raised hands, stretches upward, hiding the master entirely. After this, the hands begin to turn palms up, and the vortex lifts off the ground and gathers into a single buzzing ring, rotating at breakneck speed, half a meter above the head.

The master begins to bring his hands together without lowering them, and the ring begins to sparkle with electrical discharges and shrink into a ball. When there is a distance of a palm between the hands, the master makes a clap and the ball explodes.

The master finds himself inside a sphere the color of opaque black glass. After that left hand lowers and makes a gesture with the edge right palm, as if cutting this sphere from the front. The sphere opens and “collapses” behind the master’s back. At the same time, he feels a push between the shoulder blades.

A) Vortex near the ground.
B) Raised arms - a whirlwind around the body.
C) Palms up - a vortex above the head.

D) Hands are brought together - a ball.
D) “Cutting” with the edge of the palm and folding the sphere.

Visualization of use: If it is necessary to open the shield, the master spreads his arms bent at 90 degrees to the sides and quickly brings them together in front of him, opening the sphere from behind his back.

A) Arms to the sides, bend at a right angle.
B) Hands are brought together in front of you - the sphere is open.

"Side effects":

· There may be a burning sensation in the back, back pain, or a feeling of someone’s presence behind you.

· Possible pain effects when creating a shield.

· Possible dizziness and nausea when creating a shield.

"ChiZet - Black Mirror" (Master)

This is the first simple shield from a series of “pseudo-intelligent” or, as they are also called, “living” shields. It is believed that it is impossible to independently create this shield in this form, and it is transmitted only from Teacher to student, by dividing the “adult” (it develops over time) ChiZet into two parts. I’ll note right away that the one who gave ChiZet can simply take it back.

ChiZet constantly lives in the body of the protected person, or rather in right hand, three to five fingers above the wrist. When folded

How to do magic wand, staff and wand

There are four sizes of magical wands, made of wood and serving as an aid to concentration and strengthening. own strength.

Staff - approximately tall

Large rod - two or three cubits

Small rod - one or two cubits

“Magic wand” - about half an elbow.

The smaller the wand, the more powerful it is, and the more careful processing it requires.

Wands can also be made of metal or stone, but since the labor intensity is significantly higher, I did not even try to find out anything about it. Before you begin, you need to perform a cleansing ritual that matches your ideas. During processing, you should observe what you call fasting. Any psychotics are strictly excluded; even tobacco or coffee can disrupt your work.

For any wooden wand, “its own” tree is selected (in my case it could be oak or hawthorn); in general, preference is given to a harder species. Selected young tree, suitable in thickness. For everything except the staff, a part of the main trunk is suitable only without knots. The tree is cut down with a feeling of regret for the ruined plant, and confidence that your need is worth it. A minimum of tools is used, ideally one knife forged with one’s own hands. Since in modern conditions It is difficult to get hold of a knife forged with your own hands; you can use an ordinary medical scalpel purchased specifically for this work.

When working, it is necessary to eliminate the feeling of triumph, haste or anticipation.

A magic wand, on the contrary, is made from the most clumsy and gnarled (but in no case cracked or rotten!) part of the tree. The rhizome of a tree, or, for example, the stem of a Karelian birch, is very good for such purposes. If a part of a tree was taken to make a magic wand, if you have full self-confidence, it makes sense to “gift” the tree - rub a drop of blood into a cut in its bark.

The cut trunk is transferred to the place where it will be processed and is not moved to other places until the work is completed. The waste is collected and, after finishing the work, sacrificed to the forest spirits (buried under the turf in the forest with a feeling of gratitude).

All processing is carried out in a state of permanent meditation on the material. Hurry, distraction by random things, attempts to speed up work at the risk of spoiling the material are categorically excluded (not even the attempts themselves, but reflections on this topic, that is, if something can be scraped off or cut off, but accuracy in the latter case cannot be guaranteed, then there should not even be any doubt about what should be scraped). It is best to work in the forest or in the country. Exactly as much work is done in one go as is fun. Whenever there is a desire to work, you need to do it, even if this work consists of two movements.

The bark and cambium are cleared from the trunk; in the case of a staff, knots are cut and scraped off (not until smooth), and defects are cut out. The staff can be finished at any time after this, but it is recommended to at least scrape it thoroughly and lovingly.

For the remaining wands, the upper end (according to the height of the tree) is pointed, the lower end is rounded. Bottom part the rod (by which you then hold it) is scraped across the fibers. At this stage, the workpiece should no longer have any corners or cuts. By this time, the workpiece may crack lengthwise due to drying, this is normal.

On a magic wand, both ends are rounded.

The processing should be interrupted and play with the resulting object. You need to feel it as your own, find a comfortable position for it in your hand, love it, become attached to it. From this moment on, the workpiece should be kept with you at all times, at least in the area of ​​attention. The feeling should be such that you are introducing him to yourself, to your life, to your habits, emotions.

Further processing is the main difficulty. Part of the wand, except for the place where you hold on and the tip, is covered with a pattern. It makes no sense to “cover” the rod with a pattern. Scratches are applied to it in those places that, according to the feeling that appears, “they want it.” Some of them may be small, some will “require” a recess, sometimes up to a quarter of the radius (I, however, did not have this). Scratches are caused by holding the tip of a knife between your fingers (by the way, you only need to sharpen it by hand), and require a steady hand. When working, there should be a feeling of conversation, conversation with the rod.

A small wand requires a pattern that is several times thicker and finer than a large one, but sections of the initial surface must remain on it as part of the pattern (then, probably, the magic wand should be entirely carved). If a crack has formed on the rod, then annealed copper, or even better silver, should be hammered into it with the same knife (just not very hard, otherwise it will crack) to the very surface.

For a magic wand, another type of pattern is preferable - a continuous, non-self-intersecting, open line covering possibly large area magic wand. If you manage to apply it in one motion from start to finish... However, I doubt that you will succeed.

There is no need to demand European accuracy from the rod, it should have in its shape a reference to the original shape of the barrel, it should not be perfectly smooth or perfectly round, the metal hammered into the gap does not have to look like a filling, it is simply stored there, although if it is not will look tacky, then that’s correct.

Unfortunately, I cannot describe the pattern covering in more detail, since it occurs in deep meditation. The work should internally bear the impression of a valuable process in itself; one should not feel concerned about the result; even some nostalgic pity that another part of the work has been done is allowed.

At the same time, he needs to be introduced to the world, that is, shown to the sun, moon, stars, trees, while intensely feeling his attitude towards the objects shown. There is no need to show EVERYTHING or name names. Only what you consider worthy of being noted.

The pattern is applied until you are confident that you cannot add a single stroke. By the way, the pattern may well contain various symbols that you might have seen before; it is absolutely necessary to accurately determine whether it is your subconscious playing around, or whether the scratches just happened. The first is not good, the second is normal.

There are so many symbols that they can be found in anything, there is no need to be afraid of them or strive for them, they are always secondary when interpreted by a person.

Having applied the pattern, you need to polish the rod with a cloth and river sand. For those who have never done this, I warn you, don’t press, otherwise you will scratch it. By the way, it is better to sift and/or wash the sand. Only the pattern is polished, by this time the handle has already been processed with a knife, and the tip should be smoothed with a knife.

Polishing should take place in a joyful (but not violently hysterical) mood, and this should not make the movements abrupt.

By this time, the wand will make you feel the need for initialization (activation? consecration? I’ve been having a bad time with the thesaurus lately), which consists of completely unemotionally plunging the tip into something. In my case it was night water, but it could be earth, wine, milk, a living body (God forbid, human), and sewage. If necessary, the next day the tip is wiped with the same cloth that was used to polish the rod (by the way, I didn’t say that it should be natural fabric from your old clothes?), which can be buried along with bark and sawdust, or can be thrown away or destroyed, at your discretion.

Initializing the magic wand looks a little more complicated. First, one end of it is immersed in something, then (the period of time does not matter and is unpredictable in advance) its other end is immersed in something else, something opposite in properties to the first. At first glance, the phrase is somewhat clumsy, but if you start making a magic wand, then at this stage everything will be clear to you.

The knife must be sharpened at the end of the work, and... that’s it.

If by that time you don’t know what to do next with the wand, then I obviously explained something wrong.

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Needle, Mallet and Rod Once a peasant saved a Taoist when he was drowning. The Taoist decided to thank the peasant for his good deed and took him to his cave. There he took out a huge pumpkin from its hiding place and took out three magical things from it: a needle, a mallet and a wand. The Taoist laid them at his feet

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From the book The Magic of Sensory Ideas. Development of extraordinary abilities author Kholnov Sergey Yurievich

WHAT CAN I DO MYSELF? Question: Ramana said that there is no such thing as karma. As well as no rebirth. And yet, this is already embedded in the consciousness of the ego. Karl: As long as the concept of “I” is there, everything is there. There are desires and needs for cleansing and every idea of ​​dirt and

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How to make a staff or wand of a magician from wood? There are four standard sizes of magic wands, made of wood and serving as an aid to concentrate and enhance one's own power.

1. Staff - approximately tall

2. Large rod - two or three cubits

3. Small rod - one or two cubits

The smaller the wand, the more powerful it is, and the more careful processing it requires. Wands can also be made of metal or stone, but since the labor intensity is significantly higher, I’m not even trying to advise anything on this matter.

Before you begin, you need to perform a cleansing ritual that matches your ideas. During processing, you should observe what you call fasting. Any psychotics are strictly excluded; even tobacco or coffee can disrupt your work. For any wooden wand chosen (but it could be oak or hawthorn), in general, preference is given to a harder species. A young tree of suitable thickness is selected. For everything except the staff, a part of the main trunk is suitable only without knots.

The tree is cut down with a feeling of regret for the ruined plant, and confidence that your need is worth it. A minimum of tools is used, ideally one knife forged with one’s own hands. Since in modern conditions it is difficult to get hold of a knife forged with your own hands, you can use an ordinary medical scalpel purchased specifically for this work. When working, it is necessary to eliminate the feeling of triumph, haste or anticipation. On the contrary, it is made from the most gnarled and gnarled tree rhizome, or, for example, the trunk of a Karelian birch. If a part of a tree was taken, with full self-confidence it makes sense to “give” the tree - rub a drop of blood into the cut on its bark. The cut trunk is transferred to the place where it will be processed and is not moved to other places until the work is completed.

The waste is collected and, after finishing the work, sacrificed to the forest spirits (buried under the turf in the forest with a feeling of gratitude). All processing is carried out in a state of permanent meditation on the material. Hurry, distraction by random things, attempts to speed up work at the risk of spoiling the material are categorically excluded (not even the attempts themselves, but reflections on this topic, that is, something can be scraped off, or it can be cut off, but accuracy in the latter case cannot be guaranteed, then not there should even be doubts about what should be scraped). It is best to work in the forest or in the country. Exactly as much work is done in one go as is fun. Whenever there is a desire to work, you need to do it, even if this work consists of two movements.

The bark and cambium are cleared from the trunk; in the case of a staff, knots are cut and scraped off (not until smooth), and defects are cut out. Staff can be finished at any time after this, but it is recommended to at least carefully and lovingly scrape it out.

For other wands The upper (according to the growth of the tree) end becomes pointed, the lower end is rounded. The lower part of the rod (by which you then hold it) is scraped across the grain. At this stage, the workpiece should no longer have any corners or cuts. By this time, the workpiece may crack lengthwise due to drying, this is normal. On a magic wand, both ends are rounded.

The processing should be interrupted and play with the resulting object. You need to feel it as your own, find a comfortable position for it in your hand, love it, become attached to it. From this moment on, the workpiece should be kept with you at all times, at least in the area of ​​attention. The feeling should be such that you are introducing him to yourself, to your life, to your habits, emotions. Further processing is the main difficulty. Part of the wand, except for the place where you hold on and the tip, is covered with a pattern. The emerging feeling of “they want this” does not make sense. some of them may be small, some will “require” a recess, sometimes up to a quarter of the radius (I, however, did not have this). Scratches are caused by holding the tip of a knife between your fingers (by the way, you only need to sharpen it by hand), and require a steady hand. When working, there should be a feeling of conversation, conversation with the rod.

Small Rod requires a pattern that is several times denser and finer than a large one, but sections of the initial surface must remain on it as part of the pattern (then, probably, the magic wand should be entirely carved). If a crack has formed on the rod, then annealed copper, or even better silver, should be hammered into it with the same knife (just not very hard, otherwise it will crack) to the very surface. another type of pattern is preferable - a continuous, non-intersecting, open line covering the largest possible area of ​​the wand. If you manage to apply it in one motion from start to finish... However, I doubt that you will succeed. There is no need to demand European accuracy from the rod, it should have in its shape a reference to the original shape of the barrel, it should not be perfectly smooth or perfectly round, the metal hammered into the gap does not have to look like a filling, it is simply stored there, although if it is not will look tacky, then that’s correct.

Unfortunately, I cannot describe the pattern covering in more detail, since it occurs in deep meditation. The work should internally bear the impression of a valuable process in itself; one should not feel concerned about the result; even some nostalgic pity that another part of the work has been done is allowed. At the same time, he needs to be introduced to the world, that is, shown to the sun, moon, stars, trees, while intensely feeling his attitude towards the objects shown.

There is no need to show EVERYTHING or name names. Only what you consider worthy of being noted. The pattern is applied until you are confident that you cannot add a single stroke. By the way, the pattern may well contain various symbols that you might have seen before; it is absolutely necessary to accurately determine whether it is your subconscious playing around, or whether the scratches just happened. The first is not good, the second is normal.

There are so many symbols that they can be found in anything, there is no need to be afraid of them or strive for them, they are always secondary when interpreted by a person. After applying the pattern, you need to polish the rod with a cloth and river sand. For those who have never done this, I warn you, don’t press, otherwise you will scratch it. By the way, it is better to sift and/or wash the sand. Only the pattern is polished, by this time the handle has already been processed with a knife, and the tip should be smoothed with a knife. Polishing should take place in a joyful (but not violently hysterical) mood, and this should not make the movements abrupt.

By this time, the rod will make you feel the need for initialization, which consists of completely emotionless immersion of the tip into something. In my case it was night water, but it could be earth, wine, milk, a living body (God forbid, human), and sewage. If necessary, the next day the tip is wiped with the same cloth that was used to polish the rod (this should be natural fabric from your old clothes), which can be buried along with bark and sawdust, or can be thrown away or destroyed, at your discretion.

It looks a little more complicated. First, one end of it is immersed in something, then (the period of time does not matter and is unpredictable in advance) its other end is immersed in something else, something opposite in properties to the first. At first glance, the phrase is somewhat clumsy, but if you start making a magic wand, then at this stage everything will be clear to you.

There are four standard sizes of magic wands, made of wood and serving as an aid to concentrate and enhance one's own power.

Staff - approximately tall
Large rod - two or three cubits
Small rod - one or two cubits
“Magic wand” - about half an elbow.

The smaller the wand, the more powerful it is, and the more careful processing it requires.

Wands can also be made of metal or stone, but since the labor intensity is significantly higher, I did not even try to find out anything about it. Before you begin, you need to perform a cleansing ritual that matches your ideas. During processing, you should observe what you call fasting. Any psychotics are strictly excluded; even tobacco or coffee can disrupt your work.

For any wooden wand, “its own” tree is selected (in my case it could be oak or hawthorn); in general, preference is given to a harder species. A young tree of suitable thickness is selected. For everything except the staff, a part of the main trunk is suitable only without knots. The tree is cut down with a feeling of regret for the ruined plant, and confidence that your need is worth it. A minimum of tools is used, ideally one knife forged with one’s own hands. Since in modern conditions it is difficult to get hold of a knife forged with your own hands, you can use an ordinary medical scalpel purchased specifically for this work.

When working, it is necessary to eliminate the feeling of triumph, haste or anticipation.

A magic wand, on the contrary, is made from the most clumsy and gnarled (but in no case cracked or rotten!) part of the tree. The rhizome of a tree, or, for example, the stem of a Karelian birch, is very good for such purposes. If a part of a tree was taken to make a magic wand, if you have full self-confidence, it makes sense to “gift” the tree - rub a drop of blood into a cut in its bark.

The cut trunk is transferred to the place where it will be processed and is not moved to other places until the work is completed. The waste is collected and, after finishing the work, sacrificed to the forest spirits (buried under the turf in the forest with a feeling of gratitude).

All processing is carried out in a state of permanent meditation on the material. Hurry, distraction by random things, attempts to speed up work at the risk of spoiling the material are categorically excluded (not even the attempts themselves, but reflections on this topic, that is, if something can be scraped off or cut off, but accuracy in the latter case cannot be guaranteed, then there should not even be any doubt about what should be scraped). It is best to work in the forest or in the country. Exactly as much work is done in one go as is fun. Whenever there is a desire to work, you need to do it, even if this work consists of two movements.

The bark and cambium are cleared from the trunk; in the case of a staff, knots are cut and scraped off (not until smooth), and defects are cut out. The staff can be finished at any time after this, but it is recommended to at least scrape it thoroughly and lovingly.

For the remaining wands, the upper end (according to the height of the tree) is pointed, the lower end is rounded. The lower part of the rod (by which you then hold it) is scraped across the grain. At this stage, the workpiece should no longer have any corners or cuts. By this time, the workpiece may crack lengthwise due to drying, this is normal.

On a magic wand, both ends are rounded.

The processing should be interrupted and play with the resulting object. You need to feel it as your own, find a comfortable position for it in your hand, love it, become attached to it. From this moment on, the workpiece should be kept with you at all times, at least in the area of ​​attention. The feeling should be such that you are introducing him to yourself, to your life, to your habits, emotions.

Further processing is the main difficulty. Part of the wand, except for the place where you hold on and the tip, is covered with a pattern. It makes no sense to “cover” the rod with a pattern. Scratches are applied to it in those places that, according to the feeling that appears, “they want it.” Some of them may be small, some will “require” a recess, sometimes up to a quarter of the radius (I, however, did not have this). Scratches are caused by holding the tip of a knife between your fingers (by the way, you only need to sharpen it by hand), and require a steady hand. When working, there should be a feeling of conversation, conversation with the rod.

A small wand requires a pattern that is several times thicker and finer than a large one, but sections of the initial surface must remain on it as part of the pattern (then, probably, the magic wand should be entirely carved). If a crack has formed on the rod, then annealed copper, or even better silver, should be hammered into it with the same knife (just not very hard, otherwise it will crack) to the very surface.

For a magic wand, another type of pattern is preferable - a continuous, non-self-intersecting, open line covering the largest possible area of ​​the magic wand. If you manage to apply it in one motion from start to finish... However, I doubt that you will succeed.

There is no need to demand European accuracy from the rod, it should have in its shape a reference to the original shape of the barrel, it should not be perfectly smooth or perfectly round, the metal hammered into the gap does not have to look like a filling, it is simply stored there, although if it is not will look tacky, then that’s correct.

Unfortunately, I cannot describe the pattern covering in more detail, since it occurs in deep meditation. The work should internally bear the impression of a valuable process in itself; one should not feel concerned about the result; even some nostalgic pity that another part of the work has been done is allowed.

At the same time, he needs to be introduced to the world, that is, shown to the sun, moon, stars, trees, while intensely feeling his attitude towards the objects shown. There is no need to show EVERYTHING or name names. Only what you consider worthy of being noted.

The pattern is applied until you are confident that you cannot add a single stroke. By the way, the pattern may well contain various symbols that you might have seen before; it is absolutely necessary to accurately determine whether it is your subconscious playing around, or whether the scratches just happened. The first is not good, the second is normal.

There are so many symbols that they can be found in anything, there is no need to be afraid of them or strive for them, they are always secondary when interpreted by a person.

After applying the pattern, you need to polish the rod with a cloth and river sand. For those who have never done this, I warn you, don’t press, otherwise you will scratch it. By the way, it is better to sift and/or wash the sand. Only the pattern is polished, by this time the handle has already been processed with a knife, and the tip should be smoothed with a knife.

Polishing should take place in a joyful (but not violently hysterical) mood, and this should not make the movements abrupt.

By this time, the wand will make you feel the need for initialization (activation? consecration? I’ve been having a bad time with the thesaurus lately), which consists of completely unemotionally plunging the tip into something. In my case it was night water, but it could be earth, wine, milk, a living body (God forbid, human), and sewage. If necessary, the next day the tip is wiped with the same cloth that was used to polish the rod (by the way, didn’t I say that it should be natural fabric from your old clothes?), which can be buried along with bark and sawdust, or can be thrown away or destroyed, at your discretion.

Initializing the magic wand looks a little more complicated. First, one end of it is immersed in something, then (the period of time does not matter and is unpredictable in advance) its other end is immersed in something else, something opposite in properties to the first. At first glance, the phrase is somewhat clumsy, but if you start making a magic wand, then at this stage everything will be clear to you.

The knife must be sharpened at the end of the work, and... that’s it.

If by that time you don’t know what to do next with the wand, then I obviously explained something wrong.

Staves

Previously, it was believed that a magician was not a magician if he did not have a staff. This item of strength serves as a continuation of its owner and contains strength equal to it.

The staff is made from a whole young tree or branch big tree. In the first case, the tree is asked to agree to give up its life and become an ally of the magician. And in the second they ask permission from a tree to cut down one branch. But in both cases, nothing is done without the consent of the tree. Having received consent, they cut down the staff. After this, gifts are left to the earth or tree. Usually these are grains, semiprecious stones and beer.

The branches of the staff are cut off and the top is cut off, and then it is covered with fabric, preferably natural (linen, cotton or silk) and taken home. Already at home, when trying the staff on the owner, it is shortened according to height. The optimal size is from the nose to 5 cm above the top of the head. Then they seal the cut areas with varnish or paint so that the staff does not become damp.

The bark of the staff is not touched for 6 months. At this time they talk to him, fill him with strength. They walk in the forest and teach them to become aware of everything around them again. Someone sings to it, someone rubs the bark with oils. What to do at this time and how to fill the staff with power is an individual matter for the magician.

After 6 months, the bark is removed from the staff. But not only upper layer, and all the way to the very middle. The bark must be removed with a knife. Either specially purchased for this purpose, or for your own workers. The process of removing the bark takes different time, someone does it faster, someone slower - here time no longer matters.

After removing the bark, the staff must be sanded either with a file or sandpaper or sandpaper. The main thing is that the surface of the staff becomes smooth and does not leave splinters on the magician’s hands. After this, the staff can either be immediately coated with paint or varnish, or characters can first be cut out or burned into it. The painted staff is decorated as the magician’s heart dictates. Either they put a stone in the top, or they decorate the top with feathers and bunches of beads - this is a personal matter.

In traditional ritual magic, the staff is dedicated and given a name. In witchcraft, the staff is given a name, and it undergoes initiation as it works. You can dedicate a staff based on the traditions of your faith or the traditions of the holidays - this is also just personal preference.

To make a magic wand, any tree branch up to thumb, not necessarily straight, you may also like a curved ring. Whether this wand has just been cut from a tree or found fallen in the forest, if a magician likes it, it can be used to make a magic wand.
The future wand is shortened to the required length, and it (the length) is chosen by the magician himself. It can be a stick a meter long and the length of your palm. Usually they take an average length of 15-30 cm. Then the bark is removed from the stick. Traditionally this is done either with fingernails or sandpaper. I do not rule out the method of processing with a knife and file, as was done with the staff. The only difference is that the bark is removed immediately in one day.

Then the magic wand is coated with varnish or paint. Before this, you can cut out or burn signs or patterns onto a stick. When the paint on the stick dries, it is filled with energy. But they don’t just pump it, they try to create a kind of vortex battery in the stick that will recharge it. This process It doesn't take a single day. After this, the stick is rubbed aromatic oil. You can mix several in a bowl or use just one. The oil is rubbed into the surface of the stick with your hands, this procedure binds the stick to the owner. After that with a magic wand can be used.

Wands

Wands are an attribute of ritual magic. Therefore, the creation of a rod is accompanied by a ritual.

To make a wand, take a fresh branch about the size of an arm and 25-30 cm long. This branch is processed immediately. After removing the bark, it is rounded off on both sides and a piece of wood is removed from the middle at both ends. It turns out that the stick is round at the ends and thicker than in the middle. Then the rod is sanded. They put on it the signs of the gods, the name of the wand and the name of the magician. Moreover, the first name is applied to one end, and the second to the opposite, and the signs of the gods are located in the middle. The rod is not covered with paint, but rubbed with oils.

Afterwards, a ritual of dedication to the gods is performed over the rod. Further, the rod is used in ritual and religious rites as a redirector of forces.

The wand is one of the main tools of magic. It has been used in magical and religious rituals for thousands of years. This is a calling tool. The Goddess and God can be called upon to oversee the ritual with words and the raising of a staff.

It is used to channel energies, drawing magic symbols or a circle on the ground to indicate the direction of danger, balancing on the palm or in the hand of a sorcerer, and even for stirring a potion in a cauldron. The Wand represents the element of Air and is dedicated to God.

Traditional types of trees from which wands are made are willow, elderberry, oak, apple, cherry, peach, hazel and others. Some sorcerers cut a stick as long as an elbow from the fork, as thick as a finger, but this is not necessary. Any fairly straight piece of wood can be a wand, even a dowel bought at a hardware store works well. I have seen beautiful wands carved from it and painted.

New consciousness (and trade) brought new prominence to the wand. Amazing, beautiful creations in silver and quartz different sizes and the values ​​are still used today. They can be confidently used in witchcraft rituals, although wooden wands have a long history.

Don't worry if you don't find the perfect wand right away - it will come to you. I have been using long licorice root as a wand for a long time and have gotten great results with it.

Any wand you use will soon be filled with your energy and strength. Find one with whom you feel confident, and everything will work out for you.