Martinus has drawn and painted a large number of symbols, which are important elements in his overall description of the eternal world picture. He wanted these symbols to provide an accessible overview of the principles and laws that characterize life and the universe as a whole.
One hundred symbols with associated symbol explanations are published in the books The Eternal World Picture 1-6; they constitute an important supplement to his main work, Livets Bog (The Book of Life).
The symbols are made up of figures, colours and lines, each illustrating specific areas of the cosmic analyses. Martinus has thus created a physical illustration of spiritual realities that are otherwise inaccessible to our physical sensory perception. This physical visibility makes it easier for us to focus our thoughts on spiritual phenomena and to study them in a systematic and purposeful way, as we are accustomed to doing with physical objects and phenomena.
You can liken the symbols to maps. They provide a symbolic representation of the spiritual and cosmic realities, in the same way as maps provide a symbolic representation of geographical realities.
Forty-four of Martinus’ symbols are presented below. Each symbol is followed by a brief symbol explanation; we do, however, always recommend readers to read Martinus’ own detailed explanations in The Eternal World Picture.
The symbols can be purchased from the Institute’s internet bookshop and are available in the following three sizes: B5 (18 x 25.8 cm), A3 (29.7 x 42) and poster-size (about 55 x 65 cm). They are also available as transparencies for overhead projectors (A4-size).
Click on the individual symbols to see them in a larger format along with a brief explanation of symbols, which aims to give a preliminary overview of the content of the symbol. This explanation, which has been written by the Martinus Institute, is a very abbreviated and concentrated version of Martinus’s own explanatory text.
We encourage you to study Martinus’s own more detailed texts and symbol explanations, which you will find in his books. These will also be available later on this website, where you will be able to read them. If you wish to show symbols on a website, the easiest way of doing so is to add links to the Institute’s website. See the guidance on the use of symbols on websites, and please pay particular attention to the copyright rules.
The Spirit of God upon the Face of the Waters
The Principle of World Redemption
The Road towards Light
The Living Being 1
The Principle of Life Units
The three analyses of the triune principle
The Eternal World Picture, the Living Being 2, the Eternal Godhead and the Eternal Sons of God
The Combinations of the Basic Energies
The Eternal World Plan
The Cosmic Spiral Cycle 1
The Law of Movement
The Eternal Body
Reincarnation, Cycles and Seasons
The living being’s arcs of fate
Through the Initiation of Darkness (Hell or Armageddon)
The Forgiveness of Sins
The Eternal, Cosmic, Organic Connection between God and the Sons of God – 1
The Eternal, Cosmic, Organic Connection between God and the Sons of God – 2
The Materialistic or Unfinished World Picture
The Finished Human Being in God’s Image after His Likeness
The Unfinished Human Being
The Karma of Mankind
The Perfect Human Kingdom of the Future
The Cosmic Radiance of the Earth
Eternal Life or the Ladder of Life
Cosmic Paths of Evolution
The Eternal Godhead
and the Sensory Abilities
of Living Beings
The Sensory Faculty
of the Living Being
and the Steps in Evolution
The Twelve Basic Answers
or the Solution to
the Mystery of Life
Animal and Human Thought Climates
Registration of Symbol No. 33
The Act of Copulation or God’s Spirit in the Darkness
The Cosmic Cycle of the Pole Principle
The Structure of Eternal Life
The Veiled and Unveiled Eternal Truth
The Human Being, and Animal and Vegetable Food
The Categories of Consciousness of Terrestrial Mankind
The Sign of the Cross
The Star Symbol
The Structure of the Flag
Symbol of “Livets Bog” at its Present Stage
The Law of Existence – Love One Another!
“We have become aware that you have published all Martinus symbols on your Facebook page. By doing so, you violate Martinus Institute’s copyright to Martinus’ symbols and explanations.
We have previously had correspondence with you about using Martinus’ symbols and we can see that copyright is difficult to understand. You may only publish works of art to which you have copyright. This applies regardless of whether it’s books, audio talks, movies, symbols or anything else. And regardless of the way you publish it. To put texts and symbols on a facebook or website is to publish the work, even though there are limitations on who can see the page.
You do not have copyrights for Martinus’ work. Therefore, do not publish Martinus’s work.
Martinus Institute has the copyright of the whole of Martinus’s work and therefore has the exclusive right to publish it.
Martinus Institute has provided all the symbols with explanation on their website just for others to link to them, so that you do not have to infringe the copyright of the Institute by publishing them.
We therefore ask you to remove the symbols and exolanations, and instead refer to the Martinus Institute’s website or link to it:
If you stop violating the copyright of the Institute, we do not need to involve our lawyer.
The Council of the Martinus Institute”
As most visitors of this page know, the Martinus Institute has now taken legal actions to prevent access to Martinus’ work here at martinus-webcenter.dk. These judicial actions also aim at stopping the sale of Martinus ‘original literature in the form of the original reissues of Martinus’ work (so-called facsimile editions), published by Kurt Christiansen, and conveyed by Ruth Olsen. Download the letter from the council attorney dated March 11, 2013 to Søren Ingemann Larsen, almost identical letters have been sent to the others just mentioned)
All the above-mentioned activities that the Martinus Institute wishes to hit is solely conditional upon the Martinus Institute itself not wishing or able to fulfill these tasks – despite the fact that these tasks are in 100% harmony with Martinus’ wishes and instructions.
What The Martinus Institute instead do is in stark contradiction with Martinus’ wishes and instructions. – Martinus has clearly stated in a number of documentable statements, including what is expressed in the Law of the Martinus Institute itself, that there should be no change in the work he left behind. And yet, the Martinus Institute introduces changes to the original work, and at the same time pulls the people to court who, in response to this and in respect of Martinus’s directions, publishes the original work without these corrections.
We are therefore in the grotesque situation that the Council of the Martinus Institute now, by means of legal actions – the means of the ancient world impulse – will prevent the free access to and dissemination of Martinus’s work in its original form and the only logical purpose for this is that the council wishes to protect its profit and control power through the legal copyright they believe they have in relation to Martinus’ work. If the Martinus Institute actually has this right, is highly doubtful because they do not act according to Martinus’ unambiguous instructions and guidelines.
One of these instructions is that the Council may not use legal proceedings to protect the copyright of the work. This protection, instead, according to Martinus, consisted of “doing the right thing”. And if the Martinus Institute itself had
– posted all material for free download on their website
– published Martinus’ original and unchanged work of the highest quality at the manufacturing price
they would have avoided this embarrassing case. Why would others then do that ??
If you want to speak of “lawful” and “illegal” in this case, it is advisable to commit something illegal by acting contrary to the will of Martinus. Martinus’ testaments §3 reads:
“It is my duty of my universal survivor and my estate agents to respect the records I leave for my funeral, the fulfillment of the Foundation’s purpose, the administration of the Institute, including the use of my apartment and villa” Rosenberg “in Klint, and regarding any remembrance.”
As long as the council does not act according to Martinus’ laws, records and documentable statements, it does not respect the will of Martinus, thus committing something illegal, and that is precisely what we respond to by acting as we do.
This will leave the council as if it should not worry. It tries to make it as if the Council knows the so-called Gift Certificate(with Martinus transferring the copyright to the Martinus Institute) has complete freedom to do with Martinus’ work as they like. But the legal and moral reality is that the gift certificate is limited by means of the will and the testament, as stated above, the council is required to act in accordance with Martinus’ records, which include rich councils that Martinus made sure was taken up on tape. In addition, Martinus refers in his last public lecture to this testament and denotes it as “The Guard of the Case,” for example, see this at 5:30 pm. “This testament will therefore be a key element in the trial which the Council now proposes. Here, the entire council and former councilors will be able to account for whether they acted in accordance with the testament of Martinus, which they are not.
Can it be “more illegal” to infringe a copyright than to administer this copyright in violation of the writers’ statutory testament?
Does the Council really think that in the long run, it could survive by trying to “protect” and “legitimize” its own “illegalities” with the powers of the old world impulse, to prosecute people who, in response to these irregularities on their own initiative and by their own money has made Martinus’ original and unchanged work available – in full accordance with the testimony of Martinus? – And does the Council believe that these alleged “offenders” will cease protecting Martinus’ work and testamentary will simply because the Council is threatening a “lawsuit”? “In that case, we would not be much better than the Council itself. The Council fails to manifestly and documentably act illegally in relation to the will of Martinus, and we would fail by not responding to this illegality.
The above should be logical for most people who have worked a little on Martinus’ spiritual science, or for the council.
How this case goes on, we’ll see. So far, many people have written letters to the Martinus Institute, and many of these people have done this in the form of open letters.
These open letters will be displayed here. (Come back, since under preparation)
November 2013 : The four people who The Martinus Institute with supporters money brought legal proceedings against for doing Martinus’ genuine and unaltered work easily accessible to any interested person. This means that the cost of defending our deeds must be dealt with by our own personal finances.
If you wish to assist us financially in this cause, contributions are welcome, they can be paid to the following account, reg.no. 1551 Account 4020224533 (contact Jan Langekær, Jan@langekaer.dk, +45 2015 7811).
It is “impossible for a thinking being … to imagine a non-existence, to imagine that thinking and life should cease to exist”. On 19 October 1823, the German author Johann Wolfgang von Goethe wrote these lines in a letter to a friend . Literary experts have different opinions on Goethe’s views on religion. As an adult, he had abandoned his parents’ traditional Lutheran Church which he grew up in. But his comprehensive literary works often deal with spiritual and existential topics, such as the unity of man and God, nature and spirit, light and darkness.
For people who study Martinus’ works, it is interesting to note that Goethe was convinced that there is life after death, and he also embraced the idea of reincarnation. In his famous poem “Why did you give us deep insights” (Warum gabst du uns die tiefen Blicke) dedicated to his “soul friend” Charlotte von Stein, he wrote (excerpt):
You knew every trait of my being
You discovered the sound of my purest strings
You could read me with a glance
He who is hard for mortal eyes to penetrate
You dripped moderation into the hot blood
Directed the wild, confused course
And in your angel’s arms
The shattered breast recovered.
And of all that, only a vague memory remains
Hovering around the uncertain heart.
Oh, you were in times gone by
My sister or my wife. (1776)
Goethe also wrote to his poet colleague Christoph Martin Wieland that he could not explain “the importance, the power, that this woman has over me” in any other way than through reincarnation: “Yes, we were once husband and wife!”
In his talks with Johann Peter Eckermann, he is also quite convinced that our spirit is “a being of a completely indestructible nature”. This being continues to create, he states, “from eternity to eternity, it is like the sun, which only sets for our earthly eyes. But it actually never sets, it continues to shine perpetually” .
According to Martinus, advanced artists have developed their feeling and intelligence enough to develop their intuition further. Through this faculty of intuition, artists can sometimes immediately get wonderful new ideas for poems, dramas, paintings and so on (see Livets Bog, vol. 1, sect. 200). I believe that Goethe’s belief in reincarnation and the eternal existence of the human being may be be due to a highly developed faculty of intuition.
 The quotes above have been translated from German by myself. They are quoted from an article by Ursula Homann about “Goethe and Religion”: Goethe und die Religion
The Life-Changing Cosmology – The Most Positive and Comprehensive World View There Is, is a poetic and challenging journey through the danish writer Martinus world picture.
The film is produced entirely without commercial interests. The purpose of the film is merely to present a hopeful and positive outlook on life.
Runtime: 41 minutes
Release date: 30 November 2017 (Youtube, Vimeo)
Producer: Gunnar Fernlund / Soulfoods publishing
How this film came about
Gunnar Fernlund, the creator of the film:
“Even as a kid I would think about existential questions – “What’s the meaning of my life?”, “Does the universe have an end?”, “Is there a higher intelligence?”, “Is there life after death?” etc. I was especially confused about the question “What is the meaning of all the suffering in the world?” Why was I so privileged when other people’s lives could be marked by deep tragedy?
When I took a look at my own life I could see that there was a meaning behind nearly all troublesome experiences. Once I could get a perspective on the things that challenged me, I could see that they had been good for me, in that they caused me to mature as a person. The experiences had made me more empathetic and humble. But how can you explain the meaning of such tragic and apparently meaningless events as war, illness, poverty, the destruction of the environment, accidents and death?
When I was in my twenties I was amazed to actually come across a logical answer to these questions … and in fact to all the major mysteries of life. The Danish author, Martinus (1890 – 1981), had written an all-encompassing work, a complete and cohesive structure, which explained and shed light on one mystery after the other. Suddenly everything started to make sense. It was like finding a treasure. Something extraordinary had been revealed to me. It was profound.
I also realised that those of us who had recognised the essence in Martinus’ work had a certain trust in life. Even though life was tough from time to time, it was easier for us to see the meaning behind the challenges that we were faced with, we could make the right choices and more easily come through the difficult situations.
Even though this revolutionary cosmology has been available for decades, there are still relatively few people who know about it. With my background in education and film production, I felt drawn to make a film about the basic ideas in Martinus’ amazing world picture. It is my wish to make this information more widely known, to spread hope and to show that the answer is out there for those who really want to know, and who are prepared to receive the knowledge.”
The mysteries of the pyramids have deepened with the discovery of what appears to be a giant void within the Khufu, or Cheops, monument in Egypt.
It is not known why the cavity exists or indeed if it holds anything of value because it is not obviously accessible.
Japanese and French scientists made the announcement after two years of study at the famous pyramid complex.
They have been using a technique called muography, which can sense density changes inside large rock structures.
The Great Pyramid, or Khufu’s Pyramid, was constructed during the reign of Pharaoh Khufu between 2509 and 2483 BC.
At 140m (460 feet) in height, it is the largest of the Egyptian pyramids located at Giza on the outskirts of Cairo.
ScanPyramids has already detected a smaller void on the northern face
The new cavity is perhaps 30m long and several metres in height
All three muon technologies sense the same feature in the same place
Khufu famously contains three large interior chambers and a series of passageways, the most striking of which is the 47m-long, 8m-high Grand Gallery.
The newly identified feature is said to sit directly above this and have similar dimensions.
“We don’t know whether this big void is horizontal or inclined; we don’t know if this void is made by one structure or several successive structures,” explained Mehdi Tayoubi from the HIP Institute, Paris.
“What we are sure about is that this big void is there; that it is impressive; and that it was not expected as far as I know by any sort of theory.”
“Right now it’s just a big difference; it’s an anomaly. But we need more of a focus on it especially in a day and age when we can no longer go blasting our way through the pyramid with gunpowder as [British] Egyptologist Howard Vyse did in the early 1800s.”
One of the team leaders, Hany Helal from Cairo University, believes the void is too big to have a pressure-relieving purpose, but concedes the experts will debate this.
“What we are doing is trying to understand the internal structure of the pyramids and how this pyramid has been built,” he told reporters.
“Famous Egyptologists, archaeologists and architects – they have some hypotheses. And what we are doing is giving them data. It is they who have to tell us whether this is expected or not.”
Much of the uncertainty comes down to the rather imprecise data gained from muography.
This non-invasive technique has been developed over the past 50 years to probe the interiors of phenomena as diverse as volcanoes and glaciers. It has even been used to investigate the failed nuclear reactors at Fukushima.
Muography makes use of the shower of high-energy particles that rain down on the Earth’s surface from space.
When super-fast cosmic rays collide with air molecules, they produce a range of “daughter” particles, including muons.
These also move close to the speed of light and only weakly interact with matter. So when they reach the surface, they penetrate deeply into rock.
But some of the particles will be absorbed and deflected by the atoms in the rock’s minerals, and if the muon detectors are placed under a region of interest then a picture of density anomalies can be obtained.
The ScanPyramids team used three different muography technologies and all three agreed on the position and scale of the void.
Sébastien Procureur, from CEA-IRFU, University of Paris-Saclay, emphasised that muography only sees large features, and that the team’s scans were not just picking up a general porosity inside the pyramid.
“With muons you measure an integrated density,” he explained. “So, if there are holes everywhere then the integrated density will be the same, more or less, in all directions, because everything will be averaged. But if you see some excess of muons, it means that you have a bigger void.
“You don’t get that in a Swiss cheese.”
The question now arises as to how the void should be investigated further.
Jean-Baptiste Mouret, from the French national institute for computer science and applied mathematics (Inria), said the team had an idea how to do it, but that the Egyptian authorities would first have to approve it.
“Our concept is to drill a very small hole to potentially explore monuments like this. We aim to have a robot that could fit in a 3cm hole. Basically, we’re working on flying robots,” he said.