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Divine archetypal beings or eternal attributes dwelling within the Pleroma, often arranged in male-female syzygies.

The text explicitly mentions 'thirteenth of the Aeon' and lists twelve Aeons as the source of Rulers who hate the Pistis Sophia.

Attributing human characteristics, emotions, or form to the divine; embodied divine imagery.

Divine beings are described with human characteristics such as sitting, grieving, and being angry.

The material body viewed as a prison, tomb, or source of error that hinders spiritual knowledge and return.

The Pistis Sophia is described as being 'below' the Aeon and hindered by her desire to ascend.

Ontological opposition between two primal principles (light/darkness, truth/lie, spirit/matter) as the fundamental structure of reality.

A clear opposition exists between the Pistis Sophia's desire for the Height and the Rulers' hatred of her descent.

The supreme God's radical concealment beyond ordinary knowledge or perception; the Hidden Father.

The Pistis Sophia is initially hidden from the Aeon and must look through a veil to see the light.

The uncreated luminous quality of the divine, sometimes experienced directly in mystical states; illumination as revelation.

Light is central to the narrative, with the Pistis Sophia looking in the 'light of my vesture' and hymning the 'Light which is at the Height'.

A chain of divine beings or principles flowing downward from a single transcendent source (the One or the Father), each level less perfect than the one above.

The text describes a structured hierarchy of Aeons, Rulers, and emanations flowing from the great Forefather Invisible.

Esoteric teachings reserved for those ready to receive them; outer meaning conceals an inner liberating truth.

Jesus reveals a 'mystery' to his disciples regarding the Pistis Sophia's status and distribution that is not known by all.

The divine conceived as active, present, and dynamic—not an abstract principle but a personal responsive reality.

The divine is portrayed as active and responsive, speaking to disciples and revealing mysteries.

Numbers, proportions, and mathematical relationships as the underlying structure of divine reality.

Specific numbers like 'thirteenth', 'twelve', and 'twenty-four' are used structurally to define divine groups and places.

Using apparent contradiction, reversal, or riddle to destabilise ordinary understanding and induce insight.

The Pistis Sophia is described as being 'not herself One out of the twenty-four emanations' yet still one of them.

Direct address to the divine, whether petitionary, contemplative, or liturgical; speech and silence offered upward.

The Pistis Sophia is depicted as actively hymning the Light and the Height.

The soul's journey back to its divine origin, reversing the fall into matter through stages of purification or illumination.

The Pistis Sophia's desire to go 'unto that Place' and be 'above them all' represents a movement toward her divine origin.

The maintenance of a state of cleanliness—physical, moral, or spiritual—required for encounter with the divine.

The Pistis Sophia is associated with the 'Treasury of the Light', implying a state of purity required for ascent.

Divine names or formulas that carry ontological power, used in prayer, liturgy, or magical practice.

The text emphasizes that the Pistis Sophia sees the 'mystery of her name' in the light of the vesture.

The felt condition of exile from one's divine origin — Rumi's reed flute torn from its bed, Plotinus's 'we have forgotten,' the Gnostic forgetfulness; the affective wound that complements return_to_source and gives the return its motive.

The Pistis Sophia is explicitly described as being 'below' the Aeon and grieves because she was not taken to her Place at the Height.

A staged journey of the soul upward through heavenly realms or levels of being toward the divine source.

The Pistis Sophia's journey involves a movement from being below the Aeon to desiring to go 'unto that Place' at the Height.

The doctrine — central to Eastern Orthodox and Maximian theology — that the human person is progressively transformed into a partaker of the divine nature by grace, not merely justified or united in passing ecstasy.

The Pistis Sophia is described as becoming in the Place of the Height and being joined unto her Invisible partner.