Book Signings

Neil will be signing copies of his new Graphic Novel

Festival of Wellbeing, City Hall, Cardiff, 18 November 2017 

(Neil will be talking about his work and book in Cardiff)

Illustrators Fair, House of Illustration, Kings Cross, London, 9th December 2017

978-0-9541904-9-1 

Aeon Rising – The Battle for Atlantis Earth is the final part of an epic creation myth. In this highly original work of fiction, author and illustrator Neil Hague completes the trilogy in the Kokoro Chronicles. Aeon Rising is an adventure that tells the story of an ancient Earth, a world created through the ‘dreaming’ of what the Gnostics’ writings called ‘Sophia and the Aeons’.

The book offers a unique narrative mapping the ‘end times’ of the lost continent of Atlantis, and telling how the heavens were caught up in an immense battle to prevent its demise. We are taken on a journey from west to east through the eyes of the monkey god, Lonza, and the bear tribes of the Third World Age. We meet the lion priests of Atlan, as they hold on to a world age coming to a drastic finale. The book is an epic struggle for the dominion of a new Earth; one forced upon the ‘first humans’ by those who came from outside of the Solar System.

In four parts, and through his individual style of visionary illustration, Neil Hague tells the story of Ariel, the last lion priest of Atlantis, and the arrival of the Eagles of Urza in their quest to save Sophia Earth. We are introduced to a pantheon of deities, of star people and their celestial battles for the Solar Tree; when a star system goes to war with another. We meet the Eagle lord Altair; the Killipoth of Kronos and the Draco invaders that started what became known as the ‘Great War of Heaven’. It is a story of the demise of Earth’s original Sun, the end of a Golden Age and the ‘arrival of the Moon’, in a way never been told before.

We are taken across pre-historic frontiers, on Earth and beyond its surface, as we witness the immense struggle for our Sun, Moon and Earth. From the legends of the Aboriginal Dreamtime to the Hopi migration myths, Hague weaves together themes and knowledge of the Orders of Orion, Sirius and the story of ‘opposing forces’ that are still shaping our world.

Prepare to go back to a time before the Great Sphinx of Egypt, to an era of the ‘lion priests’ of Atlantis and into the worlds beyond death, to the place of Aeon Rising

ISBN: 978-0-9541904-9-1

Hard back Colour 64 pages (10×7′) Fiction (signed copies) £20

Click here to purchase a copy

Neil Book signing

A New Book by Neil Hague

978-0-9541904-9-1 

Aeon Rising – The Battle for Atlantis Earth is the final part of an epic creation myth. In this highly original work of fiction, author and illustrator Neil Hague completes the trilogy in the Kokoro Chronicles. Aeon Rising is an adventure that tells the story of an ancient Earth, a world created through the ‘dreaming’ of what the Gnostics’ writings called ‘Sophia and the Aeons’.

The book offers a unique narrative mapping the ‘end times’ of the lost continent of Atlantis, and telling how the heavens were caught up in an immense battle to prevent its demise. We are taken on a journey from west to east through the eyes of the monkey god, Lonza, and the bear tribes of the Third World Age. We meet the lion priests of Atlan, as they hold on to a world age coming to a drastic finale. The book is an epic struggle for the dominion of a new Earth; one forced upon the ‘first humans’ by those who came from outside of the Solar System.

In four parts, and through his individual style of visionary illustration, Neil Hague tells the story of Ariel, the last lion priest of Atlantis, and the arrival of the Eagles of Urza in their quest to save Sophia Earth. We are introduced to a pantheon of deities, of star people and their celestial battles for the Solar Tree; when a star system goes to war with another. We meet the Eagle lord Altair; the Killipoth of Kronos and the Draco invaders that started what became known as the ‘Great War of Heaven’. It is a story of the demise of Earth’s original Sun, the end of a Golden Age and the ‘arrival of the Moon’, in a way never been told before.

We are taken across pre-historic frontiers, on Earth and beyond its surface, as we witness the immense struggle for our Sun, Moon and Earth. From the legends of the Aboriginal Dreamtime to the Hopi migration myths, Hague weaves together themes and knowledge of the Orders of Orion, Sirius and the story of ‘opposing forces’ that are still shaping our world.

Prepare to go back to a time before the Great Sphinx of Egypt, to an era of the ‘lion priests’ of Atlantis and into the worlds beyond death, to the place of Aeon Rising

Pre-order Only: Available 18th November 2017

ISBN: 978-0-9541904-9-1

Hard back Colour 64 pages (10×7′) Fiction (signed copies) £20

CLICK HERE TO ORDER

3books

Neil will also be giving a small talk and siging copies of his latest book at the Cardiff Festival of Wellbeing on the 18th November 2017

The Circle Within

f0b5fa2f70d43db76a8905ce7950a3a5--sand-painting-sand-art

“They will return again.

All over the Earth,

They are returning again.

Ancient Teachings of the Earth,

Ancient songs of the Earth.

They are returning again.

My friend, they are returning.

I give them to you,

And through them

You will understand,

You will see.

They are returning again Upon the Earth.”

Crazy Horse Oglala Sioux (1842-77)

I’ve have recently found a new (but old focus) into the ‘spirit of all things ‘Native American, Celtic and Pagan. I have attended several drum circles (with more to come) and it has given me a glimpse once again of the powerful need for unity, ‘people coming together’ to celebrate the ‘power of the circle’. I think that people at this time are being urged to understand more fully the need for unity and ‘coming together’. Whether a devastating hurricane, like the ones we have witnessed in the Caribbean islands, or a major refugee crisis (manufactured or other otherwise), people will naturally gravitate to unification, to help each other and to heal. The circle is what reminds us of our fragility and power as human beings.

The circle is what gives us the power to ‘empower’ each other. It gives us the energy to be a tribe and more importantly, the connection to our sacred centre – or our spiritual heart. No matter how we see the circle, we are working with an ancient symbol that has the ability to connect us with our ‘spirit self’. The circle is autonomous with developing the imagination and our visionary powers of seeing. More so, I believe this process cannot happen without a connection to the Earth through art forms and creative expressions of every kind. We often lack the sight to look at our ‘finer bodies’ that as a whole make up what I termed, many years ago – the ‘Circle Within’.

The Gnostic Circle Within

The Gnostics imagery below saw this as the nature of the Divine and the Divine spark within humanity. The 16 Gnostic figures encircling the central fire become the Circle Within. The Gnostic approach to the circle sees what they called God as an androgynous, both male and female force, and “all-containing” or sometimes “the uncontained.” It was also referred to as the Monad, or the first Aeon – depicted as a circle.

Gnistic circle

The Gnostic use of sixteen figures (numbers) to create a Divine Spark is obvious mathematically as it also relates to the ‘four times four’ markers on the Circle or Wheel of life, which is something I will come to shortly. Two figure of 8’s (16) also gives the double infinity symbol, which gives us the idea of limitless possibilities, a beautiful and empowering reminder of eternal measure. Double Infinity Symbolises the idea of combining two everlasting infinities, to create equal ‘unlimited possibilities’.

Interestingly the 16th card of the Tarot, the Tower, asks us to ‘reflect’ on what happens when we hide from the truth (our truth) and refuse to confront the façade we often call daily life. Just as we become increasingly aware of how much we are betraying our true selves, symbolically we start to welcome the ‘bolt of lightning’ on the tarot card, which destroys the façade. The ‘calling of the circle’, or use of a circle in a ceremonial sense, can break down personal illusions for those that participate in its power.

medicine wheel
The Wheels or Circles vary depending on belief based on location on the Earth.

The Four Zoas

These circle can be divided into four aspects, or what many visionaries have called the four ‘eternal senses’ of humanity. When we consider ancient symbols and knowledge like the circle, they tend to have a common theme across many cultures. The number four constitutes the basic cardinal points and power of a circle and this relates to the four seasons, directions, elements, and ages of the zodiac and primary races here on Earth. The power of the circle and the ancient knowledge contained within it, charts four bodies that make up an individual cyclical system. This inner system sets out to explain how the soul puts on a garment (a physical body) in order to experience the physical world. According to our position on the circle (or wheel of life), we connect with the Earth’s natural (organic) cycles, which offer experiences for spiritual development.

The four different bodies (that constitute who we are) have been described by many visionaries, as the following:

The spiritual body/creative world concerned with imagination and intuition.

The astral body/archetypal world concerned with emotions and feelings.

The physical body/formative world concerned with structure and sensation

The mental body/material world concerned with thoughts and reason.

The Four Zoas
The visionary artist William Blake understood this knowledge through his own perceptions of the ‘four bodies’ that constitute the, divine form, in his work the Four Zoas above.

 

Observation of our life cycles also gives us a wider view of how we create patterns, both disorder and harmony, within our own lives. The Circle Within allows us to raise our vibrations and give ourselves permission to become the Oneness defined by the Circle.

Medicine Wheels and Earth Circles

The circle or wheel can be found in so many First People’s attempt to interact with the deeper knowledge imbued by circle symbolism. Communities were built on circular models. The Native American medicine wheel is one example. The Majorville medicine wheel located south of Bassano, Alberta, dated at 3200 BC is good example. Other Circles can be witnessed in megalithic structures all over the world not least places like Stonehenge, Avebury and Tara in the UK. The stone circles are often placed on powerful energetic sites that connect to ‘arteries of light’ (Ley lines) and this is why our ancestors chose the circle, or spiral, as it anchors and harnesses great power. Places like Avebury have been ‘broken’ energetically to a certain extent in terms of the Circle being broken, (courtesy of roads now cutting into the place), but the power is still active and awake in the land.

stone circles

The Medicine Wheel can take many different forms. It can be an artwork such as an artifact or painting, see the Navajo sand paintings or petroglyphs for examples of this. Or it can be a physical construction on the land. Hundreds or even thousands of Medicine Wheels have been built on Native lands in North America over the last several centuries. They all relay the same use of a simple knowledge – We always return to the ‘centre’ the Circle Within.

wheel

Movement around the Medicine Wheel in Native American ceremonies is always circular, unlike the pyramid structures imposed on so-called Western Civilization. The circle was meant to align us with the forces of nature and the cosmos. The Triangular Pyramid structure ‘separates us’ and creates Elite power structures.

The Medicine Wheel is an ancient device, like the zodiac (see Stonehenge), which can provide meanings and symbols for individuals to integrate within their lives. The wheels and circles are often celestial ‘markers’ of transitional time and I am sure they were made primarily to ‘synch the Earth’ (people) with a new energy grid after the demise of Atlantis.

medicine-wheel-wall-hanging-7088

Calling the Circle

The circle is an important tool for giving a community focus and healing. It is also a vehicle for interaction with the Earth and each other through the circular energy that is empowering for all those that approach the circle with an open heart and mind. If it becomes a group ‘mind set’, or ‘ego’ driven, which I have seen within some ‘circles’ (gatherings), then it can be detrimental to the growth of everyone involved.

The use of the Native American talking stick (above) passed around a circle also creates the connection to all involved empowering the individual. It is my understanding that the First People of the First Ages on Earth employed the circle as a means to honor ‘community’ and to manifest healing for individuals in the community (or tribe). The circle ‘sees’ all as One. The circle offers a ‘listening point’ (hence the talking stick as a tool) for those that partake in its power and it is a platform for building sacred relationships with all who are united in its presence. The ‘circle within’ becomes a ‘sacred hoop’ (same thing) when spirit is allowed to unite with the heart at the centre of the Circle. The circle within is the heart energy that comes through when the circle is sacred and connected to the hearts of all inside its power. Christina Baldwin writes in her book Calling the Circle – The first and Future Culture;

“What we embody is the heart’s desire to be an equal presence in the world. The heart resides within the body, and the body responds when heart energy is released. When the ‘heart’ – not the physical muscle, but the scared muscle, the heart center – is open, the body vibrates with energy. The intellect drops and our thoughts, feelings, decisions, and choices about action are accompanied by physical sensation …”

I’ve been saying for many years that the Earth and Heart are interchangeable; they are one and the same. The circle, as a symbol, connects us all.

calling the circle
Calling the Circle also known as the Sacred Hoop that surrounds the Earth. Image on the right: Alive in a Sacred Circle by Phaedris

On a higher level observing the ‘circle within’ can show us how to read the future, while giving us a grounding of what we need to experience in the present moment. In other words the ‘circle within’ was considered an ancient device for manifesting reality through the four bodies mentioned above. A Native American teacher, Wa’na’nee’che otherwise known as Dennis Renault, who I had the privilege of meeting several times in the 90’s, described the circle within as the Old Way. He said:

“The Spirit of the Thunderbird flies to all four corners of the Earth and brings the people back to the natural way of life, not through religion or a Native American way, but the ‘Old Way’, that once belonged to all humans.”

This Old Way is does not necessarily mean that we go back to living in tents (mind you it’s very tempting lately), it relates to the need of ‘seeing beyond’ the ‘material illusions’ that blight our lives. Harnessing the collective power of the circle can give us the connection when we need it the most. For example, I have seen people arrive at a drum or healing circle looking in need of love and healing, to see them leave elevated and happy at the end. The circle is also employed most powerfully in a crisis, or a dispute and if allowed to function in a sacred manner will quickly offer solutions to problems being faced by any group, tribe or Nation. Ask yourself why none of our parliaments or bodies of governance sit in circle? To do so they would be empowering an ancient symbol that places power around the rim, and not at a peak atop a pyramid structure. The United Nations, for example, is a broken circle, and intentionally so. It was never meant to resolve issues or bring world peace, for it did, we would have it!

broken circles of power
Pyramid (triangular) power and ‘broken circles’ in places of power do not honor the power of the circle.

Celebrating the Dark and the Light

Many teachings have come out of various versions of the Medicine Wheel however there seems to be some common themes that run through them all. The directions of the wheel can offer an understanding of how we cycle through life, express our emotions, or become more introvert or extrovert. So for example, the directions, North, South, East and West embody the Four Elements which combine to make Air, Water, Fire and Earth, and the Four Human Races of Red, Yellow, Black and White. All these in turn are said to affect the Four Bodies of Spiritual, Mental, Emotional and Physical, within the human being, which are continually expressed through the Four Ages of a Life, Childhood, Youth, Maturity and Old Age. Four is also the number that relates to Saturn, the Moon and our Sun and the affect these celestial forces have on four bodies mentioned earlier.

3

According to Native American and Celtic teachings, the North of the Wheel (the circle) is where our mental body resides, the East is our spirit, the South is our astral body and the West is our physical body. All four bodies are said to relate to a particular element, animal totem, plants, mineral and expressions that help formulate that body. So for example, the North is where the mental body resides and this is likened to the element of air, which in turn connects with wind/movement, because the ancients observed that the strongest and coldest winds came from the North. North on the circle was also the place of winter, ‘death and rebirth’, symbolised by the ‘Giamos Cycle’ and depicted through the colours of white or black (see above). At the opposite side of the wheel summer was considered a time of ‘outward expression’ when the Earth expresses herself in full bloom. South on the Wheel is also a time for nourishing and preserving energy, especially sunlight when Samos begins to yield towards Giamos. The colour that symbolises summer, within many traditions, is red and in many native iconographies, as well as religious art, red and white are continuously used on one level to symbolise the opposite forces in nature. In more ‘secretive circles’ (secret societies) red is symbolic of the connection between the stars (especially Saturn and Sirius) and the Earth. Red was also considered a colour of childhood and raw energy and the same emotions can be seen within ourselves, when we become more expressive, go outside and enjoy the fruits of longer summer days. As we move into Autumn and towards Samhain (Halloween) our focus naturally turns to concentrating on ‘gathering resources’ on all levels of our soul. The time from the Autumn Equinox to Sahmain was considered the beginning of our ‘inward reflection’, when the ‘invisible became manifest’ on the physical (surface world) more easily. Hence the festivities that relate to Halloween and the invisible forces typified through ghosts and spirits (see my previous blogs). In many Celtic and Native American traditions this point in the year was the beginning of a brand new cycle, a time when the Earth would turn inwards and we go into our inner worlds for inspiration and spiritual direction. Through archetypes, (gods and goddesses), like Maponos (Mabon) the great son of the great mother, the ancients would seek direction, with one of Earth’s many natural cycles. Eventually many natural sequences (cycles) and the forces that became archetypal figures were personified for religious purposes. However, The Circle Within places the human at its centre surrounded by power (the Earth) and magic (the Stars). As the Lakota Medicine man Black Elk said:

“Everything the Power of the World does is done in a circle. The sky is round, and I have heard that the earth is round like a ball, and so are all the stars. The wind, in its greatest power whirls. Birds make their nest in circles, for theirs is the same religion as ours. The sun comes forth and goes down again in a circle. The moon does the same and both are round. Even the seasons form a great circle in their changing, and always come back again to where they were. The life of a man is a circle from childhood to childhood, and so it is in everything where power moves. Our tepees were round like the nests of birds, and these were always set in a circle, the nation’s hoop.”

hoop
Sacred Hoop – Four Directions – Four Migrations – The Celtic Cross are all the same symbol.

One other point to realize here is that much of what we call ‘season worship’, or the cycles of the Pagan Calendar and the ancient festivities that connect to it (like Saturnalia, or worship of Saturn), all relate to an ancient epoch, when one world age ended and a new age started. My feeling is that the gods and goddesses that came and taught the natives new ways of living with the Earth after a global cataclysm, taught the importance of using the circle. The rim of the circle, the points on the calendar are important, but the centre is where the true power lives. I talk about this in my latest graphic novel Aeon Rising – The Battle for Atlantis Earth

Energy Circles & Sacred Fires

The four points on the circle (east, south, west and north) also represent a series of ceremonies (fire festivals) that were more connected to the Moon. These Moon festivals were often practiced across the ancient world as a way of connecting with more feminine energies, while the solstice and equinox celebrations were considered to harness solar energies by many native cultures. Later Babylonian religions did not view time as a cycle of ‘eternal return’ each harboring with it the ‘seeds’ of future events. Instead orthodox male dominated religious orders dictated that time marches ahead, towards the ultimate ‘second coming’, or a onetime event only, when the whole world would be judged (see Holy war too). Christian mystics that embraced Pagan beliefs, like John Eriugena and Thomas Aquinas (1225-1274), along with he likes of Hildegard von Bingham, viewed the cosmos and universe as an organic, interrelated whole (a circle), an idea that would have found sympathy with scientists and seers today in terms of their understanding of the nature of the Universe.

Hildegard von Bingham
The Christian mystic Hildegard von Bingen knew that the power of creation was contained within the Circle as she depicted in her visions in her works called Scivias.

Spirals and circles are what our Universe consists of and it is the weaving of threads of light into spirals and circles, from our DNA to the Galaxy that connects us all. The DNA serpent energy is apparent in the Ohio Serpent Mound, the largest surviving ancient effigy mound in the world. The same spiraling energy in circular motion can be seen in the labyrinth floor design inside one of the oldest Pagan (sorry Christian) Gothic Cathedrals in France – Chartres.

spiral

The Spiral and Labyrinth represents the sacred centre and the place from where the divine emerges. As one ancient chant says:

“… Spiraling into the centre, the centre of the wheel,

We are the weavers,

We are the dreamers,

We are the dream …”

The fire at the center of the circle represents solar and stellar fire, the life giver for all on Earth. When people gather around a central fire in a scared manner and they step into the spirit of the ancient ways, through drumming and dancing, they can become a vessel for the oneness that gives life to the ‘centre of creation’. The drum can represent the ‘heartbeat’ of the Earth and the heartbeat of humanity unified. It is a tool for allowing unique expression. As I said earlier, we don’t need to be living in tents to ‘feel’ this connection, but we do need to have an open heart and a connection to the Earth – the ‘organic energy’ of our planet (our reality). I spent the last weekend of the summer at the Super Spirit Camp near Gloucestershire, and the vibration at the end of the camp at the ‘closing ceremony’ was wonderful and lifted the vibrations of all involved. It reminded me of the many times I had gathered in a circle since the 90’s to connect with the Earth at sacred points. The power of the circle was especially powerful in the lands of the goddess in Peru at Sillustani in 2012 with David Icke and a gathering of wonderful souls.

Peru 2012
The lands of the sacred goddess in Peru at Sillustani in 2012. I felt a goddess energy there like no other to date.

fire drum

Art, Nature and the Machine Age

The advancement of the machine and the mechanization of time through technology and industrialization repulsed many artists. Van Gogh was one of these artists who felt the mechanization of linear time and the ‘city culture’ spreading through his own era, and like other painters and poets of this period, detested the growing industrial culture. The very nature of Van Gogh’s work shows this to us, through his empathy and close relationship with nature and people. Van Gogh shows us through his paintings that we need to be part of nature if we want to see and feel different dimensions of the soul. He wrote:

It is not the language of painters but the language of nature to which one has to listen.”

Van Gogh was seeing what astronomers saw i the 1850’s. His spirals in oil on canvas were probably the Whirlpool Galaxy recorded in the 1850s.

I believe this connection with nature is at the heart of why every person wishes to create. You only have to look around and if you are more adventurous, immerse yourself in the wilderness, to understand that Mother Nature is the most beautiful artist. She paints her body daily with the vastest array of life forms imaginable. Our inner power, which urges us to be creative, comes from recognizing a life force within us, which moves through all beings, gives us our breath and weaves the intricate webs of life. The machine-like technological age, which is becoming more prevalent by the year, is the opposite of how humanity’s natural creative powers should be used. And my goodness look how far we have moved away from the ‘golden ages’ of the First Nations on Earth? One very well-known Native American chief, Joseph of the Nez Perce, once said:

“The earth and I are of one mind. The measure of the land and the measure of our bodies are the same.”

The Medicine Wheel
Native American Wheel compared the Celtic Wheel – both examples of the Circle Within.

Becoming aware of our personal Circle and the ‘eight points’ on the wheel, along with the real reason for the ancient festivals situated around the circle, can help us to recognize our own feelings and subconscious attitudes towards nature and the cosmos. More importantly, the circle within is our own personal microcosms of the universe and it is our link with creation, especially while we are utilizing our imagination and accessing our visionary powers. At the same time finding a focus for our creative energies helps manifest the ‘fruits’ that will enrich our lives, just like the spider uses all eight legs to create a web and move around it, we too need to know our whole self in relation to the Earth and the subtle connections to the ‘unseen’. Our attunement to the transitions in nature through the Earth’s ‘organic time’ (not the illusionary clock/calendar based time), helps us to observe the people, places and experiences that come into our lives, bringing visions and changes as we travel our ‘circle within’.

Look out for more posts about workshops in the spring of 2018 and Healing Circles I will be involved in.

The One

drum circle

Aeon Rising – The Battle for Atlantis Earth

I’ve spent the past nine months writing and illustrating the third part of what has become the trilogy I am now calling the Kokoro Chronicles. Kokoro – The Rise of the True Human Being was the first book followed by Moon Slayer – The Return of the Lions of Durga. A companion Bestiary that embellishes these books was also published at the end of 2016 called Lions and Velons. All of these books can be read separately but there is a chronological order to the Kokoro Chronicles for those that are interested (more on this at a later date).

The new project is now complete and I am excited at the thought of launching the illustrated novel for November 2017. Here is the Blurb below  and a few images from the story to wet your appetite.

978-0-9541904-9-1 

Aeon Rising – The Battle for Atlantis Earth is the final part of an epic creation myth. In this highly original work of fiction, author and illustrator Neil Hague completes the trilogy in the Kokoro Chronicles. Aeon Rising is an adventure that tells the story of an ancient Earth, a world created through the ‘dreaming’ of what the Gnostics’ writings called ‘Sophia and the Aeons’.

The book offers a unique narrative mapping the ‘end times’ of the lost continent of Atlantis, and telling how the heavens were caught up in an immense battle to prevent its demise. We are taken on a journey from west to east through the eyes of the monkey god, Lonza, and the bear tribes of the Third World Age. We meet the lion priests of Atlan, as they hold on to a world age coming to a drastic finale. The book is an epic struggle for the dominion of a new Earth; one forced upon the ‘first humans’ by those who came from outside of the Solar System.

first people

ariel

In four parts, and through his individual style of visionary illustration, Neil Hague tells the story of Ariel, the last lion priest of Atlantis, and the arrival of the Eagles of Urza in their quest to save Sophia Earth. We are introduced to a pantheon of deities, of star people and their celestial battles for the Solar Tree; when a star system goes to war with another. We meet the Eagle lord Altair; the Killipoth of Kronos and the Draco invaders that started what became known as the ‘Great War of Heaven’. It is a story of the demise of Earth’s original Sun, the end of a Golden Age and the ‘arrival of the Moon’, in a way never been told before.

attacking selene

We are taken across pre-historic frontiers, on Earth and beyond its surface, as we witness the immense struggle for our Sun, Moon and Earth. From the legends of the Aboriginal Dreamtime to the Hopi migration myths, Hague weaves together themes and knowledge of the Orders of Orion, Sirius and the story of ‘opposing forces’ that are still shaping our world.

Prepare to go back to a time before the Great Sphinx of Egypt, to an era of the ‘lion priests’ of Atlantis and into the worlds beyond death, to the place of Aeon Rising.

eagles leaving Urza

More Information as to when it can be ordered, the publication date, along with a book launch in Wales, all to follow soon.

Neil Hague talks about his Art

Neil Hague talks about his art and the deeper symbolism behind some of his work (Part Two)

Filmed by Jonnie Dean Peace in Neil’s studio, we look at original art, sketchbooks and Neil working on a canvas. Featuring new art and Illustrations, Neil also talks about his ‘dreams and visions’ and how imagination shapes reality. In this second part Neil goes into greater detail looking at some of the symbolism within his art.

 

Neil's Illustrated Stories

The Hare, the Moon Egg & the Goddess of Easter

Ishatr Hare

 

Holy Week is upon us across much of the Western Hemisphere. A time when children are often taught to connect Easter’s Pagan origins with the Judeo-Christian belief in a savior god. A connection that uncomfortably tries to equate ‘a giant rabbit or ‘hare’ with a crucified Sun God. It’s a mad, ‘mad world’, especially when ‘State and religion’ would have children focusing on the ‘ritual killing’ of Jesus (the crucifixion), in one hand, and celebrating the return of a ‘giant bunny’ delivering chocolate eggs with the other. Giant bunnies, chocolate eggs, alongside the crucifixion story of course, is not found in the ‘holy book’ but nonetheless the modern world celebrates ‘Easter time’ with the same vigor as it does every other festival on the calendar.
All religion generally speaking, in my view, is ‘madder than a March hare’. No wonder that the ‘official stories and their associated festivals such as Easter, don’t make sense when you combine narratives and take stories ‘literally’. Mind you my local church is getting into the pagan spirit by equating ‘hot cross buns’ with ‘six packs’ this Easter (see below). So, that’ll be a ‘half dozen’ Easter bunny eggs and ‘full dozen’ would give you ‘twelve disciples’ circling around a big ‘hot cross Sun bun’… Bless em.  None of it makes much sense unless we venture deeper into the Pagan symbolism that ‘connects’ the cycles of the Sun and the Moon’ from our ‘earthly perspective’. In this blog I am going to weave together the main themes associated with Easter and as usual delve a little deeper into the symbolism. Grab yourself a ‘Babylonian bun’ and a nice cup of tea, it’s going to be a long blog.

Pagan Buuny

 

The Sun Cross

Christians refer to the week before Easter as ‘Holy Week’ as it contains the days of the Easter ‘Triduum’, including ‘Maundy Thursday’ and ‘Last Supper’, as well as ‘Good Friday’ (not so good for some). Without going into great detail regarding ‘sun gods’, (as I want to focus on the ‘moon, hare and egg symbolism’), Jesus comes from a ‘long line’ of pre-Christian ‘Sun gods’ that were killed and rose again to redeem the sins of the world; See ancient Babylon, Tammuz, Bal and the Norse god Balder to name but a few. If one does the research, there is well over a dozen versions of the ‘Sun of god’ found all over the ancient world pre dating Christ. The sun-cross circle below is what connects the Sun and Moon to the main festivals marked by the Equinoxes and Solstices on what was and still is the Pagan calendar.

sun cross bun

When one looks more closely at the religious symbolism associated with celebrations and festival such as Easter it becomes obvious to see the correlations of time being ‘marked’ through the various ‘stages’ of the Sun and the Moon in relation to how we ‘see’ life and our ‘time’ here on Earth. The three main symbols for the Sun, Moon and Earth (sometimes Venus) have all been worshipped for thousands of years at points on the calendar (see below). The eight pointed star of Ishtar is often found alongside the crescent (Sin) and the rayed solar disk (Shamash) in Babylonian iconography on boundary stones, cylinder seals. In the Christian version of Easter some ‘Boundary stones’ are still ‘marked’ or ‘hit’ with a broom or stick to this day in some English churches. It all makes sense when we ‘see’ that Easter came out the pre-Christian world.

Ishtar, Sin, Shamash
Left: Worship of the Moon, Sun, Stars and the Goddess (Earth) under different names. Left: Ishtar (Venus), Sin (Moon), and Shamash (Sun) on a boundary stone of Meli-Shipak II.12th century BC. Right: A Trip to the Moon by Georges Méliès, 1902

Lunar-‘tick-tock’ Calendars (Moon & ‘Sun-Saturn’ Symbolism)

Easter and the holidays that are related to the Moon calendar are called ‘moveable feasts’ which do not fall on a ‘fixed’ date in the Roman Catholic inspired Gregorian or Julian calendars. These calendars instead follow the cycle of the sun with ‘irregular’ Moon days. Easter ‘time’ is determined through what is called a ‘lunisolar calendar’, which is similar to the Hebrew calendar. In 325 AD it was the Council of Nicaea that decided Easter would fall on the first Sunday after the ecclesiastical full moon or soonest after the Spring Equinox on the 21st March. Those ‘Pagan founding fathers’ of the Christian church knew how to ‘use the Moon’. Saturn (the ‘Dark Sun’) underpins the vibrational (invisible) structure given to us by the Moon and therefore the calenders are no more than a ‘Saturn-Sun &  Moon vibrational illusion’. Or as authors like David Icke call the Saturn-Moon Matrix.

The Moon is the ‘marker of time’ (Saturn’s creation) and therefore gives us the illusion of time. The ‘white rabbit’ and his ‘pocket watch’ in Alice in Wonderland, for example, are all ‘symbols’ for the Moon, Saturn and the Goddess (Alice) in ‘wonderland’ – the illusion. Alice (the Goddess archetype) is ‘trapped’ by time in the Saturn-Moon matrix. In ancient Chinese and the Japanese calendars the hours were counted through animal names, and for these cultures the ‘artificial day’ began at six o’clock in the morning when the ‘Sun rises’ in the middle of what they called the ‘hour of the Hare’. It was the hour of the crossing between night and day. More on the hare and Rabbit soon.

Moon time

Easter is also linked to the Jewish Passover (Pesah or Pesakh in Assyrian) through much of its symbolism, as well as by its position in the lunisolar calendar. Jewish people celebrate Passover as a commemoration of their liberation by God from slavery in Egypt thanks to Moses (Exodus). The Nehustan (the brazen serpent on the cross attributed to Moses) gives us more insight into the ‘Passover-Easter’ (Saturn-Sun) connection. The serpent symbolism refers to ‘chaos calmed’ and given a ‘new order’. Out of chaos comes Order and a New Age, a liberation by the said Moses or Jesus saviour figure. The ‘light of the world’ is renewed at Easter (spring time) and the saviour gods found in much ancient myth are symbols for this renewal on one level.

 

Moses Cross Saturn
The Jesus and Moses figures as portrayed by the priesthoods that created Easter are Saturn deites. Saturn’s astrological symbol sums it up.

Interestingly Passover (Easter) arrives through first month called Nisan (or Nissan) on the Hebrew/Assyrian calendar, which is (April) in the ecclesiastical year. Nissan of course is the name of a car corporation and its symbolism clearly is another variation of the lord of time – Saturn. The crescent moon and the star (Venus) are also interchangeable with the old Sun (Saturn) and of course we have the Sabbath on Saturn’s Day (Saturday). The Passover is also one of the ‘three pilgrimage’ festivals during which the population of the kingdom of Judah would have made a pilgrimage to the Temple in Jerusalem. Today Samaritans still make this pilgrimage to Mount Gerizim, and along with Moriah and Zion they give us the ‘three’ scared mountains in Jerusalem. The number three will become relevant shortly.

saturn moon matrix
The Sun, Saturn, Moon matrix underpins many festivals through the measurement of ‘illusionary light’ at the equinoxes and solstices.

The Goddess Ostara (Easter)

In ancient Indo-European myths ‘Ostre’ or ‘Ostara’ was associated with the ‘light of spring’ and the Goddess who brings the ‘new light’. She made the clocks go ‘forward’ so to speak. The Goddess Ostara is also linked to the festival of Easter, hares and ‘sacred eggs’. She is another version of ‘mother nature’ and the ‘awakening of the feminine’ principle behind the Sun’s light. In other forms she is known as Ishtar (star), Freyja and Anunitu, who on the Spring Equinox, was said to mate with the ‘solar god’ (the Sun) and conceive a child that would be born nine months (moons) later on the Winter Solstice. We all know who the child is supposed to be? The same poor child of the ‘Sun and the Moon’ gets nailed to Moses’s ‘Saturn cross’ every Easter.

Ostara
The Goddess Ostara, Astaroth and Wenet

The Mesopotamian (Akkadian, Assyrian and Babylonian) goddess Ishtar was another version of the ‘goddess of light’, among other things. She was also the ‘goddess of fertility’, love, war, sex and power. Ishtar, like Ostara, was said to have ‘two sides’, or ‘two natures’, both ‘creative and destructive’. Ishtar is also Aja (the eastern mountain dawn goddess) and Anatu (possibly Ishtar’s mother). She is also Anunitu (the Akkadian goddess of light), Agasayam (war goddess), Irnini (goddess of cedar forests in the Lebanese mountains), Kilili (symbol of the desirable woman), Sahirtu (messenger of lovers), Kir-gu-lu (bringer of rain) and Sarbanda (power of sovereignty). Both Ostara and Ishtar (same deity) are the goddess that ushers in the ‘time’ we call Easter. Astarte (English) Ashtaroth (Hebrew) are also the name for the Canaanite fertility goddess associated with the ‘beginning of spring’ and Easter. Astarte was also considered the goddess of the ‘underworld’ (Saturn’s domain) and her other name was El, the Queen of the underworld (see IS-RA-EL). Note that ‘ceremonial acts of war’ (terror) and the marriages of prominent blood lines seem to occur at the start of spring (Ostara) through to Walpurgis (Witches night) and Beltane (May the 1st). The pagan calendar of course is also ‘used’ by those follow Satanism, hence the endless acts of destruction we witness in the world conjured up by those in the shadows.

The Ancient Hare and Rabbit Goddesses

Another animal symbol for pagan lunar magic, nature and witchcraft is the hare. Many of the Goddesses mentioned above were either said to have a hare as a companion or could take the form of a hare. In ancient Egypt Osiris was sacrificed to the Nile each year ‘in the form of a hare’ (below left) to guarantee the annual flooding that Egyptian agriculture (and indeed their entire society) depended upon. A minor Egyptian goddess named Unut or Wenet (above right) also had the head of a hare. The hieroglyph ‘Wn’ (Wen) itself stands for the ‘essence of life’ and often depicts a hare over flowing water. The hare is often depicted ‘greeting the dawn’ (the ‘hour of the hare’) and she sometimes serves as messenger for the god Thoth. Sirius (Thoth), Lepus (Wenet) and Orion (Osiris) are the three main constellations that usher in the turning points of the autumn and spring equinoxes.

Lepus
The hare in Egypt, Norse myth and in the stars as Lepus. The hare, or Lepus constellation (its Latin name) is positioned south of the celestial equator and immediately south of Orion (Osiris). Along with Sirius (Canis Major), Lepus ‘lights the way’ for the goddess.

In Norse mythology, there was said to be a goddess before Odin (Saturn worship) replaced the Germanic tribal gods and goddesses. She was called Frau Holle, or Hulda, (above middle). Frau Holle was the goddess of the ‘wild hunt’, much like the goddess Artemis of Greece, and she was often shown with a large group of hares bearing torches ‘illuminating her way’. The hare as a hieroglyph signifies ‘the keeper of the ‘Great Mystery’ and was thought as a symbol of ‘becoming’, or ‘to be’. The hare’s ability to ‘disappear quickly’ was seen as a symbol for ‘states of awareness’ and transfiguration.
In some Native American myths, the hero Michabo or Great Manitou, was said to be the ‘great hare’ that brought knowledge to some of the American Indian tribes. Many North American tribes spoke of this deity as their common ancestor. Michabo was considered a personification of the Sun’s light, a life giver and his name compounded of ‘michi’ means ‘great’, and ‘wabos’, which means both ‘hare’ and ‘white’. The hare is a mammal that lives in solitude and can navigate the hours of darkness and is said to a have a ‘foot in two worlds’. Michabo of the dawn (or the ‘great white hare’) was considered the guardian of many Native American tribes. He was said to be the founder of their religious rites, the inventor of picture-writing and preserver of Earth and Heaven.

‘Destroy this Temple’, and I will make it ‘rise again’ in ‘three Hares’

Another version of Ostara (Astarte) is Hecate, the ‘triple headed goddess’ associated with ‘crossroads’, entrance-ways, light, magic, witchcraft, knowledge of herbs (poisonous plants), ghosts, necromancy and sorcery. The number three is a profound symbolic number that is found ‘everywhere’, from the triquetra (below), three primary colours, to the ‘three days’ the egg of the ‘queen bee’ takes to hatch. In numerology three is is considered to be ‘feminine’ and the Tarot card representative of the 3 energetically is The Empress (Hecate).
Three is also the ‘Trinity’ and these are the three aspects of Shin in the Kabbalah whose ‘three wicks’ are a symbol of the ‘holy trinity’ through the letter Shin (below right). The god Brahma of Hindu belief also provides symbolism of the Trinity, ‘three heads’ and the egg. I’ll come back to the egg at the end of this blog.

Hecate

In many uses of numerology and ancient belief, three is an important number for ‘creating reality’ and ‘manifestation’. The symbol of the ‘three hares’ (below) found at sacred sites from the Middle and Far East to the churches of Devon are all versions of Hecate’s (Ostara’s) ‘power of manifestation’ and ‘renewal’.

Three hares
Left: Tinners hares in Devon. Right: A section from the painting The Agony in the Garden right.

The Italian Renaissance painter Andrea Mantegna, a Knight from a ‘bloodline of painters’, depicts the ‘three hares’ in his masterpiece, The Agony in the Garden (1458-60). The full painting shows angels bearing the Instruments of ‘the Passion’ appearing to Christ in prayer. Three disciples sleep, with ‘three’ hares at their feet and in the background Judas comes with soldiers to arrest Christ. The symbolism, which was obviously known to Mantegna (and the elite) relates to the ‘Trinity of the Church’ that would be born out of the Passion. The painting also relates to fertility, lunar cycles and the ‘goddess of renewal’. The Triskele symbol below carries the same meaning.

triple spiral and Star
The triple spiral or triskele is a Celtic and pre-Celtic symbol found on Irish Mesolithic and Neolithic sites.

The ‘ears of the hares’ form a trivium (or trapezium), which in 3D is a tetrahedron (above right). The tetrahedron (the first of five geometric platonic shapes that are said to construct reality), is a symbol of ‘creation’, ‘fire’ and ‘renewal’. The Vesicae Piscis is also formed by the ‘three ears’ and the same shapes give us the spinning Mer-Ka-Ba (Star tetrahedron) or ‘vehicle of light’ (above right). The symbolism of ‘new life’ and ‘renewal’ entwined in the story of Christ (who was said to baptize with ‘fire’), quite clearly comes from the Pagan understanding of the ‘goddess of light’. The goddess who could see three ways simultaneously and use the ‘light’ to change the illusion. So can we if we tap into this unseen power.
Another version of Ostara also found in Norse Mythology is the goddess Freyja who is associated with love, sex, beauty, fertility, gold, war and death. Freyja is the owner of the ‘necklace Brísingamen’, she rides a chariot pulled by two cats, she keeps the boar Hildisvíni by her side, possesses a cloak of falcon feathers and is accompanied by dwarves. Freyja and her ‘seven dwarfs’ are symbols for the ‘seven days of the week’ which construct the Lunar month (Snow White), seen below in their ‘spring time’ kingdom. Snow White is Freyja and Ostara combined and the symbolism especially through colour relates to the feminine archetype, duality and light of ‘eternal spring’.

Snow white

The evil queen (the dark archetype) in Snow White, along with the innocent magical goddess that over throws the queen, can also been found in CS Lewis’s books Alice in Wonderland and Through the Looking Glass. All are stories that use goddess symbolism associated with ‘moving between’ different realities, just as the Earth’s Equinoxes and Solstices are markers between changing worlds. The Chinese ‘Moon Goddess’ Chang’e comes to mind.

The Easter Moon Rabbit (Hare)
The moon rabbit in folklore was said to be a rabbit that lives on the Moon, some say, based on the pareidolia that identifies the markings of the Moon as a rabbit (see below right).

Moon hare

Stories exist in many cultures, prominently in Asian folklore and Aztec mythology of a Moon rabbit. In East Asia, the rabbit is seen pounding in a mortar and pestle (below left), but the contents of the mortar differ among Chinese, Japanese, and Korean folklore. In Chinese folklore, the moon rabbit is often portrayed as a ‘companion’ of the Moon goddess Chang’e, constantly pounding the ‘elixir of life’ for her. The elixir could relate to the ‘egg’ and how life is created through DNA. In Japanese and Korean versions, it is pounding the ingredients for rice cake. Maybe the inspiration for the ‘cake’ Alice eats in Wonderland? More on Alice in a moment.

Moon elixir rabbit
The mythological white hare making the elixir of immortality on the Moon, from Chinese mythology. Embroidered onto 18th-century Imperial Chinese robes.

In other Asian myths Sun Wukong fights the ‘Moon Rabbit’ (above middle), a scene in the 16th century Chinese novel Journey to the West, depicted in Yoshitoshi’s One Hundred Aspects of the Moon (1839-1892). In the Buddhist Jataka tales, a monkey, an otter, a jackal, and a rabbit resolved to practice charity on the day of the ‘full moon’ (Uposatha), believing a demonstration of great virtue would earn a great reward. When an old man begged for food, the monkey gathered fruits from the trees and the otter collected fish, while the jackal wrongfully pilfered a lizard and a pot of milk-curd. The rabbit, who knew only how to gather grass, instead offered its own body, throwing itself into a fire the man had built. The rabbit, however, was not burnt. The old man revealed himself to be Akra (Lord of Heaven) and, touched by the rabbit’s virtue, drew the likeness of the rabbit on the Moon for all to see. It is said the lunar image is still draped in the smoke that rose when the rabbit cast itself into the fire. The same story of the Moon god sacrificing itself in the solar fire can be found in Hopi, Mexican and Mayan myths, not least in the stories of Quetzalcoatl. ‘Cotton tail’ in Hopi myth was a god born of the Sun and the Moon after jumping into the solar fire. Many of these stories are symbolic of the upheavals that took place in the heavens.

cotton tail
Left: A Maya whistle in the form of the moon goddess and her rabbit consort. CE 600. Middle: Aztec ceramic piece showing a rabbit-scribe. Right: The Rabbit was considered a Moon scribe in China and connected to the scribe Toth in Egypt.

Contemporary video games and comics seem to contain symbolism that relate to the Moon rabbit. In the 2000 video game Dark Cloud, the ‘Moon People’ are revealed to in fact be anthropomorphic rabbits. In the Nexon game MapleStory there is a party quest that involves protecting a ‘Moon Bunny’ while it produces rice cakes. In the 2014 game Destiny, the Jade Rabbit is featured as both an emblem that can be acquired on the Moon, as well as a primary weapon exclusive to PlayStation 4 owners.

The Goddess & the White Rabbit
Celtic myth talks of the goddess Cerridwen who represented the human cycles of ‘birth’, ‘life’, ‘death and rebirth’. Cerridwen was another Moon Goddess associated with the Hare. In one legend the hunter Ossian was said to have wounded a hare forcing it find sanctuary in a thicket. When Ossian followed it he found a door in the ground that led to vast hallway and in that ‘underground kingdom’ he met a beautiful woman sitting on a throne, bleeding from the leg. Tales like this are plenty in the pre-Christian world and hint at metamorphosis.
Japanese myth also tells of the Hare of Inaba and the goddess Amaterasu and her search for a place for their palace or kingdom. Like the white Rabbit in Alice in Wonderland, Inaba suddenly appears to point the way to Amaterasu (see below). According to the folk tale, the white hare bites Amaterasu’s clothes and takes her to a ‘otherworldly’ location to look for a temporary palace at Nakayama Mountain and Reiseki Mountain. The ‘mountain’, the ‘Goddess’ and the ‘white hare’ are all symbols for the ‘Moon’, ‘time’ and ‘forces that create the collective world reality’.

Inaba in Wonderland
Alice and the hare of  Inaba.

The white rabbit often appears in 15th Century Renaissance paintings to symbolise the connection between the goddess, the oceans and the Moon. Other meanings relate to venus, love and the ‘duality’ of male and female, as shown in the painting Venus, Mars and Cupid 1490 by Piero di Cosimo (below). It shows cupid lying on Venus next to a white rabbit. The lovers (Venus and Mars) are exhausted by their sexual activity (cupid) and the white rabbit is the symbol for ‘timelessness’ brought on through sexual excess. Moon, Mars and Venus ‘alignments’ have been linked to upheavals on Earth. See the work of Immanuel Velikovsky.

1280px-1505_Piero_di_Cosimo_Venus,_Mars_and_Cupid_anagoria

 

The idea of rabbits as a symbol of ‘vitality’, ‘rebirth’ and ‘resurrection’ clearly comes from the Pagan world and the Italian masters must have known this when they made such ‘Christian works of art’. They were having a laugh! The elite painter Titan in his work, Mary and Infant Jesus with a rabbit (below), is clearly alluding to the Pagan knowledge associated with the goddess and the white rabbit/hare. The painting of St. Jerome reading in the countryside, by Giovanni Bellini (below left) with a white and brown hare/rabbit clearly relates to the power of ‘solitude’ (the hare) and the world that would await the hermit once he leaves the cave to ‘follow the white rabbit’. Jerome was the ‘founding father’ of the Christian Church, (often shown in Saturn red with the lion), instead here he is depicted as the hermit in the wilderness.
The character Neo in the Matrix movie is also shown the ‘white rabbit’ as a way out of his illusionary ‘solitary’ world so he can meet the ‘god of the dreamtime’ – Morpheus.

St Jerome and white rabbit

 

The Trickster Hares
Many native cultures saw the hare as a trickster and shape-shifter. The hare appears in English folklore in the saying “as mad as a March hare” and in the stories of a witch who takes the form of a white hare and goes out looking for prey at night. The Br’er Rabbit stories are loosely related to the trickster element of the rabbit and hare. Cottontail was a symbol for both the ‘hare’ and ‘time’. Interestingly, the hare was said to be a ‘child of Pan’ and in many myths the hare was wrapped in ‘goat’s skin’. Of course the ‘hare’ and the ‘Moon’ are symbolically connected as I’ve shown. The hare also takes on the role of a ‘demiurge’ in some myths and this aspect is connected to the ‘egg’ as we shall see.
African folk tales told by the Namaquas relate the story of phases of the moon with the idea of immortality, alternate disintegration and reintegration, decay and growth repeated perpetually. Even the ‘rising and setting of the moon’ was interpreted by them as its ‘birth and death’. They say that a long time ago the Moon wished to send to mankind a message of immortality, and the hare undertook to act as the messenger. So the Moon charged him to go to humanity and say, “As I die and rise to life again, so shall you die and rise to life again.” It is said that the hare ‘reversed’ (inverted) the message (so life became death) and humanity instead ‘focused on their mortality’.

trickster hare

Kit William’s Book Masquerade (1979) relays the ‘trickster element’ of the hare. The book’s objective, the hunt for a valuable treasure, became his means to this end. Masquerade features ‘fifteen’ (Saturn’s number) detailed paintings illustrating the story of a ‘hare’ named Jack. The boy Jack seeks to carry a treasure from the Moon (depicted as a woman) to her love object, the Sun (a man). On reaching the Sun, Jack finds that he has lost the treasure, and the reader is left to discover its location of the ‘golden hare’. The author Kit williams must have been inspired by the pagan myths associated with the Sun, the Moon and the hare?

Scary Hares
The púca (Irish for spirit/ghost), pooka, phooka, or púka is primarily a creature of Celtic folklore.  A púca was considered to be a bringer of both good and bad fortune, they could either ‘help or hinder’ communities. These creatures were said to be ‘shape changers’ (shape-shifters) that could take the appearance of black horses, goats and hares. They could also take human form with ‘animal features’, such as long ears. According to legend, the púca can assume a variety of terrifying or pleasing forms. No matter what shape the púca takes, its fur was almost always dark. I have personally witnessed a púca of sorts manifest in front of me in a Tudor house/hotel many years ago, in the form of a black panther.

Puca hare
Left: A Pooka. Right: The movie Donnie Darko (2001) follows the adventures of the troubled character as he seeks the meaning behind his Doomsday-related visions and time travelling. Scary… Where Halloween and Easter meet!

Another creature called a Koschei, similar to the púca, was said to be able to use magic and could not be killed by conventional means. In various folklore the Koschei’s soul was hidden separate from its body, through ‘talisman’ and other ‘animate objects’. The soul could be inside a needle, which is inside an egg, which is in a duck, which is in a hare, which is in an iron chest, buried under a green oak tree, which is on the island in the ocean. The soul of the Koschei is not dissimilar to the concept of Sauron in Tolkien’s Lord of the Rings, whose essence of being was ‘contained’ within a ring that was ‘connected to’ other rings, etc. Legends say that anyone ‘possessing the egg’, for example, has the Koschei in their power. If the ‘egg’ is tossed about, the Koschei likewise is flung around against his will. If the needle is broken, Koschei will die. When the ring is destroyed so is Sauron’s power, etc, etc. The Magic associated with the Koschei is that of an ‘invisible form’ that could ‘move through different realities’. The hare (and white rabbit) symbollically speaking were said to be able to move through different worlds and become ‘timeless’.

In other folklore and legends we have mythical hare’s that are ‘hybrid creatures’, such as the Lepus Cornutus and Al-mi’raj (an Arabic mythical unicorn hare (below). In Bavarian folklore there are stories of the wolpertinger (also called wolperdinger), a mythological hybrid hare allegedly inhabiting the alpine forests of Bavaria and having antlers (below left).

Lepus Cornutus
Lepus cornutus (labeled in French “Lièvre cornu”), as depicted in the 1789 Tableau Encyclopedique et Methodique by Pierre Joseph Bonnaterre.

The Primordial ‘Easter Egg’ of fire
Another symbol of Easter is the egg of course, which is a universal symbol for birth and ‘new life’. The ‘primordial egg’ holds the seed from which the whole of manifestation was said to ‘spring’ from. The idea that the universe was ‘born from an egg’ is shared by nearly all ancient civilizations and cultures. The ‘primordial man’ was also said to originate from an egg, see William Blake’s image of the Four Zoas (below). The egg is symbolically the ‘boundary of the restriction’ of ‘matter’ for the human being, and here is shown surrounded by the four bodies of the mind, emotions, senses and imagination.

zoas
Left: The egg-shaped world of Los (Blake’s word for imagination) swells from the swirling centre of chaos, forming the boundaries of illusionary 3D space. Satan and Adam ‘obstruct’ humanities ‘free vision’ of things as they truely are. Right: Hildegard von Bingen’s vision of the cosmos as an egg.

The cosmic egg, born from primordial Waters, in some myths, splits into two halves to give birth to Heaven and Earth (Symbolised as Adam and Satan in Blake’s image), or as the Hindu Brahmânda and the ‘two Dioscuri’ in Greco-Indian myths. In Hindu mythology, Brahma – the omniscient, the source of all that exists, forms out of the golden embryo and egg. According to Hindu belief, he was the self-born ‘uncreated creator’, the first manifestation of the one’s existence. As the embryo from which the universe originates, he is also called Hiranya Garbha (golden embryo), the ball of fire. Other names for the ‘egg god’ were Pitamaha (the patriarch), Vidhi (the ordinator), Lokesha (the master of the universe) and Viswakarma (the architect of the world). The ‘architect’ of course connects to Gnosticism, Masonry and the imposter creator – the Demiurge.
The egg also signifies the polarization of the Hermaphrodite in some instances and was a symbol for the beginning of life. For the ancient Egyptians, ‘life emerged’, by the action of a ‘Demiurge’, through the ‘Nun’, (the personification of the primordial Ocean) that ‘gave birth’ to the egg. Chinese legend tells of how an enormous ‘black egg’ was formed in the darkness at the beginning of time. Inside this egg, the sleeping giant Pan Gu was formed (below left). Likewise, Hanuman the monkey king was said to be born of primal chaos, hatching from a ‘stone egg’ impregnated by the sky and the Gnostics also talk of Heaven and Earth, symbolised by the ‘world egg’ in the womb of the universe. Not a crucifixion in sight here folks? Just a human (light being) born of the cosmos.

monkey egg

The Egg as the Soul

egg soul
Barbara Marciniak’s book Earth uses the symbolic depiction of the primordial egg and of course for anyone who has read the ‘channeled books by this author will find ‘reptilian themes’, who also ‘lay eggs’.

In terms of symmetry, astronomy and sacred geometry the egg has been used by alchemists to depict the ‘cycles within cycles’ and the ‘relationship’ between the Earth the Moon and the Solar System. The elite Elizabethan occult magician Dr John Dee, likened the origin of the planets to the metamorphosis of an egg made up of the four elements (the Zoas), which a scarab beetle brings along a spiral path. Dee referred to the ‘egg white’ as the work of the Moon (Saturn) and the ‘yoke’ the Sun (Jupiter).

egg geometery
‘Egg geometry’ in various forms.

The Druids saw the egg as the ‘sacred emblem’ of their initiation rites, hence the importance of the egg in spring (at Easter).  The procession of the Goddess of agriculture, Ceres, in Rome, was preceded by an egg and it was often depicted entwined by a serpent or crowned by a crescent moon. The illustration below shows two ways the druids (Priests) represented their sacred eggs.

Typhon lucifer egg
Left: is the Egg of Heliopolis; on the right, the Typhon’s Egg. Among the Egyptians, the egg was associated with the Sun, the ‘golden egg.’ Right: Louis Cyphre (Lucifer) played by Robert de Niro eating the soul (egg)

In the mysteries of Bacchus in ancient Greece the egg was a consecrated emblem that symbolised the ‘soul’ and this symbolism was portrayed in the move Angel Heart, when Louis Cyphre (Lucifer), played by de Niro peels an egg and eats it as a symbol of the ‘consumption of the soul’.

Ptah eats the eye-egg
Left: The eye considered the ‘window to the soul’ in the shape of the philosophers egg from Alchemical teachings. Right: Eneph or Ptah, (the Demiurge of ancient Egyptian mythology) eating an egg with Saturn next to him.

The eye and egg are another symbol for the ‘theft of the soul’, or the visionary limits of ‘perception’ placed on humanity by the Demiurge. All over the ancient world, from China to Babylon, the egg was also painted, and venerated as symbol of ‘re-birth’ and the ‘soul’. The ‘soul of humanity’ ‘captured’, ‘bound’ or ‘eaten’ is a common theme through the use of the ‘symbol of the egg’, see my Illustration below (middle).

Light encased
Mithra, ‘light encased’ and the auric field depicted as an egg like shape.

The ‘alchemical Modena’ relief (above left) also symbolises both the ‘world’ and the ‘egg’. Inside the egg (Modena), Mithras or Phanes (the light of the world) emerges with his lighted torch surrounded by a mandorla of the zodiac (corresponding to the twelve ‘altar fires’ in the Pythagorean cult). The mandorla can also represent the vulva, and thus the arrival of a ‘new being into the world’ through the goddess. The mandorla is also a sign of union, climax, opening and departure into a new life. Not a Christian theme insight here!

 

‘Born’ of the Easter Egg
The reptilian symbolism associated with the egg is obvious and it could be that the ‘Babylonian religion’ that originally gave us Easter, relates to the reptilian deities that were ‘openly worshiped’ by the Akkadian and Sumerian mystery schools. The connections between reptilian gods and a new human made in the ‘likeness of the gods’, can be visually understood through the symbolism of the egg. Renaissance artists that were in the know, often used the egg as a symbol for the ‘new human’ born of a goddess.

Reptilin egg mother
Easter and Christmas courtesy of the ‘reptilian worshipping’ priests of Sumeria in ancient Iraq?

Hieronymus Bosch’s painting ‘Concert inside an Egg’ depicts his knowledge of alchemy, the philosophical Egg and the ‘light that can be seen with the ears’ (below left). The ‘light’ is the electromagnetic forms that the brain translates into pictures and sounds, hence the light that can be seen with the ears. Bosch also includes humans that are ‘entering into’ an egg in his masterpiece ‘Garden of Earthly delights’ painted in the 15th Century. The strange creatures and imagery contained within the scene are reminiscent of reptilians/greys and naked humans (Adam and Eve prototype) of course are ‘being born’ in reverse, or being ‘encased’ in the egg – through the limitation of their DNA. The egg is also a symbol for the Moon and its control over our biological bodies’.

Bosch egg people

In paintings by lenaordo Da vinci and Bachiacca (below) the Greek myth of Leda and the Swan (a bird that symbolised Venus) uses the symbolisim of the children ‘born of an egg’ (just as reptiles are). The egg and its nest are also symbolic of the goddess and the word for nest, ‘shechinot’, in Hebrew is virtually the same as shekinah which means the ‘feminine glory of God’ come to ‘dwell on earth’. It literally means ‘dwelling’ or ‘presence’. Interestingly the hare also builds a ‘form’ which looks like a ‘birds nest’, another ‘visual idea’ that could have given life to the ‘Easter egg’?
In the Leda and the Swan myth, Zeus takes the form of a swan and seduces the goddess Leda, whose offspring,  Castor and Pollox, are born as ‘hybrid humans’, part-god, part-human. The myths and paintings showing these narratives are hinting at the ‘copulation’ of ‘non-human’ with ‘humans’ in the ancient world. The egg symbolism, at Easter is in many ways, is a symbol for this knowledge, which was understood by the mystery schools of antiquity.

Leda and the swann
Left: Leda and the Swan by Leonardo da Vinci, 1505-10. Middle: Leda and the Swan by Bachiacca, 16th century. Right: Geopoliticus Child Watching the Birth of the New Man by Salvador Dali.

A New World Egg (Order)
On another level the egg is a symbol for a ‘new world’. Salvador Dali painted Geopoliticus Child Watching the Birth of the New Man (above right) during the Second World War. A painting that clearly symbolizes ‘change’ and a ‘new world’ being born. Dali’s initial notes for the work read: “parachute, paranaissance, protection, cupola, placenta, Catholicism, egg, earthly distortion, biological ellipse. Geography changes its skin in historic germination.”
Dali’s words offer some hint of the work’s meaning. At the bottom right of the painting, the gaunt body of a classical figure, symbolises the ‘old world’ and its emaciated civilization, revealing a central scene to a child, who peeks at the male figure struggling out of a terrestrial globe, distorted into the shape of an egg. This surreal scene is emblematic of the emergence of a ‘new political order’ after the war. The central scene of global rebirth is protected by a parachute-like floating cupola that, when seen in conjunction with the cloth at the bottom, forms an ‘oyster-like shape’, another symbol for the Moon and the Christian Kingdom of Heaven. The emerging figure bursts out from the North American continent, which Dali saw as a centre of ‘historic germination’ (the growth of the new world order). The alchemical ‘great work of the ages’ is also connected to the philosophers egg and much more besides.

Gates of paradise Blake
William Blake, The Gates of Paradise, 1793

Personally, I always see Easter time as a period of ‘transition and renewal’, a time for ‘new ideas’ and ‘new beginnings’. William Blake’s image of a winged infant emerging from a cracked egg also hints at the awakening themes mentioned above. Blake had no time for orthodox religion and was aware of the Pagan roots of Christianity. The image is one of many from his collection of writings and drawings called The Gates of Paradise and this one in particular shows a ‘hatching’ of a winged infant (or cherub with Blake’s face) breaking free of the confinement imposed by the egg. According to Blake ‘the child becomes acquainted with the functioning of his mind through four spheres (the Zoas mentioned earlier) of the body, mind, imagination and emotions’. These bodies ‘give form’ to the ‘egg shape’ and signifies mankind’s ‘limited field of vision’. Writing in 1793, He said,
 “An immense/Hardened shadow of all things upon our vegetated Earth, /enlarged into dimension and deformed into indefinite space”. After his death, man tears this “veil of nature” which freezes all life”
If anything, Easter is the festival of visible ‘new light and life’ and the symbolism behind the ‘Moon Egg’, the ‘Hare’ and the ‘Goddess’ are the core symbols for this time of year.
Until next time

Neil

 

Hare Moon