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Maturity Effects of Planets and Houses
By: Veno Trivedi
What makes Vedic Astrology superior to other Divination systems, including Western Astrology,  is its level of accuracy and precision in prediction.  Predictive methods are based on very complex calculations and there are numerous methods which will pinpoint timing down to the exact minute.  However there is a simple method which gives remarkable results and should
be taken into account when seeing a chart.

Planets and houses are said to give their maturity effects at certain ages in a person’s life. The planets are more significant in this regard.

When a planet matures at a certain age,  the full potential of the planet will be able to manifest at that time. Whatever a planet promises in the chart, will be clearly visible in a person’s life at that age.

This is a very important method of prediction and can often work like magic.

In some cases just knowing a person’s age without having access to their chart can give you a strong idea of what they are experiencing in life and how that planet corresponding to their age actually functions in their chart.

The maturity planet will show its intrinsic nature as well as the results of its chart placement. The intensity of its effects will last until the next planet matures.

AGE WHEN PLANETS GIVE THEIR FULL EFFECTS

Jupiter Matures at 15 – 20 years of age (peak 16)
Sun Matures at 22  years of age
Moon Matures at 24 years of age
Venus Matures 25 – 27 years of age (peak 25)
Mars    Matures at 28 – 31 years of age (peak 28)
Mercury Matures at 32 – 35 years of age (peak 32)
Saturn Matures at 36 – 39 years of age (peak 36)
Rahu Matures at 42 – 47 years of age (peak 42)
Ketu Matures at 48 – 54 years of age (peak 48)

Jupiter’s maturity age (15th birthday) 16th year, will often give some special opportunities, wealth, or higher learning (Jupiter’s natural significations) and whatever else it indicates in the chart.

Sun’s maturity age (21st birthday) 22nd year, will bring out the person’s underlying tendencies to the fore, and if well placed is an important time for professional advancement, along with whatever else Sun indicates in the chart.

Moon’s maturity age (23rd birthday) 24th year, will show some psychological maturity.  Whatever else the Moon indicates in the chart will come to the fore.

From one’s 24th birthday (25th year) Venus will mature.  As a natural significator of love a person will generally expect some romance even marriage in their life, if supported by the main horoscope. Venus will also give the effects of its chart placement.

Mars maturity age (27th birthday) 28th year, will see a person developing more initiative and independence in their life.  Mars will also give the effects of its chart placement.

Mercury’s maturity age (31st birthday) 32nd year, will see more intellectual development and important communication activities taking place.  Mercury will also give the effects of its chart placement.

Saturn’s maturity age (35th birthday) 36th year, can usher in important changes.  A person may experience some form of upheaval or find more security and stability in their life.  Whatever a person has been working hard towards in the house that Saturn occupies, will give its full results at this age.

Rahu’s maturity age (41st birthday ) 42nd year, can make one more focused on the opportunities for growth that Rahu signifies in the chart. 

Ketu’s maturity age (47th birthday) 48th year, is an important time for introspection and reflection on how one has developed up till now in their lives.  It can be an important spiritual turning point.

If a planet is afflicted in a chart, when it reaches maturity the full negative potential of that planet will be able to manifest.
 
As an example, if Saturn were badly placed in the 4th house of a horoscope, at the age of 36 a person will have some kind of emotional crisis or difficulties with property matters. Saturn is sure to show its more negative inherent traits such as obstacles, delays, miserliness, over attachment and poverty. If this Saturn were also ruler of the 5th and 6th house it will show obstructions in love affairs, creativity, children (5th house) and problems with debts, enemies and health (6th house).

On the other hand if Saturn is a strong benefic or yogakaraka then one may see a sudden rise in fortune at the age of 36.

MATURITY AGE OF HOUSES

Houses are said to mature at certain times in a person’s life also.  If a person has a particularly strong or weak house it will show its effect quite obviously during the period of its duration, alongside other more important predictive factors.

9th House Maturity Age (1-24 yrs)
10th House Maturity Age (25 – 26 yrs)
11th House Maturity Age (27 -28 yrs)
12th House Maturity Age (29 – 30 yrs)
1st House Maturity Age (31 – 33 yrs)
2nd House Maturity Age (34 – 36 yrs)
3rd House Maturity Age (37 – 39 yrs)
4th House Maturity Age (40 – 45 yrs)
5th House Maturity Age (46 – 51 yrs)
6th House Maturity Age (52 – 57 yrs)
7th House Maturity Age (58 – 65 yrs)
8th House Maturity Age (66 yrs onwards)

Up to 24 years of age when the 9th house is giving effects, a person will be very much at the mercy of their fortune or misfortune, depending on the strength of the 9th house in the chart. This is a timr when a person develops
their main outlook and approach to life , and finds their destined path or general life direction. 

From one’s 24th birthday to 26 years of age, one’s career often becomes an important point of focus, and trying to attain professional recognition.

From one’s 26th birthday to 28 years of age, social opportunities may manifest, along with focusing on one’s ability for wealth and profits and trying to achieve major ambitions and long term goals.

From one’s  28th birthday  to 30 years of age, a person may have to deal with issues of loss, long distance travel may be important, along with spiritual awakening and seeking a greater meaning to existence.

From one’s 30th birthday to 33 years of age, a person may be trying to formulate their self identity and become more independent.

From one’s 33rd birthday to 36 years of age, a person may be focused on earning money, development of speech and acquiring knowledge.From one’s 36th birthday to 39 years of age, a person may be fostering their independence and initiative, and learning to handle communication in a more effective manner. New creative skills may be taken up at this time.

From one’s 39th birthday to 45 years of age, a person may be concerned more about inner stability and settling down in a permanent home.

From one’s 45th birthday to 51 years of age, new creative activities may spring up, along with concentration on one’s children and their lives.From one’s 51st birthday to 57 years of age, a person may have to focus more on their health and whatever else their 6th house indicates in the chart.

By one’s 57th birthday to 65 years of age, a person has learnt to deal with relationships in a certain way.

From one’s 65th birthday onwards a person has to confront issues about death and the mysteries of life.

Author Bio
VenoAstrology.com
Veno offers Affordable Accurate Vedic Astrology Readings and a Beginners Vedic Astrology Course … Author, Consultant, Teacher, 20 yrs Experience,International Clientele, Founder of Orion School & Foundation for Astrology with Prash Trivedi.

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First rate art is in danger of being left behind in this new age of the global Internet highway. The World Wide Web is like Walmart or Home Depot coming to town. Art galleries as they now exist, are going to become the Mom and Pop version of selling art.

Chances are if you are an established artist, and look for your medium or subject matter on the Web, some very web-savvy artist will show up, sometimes repeatedly on the first two or three pages of a search engine and your name is no where to be found.

This can change, but established artists and the galleries that represent them need to start thinking differently about their approach to the Internet. And galleries need to help every artist they represent have their own website. This will make a revolutionary difference in how first rate art is represented, because right now really good contemporary art is hard to find on the Web, and because of this fact, really good contemporary art is in danger of becoming irrelevant or worse, obsolete.

Every artist needs his or her own website, and every artist needs to get his or her own website now.

There are several myths I would like to dispel.

1) Websites cost a fortune.

Websites do not have to cost a fortune. There are lots of good people involved with the Web who don’t have a huge overhead who are good at designing websites.

Good websites for artists can be designed for $500 or less. You can get a domain name for under $10 and have it hosted for under $100 a year. This is one of the best investments in your career you will ever make.

You also do not have to pay a fortune to get your website on search engines. For a presence on the Web, you need patience, information and knowledge (more on this on Art, Artists and the Web: Part 4).

2) My gallery is in charge of marketing and I don’t need a website in my own name.

Every artist needs a website with a domain name that includes his or her name–”www. yourname.com” or “www. yourname artist.com.” What artists do not need is a website that includes the gallery’s name–”www. gallery.com/yourname.”

Websites need to be easy to remember and Web visitors are going to pay a lot more attention to an artist that has their own domain name. Web visitors usually skip over websites that are hosted by galleries and pay almost no attention to artist’s pages on gallery sites.

3) If I have my own web page, then the gallery or galleries that represent me won’t be able to control the direction that the gallery would like to go in.

The artist and gallery can work together in creating the artist’s website. However, it can’t feel as if the gallery is holding the artist hostage. There is nothing worse than finding an artist you really like on the Web, seeing a couple of picture and a link to the gallery. Web visitors never go back.

The artist’s website can be an excellent promotional tool for the gallery. There is no reason why an artist’s website cannot promote both the gallery and the artist.

If the gallery is concerned about an artist having an email address of his or her own, there is an easy solution. The person who sends the email gets an automatic reply saying their message has been received. The same email message can be forwarded to both the artist and the gallery, and together they can decide how the email could be answered.

Established artists need to become conscious of the new way people are viewing and experiencing art. There are literally billions of people out there who don’t know that you or your art exists. They associate your subject or medium with artists who show up on search engines. They don’t care about what gallery you may be associated with, they care about who shows up on the Web. If you don’t start showing up on the Web very soon, not only will no one know who you are, they won’t even care.

But, great art doesn’t have to be left behind. Artists and the galleries that represent them can join the new global Internet highway, have fun enjoying the ride and be part of the new global art revolution. Start now and start right away.

© Mary Baker 2005

Mary Baker is a contemporary realist painter, whose studio is in Newburyport, Massachusetts. This New England city, north of Boston, has been the inspiration for the artist’s realistic oil paintings. Mary Baker is a professional artist and has shown in New York art galleries.

You can visit Mary at her website, Mary Baker Art, at http://www.marybakerart.com, see her beautiful paintings and read her articles on a variety of subjects including, Art, Artists and Money, Creativity, Tips on Breaking the Creative Block, Why Buy Original Art and the four part series on Art, Artists, and the Web.

A list of articles can be found on her Site Map and Mary’s paintings can be seen on every page of Mary Baker Art.

Source: http://www.websition.com/

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What you should do and know if you are an artist and you have decided to have a website.

1) Look at “Web Sites That Suck.”

If you are an artist and have never had a website, the concept of a website can seem unnerving. The first thing to do is look at a web site called “Websites that Suck”, www. websitesthatsuck.com by Vincent Flanders. This is a website that is so funny, and so enlightening and it is very hard to stop looking at it. You will also learn a great deal as an artist about the Web and feel much more at ease after that experience.

2) Get a domain name.

A domain name is “www. name.com” of your web site. Artists need to have their own name as part of their domain name, “www. yourname.com” or “www. yourname artist.com”. It is not a good idea to have the gallery that may represents you as part of your domain name. Web visitors are looking for the artist, the artists art work, not the gallery. But, by having the website in your name, you also help the gallery, because you can promote the gallery on your website.

3) Find a person to design the website.

People like to design for artists; this is one of the “perks” of being an artist. There are a lot of great people involved with the Web who do not have huge overheads who can design a very good website for you. The cost can be for as little as $500 or less.

4) Find a Hosting Company.

There are many places that will host your website for $100 or less a year. Your web designer should be able to help you with this.

5) Web browsers come in different sizes.

Web browsers come in all different shapes and sizes, from very small to very large. It will be impossible to make your wesite look perfect for every size web browser. This means that you as an artist will need to make some compromises. This is a good thing to know while you are thinking about your website design.

There are websites that let you look and see how your website looks in different sizes and on different web browsers for free. After your web design is completed, lookup “web browser size test tool” on a search engine to find one.

6) Copyright information.

It is impossible to completely protect your images on the Web. People simple do not pay attention to copyright information. Your best protection is to keep the images small, so if a visitor enlarges the image, it will look blurry. Also put “your name © the year” under the image of your art work. All the fancy things that are suggested for protection do not work. You can put copyright information all over your art work, I’ve seen it done, but it defeats the purpose of your website and web visitors will not return.

© Mary Baker 2005

Mary Baker is a contemporary realist painter, whose studio is in Newburyport, Massachusetts. This New England city, north of Boston, has been the inspiration for the artist’s realistic oil paintings. Mary Baker is a professional artist and has shown in New York art galleries.

You can visit Mary at her website, Mary Baker Art, at http://www.marybakerart.com, see her beautiful paintings and read her articles on a variety of subjects including, Art, Artists and Money, Tips on Breaking the Creative Block , Art,Women and Creativity and the four part series on Art, Artists and the Web.

A list of articles can be found on her Site Map and Mary’s paintings can be seen on every page of Mary Baker Art.

Source: http://www.websition.com/

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He adjusted his long hair inside his red bandana and straightened his knap-sack out before heading from his overnight encampment in the jungle’s lush cover to make his way towards Kukulcana on the Pacific Ocean coast. It had been another adventurous journey as Sean Macleod walked the final leg of the way to the port. He would be taken to the mountains where the Mu civilization had re-located the bulk of their culture after the last Ice Age. He had heard about the University of Puma Puncu since he was a young boy growing up in Memphis, Egypt. His life was ‘blessed’ by a heritage that few could hope for. He’d been destined to become a member of the Atlantean ‘Red-Headed League’ ever since his birth to a head mason/engineer some twenty seven years ago.

For the majority of the last year he had been living with the Mu people who were building a new civilization in the lowlands of the peninsula called Yucatan. He was walking with more than his usual fervor as he saw the city that was named after the demi-god Quetzacoatl who went by many names, throughout the lands colonized by the great civilization called the Motherland. He had been amongst the Chichimecs who called this flying serpent god associated with the Pleiades constellation, Xolotl; as he had made his way around the Gulf of Mexica, to his assignment in the Yucatan just over a year ago. He was still wearing the Buffalo skin suit that they had presented him with on the night of his departure. The small village of Oaxaca in the smallish mountains on the Pacific side of Mexica had been his last opportunity to share the company of these warm and peaceful people.

There it was; he could see the masts rising above the two storied adobe buildings that made up this growing trading post. He went to the official dockmaster’s office and asked when his ship would be leaving. The jolly older lady who ran things had enjoyed playing around as she made it clear that his fellow travelers had to arrive first. There was one member staying at the hacienda down the street. Sean had asked what this person looked like and they had all laughed. He had some difficulty telling people apart in this part of the world, where everyone had the same colour hair and similar skin colour as well. He headed to the bar where he assumed this person would be waiting. The small children who had gathered around him were laughing and pointing at his hair and talking amongst each other excitedly as he made his way towards the bar.

It was surrounded by a mahogany fence which the artisan had done an excellent job of working a variety of indigenous plants into. He loved the century plants at either end, or corner of the yard. He stopped just inside the gate with its two onyx pillars and carved iron wood statues, to admire the whole effect created by the flowering vines and wood beam open porch with a roof that extended out to cover the tables where a few people were having their coffee. It smelled so welcoming.

Suddenly he was jolted out of his musing by a woman calling ‘HI! RED!’ the greeting that he hadn’t heard in the past two years, made him feel almost nostalgic while excited. No one had told him there would be a fellow ‘Red Head’ much less a woman on this voyage. He looked towards the corner of the porch from where the voice had emanated. It was a younger woman standing up with red hair almost the colour of an orange. He was used to everyone looking at him, but this time as he walked towards her he felt somewhat self-conscious, and very aware of making a good first impression. It was hard to keep his eyes away from looking at her directly, and as he reached the steps to the porch he stumbled a little. The redness came to his face as he walked to greet his ‘brother’.

“Hi, I’m Caitlin O’Regan.” she said in the Ogham dialect that was common amongst the ‘Brotherhood’, he tried to guess what region her early roots hailed from. It was clearly a refined diction from the Mediterranean or perhaps even Erin itself.

“Erin Go Bragh, Hello, I’m Sean MacLeod. A recent Baird.” He said proudly, with the knowledge that he was obviously young for such an austere recognition.

“Well, I’m pleased to make your acquaintance, big boy!” Her smile grew across her face and they shook hands then touched their hearts.

“Are you recently from Bangor and Tara, but originally of the Milesians? And a hint of Catal Huyuk, I think.”

“You can be quite a ’smarty-pants’, can’t you? How did you get the Catal Huyuk part, was it my broach?”

“Yes and the polished volcanic stone that rests on the table that you were looking at in order to make sure you were as beautiful as you always are, even after just waking up I imagine.”

“Are you always so forward?”

They sat down across from each other, as Caitlin sized up this man who she was immediately drawn too. “Well, let me try to impress you too. You were born in Memphis, spent some time in the new colony of Greece and then came to New Hibernia to spend a year amongst the Denhe (North American Indian) before another year here, amongst the Toltec Ovates or Olmec in the land some refer to as Maya. Somehow you still haven’t ‘got’ the meaning of the word though; have you? It has much to do with the spirit and not letting your physical self get ‘in front’ of it, or perhaps the circle of life. This culture that knows so well the ‘changes’ and dimensions thereof, has only begun to influence your often arrogant nature.” She looked at his every response with the depth of a ’seer’, and he looked into her eyes and knew he’d met his match.

“OK! You were given my biographical information, weren’t you?”

Caitlin couldn’t make her mind up whether to tell him that she knew even more about him than the words she had just spoken could possibly convey. They had only partially come from the written report, which had described this ’special’ man that she had looked forward to meeting even before the long voyage from Erin had begun some six months earlier. It would be ‘fun’ to continue playing this ‘tete a tete’ she thought. “Sean, you may be a Baird but I am as capable as most ‘Druids’. This gift I have, has made me have to learn humility many moons ago. However I was aided by your ‘bio’. It was given to me by an uncle or other member of the noble ‘Clan MacLeod’ as he so pompously put it. Your ‘brashness’ is a family thing, I guess.” Then she reached across the table and placed her hand on top of his. He saw and felt a growing sense of peacefulness and a warmth he knew was unusual that came from these hands which were exquisitely formed and tapered. He looked at her hand before picking it up, and raising it toward his pursing lips.

“No! Not that! I’m too sensitive there!” She exclaimed as she got up and said. “I’ll go check to see if they’ve heard from the others, you stay here and have some breakfast.” Then she walked away, to the docks.

“Caitlin.” Sean said as she walked away, he couldn’t tell if she heard him or not, but he could tell that she knew what he was ‘feeling’. He ordered some Huevos Rancheros, toast, and coffee with other ground nuts that tasted even better than it smelled. When Caitlin returned she was all business. She told him the ship would be leaving soon before going up to her room and getting her things.

There were two other De Danaan taking this trip to Puma Puncu and the new homeland of MU. Caitlin had preceded him to the ship and was with the others on the deck of the small wooden ship that had one main sail and a smaller sail at the front and back near the rudder arm. He walked up the plank and introduced himself to the others, their names were Chong Lee Kwong and Vu Lee Nguyen; they were returning to Macchu Picchu to assist in building the new seat of the Royal house of Mu. Apparently they had grown up in a town near to the mountains it was situated in. They were describing it to Caitlin as she told Sean where to put his things below. The sailors were preparing to undo the ropes that held the ship in place at the end of the pier. By the time he returned to the deck, everyone wa
s helping hoist the sails and storing the ropes. He waved to the children on the pier and looked back at the town growing smaller as the ship headed towards the open water.

This is an excerpt of my work which is available at http://www.lulu.com/gaianinstituteofarcaneknowledge

Source: http://www.websition.com/

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The fastest way to bring beauty and style to a room is to put up prints of beautiful paintings. Here’s what you should consider:

Painting Prints Price Range:

Expect to pay somewhere in the neighborhood of $50-$500 for an unframed print–anything less than $50 is likely a poster. You should expect to pay a similar amount to have the print framed–note that many prints are designed to be exhibited without frames.

Before art prints were sold online, the only way to get them was through galleries or museum shops, which had to charge a large markup. Nowadays, art prints rarely cost more than a few hundred dollars, and it is possible to find good-quality prints for under $100. Still, those lower prices generally come on prints that have been put on sale. Expect to pay more for perennial favorites like Van Gogh’s “Starry Night”.

Selection

There is at least one print of every painting or photograph on display in a museum anywhere. Thanks to the internet, you can find the right art print among the tens of thousands in existence and have it sent to you, regardless of where the original is located. Since websites will let you browse thumbnail images of the artwork, it’s easy to find a particular piece even if all you know about it is the name of the artist or even just the time period in which it was created.

Painting Print Media

Prints are available in a variety of print stocks.

Prints vs. Original Paintings

If all you’re interested in is a picture to decorate your wall, rather than in collecting, prints are a better value than original paintings. Here’s why:

* Expense. Creating an original work of art generally takes weeks. If you had to employ someone for several weeks or several months, how much do you think it would cost at even a modest salary? That’s why original artwork generally costs at least thousands of dollars. In order to have a real chance of your work of art having investment value, you need to buy the work of an artist who is moving up in the art market.

* Questionable investment value. Original artwork only has investment value if the price goes up eventually. Very often, the price does not. In short, if you’re interested in investing, buy stocks–it’s a safer bet. Only buy art because *you* value it.

* Knowledge. You need to be very knowledgeable about what you are doing. Make no mistake: there’s plenty of fraud in this business. There is also plenty of wishful thinking on the part of art dealers when it comes to a work’s long-term market prospects.

Ready to make your home more beautiful with prints of great paintings? You’re already in the right place: the internet has numerous websites offering an unbelievable array of art prints. Start looking now.

About the Author: Joel Walsh has written a buying guide for art prints at: http://www.a1-paintings.com?paintings [Publish this article on your website! Requirement: live link for above URL/web address w/ link text/anchor text: "paintings" OR leave this bracketed message intact.]

Source: http://www.websition.com/

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