Quadrant Model of Reality Book 3 Philosophy games and the cross

Usually dice are the shape of one of the five platonic solids, which I discussed reflect the quadrant model pattern. Plato said they reflect the five elements.

Fudge dice are cubical dice featuring two sides marked with plus signs, two with minus signs, and two blank. These are rolled in groups of four, with each plus sign adding to the total, while each minus sign reduces it; blank sides are ignored. This generates a range between –4 and +4.

Four-sided dice, abbreviated d4,[1] are often used in tabletop role-playing games to obtain random integers in the range 1–4. Two forms exist of this die: a tetrahedron (pyramid shape) with four equilateral triangle-shaped faces, and an elongated long die with four faces. The former type does not roll well and is thus usually thrown into the air or shaken in a box. Historical[edit] Four-sided dice were among the gambling and divination tools used by early man who carved them from nuts, wood, stone, ivory and bone.[2] Six-sided dice were invented later but four-sided dice continued to be popular in Asia. In Ancient Rome, elongated four-sided dice were called tali while the six-sided cubic dice were tesserae.[3] In India and Tibet, three four-sided long dice were rolled sequentially as an oracle, to produce 1 of 64 possible outcomes.[4] The ancient Jewish dreidel is a four-sided long die with one end changed into a handle, to allow it to be spun like a top. The ancient Egyptian Royal Game of Ur uses eight four-sided pyramid-shaped dice made out of rock, half of them colored white, and half black. The Scandinavian game daldøs uses a four-sided long die. Modern gaming[edit] Popular role-playing games involving four-sided tetrahedral dice include Dungeons & Dragons[1] and Ironclaw.[5] The d20 System includes a four-sided tetrahedral die among other dice with 6, 8, 10, 12 and 20 faces. Tetrahedral dice are peculiar in that there is no topmost face when a die comes to rest. There are several common ways of indicating the value rolled. On some tetrahedral dice, three numbers are shown on each face. The number rolled is indicated by the number shown upright at all three visible faces—either near the midpoints of the sides around the base or near the angles around the apex. Another configuration places only one number on each face, and the rolled number is taken from the downward face.

Draughts is played on a quadrant grid. Draughts (UK /ˈdrɑːfts/) or checkers[1] (American English) is a group of strategy board games for two players which involve diagonal moves of uniform game pieces and mandatory captures by jumping over opponent pieces. Draughts developed from alquerque.[2] The name derives from the verb to draw or to move.[3] The most popular forms are English draughts, also called American checkers, played on an 8×8 checkerboard; Russian draughts, also played on an 8×8; and international draughts, played on a 10×10 board. There are many other variants played on an 8×8, and Canadian checkers is played on a 12×12 board.

Ludus latrunculorum, latrunculi, or simply latrones (“the game of brigands”, from latrunculus, diminutive of latro, mercenary or highwayman) was a two-player strategy board game played throughout the Roman Empire. It is said to resemble chess or draughts, but is generally accepted to be a game of military tactics. Because of the paucity of sources, reconstruction of the game's rules and basic structure is difficult, and therefore there are multiple interpretations of the available evidence It is played in a quadrant board.

Mehen is a board game that was played in ancient Egypt. The game was named in reference to Mehen, a mythological snake-god

Although the quadrant nature of the game is not extremely apparent, the snake is divided into squares and the squares are next to each other, resembling quadrants.

Four corners is a children's game, often played in elementary schools. The object of the game is for players to choose corners of the room and not get caught by the designated "It" player until they are the last remaining participant. Gameplay[edit] To begin, four corners (or general areas) of the room are marked from the numbers one to four. One player is designated to be "It," or the "counter." This player sits in the middle of the room and closes his or her eyes, or exits the room, and counts to ten. The remaining players choose any one of the corners and quietly go and stand in that area. When the "It" player has finished counting, he or she calls out one of the numbers. All players who had chosen that corner or area are out of the game, and they sit down. Then, "It" counts again and the remaining players move to a different corner. Unless the corner is out. The last person to still be in the game wins, and usually becomes the new "It." If "It" calls out a corner containing no players, she either calls out another number right away or the players rotate to a new corner, according to different versions of gameplay. Canadian four corners[edit] A very different 5-player children's game is played in Canada under the name "four corners" (also known as "king's court"). The Canadian version is played on a large square drawn in chalk, usually in a schoolyard or other similar area. Four of the children stand on one of the corners of the square, while the fifth player is designated "it" and stands in the middle of the square. The four corner players then attempt to trade places without being tagged by the player who is "it", or without vacating a corner long enough for the player who is "it" being able to stand in the vacant corner. If a corner player is tagged or stranded without a free corner to stand in, they become "it". Common strategy is to try to swap corners while the player who is "it" is chasing other players who are trying to swap corners

monopoly played four sides

hex board game

In the game is an X, or quadrant. Coppit is a running-fight board game created in 1927 by Otto Maier Verlag[1] which was originally called in German: Fang den Hut (or Capture The Hat in English). It was renamed and has been re-released several times, most notably by the Spear's Games company in 1964. It is a game for 2 to 6 players and is based partly on luck with a die and partly on strategy. It is similar to the game Ludo and is nominally a children's game. The game[edit] Each player has four conical, or hat, shaped playing pieces all of the same colour which start off in their home 'base'. The object is to move out of your base, capture, or 'cop', your opponent's pieces by landing on top of them, carry them back to your base, and 'imprison' them there. A player can have any number of pieces out of their base at any time. However, whilst you are moving back to 'base' with a captured piece other players may in turn capture your piece. The winner is the player who has a piece (or pieces) which have not been captured. There are a few squares on the board which are of a different colour to the rest; if a piece is on these squares they cannot be captured.[2]

Jungle or Dou Shou Qi (Chinese: 鬥獸棋, "Game of Fighting Animals") is a traditional Chinese board game played on a 7×9 board. The game is also known as The Jungle Game, Jungle Chess, or Animals Chess, and is sometimes called Oriental Chess or Children's Chess. Jungle is a two-player strategy game and has been cited as resembling the Western game Stratego,[1] but Stratego actually has more in common with another Chinese board game known as Jun Qi (Chinese: 軍棋) or "Army Game". It is played on board with quadrants.

Yut Nori (Yunnori) (sometimes romanized as nyout or yoot) is a traditional board game played in Korea, especially during Korean New Year. The game is also called cheok-sa or sa-hee. The combining-form -nori means 'game'. Although the origins of this popular family game are unclear, some research suggests that yut was played as early as the Three Kingdoms (57 BCE – 668 CE), citing the Taiping Yulan, which states that people of Baekje played a board game similar to Chupu,[1] which is believed to be similar to Pachisi, a board game originating in India.[2][3] It is also the shape of a quadrant.

Labrys in its most high-ceremonial “doubled” form. Count the points from left to right including the central one, and we see five lunar phases with Full Moon at the center. Count the lower points and we see four of them (the solar years) that double into a Great Year with the turning of the 4-year calendar and Labyrs itself. Other features you can see suggest aspects of all three Minoan sacred beasts (Snake, Bull and Lion) as well as the mystical fourth one, Gryphon, guardian and guide of The Dead beyond “The Door” to the universe—which is at once the sun, the moon and the Pole Star.

I find it amazing that scholars refuse to link the Snake Bull Lion plus the mystical Gryphon to the four archetypes found on display in the tarot on Card X the Wheel of Fortune or Card XXI the World. (the code I extracted in around 2005, the numbers 11, 2, 5, 8 would be my guide for quite a few years until around 2010 I realized I could convert 11, 8, 2, 5, digit for digit for a new code 1, 3, 7, and 6. To prove that an analogy is indeed viable … of the four evangelists which one would be considered the ‘mystical’ one? That would be the St. John who wrote the gospel associated with the eagle traditionally. And would the Man be then equated with the snake? Thus we have a match between the four Minoan sacred beasts and the four gospels represented by the traditional associations. 11 Man = Snake 8 Eagle = Gryphon 5 Lion = Lion 2 Bull = Ox

The Calender House ceiling tile, i.e. the rosette surrounded by four double labyrs is another fine example of the SEED pattern, or what science has identified as the blue b-mode gravity wave (below image on left), and Jain science has incorporated the same basic idea into their cosmology too (below image on right). Rene Schwaller de Lubicz called this geometric necessity the Master Builder’s Grid. I call it a necessity because of its connection to the 90 degree right triangle, gravity, and polarized light.

Borjgali (Georgian: ბორჯღალი) (or “Borjgala”, “Borjgalo”) is a Georgian symbol of the Sun with seven rotating wings over the Christian Tree of Life and is related to the Mesopotamian symbols of eternity. It is usually depicted within the circle that symbolizes the Universe. The roots of the Tree go into the “past” and its palm-like branches are for the “future”. The Tree itself symbolizes the continuity between past, present and the future. The Borjgali is usually placed above the tree and symbolizes the Sun, eternal movement and life. It is made up of crossing sections.

Roulette is a casino game named after the French word meaning little wheel. In the game, players may choose to place bets on either a single number or a range of numbers, the colors red or black, or whether the number is odd or even. It has a quadrant shape to it.

After receiving an initial two cards, the player has up to four standard options: "hit", "stand", "double down", or "split". Each option has a corresponding hand signal. Some games give the player a fifth option, "surrender". Hit: Take another card from the dealer. Signal: Scrape cards against table (in handheld games); tap the table with finger or wave hand toward body (in games dealt face up). Stand: Take no more cards, also known as "stand pat", "stick", or "stay". Signal: Slide cards under chips (in handheld games); wave hand horizontally (in games dealt face up). Double down: The player is allowed to increase the initial bet by up to 100% in exchange for committing to stand after receiving exactly one more card. The additional bet is placed in the betting box next to the original bet. Some games do not permit the player to increase the bet by amounts other than 100%. Non-controlling players may double their wager or decline to do so, but they are bound by the controlling player's decision to take only one card. Signal: Place additional chips beside the original bet outside the betting box, and point with one finger. Split: If the first two cards of a hand have the same value, the player can split them into two hands, by moving a second bet equal to the first into an area outside the betting box. The dealer separates the two cards and draws an additional card on each, placing one bet with each hand. The player then plays out the two separate hands in turn; except for a few restrictions, the hands are treated as independent new hands, with the player winning or losing their wager separately for each hand. Occasionally, in the case of ten-valued cards, some casinos allow splitting only when the cards have the identical ranks; for instance, a hand of 10-10 may be split, but not one of 10-king. However, usually all 10-value cards are treated the same. Doubling and further splitting of post-split hands may be restricted, and blackjacks after a split are counted as non-blackjack 21 when comparing against the dealer's hand. Hitting split aces is usually not allowed. Non-controlling players may follow the controlling player by putting down an additional bet or decline to do so, instead associating their existing wager with one of the two post-split hands. In that case they must choose which hand to play behind before the second cards are drawn. Some casinos do not give non-controlling players this option, and require that the wager of a player not electing to split remains with the first of the two post-split hands. Signal: Place additional chips next to the original bet outside the betting box; point with two fingers spread into a V formation. Surrender (only available as first decision of a hand): Some games offer the option to "surrender", usually in hole-card games and directly after the dealer has checked for blackjack (but see below for variations). When the player surrenders, the house takes half the player's bet and returns the other half to the player; this terminates the player's interest in the hand. Signal: The request to surrender is made verbally, there being no standard hand signal.

Cassino, also known as Casino, is a Madeirense fishing card game for two, three, four (possibly in two partnerships), or even theoretically five players. It is the only one to have penetrated the Madeirense world, via Luís Ferreira, an immigrant from Fiscal The dealer deals four cards to each player and four cards face up in the center. Traditionally, the deal is in twos: two cards at a time to each player. The remainder of the deck is temporarily put aside. After everyone has played their four cards, another hand of four cards is dealt to each player from the remaining cards (two at a time), but no more cards are dealt to the table after the first deal. After these cards have been played there is another deal, and this continues until all 52 cards have been dealt. The dealer announces "cards" when dealing the last cards. After the last cards have been played, and the hand scored, the deal passes to the left for the next round. The play[edit] Beginning with the player to the dealer's left, each player plays one card at a time, performing one (or more) of the following actions: Trailing: Any card may be discarded face up to the table. Pairing: Any card may be used to take one or more cards of the same number, or a build with the same value, that is face up on the table. Combining: A number card may be used to take two or more cards whose pips total the number on the card being used to take them. For example, a player may take a 3 and a 6 with a 9, or may take a 2, 4, and 4 with a 10. Building: Cards may be built upon in one of two ways (see Building).

Who Wants to Be a Millionaire? (sometimes informally known as Millionaire) is an international television game show franchise of British origin, created by David Briggs, Mike Whitehill, and Steven Knight. The contestants must first play a preliminary round, called "Fastest Finger First" (or, in the U.S. version, simply "Fastest Finger"), where they are all given a question and four answers from the host and are asked to put those four answers into a particular order; in the first series of the British version and in pre-2003 episodes of the Australian version, the round instead required the contestants to answer one multiple-choice question correctly as quickly as possible. The contestant who does so correctly and in the fastest time goes on to play the main game for the maximum possible prize (often a million units of the local currency). In the event that two or more contestants are tied for the fastest time, those contestants play another question to break the tie. If no one gets the question right, that question is discarded and another question is played in the same manner. If any contestants are visually impaired, the host reads the question and four choices all at once, then repeats the choices after the music begins. Main game contestants are asked increasingly difficult general knowledge questions by the host. Questions are multiple choice: four possible answers are given (labelled A, B, C, and D), and the contestant must choose the correct one. The 'D' answer on the first question (except in the Shuffle format like in the US version) is always incorrect and humorous. In 2007, the German version modified its format, so that contestants would be allowed to choose the option of playing in a new variant called "Risk Mode". If the contestant chooses to play this variant, they are given access to a fourth lifeline that allows them to discuss a question with a volunteer from the audience, but the tenth-question safe haven is forfeited. This means that if the contestant answers any of questions 11–15 incorrectly, they drop all the way to the guaranteed winnings gained by answering question 5 correctly. If the contestant chooses to the play the classic format, they keep the second safe haven. The risk format was subsequently adopted by such markets as Austria, Hungary, the Philippines, Poland, Russia, Switzerland, and Venezuela. From 2004 to 2008, the U.S. version had a fourth lifeline called "Switch the Question",[4] earned upon answering question ten, in which the computer replaced, at the contestant's request, one question with another of the same monetary value; however, any lifelines used on the original question were not reinstated for the new question. Switch the Question returned as Cut the Question for a special week of shows with child contestants aired in 2014. The fourth is always different.

Bingo is a game of chance played with different randomly drawn numbers which players match against numbers that have been pre-printed on 5×5 cards. It is played on a quadrant grid.

Hungry Hungry Hippos, a tabletop game for two to four players involving marbles The hippos were kind of in a quadrant relationship

KerPlunk is a children's game first marketed by the Ideal Toy Company in 1967.[1] The game consists of a transparent plastic tube, plastic rods called straws (normally numbering 26 to 30 in total and of various colours – yellow and red predominantly) and several dozen marbles. The base contains four separate numbered trays and the straws are passed through holes in the middle of the tube to form a lattice. The marbles are then placed in the top of the tube and held in place by the lattice.[2] The onomatopoeic name of the game derives from the sound of the marbles tumbling to the base of the tube during play. The four trays are sort of a quadrant

Tock (also known as Tuck in some English parts of Quebec) is a board game, similar to Ludo, Aggravation or Sorry!, in which players race their four tokens (or marbles) around the game board from start to finish—the objective being to be the first to take all of one's tokens "home". Like Sorry!, it is played with playing cards rather than dice. The game has the image of a quadrant

Cross and circle is a board game design used for race games played throughout the world. Strictly, the design comprises a circle divided into four equal portions by a cross inscribed inside it; the classic example of this design is Yut. However, the term "cross and circle" is typically taken to include boards that replace the circle with a square, and cruciform boards that collapse the circle onto the cross; all three types are topologically equivalent. Ludo and Parcheesi (both descendants of Pachisi) are frequently played cruciform games. The category may also be expanded to include circular or square boards without a cross which are nevertheless quartered (Zohn Ahl), and boards that have more than four "spokes" (Aggravation, Trivial Pursuit). The Aztec game board for Patolli which—because it consists of a collapsed circle without an interior cross—has the distinction of being a cross that is a circle (topologically), without being a cross plus circle. Tokens are moved around spaces drawn on the circle and on the cross, with the goal of being the first player to move all tokens all the way around the board. Generally the circle of the cross and circle forms the primary circuit followed by the players' pieces. The function of the cross is more variable; for example, in Yut the cross forms shortcuts to the finish, whereas in Pachisi the four "spokes" are used as player-specific exits and entrances to the pieces' home. In non-race games (like Coppit and Trivial Pursuit) all paths may be undifferentiated in function. Although these board game designs may be of considerable antiquity, firm evidence is sparse. The most ancient board games were dated back to BC 3500 in the time of Ruler King Bharata of ancient India and are corroborated in details in University of California, Davis and extensive research by BORI, Pune. Noted writer and historian Gilles. Schaufelberger and Aaron Rester notes most of the board and dice games back to ancient India. For cruciform boards, the monumental Pachisi or Chaupat boards of the Moghul ruler Akbar (1542–1605), designed to accommodate humans as playing pieces, "still represent the earliest secure evidence for the existence of the game in India."[1] Culin found evidence for a Nyout-like game existing in China in the 3rd century AD,[2] though this does not seem to be accepted by H. J. R. Murray.[3] Mayan cross and circle boards have been found on stones from the 7th century AD.[4] Although frequently encountered among the native tribes of North America (particularly as a "quartered circle" design) these boards were not made of durable materials, so generally the writings and collections of European-Americans constitute their earliest attestations. Cross and circle boards may suggest a variety of mystical, symbolic, or esoteric designs such as mandalas; sun and earth symbols; swastikas; or Celtic, Coptic, and Greek crosses. However, mere visual similarities do not prove a deeper connection; and demonstrating any historical connection has proven to be a slippery matter. Many modern discussions of the religious, magical, or divinatory genesis of board games stem from the work of Stewart Culin who postulated a single source: the "classification of all things according to the Four Directions" by means of divinatory arrows, and that "[s]urvivals of these magical processes constitute our present games" (including all dice, board, card, and domino games).[5] He quotes, for example, an "account of the Zuñi War Gods" which explicitly links divination, the 4 quarters of the earth, and games.[6] Nyout (Yut) and Native American games like Zohn Ahl are integral to his argument. However, later scholars have called into question our ability to assign historical precedence among randomizing activities such as divination, impartial decision-making, gambling, and game-playing,[7] and elements of his monolithic genealogy of games have been called "absurd".[8] Nevertheless, if origins confound us, some historical connections are in evidence. In the 19th century, Yut stick dice were used for divination, their results being looked up in a book not unlike the I Ching.[9]

The Ludo board game looks like a cross/swastika. Ludo /ˈluːdoʊ/, /ˈljuː-/ (from Latin ludo, "I play") is a board game for two to four[2] players, in which the players race their four tokens from start to finish according to die rolls. Like other cross and circle games, Ludo is derived from the Indian game Pachisi, but simpler. The game and its variants are popular in many countries and under various names. Pachisi originated in India by the 6th century.[3] The earliest evidence of this game in India is the depiction of boards on the caves of Ajanta.[3] This game was played by the Mughal emperors of India; a notable example is Akbar. In England, Pachisi was modified, using six-sided dice, and patented as Ludo, in 1896, patent number 14636[4][5][3] In North America, the game is sold under the brand name Parcheesi. Variations of the game are sold under the brand names Sorry!, Aggravation, and Trouble. In Germany, this game is called "Mensch ärgere dich nicht" which means "Man, don't get irritated", and has equivalent names in Bulgarian, Croatian, Czech, Dutch, Polish, Russian, Serbian, Slovak, and Slovene. In Iran, the game is called "منچ" [Mench] which is probably an adaptation of the German name. In Polish it is more commonly referred to as Chińczyk ("The Chine(s)e"). In Estonia, it is called "Reis ümber maailma" (Trip around the world). In Greece, the game is called "Γκρινιάρης" [Griniaris] ("Grumbler") referring to typical player behaviour. In Malaysia and Singapore, it is called "飞机棋".[6] In Macedonia, the game is called "Не лути се човеку", meaning "Don't get angry, man". In Sweden it is known as "Fia", a name derived from the Latin word fiat which means "so be it!" Common variations on the name are "Fia-spel" (Fia the game) and "Fia med knuff" (Fia with push). In Denmark and Norway though, the game is known as Ludo. In Vietnam, it is called "Cờ cá ngựa". Special areas of the Ludo board are typically coloured bright yellow, green, red, and blue. Each player is assigned a colour and has four tokens of matching colour (originally bone discs but nowadays tokens made of cardboard or plastic). The board is normally square with a cross-shaped game track, with each arm of the cross consisting of three columns of squares—usually six squares per column. The middle columns usually have five squares coloured, and these represent a player's home column. A sixth coloured square not on the home column is a player's starting square. At the centre of the board is a large finishing square often composed of triangles in the four colours atop the players' home columns – thus forming "arrows" pointing to the finish. Two, three, or four may play. At the beginning of the game, each player's tokens are out of play and staged in one of the large corner areas of the board in the player's colour (called the player's yard ). When able to, the players will enter their tokens one per time on their respective starting squares, and proceed to race them clockwise around the board along the game track (the path of squares not part of any player's home column). When reaching the square below his home column, a player continues by racing tokens up the column to the finishing square. The rolls of a cube die control the swiftness of the tokens, and entry to the finishing square requires a precise roll from the player. The first to bring all their tokens to the finish wins the game. The others often continue play to determine second-, third-, and fourth-place finishers Each player rolls the die, the highest roller begins the game. The players alternate turns in a clockwise direction. To enter a token into play from its staging area to its starting square, a player must roll a 6. If the player has no tokens yet in play and does not roll a 6, the turn passes to the next player. Once a player has one or more tokens in play, he selects a token and moves it forward along the track the number of squares indicated by the die roll. Players must always move a token according to the die value rolled, and if no move is possible, pass their turn to the next player. When a player rolls a 6 he may choose to advance a token already in play, or alternatively, he may enter another staged token to its starting square. The rolling of a 6 earns the player an additional ("bonus") roll in that turn. If the additional roll results in a 6 again, the player earns an additional bonus roll. If the third roll is also a 6, the player may not move a token and the turn immediately passes to the next player. A player may not end his move on a square he already occupies. If the advance of a token ends on a square occupied by an opponent's token, the opponent token is returned to its owner's yard. The returned token may only be reentered into play when the owner again rolls a 6. Unlike Pachisi, there are no "safe" squares on the game track which protect a player's tokens from being returned. A player's home column squares are always safe, however, since no opponent may enter them.

16 is the squares of the quadrant model Pachisi is said to be the game from which all cross and circle board games developed. (that's a lot of games). It is made up of 16 pieces and takes the image of a cross. (the quadrant model). The game was in the Epic Hindu story the Mahabharata. Pachisi (Hindi: पचीसी) is a cross and circle board game that originated in ancient India which has been described as the "national game of India".[1] It is played on a board shaped like a symmetrical cross. A player's pieces move around the board based upon a throw of six or seven cowrie shells, with the number of shells resting with aperture upwards indicating the number of spaces to move. The name of the game derives from the Hindi word pachis, meaning twenty-five, the largest score that can be thrown with the cowrie shells. Thus the game is also known by the name Twenty-Five. There are other versions of this game where the largest score that can be thrown is thirty. There are other well known versions of the game, chausar, chaupar, chaupur or caupur.[2][3] The word caupur derives from the Sanskrit catus pada meaning he who has four legs.[2] Parcheesi, Sorry! and Ludo are among the many Westernized commercial versions of the game. It is also possible that this game had led to the development of the Korean board game Yunnori, through the ancient kingdom Baekje. Pachisi is a game for two, three, or four players,[4] four usually play in two teams. One team has yellow and black pieces, the other team has red and green. The team which moves all its pieces to the finish first, wins the game. Each player has four beehive-shaped pieces (this can be increased to up to 16 pieces each side in some versions). The pieces of one player are distinguishable from another by their colour: black, green, red and yellow are used for each player. Six cowrie shells are used to determine the amount to move the players' pieces. The shells are thrown from the player's hand and the number of cowries which fall with their openings upwards indicate how many spaces the player may move: Cowries Value Another turn? 0 25 Yes 1 10 Yes 2 2 No 3 3 No 4 4 No 5 5 No 6 6 Yes In some versions, seven cowrie shells are used to determine the amount to move the players' pieces. The shells are thrown from the player's hand and the number of cowries which fall with their openings upwards indicate how many spaces the player may move: Cowries Value Name Another turn? 0 7 Sath Yes 1 10 Dus Yes 2 2 Dooga No 3 3 Theeni No 4 4 Chari No 5 25 Pachees Yes 6 35 Pathees Yes 7 14 Chaudah Yes The board is usually embroidered on cloth. The playing area is cruciform. There is a large square in the centre, called the Charkoni, which is the starting and finishing position of the pieces. The four arms are divided into three columns of eight squares. The players' pieces are moved along these columns during play. Twelve squares are specially marked as castle squares. Four of these are positioned at the end of the middle columns of each arm; the other eight are four squares inwards from the end of the outer columns on each arm. A piece may not be captured by an opponent while it lies on a castle square. Gameplay[edit] A beaded Pachisi game, The Children's Museum of Indianapolis Pachisi being played in Tamil Nadu with Tamarind seeds and stones. Each player's objective is to move all four of their pieces completely around the board, counter-clockwise, before their opponents do. The pieces start and finish on the Charkoni. The playing order is decided by each player throwing the cowries. The player with the highest score starts, and turns continue counter-clockwise around the board. In some versions, each player throws the cowrie shells and pieces cannot move until a 2, 3, or 4 is thrown. If a 6, 10 or 25 is thrown, the player gets a grace, which enables the player to introduce one of their pieces from the Charkoni onto the board. The player then repeats his or her turn. In other versions this includes 10, 25, or 30 to introduce another of their pieces, and 7, 14 as a grace without introduction of pieces. A player needs to have at least one piece on the board to be able to throw a 7 or 14. Each player's first piece may leave the Charkoni on any throw after it has been introduced onto the board. Each player moves their pieces down the centre column of their own arm of the board, then counter-clockwise around the outside columns. A player may have any number of pieces on the board at one time. Only one piece may be moved with a single throw, or if the player chooses, they can decline to move any piece on a throw. In some versions, a player can move any number of their pieces with a single throw. Also, if the player casts a value higher than they are eligible to move in a single throw, then the player automatically loses that turn. More than one piece of the same team may occupy a single square(not true for all squares in some versions). However a piece may not move onto a castle square that is already occupied by an opponent's piece. If a piece lands on a square (other than a castle square) occupied by any number of the opponent's pieces, those pieces are captured/killed and must return to the Charkoni. Captured pieces may only enter the game again with a grace throw. A player making a capture is allowed another turn (not true in some versions). In some versions, a player cannot take their pieces back to the Charkoni/home, unless they have captured/killed at least one of the opponent's pieces. Some versions have a rule where if, for example, two players are playing against each other, and Player 1 captures a piece of Player 2. If Player 2, in their immediate turn after being captured for the first time, captures the same piece Player 1 just used to capture, in the same square where the capture took place, then Player 1's capture/kill is invalidated. Player 1 will need to recapture Player 2's piece again to be able to go back to the Charkoni, but Player 2 is free to go ahead to their respective Charkoni, unless the above repeats. A piece completes its trip around the board by moving back up its central column. Returning pieces may be placed on their side in order to distinguish them from pieces that have just entered. A piece can only return to the Charkoni by a direct throw. Four of the castle squares are placed so they are exactly 25 moves from the Charkoni. A common strategy is for returning pieces to stay on these squares, where they are safe from capture, until a 25 is thrown. The pieces can then finish the game directly. This is where the name of the game comes from. In some versions, where more emphasis is put on the throwing of the cowries, experienced players can cause cowries land in a specific way, there are certain other rules to make the game more exciting. If a player has their pieces closer to the end, and does not need a higher value throw, there are ways to nullify the higher value throw. If the player casts a 10, 25, or 30, the player needs to consecutively throw either 10, 25, or 30 three times (including the original throw) to nullify the higher value throw. If the player casts a 7, the player must consecutively cast a 7 seven times (including the original throw)to nullify the throw. If the player casts a 14, the player must consecutively cast a 14 fourteen times (including the original throw)to nullify the throw. Since throwing three consecutive throws of 10, 25, or 30 in a single turn nullifies them, players can instead throw a 7 or 14 in between to keep their turn going. EX: A player can throw the following in a single turn 25, 25, 14, 10, 30, 7, 25, 30, 7, 10, 14, 25, 3 Once all of the players pieces are introduced onto the board, every time a player throws a 10, 25, or 30 the player must move their piece one additional square. EX: A player casts 25, 25, 3 in their turn, their pieces can move a total of 53 squares. However, when all the player's pieces have already been introduced onto the board, the player can then move a total of 55 squares (25+25+3+1+1). History[edit] Pachisi may be quite ancient, but so far its history has not been established prior to the 16th century. A 6th- or 7th-century representation of Lord Shiva and the Goddess Parvati said to be playing Chaupar (a closely related game)[5] in fact depicts only dice and not the distinctive board.[6] A Song Dynasty (960–1279) document referencing the Chinese game ch'u-p'u 樗蒲 (Wade–Giles, pinyin chupu),[7] "invented in western India and spread to China in the time of the Wei Dynasty (AD 220–265)"[8] may relate to Chaupar, but the actual nature of the Chinese game (which may be more closely related to backgammon) is uncertain. Speculation that Pachisi derived from the earlier game of Ashtapada is plausible but unsubstantiated.[6] Large ancient garden version – Fatehpur Sikri – India At the 16th-century palace at Fatehpur Sikri in northern India: The game of Pachisi was played by Akbar in a truly regal manner. The Court itself, divided into red and white squares, being the board, and an enormous stone raised on four feet, representing the central point. It was here that Akbar and his courtiers played this game; sixteen young slaves from the harem wearing the players' colours, represented the pieces, and moved to the squares according to the throw of the dice. It is said that the Emperor took such a fancy to playing the game on this grand scale that he had a court for pachisi constructed in all his palaces, and traces of such are still visible at Agra and Allahabad.[9] Finkel adds: To date, these grandiose boards still represent the earliest secure evidence for the existence of the game in India. The game's role in the history of India still remains to be investigated. It is often assumed that the gambling game that plays so significant a role in the Mahabharata, the classical literary epic, is pachisi, but the descriptions, such as they are, do not tie in with the game, and this conclusion is perhaps erroneous

Ashta-kashte is a race board game from Bengal akin to the Cross and Circle family for two to four players originating in India. Although there is no evidence for that, it is considered by some as the direct ancestor of Pachisi. It is played on a board with a 7-by-7 grid on it. It is similar to Ashtam changam pe where there is a 5-by-5 grid on the board. The game also takes the image of a cross/ quadrant. Players race their pieces around the board, spiralling inwards to be the first to get all of their pieces to the centre. Movement is controlled by throwing cowry shells, but there is also an element of strategy to the game. Also called Koli kaDam in Hyderabad, India. Equipment[edit] The board is a square divided into seven rows and columns. The outer centre squares on each side of the board are specially marked. They are the starting squares for each player, and also function as resting squares. Each player has four pieces.[1] Four cowry shells are used as dice. They are thrown and the number of shells that lie with their openings upwards indicates the number of spaces a player should move: Upward openings Movement 4 4 and another turn 3 3 2 2 1 1 (none) 8 and another turn Play[edit] Players begin with no pieces on the board. A piece may enter the board on any throw of the cowries and moves to the square corresponding to the throw. Each player starts on their own starting square and moves around the board in an anticlockwise spiral. The paths of each player are different because each player starts on a different square and moves inwards at a different position on the board. A player can capture an opponent's piece by landing their piece upon it. The captured piece is removed from the board and must start again. A piece cannot land on an opponent's piece that is on a resting square. If a player lands their piece on another of their own pieces, it becomes a double. Doubles cannot be passed over by single pieces (whether the player's or the opponent's), and they can only be captured by other doubles. In addition, the two pieces that make up the double may be moved together. The end (centre square) can only be reached by a direct throw. If a player throws a number larger than that needed to reach the end, they must move another piece or wait till their next turn.

Chaupar(Chaupar) is a board game very similar to Pachisi of the Cross and Circle family played in India. It is believed that both games were created around the 4th century. The board is made of wool or cloth. The dice can be six cowry shells, although others distinguish chaupur from pachisi by the use of 3 tetrahedral (four sided) dice.[1][2] The pawns are made of wood. It is usually played on a table or the floor. It takes the image of a quadrant. Contents [hide] 1 Playing style 2 Stories 3 Rules 4 References 5 External links Playing style[edit] This game is usually played in a bantering manner, and it is quite common for players to mock each other's play just before the chori's are thrown, or to attempt to distract their opponent by snorting, cracking knuckles, pretending to spit or making absurd noises to "curse" or spoil the opponent's turn. If any of the players does not have his "thore" (to have killed at least one pawn) by the end of the game, then that player is known to have lost with a "bay-thoree" which is the most disgraceful form of losing. Stories[edit] There are famous stories amongst Mughals past from generation to generation about kings who played this magnificent game. One particular tale tells of a King who had 2 trained mice called "Sundhree and Mundhreee". This king would distract his opponent with details stories and tales. He would then casually pronounce "Sundhree and Mundhree"; at this point the mice would come and move the pieces around without the opponent noticing. Rules[edit] This section may be confusing or unclear to readers. (February 2015) Games can last anything from 30 mins to hours and hours. Technically, a game can never end depending on the players. This is possible if players keep doing "Alkhee" ghaats. An extra turn is granted by playing a 6, 12, 10 or "8" (25 square move). There are 8 safe squares (called Cheere). The pawns do not get out from the Charkoni (nest) square, but from the 10 or "8" (25 square move) The cowry shells can be used to play a variety of moves. for example if they all face down = 6, 1 face up = 10 (one bonus square move or awaken a new pawn), 2 face up = 2, 3 face up = 3, 4 face up = 4, 5 face up = "8" (25 square move with one bonus square or awaken new pawn), 6 face up = 12. Forfeiting the turn voluntarily is not allowed (unlike Pachisi). the game is either played by 2 opponents who sit opposite each other with 4 pawns each. or is played by 2 partners Vs 2 partners. The partners sit opposite each other. If either partner gets all his pawns up, then that partner will miss his/her turn for 5 times and then will aid his partner thereafter. For example if Partner A is using red pawns and Partner B is using yellow pawns. If partner B gets all his pawns up and misses 5 turns. This means that every turn that Partner A AND B play will be used to move the red pawns. When a pawn reaches the 'top'; that pawn can be removed by the top voluntarily by playing a 10 or an "8". This "re-awakened" (called an "Alkhee") pawn can kill other pawns who have partnered up together on the same square or pawns on a safe square and can be awakened from any of the 4 houses. It will go up to the house from which it was awakened. Players cannot move their pawns past the safe square outside their house (to go into their house) unless they have killed at least one pawn. To gain their "thore". It is not allowed to fix the cowri shells before throwing them. This is cheating and is known as "Bandhana". The cowri shells are usually thrown in 3 styles: either by sliding them, throwing them in the air with one cowri placed on the index finger (which is thrown higher) or by spinning them in the hand.

Patolli (Nahuatl: [paˈtoːlːi]) or patole (Spanish: [paˈtole]) is one of the oldest games in America. It was a game of strategy and luck, and very much a game of commoners and nobles alike. It was reported by the conquistadors that Montezuma often enjoyed watching his nobles play the game at court. The game is in the shape of a quadrant/cross. Contents [hide] 1 History 2 Players 3 Gameplay and Game Pieces 4 Spanish Conquest 5 References 6 External links 7 See also History[edit] Patolli or variants of it was played by a wide range of pre-Columbian Mesoamerican cultures and known all over Mesoamerica: the Teotihuacanos (the builders of Teotihuacan, ca. 200 BC - 650 AD) played it as well as the Toltecs (ca. 750 - 1000), the inhabitants of Chichen Itza (founded by refugee Toltec nobles, ca. 1100 - 1300), the Aztecs (who claimed Toltec descent, 1168 - 1521), and all of the people they conquered (practically all of Mesoamerica, including the Zapotecs and the Mixtecs). The ancient Mayans also played a version of patolli. Anthropologist E. Adamson Hoebel (1966) says the Aztec patolli derives from the East Indian game of pachisi,[4] but R.B. Lewis of the Department of Anthropology at the University of Illinois (1988) says that the similarity between the two games is due to the limitations of a board game,[5] meaning the two games were independently derived. Players[edit] Patolli is a race/war game with a heavy focus on gambling. Players would meet and inspect the items each other had available to gamble. They bet blankets, maguey plants, precious stones, gold adornments, food or just about anything. In extreme cases, they would bet their homes and sometimes their family and freedom. Agreeing to play against someone was not done casually as the winner of the game would ultimately win all of the opponent's store of offerings. Each player must have the same number of items to bet at the beginning of the game. The ideal number of items to bet is six, although any number would be acceptable as long as each player agreed. The reason for having at least six bits of treasure is that each player has six markers that will traverse the game board. As each marker successfully completes the circuit around the board, the opponent is required to hand over ownership of an item from his or her treasure. Once an agreement is made to play, the players prepare themselves by invoking the god of games, Macuilxochitl, by offering incense, prayers and food. After they have psyched themselves up, the game begins. Gameplay and Game Pieces[edit] The goal of patolli was to move six game pieces through the specified squares.[2] The object of the game is for a player to win all of the opponent's treasure. To do this, the players may need to play more than one round of the game. In order to complete a round, a player needs to get all of the six game markers from the starting queue position to the ending square position on the game board before the other player. Five or six black beans were used as dice.[2] Number cubes were also used.[1] If a toss results in all the beans standing on their sides, then the tosser wins all the goods bet by both parties.[2] The game pieces were six red and six blue pebbles;[2] each player controlled one color. Beans, kernels of maize, or even pieces of jade could also be used instead of pebbles.[citation needed] In order to get one of the stone markers on the board, the player tosses five specially prepared black beans on the game area. Each black bean has one side marked with a hole. Thus tossing the black beans would result in several black beans showing this white mark and others showing a blank side. In order to get on the game board, one black beans would have to land with the hole face up and all the others face down (getting a score of one). The players take turns tossing. Once a player is able to get on the board, the game begins and the player is allowed to place one of the game markers from the queue onto the starting square of the game board. The game mat had 52 squares arranged in an "X" shape, painted on it with liquid rubber.[2] The game board could be drawn on a bit of leather or on a straw mat and decorated with colored dye, or carved into the floor or table top. Patolli Board The four landing positions in the middle of the X are a special area. A player who lands a marker on the opponent's marker in this area can remove the opponent's marker from the game board and put it back into the opponent's starting queue. The opponent is then required to transfer ownership of one of the items being bet. Another special area is marked by two darker triangular shapes near the end of each arm of the X. If a player should land a marker inside one of these triangular areas, the player must transfer ownership of an item to the opponent. There are two special squares marked at the end of each arm of the X. A player who lands on one of these squares must roll the black beans and take another turn. After a player has a game marker on the game board, the player must move one of the game markers the same number of times as there are holes showing from the toss. If the player cannot move because he would overshoot the ending square or land on an occupied spot, then he loses the turn. If the toss shows five holes, then the player must choose one game marker to move ten spaces. Macuilxochitl is also playing the game.[2] The Magliabechiano codex says: Patolli's god was Macuilxochitl, deity of music, dance, gambling and games, called God of the Five Flowers. Players are required to give Macuilxochitl an item if a toss of the beans results in no holes (all blank sides) showing. A space is reserved above the game board for these items. The winner of the round will receive the treasure located in this space as a gift from Macuilxochitl. Spanish Conquest[edit] The Spanish priests forbade the game during the Spanish conquest of Mexico and were known to have burned the hands of people caught playing the game.[citation needed

Parqués (Spanish pronunciation: [paɾ'kes]) is the Colombian version of a board game in the cross and circle family (the category that includes Pachisi). The game is described as a "random thinking" game: the moves depend on the roll of the dice but players must consider possible strategies before executing their move. The objective of the game is to advance all the pieces to the end. The board is also the shape of a quadrant. Contents [hide] Colombian family playing a 6 player version of parqués Parqués is the Colombian version of Parcheesi, which itself is a version of Pachisi (which originated in India).[1] The meaning of the word may be a translation of the pachisi word, also influenced by similar games such as Parcheesi. Parqués as a word in another context has no meaning. Although it could be argued that the game's origin is Spanish (from Parchís) due to the similarity between both games, there is wide agreement in Colombia that the game is completely Colombian. Parqués stems directly from Pachisi in the same way as Parcheesi, Parchís or Ludo. There is no proof to the claim that it stems from a country other than India, up to date. Moreover, no Parqués game is played in any other Latin American countries. Parqués is a mixture of the original Indian game and the influences of local Colombian culture. In Colombia, people from all parts of the country play the game and there are local variations of it. It is very popular; played by both children and adults. Adults usually play the game by betting money on the first piece, on capturing pieces, or on winning the game, to make gameplay more interesting. There are boards for 4, 6 and 8 players. The boards usually contain pictures of soccer teams, singers, actors, or other cultural figures on the jail boxes. Also, most boards are made by fans of the game, by drawing and framing them. The board itself is usually placed on a box covered by glass. The use of glass is to allow dice to be thrown more easily. There are versions of the board that are made of paper to make it portable.

Parcheesi is a brand-name American adaptation of the Indian cross and circle board game Pachisi, published by Parker Brothers[1] and Winning Moves. Created in India perhaps as early as A.D. 500, Pachisi is called the Royal Game of India because royalty used servants of the royal household adorned in colored costumes as game pieces on large outdoor boards.[2] Such a court is preserved at the Fatehpur Sikri. The game and its variants are known worldwide. A similar game called Parchís is popular in Spain and northern Morocco.[3] Parqués is its Colombian variant. A version is available in the United Kingdom under the name of Ludo.

The game board is in the shape of a quadrant.

Components[edit]

Parcheesi is typically played with two dice, four pawns per player and a board with a track around the outside, four corner spaces and four "home paths" leading to a central end space. The most popular Parcheesi boards in America have 68 spaces around the edge of the board, 12 of which are darkened "safe spaces" where a piece cannot be captured. The goal of the game is to move all of one's pawns "home" to the center space.

A player's pieces enter play on the darkened space to the left of the player's "nest", or starting area, and continue counter-clockwise around the board until they reach the home path directly in front of the player.

Gameplay[edit]

Setting up the game:[1]

The game is played best with four players. Fewer players create dead areas on the playing board.

Each player rolls a single die to determine player order. The player with the highest roll goes first and the order of players' turns move to the next player on the current player's left.[1]

Each player positions their four single colored pawns in the round starting nest of the same color.[1]

Pawns move from the nest to the same colored starting space to the left of the nest, by the movement rules in the following section.[1]

A turn ends when the next player rolls the dice with the consent of the current player. Any rewards not taken are lost.[citation needed]

A player rolls the dice and must use the top die pip values shown to move their pieces around the board in one of the following ways:

Only pawns not in the nest may move forward on the board.[1]

Pawns may only leave the nest with a roll of a five on a single die or the sum of the dice. A double five can be used to move two pawns from the nest simultaneously.[1]

A player may move one or two pawns with a single roll of the dice (with the exception when doubles are rolled), one by the number rolled on one or both dice and another by the number rolled on the other die. The roll and turn is forfeited if no move can be made.[1]

All die rolls must be taken and may not be voluntarily be forfeited by a player.[1]

If either of two rolls must be forfeited, the player must forfeit the lower number.[citation needed]

All die moves must be taken before the application of any extra rewards for sending an opponent to their nest or moving a pawn to its home position.[1]

A roll of doubles merits the player a total of fourteen spaces, which may be taken by a single pawn as a whole or split between two, three, or four pawns by the numbers of the top die faces and opposite die faces.[1] The total of the pips on opposite sides of a die always adds to seven.

If the player rolls three doubles in a single turn, the third double is forfeited and the most advanced pawn, unless it is in the protected home row, must be sent back to the nest.[1]

A blockade is formed when two pawns of a single player occupy the same space. No pawn of any player may move through a blockade, including pawns of the blockade owner. Blockade pawns may not be moved forward in unison with the roll of a double. Another player's pawn cannot land in a space occupied by a blockade.[1] Local rules may limit the number of turns that a blockade can stay in place.

A pawn is not required to enter the home row and can pass the row and start another circuit of the board voluntarily or as the result of requirement of the use of the total die roll.[citation needed]

Rewards of extra moves:

The reward for sending an opponent's piece to the nest is a free move of twenty spaces that may not be split between pawns.[1]

The reward for landing a pawn in the home space is a free move of ten spaces that may not be split between pawns.[1]

Winning the game:

Moving all four pawns to the home position wins the game.[1]

Pawns may only be moved to the home position with an exact application of the total roll, the value on a single die, or the complete application of a reward.[1]

Zohn Ahl ("creek" "wood") is a roll-and-move board game played by the Kiowa Indians of North America. It is often[1] cited as a typical representative of many similar Native American games. It is often equated (or possibly confounded) with Tsoñä ("awl game"), also played by the Kiowa.[2] The game is the shape of a quadrant. Contents [hide] 1 Terminology 2 Equipment 3 Gameplay 4 References Terminology[edit] Note that the two names create an interesting but coincidental sonic overlap: Zohn = "creek," a feature of the board; and Ahl = "wood," the term for the dice. Whereas Tsoñä means the "awl game," referring to the 2 awls used as playing pieces. But "ahl" and "awl" have no relation to each other, one being a Kiowa word, the other English, and signifying different objects. So while the game may be referred to as "Zohn Ahl" or "the Awl Game" or even "the Ahl Game" (meaning "the stick dice game"), "Zohn Awl" would be incorrect. Equipment[edit] Board: the distinctive 40-space board (see illustration) was marked on a cotton cloth or a blanket. Lots: four stick dice (ahl). These are split sticks, flat on one side and round on the other (thus semicircular in section), ranging anywhere from about 4 to 10 inches long, and around 3/8 to 1/2 inch in diameter. Three of these stick dice are marked on their flat sides with grooves painted red; the fourth is marked with a groove painted blue, black, or green. In the Tsoñä account, this specially marked fourth stick die is called sahe ("green"). The round sides of the two types are usually also distinguished, though this is not necessary for gameplay. Willow and elm are mentioned as materials. Flat stone: the "ahl stone," is placed in the center of the board, and the stick dice are vigorously bounced against it for each throw. Pieces: two awls, one for each player or team, mark progress around the circuit. Counters: eight sticks (or any even number) used to keep score. Gameplay[edit] The game is played between either two players or two equal teams. Each side begins with half the counters and its awl at its own space 1, the awls moving in opposite directions, one side clockwise, the other counterclockwise (see illustration). A player throws the four stick dice and moves her awl the indicated number of spaces, and if appropriate, throws again (see table). The fact that "throwing" is said to go around the circle counterclockwise (which would be meaningless in alternate turns) may indicate that, when playing in teams, all players on one side throw and move, followed by all players on the other side in their turn. The four 2-sided stick dice, one with a specially marked flat side (sahe, "green"), can fall in eight possible configurations, yielding the indicated values: Flat sides up Value Value with sahe 0 10+ NA 1 1 1+ 2 2 2 3 3 3+ 4 NA 6+ ("+" means "and throw again". "NA" mean "not applicable"; the throw is not possible.) When a player lands on her space 20, the near bank of the "creek," she "falls in": her side loses one counter and the awl is returned to the beginning space 1. (Note that an opponent's space 20 is the far side of the creek, and safe.) Likewise when a player lands on her opponent's awl, the opponent is "whipped" back to her space 1, and loses one counter. The "dry branch" spaces have no special effect, and function just as any other space. When a player completes a full circuit with her awl, she wins one counter, and continues around in the same direction, moving the full value of her throw. If, however, her throw causes her to land on her space 40, she falls into the creek and is returned to space 1, losing one counter. The game is won when one side wins all the counters.

The Gankyil (Tibetan: དགའ་འཁྱིལ་,[1] Lhasa IPA: [/kã˥ kjhiː˥/]) or "wheel of joy" (Sanskrit: ānanda-cakra) is a symbol and ritual tool used in Tibetan and East Asian Buddhism. It is composed of three swirling and interconnected blades. The gankyil as inner wheel of the dharmachakra is depicted on the Flag of Sikkim, is also depicted on the Flag of Tibet. The gakyil or 'wheel of joy' is depicted in a similar form to the ancient Chinese yin-yang symbol, but its swirling central hub is usually composed of either three or four sections. The Tibetan term dga' is used to describe all forms of joy, delight, and pleasure, and the term 'khyil means to circle or spin. The wheel of joy is commonly depicted at the central hub of the dharmachakra, where its three or four swirls may represent the Three Jewels and victory over the three poisons, or the Four Noble Truths and the four directions. As a symbol of the Three Jewels it may also appear as the "triple-eyed" or wish-granting gem of the chakravartin. In the Dzogchen tradition the three swirls of the gakyil primarily symbolize the trinity of the base, path, and fruit. — Robert Beer, The Handbook of Tibetan Buddhist Symbols[ A trikhep (Wylie: khri khebs "throne cover") from 19th century Bhutan. Throne covers were placed atop the temple cushions used by high lamas. The central circular swirling quadrune is the gankyil in its mode as the "Four Joys".

A cross necklace is any necklace featuring a Christian cross or crucifix worn by Christians and others.[1][2] They are often purchased at stores,[3] or received as gifts for rites such as baptism and confirmation.[4][5] Crosses are often worn as an indication of commitment to the Christian faith.[6][7][8] In addition, some Christians believe that the wearing of a cross offers the wearer protection from evil.[9][10] Individuals, including Christians and some non-Christians, may also wear cross necklaces as a fashion accessory.[2] For adherents of some Christian denominations, such as the Eastern Orthodox Church, cross necklaces are always worn and never removed.[11][12] Cassie Ventura wearing a cross necklace. Most adherents of the Ethiopian Orthodox Tewahedo Church will wear a cross attached to either a chain or a matäb, a silk cord.[13][unreliable source?] The matäb is tied about the neck at the time of baptism, and the recipient is expected to wear the matäb at all times.[14] Women will often affix a cross or other pendant to the matäb, but this is not considered essential.[14] In some nations, such as the People's Socialist Republic of Albania, an atheist state, the wearing of cross necklaces was historically banned.[15][16] Many Christian bishops of several denominations, such as the Anglican Church, wear the pectoral cross as a sign of their order.[17] In two highly publicised British cases, nurse Shirley Chaplin and British Airways flight attendant Nadia Eweida were both forbidden to wear a cross necklace at work and, as a result, took their cases to the European Court of Human Rights.[18][19][20] In light of such cases, in 2012 the former Archbishop of Canterbury of the Anglican Communion, Lord Carey, and then head of the Roman Catholic Church in Scotland, Cardinal Keith O'Brien, have urged all Christians to wear cross necklaces regularly.[21][22][23]

The International Church of the Foursquare Gospel, commonly referred to as the Foursquare Church, is a Protestant evangelical Pentecostal Christian denomination founded in 1923 by preacher Aimee Semple McPherson. As of 2000, it had a worldwide membership of over 8,000,000, with almost 60,000 churches in 144 countries. In 2006, membership in the United States was 353,995 in 1,875 churches. While congregations are concentrated along the West Coast, the denomination is well distributed across the United States. The states with the highest membership rates are Oregon, Hawaii, Montana, Washington, and California. The church maintains its headquarters in Los Angeles, California. The church's name refers to the four-fold ministry of Jesus Christ as Savior, Baptizer with the Holy Spirit, Healer, and Soon-coming King.

A pectoral cross or pectorale (from the Latin pectoralis, "of the chest") is a cross that is worn on the chest, usually suspended from the neck by a cord or chain. In ancient and medieval times pectoral crosses were worn by both clergy and laity, but by the end of the Middle Ages the pectoral cross came to be a special indicator of position worn by bishops, and the wearing of a pectoral cross is now restricted to popes, cardinals, bishops and abbots.[1] The modern pectoral cross is relatively large, and is different from the small crosses worn on necklaces by many Christians. Most pectoral crosses are made of precious metals (platinum, gold or silver) and some contain precious or semi-precious gems. Some contain a corpus like a crucifix while others use stylized designs and religious symbols. In many Christian denominations, it is a sign that the person wearing it is a member of the clergy and it may signify that the wearer is a member of the higher or senior clergy; however, in many Western churches there are an increasing number of laypeople who choose to wear some form of a cross around their neck. While many Christians, both clergy and laity, wear crosses, the pectoral cross is distinguished by both its size (up to six inches across) and that it is worn in the center of the chest below the heart (as opposed to just below the collarbones). Throughout the centuries, many pectoral crosses have been made in the form of reliquaries which contain alleged fragments of the True Cross or relics of saints. Some such reliquary pectorals are hinged so that they open to reveal the relic, or the relic may be visible from the front through glass.

“The Marckes of Sundrye of the Cheif Mene of Virginia.” Theodor de Bry’s engraving of the “marks” worn by various American Indian men, published in Thomas Hariot’s 1588 book A Briefe and True Report of the New Found Land of Virginia. In the center of the image, a man is depicted from the back, standing, holding a tall bow in his left hand and two arrows in his right. He wears a container of arrows that hangs from his waist. On his left shoulder is a tattoo, or a mark made in paint. Various other marks appear in the spaces to the left and right of the man.

The text accompanying the image reads:

The inhabitants of all the country for the most part have marks raised on their backs, whereby it may be known what Prince’s subjects they be, or of what place they have their original. For which cause we have set down those marks in this figure, and have annexed the names of the places, that they might more easily be discerned. Which industry has God imbued them withal although they be very simple, and rude. And to confess a truth, I cannot remember that ever I saw a better or quieter people than they.

~The mark which is expressed by A. belongs to Wingino, the chief lord of Roanoke.

~That which has B. is the mark of Wingino, his sister’s husband.

~Those which be noted with the letters, of C. and D. belong unto diverse chief lords in Secotam.

~Those which have the letters E. F. G. are certain chief men of Pomeiooc, and Aquascogoc.

swastika (Sanskrit: "It Is the Good") drawn by the rotation of the seven stars of the Big Dipper and Ursa Minor around the pole star, in the four phases of a day. Both the swastika symbol and the mentioned asterisms are known since immemorial times and in many cultures of the world to represent the Absolute principle of reality, the God of the Universe, in its action of manifestation as a whirlwind around the Centre.[note 1][note 2]

these ideas that I AM presenting are not new at all however the difference is that today we can show a profound link between what gravity is and what the swastika is too. and you would think 'we the sheeple' would be happy? I have a feeling they are not, their narrative called the bible feels threatened. good because it is time to acknowledge what 'just is' is. selah

The Christian Cross, seen as a representation of the instrument of the crucifixion of Jesus, is the best-known symbol of Christianity.[1] It is related to the crucifix (a cross that includes a usually three-dimensional representation of Jesus' body) and to the more general family of cross symbols. The basic forms of the cross are the Latin cross (✝) and the Greek cross, with numerous variants used heraldry and in various confessional contexts. History of use Edit Pre-Christian Edit The cross-shaped sign, represented in its simplest form by a crossing of two lines at right angles, greatly predates, in both East and West, the introduction of Christianity. It goes back to a very remote period of human civilization. It is supposed to have been used not just for its ornamental value, but also with religious significance.[2] It may have represented the apparatus used in kindling fire, and thus as the symbol of sacred fire or as a symbol of the sun, denoting its daily rotation. It has also been interpreted as the mystic representation of lightning or of the god of the tempest, or the emblem of the Aryan pantheon and the primitive Aryan civilization.[2] Another associated symbol is the ansated cross (ankh or crux ansata) of the ancient Egyptians, often depicted in the hands of the goddess Sekhet, and as a hieroglyphic sign of life or of the living. Egyptian Christians (Copts) adopted it as the emblem of the cross.[2] In his book, The Worship of the Dead, Colonel J. Garnier wrote: "The cross in the form of the 'Crux Ansata' ... was carried in the hands of the Egyptian priests and Pontiff kings as the symbol of their authority as priests of the Sun god and was called 'the Sign of Life'." [3] S34 Another Egyptian symbol is the Ndj (Cross-ndj_(hieroglyph)) Aa27 - Uses for the hieroglyph: 1— "to protect, guard, avenge", and "protector, advocate, avenger" 2— "homage to thee", (a form of salutation to gods) 3— "discuss a matter with someone", "to converse", "to take counsel". And yet another Egyptian symbol is the nfr F35 - meaning: beauty or perfect. In the Bronze Age a representation of the cross as conceived in Christian art appeared, and the form was popularised. The more precise characterization coincided with a corresponding general change in customs and beliefs. The cross then came into use in various forms on many objects: fibulas, cinctures, earthenware fragments, and on the bottom of drinking vessels. De Mortillet believed that such use of the sign was not merely ornamental, but rather a symbol of consecration, especially in the case of objects pertaining to burial. In the proto-Etruscan cemetery of Golasecca every tomb has a vase with a cross engraved on it. True crosses of more or less artistic design have been found in Tiryns, at Mycenæ, in Crete, and on a fibula from Vulci.[2] According to Swami Vivekananda the Christian cross is nothing but the Shivalinga converted into two across.[4][5] According to W. E. Vine, the cross was used by worshipers of Tammuz, an Ancient Near East deity of Babylonian origin who had the cross-shaped taw (tau) as his symbol.[6]

Tammuz (Syriac: ܬܡܘܙ; Hebrew: תַּמּוּז, Transliterated Hebrew: Tammuz, Tiberian Hebrew: Tammûz; Arabic: تمّوز Tammūz; Akkadian: Duʾzu, Dūzu; Sumerian: Dumuzid (DUMU.ZI(D), "faithful or true son") was the name of a Sumerian god of food and vegetation, also worshiped in the later Mesopotamian states of Akkad, Assyria and Babylonia. Ritual mourning Edit In Babylonia, the month Tammuz was established in honor of the eponymous god Tammuz, who originated as a Sumerian shepherd-god, Dumuzid or Dumuzi, the consort of Inanna and, in his Akkadian form, the parallel consort of Ishtar. The Levantine Adonis ("lord"), who was drawn into the Greek pantheon, was considered by Joseph Campbell among others to be another counterpart of Tammuz,[1] son and consort. The Aramaic name "Tammuz" seems to have been derived from the Akkadian form Tammuzi, based on early Sumerian Damu-zid.[citation needed] The later standard Sumerian form, Dumu-zid, in turn became Dumuzi in Akkadian. Tamuzi also is Dumuzid or Dumuzi. Beginning with the summer solstice came a time of mourning in the Ancient Near East, as in the Aegean: the Babylonians marked the decline in daylight hours and the onset of killing summer heat and drought with a six-day "funeral" for the god. Recent discoveries reconfirm him as an annual life-death-rebirth deity: tablets discovered in 1963 show that Dumuzi was in fact consigned to the Underworld himself, in order to secure Inanna's release,[2] though the recovered final line reveals that he is to revive for six months of each year (see below). In cult practice, the dead Tammuz was widely mourned in the Ancient Near East. Locations associated in antiquity with the site of his death include both Harran and Byblos, among others. A Sumerian tablet from Nippur (Ni 4486) reads: She can make the lament for you, my Dumuzid, the lament for you, the lament, the lamentation, reach the desert — she can make it reach the house Arali; she can make it reach Bad-tibira; she can make it reach Dul-šuba; she can make it reach the shepherding country, the sheepfold of Dumuzid "O Dumuzid of the fair-spoken mouth, of the ever kind eyes," she sobs tearfully, "O you of the fair-spoken mouth, of the ever kind eyes," she sobs tearfully. "Lad, husband, lord, sweet as the date, [...] O Dumuzid!" she sobs, she sobs tearfully.[3] Tammuz in the Hebrew Bible Edit These mourning ceremonies were observed at the door of the Temple in Jerusalem in a vision the Israelite prophet Ezekiel was given, which serves as a Biblical prophecy which expresses the Lord's message at His people's apostate worship of idols: "Then he brought me to the door of the gate of the Lord's house which was toward the north; and, behold, there sat women weeping for Tammuz. Then said he unto to me, 'Hast thou seen this, O son of man? turn thee yet again, and thou shalt see greater abominations than these." —Ezekiel 8:14-15 It is quite possible that among other Judeans the Tammuz cult was not regarded as inconsistent with Yahwism.[4] Ezekiel's testimony is the only direct mention of Tammuz in the Hebrew Bible, though echoes of Tammuz have been seen in the books of Isaiah, and Daniel.[5] Dumuzid in the Sumerian king list Edit According to some scholars,[15] the Church of the Nativity in Bethlehem is built over a cave that was originally a shrine to Adonis-Tammuz. The Church Father Jerome,[16] who died in Bethlehem in 420, reports in addition that the holy cave was at one point consecrated by the heathen to the worship of Adonis, and a pleasant sacred grove planted before it, to wipe out the memory of Jesus. Some modern mythologists, however, reverse the supposition, insisting that the cult of Adonis-Tammuz originated the shrine and that it was the Christians who took it over, substituting the worship of their own God.[17]