注：这个帖子是「羽蛇神传讯第九场集会」的附录部分的翻译内容
附录：夏特尔大教堂石板资料
Materials on the Tablets of Chartres Cathedral
简介
The book “Die Tafeln von Chartres” (8th printing, Patmos 2018) is - unfortunately - not yet available in English.
You can, however, download a set of Tablets HERE.
Set them up perpendicular to your face (a music stand is ideal) and look at them with crossed eyes,
i.e. the right eye rest on the left row and the left one on the right row of tablets. Distance: about 80cm.
《夏特尔石板》（Die Tafeln von Chartres，第八版，Patmos出版社，2018年）这本书——遗憾的是，目前尚无英文译本。
不过，你可以在此处下载一套石板图样。
使用时，将石板竖直放置在你面前（例如可以用乐谱架固定），然后用交叉视线（对眼）来观看：也就是说，让你的右眼聚焦于左边的一列石板，而左眼聚焦于右边的一列石板。观看的距离大约为 80 厘米。
This way of looking creates a cognitive dissonance in the visual center of the brain: Is it red? Or is it blue?Which puts us in a highly alert state of perception. The rest ensues from this.
这种观看方式会在大脑的视觉中心造成一种认知失调：——它是红色的吗？还是蓝色的呢？这会让我们进入一种高度警觉的感知状态。其余的效果便由此展开。
Here are some texts that are awailable in English.
Remember: when I started out with the Tablets I had just a vague hint in a book, no more…
Have a good time!
这里有一些英文资料可供参考。
请记得：当我最初接触这些石板时，我在书中仅仅看到过一些模糊的提示而已，不多于此……
祝你享受这个过程！
Here is a picture of a gypsy using the tablets in the traditional way:
下面这是一张图片，展示了一位吉普赛人以传统方式使用这些石板：
On this page you will find:
1: Translation of instruction-text on Tablets as distributed by me here.
2: How to make your own Tablets
3: How to use the Tablets in meditation
4: Summary of contents of the book “Die Tafeln von Chartres”
5: A translation of the first chapter of my book on “The Tablets of Chartres Cathedral”
在本页面你将会看到：
- 我在此处发布的《石板冥想指南文本》的译文。
- 如何自己制作这些石板。
- 如何在冥想中使用石板的方法。
- 《沙特尔大教堂石板》（Die Tafeln von Chartres）一书内容的概要。
- 我所著《沙特尔大教堂石板》一书第一章的翻译。
第一部分：以下是刊印在《沙特尔大教堂石板》背面的文字译文
Text 1: This is a translation of the text printed on the rear of the “Tablets of Chartres Cathedral” as published by the author for purpose of meditation.
文本一：以下是刊印在《沙特尔大教堂石板》背面的文字译文，由作者专门为冥想用途所发布。
The Tablets of Chartres Cathedral
by George Pennington
《沙特尔大教堂石板》
作者：乔治·彭宁顿（George Pennington）
A Gipsy way of Meditation
一种吉普赛人的冥想方式
1978 in France Pierre Derlon published details on a meditation technique which was passed down from generation to generation among french gipsy tribes. The technique is based on the contemplation of three coloured shapes or tablets, the “Tablets of Chartres Cathedral” as the gypsies call them.
1978年，在法国，皮埃尔·德尔隆（Pierre Derlon） 发表了一种冥想技法的细节。这种技法在法国的吉普赛部族中代代相传。它的核心是凝视三种彩色的形状或石板——吉普赛人称之为“沙特尔大教堂石板”。
For the purpose of contemplation two sets of three tablets are needed, one of blue and the other of red colour. Their shapes are round, square and rectangular. They are laid out in two rows of alternating colours, the round one closest to the contemplator, then the square one followed by the rectangular table (Illustration 1). For the purpose of meditation the eyes are crossed to visually fuse the two rows of tablets so that between them a third (virual as we would say today) row appears. This third row of tablets is seen in both colours, red and blue, one of which enters visual consciousness through the right eye, while the other colour is seen with the left. It is on this third row of tablets that the eyes rest during meditation.
在进行静观时，需要两组石板，每组三块：一组为蓝色，另一组为红色。它们的形状分别是圆形、正方形（菱形）与长方形。摆放方式是两行交错排列：最靠近修行者的是圆形，其后依次是正方形（菱形）与长方形（见插图一）。
在冥想时，修行者需要双眼交叉，使两行石板在视觉上融合，从而在它们之间显现出第三行石板（按现代说法，这是一种“虚拟影像”）。这第三行石板同时呈现红色与蓝色：其中一种颜色通过右眼进入视觉意识，而另一种则由左眼看到。冥想过程中，双眼的注视点就落在这一“第三行”的石板上。（译注：准确地说，不是“第三行”，而是“第三列”。）
Our eyes are directly connected to our brain. Since the image of the middle row of tablets is seen in two colours simultaneously, a person using the tablets can immediately recognize whether his eyes and brain hemispheres are in a state of balance or not. If there is a one-sided dominance he will see the tablets either in the colours blue/red/blue or red/blue/red, while a balanced person will see them in a grey-violet hue, which is the result of a balanced fusion of the two different coloured tablets. In case of a one-sided visual and/or hemispheric imbalance (dominance) the tablets allow to reestablish the natural balance quite easily by acting as a simple biofeedback setup.
我们的眼睛与大脑直接相连。由于在冥想时，中间那一行的图像会同时呈现出两种颜色，因此使用这些图版的人能够立刻辨认出自己眼睛与大脑左右半球是否处于平衡状态。如果存在一方的优势（偏向），那么他会看到的图版颜色排列是蓝/红/蓝或红/蓝/红。而当一个人处于平衡时，他看到的则会是一种灰紫色的色调，这是两种不同颜色的图版在视觉中均衡融合的结果。如果出现了单侧的视觉和/或大脑半球的不平衡（优势），这些图版便能像一个简单的生物反馈装置一样，帮助人相对容易地重新建立起自然的平衡。
The contemplation of the tablets requires a certain ability to relax both mentally and physically, an ability which increases drastically with time spent in this meditation. The tablets act as a very clear mirror, in which the meditating person can see him/herself in many ways and gains access to insights for which everyday life usually leaves little or no room. Recognition and acknowledgement of these insights during meditation deepens the ability to relax until a state of "just being” is reached, a state of crystal-clear awareness without any voluntary or involuntary action.
对这些图版的观照，需要一定程度的身心放松的能力，而这种能力会随着冥想实践的时间而显著增强。这些图版犹如一面非常清晰的镜子，让冥想者能够以多种方式看见自身，并由此进入到一些洞见，而这些洞见在日常生活中往往几乎没有机会浮现。在冥想过程中，能够识别并承认这些洞见，会进一步加深放松的能力，直到进入一种“单纯存在（just being）”的状态——那是一种晶莹剔透的觉知，其中既无主动的行为，也无被动的反应。
Among the psychological phenomena which may arise during meditation we find: fascination, tiredness, fear, joy, sadness, pain, enthusiasm, senselessness, megalomania, loneliness, desperation… (depending very much on the psychological state of the meditator). It is important to just be aware of these mental states as they arise - and of the power of their manifestation - without identifying with them (compare Patanjali’s Yoga Sutras about distinguishing the “seer” from the “seen”). During this process the tablets also act as an “anchor”, i.e. a neutral point of orientation for the eyes and for the mind in the middle of a mental panopticum: the eyes remain focused on the central row of coloured tablets all the time.
在冥想过程中，可能会出现各种心理现象，例如：迷恋、疲倦、恐惧、喜悦、悲伤、痛苦、热情、空虚、妄自尊大、孤独、绝望……（这些体验在很大程度上取决于修行者的心理状态）。重要的是，仅仅去觉察这些心理状态的浮现——以及它们显现出来的力量——而不要与之认同。（可对照帕坦伽利《瑜伽经》中关于区分“见者”和“所见”的教导）。在这一过程中，图版也发挥着“锚点”的作用，即成为眼睛和心灵的一个中性参照点，好让人在心智的全景中保持中间位置：双眼始终聚焦在中间那一排彩色图版上。
背景故事
The Three tablets of the Holy Grail
圣杯的三块图版
The three tablets used in this meditation technique are closely connected to the medieval legends surrounding the Holy Grail. According to these legends in the course of history there were three tablets connected with the Holy Grail. The first one was the rectangular table around which Jesus and his disciples celebrated the last supper. The word “Grail” refers to the vessel, which was used on this occasion. Robert de Borron reports in his account of the legend that after his crucifiction Jesus appeared to Joseph of Arimathäa (who had been thrown into Jail for supposed theft of Jesus’ body) and handed him the vessel. Here we encounter the first hint at the threefold nature of the Grail-secret: Jesus is reported to have said, Joseph should “look at those three powers as often as he felt the need, thereby creating a single one” (“Totes les foiz que tu voldras et tu auras besoing, A ces trois vertuz garderas, Qu’une chose ainsi creiras” , Robert de Borron: Der Prosaroman von Josef von Arimathäa, 13th. Ctry.). Three powers made into one just by looking at them?
这种冥想法中使用的三块图版，与中世纪圣杯的传说密切相关。根据这些传说，在历史过程中，圣杯曾与三块图版相联系。第一块图版是矩形的桌子——耶稣与门徒们举行“最后的晚餐”时所环绕的那张桌子。“圣杯”一词指的则是那次晚餐中所使用的器皿。
在传说的记载中，罗伯特·德·博龙（Robert de Borron）提到：在耶稣被钉十字架之后，祂曾显现在亚利马太的约瑟面前（约瑟因被怀疑偷走耶稣的身体而被投入监牢），并将那只器皿交给了他。
这里我们第一次遇到圣杯秘密的“三重性”暗示：据说耶稣对约瑟说，他应当“在自己觉得需要的时候，常常注视那三种力量，从而将它们合而为一。”（原文：“Totes les foiz que tu voldras et tu auras besoing, A ces trois vertuz garderas, Qu’une chose ainsi creiras”，出自13世纪罗伯特·德·博龙的《亚利马太约瑟散文传说》）。
——三种力量，仅仅通过“观照”就能合一吗？
After his release from jail Jesus visited Joseph again and told him to set up a second Table. According to the Legend (ibid.) this table was of silver colour and square. The Holy Grail was set up in the middle of the Table and all those who saw it “received immediate sweetness and complete fulfillment in their hearts (“eurent sans targier La douceur, l’accomplissement De leur cuers tout entièrement”).
在约瑟出狱后，耶稣再次显现给他，并吩咐他设立第二张桌子。根据传说（同上所引），这张桌子呈银色，形状为正方形。圣杯被置于桌子的中央，凡是见到它的人，都“立刻在心中得到甘甜与完全的满足”（原文：“eurent sans targier La douceur, l’accomplissement De leur cuers tout entièrement”）。
The third Table was round and was set up in Britany a few centuries later by king Uther Pendragon (prompted by Merlin the, Mage). The holy vessel had been lost by then, so the knights who gathered around his son Arthus restricted their activities to searching for it (“Queste”).
第三张桌子是圆形的，它在几个世纪之后，由不列颠的尤瑟·潘德拉贡王（在魔法师梅林的启示下）设立。到那时，圣杯已经失落，因此聚集在他之子亚瑟身边的骑士们，便将他们的使命限定为寻找圣杯（即所谓的“圣杯探索”——Queste）。
The tablets in the Cathedrals
大教堂中的“图版”
In the legends the distance to the original mysterium of the Holy Grail increases from Table to Table. Accordingly the three tablets are arranged in the plan of Chartres Cathedral. The building was begun with the rectangular Table (the apse of the cathedral): in a geomantically determined location a pillar was erected. From the shadow it threw on the morning of the spring-equinox (the inclination of the nave being 47°) a piece of 11,5 meters was measured and around it was set up the rectangular Table in such a way that its width measured exactly 20 Measures (of 0,82m), a unit derived from Salomon’s temple (Ill.2).
在圣杯传说中，人与圣杯原初奥秘之间的距离，随着一张张桌子的更替而逐渐拉开。因此，这三块“图版”也被对应性地布置在沙特尔大教堂的平面布局之中。
建造工程是以“矩形之桌”（即大教堂的后殿）为起点的：
在一个通过地理风水学（geomancy）选定的位置，竖立起一根石柱。
在春分清晨，这根柱子投下的阴影被作为标度基准（当时中殿的倾斜角度为47°）。
从柱影起算，测量出11.5米的距离，并据此设置矩形图版。
其宽度被精确地定为20个度量单位（每个为0.82米），而这一度量体系源自所罗门神殿（见插图2）。
Laying out the rest of the nave was very simple: the other two tablets were laid out following the first one. The surface of all three tablets was identical (800 Measures square). At the lower end of the rectangular Table a huge metal screen was erected separating it from the rest of the nave. (It was destroyed during the 18th. Century). The portal was built where the round Table ended (Ill.3).
铺设教堂中殿其余部分的过程非常简单：其余两块石板依次沿着第一块石板的布局排列。三块石板的面积完全相同（皆为 800个“度量单位”见方）。在长方形石板的下端竖起了一道巨大的金属屏障，将其与中殿的其他部分隔开。（这道屏障在18世纪被毁坏。）而大门（正门）则建在圆形石板的尽头处（见插图3）。
The three tablets seem to have been of great importance to the builders of medieval cathedrals, even though the church never made any mention of them. In the layout of Notre Dame de Lausanne we find the squaring of the circle wonderfully realized geometrically - based on the design of the three tablets of course.
这三块石板似乎对中世纪大教堂的建造者具有极为重要的意义，尽管教会本身从未在正式文本中提及它们。在洛桑圣母大教堂的布局中，我们可以看到“化圆为方”的几何学原理被精彩地展现出来——当然，这正是基于三块石板的设计。
The Labyrinth
迷宫
The round Table of the cathedral of Chartres (closest to the portal) is laid out in symbolic form on the floor of the nave: the labyrinth of Chartres (Ill.5). many medieval cathedrals have such labyrinths. Today a bronze plate is missing in the center of the one in Chartres on which was depicted according to old sources Theseus, Ariadne with her thread and the Minotaur.
沙特尔大教堂中的圆形图版（位于靠近正门的位置），以象征性的形式被呈现在中殿的地板上：即著名的沙特尔迷宫（见图5）。
许多中世纪大教堂都建有类似的迷宫。如今，沙特尔迷宫的中央缺失了一块青铜圆盘。根据古老的资料记载，这块圆盘上原本描绘着忒修斯（Theseus）、阿里阿德涅（Ariadne）与她的线团，以及弥诺陶洛斯（Minotaur）。
Why such heathen imagery in a christian church? For those who are familiar with the secret use of the tablets in the meditation of the Gypsies the symbolism is obvious: it depicts the triumphant fight of man against his lower nature. It is indeed a fitting image for the inner process triggered by the contemplation of the tablets during meditation.
为什么在一座基督教教堂里会出现这样的“异教徒意象”？对于那些熟悉吉普赛人冥想中秘密使用“图版”方法的人来说，其象征意义是显而易见的：它描绘的是人类战胜自己低级本性的胜利之战。这确实是一个非常契合的形象，恰好对应了在冥想中通过凝视图版而被触发的内在心灵进程。
It is really remarkable how the builders of this cathedral (and others) succeeded in hiding non-christian ideas of salvation right under the eyes of the Holy Inquisition and preserved them for later and more understanding generations.
真正令人惊叹的是，这座大教堂（以及其他一些教堂）的建造者们竟能在宗教裁判所的眼皮底下，巧妙地隐藏这种非基督教的救赎观念，并将其保留下来，留给更后世、也更能理解它的世代。
Practical hints
操作提示
The procedure is quite simple: looking crosseyed at the two rows of tablets will produce a double image (4 rows of tablets). The two inner rows are brought to fusion by adjusting the angle of vision. For the rest of the meditation the eyes rest on the central row of tablets where they soon learn to relax profoundly.
操作方法其实非常简单：
当你以“对眼”的方式注视那两列石板时，视觉上会产生一个双影（看似变成四列石板）。
通过调整视线的角度，让中间的两列影像重叠融合。
在随后的冥想过程中，双眼保持注视于这条中央融合出来的石板行，很快眼睛就会学会进入一种深度放松的状态。
For practical use the size of the tablets is of no importance. Only their proportions are clearly defined in the gipsy tradition: all three are identical in surface and the rectangular Table is exactly twice as long as it is wide. Very shortsighted people can use smaller tablets and hold them up close to their eyes (the image should be as sharp as possible). For normal-sighted people a distance of 80 centimeters to1,5 meters is recommended using larger tablets (Round Table diameter about 10-15 cm.)
在实际操作中，石板的尺寸并不重要。
在吉普赛人的传统中，唯一被严格规定的只是比例：三块石板的面积完全相同，而长方形石板的长度正好是宽度的两倍。
对于高度近视的人，可以使用较小的石板，并把它们拿近眼睛（关键是影像应尽量清晰）。
对于视力正常的人，建议与石板保持 80 厘米到 1.5 米的距离，使用较大的石板（圆形石板的直径大约 10–15 厘米）。
At the beginning it is not even important to use all three of the tablets. Experience has shown that beginners find it easiest to bring their eyes to rest on the round Table. The other tablets become more easily accessible after some practice with the round one. This is natural: the round Table lies closest to the portal and is therefore the first one to be dealt with before going deeper into the mysterium.
在一开始，甚至没有必要同时使用三块石板。
经验表明，初学者最容易做到的，是让眼睛安住在圆形石板上。
经过在圆形石板上的练习之后，其它石板才会变得更容易进入。
这很自然：因为在大教堂的结构中，圆形石板的位置最靠近正门，因此它应当是首先被接触的对象，然后才逐步深入到“奥秘”更深的层面。
The colours of the tablets are traditionally blue and red. The wavelength-ratio of these colours (440° and 660°) are those of a musical fifth. I assume that at least part of the remarkable effect of the tablets is produced by intermodulation-patterns generated in the brain. And just as a fifth is very rich in overtones and intermodulations the central row of tablets is very rich in colours. The key to this world of colours lies in a hue of Grey which contains them all. It takes quite a while before this phenomenon becomes visible.
石板的传统颜色是蓝色与红色。
它们的波长比例（440 与 660 纳米）正好对应于音乐上的纯五度。
我推测，石板产生的部分显著效果，至少是由大脑中形成的交互调制图案（intermodulation patterns）所引起的。
正如纯五度的音程极为丰富，包含了大量的泛音与叠加效应，中央那一列石板同样也显得色彩极其丰富。
进入这一色彩世界的关键，在于一种灰色调，它能把所有颜色都包容其中。
不过，要让这种现象真正显现出来，需要相当长的时间。
A simple Test for Stereopsis
一个立体视觉的简单测试
Illustration 6 allows to test ones stereoscopic vision. Especially lefthanded people who have been forced to use their right hand seem to have trouble here. The procedure is the same as the one used in the contemplation of the tablets: the eyes are crossed in such a way that the image of the two squares doubles (four squares), and the inner two squares are made to fuse into one (half of which is seen by the left eye while the other half is contributed by the right one). For people with intact 3-d vision the dot pattern of the central square will - after a little relaxation - show a distinct design. Persons unable to see any pattern in the central square should practice with the tablets and try to create the grey-violet hue which accompanies visual and hemispheric balance - and then try again with Illustration 6. (With friendly permission from: Bela Julesz, Foundations of Cyclopean Vision, Univ. of Chicago Press 1971)
（插图 6） 可以用来测试一个人的立体视觉。尤其是那些惯用左手却被迫改用右手的人，在这里往往会遇到困难。
其方法与凝视石板的冥想方式相同：双眼交叉，使得原本的两个方形图像重叠成四个方形，再让中间的两个方形融合为一个（其中一半由左眼看到，另一半由右眼提供）。
对于具有完整三维视觉的人来说，中央方形里的点阵图案会在稍加放松之后显现出一个清晰的图案。
那些无法在中央方形中看到任何图案的人，应当先用石板进行练习，尝试创造出那种伴随视觉与大脑半球平衡的灰紫色光晕，然后再回到插图 6 做尝试。
（蒙贝拉·朱勒士 [Bela Julesz] 友好许可引用，《独眼视觉的基础》，芝加哥大学出版社 1971）
Seminars
研讨班
The tablets of Chartres Cathedral stand out among other meditation techniques through the fact that they are part of our own western heritage. Their use can produce very profound and complex effects both on the visual and mental plane, from lasting amelioration of eyesight troubles to deeply enlightening insights. We owe it to the builders of those magnificent cathedrals - and to the Gypsies who kept the secret over the centuries - to treat them with respect and pass on the knowledge in the most responsible and careful way. Much knowledge gained by many years of practical experience cannot be passed on in books or short texts such as this one. Therefore, for all who seriously wish to explore the use of the tablets in depth the author recommends taking an introductory training-seminar.
沙特尔大教堂石板在诸多冥想技巧中别具一格，因为它们属于我们自身的西方传统遗产。它们的使用能够在视觉与心智层面产生极其深刻而复杂的效应，从持久改善视力问题到带来深刻的启迪性洞见。
我们理当感恩那些宏伟大教堂的建造者——以及那些在数百年间保存这一秘密的吉普赛人——以尊敬的态度对待这些石板，并以最负责任与谨慎的方式将这份知识传递下去。
许多通过长期实践所获得的知识，无法完全通过书籍或简短文字（如本文）传达。
因此，对于所有认真希望深入探索石板使用的人，作者建议参加一个入门的训练研讨班。
Text 2: How to make your own tablets
第二部分：如何制作你自己的“图板”
Get some red and blue cardboard or similar flat material. The colours should be more or less pure red and pure blue and should be of similar luminosity (so none of them is too dominant). You will need to cut three geometrical shapes of each colour: a round one, a square one and a rectangular one with the proportions 1:2.
准备一些红色和蓝色的硬纸板，或者其他类似的平面材料。颜色应尽量接近纯红与纯蓝，并且在亮度上大致相当（以免某一种颜色过于突出）。你需要从每种颜色中各裁剪出三种几何形状：一个圆形，一个正方形，以及一个长宽比为 1:2 的矩形。
The three shapes have the same surface area (r2_ = a2 = a x b). They can be any size that suits the purpose of visual fusion: if you want to look at them from far away make them bigger, for shortsighted people they should be smaller. For normalsighted users the round shape should have a radius of about 4 cm, which makes the square 7 x 7 cm and the rectangle 5 x 10 cm.
这三种图形应当具有相同的面积（圆的面积 πr² = 正方形面积 a² = 矩形面积 a × b）。大小可以根据“视觉融合”的需要而调整：如果你想在较远的距离观看，就做得大一些；如果是近视者，就应该做得小一些。对于视力正常的人来说，圆形的半径大约为 4 厘米，这样相应的正方形就是 7 × 7 厘米，矩形就是 5 × 10 厘米。
If you want to lay the tablets out on the floor in the traditional gipsy way they should be a little bigger (r2_ = 5cm).
For easier handling I recommend sticking them onto a sheet of cardboard with Scotchtape.
如果你想按照传统吉普赛方式将这些“石板”铺设在地板上，它们的尺寸应当稍微大一些（圆形半径约为 5 厘米）。
为了方便操作，我建议用透明胶带（Scotchtape）将它们粘贴在硬纸板上。
You can also use the tablets I am offering above for download. A music-stand will alow you to experiment with the right position.
你也可以使用我在上文提供的下载版石板。利用一个乐谱架，你就可以尝试调节到合适的位置来进行实验。
Text 3: How to use the tablets in meditation
第三部分：如何在冥想中使用石板
The sheet with the two rows of red and blue geometrical shapes should be placed on a music-stand (round shapes at the bottom) slightly lower than eyelevel, so you can look at them without effort during meditation. Meditators with glasses should check if there is a distance at which they can get a sharp image of the tablets without glasses and place them there. Or use their glasses, at least at the beginning. For normalsighted people a distance of 50 - 60 centimeters is perfect.
带有两行红、蓝几何图形的纸张应放置在乐谱架上（圆形图形置于底部），位置略低于视线水平，以便你在冥想时能够毫不费力地观看它们。
佩戴眼镜的冥想者应先检查是否存在这样一个距离，在该距离下无需眼镜也能看清石板图像，并将它们放在这个位置。或者，至少在一开始时，可以直接戴着眼镜来练习。
对于视力正常的人来说，距离 50 至 60 厘米是理想的观看距离。
The method consists of crossing your eyes (which doubles up the two rows of shapes into four) and fusing the two central rows into one by visually overlapping them. Do this slowly and learn to control every movement of your eyes on the way to visual fusion. (No jumping!) If you find it difficult you can use a finger (held up somewhere between your nose and the paper) to detach your gaze from the paper plane.
这种方法的核心在于交叉双眼（这样会将两列图形变为四列），然后通过视觉重叠，把中间的两列融合为一列。
在练习过程中要缓慢进行，并学习在实现视觉融合的过程中控制眼睛的每一个动作。（不要突然跳跃！）
如果觉得难以做到，可以在鼻子与纸张之间举起一根手指，借此把目光从纸面平面上移开，从而更容易进入交叉视觉状态。
Once you have the (virtual) middle row of tablets fused: rest your eyes on the image and RELAX. Remember: the shapes in the central row are seen in different colours by each eye. Observe the play of the colours, (which informs you about your visual and hemispheric dominance). You can learn to produce the colour changes at will. Apart from being fun this can be quite amazing.
当你将那条**（虚拟的）中间石板行**融合出来后，把眼睛安稳地停留在图像上，并放松。
要记住：中间那一行形状，其颜色分别是由左右眼各自看到的。
仔细观察这些颜色的变化（它会告诉你，你的视觉与大脑半球哪一侧更占优势）。
经过练习，你甚至可以随意地引导这些颜色的变化。除了有趣之外，这一体验还可能带来相当惊奇的感受。
After a while the colours will settle into a greyish violet hue (which signals visual and hemispheric balance). Again: RELAX. Leave your eyes open throughout, letting them settle on the tablets wherever they want to. And simply observe: 1. the sharpness of the image (try to get it sharper), 2. your involuntary eye-movements (try to reduce involuntary eye-movement) - and of course 3. all your thoughts and feelings. Aim at a state of NOT-DOING - and just observe all the involuntary doing that may go on. Relaxation does it.
过一会儿，颜色会逐渐稳定下来，呈现出一种灰紫色的色调（这正是视觉与大脑半球达到平衡的信号）。
再次提醒：放松。在整个过程中保持双眼张开，让它们自然地停留在石板上任何一个位置。
然后只是单纯地观察：
- 图像的清晰度（尝试让它变得更清晰）；
- 你眼睛的非自主运动（尝试减少这些不自主的动作）；
- 当然还有你所有的念头与感受。
练习的目标是进入一种“无为”的状态 —— 若发生“无意识的动作”，就只是观察它们。只要放松，就能做到。
Beginners may experience some pains and aches (behind or above the eyes, in the neck or elsewhere), or nausea. These are latent tensions entering consciousness. Do not let them deter you. These sensations are quite normal and will cease soon.
There may be times, when it seems extremely difficult to keep your eyes open or to go on with the session. These times are important passages (tests!). They occur each time the mind is about to enter a new depth of meditation. Stay put and just watch what happens!
初学者可能会感到一些疼痛或不适（出现在眼睛后方、眼睛上方、颈部，或身体其他部位），甚至可能有恶心感。这些都是潜藏的紧张浮现到意识层面的表现。不要因此退缩，这些感觉完全正常，并且会很快消失。
有时，你会觉得难以保持睁眼或无法继续下去。这些时刻恰恰是重要的关口（试炼！）。它们每次出现，都意味着心智即将进入更深一层的冥想。此时请坚持下去，只是静静观察正在发生的一切！
Should any images or emotional material emerge from the subconscious - let it happen, but remember to keep your eyes on the tablets at all times. Physical reactions such as weeping, trembling etc. should be allowed freely if they want to manifest. Just keep looking at the tablets while this is going on!
如果在冥想过程中有任何图像或情绪材料从潜意识浮现——让它自然发生，但请务必始终将眼睛停留在石板上。身体反应（如哭泣、颤抖等），如果自发出现，也应自由释放。整个过程中，只需持续凝视石板即可！
A good duration fo a session is: Beginners 30 minutes, later longer (up to a few hours). Use an acoustic signal (alarm) to tell you when your time is up - so you can leave your eyes on the tablets all the time.
一次冥想的理想时长是：初学者约30分钟，之后可以逐渐延长（最长可达数小时）。建议使用一个声音提示（闹钟）来提醒时间已到——这样可以让你在整个冥想中保持双眼注视石板，而不必分心去看时间。
At the end of your session (important!) split up the fused image so you get four rows again and slowly reduce them back to the (normal) two by moving the focus back to the paper plane. Practice the transitions. Do them slowly.
在结束冥想时（很重要！），请将融合的中间图像“拆分”开来，让它重新变回四列图像，然后再逐渐收拢为正常的两列。这需要通过将视线缓慢地移回纸面所在的平面来完成。练习这种“过渡”[1]，并且要慢慢进行。
Keep a diary and make notes after each session.
请务必保持一个冥想日志，每次练习后都做笔记。
Text 4
Summary of the contents of the book Die Tafeln von Chartres
第四部份 《沙特尔圣堂的图表》一书内容概要
George Pennington: Die Tafeln von Chartres, Walter Verlag, Düsseldorf 1994
George Pennington：《沙特尔圣堂的图表》，瓦尔特出版社，杜塞尔多夫，1994年出版。
Until now westerners interested in Meditation had to turn to the East to find appropriate techniques. Now, for the very first time, George Pennington’s book unveils a truly european technique kept secret over many centuries by french gypsies. Meditation with the tablets of Chartres Cathedral is an extremely powerful tool for fine-tuning both the inner and outer awareness. Used over prolonged periods of time the tablets will lead the practitioner along the same path and to the same goals as would Zen, Vipassana or Mantra-meditation.
在此之前，西方人若对冥想感兴趣，往往不得不转向东方以寻找合适的技术。而如今，George Pennington的这本书首次揭示了一种真正的欧洲冥想技法——它由法国的吉普赛人秘密保存了数个世纪。使用沙特尔大教堂的图表进行冥想，是一个极其强大的工具，能够精微地调谐内在与外在的觉知。长期练习这些石板，将引导修习者走上一条与禅修、内观（Vipassana）、或咒语冥想相同的道路，并抵达相同的目标。
This meditation technique makes use of the eyes and optical nerves to energize the brain. Two sets of “tablets” (geometrical shapes related traditionally to the grail legends) are contemplated with crossed eyes - very much like the visual technique used in connection with computer-stereograms. The colors red and blue, visually fused, create an ambiguous image, causing wave-phenomena in the brain that are experienced almost instantly as a radically heightened state of awareness.
这种冥想技巧利用眼睛和视觉神经来为大脑“充能”。修习时需要注视两组“图表”（其几何形状传统上与圣杯传说有关），并通过“对眼凝视”的方式来观看——这与观看电脑立体图（computer-stereograms）时采用的视觉技巧非常相似。
当红色与蓝色在视觉上融合后，会生成一种暧昧（不确定、双义）的影像，这种影像会在大脑中引发波动现象，而这种现象几乎会被即时体验为一种极大提升的觉知状态。
After discovering the “tablets” in the late seventies the author spent many years exploring this technique in daily practice and finally began teaching it in seminars. His book is a comprehensive manual of this secret tradition: it gives a good overview of the cultural and historical background and is an excellent step by step guide for practitioners.
在20世纪70年代末发现这些“图表”之后，作者花费许多年在日常修习中探索这一技巧，并最终开始在研讨会中教授它。他的这本书是对这一秘密传统的全面指南：既提供了良好的文化与历史背景综述，也为修习者提供了出色的循序渐进的操作指引。
The text is structured in three main chapters and an appendix. It is illustrated with four color plates and sixteen B/W pictures. The book has a volume of 150 pages.
全书结构分为三个主要章节和一个附录，并配有四色插页四幅，以及黑白插图十六幅。全书篇幅约150页。
Chapter 1: Cultural and historical background
第一章：文化与历史背景
The legends of the Holy Grail and certain architectural details of the great gotic cathedrals of France (notably the one at Chartres) are the cultural and historical basis on which the meditation technique evolved. During the middle ages it was probably banned by Inquisition along with other heresies. French gypsy tribes were the only ones to keep the tradition alive.
关于圣杯的传说，以及法国伟大哥特式大教堂（尤其是沙特尔大教堂）的一些建筑细节，构成了这一冥想技术发展的文化与历史基础。在中世纪时期，它可能与其他被视为异端的事物一起遭到宗教裁判所的禁令。只有法国的吉普赛部族保留并延续了这一传统。
Chapter 2: Step by step tutorial
第二章：循序渐进的教程
This chapter covers the practical aspects of the meditation: How to make a set of tablets and how to use them, the visual aspects of contemplating them with crossed eyes and the fine art of bringing ones awareness into a balanced state of relaxed attention.
本章将涉及这一冥想的实际操作层面：如何制作一套石板、如何使用它们；如何通过双眼交叉凝视来观想石板的视觉要点；以及如何掌握那门精细的技艺——即将意识引导至一种放松而专注、平衡的觉知状态。
Chapter 3: The inner eye
第三章：内在之眼
This chapter explores the psychological phenomena through different stages of meditation, altered states of consciousness and the gradual - and sometimes painful - evolution of an extremely clear inner vision. This inner journey is brought into onnection with reports of mystic experiences, Greek mythology, the tales of “flying carpets” and alchemist writings: They all shed light on the timeless laws governing the opening of the “doors of perception”.
本章探讨在不同的冥想阶段中所出现的心理现象，包括意识状态的改变，以及一种极其清澈的内在视觉的逐步成长过程——有时这个成长过程是痛苦的。这一内在旅程被联系到诸多传说：神秘体验的记载、希腊神话、“飞毯”的故事以及炼金术文献。这些内容共同揭示着支配“感知之门”开启的永恒法则（复数）。
Appendix: Two reports by practitioners
附录：两位实践者的报告
The first is a recording of a 2 hour session giving insights into visual and mental phenomena typical of advanced sessions. The other is a diary-excerpt: The writer was cross eyed from early childhood. Not only did the use of the tablets straighten out his eyes, it also brought back his 3-dimensional vision.
第一个案例是一份为时 两小时的练习记录，提供了对进阶阶段冥想中典型的视觉与心理现象的洞见。第二个案例是一则日记摘录：作者自幼患有斗鸡眼（斜视）。使用石板不仅使他的眼睛恢复端正，还重新获得了三维立体视觉。
译注：“过渡”的意思，类似于练习的“收功”部分，是指结束某项“异于平常状态”→返回“平常状态”时，该练习的结束部分，如同飞机结束飞行之前，需要认真对待“着陆”一样，这些部分也很重要。 ↩︎